Roland Musical Instrument FR 7 FR 5 User Guide

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FR-7/FR-5

Owner’s Manual

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FR-7/FR-5

Owner’s Manual

Thank you for purchasing the Roland FR-7/FR-5 V-Accordion. The FR-7/FR-5 is an amazingly versatile electronic instru-

ment that can emulate the sounds of a vast array of accordions. You may know that the term “accordion” refers to a

portable musical instrument of the free reed family, that its sound is controlled by air flow from the bellows, and that

there are almost as many types as there are countries. The accordion family indeed includes instruments called

“Aeloine”, “Aerophone”, “Bayan”, “Buzika”, “Concertina”, “Drängkammarorgel”, “Fisarmonica”, “Hanuri”, “Melodeon”,

“Pedalowka”, “Schwyzerorgeli”, “Squeeze Box”, “Sun Fin Chin”, and many others.

For the first time in history, Roland introduces an accordion instrument that can emulate (recreate) the sounds and

behavior of several bellows instruments. Though it is also the most sophisticated MIDI controller to date (even more

powerful than any keyboard instrument), the major advantage of the FR-7/FR-5 is probably that it allows you to

change sounds without changing instruments. Apart from the financial benefit (the FR-7/FR-5 costs far less than what

you have to pay for the emulated originals), this also means that you can use your familiar playing style and tech-

niques while covering a host of different musical genres.

To get the most out of the FR-7/FR-5 and to ensure many years of trouble-free service, we urge you to read through

this Owner’s Manual thoroughly.

Before using this instrument, carefully read the “Important notes” (p. 9). They provide information concerning the

proper operation of the FR-7/FR-5. Be sure to keep this manual in a safe place for future reference.

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FR-7/FR-5 V-Accordion

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V-Accordion

Contents

1. Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2. Important notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3. Panel descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 1

Treble control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Bass control panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Display and master bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Connection panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

4. Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 4

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Switching the power on and off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Listening to the demo song s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 6

First steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Touring the FR-7/FR-5’s sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Using the orchestral sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Other practical functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

5. About the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 1

Using the FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Charging the battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

6. Editing sound s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 5

Selecting parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Setting parameter values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

TUNING parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

TREBLE EDIT parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

FREE BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

ORC.BASS EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

ORCH. EDIT parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

SET COMMON parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

SYSTEM parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

UTILITY parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

7. MIDI functions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 6

About MID I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 6

Global MIDI parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

MIDI parameters for the various sections/parts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Archiving your settings via MIDI (Bulk Dump ). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 5

8. Miscellaneous function s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 7

Saving settings using the WRITE function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Restoring the factory defaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Parameter list. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Factory Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Demo Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

9. MIDI implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

10. Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 9

11. Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 0

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FR-7/FR-5 V-Accordion

Features |

1. Features

Stand-alone electronic instrument

The digital advantage

Though the FR-7/FR-5 is a fully electronic instru-

ment, you do not need to connect the FR-7 to an

amplifier in order to produce sounds. Its onboard

amplification system is powerful enough for small

venues, restaurants, etc. (The FR-5 has no internal

amplification.)

The V-Accordion includes all functions and sounds of

a traditional accordion, thus conveying a really natu-

ral feel and sound. Yet it also provides the advan-

tages only an electronic musical instrument can give

you:

• reduced overall weight;

Furthermore, the FR-7 comes with a rechargeable

battery (Ni-Mh) so that you do not need to connect it

to a wall outlet. The battery should last 8 hours.

(The battery is available as an optional item for the

FR-5.)

• possibility to choose among a wide variety of sounds;

• you can create and customize the accordion timbres

(program your own sounds);

• you can choose among various bass button operation

modes (Minor 3rd Free Bass, 5th, Bayan, North

Europe, etc.);

• tuning stability over time and wear resistance of all

mechanical parts;

• you can sound in a different key than the one you are

playing in (transpose function);

Sophisticated MIDI control

The FR-7/FR-5 is the most versatile and “musical”

MIDI controller to date, going far beyond the control

possibilities of a MIDI keyboard with optional perfor-

mance functions or of MIDIfied wind instruments.

• you can play with headphones, i.e. without disturbing

your neighbors or family.

The piano-style Treble keyboard even transmits after-

touch messages.

Superb performance flexibility

PBM (Physical Behavior Modeling)

The V-Accordion allows you to control external MIDI-

compatible instruments. The Treble keyboard and

chord/bass buttons are velocity-sensitive, while the

bellows controller provides more articulation possi-

bilities than any other MIDI keyboard, MIDI wind

instrument, etc., you may know.

The FR-7/FR-5 V-Accordion is based on Roland’s lat-

est sound generation technology called “PBM” (Phys-

ical Behavior Modeling) whose sonic result is very

close to the sound of traditional accordions.

Super realistic accordion simulations

The FR-7/FR-5 provides 40 memories called “Sets”,

with 14 treble registers, 7 bass & chord registers and

7 free bass registers each. All sounds it produces were

obtained by sampling the most popular traditional

acoustic accordions. Different tuning systems are

also available.

In High or Low mode (see p. 25), you can control up

to 4 parts simultaneously (two sounds in the right

hand/two sounds in the left).

This V-Accordion allows you to switch from an Italian

jazz accordion to German folk, French musette or a

historic bandoneon sound – without changing your

technique.

Orchestral sounds

22 orchestral sounds can be used in combination

with traditional accordion sounds – complete with

full bellows articulation (something like breath con-

trol for accordions, but much more refined) and

unique keyboard modes (Solo, Dual, High and Low).

Orchestra Bass

The FR-7/FR-5 also provides 7 orchestral bass sounds

for the Bass section that can be added to the Bass

accordion sound.

• All product names mentioned in this document are trademarks or

registered trademarks of their respective owners.

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V-Acco_Urd_sinio_gn_ther_{unit safely}

Using the unit safely

The

symbol alerts the user to important instructions

Used for instructions intended to alert

the user to the risk of death or severe

injury should the unit be used

improperly.

or warnings.The specific meaning of the symbol is

determined by the design contained within the

triangle. In the case of the symbol at left, it is used for

general cautions, warnings, or alerts to danger.

Used for instructions intended to alert

the user to the risk of injury or material

damage should the unit be used

improperly.

The

symbol alerts the user to items that must never

be carried out (are forbidden). The specific thing that

must not be done is indicated by the design contained

within the circle. In the case of the symbol at left, it

means that the unit must never be disassembled.

* Material damage refers to damage or

other adverse effects caused with

respect to the home and all its

furnishings, as well to domestic

animals or pets.

The G symbol alerts the user to things that must be

carried out. The specific thing that must be done is

indicated by the design contained within the circle. In

the case of the symbol at left, it means that the power-

cord plug must be unplugged from the outlet.

• Do not excessively twist or bend the power cord, nor

place heavy objects on it. Doing so can damage the cord,

producing severed elements and short circuits. Damaged

cords are fire and shock hazards!

• Before using this instrument, read the instructions below

and the Owner’s Manual.

...................................................................................................................................

• Do not open or perform any internal modifications on

the unit.

....................................................................................................................................

• This instrument, either alone or in combination with an

amplifier and headphones or speakers, may be capable of

producing sound levels that could cause permanent

hearing loss. Do not operate for a long period of time at a

high volume level or at a level that is uncomfortable. If

you experience any hearing loss or ringing in the ears,

you should immediately stop using the FR-7/FR-5 or

FBC-7 and consult an audiologist.

...................................................................................................................................

• Do not attempt to repair the FR-7/FR-5 or FBC-7 or

replace parts within it (except when this manual provides

specific instructions directing you to do so). Refer all ser-

vicing to your retailer, the nearest Roland Service Center

or an authorized Roland distributor, as listed on the

“Information” page.

....................................................................................................................................

• Do not allow any objects (e.g., flammable material, coins,

pins); or liquids of any kind (water, soft drinks, etc.) to

penetrate the FR-7/FR-5 or FBC-7.

...................................................................................................................................

• Never use or store the FR-7/FR-5 or FBC-7 in places that

are:

• Subject to temperature extremes (e.g., direct sunlight

in an enclosed vehicle, near a heating duct, on top of

heat-generating equipment); or are

....................................................................................................................................

• Damp (e.g., baths, washrooms, on wet floors); or are

• Humid; or are

• In households with small children, an adult should pro-

vide supervision until the child is capable of following all

rules essential for the safe operation of the FR-7/FR-5 or

FBC-7.

• Exposed to rain; or are

• Dusty; or are

....................................................................................................................................

• Subject to high levels of vibration.

• Protect the FR-7/FR-5 and FBC-7 from strong impact.

(Do not drop it!)

...................................................................................................................................

• When not in use, do not place the FR-5 or FR-7 vertically

due to instability. If placed in the vertical position on the

floor/stage, ensure that it leans against a stable vertical

surface e.g. a wall or a heavy musical instrument.

....................................................................................................................................

• Immediately turn the power off, remove the power cord

from the outlet and request servicing by your retailer, the

nearest Roland Service Center or an authorized Roland

distributor, as listed on the “Information” page when:

...................................................................................................................................

• The FBC-7 should only be connected to a power supply of

the type described in the operating instructions or as

marked on the bottom of the FBC-7.

• The power-supply cord or the plug has been damaged;

...................................................................................................................................

• Objects have fallen into or liquid has been spilled onto

the FR-7/FR-5 or FBC-7; or

• The unit has been exposed to rain (or otherwise has

become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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FR-7/FR-5 V-Accordion

Features | Using the unit safely

• Do not force the FBC-7’s power cord to share an outlet

with an unreasonable number of other devices. Be espe-

cially careful when using extension cords—the total

power used by all devices you have connected to the

extension cord’s outlet must never exceed the power rat-

ing (watts/amperes) for the extension cord. Excessive

loads can cause the insulation on the cord to heat up and

eventually melt through.

• Before using the FBC-7 in a foreign country, consult with

your retailer, the nearest Roland Service Center or an

authorized Roland distributor, as listed on the “Informa-

tion” page.

• The FR-7/FR-5 or FBC-7 should be located so that its

location or position does not interfere with its proper

ventilation.

...................................................................................................................................

• Always grasp only the plug on the power-supply cord

when plugging into or unplugging from, an outlet or this

unit.

...................................................................................................................................

• Try to prevent cords and cables from becoming entan-

gled. Also, all cords and cables should be placed out of

the reach of children.

...................................................................................................................................

• Never climb on top of, nor place heavy objects on the

FR-7/FR-5 or FBC-7.

...................................................................................................................................

• Never handle the power cord or its plugs with wet hands

when plugging into or unplugging from, an outlet or this

unit.

...................................................................................................................................

• If you need to move the FBC-7, take note of the precau-

tions listed below. Make sure to have a firm grip, to pro-

tect yourself from injury and the instrument from dam-

age.

• Disconnect the power cord.

• Disconnect all cords coming from external devices.

...................................................................................................................................

• Before cleaning the FR-7/FR-5, turn off the power and

unplug the power cord from the outlet.

...................................................................................................................................

• Whenever you suspect the possibility of lightning in your

area, disconnect the FBC-7’s power cord from the outlet.

...................................................................................................................................

• Should you remove screws, make sure to put them in a

safe place out of children’s reach, so there is no chance

of them being swallowed accidentally.

...................................................................................................................................

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V-Accordion r

Important notes

2. Important notes

In addition to the items listed under “Using the unit safely” on p. 7, please read and observe the following:

Power supply

Repairs and data

• Do not use this instrument on the same power circuit with any

device that will generate line noise (such as an electric motor or

variable lighting system).

• Please be aware that all data contained in the instrument’s mem-

ory may be lost when it is sent for repairs. In certain cases (such as

when circuitry related to memory itself is out of order), we regret

that it may not be possible to restore the data. Roland assumes no

liability concerning such loss of data.

• Before connecting the FR-7/FR-5 to other devices, turn off the

power to all units. This will help prevent malfunctions and/or dam-

age to speakers or other devices.

Additional precautions

• Although the LCD and LEDs are dark when the POWER switch is

off, this does not mean that the unit has been completely discon-

nected from the power source. To turn off the power completely,

first turn off the POWER switch, then unplug the power cord from

the wall outlet. For this reason, the outlet to which you connect

the power cord’s plug should be one that is within easy reach.

• Please be aware that the memory contents can be irretrievably lost

as a result of a malfunction or the improper operation of the

instrument. Therefore, be sure to archive important settings using

the FR-7/FR-5’s Bulk Dump function (see p. 75).

• Use a reasonable amount of care when using the instrument’s but-

tons, other controls and jacks/connectors. Rough handling can

lead to malfunctions.

Placement

• Using the FR-7/FR-5 near power amplifiers (or other equipment

containing large power transformers) may induce hum. To allevi-

ate the problem, change the orientation of this unit; or move it

farther away from the source of interference.

• Never strike or apply strong pressure to the display.

• When connecting/disconnecting cables, grasp the connector

itself—never pull on the cable. This way you will avoid causing

shorts or damage to the cable’s internal elements.

• This device may interfere with radio and television reception. Do

not use this device in the vicinity of such receivers.

• A small amount of heat will radiate from the instrument during

normal operation. This is perfectly normal.

• Do not place the FR-7/FR-5 near devices that produce a strong

magnetic field (e.g., loudspeakers).

• To avoid disturbing your neighbors, try to keep the instrument’s

volume at reasonable levels. You may prefer to use headphones, so

you do not need to be concerned about those around you (espe-

cially late at night).

• Install the FR-7/FR-5 on a solid, level surface.

• Noise may be produced if wireless communications devices, such

as cell phones, are operated in the vicinity of this unit. Such noise

could occur when receiving or initiating a call or while conversing.

Should you experience such problems, relocate such wireless

devices so they are at a greater distance from this unit or switch

them off.

• When you need to transport the instrument, package it in the box

(including padding) that it came in. Otherwise, you will need to use

equivalent packaging materials or a flightcase.

• Use only the specified expression pedal (EV-5, EV-8; sold sepa-

rately). By connecting any other expression pedals, you risk caus-

ing malfunction and/or damage to the FR-7/FR-5.

• Do not expose the unit to direct sunlight, place it near devices that

radiate heat, leave it inside an enclosed vehicle or otherwise sub-

ject it to temperature extremes. Also, do not allow lighting devices

that normally are used while their light source is very close to the

unit (such as a piano light) or powerful spotlights to shine upon

the same area of the unit for extended periods of time. Excessive

heat can deform or discolor the unit.

• Use a cable from Roland to make the connection. If using some

other make of connection cable, please note the following precau-

tions.

Some connection cables contain resistors. Do not use cables that

incorporate resistors for connecting to this unit. The use of such

cables can cause the sound level to be extremely low or impossible

to hear. For information on cable specifications, contact the man-

ufacturer of the cable.

• To avoid possible breakdown, do not use the unit in a wet area,

such as an area exposed to rain or other moisture.

• Do not allow rubber, vinyl or similar materials to remain on the

instrument for long periods of time. Such objects can discolor or

otherwise harmfully affect the finish.

Precautions for the included (FR-7) or optional

(FR-5) battery

• The temperature range for use of the batteries is as follows. Using

them outside this range may impair battery performance and

shorten battery service life. Use (discharging): 0~50°C, Storage:

–20~30°C, Charging: 0~40°C.

• Do not put anything that contains water (e.g., flower vases) on the

instrument. Also, avoid the use of insecticides, perfumes, alcohol,

nail polish, spray cans, etc., near the unit. Swiftly wipe away any

liquid that spills on the unit using a dry, soft cloth.

• Do not allow objects to remain on top of the keyboard or buttons.

This can be the cause of malfunction, such as keys or buttons ceas-

ing to produce sound.

• Do not use or store a battery at high temperature, such as in

strong direct sunlight, in cars during hot weather or directly in

front of heaters. This may cause battery fluid leakage, impaired

performance and shorten the battery’s service life.

• Do not paste stickers, decals or the like on this instrument. Peeling

these off, particularly when strong adhesives have been used, can

damage the instrument’s exterior finish (the stickers provided with

this instrument feature a weak adhesive).

• Do not charge a battery while it is cold (below 0°C) or outside

when it is freezing. This may cause battery fluid leakage, impaired

performance and shorten the battery’s service life.

• Do not splash fresh or saltwater on a battery or allow the termi-

nals to become damp. This may cause heat generation and forma-

tion of rust on the battery and its terminals.

Maintenance

• For everyday cleaning wipe the FR-7/FR-5 with a soft, dry cloth or

one that has been slightly dampened with water. To remove stub-

born dirt, use a mild, non-abrasive detergent. Afterwards, be sure

to wipe the instrument thoroughly with a soft, dry cloth.

• Use only the supplied FBC-7 to charge the FR-7/FR-5’s battery.

Failure to follow proper charging procedures may cause excessive

current flow, loss of control during charging, leakage of battery

fluid, heat generation, bursting or fire.

• Never use benzene, thinner, alcohol or solvents of any kind, to

avoid the possibility of discoloration and/or deformation.

• For the procedure for charging the FR-7/FR-5’s battery, please

read page 32.

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FR-7/FR-5 V-Accordion

Important notes | Using the unit safely

• Do not connect the battery directly to a power outlet or

insert it into a cigarette lighter socket in a car. High voltage

may cause excessive current flow, leakage of battery fluid, heat,

bursting or fire.

• If a newly purchased battery exhibits rust, generates heat or seems

abnormal in any other way, do not use it. Take it back to your

Roland dealer.

• Be sure to fully deplete a battery before recharging it for the first

time.

• Keep the battery out of reach of babies or small children. Ensure

that babies or small children cannot remove a battery from the

FBC-7 while it is being charged.

• Be sure to carefully instruct any person on the proper way of han-

dling a battery.

• Never dispose of the battery in a fire. Never heat it. Doing so may

melt the insulation, damage the gas release vents or protective

devices, cause combustion through chemical reaction with gener-

ated hydrogen, ejection of battery fluid, bursting or fire.

• Do not charge or use the battery with the positive (+) and negative

(–) terminals reversed, as this may drain the battery or cause

abnormal chemical reactions. Under normal operation, this should

be impossible, because the battery or cable can only be connected

in one direction.

• Do not remove the outer tube from a battery or damage it.

• Do no strike or drop the battery. Strong impact can cause leakage

of battery fluid, heat generation, bursting or fire.

• Never try to connect two batteries in parallel as this may cause

leakage of battery fluid, heat generation, bursting or fire.

• Do not alter or remove protective mechanisms or other parts.

Never disassemble the battery.

• The positive (+) terminal section of the battery is equipped with a

gas release vent. Never deform this section or cover it. Do not

obstruct the release of gas as this could result in leakage of battery

fluid, heat generation, bursting or fire.

• Do not overcharge the battery by exceeding the predetermined

charging period of the FBC-7 or indicator. Never recharge a bat-

tery that is already fully charged. This could result in leakage of

battery fluid, heat generation, bursting or fire.

• If the battery is not fully charged after the predetermined charg-

ing period has elapsed, stop the charging process. Prolonged

charging could result in leakage of battery fluid, heat generation,

bursting or fire.

• If any fluid from a battery comes in contact with the eyes, flush

the eyes immediately, washing them thoroughly with clean water

from a tap or other source and consult a doctor. Strong alkaline

fluid can damage the eyes and lead to permanent loss of eyesight.

• If skin or clothing comes in contact with any fluid from the bat-

tery, wash the area immediately with clean water from a tap. Bat-

tery fluid can cause skin damage.

• When a battery is no longer usable, dispose of it in accordance

with all applicable local laws and regulations.

• If the battery leaks fluid, changes color or shape or changes in any

other way, do not use it, otherwise it may cause heat generation,

bursting or fire.

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V-Accordion r

Panel descriptions

3. Panel descriptions

Treble control panel

DATA/ENTER knob

F BALANCE knob

This knob allows you to enter values and to select

menu entries or shortcuts by turning it. You can also

press it (ENTER) to confirm a setting or to jump to

another parameter in the display.

This knob allows you to set the balance between the

Bass and the Treble sections. Turn it towards “BASS”

to decrease the Treble section’s volume. Turn it

towards “TREBLE” to decrease the Bass section’s vol-

ume.

UP/DOWN buttons

On the Main page, [UP] and [DOWN] allow you to

select 6 important functions: TRANSPOSE (press [UP]

once), MUSETTE DETUNE (press [UP] twice), SCALE

TUNING (press [UP] three times), ORCHESTRA VOL-

UME (press [DOWN] once), ORCHESTRA BASS VOL-

UME (press [DOWN] twice) and VALVE & BUTTON

NOISE (press [DOWN] three times).

SET buttons

These two buttons allow you to choose among 40

accordion Sets. Each Set contains suitable settings

for the 14 Treble, 7 Bass, 7 Free Bass registers, 22

orchestral sounds and 7 orchestral bass sounds.

Treble registers

The Treble section provides the following 14 switches

After selecting the MENU, [UP] and [DOWN] are used

to enter values (same function as the [DATA÷ENTER]

knob).

(“registers”):

Bassoon

Bandon

Cello

Master

Musette

EXIT/JUMP button

10 Celeste

11 Tremolo

12 Clarinet

13 Oboe

The [EXIT÷JUMP] button allows you to return to the

Main page (the display page that is shown while you

are playing the FR-7/FR-5). After selecting a Menu

function, briefly pressing [EXIT÷JUMP] takes you back

to a higher level. Press it again to return to the Main

page.

Harmon

Organ

Accord

Violin

14 Piccolo

By holding down [EXIT÷JUMP] while the Main page is

displayed, you activate the JUMP function (see p. 35).

The [ORCHESTRA] register allows you to assign the

Treble registers to the 22 on-board Orchestra sounds.

Activate it, then press one of the registers 1~13 to

select the desired sound (“BRASS”, “SAX”, “WIND”,

“HARMONICA”, “VIOLIN”, etc.). Press [CANCEL] to

restore the “accordion functions” of registers 1~14.

Note: In Orchestra mode the first 9 registers provide access to

two sounds (A/B) of the family whose name is printed below

the register. To select a “B” sound, press the corresponding

MENU/WRITE button

This button allows you to select the FR-7/FR-5’s

MENU environment where you can set and view the

available functions. By holding down [MENU÷WRITE],

you activate the WRITE function, which allows you to

save your settings.

VOLUME knob

This knob allows you to set the V-Accordion’s overall

volume.

By holding down [ORCHESTRA], while pressing a reg-

ister 9~14, you activate the Link functions (see p. 42)

or select an Orchestra mode (see p. 25).

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FR-7/FR-5 V-Accordion

Panel descriptions | Bass control panel

POWER button

DELAY knob

Press this button to switch the V-Accordion on (the

button lights) and off (button dark).

Note: The FR-7/FR-5 is automatically switched off after 10

minutes of inaction to save battery power. This can be

changed, however (see p. 63).

The FR-7/FR-5 contains three digital effects that can

be used simultaneously. This knob is used to set the

level of the Delay (echo) effect (see p. 58).

CHORUS knob

Use this knob to set the level of the Chorus effect

(see p. 56).

SORDINA switch

This ON/OFF switch allows you to switch the simula-

tion of the wooden resonance chamber on and off.

REVERB knob

Use this knob to set the level of the Reverb effect (see

p. 55).

Bass control panel

Bass registers

These switches allow you to select the desired bass

mix. They include the following feet:

ORCH BASS registers

Press the last three (“ORCH BASS”) registers (viewed

from the top) simultaneously to enter Orchestra Bass

mode. Press the last three registers again simulta-

neously to return to normal bass mode.

2’

8’/4’/2’

16’/8’/8-4’

16’/2’

4’

8-4’

FREE BASS registers

Press the first three (“FREE BASS”) registers (viewed

from the top) simultaneously to enter Free Bass

mode. The FR-7/FR-5 provides several systems for

this mode (see p. 62). Press the first three registers

again simultaneously to return to normal bass mode.

16’/8’/8-4’/4’/2’

Press the last three registers (viewed from the top)

simultaneously to switch the Orchestra Bass section

on or off (see p. 27).

Display and master bar

Master bar

In most cases, this bar (which

you can press) recalls a Treble

High or Low mode, however, it

allows you to switch the Orches-

tra section on and off.

Display

The display keeps you informed

about the FR-7/FR-5’s status.

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V-Accordion r

Connection panel

TO FBC-7 socket

• To be able to control certain functions by foot (see

p. 31).

• To use the FR-7/FR-5 as a MIDI controller (only the

FBC-7 has MIDI sockets).

Use the supplied cable to connect this socket to the

supplied FBC-7 power supply/footswitch unit/bat-

tery charger. This may be necessary in the following

cases:

OUTPUT L/MONO & R/MONO sockets

• To power the FR-7/FR-5 without using the supplied

battery. In most instances, this may be unnecessary,

because the supplied battery (FR-7) lasts up to 8

These sockets can be connected to an amplifier, a

mixing console or a wireless system.

If you use both connectors, the FR-7/FR-5’s output is

stereo. If you only use one jack (connected to the “L”

or “R” socket), the FR-7/FR-5’s output is mono.

Note: If you don’t want to use a wireless system, consider

connecting the FR-7/FR-5 to the FBC-7 when you need to

connect it to an external amplifier.

hours.

about maximizing the life span of the battery.

If you connect the 19-pin cable, be sure to never

place the FR-7/FR-5 on the side when not using it.

Note: On the FR-7, connecting jacks to these sockets does not

mute the internal speakers.

• Always stand the V-Accordion on its rubber feet (and

in the corresponding direction) to avoid damaging

the 19-pin plug.

PHONES socket

This is where you can connect stereo headphones

(Roland RH-25, RH-50 or RH-200). On the FR-7, con-

necting a pair of headphones mutes the internal

speakers.

• Always handle and move the FR-7/FR-5 with care

and pay special attention to the cable slack to avoid

damaging or bending the 19-pin cable.

• If you place the FR-7/FR-5 on your lap, ensure that

the 19-pin cable runs between you legs (not side-

ways) to avoid damaging or bending the 19-pin

cable.

Connection panel of the FBC-7

OUTPUT R/MONO & L/MONO sockets

Connect these sockets to an external amplifier or

mixing console. For stereo operation, be sure to con-

nect both jacks.

D E

EXPRESSION PEDAL socket

This is where you can connect an optional EV-series

expression pedal (see p. 31).

POWER ON switch

Press it to switch the FBC-7 (but not the FR-7/FR-5)

on and off.

TO FR7/5 V-ACCORDION socket

Use the suplied 19-pin cable to connect this socket to

your FR-7/FR-5 (see p. 31).

AC connector

This is where you need to connect the supplied power

cable. See also page 15.

tions of the FBC-7.

MIDI THRU/OUT/IN sockets

Use these sockets to connect the FR-7/FR-5 to exter-

nal MIDI gear (see p. 66).

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FR-7/FR-5 V-Accordion

Setting up | Connections

4. Setting up

Connections

The FR-7 can be used without any connections to either an amplification system or the FBC-7 power supply/battery

charger unit. An FR-5 without an optional battery needs to be connected to the supplied FBC-7, however.

Connecting the FR-7/FR-5 to the supplied FBC-7

If you do not have a battery (FR-5) or prefer

not to use it (FR-7), you need to connect the

V-Accordion to the FBC-7 using the supplied

cable. That cable powers the FR-7/FR-5, trans-

mits pedal messages and sends the FR-7/

FR-5’s audio signals to the OUTPUT L/MONO &

R sockets on the FBC-7.

In that case, there is no real need to connect

the OUTPUT sockets on the FR-7/FR-5 to an

external amplifier.

Connect the FR-7/FR-5 as shown in the illus-

tration.

Note: This connection is required if you wish to take

INPUT

L + R

advantage of the FR-7/FR-5’s MIDI functions (see

p. 66).

The FR-7/FR-5’s sounds have been arranged

in such a way as to provide a natural stereo

image. If you connect the V-Accordion to a

OUTPUT

L/MONO + R/MONO

Use the supplied 19-pin

cable.

mixing console, set the PAN control of the

Note: Do not forget to connect the

input to which the OUTPUT L socket (Treble

FBC-7’s AC socket to a suitable wall

outlet.

section) is connected to “11 o’clock” and the

PAN control of the channel to which the

OUTPUT R socket (Bass & chord section) is

connected to “3 o’clock” to preserve this bal-

ance. Something like this:

. This

B/C

setting can be changed, however (see p. 62).

Using the OUTPUT sockets

If you are using the supplied

rechargeable battery (FR-7) and

need to connect the FR-7/FR-5 to a

PA system or mixer, we recom-

mend using a wireless system to

avoid having to use an excessively

long signal cable.

The FR-7 is equipped with an inter-

nal speaker system and thus does

not need to be connected to an

amplifier at all. The FR-5, on the

other hand, does require an audio

connection. As long as it does not

contain an optional battery, we

recommend connecting it to the

FBC-7 (see above).

OUTPUT

L/MONO + R/MONO

INPUT

L + R

You can also use a pair of head-

phones (Roland RH-25, RH-50 or

RH-200). In the case of the FR-7,

Use either a long signal cable (10m or more) or an optional wireless system (recommended).

connecting headphones switches off the internal speakers.

Note: The FR-7/FR-5’s OUTPUT sockets are also available if you connect the FR-7/FR-5 to the FBC-7. Do not try to connect them to any of the

FBC-7’s sockets, because that does not work.

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V-Accordion r

Switching the power on and off

The power-on procedure depends on whether you are

using a battery or the FBC-7 Foot Pedal/DC Power/ Bat-

tery Charger Unit.

—To switch off your system—

(6) Turn down the output volume of the receiving

audio device or switch it off.

Note: Only use the battery that either came with your FR-7 or

that you purchased from your Roland dealer. Using other batter-

ies can severely damage the FR-7/FR-5 or FBC-7. Roland assumes

no responsibility for damages caused by batteries that have not

been explicitly approved. Such damages are not covered by

Roland’s warranty regulations.

(7) Press the FR-7/FR-5’s [POWER] button again so

that it goes dark.

If you are using the FBC-7

If the FR-7/FR-5 is powered by the supplied FBC-7

unit, proceed as follows:

If you are using a battery and no external

amplification (FR-7 only)

(1) Connect the FR-7/FR-5 to the FBC-7 using the

supplied 19-pin cable.

(1) Press the FR-7’s [POWER] button (it lights) to

(2) Connect the FBC-7’s AC INLET socket to a wall out-

let that meets the specifications (see p. 81).

switch it on.

To a wall outlet

The FBC-7 should only be connected to a power

source of the type marked on the bottom of the unit.

For details on the power consumption, please refer to

page 81.

Note: You can also connect headphones.

(3) Turn down the output volume of the receiving

audio device.

(2) Start playing (see “First steps” on page 17).

(3) Press the [POWER] button again so that it goes

You can also simply switch it off.

(4) Connect the FBC-7’s OUTPUT sockets to the exter-

nal audio device (amplifier, mixing console, etc.).

Though you can also use the FR-7/FR-5’s OUTPUT

sockets, doing so is probably only a good idea if you

are working with a wireless transmitter. Using the

FBC-7’s OUTPUT sockets indeed means that you only

need one connection between the FR-7/FR-5 and the

FBC-7.

dark when you are finished.

If you are using a battery and an audio connec-

tion to an external device

The FR-5 needs to be connected to an amplification

system of some sort (unless you want to use head-

phones), while you also need the FBC-7.

Note: You can also purchase a wireless transmitter from your

Roland dealer and connect it to the OUTPUT sockets on the

FR-7/FR-5.

(5) Press the FBC-7’s [POWER¥ON] button to switch it

on.

(1) Turn down the output volume of the receiving

audio device.

You can also simply switch it off.

(2) Connect the FR-7/FR-5’s OUTPUT sockets to the

external audio device using two 1/4” guitar cables.

Note: You can also connect headphones to the PHONES

socket, in which case you do not need to establish an audio

connection.

The POWER ON indicator on the FBC-7’s top panel

lights red.

(3) Press the FR-7/FR-5’s [POWER] button (it lights) to

switch it on.

The

icon informs you that the FR-7/FR-5 runs on

the battery (it also indicates the battery’s status).

(4) Switch on the receiving audio device.

(5) Start playing (see “First steps” on page 17).

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FR-7/FR-5 V-Accordion

Setting up | Listening to the demo songs

(6) Press the FR-7/FR-5’s [POWER] button (it lights) to

The

icon in the display means that the FR-7/FR-5

switch it on.

is powered by the FBC-7.

(7) Switch on the receiving audio device.

(8) Start playing (see “First steps” on page 17).

—To switch off you system—

(9) Turn down the output volume of the receiving

audio device or switch it off.

(10)Press the FR-7/FR-5’s [POWER] button again so

that its indicator goes dark.

(11)Switch off the FBC-7.

Listening to the demo songs

One of the most striking aspects of your V-Accordion may be that it can play all by itself! It contains indeed a series of

demo songs that illustrate its wide variety of sounds and applications. Here is how to listen to the demo songs:

(1) Switch on the FR-7/FR-5.

(3) If necessary, use the SET [√][®] buttons to select

See “Switching the power on and off” on p. 15. The

display now looks more or less as follows:

another demo song.

(4) Use the [VOLUME] knob to change the volume if it

is too loud or too soft.

Public performance or recording of these songs is prohibited.

(5) Press [EXIT÷JUMP] (or SET [√] and [®] simultaneously)

to leave the demo mode.

Let us agree to call this page the “Main page”.

Note: If you like, you can program a short message that is dis-

played each time the FR-7/FR-5 is switched on.

(2) Simultaneously press and hold SET [√] and [®] to

jump to the following display page:

Playback starts automatically with the first demo

song (there are 17 demo songs in all).

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V-Accordion

First steps

The sections of your FR-7/FR-5

Before showing you how to use the FR-7/FR-5, let’s briefly look at

the various “sections” of your instrument, as that will help you

understand how your V-Accordion works.

Master bar

The FR-7/FR-5 is a “virtual” accordion. That term was borrowed

from synthesizers that recreate the sounds of other synthesizers

using a different technology (hence the term “virtual analog syn-

thesizer”, for example).

Bass, Orchestra

Bass & Free Bass

section

The FR-7/FR-5 recreates the sounds of various accordion instru-

ments (the “virtual” part) and can even generate orchestral sounds,

like trumpet, flute, etc. (the synthesizer part).

The sections outlined in the illustration to the right contain several

functions you can set. Let us agree to call those functions “parame-

ters”.

Treble section

Bass, Orchestra Bass &

Free Bass registers

The parameters allow you to change certain aspects of

the FR-7/FR-5’s sound: you can select a French

musette, an Italian accordion, etc., specify how strongly

the virtual reeds should be detuned, add digital effects

and more. Each section has its own parameters, so that

you can fine-tune your sounds until you really like the

entire accordion sound. You can save your settings and

select them each time you want to play a given piece.

There is thus no need to set the parameters time and

again.

If you are really into programming, however, you could

also assign completely different instruments to each

aforesaid car trunk) for a variety of accordion sounds.

One possibility: each Treble

ent instrument.

Treble 14:

Cajun

The same system also

applies to the Bass, Free

Bass, Orchestra Bass

and Orchestra section.

Treble 2:

Italian

Treble 1:

Bandoneon

The various sections are combined into “Sets”. Why

is that? Because that way, you only need to select one

memory (the Set) in order to save and recall the set-

tings of all sections.

Another advantage of the Set structure is that it allows

you to reconfigure the three digital effects processors

(Reverb, Chorus, Delay) whose settings always apply to

all sections.

Set 40

O, and… the Sets can be selected with the SET [√][®]

buttons on the FR-7/FR-5 and the SET ([1], [2]) foots-

witches on the FBC-7 (if it is connected to the FR-7/

FR-5).

Set 3

Set 2

Set 1

COMMON

Reverb

Chorus

Delay

Name

Icon

Master Bar

Treble

1~14

Bass

1~7

Free Bass

1~7

Orch. Bass

1~7

Orchestral

1~22

There are 40 Set memories that already contain useful

settings right out of the box. But you can replace them

with your own settings. (And if 40 Sets are not enough,

you can archive and load new sets via MIDI, see

page 75).

Sets are like the trunk of a car that contains several

instruments (bandoneon, musette, etc.). The instru-

ments themselves can be recalled via the registers.

There are 14 Treble memories, 7 Bass, Free Bass and

Orchestra Bass registers and 22 Orchestra registers per

Set. Except for the Orchestra sounds, the registers can

behave like on an acoustic accordion, i.e. they allow you

to change the footage combinations.

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FR-7/FR-5 V-Accordion

Setting up | First steps

Selecting Easy or Full mode

At first, the FR-7/FR-5 is configured to start up in

“Easy” mode. In that mode, only the main parameters

can be selected. It has the advantage that you do not

feel overwhelmed by the FR-7/FR-5’s possibilities. The

downside, however, is that there are certain (albeit

rather specialized) parameters you cannot even select.

(6) Press [EXIT÷JUMP] to return to the main page.

To use the full potential of your FR-7/FR-5, you need to

select “Full” mode:

(1) Switch on the FR-7/FR-5.

See “Switching the power on and off” on p. 15. The

display now looks more or less as follows:

The FR-7/FR-5 asks you whether you want to save your

changes:

Let us agree to call this page the “Main page”.

(2) Press and hold the [EXIT÷JUMP] button until the

display looks as follows:

“YES” is selected by default. To save your changes, pro-

ceed as described below. (If you don’t want to save

them, turn the [DATA÷ENTER] knob to select “NO”, then

press the [DATA÷ENTER] knob.)

To save your changes:

(7) Press the [DATA÷ENTER] knob. The display now

responds with:

(3) Press registers [8] and [2] to jump to the following

Note: The GLOBAL page shows all parameters that are saved

to the Global memory (there is only one such memory).

page:

(8) Press the [MENU÷WRITE] button to save your

changes. The display briefly shows a confirmation:

(4) Press the [DATA÷ENTER] knob.

(5) Rotate the [DATA÷ENTER] knob or press the [UP]/

[DOWN] buttons to select either “Full” (show all

parameters) or “Easy” (show only the main param-

eters).

Note: If you selected “NO”, the edited Global settings will be

used until you switch off the FR-7/FR-5 (or change them

again).

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V-Acco_Ar_bd_ouio_{t t}n_her_{Main page}

About the Main page

You may have realized by now that, with the exception of the display as well as the additional buttons and knobs, the

FR-7/FR-5 looks like a conventional accordion. The display contains important clues about the settings that are currently

in effect.

What’s shown in the display depends on the function

you select. When you switch on the FR-7/FR-5 or if you

press the [EXIT÷JUMP] button several times, the Main

page appears. In some cases, the Main page may also

reappear automatically after changing a parameter.

That page must be displayed whenever you wish to play

the FR-7/FR-5 without changing any of its “internal”

settings.

The exact contents depend on the Set that is currently

selected and on how the various sections and perfor-

mance functions are set. The A~H fields, however, are

always there:

A Selected Orchestra register (here “12”).

B Orchestra mode.

C Power source (here the battery).

If you are working with a battery, this field also

indicates the remaining battery power.

A typical Main page display looks like this:

B C D

D Number of the currently selected Set.

E Selected Treble register (here “10”).

F Bass, Free Bass or Orchestra Bass register (here “4”).

Only one of the two available Bass sections (Free

Bass or Bass) can be active at any one time.

G Part Select indicator. It tells you whether the Treble

keyboard plays the accordion or orchestral sound.

Note: The information shown in the display may change when

you rotate a knob or press a button. In such cases, however,

the Main page reappears after a few seconds.

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FR-7/FR-5 V-Accordion

Setting up | Touring the FR-7/FR-5’s sections

Touring the FR-7/FR-5’s sections

It’s time we put the FR-7/FR-5 through its paces, because that’s what you purchased it for. We’ll work section by section.

Black dots mean that the Cassotto function (see

p. 41) is off, hollow dots mean that the Cassotto

function is on. Here is what the registers and display

indications mean (bear in mind that the dots can

either be black or white):

Treble section

The Treble section can be played

using the 41-key “piano” key-

board.

The sound it produces is deter-

mined by the register (1~14) you

pressed last. This section can be

used as “accordion”, to play an

orchestral sound or both.

Treble registers

Bassoon

Bandon

Cello

Master

Musette

Celeste

Tremolo

Clarinet

Oboe

(1) Connect the FR-7/FR-5 (if

necessary) and switch it on.

See pages 14 and 15.

(2) Grab the FR-7/FR-5, press a

Harmon

Organ

Treble register and start play-

ing on the “piano” keyboard.

Though the FR-7/FR-5 is an electronic musical instru-

ment, it only produces sound if you move the bel-

lows. As long as you don’t move the bellows, you

hear nothing at all (like on an acoustic accordion).

Accord

Violin

Piccolo

Note: When the FR-7/FR-5 is controlled via MIDI, there is no

need to move the bellows.

On the Main page, the number of the selected regis-

ter appears in the TREBLE field:

(3) Press one of the registers to change the sound.

The display briefly confirms your setting and indi-

cates which footage you selected.

(4) If you think the sound is too loud or too soft, you

can change the setting of the [VOLUME] knob.

These indications refer to the octaves (vertical direc-

tion,

that are used (horizontal direction,

reeds are only available for the central register (8’).

) and the number of slightly detuned reeds

). The detuned

8–' 4' 2²/³' 5¹/³

(5) If you still can’t hear the Treble notes, set the

[BALANCE] knob to the center position.

This knob is used to set the balance between the Tre-

ble and Bass registers. When it is turned all the way

to BASS, the Treble section is inaudible. When you

change the Balance setting, the display briefly con-

firms your setting:

16' 8+'

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V-Accordion r

Treble section

(6) Use the SET [√][®] buttons to select another Set and

IUsing the FR-7/FR-5’s digital effects

again play a few notes.

While playing on the Treble keyboard, you may have

noticed that the accordion sounds were enhanced by

effects (probably reverb). It may also have struck you

that the effects change whenever you select a differ-

ent Set. That’s because the effect settings are part of

the parameters you can save for each Set indepen-

dently.

The FR-7/FR-5 contains 3 digi-

tal effects:

Reverb: This effect gives the

impression that you are playing

in a concert hall, a church or a

room. It adds “depth” to the

sound.

The number of the selected Set is shown in the upper

right corner of the display. Note that you can also

use the FBC-7’s SET footswitches to select Sets.

Chorus: This effect gives the

impression that several instru-

ments of the same type are

playing at the same time (it is

similar to detuning several

reeds of a register).

Delay: This effect creates echoes, i.e. repetitions.

Short intervals (called “slapback”) create an effect

similar to reverb. Longer intervals, on the other hand,

create real echoes.

IUsing the Sordina

The [SORDINA] switch

allows you to attenuate

the sound (make it

softer). On an acoustic

accordion, this closes

the wooden resonance

chamber inside the

instrument.

The [DELAY], [CHORUS] and [REVERB] knobs allow you

to set the volume of these three effects. Turn them

all the way towards the left (the small dot) if you

don’t need the effect in question.

Turn them towards the right (the big dot) to increase

the effect volume.

The FR-7/FR-5 simulates

this effect electroni-

cally (it contains not a

single reed!).

Note: The settings of these knobs apply to all sections and all

Sets.

When you switch on the

Sordina, the display briefly confirms your selection:

After familiarizing yourself with the FR-7/FR-5’s

parameters, you will realize that these knobs should

only be used as a last resort (i.e. on stage). You can

indeed program the effect level for each section sep-

arately, so that the [DELAY], [CHORUS] and [REVERB]

knobs can be left in the center position, while the

amount of effects changes with every Set you select.

Note: In certain cases, changing the knob position of an effect

may not produce any audible result. This is due to the Send

Level settings of the sections (see page 42, for example). It

means that a given section was programmed not to send any

signal to the effects processor in question. Even setting the

corresponding knob to the maximum therefore produces no

change.

Note: The Sordina only applies to the Treble section.

Note: If you add an organ sound (8A~9B) to the Treble regis-

ter (using the Orchestra section), the Sordina function is no

longer available. Organ sounds indeed use a Rotary effect that

blocks the Sordina function (in order to add the modulation of

an organ speaker cabinet). You can use aftertouch, to switch

between the fast and slow Rotary speeds. “Aftertouch” refers

to the fact that you press a key even further down after play-

ing a note.

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FR-7/FR-5 V-Accordion

Setting up | Touring the FR-7/FR-5’s sections

The display briefly confirms your setting and indi-

cates which footage you selected:

Bass section

The Bass section can be played via the “Stradella” but-

tons.

8-4'

16'

These indications refer to the octaves (vertical direc-

tion) and the number of slightly detuned reeds that

are used (horizontal direction).

On the Main page, the number of the selected regis-

ter appears in the display’s BASS field:

The buttons in this section allow you to play both bass

notes and chords. The chords use the (sound) register

selected for the Bass section – hence the name of this

section. The “real” bass notes are assigned to the two

circled rows. The remaining buttons are used to play

chords.

Note: You can also press several registers simultaneously to

get a fuller sound.

The FR-7/FR-5 is supplied with several reference caps

(concave and with lines) designed to help you locate

the bass and chord buttons without looking at them. At

the factory, three caps are installed on the black but-

tons in the following illustration. Feel free to remove

them and to slide them over other buttons if that feels

more comfortable.

(4) If you think the sound is too loud or too soft, you

can change the setting of the [VOLUME] knob.

ORCH BASS

FREE BASS

Ab3

Eb3

Bb3

F#3

F#M

F#m

F#7

C#3

C#M

C#m

C#7

Ab3

AbM

Abm

Ab7

Eb3

EbM

Ebm

Eb7

F#3

C#3

Ab3

Eb3

Bb3

F#3

F#M

F#m

F#7

C#3

C#M

C#m

C#7

Ab3

AbM

Abm

Ab7

Eb3

EbM

Ebm

Eb7

Bb3

BbM

Bbm

Bb7

Bass

buttons

Bb3

BbM

Bbm

Bb7

Bdim

F#dim

C#dim

Abdim

Ebdim

Bbdim

Fdim

Cdim

Gdim

Ddim

Adim

Edim

Bdim

F#dim

C#dim

Abdim

Bbdim

Fdim

Edim

Chord buttons*

(*) This can be changed to 3 bass and 3 chord rows. See “8.5 Bass & Chord

Mode ” on p. 61.

Here is what the caps look like:

Slide up to remove

(5) If you still do not hear the bass and chord notes

your are playing, change the [BALANCE] knob’s set-

ting.

Reference cap

This knob is used to set the balance between the Tre-

ble and Bass registers. When it is turned all the way

to TREBLE, you won’t be able to hear the Bass section.

Slide over button

(6) Use the SET [√][®] buttons to select another Set and

again play a few notes.

The sound the Bass section produces is determined by

the register you pressed last. This section can be used as

“accordion”, to play orchestral sounds, or both.

(1) Connect the FR-7/FR-5 (if necessary) and switch it

on.

See pages 14 and 15.

(2) Grab the FR-7/FR-5, press a register and start play-

ing on the Bass (button) keyboard.

Though the FR-7/FR-5 is an electronic musical instru-

ment, it only produces sound if you move the bel-

lows.

(3) Press another register to change the sound.

ORCH BASS

FREE BASS

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V-Accordion _Br_{ass section}

The number of the selected Set is shown in the upper

right corner of the display. You can also use the

FBC-7’s SET footswitches to select Sets.

IUsing the FR-7/FR-5’s digital effects

While playing on the Bass keyboard, you may have

noticed that the accordion sounds were enhanced by

effects (probably reverb). It may also have struck you

that the effects change whenever you select a differ-

ent Set.

The FR-7/FR-5 contains 3 digital effects that apply to

all sections. See page 21 for details and how to set

them.

Note: In certain cases, changing the knob position of an effect

may not produce any audible result. This is due to the Send

Level settings of the sections. It means that a given section (or

all sections) was programmed not to send any signal to the

effects processor in question. Even setting the corresponding

knob to the maximum therefore produces no change.

IPlaying in Free Bass mode

The FR-7/FR-5 also provides a Free Bass mode, which

is chiefly used by professionals who prefer to play the

left-hand notes (Bass section) differently. You may

never need it, but if you wish to experiment with it…

Note: See page 62 for how to select the note system for Free

Bass mode. That setting is shared by all Sets.

(1) Simultaneously press the three registers labeled

“FREE BASS”.

ORCH BASS

FREE BASS

The display now briefly responds with:

16'

“L” refers to the low range and “H” to the high range.

The exact ranges depend on the FREE BASS mode you

the high range is indicated by means of black but-

tons, and the low range by means of white buttons.

Note: See page 62 for the assignment of the bass buttons to

the available Free Bass notes.

(2) Use the Bass registers to select another registra-

tion (if necessary).

(3) Press the three FREE BASS registers again to return

to the normal Bass mode.

Note: You can add an orchestral sound to the Bass or Free

Bass section. See page 27 for details.

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FR-7/FR-5 V-Accordion

Setting up | Using the orchestral sounds

Using the orchestral sounds

Your FR-7/FR-5 also contains PCM sounds (samples) of various instruments that are not related to accordion sounds.

Those sounds allow you to expand your musical endeavours without using external MIDI devices. Of course, you are free

to add external MIDI tone generators to your setup and to control them from your FR-7/FR-5. See page 66 for details. Let

us first look at how to use the on-board orchestral sounds, however.

The FR-7/FR-5’s Orchestra functionality actually com-

prises two sections: one for the Treble keyboard (called

“Orchestra”) and another for the Bass buttons (called

“Orchestra Bass”).

(2) Press one of the registers to select the desired

Orchestra sound (see the names below the Treble

registers).

This activates the Orchestra part. The display now

changes (the sound name may be different on your

instrument):

You can specify for each keyboard whether the orches-

tral sounds should be used alongside the accordion

sounds (so that each note or chord you play results in a

combination of accordion + instrument sound) or in

isolation (no accordion).

Orchestral sounds for the Treble section

Note: Only one orchestral sound can be selected at any one time.

Compare the information discussed above with what

you see now:

(1) Press the [ORCHESTRA] register.

• There’s a sound name next to the ORCH field

(“Ac Guitar”). That’s the sound you’ll hear when you

play on the Treble keyboard.

• The keyboard icon has moved from the TREBLE to the

ORCH field.

The 22 available Orchestra sounds and associated

registers are:

Orchestral Treble sounds

1A Trombone

1B Trumpet

2A Tenor Sax

2B Alto Sax

3A Clarinet

3B Oboe

7A HighLand*

7B Zampogna*

8A PercOrgan

8B JazzOrgan

9A RotOrgan

9B TremOrg

10 ScatVoice

11 Mandolin

12 AcGuitar

13 AcPiano

The display now responds with:

4A Harmonica

4B Mute Harm

5A Violin

The arrow moves from the TREBLE to the ORCH line.

By pressing a register, you therefore select an

Orchestra sound.

5B Pizzicato

6A Flute

6B Pan Flute

Let us quickly analyze the information you get on

this page:

[*] See “About the “HighLand” and “Zampogna”

sounds” on p. 25.

• “SOLO” means that the mode of the same name is

currently selected (there are four different modes,

see below).

• “CANCEL” means that the Orchestra part is not active.

If you play on the Treble keyboard, you only hear the

Treble accordion sound.

The first nine registers allow you to select two sounds

(“A” and “B”). To select a “B” sound, press the corre-

sponding register again.

If you select a “B” sound (5B “Pizzicato”, for example),

then press another register (12 “AcGuitar”) and again

the first register (5), the FR-7/FR-5 automatically

recalls the “B” sound (“Pizzicato”). This “configura-

tion” is retained until you switch the FR-7/FR-5 off. If

you need the 5A “Violin” sound at this stage, you

need to press register [5] once more.

To activate the Orchestra part at this stage, you need

to select a sound (see below).

• The TREBLE field contains a keyboard icon. It means

that the Treble keyboard is assigned to the Treble

accordion part. The ORCH field, on the other hand,

contains no keyboard icon, which confirms the “CAN-

CEL” message.

• The sound name (“Celeste”) refers to the register that

was selected for the TREBLE section’s accordion part.

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V-Accordion r

Orchestral sounds for the Treble section

The display briefly confirms your selection and shows

both the name of the sound you selected and the

number of the register you pressed:

• To switch off the currently sounding drone note(s),

either press another key in the gray area (switch to

another drone note) or press the key(s) of the sound-

ing drone notes again to stop the drone.

Note: This drone system is only available for the “HighLand”

and “Zampogna” sounds.

ISelecting the Orchestra mode

Depending on the settings of the Set you selected,

the Orchestra part may sound together with the Tre-

ble accordion section. That’s because there are four

ways in which the Orchestra section can be combined

with the Treble accordion section.

(3) Play a few notes on the Treble keyboard.

The Treble keyboard is velocity sensitive. The volume

and timbre of the notes played by the Orchestra part

depend on how hard/fast you press the treble keys

(for sounds 11, 12 or 13).

If the Orchestra part is off (set to CANCEL), the Mas-

ter bar always recalls the Treble register selected

with “7.8 Master Bar Recall” (page 59).

After selecting one of the modes (DUAL, HIGH, LOW

or SOLO) and switching on the Orchestra part (CAN-

CEL off), the Master bar allows you to switch the

Orchestra part on and off. In SOLO mode, this means

that you alternate between the Treble and Orchestra

parts.

Note: The Treble accordion does not respond to velocity infor-

mation generated by the keyboard. You can, however, vary its

volume and timbre by pressing/pulling the bellows harder and

softer (like on a “real” accordion).

The Treble keyboard also generates aftertouch mes-

sages. “Aftertouch” refers to the fact that you press a

key even further down after playing a note. For some

orchestral sounds (guitar, flute, etc.) as well as for the

Treble accordion section, this effect allows you to

bend the pitch down (temporarily lower the note). If

you select an organ sound, aftertouch can be used to

switch between the fast and slow Rotary effect

speeds.

SOLO [14]: When you switch on the Orchestra section

(see step (2) above), you only hear the Orchestra

instrument sound. Press [CANCEL] to return to the

Treble accordion sound.

Note: This aftertouch effect applies to all notes that are

sounding simultaneously. If you play a chord and then only

press down one key of the chord’s constituent notes, all notes

are bent by the same amount. (MIDI buffs call this “channel

aftertouch”.)

DUAL [13]: The Orchestra

sound is added to the Treble

accordion, so that each note

you play sounds like an accor-

dion and the selected instru-

IAbout the “HighLand” and “Zampogna” sounds

Your FR-7/FR-5 contains two bagpipe-instrument

sounds, one called “HighLand”, the other called

“Zampogna”. The instruments on which those sounds

are based use one or several drone notes over which

the melody is played.

ment playing in unison.

Just as a reminder: here, both the ORCH and TREBLE

fields contain a keyboard icon to indicate that they

sound simultaneously.

HIGH [12]: Now it becomes a little more complicated

– but very interesting indeed. If you select this mode

and play just one note, it is sounded by the orchestral

sound. If you keep holding that key while pressing

another (lower) key to its left, the upper note is

played by the Orchestra sound. Lower notes, how-

ever, are played by the Treble accordion sound. This is

perfect for situations where you need to play chords

and a solo line using different sounds. Something like

this:

To recreate the same sensation on the FR-7/FR-5, the

lowest octave on the Treble keyboard is assigned to

the drone notes when you select one of these

sounds:

Can be used to play the melody.

Played by the Orchestra sound

Sound the drone notes.

Here is how the drone function works:

Played by the accordion

• If you press a single gray key (see the illustration),

only that note is held. You can release the key imme-

diately after playing the note – it will be held indefi-

nitely.

• If you press two (or more) keys simultaneously, those

notes are held (the drone function is polyphonic).

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FR-7/FR-5 V-Accordion

Setting up | Using the orchestral sounds

LOW [11]: This is the opposite of HIGH and can be

used in situations where the melody (or counter-

melody) lies above the notes you wish to hold.

(6) Press the Master bar that protrudes from under-

neath the Treble keyboard to switch the Orchestra

part on or off.

Played by the accordion

Played by the Orchestra sound

(4) While holding down the [ORCHESTRA] register,

press [11], [12], [13] or [14] to select the desired

mode.

The display now looks as follows (same system for the

HIGH and LOW modes):

Note which field contains a keyboard icon, then press

the Master bar again and look at the display. Play a

few notes to understand what happens.

ISetting the volume of the (Treble) Orchestra

sound

There may be times (in DUAL, HIGH or LOW mode)

when the ORCHESTRA sound is too loud or too soft

with respect to the Treble accordion sound. In that

case, you can change its volume:

The display briefly confirms your selection (only one

of the following messages is actually displayed):

(7) Press the [DOWN] button once.

(5) Again play a few notes and listen to the result.

Note: The Orchestra mode setting is saved to a Set (see p. 43).

The saved mode is recalled when you activate the Orchestra

part.

IQuickly adding and muting the Orchestra sound

After activating the Orchestra section and selecting a

mode, you can play certain phrases using the accor-

dion sound and then add the selected Orchestra

sound to it when you play it again.

(8) Use the [DATA÷ENTER] knob to set the desired

value.

This is actually a balance parameter with a setting

range of –30~“Std”~+30. “Std” means that the

Orchestra part uses its “normal” volume. Negative

values (–) make the Orchestra part softer, while posi-

tive values (+) make it louder.

The following switches the Orchestra part on and off

in DUAL, HIGH or LOW mode. The Treble accordion

part goes on sounding, however.

You can save the new value (and the remaining

changes you make). See page 77.

(9) Return to the Main page by pressing [EXIT÷JUMP].

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V-Accordion r

Orchestral sounds for the Bass section

ISwitching off the Orchestra part

To return to a state where only the Treble accordion

section sounds:

ISetting the volume of the Bass Orchestra sound

There may be times when the Orchestra Bass sound is

too loud or too soft with respect to the Bass/Free

Bass accordion sound. In that case, you can change

its volume:

(10)Press the [CANCEL] register. Now, FR-7/FR-5 is a

normal accordion again.

To activate the Orchestra part again, perform steps

(1) and (2) on page 24.

(3) Press the [DOWN] button twice.

Orchestral sounds for the Bass section

The Orchestra Bass part can be added to either the Bass

or the Free Bass section (depending on which one is

currently active, see page 22). There are no clever

modes (DUAL, SOLO, etc.) here, nor can you alternate

between the Bass accordion and Orchestra Bass sec-

tions using the Master bar.

Furthermore, the Orchestra Bass part does what its

name implies: it only applies to the bass rows (the

ones closest to the bellows) and has no effect on the

chord buttons.

(1) Simultaneously press the three registers labeled

“ORCH BASS”.

The display now responds with:

ORCH BASS

FREE BASS

[7]

[6]

[5]

[4]

[3]

[2]

[1]

The display now briefly responds with:

(4) Use the [DATA÷ENTER] knob to set the desired

value.

This is actually a balance parameter with a setting

range of –30~“Std”~+30. “Std” means that the

Orchestra Bass part uses its “normal” volume. Nega-

tive values (–) make the Orchestra Bass part softer,

while positive values (+) make it louder.

(2) Use the Bass registers to select the desired sound.

You can save the new value (and the remaining

changes you make). See page 77.

Orchestra Bass sounds

Acoustic

Bowed*

Fingered

Fretless

Picked

Tuba*

(5) Return to the Main page by pressing [EXIT÷JUMP].

Tuba Mix

ISwitching off the Orchestra Bass part

(6) Press the three ORCH BASS registers again to

return to the normal Bass mode.

Note: The dynamics of sounds marked with an asterisk (*) can

only be controlled by bellows movements. Those sounds are

not velocity senstive. For the other sounds, see also “8.11 Orch.

Bass Touch” on p. 63.

Note: The numbers shown in the illustration above do not

appear on the registers themselves. They have been added for

your reference.

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FR-7/FR-5 V-Accordion

Setting up | Other practical functions

Other practical functions

After looking at the accordion and Orchestra functions, we will now leave the “acoustic” (but virtual) realm and look at

the first “purely electronic” functions of your FR-7/FR-5.

Your FR-7/FR-5 is what we call a virtual instrument.

Though its physical appearance is similar to that of its

acoustic ancestor, it is based on an altogether different

concept (technology) – and it can do a lot more. In this

section, we will look at functions that may be new to

you but may come in handy once you know what they

do and how they work.

(1) While the Main page is displayed, press the [UP]

button once.

General remark

The functions discussed here can be selected via the

front panel, because we figured that you might need

them more often than the other parameters.

The changes you make here are not saved automati-

cally – and there is no “Do you want to save” page to

remind you that your changes will be lost if you don’t

save them. That’s because these shortcuts are mainly

intended for temporary adjustments. If you want to

keep them forever (or until you change them again),

you must save them (see p. 77).

(2) Use the [DATA÷ENTER] knob to select the key your

music should sound in.

The note indication (“C#” in the example above)

always refers to the C key, which may make it diffi-

cult for you to transpose to F# (for example) while

playing in Bb. We therefore recommend to use the

value as your main guide, because it represents the

interval. This can be calculated as follows:

The functions discussed here can also be set using the

FR-7/FR-5’s MENU.

Pitch-related functions

ITranspose

• What key does the song use? (This is your “0” value.)

Example→ E major

• In what key do you want to play?

Example→ C major

• How many semitones do you need to “shift” the

notes?

Example→ [C#, D, Eb, E]= 4 up, so “4”.

The FR-7/FR-5 contains a Transpose function that

allows you to change the key of the music you are

playing. The advantage of this system is that you can

play a song in E major (for example), while using the

fingering of the C major scale (for example). This may

come in handy when you are used to playing a given

song in one key and suddenly need to play it in a dif-

ferent key.

(3) Press [EXIT÷JUMP] to return to the Main page.

Let’s look at an example:

IMusette Detune

Now here is a parameter that already hints at the

power of the FR-7/FR-5’s virtual technology… You

probably know that an accordion’s 8’ Treble register

may consist of 2 or even 3 reeds that are usually

tuned apart to provide a richer sound (accordionists

call it the “musette effect”). One reed is tuned slightly

above, the other slightly below the correct pitch (and

the third, if available, is tuned “properly”).

This is what you play…

Transpose

…and this is how it sounds.

Tuning those reeds is a specialist job and usually not

performed by accordion players themselves.

On the FR-7/FR-5, however, “tuning” the “reeds” (that

do not really exist) is a matter of turning the

[DATA÷ENTER] knob.

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V-Acc_Po_itr_chd_-i_ro_elan_ter_{d functions}

(1) While the Main page is displayed, press the [UP]

Arabic 1 & 2: As the name implies, these two set-

tings refer to Arabic tuning systems. Select “1” to

lower the E and B notes by a quarter tone (–50

cents). “2” represents a scale where the E and A are

tuned down a quarter tone.

button twice.

Just Major: This is a classical (western) tuning that

resolved the ambiguity of fifths and thirds. Quite

beautiful sonorities are produced with chords, but

the scale is unbalanced, so it is not well-suited for

melodies.

Just Minor: This is a Just scale for pieces in minor

keys.

Pythagorean: This method of tuning was invented in

ancient Greece. It resolves the ambiguity of fourths

and fifths. Though thirds are somewhat imperfect,

melodies sound clearer.

(2) Use the [DATA÷ENTER] knob to select the a differ-

ent tuning for the Treble reeds.

Mean-Tone: A temperament that adds some com-

promises to the Just temperament and facilitates

transposition.

The possibilities are: Off (no detune), Dry, Classic, F-

Folk, American L, American_H, North Eur, German L,

D-Folk L, Italian L, German H, Alpine, Italian H, D-Folk

H, French, Scottish.

Werckmeister: A combination of the Mean Tone and

Pythagorean temperaments, this tuning allows for

playing in any key.

(3) Press [EXIT÷JUMP] to return to the Main page.

Kirnberger: As a result of improvements made to the

Mean Tone and Just temperaments, it is relatively

tolerant towards transposition and can be used to

play in all keys.

IScale (Tuning)

Almost each music culture has its own accordion

variety. Arabic, Indonesian and other musical cultures

do not use the equal temperament that is favored in

Europe, the Americas, etc.

The FR-7/FR-5 also features a “Scale” parameter that

allows you to select the tuning system that best fits

the music you want to play. If the tuning system you

need is not among the factory settings, you can pro-

gram it yourself (see p. 38) and then select it here.

Except for “Equal”, you also need to specify the root/

fundamental (“C” for major and “A” for minor)

according to the key of the song to be played.

(3) Press the [DATA÷ENTER] knob to activate the “KEY”

field (so that it is displayed in reverse).

(4) Turn the [DATA÷ENTER] knob to select the desired

root note (C~B).

(5) Press [EXIT÷JUMP] to return to the Main page.

Note: See “1.1 Master Tune” on p. 38 for how to change the

FR-7/FR-5’s reference pitch (i.e. “really” tune it).

(1) While the Main page is displayed, press the [UP]

button three times.

(2) Use the [DATA÷ENTER] knob to select the a differ-

ent tuning system.

The possibilities are:

Equal (Off): This tuning divides the octave into 12

equal steps (intervals).

User 1~3: These settings refer to the tuning systems

programmed by yourself (or someone else). See “1.4

Scale Edit” on p. 38 for details.

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FR-7/FR-5 V-Accordion

Setting up | Other practical functions

Volume-related functions

The three remaining “shortcuts” allow you to quickly

change the balance of various sonic aspects.

(1) Press the [DOWN] button three times.

IOrchestra Volume and Orc. Bass Volume

These two parameters allow you to set the volume of

the Treble and Bass Orchestra sections relative to the

associated accordion part. See pages 26 and 27 for

details.

INoise Edit (Valve & Button)

Here are two more “virtual” parameters. You will

probably agree that electronic sounds must not only

reproduce the basic timbre of an existing sound, but

also the original instrument’s behavior and typical

“noises” in order to be perceived as authentic. In the

case of a guitar that would be the sliding noise of the

fingers. An accordion, on the other hand, produces

mechanical valve and button noises (clicks) that can-

not be suppressed on an acoustic instrument.

(2) Press the [DATA÷ENTER] knob to select either “Valve

Level” or “Button Level”, depending on which

parameter you want to set.

(3) Turn the [DATA÷ENTER] knob (or use the [UP]/

[DOWN] buttons) to select the desired noise level

(Off, –30~“Std”~+30).

On the FR-7/FR-5, the volume of those noises can be

changed if you think they are too prominent or too

soft. Note that the parameters on this Jump page

belong to two different MENU sections and are to be

found on separate pages: “Valve Level” is a Treble

parameter, “Button Level” is a Bass/Free Bass parame-

ter.

A negative (–) value decreases the level of the

selected noise parameter, a positive (+) value

increases it. Select “Std” to return to the factory

value and “Off” if you do not need the noise in ques-

tion.

(4) Press [EXIT÷JUMP] to return to the Main page.

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V-Accordi_Ao_bn_our_{t the FBC-7}

5. About the FBC-7

Your FR-7/FR-5 comes with an FBC-7 footswitch unit that doubles as power supply for your V-Accordion and also allows

you to recharge a battery. If you purchased an FR-5, you must connect it to the FBC-7 (or purchase an optional battery).

FR-7 users, on the other hand, can also play their instrument without connecting it to the FBC-7.

Using the FBC-7

Using the footswitches

The FBC-7 has five footswitches that grant you even

When do you need the FBC-7?

more flexibility:

• If you own an FR-5 and did not purchase an optional

battery, you always need the FBC-7.

• If you want to select registers and Sets using the SET

and REGISTER footswitches.

• If you want to use the SUSTAIN footswitch and possi-

bly also an optional expression pedal.

• If you want to take advantage of the FR-7/FR-5’s

MIDI functionality. This may include starting and

stopping an external arranger module, selecting oth-

ers Style divisions, etc.

• If you do not use an optional wireless system and do

not want to use excessively long audio cables that

run from the FR-7/FR-5 to your amplifier or mixing

console.

Use the SET switches ([1] and [2]) to select Sets. The [1]

switch allows you to select the preceding Set (e.g. Set

18 if you are currently using Set 19), while the [2]

switch is used to select the next Set (e.g. 20 if you are

currently using Set 19).

• If you need to recharge the (optional) battery.

If you press [2] again after selecting Set 40, the FR-7/

FR-5 jumps to Set 1. Likewise, if you press [1] after

selecting Set 1, the FR-7/FR-5 jumps to Set 40.

Connecting the FBC-7

See page 15 for how to connect the FR-7/FR-5 to the

FBC-7 and the FBC-7 to a wall outlet that matches its

voltage.

The REGISTER switches ([3] and [4]) allow you to select

Treble registers [1]~[14]. They work the same way as the

SET footswitches: [3] selects the preceding register,

while [4] selects the next one. These footswitches are

most effective when you combine them with the Link

function (see p. 42), because that allows you to recon-

figure the Bass/Free Bass and Orchestra sections simply

by selecting another Treble register.

The 19-pin cable can only be connected in one way, so

you can’t go wrong. Just be sure to align the protru-

sions on the jack with the corresponding holes on the

FBC-7’s and FR-7/FR-5’s socket:

Turn the ring to lock the jack

and secure the connection

The SUSTAIN footswitch allows you to hold the notes

of Orchestra sounds if that section is on. It also trans-

mits CC64 messages via MIDI. If you assign it to

another section (page 60), it only transmits MIDI mes-

sages on the channel of the selected section (Treble,

Bass, Orchestra Bass, and Chord). Its main use is to gen-

erate legato notes for piano and similar sounds like on

an acoustic or digital piano. Notes whose keys are

pressed when you press the footswitch will be held

until you release the SUSTAIN footswitch.

Holes

Protrusions

Connecting an optional expression pedal

You can also connect an optional EV-5 or EV-8 expres-

sion pedal to the EXPRESSION PEDAL jack. That pedal

applies to the Treble Orchestra part only (again for the

piano, mandolin and guitar sounds; these, by the way,

are the only sounds whose expression cannot be con-

trolled via the bellows). It allows you to create swell

effects in much the same way as an organ or guitar

player does.

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FR-7/FR-5 V-Accordion

About the FBC-7 | Charging the battery

The reason why the Treble and Bass sections do not

respond to this pedal is that you can control their vol-

ume via the strength with which you press and pull the

bellows (like on any accordion).

The expression pedal can be used to fade the Orchestra

part in and out, which is probably most effective in

DUAL mode (see p. 25). When the expression pedal is all

the way up (heel down), the Orchestra part does not

sound. Press the expression pedal down (toe down) to

increase the Orchestra section’s volume.

Note: The expression pedal can also transmit CC11 messages via

MIDI. See page 74.

Roland

Charging the battery

The FR-7 comes with one rechargeable Ni-Mh battery that can recharged when it is depleted. Such a battery is optional

for the FR-5. If you decide to purchase one (to be able to play with a wireless system and no cables on stage), you should

also read the following.

General remarks about the battery

About the BATTERY CHARGER and EXTERNAL

BATTERY CHARGER indicators

• Be sure to dispose of used batteries in accordance

with local regulations.

• First, read the precautions on page 9 and following.

• The FR-7’s battery is fully charged (and installed in

the FR-7’s battery compartment). It can be used right

away.

• Be sure to fully deplete the battery (wait until the

FR-7/FR-5 turns off) before recharging it for the first

time. It would actually be a good idea to repeat this

the first three times to avoid the dreaded “memory

effect”.

The FBC-7 has two buttons ([BATTERY¥CHARGER] and

[EXTERNAL¥BATTERY¥CHARGER]) that light or flash in

various ways to indicate the current status. Here is how

to “decode” those indications:

• Lights red: The battery is being charged. Depending

on the button that lights, this refers to the battery in

the FR-7/FR-5 (BATTERY) or the battery attached to

the FBC-7 (EXTERNAL BATTERY).

• Lights green: The battery is fully charged and can be

used again.

• A fully charged battery should last about 8 hours

(continuous use).

• When the battery is fully drained, the following mes-

sage appears and the FR-7/FR-5 goes off:

• Flashes yellow right away: The charging operation

cannot be started because the ambient temperature

lies outside the 0°~40°C range. This is nothing to

worry about: just take the FBC-7 to a place where the

ambient temperature is acceptable, wait a little, and

repeat the charging operation.

• Flashes yellow after a while: If the indicator first

lights red and then starts flashing yellow after a

while, the battery is overheating. Disconnect the

FR-7/FR-5 (or the battery) from the FBC-7 and use

the battery until it is depleted. Then, recharge it.

• Flashes red: The battery cannot be fully recharged,

i.e. it takes more time than expected to reach full

charge. If this happens once, wait at least half an

hour and try charging it again.

Note: The FR-7/FR-5 contains an energy saving function that

switches off the instrument when it is left unattended for

more than 10 minutes. You may therefore have to switch it on

again from time to time. You can specify how long the FR-7/

FR-5 should wait before powering off automatically. See “8.8

Auto Power OFF” on p. 63.

• Never try to insert other batteries into the FR-7/FR-5

than the ones it came with (or suitable replacement

batteries purchased from your Roland dealer). Only

use “BP-24-45” batteries, part no. K2568101.

Warning: The battery body may become hot during

and after charge. Handle it with care to avoid burns.

If the button again flashes red, the battery may have

reached the end of its life cycle. Replace it with a new

one if the button keeps flashing red.

Recharging the battery without removing it from

the FR-7/FR-5

There is no need to remove the battery from the FR-7/

FR-5 in order to recharge it. Recharging the battery

takes 3~5 hours and is therefore not something you

should do a few minutes before you intend to use the

FR-7/FR-5.

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_RechaV_rg-_inA_gc_thc_eo_br_ad_tti_eo_ryn_or_{n the FBC-7}

(1) Connect the FR-7/FR-5 to the FBC-7 using the

supplied 19-pin cable.

(4) Use the coin to loosen the two screws of the com-

partment cover.

(2) Connect the FBC-7 to a suitable wall outlet.

(3) Switch on the FBC-7 by pressing its [POWER¥ON]

button (its red POWER ON indicator lights).

(4) Press the [BATTERY¥CHARGER] button on the

FBC-7.

(5) Remove the cover from the FR-7/FR-5’s battery

compartment.

Note: While the compartment cover is open, the FR-7/FR-5

cannot be switched on.

(6) Pull the battery strip so that the battery protrudes

a little from the battery case, and then remove the

connector and take the battery out of the battery

case.

The [BATTERY¥CHARGER] button now lights red.

(5) Wait until the [BATTERY¥CHARGER] button lights

green, then switch off the FBC-7 and disconnect

the 19-pin cable from both the FBC-7 and the

FR-7/FR-5.

Disconnecting the FR-7/FR-5 is only necessary if you

do not want to use the FBC-7 during your next per-

formance.

Note: You can use the FR-7/FR-5 while its battery is being

recharged, provided you leave the V-Accordion connected to

the FBC-7.

Recharging the battery on the FBC-7

The battery installed in the FR-7/FR-5’s compartment

can also be removed and recharged on the FBC-7 itself.

That is more tedious, though and does not speed up the

recharging procedure.

The battery is connected to the FR-7/FR-5 by means

of a cable. You need to disconnect the cable from the

battery by pressing the clip on the connector before

fully removing the battery.

The main use for the method described below is there-

fore to recharge a spare battery (which is optional)

while using the battery inside the FR-7/FR-5. If that is

what you want to use the connector on the FBC-7 for,

skip to step (7) below.

Note: Please pull the battery strip installed on the battery and

take the battery out.

Warning: Before removing the battery, be sure to

power off the FR-7/FR-5 (the blue indicator must be

dark).

(1) Switch off the FR-7/FR-5.

(2) Prepare a coin.

(7) Slide the FBC-7’s EXTERNAL BATTERY CHARGER

cover to the right and remove it:

(3) Remove the cushion located between the Treble

keyboard and the bellows.

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FR-7/FR-5 V-Accordion

About the FBC-7 | Charging the battery

That portion on the FBC-7 now looks as follows (note

the connector):

IUsing the recharged battery

(15)Switch off the FR-7 (or FR-5).

(16)Prepare a coin.

(17)Remove the cushion located between the Treble

keyboard and the bellows.

(8) Connect the battery’s cable to the charger’s socket.

(18)Use the coin to loosen the two screws of the com-

partment cover.

(9) Slide the battery into the holder on the FBC-7.

Battery

Note: While the compartment cover is open, the FR-7/FR-5

cannot be switched on.

(10)Connect the FBC-7 to a suitable wall outlet.

(19)Remove the depleted battery and disconnect its

cable.

(20)Connect the cable to the new battery and insert

the charged battery into the FR-7/FR-5’s compart-

ment.

(11)Switch on the FBC-7 by pressing its [POWER¥ON]

button (its red POWER ON indicator lights).

(12)Press the [EXTERNAL¥BATTERY¥CHARGER] button

on the FBC-7.

(21)Close the FR-7/FR-5’s battery compartment and

re-install the cushion.

Note: Be sure to tighten the two screws all the way to estab-

lish firm contact between the compartment cover and the

instrument. Otherwise, you won’t be able to use your FR-7/

FR-5.

If the battery fails to last 8 hours (or slightly

less)

The FR-7’s battery (and an optional battery for the

FR-5) can be recharged about 300 times before it needs

to be replaced with a new one. Note that it is normal

for the battery to last increasingly shorter as time goes

by. At the end of its life cycle, it may only last one hour,

for example. But that is a gradual process.

Note: If the red indicator goes off while the battery is being

recharged, this means that there has been a power failure and

that the battery has probably only been partially recharged. In

that case, you need to recharge it again.

The button now lights red.

(13)Wait until the [EXTERNAL¥BATTERY¥CHARGER] but-

ton lights green, then switch off the FBC-7 and

disconnect the cable from the socket on the FBC-7

and from the battery.

You can leave the battery where it is until you actu-

ally need it.

Note: You can use the FR-7/FR-5 while the battery is being

recharged externally.

(14)Reinstall the cover on the EXTERNAL BATTERY

RECHARGER compartment and slide it to the left

until it clicks into place.

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V-Accordio_En_dir_{ting sounds}

6. Editing sounds

Almost all sound aspects of your FR-7/FR-5 can be changed (“edited”) to your liking. On p. 28 we already showed you

how to quickly edit the most important parameters of a sound. Those changes are temporary and not followed by a

“WRITE” question. If you want to preserve the changes you made using the shortcut functions, you need to use the

WRITE function.

Selecting parameters

IEasy and Full modes

Be aware that the availability of a parameter may depend on the display mode that is currently selected (page 18). If

you can’t seem to find the parameter you need, switch to “Full” mode.

IImportant note

Before changing your settings, be sure to select the Set the changes should apply to using the SET buttons (or the SET

footswitches on the FBC-7). That will help you avoid a lot of confusion at a later stage.

Selecting parameters using the Jump function

The FR-7/FR-5’s parameters can be selected like on a

mobile phone (by entering their numbers) or using the

Menu structure. Let us first look at using the mobile

phone approach:

The menu contains the following function groups:

Group

Explanation

TUNING*

Parameters related to the overall pitch

of your FR-7/FR-5. The Treble, Bass/

Free Bass and Orchestra groups con-

tain additional pitch parameters that

only apply to those sections.

(1) Switch on the FR-7/FR-5.

See “Switching the power on and off” on p. 15. The

display now looks more or less as follows:

TREBLE EDIT Parameters for the Treble section

(including MIDI parameters).

BASS EDIT

Parameters for the Bass section

(including MIDI parameters).

FREE BASS Parameters for the Free Bass section

EDIT

(including MIDI parameters).

(2) In the descriptions below, locate the parameter

you wish to edit and look at its number.

(3) Press and hold the [EXIT÷JUMP] button until the

ORC BASS

EDIT

Parameters for the Orchestra Bass sec-

tion (including MIDI parameters).

ORCHESTRA Parameters for the Treble Orchestra

display looks as follows:

EDIT

section (including MIDI parameters).

SET

COMMON

General Set parameters (effects types,

name, Master bar function).

SYSTEM*

Parameters that apply to all sections

(and hence to the entire FR-7/FR-5).

UTILITY

Parameters for checking the battery,

copying and archiving settings. This

group also contains a function for

restoring some or all factory Sets.

10 MIDI*

MIDI channels, MIDI remote control.

Parameter groups with an asterisk (*) are not saved

along with the Set parameters. They are global

parameters that can be saved to a special memory.

(4) Press a register [1]~[10] to specify the parameter

(5) Press a register [1]~[14] to specify a parameter

group.

within the selected group.

See the table on page 37.

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FR-7/FR-5 V-Accordion

Editing sounds | Selecting parameters

You can only select sections that are active (and thus

sound when you play on the Treble or Bass keyboard).

If you select a function of a section that is currently

off, the display tells you that its parameters cannot

be changed. In that case, switch the section on and

try again – or select another group.

Selecting parameters via the menu

A second way of selecting parameters goes like this:

(1) Press the [MENU] button.

(The message above means that the Orchestra section

is not active and therefore cannot be edited.)

(6) Proceed with “Setting parameter values” on p. 37.

(7) Press [EXIT÷JUMP] several times to return to the

main page.

(2) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]

buttons to select one of the function groups.

See the previous page for a list with short explana-

tions.

(3) Press the [DATA÷ENTER] knob to enter that group.

The display now responds with (this depends on the

function group you selected):

You can only select sections that are active (and thus

sound when you play on the Treble or Bass keyboard).

If you select a function of a section that is currently

off, the display tells you that its parameters cannot

be changed. In that case, switch the section on and

try again – or select another group.

(The message above means that the Orchestra section

is not active and therefore cannot be edited.)

(4) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]

buttons to select the parameter you wish to edit.

(5) Proceed with “Setting parameter values”.

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V-Accordion r

Setting parameter values

(6) Press the [EXIT÷JUMP] button once to return to the

function group (“TUNING” in our example) and

again to return to the Main page.

Setting parameter values

(1) Select the parameter you wish to edit (see above).

(2) Press the [DATA÷ENTER] knob to activate that

parameter for editing.

The various groups contain the following parame-

ters (entries in italics are not available in “Easy”

mode).

Notice how the display changes: the arrows are

replaced by an EDIT message and the parameter

value is displayed on a dark background.

1. TUNING

6. ORCHESTRA EDIT

1.1 Master Tune . . . . . . . . . p. 38

1.2 Transpose. . . . . . . . . . . . p. 38

1.3 Scale . . . . . . . . . . . . . . . . p. 38

1.4 Scale Edit . . . . . . . . . . . . p. 38

1.5 Scale Assign . . . . . . . . . p. 39

6.1 Orchestra Octave . . . . p. 53

6.2 Orchestra Volume . . . . p. 53

6.3 Bellows Detune . . . . . . p. 53

6.4 Reverb Send . . . . . . . . . p. 54

6.5 Chorus Send . . . . . . . . . p. 54

6.6 Delay Send . . . . . . . . . . p. 54

6.7 Aftertouch Pitch . . . . . p. 54

6.8 Orchestra MIDI TX. . . . p. 54

2. TREBLE EDIT

2.1 Reed Type . . . . . . . . . . . p. 41

2.2 Register . . . . . . . . . . . . . p. 41

2.3 Reed Volume. . . . . . . . . p. 42

2.4 Treble Octave . . . . . . . . p. 42

2.5 Valve Noise . . . . . . . . . . p. 42

2.6 Musette Detune. . . . . . p. 42

2.7 Bellows Detune . . . . . . p. 42

2.8 Reverb Send . . . . . . . . . p. 42

2.9 Chorus Send . . . . . . . . . p. 42

2.10 Delay Send . . . . . . . . . p. 42

2.11 Aftertouch Pitch . . . . p. 42

2.12 Bass Link . . . . . . . . . . . p. 42

2.13 Orchestra Link . . . . . . p. 43

2.14 Treble MIDI TX . . . . . . p. 44

If a display page contains two (or three) adjustable

parameters, you may have to press [DATA÷ENTER]

again to activate the desired parameter for editing.

Here is an example:

7. SET COMMON

7.1 Reverb Macro Type. . . p. 55

7.2 Reverb Parameters . . . p. 56

7.3 Chorus Macro Type. . . p. 56

7.4 Chorus Parameters . . . p. 57

7.5 Delay Macro Type . . . . p. 58

7.6 Delay Parameters . . . . p. 58

7.7 Name . . . . . . . . . . . . . . . p. 59

7.8 Master Bar Recall . . . . p. 59

7.9 Icon . . . . . . . . . . . . . . . . . p. 59

8. SYSTEM

8.1 LCD Contrast . . . . . . . . p. 60

8.2 Parameter Access . . . . p. 60

8.3 Bellows Curve . . . . . . . p. 60

8.4 Pedal Controller. . . . . . p. 60

8.5 Bass & Chord Mode . . p. 61

8.6 Free Bass Mode . . . . . . p. 62

8.7 Stereo Width . . . . . . . . p. 62

8.8 Auto Power OFF . . . . . p. 63

8.9 Startup. . . . . . . . . . . . . . p. 63

8.10 Startup Name. . . . . . . p. 63

8.11 Orch. Bass Touch . . . . p. 63

3. BASS EDIT

3.1 Reed Type . . . . . . . . . . . p. 45

3.2 Register . . . . . . . . . . . . . p. 46

3.3 Reed Volume. . . . . . . . . p. 46

3.4 Button Noise . . . . . . . . . p. 46

3.5 Reed Growl . . . . . . . . . . p. 46

3.6 Bellows Detune . . . . . . p. 47

3.7 Reverb Send . . . . . . . . . p. 47

3.8 Chorus Send . . . . . . . . . p. 47

3.9 Delay Send . . . . . . . . . . p. 47

3.10 Bass MIDI TX . . . . . . . . p. 47

3.11 Chord MIDI TX . . . . . . p. 47

(3) Use the [DATA÷ENTER] knob or the [UP]/[DOWN]

buttons to change the value.

(4) Press the [EXIT÷JUMP] button once to return to the

function group.

9. UTILITY

9.1 Battery Status . . . . . . . p. 63

9.2 Copy ALL Effects . . . . . p. 64

9.3 Copy Reverb . . . . . . . . . p. 64

9.4 Copy Chorus . . . . . . . . . p. 64

9.5 Copy Delay . . . . . . . . . . p. 64

9.6 Copy SET . . . . . . . . . . . . p. 64

9.7 Bulk Dump ALL . . . . . . p. 65

9.8 Bulk Dump SET . . . . . . p. 65

9.9 Restore SET. . . . . . . . . . p. 65

4. FREE BASS EDIT

4.1 Reed Type . . . . . . . . . . . p. 48

4.2 Register . . . . . . . . . . . . . p. 49

4.3 Reed Volume. . . . . . . . . p. 49

4.4 Button Noise . . . . . . . . . p. 49

4.5 Reed Growl . . . . . . . . . . p. 49

4.6 Bellows Detune . . . . . . p. 49

4.7 Reverb Send . . . . . . . . . p. 49

4.8 Chorus Send . . . . . . . . . p. 49

4.9 Delay Send . . . . . . . . . . p. 49

4.10 Free Bass MIDI TX . . .p. 50

10. MIDI

10.1 RealTime RX-TX. . . . . p. 69

10.2 Ext. Seq. Playback. . . p. 70

10.3 Bellows TX

5. ORC BASS EDIT

5.1 Lowest Note . . . . . . . . . p. 51

5.2 Orc Bass Release Time p. 51

5.3 Orc Bass Volume . . . . . p. 52

5.4 Reverb Send . . . . . . . . . p. 52

5.5 Chorus Send . . . . . . . . . p. 52

5.6 Delay Send . . . . . . . . . . p. 52

5.7 Orc Bass MIDI TX . . . . . p. 52

Resolution. . . . . . . . . . p. 71

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FR-7/FR-5 V-Accordion

Editing sounds | TUNING parameters

TUNING parameters

The parameters of the TUNING group apply to the entire FR-7/FR-5 and are not saved to a Set. The

FR-7/FR-5 remembers them, however, so that you may have to change them again to return to the fac-

tory default. See pages 35 and 37 for how to select and adjust the parameters.

Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.

1.1 Master Tune

(415.3~466.2, Default setting:

Saving your changes

440.0) This parameter allows

you to change the FR-7/FR-5’s

overall tuning, which may be

necessary when you play with

Any changes you make can be saved even without

using the WRITE function (see p. 78). To avoid losing

your changes, it would be a good idea to take advan-

tage of the following automatic routine.

acoustic instruments that cannot be tuned easily or if

you use a CD or cassette tape as accompaniment. The

factory default, “440.0Hz”, represents the reference

pitch used by all electronic musical instruments.

Whenever you press [EXIT÷JUMP] after editing a Menu

parameter, the FR-7/FR-5 asks you whether you want

to save your changes:

1.2 Transpose

(F# –6, G –5, Ab –4, A –3, Bb –2,

B –1, C 0, C# 1, D2, Eb 3, E 4,

F 5) This parameter allows you

to transpose all sections of the

FR-7/FR-5. See page 28 for

details.

“YES” is selected by default. To save your changes, pro-

ceed as described below. (If you don’t want to save

them, turn the [DATA÷ENTER] knob to select “NO”, then

press the [DATA÷ENTER] knob.)

1.3 Scale

To save your changes:

This page contains two parame-

ters. The first one allows you to

select the tuning system and the

second one to specify the funda-

mental/root of the key you want

to play in. This was already discussed on page 29.

(1) Press the [DATA÷ENTER] knob. The display now

responds with:

Type: Equal (Off), User 1, User 2, User 3, Arabic1,

Arabic2, Just Major, Just Minor, Pythagorean, Mean-

Tone, Werckmeister, Kirnberger

Note: The GLOBAL page shows all parameters that are saved to

the Global memory (there is only one such memory): the Mas-

ter Tune and Scale Tune parameters of the TUNING group (the

Transpose setting is never saved) as well as the SYSTEM and

MIDI groups.

Key: C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B

1.4 Scale Edit

Here comes a display page with

three selectable and adjustable

parameters. You may have

(2) Press the [MENU÷WRITE] button to save your

changes. The display briefly shows a confirmation:

noticed that there are three

“User” scales. They refer to tun-

ing systems you can program yourself. Obviously, you

only need to do this if none of the factory scales corre-

sponds to the system you would like to use (a gamelan

tuning, for example).

Note: If you selected “NO”, the edited Global settings will be

used until you switch off the FR-7/FR-5 (or change them

again).

As this is a rather complex matter, the procedure for

programming your tuning is a little different from the

adjustment of other parameters:

Note: The SCALE and TUNE settings are saved using a separate

WRITE routine (see below).

• After selecting this page, pressing [DATA÷ENTER] will

do nothing.

• Instead, you need to press the [MENU÷WRITE] button

to jump to the following page:

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V-Accordion r

1.5 Scale Assign

• Use the [DATA÷ENTER] knob or the [UP]/[DOWN] but-

tons to select the User memory that should contain

your customized tuning system.

• Press [MENU÷WRITE] again to jump to the following

page.

1.5 Scale Assign

(Treble, Orchestra, Tre-

ble&Orchestra, Bass&Chord,

ALL, Default setting: Tre-

ble&Orchestra) This parameter

allows you to specify which

section should be affected by the tuning system you

select on the “1.3 Scale” page. It is perfectly possible

to select a single section (e.g. only the Treble accor-

dion).

(–64~63, Default setting: 0 for all notes) These

parameters allow you to stray away from the usual

semitone-interval scale (used in western music) by

changing the pitch of the notes so as to accommo-

date other musical cultures.

You will notice that every note can be selected only

once. That is because the value you specify applies to

all notes of the same name. If you change the tuning

of the “C”, that value will be added to or subtracted

from all Cs (C1, C2, C3, etc.). Most of the time, you

will probably select the value “50” or “–50” as they

correspond exactly to half a semitone up or down

(quarter tone). Other settings may also be interesting,

though.

• Press the [DATA÷ENTER] knob to select either the note

(left field) or the tuning value (right field) and change

the entry using the [DATA÷ENTER] knob or the [UP]/

[DOWN] buttons.

• Press the [MENU÷WRITE] button to memorize your

new tuning (or [EXIT÷JUMP] to return to the previous

settings, in which case your changes are lost). If you

press [MENU÷WRITE], the display briefly shows a con-

firmation:

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FR-7/FR-5 V-Accordion

Editing sounds | TREBLE EDIT parameters

TREBLE EDIT parameters

The parameters of the TREBLE EDIT group apply to the Treble section and are saved to the selected Set.

They allow you to build your own (virtual) accordion. After setting these parameters, you probably also

need to adjust the BASS EDIT or FREE BS EDIT parameters (which are also saved to the Set). See pages

35 and 37 for how to select and adjust the parameters.

Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.

To save your changes:

Introduction

While familiarizing yourself with and using the follow-

ing parameters, try to think of yourself as an accordion

manufacturer. The first parameters in this group indeed

rely on the power of Roland’s “virtual” technology

(called “PBM” or “Physical Behavior Modeling”) and are

in fact a warehouse with all kinds of accordion compo-

nents from which you can choose to build your per-

sonal accordion or to customize an existing “model”.

(1) Press the [DATA÷ENTER] knob. The display now

responds with:

(2) If necessary, change the name of the Treble regis-

ter you have just edited (you may want to enter

the name of the “Reed Type” you selected).

Though experimenting with the available options may

teach you a lot about usable sound combinations,

always start out by asking yourself questions like: “Does

it sound OK?”, “Does it make sense for a Cajun accor-

dion to use a Bandoneon valve noise?”, etc.

Entering names

• Select the character position (indicated by a dark

square) by pressing [UP] (previous character), [DOWN]

(next character) or the [DATA÷ENTER] knob (next

character).

• Turn the [DATA÷ENTER] knob to select the desired

character.

Another piece of advice is the following: after spending

two hours programming a new register, save it, take a

break, then listen to it again (or even wait until the next

day). Also try it in combination with the other registers/

sections and even instruments (if you play in a band).

• Press [UP] and [DOWN] simultaneously to erase the

currently selected character (it will become a space).

Example: To replace the “s” in “Celeste” with a space

(“Cele te”), position the cursor on the “s” and simulta-

neously press [UP]/[DOWN].

• To insert a space before the currently selected char-

acter and push all subsequent characters one posi-

tion to the right, select the character that should fol-

low the space, then press and hold [UP]. Example: To

insert a space before the “s” in “Celeste” (creating the

name “Cele ste”), position the cursor on the “s” and

Important note

All changes you make here apply to the last Treble reg-

ister you selected. So be sure to press the register ([1]~

[14]) whose settings you wish to change before select-

ing and editing any of the TREBLE EDIT parameters. You

can, however, decide to save your settings to a different

ing the wrong one.

Saving your changes

hold down [UP] for a while.

Any changes you make can be saved even without

using the WRITE function (see p. 78). To avoid losing

your changes, it would be a good idea to take advan-

tage of the following automatic routine.

Note: If the name already contains 8 characters (“Bandoneo”),

the last character is erased (example: “Band one”).

• To delete the character indicated by the cursor and

move subsequent characters one position to the left,

select it (example: “Celeste”) and press and hold

[DOWN] (“Celete”).

Whenever you press [EXIT÷JUMP] after editing a Menu

parameter, the FR-7/FR-5 asks you whether you want

to save your changes:

(3) Press the [MENU÷WRITE] button to jump to the fol-

lowing page:

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t, turn

the [DATA÷ENTER] knob to select “NO”, then press the

[DATA÷ENTER] knob.)

Note: You can save your changes later using the WRITE function

(see p. 77). But be sure to do so before selecting another Treble

(4) If necessary, select another Set and another regis-

ter than the ones you are currently using.

Press the [DATA÷ENTER] knob to select “SET” or

“REGISTER”, then turn it to select the number (1~40

for SET, 1~14 for REGISTER).

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V-Accordion r

2.1 Reed Type

(5) Press the [MENU÷WRITE] button to save your

changes. The display now briefly confirms that

your settings have been stored:

The TYPE options are: Bandoneon, I-Folk, I-Folk2,

Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,

Classic2, Studio, Tradition, Steierische, OldItaly,

TexMex, Trikitixa.

To save time while changing the TYPE for one or sev-

eral reeds, you could proceed as follows: suppose all

reeds are currently set to the “wrong” TYPE and you

want to use 16’, 8’ and 4’ as “Bandoneon”. In that

case, set FOOT to “ALL” and TYPE to “Bandoneon”.

Next, use STATUS on the “2.2 Register” page to switch

off the reeds you do not need.

Note: Whenever you select “ALL” and set a different reed type,

the “2.5 Valve Noise” setting is automatically adapted to the

reed type you select here. You may have to change it after-

wards if you wish to use a different noise type.

Note: Be aware that you can only edit one Treble register at a

time. If you select another register before saving the changes

for the previously selected register (by selecting “NO”), those

changes are erased.

Similarly, do not switch off the FR-7/FR-5 or select another Set

before saving settings you want to keep: save them first.

2.1 Reed Type

This parameter allows you to do

two things that are impossible

with an acoustic accordion: you

can (a) transform the selected

ment and (b) assign different sounds to each footage

the register plays.

2.2 Register

The parameters on this page are

used in combination with the

settings above. Here, you decide

which feet should be audible

and how they should be played.

It is therefore on this page that you specify whether the

sounds you selected above will indeed be used.

Note: You can only assign one TYPE to each footage (combina-

tions like “16= Bandoneon, 16= TexMex, 16= Organetto” are

impossible).

Here comes another illustration:

A register, as you may know, may contain several reeds

tuned to different pitches (“feet”), so that you hear the

16’, 8’ and 4’ reeds when you select it, for example. The

“Register” parameter below allows you to select the

desired footage(s). Here, you specify how each reed

(that can be assigned to a register) should sound. This

allows for complex combinations like the following:

<16> <8> <8–> <8+> <4> <5-1/3> <2-2/3>

On-

Cassotto

Off Off

Off

<16> <8> <8–> <8+> <4> <5-1/3> <2-2/3>

In our example, only 16’, 8’+ and 5-1/3’ are used. 8’+ is

slightly softer than then other two reeds, because the

Cassotto function is on. “Cassotto” is similar to the

“Sordina” function discussed on page 21, but it only

muffles the reed/footage in question (making the

sound darker). The Sordina switch, on the other hand,

applies to all accordion sounds of the Treble section.

We’ll let you decide whether such a combination really

makes sense, but it is possible… For each of the 14 Tre-

ble registers, that is.

• If necessary, press the [DATA÷ENTER] knob to select

the “FOOT” parameter, then rotate the [DATA÷ENTER]

knob to select the reed you wish to assign another

sound to.

• If necessary, press the [DATA÷ENTER] knob to select

the “FOOT” parameter, then rotate the [DATA÷ENTER]

knob to select the reed you wish to assign another

sound to.

The options are: ALL, 16, 8, 8–, 8+, 4, 5-1/3, 2-2/3

The options are: 16, 8, 8–, 8+, 4, 5-1/3, 2-2/3

• Press the [DATA÷ENTER] knob to select the “TYPE”

parameter, then rotate the [DATA÷ENTER] knob to

select a type (“instrument”).

• Press the [DATA÷ENTER] knob to select the “STATUS”

parameter, then rotate the [DATA÷ENTER] knob to

specify whether the selected reed should sound and

whether it should be muffled.

The STATUS options are: Off (no sound), On (sounds),

On-Cassotto (muffled sound).

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FR-7/FR-5 V-Accordion

Editing sounds | TREBLE EDIT parameters

2.3 Reed Volume

2.7 Bellows Detune

(Off, –30~“Std”~30, Default set-

ting: Std) Here comes the last

parameter that can be set for

each reed/footage individually.

It allows you to create the

(Off, Low, Standard, High,

Default setting: Standard) This

parameter further adds to the

realism of the sounds emulated

by your FR-7/FR-5. Here, you

desired “mix” (volume balance) for the active reeds (see

the “2.2 Register” page).

can specify how strongly the pitch of the simulated

Treble reed(s) changes when you open or close the bel-

lows faster than usual.

This is a relative parameter, which means that its value

is added to or subtracted from the standard value

(“Std”). As a rule, it would be wise to decide which reed

is most important and set its Volume parameter to

“Std”. Then reduce or increase the volume of the “ancil-

lary” reeds to create the desired balance.

If the “Standard” setting seems too mild, try “High”. If it

is too strong, use “Low”. If you don’t want any detuning

effect, select “Off”. The most convincing setting usually

depends on the selected instrument(s) (see “2.1 Reed

Type”).

Note: The overall volume of the Treble section (all registers) can

be changed using the [BALANCE] knob.

2.8 Reverb Send, 2.9 Chorus Send,

2.10 Delay Send

2.4 Treble Octave

(–1, 0, 1, Default setting: 0) This

parameter allows you to trans-

pose the selected register one

octave up (“1”) or down (“–1”).

This can be used for two pur-

poses: to quickly correct the pitch that results from the

active reeds (see above) or to avoid overlaps of the

selected register when using a Treble Orchestra sound.

(The Orchestra section also provides an Octave parame-

ter.)

(0~127 for all three) Use these

parameters to set the Reverb, Chorus

or Delay send level (how much effect

should be applied to the Treble sec-

tion). The higher the value you set,

the more the Treble section is pro-

cessed by the effect in question.

It works much the same way as a

cathedral: the louder you sing, the

more reverb (chorus or delay) you

hear. In the case of the cathedral, singing louder means

that you increase the effect send level, i.e. the level of

the signal (your voice) that will be processed by the

acoustic environment.

2.5 Valve Noise

Here comes a more elaborate

version of the Noise parameter

discussed on page 30, because it

allows you not only to set the

level of the “typical” valve

The other sections (Bass, Free Bass, etc.) have the same

parameters, so that you can create a sound image with

various “levels” (foreground, background).

The effects themselves can be edited on separate pages

(see p. 56).

noises, but also to specify what kind of instrument

should generate the noise. Though you are free to

experiment with any noise type you like, using the noise

related to the selected instrument (see “2.1 Reed Type”)

is usually more realistic.

2.11 Aftertouch Pitch

(Off, 1/4 Down, 1/2 Down, 1/4

Up, 1/2 Up, Default setting: Off)

As stated earlier, the FR-7/

FR-5’s Treble keyboard also gen-

erates aftertouch messages.

“Aftertouch” refers to the fact that you press a key even

further down after playing a note. This effect allows

you to bend the pitch down (temporarily lower the

note) by a quarter (“1/4 Down”) or a semi-tone (“1/2

Down”). Select “1/4 Up” or “1/2 Up” to bend the notes

up a quarter or a semi-tone. Select “Off” to switch off

the Treble section’s aftertouch recognition.

There is only one TYPE for the entire register (i.e. all 7

reeds). The options are: Bandoneon, I-Folk, I-Folk2, Clas-

sic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,

Classic2, Studio, Tradition, Steierische, OldItaly, TexMex,

Trikitixa.

Use the LEVEL parameter to specify how prominent the

noise should be (–30~“Std”~30, Default setting: Std).

Note: Whenever you select “ALL” for “2.1 Reed Type” and set a

different reed type, this noise setting is automatically adapted to

the reed type. It would therefore be a good idea to first select the

reed type and only then change the noise type.

Note: This aftertouch effect applies to all notes that are sound-

ing simultaneously. If you play a chord and then only press down

one key of the chord’s constituent notes, all notes are bent by the

same amount. (MIDI buffs call this “channel aftertouch”.)

2.6 Musette Detune

This parameter allows you to

choose the system used for

detuning the 8’ reeds. See

page 28 for details. The options

are: Off, Dry, Classic, F-Folk,

American_L, American_H, North_Eur, German_L,

D-Folk_L, Italian_L, German_H, Alpine, Italian_H,

D-Folk_H, French, Scottish.

2.12 Bass Link

Here are two parameters that

allow you specify which Bass

and/or Orchestra Bass register/

sound are selected whenever

you press the Treble register you

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V-Accor₂d_.1io_{3 O}n_rcr_{hestra Link}

Note: You can specify that this function should be activated

automatically each time you switch the FR-7/FR-5 on. See “8.9

Startup” on p. 63.

are currently editing. That way, you only need to press

one register instead of at least two (one Treble, one

Bass). There is yet another parameter that allows you to

associate a Treble Orchestra sound with the currently

selected accordion register (see below).

2.13 Orchestra Link

This function allows you to

The options for these parameters are:

associate an orchestral sound

with the Treble register you are

currently editing and to specify

which mode should be used. See

also “Selecting the Orchestra mode” on p. 25 for an

explanation of the available modes.

• BASS: No Link, Bass 1~7, Free 1~7

• ORC.BASS: No Link, Acoustic, Bowed, Fingered, Fret-

less, Picked, Tuba, Tuba Mix

If you define a “Free” register, the Bass section auto-

matically switches to Free Bass mode when you press

the Treble register while the Bass Link function is

active. (If you define a “Bass” register, the Bass sec-

tion switches from Free Bass to Bass mode, if neces-

sary.)

The options for these parameters are:

• REGISTER: No Link, 1A Trombone, 1B Trumpet,

2A TenorSax, 2B AltoSax, 3A Clarinet, 3B Oboe,

4A Harmonica, 4B MuteHarm, 5A Violin, 5B Pizzicato,

6A Flute, 6B PanFlute, 7A HighLand, 7B Zampogna,

8A PercOrgan, 8B JazzOrgan, 9A RotOrgan,

9B TremOrg, 10 ScatVoice, 11 Mandolin, 12 AcGuitar,

13 AcPiano

If you also define an ORC.BASS sound (other than

“No Link”), the Bass section automatically activates

the Orchestra Bass part when you press the Treble

Select “No Link” if there should be no connection

between the currently selected Treble register and

the Bass or Orchestra Bass section.

• MODE: ----, Solo, Dual, High, Low

Select “No Link” if there should be no connection

between the currently selected Treble register and

the Orchestra Treble section.

Note that this automatic link is not activated when

you define it on this page – it is merely enabled and

“pre-set”. To activate the Bass Link function, press

and hold down the [ORCHESTRA] register and press

[9]:

“––” means that the currently selected mode does

not change. So if LOW mode is selected when you

press this register, the Orchestra sound you select

here can be played in LOW mode.

Note that this automatic link is not activated when

you define it on this page – it is merely enabled and

“pre-set”. To activate the Orchestra Link function, you

need to press and hold down the [ORCHESTRA] regis-

ter and press [10]:

Note: Be aware that the Link function can be dangerous if you

edited the currently selected Bass, Free Bass or Orchestra Bass

cally (via the Link function) indeed means that the changes for

the previously selected register are lost. Consider using the

WRITE function (page 77) before activating the link – even if

it’s only to check whether the settings have indeed been saved.

Note: Simply activating the link does nothing at all (i.e. the

Bass/Free Bass/Orchestra Bass register does not change right

away). You need to select another Treble register whose Bass

Link function is on for the link to work.

Note: Be aware that the Link function can be dangerous if you

edited the currently selected Orchestra sound without saving

it. Selecting another Orchestra sound automatically (via the

Link function) indeed means that the changes for the previ-

ously selected sound are lost. Consider using the WRITE func-

tion (page 77) before activating the link – even if it’s only to

check whether the settings have indeed been saved.

Note: Simply activating the link does nothing at all (i.e. the

Orchestra sound does not change right away). You need to

select another Treble register whose Orchestra Link function is

on for the link to work.

Repeat this procedure to defeat the Bass Link func-

tion if you no longer need it.

On the Main page, links are indicated as follows:

Repeat this procedure to defeat the Orchestra Link

function if you no longer need it (or assign “CANCEL”

to another Treble register and press it).

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FR-7/FR-5 V-Accordion

Editing sounds | TREBLE EDIT parameters

On the main page, links are indicated as follows:

Note: You can specify that this function should be activated

automatically each time you switch the FR-7/FR-5 on. See “8.9

Startup” on p. 63.

2.14 Treble MIDI TX

This page contains a series of

MIDI parameters for the

selected register you need to set

one by one. See page 72 for

details about the MIDI parame-

ters. These parameters are saved along with all other

Set parameters, which allows you to use different MIDI

settings for each Set – and even each register within a

Set.

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V-Acc_Bo_Ar_Sd_Si_Eo_Dn_ITr_parameters

BASS EDIT parameters

The parameters of the BASS EDIT group apply to the Bass section (bass and chord notes) and are saved

to the selected Set. They allow you to build your own (virtual) accordion. After setting these parame-

ters, you probably also need to adjust the TREBLE EDIT or FREE BS EDIT parameters (which are also

saved to the Set). See pages 35 and 37 for how to select and adjust the parameters.

Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”. See also “Introduction”

on p. 40 for some general hints.

(4) If necessary, select another Set and another regis-

Important note

ter than the ones you are currently using.

Press the [DATA÷ENTER] knob to select “SET” or “REG-

ISTER”, then turn it to select the number (1~40 for

SET, 1~7 for REGISTER).

All changes you make here apply to the last Bass regis-

ter you selected. So be sure to press the register whose

settings you wish to change before selecting and edit-

ing any of the BASS EDIT parameters. You can, however,

decide to save your settings to a different register (see

below) if you realize that you’ve been editing the wrong

one.

(5) Press the [MENU÷WRITE] button to save your

changes. The display now briefly confirms that

your settings have been stored:

Saving your changes

Any changes you make can be saved even without

using the WRITE function (see p. 78). To avoid losing

your changes, it would be a good idea to take advan-

tage of the following automatic routine.

Note: You can only edit one Bass register at a time. If you

select another register before saving the changes for the previ-

ously selected register (by selecting “NO”), those changes are

erased. Do not switch to Free Bass or Orchestra Bass mode

before deciding whether or not you want to save your

changes.

Whenever you press [EXIT÷JUMP] after editing a Menu

parameter, the FR-7/FR-5 asks you whether you want

to save your changes:

Similarly, do not switch off the FR-7/FR-5 or select another Set

before saving settings you want to keep: save them first.

3.1 Reed Type

This parameter allows you to

transform the selected register

into a different instrument and

assign different sounds to each

reed the register plays. See “2.1

Reed Type” on p. 41 for a discussion of the possibilities

and the aspects you need to pay attention to. Bear in

mind, however, that the parameter on this page applies

to the selected Bass register.

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t, turn

the [DATA÷ENTER] knob to select “NO”, then press the

[DATA÷ENTER] knob.)

Note: You can save your changes later using the WRITE function

(see p. 77). But be sure to do so before selecting another Bass

To save your changes:

• If necessary, press the [DATA÷ENTER] knob to select

the “FOOT” parameter, then rotate the [DATA÷ENTER]

knob to select the reed you wish to assign another

sound to.

(1) Press the [DATA÷ENTER] knob. The display now

responds with:

The options are: ALL, 16, 8, 8-4, 4, 2

• Press the [DATA÷ENTER] knob to select the “TYPE”

parameter, then rotate the [DATA÷ENTER] knob to

select a type (“instrument”).

The TYPE options are: Bandoneon, I-Folk, I-Folk2,

Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,

Classic2, Studio, Tradition, Steierische, Trikitixa

(2) If necessary, change the name of the Bass register

you have just edited (you may want to enter the

name of the “Reed Type” you selected).

See “Entering names” on p. 40.

To save time while changing the TYPE of one or sev-

eral reeds, you could proceed as follows: suppose all

reeds are currently set to the wrong TYPE and you

want to use 16’, 8’ and 4’ as “Bandoneon”. In that

case, set FOOT to “ALL” and TYPE to “Bandoneon”.

Next, use STATUS on the “3.2 Register” page to switch

off the reeds you do not need.

(3) Press the [MENU÷WRITE] button to jump to the fol-

lowing page:

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FR-7/FR-5 V-Accordion

Editing sounds | BASS EDIT parameters

3.2 Register

The parameters on this page are

used in combination with the

3.4 Button Noise

The bass section of almost all

accordion instruments can be

parameters above. Here, you

played via buttons. Such but-

decide which reeds should be

tons produce a typical noise

audible and how they should be

played. It is therefore on this page that you specify

whether the sounds you selected above will be used.

when pressed. On this page, you

can specify the instrument whose button noises should

be used when you select this register while playing.

(Note that other Bass registers can be assigned differ-

ent noises.)

• If necessary, press the [DATA÷ENTER] knob to select

the “FOOT” parameter, then rotate the [DATA÷ENTER]

knob to select the desired reed.

There is only one TYPE for the entire register (i.e. all 5

reeds). The options are: Bandoneon, I-Folk, I-Folk2, Clas-

sic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,

Classic2, Studio, Tradition, Steierische, Trikitixa.

The options are: 16, 8, 8-4, 4, 2

• Press the [DATA÷ENTER] knob to select the “STATUS”

parameter, then rotate the [DATA÷ENTER] knob to

specify whether the selected reed should sound and

whether you can or cannot use it to play chords.

The STATUS options are: Off, Bass, Chord,

Use the LEVEL parameter to specify how prominent the

noise should be (–30~“Std”~30, Default setting: Std).

Note: Whenever you select “ALL” for “3.1 Reed Type” and set a

different reed type, this noise setting is automatically adapted to

the reed type. It would therefore be a good idea to first select the

reed type and only then change the noise type.

Bass&Chord. The available options depend on the

selected footage, however:

8-4

yes

3.5 Reed Growl

This parameter allows you to

simulate the typical noise a bass

reed makes just before it stops

Off

yes

Chord

Bass

yes

Bass&Chord no

yes

vibrating altogether (a kind of

“musical flatulence” if you will).

Note: This setting partially applies to all reeds. You cannot

assign “Bass&Chord” to “8-4”, for instance, and “Chord” to “2”.

All reeds (16 & 8 for the bass, 8-4, 4 & 2 for the chords) must

use the same assignment. If you select “Bass&Chord” for “4”

and then set “2” to “Chord”, “4” automatically switches to

“Chord” (the last selection you make is adopted by all reeds of

the same “yes” group). You can, however, select “Off” for each

reed individually.

Note: Whenever you select “ALL” and set a different reed type,

the “3.4 Button Noise” and “3.5 Reed Growl ” settings are auto-

matically adapted to the reed type you select here. You may

have to change those settings afterwards if you wish to use

different noise type.

Each instrument of the accordion family produces its

own typical growl. The growl that matches the sound

selected with “3.1 Reed Type” probably yields the most

realistic effect – but feel free to select another one if

you like it better.

• If necessary, press the [DATA÷ENTER] knob to select

the “TYPE” parameter, then rotate the [DATA÷ENTER]

knob to select one of the available instrument types:

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk,

D-Folk, Organetto, F-Folk2, Classic2, Studio, Tradition,

Steierische, Trikitixa

• Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter, then rotate the [DATA÷ENTER] knob to set

the volume of the Reed Growl sound (–30~“Std”~30).

Note: Whenever you select “ALL” for “3.1 Reed Type” and set a

different reed type, this growl setting is automatically adapted

to the reed type. It would therefore be a good idea to first

select the reed type and only then change the growl type.

3.3 Reed Volume

(Off, –30~“Std”~30, Default set-

ting: Std) This is the last param-

eter that can be set for each

reed individually. It allows you

to create the desired “mix” (vol-

ume balance) for the active reeds (see the “3.2 Register”

page).

This is a relative parameter, which means that its value

is added to or subtracted from the standard value

(“Std”). As a rule, it would be wise to decide which reed

is most important and set its Volume parameter to

“Std”. Then reduce or increase the volume of the “ancil-

lary” reeds to create the desired balance.

Note: The overall volume of the Bass section (all registers) can be

changed using the [BALANCE] knob.

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V-Accor₃d_.6io_Bn_ellor_{ws Detune}

3.6 Bellows Detune

3.10 Bass MIDI TX, 3.11 Chord MIDI TX

(Off, Low, Standard, High,

These pages contain a series of

MIDI parameters for the

Default setting: Standard) This

parameter further adds to the

realism of the sounds emulated

by your FR-7/FR-5. Here, you

can specify how strongly the pitch of the simulated

Bass reed(s) changes when you open or close the bel-

lows faster than usual.

selected register you need to set

one by one. One page allows

you to specify which MIDI mes-

sages the bass notes (i.e. the two

or three button rows closest to

the bellows) should transmit,

the other does the same for the

If the “Standard” setting seems too mild, try “High”. If it

is too strong, use “Low”. If you do not want any detun-

ing effect, select “Off”. The most convincing setting

usually depends on the selected instrument(s) (see

“3.1 Reed Type”).

chords (the remaining buttons in the Bass section).

See page 72 for details about the MIDI parameters.

These parameters are saved along with all other Set

parameters, which allows you to use different MIDI set-

tings for each Set – and even each register within a Set.

3.7 Reverb Send, 3.8 Chorus Send, 3.9 Delay Send

(0~127 for all three) Use these

parameters to set the Reverb, Chorus

or Delay send level (how much effect

should be applied to the Bass section).

The higher the value you set, the

more the Bass section will be pro-

cessed by the effect in question.

The other sections (Treble, Free Bass,

etc.) have the same parameters, so

that you can create a sound image

with various “levels” (foreground, background).

The effects themselves can be edited on separate pages

(see p. 56).

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FR-7/FR-5 V-Accordion

Editing sounds | FREE BASS EDIT parameters

FREE BASS EDIT parameters

The parameters of the FREE BS EDIT group apply to the Bass section when it is used in Free Bass mode

(see p. 23) and are saved to the selected Set. They allow you to build your own (virtual) accordion. After

settings these parameters, you probably also need to adjust the TREBLE EDIT parameters (which are

also saved to a Set). See pages 35 and 37 for how to select and adjust the parameters.

Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”. See also “Introduction”

on p. 40 for some general hints.

(3) Press the [MENU÷WRITE] button to jump to the fol-

Important notes

lowing page:

• All changes you make here apply to the last Free Bass

whose settings you wish to change before selecting

and editing any of the FREE BS EDIT parameters. You

can, however, decide to save your settings to a differ-

ent register (see below) if you realize that you’ve

been editing the wrong one.

• See page 62 for how to select the note system for

Free Bass mode. That setting is shared by all Sets.

(4) If necessary, select another Set and another regis-

ter than the ones you are currently using.

Press the [DATA÷ENTER] knob to select “SET” or “REG-

ISTER”, then turn it to select the number (1~40 for

SET, 1~7 for REGISTER).

Saving your changes

(5) Press the [MENU÷WRITE] button to save your

changes. The display now briefly confirms that

your settings have been stored:

Any changes you make can be saved even without

using the WRITE function (see p. 77). To avoid losing

your changes, it would be a good idea to take advan-

tage of the following automatic routine.

Whenever you press [EXIT÷JUMP] after editing a Menu

parameter, the FR-7/FR-5 asks you whether you want

to save your changes:

Note: You can only edit one Free Bass register at a time. If you

select another register before saving the changes for the previ-

ously selected register (by selecting “NO”), those changes are

erased. Do not switch to Bass or Orchestra Bass mode before

deciding whether or not you want to save your changes.

Similarly, do not switch off the FR-7/FR-5 or select another Set

before saving settings you want to keep: save them first.

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t, turn

the [DATA÷ENTER] knob to select “NO”, then press the

[DATA÷ENTER] knob.)

Note: You can save your changes later using the WRITE function

(see p. 77). But be sure to do so before selecting another Free Bass

4.1 Reed Type

This parameter allows you to

transform the selected register

into a different instrument and

assign different sounds to each

footage the register plays.

To save your changes:

Note: You will notice that there are fewer options here than for

the Bass section. That’s because you cannot play chords in Free

Bass mode.

(1) Press the [DATA÷ENTER] knob. The display now

responds with:

• If necessary, press the [DATA÷ENTER] knob to select

the “FOOT” parameter, then rotate the [DATA÷ENTER]

knob to select the reed you wish to assign another

sound to. The options are: ALL, 16, 8

• Press the [DATA÷ENTER] knob to select the “TYPE”

parameter, then rotate the [DATA÷ENTER] knob to

select a type (“instrument”).

The TYPE options are: Bandoneon, I-Folk, I-Folk2,

Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2,

Classic2, Studio, Tradition, Steierische, Trikitixa

(2) If necessary, change the name of the Free Bass reg-

ister you have just edited (you may want to enter

the name of the “Reed Type” you selected).

See “Entering names” on p. 40.

Note: Whenever you select “ALL” and set a different reed type,

the “4.4 Button Noise” and “4.5 Reed Growl ” settings are auto-

matically adapted to the reed type you select here. You may

have to change those settings afterwards if you wish to use

different noise type.

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V-Accordion ₄r_{.2 Register}

Note: Whenever you select “ALL” for “4.1 Reed Type” and set a

different reed type, this noise setting is automatically adapted to

the reed type. It would therefore be a good idea to first select the

reed type and only then change the noise type.

4.2 Register

The parameters on this page are

used in combination with the

parameters above. Here, you

decide which reeds should be

4.5 Reed Growl

audible and how they should be

played. It is therefore on this page that you specify

whether the sounds you selected above will be used.

This parameter allows you to

simulate the typical noise a bass

reed makes just before it stops

• If necessary, press the [DATA÷ENTER] knob to select

the “FOOT” parameter, then rotate the [DATA÷ENTER]

knob to select the reed you wish to assign another

sound to. The options are: ALL, 16, 8

• Press the [DATA÷ENTER] knob to select the “STATUS”

parameter, then rotate the [DATA÷ENTER] knob to

specify whether the selected reed should sound and

which buttons can be used to play it.

vibrating altogether. Each

instrument of the accordion

family produces its own typical growl. The growl that

matches the sound selected with “4.1 Reed Type” prob-

ably yields the most realistic effect – but feel free to

select another one if you like it better.

• If necessary, press the [DATA÷ENTER] knob to select

the “TYPE” parameter, then rotate the [DATA÷ENTER]

knob to select one of the available instrument types:

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk,

D-Folk, Organetto, F-Folk2, Classic2, Studio, Tradition,

Steierische, Trikitixa

• Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter, then rotate the [DATA÷ENTER] knob to set

the volume of the Reed Growl parameter (–30~

The STATUS options are: Off (no sound), Low (the

lower half), High (upper half), Whole (all buttons).

These options allow you to program what keyboard

players would call a “split”. You can create several

nifty combinations, like “High” for 8’ and “Low” for

16’ (or vice versa) or “Whole” for 16’ (all buttons) and

“High” for 8’ (only the upper three rows).

“Std”~30).

Note: Assigning the same partial STATUS (“High” or “Low”) to

both reeds is a bit odd, because it leaves you with only half the

number of active bass buttons. But it is possible…

Note: Whenever you select “ALL” for “4.1 Reed Type” and set a

different reed type, this growl setting is automatically adapted

to the reed type. It would therefore be a good idea to first

select the reed type and only then change the growl type.

4.3 Reed Volume

(Off, –30~“Std”~30, Default set-

ting: Std) This is the last param-

eter that can be set for each

reed individually. It allows you

to create the desired “mix” (vol-

ume balance) for the active reeds.

4.6 Bellows Detune

(Off, Low, Standard, High,

Default setting: Standard) This

parameter further adds to the

realism of the sounds emulated

by your FR-7/FR-5. Here, you

can specify how strongly the pitch of the simulated

Free Bass reed(s) changes when you open or close the

bellows faster than usual.

This is a relative parameter, which means that its value

is added to or subtracted from the standard value

(“Std”). As a rule, it would be wise to decide which reed

is most important and set its Volume parameter to

“Std”. Then reduce or increase the volume of the “ancil-

lary” reed to create the desired balance.

If the “Standard” setting seems too mild, try “High”. If it

is too strong, use “Low”. If you do not want any detun-

ing effect, select “Off”. The most convincing setting

usually depends on the selected instrument(s) (see “4.1

Reed Type”).

Note: The overall volume of the Free Bass section (all registers)

can be changed using the [BALANCE] knob.

4.4 Button Noise

4.7 Reverb Send, 4.8 Chorus Send, 4.9 Delay Send

(0~127 for all three) Use these

The bass section of almost all

accordion instruments can be

parameters to set the Reverb, Chorus

or Delay send level (how much effect

should be applied to the Free Bass

played via buttons. Such but-

tons produce a typical noise

when pressed. On this page, you

section). The higher the value you set,

the more the Free Bass section will be

processed by the effect in question.

can select the instrument whose button noises should

be used when you select this register. (Note that other

Free Bass registers can be assigned different noises.)

The other sections (Treble, Bass, etc.)

have the same parameters, so that

you can create a sound image with

various “levels” (foreground, background).

Notice that there is only one TYPE for the entire regis-

ter. The options are: Bandoneon, I-Folk, I-Folk2, Classic,

Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2,

Studio, Tradition, Steierische, Trikitixa

The effects themselves can be edited on separate pages

(see p. 56).

Use the LEVEL parameter to specify how prominent the

noise should be (–30~“Std”~30, Default setting: Std).

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FR-7/FR-5 V-Accordion

Editing sounds | FREE BASS EDIT parameters

4.10 Free Bass MIDI TX

This page contains a series of

MIDI parameters for the

selected register you need to set

one by one.

See page 72 for details about

the MIDI parameters. These parameters are saved along

with all other Set parameters, which allows you to use

different MIDI settings for each Set – and even each

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V-A_ORc_Cc_.Bo_Ar_Sd_Si_Eo_Dn_ITr_parameters

ORC.BASS EDIT parameters

The parameters of the ORC.BASS EDIT group allow you to edit the Orchestra Bass section. See page 27

for details about the Orchestra Bass section. See pages 35 and 37 for how to select and adjust the

parameters.

Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.

5.1 Lowest Note

This parameter allows you to

Important note

specify the lowest note the

The selection of Orchestra Bass sounds can be auto-

mated on the “2.12 Bass Link” page (page 42) – for each

Treble register.

selected sound can play. If you

have ever worked with a Roland

arranger module, you may be

familiar with the term “Wrap”. That is precisely what

this parameter does.

Saving your changes

Any changes you make can be saved even without

using the WRITE function (see p. 77). To avoid losing

your changes, it would be a good idea to take advan-

tage of the following automatic routine.

The Orchestra Bass sounds (like the Orchestra sounds of

the Treble section) are PCM waveforms (samples) of

acoustic instruments. Each acoustic instrument has a

set range: it cannot sound notes below or above that

range. A normally tuned 4-string bass guitar allows you

to play a low E, but not the D below it, for instance:

Whenever you press [EXIT÷JUMP] after editing a Menu

parameter, the FR-7/FR-5 asks you whether you want

to save your changes:

Samples (PCM waveforms), on the other hand, can

lower the pitch of a recorded sound almost indefinitely.

But that doesn’t sound very natural. The “Lowest Note”

parameter allows you to specify the lowest pitch the

sample can use. If you nevertheless play a lower note

on the button keyboard, it will be sounded one octave

above the corresponding pitch – and sound natural.

Here is an example:

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t, turn

the [DATA÷ENTER] knob to select “NO”, then press the

[DATA÷ENTER] knob.)

Note: You can save your changes later using the WRITE function

(see p. 77). But be sure to do so before selecting another Set –

and before switching the FR-7/FR-5 off.

If this is what you play on the button keyboard…

To save your changes:

(1) Press the [DATA÷ENTER] knob. The display now

responds with:

…after choosing…

Lowest Note= E (28)

…these notes are transposed 1 octave up.

The Orchestra Bass sound therefore sometimes changes

octaves. For some songs, the default setting (E 28) may

yield odd results, especially if you need to play walking

bass lines, etc. In that case, you can change the “Lowest

Note” setting to achieve a satisfactory result.

(2) If necessary, select another Set than the one you

are currently using.

(3) Press the [WRITE] button to save your changes. The

display now briefly confirms that your settings

have been stored:

The options are: E 28, F 29, F# 30, G 31, Ab 32, A 33,

Bb 34, B 35, C 36; Default setting: E 28. (The figures

refer to the MIDI note numbers – each MIDI note has its

own “address”.)

Note: Do not switch off the FR-7/FR-5 or select another Set

before saving settings you want to keep: save them first.

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FR-7/FR-5 V-Accordion

Editing sounds | ORC.BASS EDIT parameters

5.2 Orc Bass Release Time

5.7 Orc Bass MIDI TX

This page contains a series of

MIDI parameters for the Orches-

tra Bass part you need to set

one by one.

(0~63, Default setting: 0) This

parameter allows you change

the way in which a note stops

when you release the corre-

sponding button. Though all

See page 72 for details about

Orchestra Bass sounds have been prepared in such a

way as to decay naturally when a button is released,

there may be situations where the end of the notes is

too sudden for comfort.

the MIDI parameters. These parameters are saved along

with all other Set parameters, which allows you to use

different MIDI settings for each Set.

In that case, you can increase this value. “0” means that

you agree with the preprogrammed Release value. All

other values cause the notes to linger increasingly

longer.

5.3 Orc Bass Volume

(Off, –30~“Std”~30, Default set-

ting: Std) This parameter allows

you to set the level of the

Orchestra Bass part. See also

page 27.

5.4 Reverb Send, 5.5 Chorus Send, 5.6 Delay Send

(0~127 for all three) Use these

parameters to set the Reverb, Chorus

or Delay send level (how much effect

should be applied to the Orchestra

Bass section). The higher the value

you set, the more the Orchestra Bass

section will be processed by the effect

in question.

The other sections (Treble, Bass, etc.)

have the same parameters, so that

you can create a sound image with various “levels”

(foreground, background). Do note, however, that

reverb or delay effects are hardly ever used for bass

sounds.

The effects themselves can be edited on separate pages

(see p. 56).

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V-Acc_Oo_RCr_Hd_.i_Eo_Dn_ITr_parameters

ORCH. EDIT parameters

The parameters of the ORCH. EDIT group apply to the Treble Orchestra section. See page 24 for details

about the Orchestra section. You may remember that it contains 22 sounds (because some registers

provide access to an “A” and a “B” sound). See pages 35 and 37 for how to select and adjust the

parameters.

Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.

6.1 Orchestra Octave

(–1~0~1, Default setting: 0) This

Important note

parameter allows you to trans-

pose the Orchestra section (i.e.

the currently selected orchestral

sound) up or down.

The selection of Orchestra sounds and modes can be

automated using the “2.13 Orchestra Link” parameter

(page 43) – for each Treble register.

This can be interesting when you are using the Orches-

tra part in Dual mode (page 25) and want it to sound

above or below the selected Treble accordion register.

Saving your changes

Any changes you make can be saved even without

using the WRITE function (see p. 77). To avoid losing

your changes, it would be a good idea to take advan-

tage of the following automatic routine.

6.2 Orchestra Volume

(Off, –30~“Std”~30, Default set-

ting: Std) This parameter allows

you to create the desired “mix”

(volume balance) between the

Treble accordion and the

Whenever you press [EXIT÷JUMP] after editing a Menu

parameter, the FR-7/FR-5 asks you whether you want

to save your changes:

Orchestra section.

This is a relative parameter, which means that its value

is added to or subtracted from the standard value

(“Std”).

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t, turn

the [DATA÷ENTER] knob to select “NO”, then press the

[DATA÷ENTER] knob.)

Note: You can save your changes later using the WRITE function

(see p. 77). But be sure to do so before selecting another Set –

and before switching the FR-7/FR-5 off.

6.3 Bellows Detune

(Off, Low, Standard, High,

Default setting: Standard) This

parameter allows you to specify

how strongly the Orchestra

sound’s pitch should be influ-

enced by opening and closing the bellows faster than

usual. This may further add to the realism of sounds like

1A~4B, 6A, 6B and 10~12.

To save your changes:

(1) Press the [DATA÷ENTER] knob. The display now

responds with:

If the “Standard” setting seems too mild, try “High”. If it

is too strong, use “Low”. If you do not want any detun-

ing effect, select “Off”. The most convincing setting

usually depends on the selected sound.

(2) If necessary, select another Set than the one you

are currently using.

(3) Press the [MENU÷WRITE] button to save your

changes. The display now briefly confirms that

your settings have been stored:

Note: Do not switch off the FR-7/FR-5 or select another Set

before saving settings you want to keep: save them first.

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FR-7/FR-5 V-Accordion

Editing sounds | ORCH. EDIT parameters

6.4 Reverb Send, 6.5 Chorus Send, 6.6 Delay Send

(0~127 for all three) Use these

6.8 Orchestra MIDI TX

This page contains a series of

parameters to set the Reverb, Chorus

or Delay send level (how much effect

should be applied to the Orchestra

section). The higher the value you set,

the more the Orchestra section will be

processed by the effect in question.

MIDI parameters for the Orches-

tra section you need to set one

by one. See page 72 for details

about the MIDI parameters.

These parameters are saved along with all other Set

parameters, which allows you to use different MIDI set-

tings for each Set.

It works much the same way as a

cathedral: the louder you sing, the

more reverb (chorus or delay) you

hear. In the case of the cathedral, singing louder means

that you increase the effect send level, i.e. the level of

the signal (your voice) that will be processed by the

acoustic environment.

The other sections (Bass, Free Bass, etc.) have the same

parameters, so that you can create a sound image with

various “levels” (foreground, background).

The effects themselves can be edited on separate pages

(see p. 56).

6.7 Aftertouch Pitch

(Off, 1/4 Down, 1/2 Down, 1/4

Up, 1/2 Up, Default setting: Off)

The FR-7/FR-5’s Treble keyboard

generates aftertouch messages.

“Aftertouch” refers to the fact

that you press a key even further down after playing a

note. This effect allows you to bend the pitch down

(temporarily lower the note) by a quarter (“1/4 Down”)

or a semi-tone (“1/2 Down”). Select “1/4 Up” or “1/2 Up”

to bend the notes up a quarter or a semi-tone. Select

“Off” to switch off the Orchestra section’s aftertouch

recognition.

The Treble section also contains this parameter. You are

thus free to decide whether both the accordion and the

orchestral sounds should be affected by aftertouch

messages or only one of them.

Note: This aftertouch effect applies to all Orchestra notes that

are sounding simultaneously. If you play a chord and then only

press down one key of the chord’s constituent notes, all notes are

bent by the same amount. (MIDI buffs call this “channel after-

touch”.)

Note: For organ sounds (8A PercOrgan, 8B JazzOrgan,

9A RotOrgan and 9B Trem Org), aftertouch allows you to alter-

nate between the fast and slow speeds of the Rotary effect. (That

effect is automatically assigned to an organ sound when you

select it.) The speed switching function cannot be deactivated.

You can, however, also add pitch control to this switching func-

tion, and so control two functions via the aftertouch.

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V-A_SEc_Tc_Co_Or_Md_Mio_On_Nr_parameters

SET COMMON parameters

The SET COMMON group contains parameters that apply to all sections, but only within the framework

of the currently selected Set, most notably the parameters that specify the sound/character of the

Reverb, Chorus and Delay effects.

Important note

About the effects parameters

Never switch off the FR-7/FR-5 or select another Set

before saving the settings you wish to keep, because

doing so will erase your changes.

The settings you perform here apply to all sections that

use the effect in question. Especially for the Reverb and

Chorus effects, it is therefore wise to work with univer-

sally usable settings. Try to consider these two as “gen-

eral” effects that will be used by several parts at once.

Be aware that the save function explained below only

saves the SET COMMON parameters. It does not save

the settings of the various sections and/or registers.

The Delay effect, on the other hand, is probably only

useful when applied to one part (because too many

repeated sounds clutter up the sound image).

Saving your changes

The connection of the sections with the effects proces-

sors is as follows:

Any changes you make can be saved even without

using the WRITE function (see p. 77). To avoid losing

your changes, it would be a good idea to take advan-

tage of the following automatic routine.

Level

Chorus

Level

Send

Whenever you press [EXIT÷JUMP] after editing a Menu

parameter, the FR-7/FR-5 asks you whether you want

to save your changes:

Reverb

Delay

Reverb

Send

Delay

Send

Section

Volume

(e.g. Treble)

STEREO OUTPUT

sockets

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t, turn

the [DATA÷ENTER] knob to select “NO”, then press the

[DATA÷ENTER] knob.)

Note: You can save your changes later using the WRITE function

(see p. 77). But be sure to do so before selecting another Set –

and before switching the FR-7/FR-5 off.

7.1 Reverb Macro Type

This is where you can specify

what kind of effect the Reverb

processor should generate and

how loud it should be.

Note: You can also copy the Reverb

(or even all effects) settings from another Set. See page 64.

To save your changes:

(1) Press the [DATA÷ENTER] knob. The display now

(1) If necessary, press the [DATA÷ENTER] knob to select

the “TYPE” parameter, then rotate the

responds with:

[DATA÷ENTER] knob to select an effect type.

The TYPE parameter on this page is a “Macro” func-

tion, i.e. it recalls suitable preset values for all Reverb

parameters (Pre-LPF~RevPre DlyTm) on the “7.2

Reverb Parameters” page. The Macro therefore also

selects a “Character”. In many instances, editing only

the parameters on this page is enough.

(2) If necessary, select another Set by turning the

[DATA÷ENTER] knob.

For your reference (and to avoid overwriting the

wrong SET COMMON settings), the display also shows

the name of the target Set memory (below the

arrow).

The available options are:

Room1,

Room2,

Room3

These Reverbs simulate the reverberation

of a room. They provide a well-defined

spacious reverberation.

(3) Press the [MENU÷WRITE] button to save your

changes. The display now briefly confirms that

your settings have been stored:

Hall1, Hall2

These Reverbs simulate the reverberation

of a concert hall with a deeper reverbera-

tion than the Room Reverbs.

Plate

This effect type simulates a plate Reverb

(a studio device using a metal plate to

simulate natural Reverb).

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FR-7/FR-5 V-Accordion

Editing sounds | SET COMMON parameters

I Pre-Dly T. (0~127)—This parameter sets the time inter-

val between the original (“dry”) signal and the onset of the

selected reverb effect. Higher values result in a longer pre-

delay time, simulating a larger reverberant space.

Delay

This is a conventional Delay that pro-

duces echo effects.

Panning Dly This is a special Delay in which the

delayed sounds move left and right. It is

effective when you are listening in stereo.

(2) Press the [DATA÷ENTER] knob to select the “VALUE”

parameter, then rotate the [DATA÷ENTER] knob to

set the parameter value (see the indications

between brackets).

Note: Seeing that a delay effect usually only works for one

part, we recommend using the dedicated Delay processor for

echo effects. That way, the reverb effect can be used to

“deepen” the sound field.

If you change one of the above parameter values, an

“(E)” appears next to the “TYPE” name to signal that

you are no longer using the presets of the macro in

question.

(2) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter, then rotate the [DATA÷ENTER] knob to

set the Reverb processor’s output volume (0~127).

The important thing to remember here is that the

overall reverb volume depends on three things: the

Send level of the various sections, the output level of

the Reverb processor and the setting of the [REVERB]

knob.

If you then select another TYPE, however, your

changes are lost and replaced by the settings of the

newly selected macro.

Note: Simultaneously press the [UP] and [DOWN] buttons to

recall the factory setting for the currently active parameter.

If one of them is set to “0”, there will be no reverb. If

the Send level of a section (Orchestra, for example) is

set to “0”, only the selected sound will have no

reverb. Other sections (whose Send value is different

from “0”), however, can still be processed by the

Reverb effect. If the LEVEL parameter on this page is

set to “0”, the Reverb processor is effectively off for

all sections.

7.3 Chorus Macro Type

Chorus broadens the spatial

image of the sound, adding

richness. You can choose from 8

types of chorus. The “Macro”

label still does what its name

implies. Be aware, however, that there is no “Character”

parameter on page “7.4”.

7.2 Reverb Parameters

This page contains several

parameters that need to be

selected using the TYPE entry.

Be sure to first select the

parameter you want to change

and then set its value.

Note: You can also copy the Chorus (or even all effects) settings

from another Set. See page 64.

(1) If necessary, press the [DATA÷ENTER] knob to select

the “TYPE” parameter, then rotate the

(1) If necessary, press the [DATA÷ENTER] knob to select

the “TYPE” parameter, then rotate the

[DATA÷ENTER] knob to select an effect type.

The TYPE parameter on this page is a “Macro” func-

tion, i.e. it recalls suitable preset values for all Chorus

parameters on the “7.4 Chorus Parameters” page. In

many instances, editing only the parameters on this

page is enough.

[DATA÷ENTER] knob to select a parameter.

I Character (0~7)—Character only specifies the Reverb

type you need (see the table above). It does not load preset

values for the Pre-LPF~RevPreDlyTm parameters. Selecting

another Character thus does not reset the other parameter

values to their factory settings. A Macro, on the other

hand, calls up a Reverb type and suitable settings for that

effect.

I Pre-LPF (0~7)—A low-pass filter can be applied to the

high-frequency range before the signals coming from the

various sections are processed by the reverb. Higher values

make the Send signals darker, which results in a mellower

reverberation. Note that this parameter only applies to the

signals that are sent to the Reverb processor. It does not

alter the sound of the active sections.

The available options are:

Chorus 1~4 These are conventional Chorus effects

that add spaciousness and depth to the

sound.

FBack Chr

This is a Chorus with a Flanger-like effect

and a soft sound.

Flanger

This is an effect that sounds somewhat

like a jet airplane taking off or landing.

I Time (0~127)—This parameter sets the duration of the

reverb effect. Higher values result in longer reverberation.

I Level (0~127)—This parameter sets the output volume

of the Reverb processor. It is linked to its namesake on the

“7.1 Reverb Macro Type” page. Higher values result in

louder reverberation.

I Dly Fback (0~127)—This parameter is only available

when you set Character to “6” or “7”. It specifies the num-

ber of echoes: higher values result in more repetitions.

Short Delay This is a delay with a short Delay time.

ShortDly FB This is a short delay with many repeats.

Note: Seeing that a delay effect usually only works for one

part, we recommend using the dedicated Delay processor for

echo effects. That way, the chorus effect can be used to widen

the stereo image.

(2) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter, then rotate the [DATA÷ENTER] knob to

set the Chorus processor’s output volume (0~127).

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V-Acc₇o_.4rd_Chio_orn_usr_Parameters

and Reverb effects in series (Chorus before Reverb). If you

do not want the chorus signal to be processed by the

Reverb effect, set this value to “0”.

The important thing to remember here is that the

overall chorus volume depends on three things: the

Send level of the various sections, the output level of

the Chorus processor and the setting of the

[CHORUS] knob.

Level

Chorus

If one of them is set to “0”, there will be no chorus. If

the Send level of a section (the BASS section, for

example) is set to “0”, only that section will have no

chorus. Other sections (whose Send value is different

from “0”), however, can still be processed by the Cho-

rus effect. If the LEVEL parameter on this page is set

to “0”, the Chorus processor is effectively off for all

sections.

Level

Send

Reverb

Delay

Reverb

Send

Delay

Send

Section

Volume

(e.g. Treble)

STEREO OUTPUT

sockets

7.4 Chorus Parameters

This page contains several

parameters that need to be

selected using the TYPE entry.

Be sure to first select the

parameter you want to change

and then set its value.

I Chr®Dly (0~127)—This parameter sets the amount of

chorus sound that is sent to the Delay processor. Higher

values result in more sound being sent. The value “127”

effectively allows you to connect the Chorus and Delay

effects in series (Chorus before Delay). If you do not want

the chorus signal to be processed by the Delay effect, set

this value to “0”.

(1) If necessary, press the [DATA÷ENTER] knob to select

the “TYPE” parameter, then rotate the

Level

Chorus

[DATA÷ENTER] knob to select a parameter.

I Pre-LPF (0~7)—A low-pass filter can be applied to the

high-frequency range before the signals coming from the

various sections are processed by the chorus. Higher values

make the Send signals darker, resulting in a mellower cho-

rus sound. Note that this parameter only applies to the sig-

nals that are sent to the Chorus processor. It does not alter

the sound of the active sections.

I Level (0~127)—This parameter sets the output volume

of the Chorus processor. It is linked to its namesake on the

“7.3 Chorus Macro Type” page. Higher values result in a

more prominent Chorus effect.

I Feedback (0~127)—This parameter sets the level at

which the Chorus sound is re-input (fed back) into the

Chorus. By using Feedback, a denser Chorus sound can be

created. Higher values result in a greater feedback level.

I Delay (0~127)—This parameter sets the delay of the

Chorus effect. Higher values will cause greater deviation in

pitch of the chorus sound.

I Rate (0~127)—This parameter sets the speed (fre-

quency) at which the chorus sound is modulated. Higher

values result in faster modulation.

Chorus

Level

Send

Reverb

Delay

Reverb

Send

Delay

Send

Section

Volume

(e.g. Treble)

STEREO OUTPUT

sockets

(2) Press the [DATA÷ENTER] knob to select the “VALUE”

parameter, then rotate the [DATA÷ENTER] knob to

set the value (see the indications between brackets

above).

If you change one of the above parameter values, an

“(E)” appears next to the “TYPE” name to signal that

you are no longer using the presets of the macro in

question.

If you then select another TYPE, however, your

changes are lost and replaced by the settings of the

newly selected macro.

Note: Simultaneously press the [UP] and [DOWN] buttons to

recall the factory setting for the currently active parameter.

I Depth (0~127)—This parameter sets the depth at which

the chorus sound is modulated. Higher values result in a

more pronounced modulation.

I Chr® Rev (0~127)—This parameter sets the amount of

chorus sound that is sent to the Reverb processor. The

value “127” effectively allows you to connect the Chorus

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FR-7/FR-5 V-Accordion

Editing sounds | SET COMMON parameters

7.5 Delay Macro Type

7.6 Delay Parameters

A delay effect creates echoes. It

This page contains several

parameters that need to be

selected using the TYPE entry.

Be sure to first select the

parameter you want to change

and then set its value.

can also broaden a sound by

adding a slightly delayed copy

to the original sound (a tech-

nique often used for rock-’n’-

roll songs and in Karaoke bars). The “Macro” label still

does what its name implies. Be aware, however, that

there is no “Character” parameter on page “7.6”.

Note: You can also copy the Delay (or even all effects) settings

from another Set. See page 64.

(1) If necessary, press the [DATA÷ENTER] knob to select

the “TYPE” parameter, then rotate the

[DATA÷ENTER] knob to select a parameter.

I Pre-LPF (0~7)—A low-pass filter can be applied to the

high-frequency range before the signals coming from the

various sections are processed by the Delay processor.

Higher values make the Send signals darker, resulting in a

mellower delay sound. Note that this parameter only

applies to the signals that are sent to the Delay processor.

It does not alter the sound of the active sections.

I Level (0~127)—This parameter sets the overall volume

of the three delay lines (center, left and right). Higher val-

ues result in a louder delay effect.

I Time C (0.1~1000)—The Delay effect of the FR-7/FR-5

allows you to set three delay times: center (C), left (L) and

right (R). “Time C” sets the delay time of the Delay located

at the center.

I Time L/R (4%~500%)—These parameters sets the delay

time of the left- or right-channel delay line as a percentage

of the central Delay. The value “100%” means that the left

or right delay repeats at the same speed as the center delay

(see above).

I Level C/L/R (0~127)—These parameters set the volume

of the central, left and right delays individually, allowing

you to create the desired “mix”.

I Feedback (–64~0~+63)—This parameter specifies the

number of times the delay will repeat. If you select “0”, the

delay will not repeat. Higher values result in more repeti-

tions. With negative (–) values, the center delay will be fed

back with inverted phase. This is especially effective for

small “Time C” values.

(1) If necessary, press the [DATA÷ENTER] knob to select

the “TYPE” parameter, then rotate the

[DATA÷ENTER] knob to select an effect type.

The TYPE parameter on this page is a “Macro” func-

tion, i.e. it recalls suitable preset values for all Delay

parameters on the “7.6 Delay Parameters” page. In

many instances, editing only the parameters on this

page is enough.

The available options are:

Delay 1~3 These are conventional Delays. 1, 2 and 3

have progressively longer delay times.

Delay 4

This is an effect with a rather short delay

time (a kind of “slap back” effect).

Pan Delay The repetitions move between left and

1~3

right. This is effective when listening in ste-

reo. 1, 2 and 3 have progressively longer

delay times.

Pan

Delay 4

This is a rather short delay with the echoes

moving between left and right. It is effec-

tive when listening in stereo (a kind of ste-

reo “slap back” effect).

Delay®

Rev

Reverb is added to the Delay sound which

moves between left and right. It is effective

when listening in stereo.

I Dly®Rev (0~127)—This parameter sets the amount of

delay sound that is sent to the Reverb. Higher values mean

that the echoes will be more prominent in the reverb sig-

nal. Be careful not to overdo this effect because it tends to

blur the sound image.

Pan

Repeat

The delay signal moves between the left

and right channels, yet the stereo position

is different from the effects listed above. It

is effective when listening in stereo.

(2) Press the [DATA÷ENTER] knob to select the “LEVEL”

parameter, then rotate the [DATA÷ENTER] knob to

set the Delay processor’s output volume (0~127).

The overall delay volume depends on three things:

the Send level of the various sections, the output

level of the Delay processor and the setting of the

[DELAY] knob.

Level

Chorus

Level

Send

Reverb

Delay

Reverb

Send

Delay

Send

Section

Volume

If one of them is set to “0”, there will be no delay

effect. If the Send level of a section (the Treble sec-

tion, for example) is set to “0”, the sound of that sec-

tion is not repeated. Other sections (whose Send

value is different from “0”), however, can still be pro-

cessed by the Delay effect. If the LEVEL parameter on

this page is set to “0”, the Delay processor is effec-

tively off for all sections. This parameter is connected

to the [DELAY] knob.

(e.g. Treble)

STEREO OUTPUT

sockets

If you change one of the above parameter values, an

“(E)” appears next to the “TYPE” name to signal that

you are no longer using the presets of the macro in

question.

If you then select another TYPE, however, your

changes are lost and replaced by the settings of the

newly selected macro.

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V-Accordion

7.7 Name

• To delete the character indicated by the cursor and

move subsequent characters one position to the left,

select it (example: “Fr.Folk”) and press and hold

[DOWN] (“FrFolk”).

7.7 Name

This function allows you to

name the selected Set (8 char-

acters). It would be a good idea

to use the name of the instru-

ment you “built” using the TRE-

BLE, BASS, FREE BASS, etc., group parameters – or the

name of the Song you wish to use this Set for.

7.8 Master Bar Recall

This parameter allows you to

choose the Treble register (1~

14) that can be activated by

pressing the Master bar. Note

that this is only possible while

the Treble section is in Solo mode (page 25) or while the

Orchestra part is set to “CANCEL”.

(1) Select the character position (indicated by a dark

square) by pressing [UP] (previous character),

[DOWN] (next character) or the [DATA÷ENTER] knob

(next character).

(2) Turn the [DATA÷ENTER] knob to select the desired

character.

• Press [UP] and [DOWN] simultaneously to erase the

currently selected character (it will become a space).

Example: To replace the period (“.”) in “Fr.Folk” with a

space (“Fr Folk”), position the cursor on the “.” and

simultaneously press [UP]/[DOWN].

In all other cases (Dual, High, Low modes), the Master

bar is indeed used to mute the Orchestra part. And in

Solo mode, the first press allows you to return from the

Orchestra (if it’s on) to the Treble section.

7.9 Icon

This parameter allows you to

• To insert insert a space before the currently selected

character and push all subsequent characters one

position to the right, select the character that should

follow the space, then press and hold [UP]. Example:

To insert a space after the “.” in “Fr.Folk” (creating the

name “Fr. Folk”), position the cursor on the second “F”

assign an icon to your Set,

which is displayed above its

name on the Main page. In most

cases, you will probably choose

a picture that somehow illustrates the contents of your

settings, but that is entirely up to you. The FR-7/FR-5

contains 40 preset icons (stored in its internal memory).

and hold down [UP] for a while.

Note: If the name already contains 8 characters (“Bandoneo”),

the last character is erased (example: “Band one”).

SYSTEM parameters

The SYSTEM group contains parameters that are related to all Sets and all sections: they apply to the

FR-7/FR-5 as a whole. See pages 35 and 37 for how to select and adjust the parameters.

Press [UP] and [DOWN] simultaneously to select the value that is indicated as “Default setting”.

(1) Press the [DATA÷ENTER] knob. The display now

Saving your changes

responds with:

Any changes you make can be saved even without

using the WRITE function (see p. 77). To avoid losing

your changes, it would be a good idea to take advan-

tage of the following automatic routine.

Whenever you press [EXIT÷JUMP] after editing a Menu

parameter, the FR-7/FR-5 asks you whether you want

to save your changes:

Note: The GLOBAL page shows all parameters that can be

saved to the Global memory (there is only one such memory):

the Master Tune and Scale Tune parameters of the TUNING

group (the Transpose setting is never saved) as well as the SYS-

TEM and MIDI groups.

(2) Press the [WRITE] button to save your changes. The

display briefly shows a confirmation:

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t, turn

the [DATA÷ENTER] knob to select “NO”, then press the

[DATA÷ENTER] knob.)

To save your changes:

Note: If you selected “NO”, the edited Global settings will be

used until you switch off the FR-7/FR-5 (or change them

again).

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FR-7/FR-5 V-Accordion

Editing sounds | SYSTEM parameters

8.1 LCD Contrast

(1~7, Default setting: 4) The

8.4 Pedal Controller

This page allows you to assign

information in the LCD display

may be difficult to view after

functions to the FBC-7’s foots-

witches. As you will notice

turning on your FR-7/FR-5 or

after extended use. Your view-

ing angle and the current lighting conditions can also

affect the appearance of the display.

below, there are also functions

for remotely controlling exter-

nal instruments, like a DisCover 5M, an arranger mod-

ule or any other sequencer that understands the mes-

sages transmitted by the FBC-7.

In such cases, use this parameter to adjust the contrast.

The smaller the value, the darker the “background”

becomes.

Note: The assignments you program here are only meaningful if

you connect the FR-7/FR-5 to the supplied FBC-7.

(1) If necessary, press the [DATA÷ENTER] knob to select

the “SWITCH” parameter, then rotate the

8.2 Parameter Access

This function was already dis-

[DATA÷ENTER] knob to select the footswitch on the

FBC-7 whose function you wish you define.

cussed on page 18: it allows you

to specify how many MENU

parameters should be accessible.

“Full” mode is ideal for in-depth

programming of your FR-7/FR-5. “Easy” mode appears a

sensible choice for quick adjustments during a concert,

performance, etc.

Note that the FR-7/FR-5 also provides functions you

can set without even entering its MENU structure (see

p. 28). They have the advantage that you do not need

to specify whether or not to save them (so that you

won’t have to keep your audience waiting). If you do

want to save those settings, press the [WRITE] button.

(2) Press the [DATA÷ENTER] knob to select the

“ASSIGN” parameter, then rotate the [DATA÷ENTER]

knob to select one of the following functions:

I Set Up/Set Down—The footswitch allows you to select

the next (Down) or previous (Up) Set memory. After select-

ing Set 01 (or 40), pressing the footswitch again takes you

to Set 40 (or 01). These are the default functions of foots-

witches [1] and [2].

8.3 Bellows Curve

(Fixed Low, Fixed Med, Fixed

High, X-Light, Light, Standard,

Heavy, X-Heavy) This parameter

Note: There is also a function that allows you to assign a spe-

cific Set number to a footswitch (see “Set 1~40” below).

I Regist Up/Regist Dwn—The selected footswitch allows

you to select the next (Down) or previous (Up) Treble regis-

ter. If you combine this with the “2.12 Bass Link” and “2.13

Orchestra Link” parameters, this allows you to reconfigure

almost all sections simply by pressing this footswitch.

Note: There is also a function that allows you to assign a spe-

cific register number to a footswitch (see “Register 1~14”

below).

allows you to specify how the

FR-7/FR-5 should react to the

bellows’ movements. You may remember that there are

several functions that can be controlled via the

strength/speed with which you push or pull the bellows

(2.7 Bellows Detune, 3.6 Bellows Detune, 3.5 Reed

Growl, 4.6 Bellows Detune, 6.3 Bellows Detune).

If you think those parameters do not respond the way

you would like them to, try another curve that better

“translates” your movements.

I Treble Sust—The footswitch can be used to hold the Tre-

ble notes (accordion) transmitted via MIDI whose keys you

are holding down when you press the footswitch. You can

then release the keys – the notes go on sounding until you

release the footswitch. This is for MIDI control only.

I Bass Sust—The footswitch can be used to hold the bass

notes of the Bass section transmitted via MIDI (but not the

chords). This is for MIDI control only.

I Chord Sust—The footswitch can be used to hold the

chord notes of the Bass section transmitted via MIDI (but

not the bass notes). This is for MIDI control only.

I Orch Sust—The footswitch can be used to hold the

Orchestra notes of the Treble section. This also applies to

the note messages transmitted via MIDI. At the same time,

the internal Orchestra notes are held (if that section is on).

I Orch Bs Sust—The footswitch can be used to hold the

Orchestra notes of the Bass section transmitted via MIDI.

This is for MIDI control only.

There are three “Fixed” curves that always use the same

value, no matter how hard or lightly you push/pull the

bellows (no dynamic control). “Low” means that a low

value is used, “Med” represents a medium value and

“High” a high value.

The remaining settings do depend on the strength with

which you push/pull the bellows, but in different ways:

“Light” means that you do not need to push/pull hard

to achieve a meaningful effect. “X-Light” requires even

less strength (the “X” stands for “extra”). “Standard”

refers to a normal response (or so we believe). “Heavy”

provides a greater variety of nuances and “X-Heavy” is

even more detailed. It would be a good idea to select

each curve without the “Fixed” addition, play a few

notes, select the next curve, etc. until you find the

response that feels just right.

I Orch On/Off—The footswitch can be used to switch the

Orchestra Treble section on and off. This has no effect on

the Orchestra’s mode setting, nor can you specify which

Orchestral sound should be used. (You can, however, use

“2.13 Orchestra Link” for that.)

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V-Acc₈o_.5r_Bd_ai_so_{s &}n_Cr_{hord Mode}

I Start/Stop—This setting only makes sense if you connect

the FBC-7’s MIDI OUT socket to the MIDI IN socket of an

external sequencer, arranger module, drum machine or

DisCover 5M. Pressing the footswitch once will cause the

external device to start playback. Obviously, you need to

load the desired song, select a Music Style, etc., before-

hand. Press the footswitch again to stop playback.

I Intro—This setting only makes sense if you connect the

FBC-7’s MIDI OUT socket to the MIDI IN socket of an

arranger module. In this case, the footswitch can be used

to select the “Intro” pattern of the active Music Style.

Note: Arranger instruments of other manufacturers may not

understand this message. If in doubt, see their MIDI implemen-

tation section for details. The MIDI message transmitted by this

footswitch is PC83 (program change) on MIDI channel 10.

the footswitch again, however, nothing happens. You thus

cannot cycle back to the highest level (which is called

“Variation” on older Roland arranger instruments).

Note: Some arranger instruments provide only two accompa-

niment levels.

Note: Arranger instruments of other manufacturers may not

understand this message. The MIDI message transmitted by

this footswitch is PC82 (program change) on MIDI channel 10.

I Ending—This setting only makes sense if you connect

the FBC-7’s MIDI OUT socket to the MIDI IN socket of an

arranger module. The footswitch can be used to select the

“Ending” pattern of the active Music Style.

Note: Arranger instruments of other manufacturers may not

understand this message. If in doubt, see their MIDI implemen-

tation section for details. The MIDI message transmitted by this

footswitch is PC84 (program change) on MIDI channel 10.

I Fill Up—This setting only makes sense if you connect the

FBC-7’s MIDI OUT socket to the MIDI IN socket of an

arranger module. In this case, the footswitch can be used

to select a fill-in pattern of the active Music Style that

selects a more richly orchestrated accompaniment pattern

upon completion.

Depending on the arranger instrument you’re controlling,

you could use this footswitch up to three times to jump to

the most complex level. If you then press the footswitch

again, however, nothing happens. You thus cannot cycle

back to the lowest level (which is called “Original” on older

Roland arranger instruments).

I Set 1~40—The selected footswitch can be used to recall

the specified Set (i.e. the Set whose number you choose).

Consider using “Set Up/Set Down” if you prefer to cycle

through all available Sets.

I Register 1~14—The footswitch can be used to recall the

selected Treble register. That is why you must specify a

number here. Consider using “Regist Up/Regist Dwn” if you

prefer to cycle through all available registers.

8.5 Bass & Chord Mode

(Default setting: 2 Bass Rows)

Note: Some arranger instruments provide only two accompa-

niment levels.

Note: Arranger instruments of other manufacturers may not

understand this message. The MIDI message transmitted by

this footswitch is PC81 (program change) on MIDI channel 10.

This parameter allows you to

specify the number of button

rows for playing bass notes. The

default is 2 bass rows and 4

chord rows. By selecting “3 Bass Rows”, you thus gain

20 bass buttons (an entire row) and lose the “dim”

chord buttons – but that may just be more convenient

for you. See also the illustration below.

Note: The FR-7/FR-5 is supplied with several reference caps

designed to help you locate the bass and chord buttons without

looking at them. See also page 22.

I Fill Down—This setting only makes sense if you connect

the FBC-7’s MIDI OUT socket to the MIDI IN socket of an

arranger module. In this case, the footswitch can be used

to select a fill-in pattern of the active Music Style that

selects a more scarcely orchestrated accompaniment pat-

tern upon completion.

Certain arranger instruments provide four accompaniment

levels, so that you could use this footswitch up to three

times to return to the most fundamental level (please see

the manual of the arranger instrument you’re controlling

to find out how many levels it provides). If you then press

8.5 Bass & Chord Mode

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FR-7/FR-5 V-Accordion

Editing sounds | SYSTEM parameters

8.6 Free Bass Mode

(C3= note number 48)

Note: The note names on the bass buttons correspond to the MIDI note numbers. The note range of the Bass part is 1 octave.

Note: The actual sound range depends on the type of reed and footage.

8.6 Free Bass Mode

8.7 Stereo Width

(Default setting: Minor 3rd) This

parameter allows you to choose

the note system used in Free

Bass mode. We already men-

tioned that there are a vast

number of accordion varieties. The same is true of Free

Bass systems.

(Full, –1~–63, Default setting:

–15) As stated on p. 14, much

care has been taken to provide a

natural stereo image for the

accordion sounds. If you think

the stereo image is too wide for comfort (or if you pre-

fer to set the Pan controls on your mixing console dif-

ferently), you can use this parameter to reduce the ste-

reo image.

Your FR-7/FR-5 contains the most popular ones. Be

aware that the system you select here is only used

when you activate the FR-7/FR-5’s Free Bass mode. It is

of no consequence for the “regular” Bass mode. See the

illustration on the next page for the note assignments.

Note: The FR-7/FR-5 is supplied with several reference caps

designed to help you locate the bass buttons without looking at

them. See also page 22.

“Full” means that the original stereo image is used,

while “–63” corresponds to an extremely narrow stereo

image. All other values represent slight (or increasingly

drastic) reductions of the stereo width.

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V-Accor₈d_.8i_Ao_un_tor_{Power OFF}

• Press the [DATA÷ENTER] knob to select the “ASSIGN”

parameter, then rotate the [DATA÷ENTER] knob to

select the desired setting.

8.8 Auto Power OFF

(Disabled, 10 min, 15 min, 20

min, Default setting: 10 min)

This parameter allows you to

8.10 Startup Name

specify how long the FR-7/FR-5

should wait before deciding that

you won’t be using it for a while. If you have ever

worked with a computer, you may remember that a

similar function is called “sleep”, “energy saver” or the

like.

Here comes a parameter that

may prove invaluable if you reg-

ularly play with other V-Accor-

dion users. It allows you to enter

a short message (your name, for

example) that is displayed each time you switch the

FR-7/FR-5 on. If you also own a cell phone, this param-

eter probably sounds familiar.

Obviously, this is meant to preserve battery power and

so this function only applies when the FR-7/FR-5 is not

connected to the FBC-7. To “wake” the FR-7/FR-5 after

it has fallen asleep, press its [POWER] button. Select

“Disabled” to switch this function off.

See “Entering names” on p. 40 for details. You can enter

up to 8 characters.

Here is what your message

could look like (it is displayed

during 2 seconds each time

the FR-7/FR-5 is switched on):

Note: See p. 32 for how to recharge the battery.

8.9 Startup

This page contains several

parameters that allow you to

specify what the FR-7/FR-5

should do when you switch it

on.

8.11 Orch. Bass Touch

(Off, Low, Medium, High, Bel-

lows, Default setting: Medium)

This parameter allows you to

specify the velocity sensitivity of

the bass buttons. As the name

implies, this setting is only used by the following

Orchestra Bass sounds: “1 Acoustic”, “3 Fingered”,

“4 Fretless”, “5 Picked”, “7 Tuba Mix”.

Be sure to first select the parameter you want to

change and then set its value.

• If necessary, press the [DATA÷ENTER] knob to select

“TYPE”, then rotate the [DATA÷ENTER] knob to choose

the parameter you want to set. The possibilities are:

Parameter

Set

Settings Meaning

Select “Off” if you do not wish to play the selected

sound dynamically. “Low” means that even relatively

light button presses already allow you to play loud

notes. “High” represents the most responsive velocity

curve that requires a considerable amount of strength

for fortissimo notes, but it also provides more expres-

sive options.

Allows you to specify which Set

1~40

should be loaded at power-on.

Allow you to specify which Link

function (see p. 42) should be acti-

vated at power-on: Orchestral Link,

Bass Link, both (both “On”) or nei-

ther (both “Off”).

Orchestral Link On, Off

Bass Link On, Off

“Bellows” means that the selected Orchestra Bass sound

is controlled by the bellows movements – i.e. not the

velocity values generated by the bass buttons.

UTILITY parameters

The UTILITY group contains three kinds of parameters: those that keep you informed (to check the bat-

tery status), several parameters that allow you to copy settings and three parameters for archiving

your settings via MIDI. See pages 35 and 37 for how to select and adjust the parameters.

This message means that the FR-7/

FR-5 is powered by the battery in

its compartment. The battery icon

shows how much power is left.

9.1 Battery Status

The FR-7 comes with a Ni-Mh

battery that allows you to use it

without connecting it to the

supplied FBC-7. The FR-5 pro-

It would be a good idea, however, to stop by this

page before you go on stage or start playing, because

what you see then might just convince you to use the

FBC-7.

vides the same battery compart-

ment as the FR-7, but the battery is an option. (As long

as you do not purchase such a battery, you need to

connect the FR-5 to the supplied FBC-7.)

Note: There is no “EDIT” page here, because there is no parameter

you can set.

This message means that the bat-

tery is being recharged by the

FBC-7. This is not something that is

Depending on how the FR-7/FR-5 is powered, the dis-

play shows one of the following messages:

performed automatically. You need

to connect the FR-7/FR-5’s “TO FBC-7” socket to the

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FR-7/FR-5 V-Accordion

Editing sounds | UTILITY parameters

“TO FR-7/FR-5 V-ACCORDION” socket on the FBC-7

and press the BATTERY CHARGER button (so that it

lights). The battery icon indicates the amount of

energy already available.

9.3 Copy Reverb, 9.4 Copy Chorus, 9.5 Copy Delay

These three parameters allow you to

copy the Reverb, Chorus or Delay set-

tings of another Set to the currently

selected Set. Unlike the “9.2 Copy ALL

Effects” parameter, which copies all

effects settings, these three parame-

ters only import the selected proces-

sor’s settings. That way, you can use

the Reverb settings of Set 1, the Cho-

rus settings of Set 10 and the Delay

settings of Set 28 in Set 5.

When the battery is fully charged, the display briefly

shows a “Recharge Complete” message.

While the FR-7/FR-5 is connected to the FBC-7, the

latter supplies the power to your V-Accordion (the

battery in the FR-7/FR-5’s compartment is therefore

bypassed). However, while the BATTERY CHARGER

button lights, the FR-7/FR-5 cannot be used, because

the FBC-7 “concentrates” on recharging the FR-7/

FR-5’s battery.

(1) After selecting the page that corresponds to the

effects processor whose settings you wish to copy,

press the [DATA÷ENTER] knob until the relevant

page appears:

This message means that the FR-7/

FR-5 contains a battery, which is

not used, because the FR-7/FR-5 is

connected to the FBC-7. The FBC-7

therefore supplies the power to your V-Accordion.

The battery icon nevertheless informs you about the

battery’s current charge.

This message means that the FR-7/

FR-5 contains no battery. It is con-

nected to the FBC-7, however (oth-

erwise you would not be able to

switch it on). In the case of an FR-5 without an

optional battery, this is the only message you’ll ever

see.

(2) Use the [DATA÷ENTER] knob to select the Set whose

effects settings you wish to copy to the current

Set.

9.2 Copy ALL Effects

This parameter allows you to

copy the settings of all three

effects processors from one Set

to another. This may help you

save time, because the effects

processors contain an impressive number of parame-

ters. Careful: there are also parameters that allow you

to copy just the Reverb, Chorus or Delay settings. Do

not use this parameter if you only wish to reuse the

Reverb settings of another Set, for example.

You can also select another memory for “TO” if you

want to copy the settings to another Set than the

one that is currently selected.

(3) Press [MENU÷WRITE] to copy the settings.

The display confirms this operation:

(1) After selecting this page, press the [DATA÷ENTER]

knob until the following page appears:

9.6 Copy SET

This parameter allows you to

copy the settings of one Set to

another Set memory. It copies

everything related to a Set: the

Common parameters (including

the effects) as well as the parameters of the various

sections (Treble, Orchestra, Bass, etc.).

Warning: All settings of the target memory are over-

written. It might be a good idea to archive the target

Set using “9.8 Bulk Dump SET” before proceeding.

(2) Use the [DATA÷ENTER] knob to select the Set whose

effects settings you wish to copy to the current

Set.

You can also select another memory for “TO” if you

want to copy the settings to another Set than the

one that is currently selected.

(1) On the page shown above, press the [DATA÷ENTER]

button.

(3) Press [MENU÷WRITE] to copy the settings.

The display now changes to:

The display confirms this operation:

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_{9.7 Bulk}V_Du-_mA_pc_Ac_Lo_Lr_,d_9.i₈o_Bn_ulkr_{Dump SET}

(2) Press the [DATA÷ENTER] knob to select the “FROM”

parameter, then turn it to select the Set whose set-

tings you wish to copy.

9.9 Restore SET

This function allows you to load

the settings of one of the pre-

programmed Sets into the cur-

rently selected Set memory.

Warning: This command over-

By default, the FR-7/FR-5 selects the number of the

Set you are currently using.

(3) Press the [DATA÷ENTER] knob to select the “TO”

parameter, then turn it to select the Set memory

to which the settings should be copied.

Carefully check whether you have selected the cor-

rect Set memories, then…

writes all settings of the current Set, i.e. the parameters

of the following sections: 2. Treble Edit, 3. Bass Edit, 4.

Free Bass Edit, 5. ORC Bass Edit, 6. Orchestra Edit and 7.

Set Common.

It can come in handy, though, if you want to return to

one of the factory Sets and use it as is or as a starting

point for new edits.

(4) Press [MENU÷WRITE] to copy the settings.

The display confirms this operation:

(1) On the page shown above, press the [DATA÷ENTER]

button.

The display now changes to:

9.7 Bulk Dump ALL, 9.8 Bulk Dump SET

These two functions allows you to transmit all of the

FR-7/FR-5’s settings or just the settings of the currently

selected Set to an external MIDI device (which could be

a second FR-7/FR-5). See page 75 for details.

(2) Rotate the [DATA÷ENTER] knob to select the factory

Set you want to load.

(3) Press [MENU÷WRITE] to load the settings.

The display confirms this operation:

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FR-7/FR-5 V-Accordion

MIDI functions | About MIDI

7. MIDI functions

Your FR-7/FR-5 also transmits and receives MIDI data. In this chapter we’ll look at what MIDI is and does and which MIDI

functions are available on the FR-7/FR-5.

IMPORTANT REMARK: To take advantage of the FR-7/FR-5’s MIDI functions, you must connect it to the supplied FBC-7,

because the FR-7/FR-5 itself has no MIDI sockets.

MIDI OUT

MIDI IN

External MIDI device

About MIDI

Even though your FR-7/FR-5 is already a remarkably

flexible instrument (quite unlike any other accordion

available today), you may also want to use it with other

MIDI-compatible instruments, sequencers and comput-

ers to record your performances in the same way as

keyboard players, drummers, guitarists, etc. have been

doing for a while.

You can also use the FR-7/FR-5 as “master keyboard”,

i.e. an instrument that transmits MIDI messages to a

device (or software program) that can record MIDI mes-

sages. Such a device or program is called a “sequencer”.

To take advantage of the FR-7/FR-5’s MIDI functions,

you must connect the FBC-7 as follows:

MIDI OUT: This socket transmits messages describ-

ing actions (such as playing on a keyboard) to the

MIDI IN jack on the external device. The receiving

MIDI device executes the incoming MIDI messages

and plays notes, selects other sounds, etc.

Another important application for the FR-7/FR-5’s MIDI

functions is controlling an arranger or DisCover 5M

module that supplies the accompaniment. “Arranger

modules” (like the Roland RA-800) use short accompa-

niment patterns that can be selected in realtime and

whose key depends on the note information they

receive. You can select those patterns by assigning the

corresponding MIDI messages to the FBC-7’s foots-

witches (see p. 60), so that you do not have to stand or

sit next to your arranger module.

MIDI IN: This socket receives the MIDI messages

transmitted by an external MIDI device.

MIDI THRU: This socket retransmits the MIDI mes-

sages received via the FBC-7’s MIDI IN port. You can

connect it to the MIDI IN port of an another MIDI

device.

Note: The MIDI THRU port does not transmit the MIDI mes-

sages generated by the FR-7/FR-5. Those messages are only

sent to the FBC-7’s MIDI OUT port.

The DisCover 5M, on the other hand, works with Stan-

dard MIDI Files. By programming Song Chains on the

DisCover 5M, you can prepare your entire set list.

Both module types (and all MIDI-compatible sound

sources) also allow you to use the FR-7/FR-5’s Treble

and Bass keyboards for playing sounds the FR-7/FR-5

does not provide.

MIDI can simultaneously transmit and receive messages

on 16 channels, so that up to 16 instruments (or parts

of a module or synthesizer) can be controlled. Nowa-

days, most instruments –like your FR-7/FR-5– are mul-

titimbral, which means that they can play several musi-

cal parts with different sounds. This requires the use of

several MIDI channels. The FR-7/FR-5, for instance, has

a Treble, a Bass, an Orchestra Treble and an Orchestra

Bass section that can be played simultaneously. They

can transmit and receive on different channels.

This is possible thanks to a common language for musi-

cal applications, which is called “Musical Instrument

Digital Interface” or “MIDI” for short. MIDI has a lot in

common with the internet: you can link one or several

instruments to one another via a cable (but you don’t

need a telephone line).

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_{Working with a sequen}V_ce-_rA_anc_dc_oo_tr_hd_erio_ton_ner_generators

The FR-7/FR-5’s sections use the following MIDI chan-

nels:

When you play on the FR-7/FR-5’s keyboards, it sends

MIDI data to the FBC-7’s MIDI OUT socket. That socket

must be connected to the sequencer’s MIDI IN port.

MIDI data always go from OUT to IN:

Part

Channel

Treble

Bass/Free Bass

Chord

External sequencer

MIDI IN

MIDI OUT

Orchestra (Treble)

Orchestra Bass

Basic channel (for selecting Sets)

(FBC-7)

FR-7/FR-5’s tone

generator

MIDI OUT

As you see, there are separate channels for the chord

and bass buttons, even though they both belong to the

Bass section. That separation may look distracting at

first, but it actually makes sense. It allows you to use

the bass buttons for controlling an external bass sound,

while the chord buttons could control a piano sound,

for example. If they used the same MIDI channel, the

bass line would have to be played by a piano or the

chords would be played by a bass sound (unless you

own a MIDI instrument that allows you to program

note ranges for incoming MIDI messages).

If the FR-7/FR-5 is used as tone generator for an exter-

nal sequencer, you must connect the sequencer’s MIDI

OUT socket to the FBC-7’s MIDI IN port (because MIDI

data always go from OUT to IN).

Though you can also play the FR-7/FR-5 from another

MIDI instrument, we do not really recommend doing so,

because your V-Accordion has far more versatile per-

formance functions than any other MIDI controller

available today: the FR-7/FR-5 translates all known

accordion techniques and physical effects into MIDI

messages to precisely reproduce the natural behavior of

an acoustic accordion. Conversely, it might be interest-

ing to try out the FR-7/FR-5 with a Roland Fantom-XR

module (or a DisCover 5M), because the FR-7/FR-5’s

countless expressive “gizmos” are bound to further

enhance the stunning realism of the module’s sounds.

Working with a sequencer and other tone

generators

The FR-7/FR-5 can be used as “input device” for record-

ing your music. In the case of a keyboard instrument,

such a device is usually called a “master keyboard”. For

other kinds of MIDI input sources, the term “controller”

is used. There are actually two kinds of master key-

boards: those that only transmit MIDI data and contain

no tone generator, and those that can also be used for

playing back music (synthesizers, digital pianos, organs,

etc.).

If you use the FR-7/FR-5 as a MIDI controller while

recording a sequence, all actions you perform on the

FR-7/FR-5 (including the bellows pressure strength) are

included in the recorded part. They can therefore be

sent back to the FR-7/FR-5 (by the sequencer) – and

then, all expression details are preserved. Be aware,

however, that you also need a versatile sound source

(like the FR-7/FR-5’s) to use the recorded MIDI events

to their full potential.

Sequencers do not record the audio of the notes you

play. They only register “events” whose position and

distance specify when the notes are to be played. The

sequencer as such usually cannot sound what you

record – you need an instrument with a tone generator

for that. A sequencer must therefore be connected to

an electronic sound source, like your FR-7/FR-5, for

example.

A “sequencer” can also be a software program running

on a computer. Most computers do not have MIDI sock-

ets to which you can connect the FBC-7’s MIDI IN and

OUT sockets. You therefore also need one of the follow-

ing:

The FR-7/FR-5 can be used for two things: to “input”

new parts (i.e. MIDI events) and to play them back.

• A sound card with a joystick port to which you can

connect MIDI cables;

• A card called a “MIDI interface” that is installed in

your computer;

• An external device to which you connect the MIDI

cables coming from the FBC-7 at one end and whose

other end is connected to the computer’s USB port

(companies like Edirol, www.edirol.com, offer several

models with a varying number of inputs and out-

puts).

You also need a software program that allows you to

record and play back your music. Such programs are

available from companies like Cakewalk. Please ask your

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FR-7/FR-5 V-Accordion

MIDI functions | About MIDI

Roland dealer for details. And finally, you may need to

install applications called “drivers” on your computer to

ensure that it can talk and listen to the MIDI interface.

Final note regarding sequencers

If you use the FR-7/FR-5 as MIDI controller for record-

ing new songs, there is one more thing you need to be

aware of. Always ask yourself which MIDI sound source

should play back the part you are recording.

• If the FR-7/FR-5’s tone generator is not used for the

part you are recording, you need to connect the

external module’s MIDI IN socket to the sequencer’s

MIDI OUT port and activate the sequencer’s “MIDI

Soft Thru” function:

MIDI IN

External module

External sequencer

MIDI IN

MIDI OUT

FR-7/FR-5’s tone

generator

(FBC-7)

MIDI OUT

Note that this is only necessary for recording new

material. You do not have to worry about them dur-

ing playback.

The FR-7/FR-5, for its part can only either transmit

MIDI messages or receive them (but not both simul-

taneously). There is thus nothing special you need to

do and that needs to be changed back later. It only

receives messages if the “Ext” function is on (see

page 70).

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V-Ac_Gc_lo_obr_ad_li_Mo_In_DIr_parameters

Global MIDI parameters

The parameters discussed here are part of a separate mode (called “MIDI”). Their settings, however, are saved to the FR-7/

FR-5’s Global memory (there is no separate MIDI memory). Let us first look at the parameters that apply to all Sets. See

page 72 for the parameters that can be set for each section individually and saved to a Set.

(1) Press and hold the [EXIT÷JUMP] button until the

MIDI channel numbers (10.1 RealTime RX-TX)

The table on page 67 specifies the default MIDI channel

assignments the FR-7/FR-5 uses. Those choices are

based on how most accordion players prefer (or are

allowed) to use their instrument. You can, however,

change the MIDI channel assignments. An obvious can-

didate for such a change would be the Treble section if

you want it to conform to a generally accepted (i.e.

standardized) usage, whereby the melody part trans-

mits on MIDI channel 4.

display looks as follows:

There is indeed a format called “General MIDI” that

requires you to use MIDI channel 4 for the melody.

General MIDI-compatible musical instruments use that

channel for the most important part of a song, so it

may be a good idea to assign it to the Treble section.

The table on page 67 states that channel 4 is already

used by the (Treble) ORCHESTRA section. That is not

really a problem as long as you don’t use that section. If

you use it alongside the Treble section, changing the

Treble’s MIDI channel to 4 would mean that both sec-

tions transmit on the same MIDI channel. And that

would be a problem – or rather one of two problems:

(2) Press register [10] to specify the function group.

The MIDI channels can be set via a parameter of the

“10. MIDI” group, which is why you need to select

that group.

(3) Press register [1] to select the following page:

• In Dual mode (page 25), each note you played would

be transmitted twice and recorded like that (or

played back by the external tone generator).

• In High or Low mode, the “accompaniment” and “solo

line” would control the same sound on an external

module, which may not correspond to what you had

in mind.

In such cases, either assign a different MIDI channel to

the ORCHESTRA section – or select “Off” (no transmis-

sion).

(4) Press the [DATA÷ENTER] knob to select “PART” (left

entry), then turn it to select the part whose MIDI

channel you want to set.

The entries you can select are: “Treble”, “Orchestra”,

“Bass/Free”, “Chord”, “OrcBass” and “Basic Ch”.

The “Basic Ch” (default setting “13”) can be used for

selecting Sets from an external MIDI device (using

program change numbers 1~40). If your external

source sends Bank Select messages along with the

program change number, CC00 and CC32 must both

be set to “0”.

Note that such changes are only necessary when you

want to add the sound of an external tone generator to

the Treble section’s accordion sound. If you are working

with an arranger module or DisCover 5M whose sole

function is to provide an accompaniment, you may

have to select “Off” for all of the FR-7/FR-5’s sections.

And even that is only necessary if you use the FBC-7’s

switches to remotely control the external instrument

(page 60) and therefore connected the FBC-7’s MIDI

OUT socket to the module’s MIDI IN port.

(5) Press the [DATA÷ENTER] knob to select “CHANNEL”

(right entry), then turn it to select a MIDI channel.

The options are: “Off” and 1~16. Select “Off” if the

part in question should neither receive nor transmit

MIDI data.

Though it is perfectly possible to assign the same

MIDI channel to several sections, the result is usually

disappointing and may lead to a lot of confusion.

Also bear in mind that the channel assignments set

here apply both to the transmission (“TX”) and

reception (“RX”) of MIDI data.

And finally: in DUAL, HIGH and LOW modes (page 25),

the Treble keyboard transmits on two channels simulta-

neously – the Treble and Orchestra channels. If you add

the Orchestra Bass part to the Bass or Free Bass section,

the same applies to the bass notes. As stated earlier, the

chord buttons of the Bass keyboard use a separate MIDI

channel.

(6) If necessary, repeat steps (4) and (5) to assign dif-

ferent MIDI channels to the remaining parts.

(7) Press [EXIT÷JUMP] to return to the Main page.

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FR-7/FR-5 V-Accordion

MIDI functions | Global MIDI parameters

The FR-7/FR-5 now asks you whether you want to

save your changes:

(1) Press and hold the [EXIT÷JUMP] button until the

display looks as follows:

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t,

turn the [DATA÷ENTER] knob to select “NO”, then

press the [DATA÷ENTER] knob.)

Note: By performing the following steps, you also save other

settings you may have changed without saving them. This

MIDI parameter indeed belongs to the “Global” group.

(8) Press the [DATA÷ENTER] knob. The display now

(2) Press register [10] to specify the function group.

The “Ext. Seq. Playback” parameters can be set via a

parameter of the “10. MIDI” group, which is why you

need to select that group.

responds with:

(3) Press register [2] to select the following page:

(9) Press the [WRITE] button to save your changes. The

display briefly shows a confirmation:

(4) Press the [DATA÷ENTER] knob to select “PART” (left

entry), then turn it to select the part whose setting

you want to change.

The parts you can select here are: “Treble”, “Orches-

tra” (Treble keyboard) and “Bass-Chord”.

Note: If you selected “NO”, the edited Global settings will be

used until you switch off the FR-7/FR-5 (or change them

again).

(5) Press the [DATA÷ENTER] knob to select “VALUE”

(right entry), then turn it to select “On” (disconnect

the part from the internal tone generator and MIDI

OUT socket) or “Off” (normal operation).

A part you disconnect from its keyboard and the MIDI

OUT socket is flagged as “EXT. MIDI” on the Main

page:

Preventing sections from sending MIDI data

(10.2 Ext. Seq. Playback)

There may be situations where you use a MIDI sequence

as accompaniment for your accordion solo. If such a

sequence already contains the bass part (for example),

you may not want to play it again, yet not doing any-

thing with your left hand may feel a little strange. By

selecting “On” for a section, you switch off its connec-

tion with the internal tone generator and to the

FBC-7’s MIDI OUT port. The section therefore no longer

transmits data (which would allow you to pretend you

are playing while you’re not). But it now receives MIDI

data from a sequencer or other instrument you connect

to the FBC-7’s MIDI IN port.

(In this example, all sections are disconnected from

the FR-7/FR-5’s tone generator, which is probably a

highly unlikely configuration.)

(6) Press [EXIT÷JUMP] to return to the Main page.

The FR-7/FR-5 now asks you whether you want to

save your changes:

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t,

turn the [DATA÷ENTER] knob to select “NO”, then

press the [DATA÷ENTER] knob.)

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V-Accordion r

Solving MIDI buffer problems

Note: By performing the following steps, you also save other

settings you may have changed without saving them. This

MIDI parameter indeed belongs to the “Global” group.

(3) Press register [3] to select the following page:

(7) Press the [DATA÷ENTER] knob. The display now

responds with:

(4) Rotate the [DATA÷ENTER] knob to select “High”

(high resolution), “Medium”, or “Low” (low resolu-

tion).

(5) Press [EXIT÷JUMP] to return to the Main page.

The FR-7/FR-5 now asks you whether you want to

save your changes:

(8) Press the [WRITE] button to save your changes. The

display briefly shows a confirmation:

Note: If you selected “NO”, the edited Global settings will be

used until you switch off the FR-7/FR-5 (or change them

again).

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t,

turn the [DATA÷ENTER] knob to select “NO”, then

press the [DATA÷ENTER] knob.)

Note: By performing the following steps, you also save other

settings you may have changed without saving them. This

MIDI parameter indeed belongs to the “Global” group.

Solving MIDI buffer problems

(10.3 Bellows TX Resolution)

This parameter allows you to specify how many data

the FR-7/FR-5’s bellows may transmit for expression

purposes (see also “Expression” on p. 74). As long as the

external sequencer you work with does not display a

“MIDI buffer overflow” message, you can leave its set-

ting at “High”. If, however, the bellows’ data amount is

too much for the receiving sequencer (because such

data are transmitted on five channels simultaneously),

select a different setting. In that case, the amount of

data will be reduced. This leads to a coarser resolution,

and maybe even audible steps, but at least, your

sequencer will be able to record the data. If “Medium”

still generates too many data, select “Low”.

(6) Press the [DATA÷ENTER] knob. The display now

responds with:

(7) Press the [WRITE] button to save your changes. The

display briefly shows a confirmation:

“TX” means that this parameter only applies to data

sent by the FR-7/FR-5. It’s own MIDI buffer is big

enough to receive high-resolution data.

(1) Press and hold the [EXIT÷JUMP] button until the

Note: If you selected “NO”, the edited Global settings will be

used until you switch off the FR-7/FR-5 (or change them

again).

display looks as follows:

(2) Press register [10] to specify the function group.

The “Ext. Seq. Playback” parameters can be set via a

parameter of the “10. MIDI” group, which is why you

need to select that group.

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FR-7/FR-5 V-Accordion

MIDI functions | MIDI parameters for the various sections/parts

MIDI parameters for the various sections/parts

The MIDI parameters discussed below belong to separate groups and are saved for the corresponding sections. This

means that each Set can use different MIDI settings and thus control external MIDI devices in various ways. If you are

serious about using the FR-7/FR-5’s MIDI potential, carefully read the following before editing the available parameters.

(3) Press the [DATA÷ENTER] knob to select “MESSAGE”

(left entry), then turn it to select the parameter

you want to set.

Important remarks

The parameters discussed below apply to the transmis-

sion of MIDI data (“TX”) and therefore only to MIDI

messages that are generated when you yourself play on

the FR-7/FR-5.

The parameters are explained below.

(4) Press the [DATA÷ENTER] knob to select “VALUE”

(right entry), then turn it to set the desired value.

(Press [DATA÷ENTER] again, select another parame-

ter and edit its value.)

Furthermore, these messages are only transmitted by

sections whose “10.2 Ext. Seq. Playback” parameter is

set to “Off” (see above).

(5) Press [EXIT÷JUMP] to return to the Main page.

The FR-7/FR-5 now asks you whether you want to

save your changes:

Bear in mind that the MIDI messages discussed below

are only executed by an external tone generator if its

MIDI receive (“RX”) channel is set to the number you

assigned to the section in question (page 69).

Sections

The parameters discussed here are available in the fol-

lowing sections: Treble, Bass (and Chord, which is con-

sidered a separate section on the MIDI level), Free Bass,

Orchestra and Orchestra Bass.

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t,

turn the [DATA÷ENTER] knob to select “NO”, then

press the [DATA÷ENTER] knob.)

The reason why they are included in the section param-

eters rather than the MIDI group is that the MIDI group

applies to the entire FR-7/FR-5 (all sections, all Sets),

while the parameters below can vary from Set to Set. If

you combine this functionality with the “9.6 Copy SET”

function (page 64), you can change the way external

MIDI devices are controlled simply by selecting another

Set – and still use exactly the same internal sounds:

after setting the various section parameters (and saving

them), copy the Set to a different memory and only

change the MIDI parameters.

(6) Press the [DATA÷ENTER] knob.

(7) Press the [WRITE] button to save your changes. The

display briefly shows a confirmation:

Note: If you selected “NO”, your changes will be used until you

switch off the FR-7/FR-5, select another Register or change

them again.

Procedure for setting these parameters

To access the parameters discussed below, proceed as

follows:

Parameters

(1) Select the parameter group of the section you wish

to edit.

Here are the MIDI parameters that can be set for each

only apply to MIDI messages the FR-7/FR-5 sends to

external devices. Do not forget to select the register

whose MIDI parameters you wish to edit before actu-

ally changing them.

Either press the [MENU÷WRITE] button and select the

parameter group with the [DATA÷ENTER] knob or use

the JUMP TO function (press and hold the

[EXIT÷JUMP] button, then enter the parameter

address using the Treble registers, see p. 35).

INote

(2) Select the parameter.

(On, Off, Default setting: On) The MIDI standard

translates almost all actions performed on a musical

instrument into commands that can be sent to

another instrument. The result of such a transmission

is that your actions are either recorded by a

sequencer or faithfully replicated by the receiving

instrument.

(If you used the JUMP TO function above, the param-

eter is already selected.) Press the [MENU÷WRITE]

button and select the parameter with the

[DATA÷ENTER] knob.

The following are MIDI functions:

2.14 Treble MIDI TX

3.10 Bass MIDI TX

The most fundamental information that travels

across a MIDI cable is related to the notes you are

playing. That information is conveyed using so-called

Note-on messages. (Each note has a unique MIDI

number.)

3.11 Chord MIDI TX

4.10 Free Bass MIDI TX

5.7 Orc Bass MIDI TX

6.8 Orchestra MIDI TX

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V-Accordion

Parameters

Set this parameter to “Off” if the external instrument

should not double the notes you are playing on the

Treble or Bass keyboard.

Transmitting only Bank Select messages does nothing

at all, while working only with program change mes-

sages means that you are limited to the 128 memo-

ries of the currently active memory bank.

IOctave

To switch banks and select a memory on the external

module you need to transmit:

(–3~0~3) Here is a parameter that allows you to

transpose the Note-on messages transmitted by the

section in question (if “Note” is set to “On”) up to

three octaves up or down.

• A value for control change CC00 (MSB)

• A value for control number CC32 (LSB)

• A program change number

See the manual of the receiving MIDI instrument for

the MSB and LSB values it supports.

This can be used for songs where an accordion regis-

ter of the Treble section (for example) should be dou-

bled by a piccolo flute played by an external module

whose notes would be far too low if they were used

as is. As stated above, each MIDI note has a unique

number. This parameter allows you to add (or sub-

tract) 12 (“1” octave), 24 (“2” octaves) or 36 (“3”

octaves) to (from) the note numbers generated by

your playing.

Be aware that this system allows you to send pro-

gram change numbers to an external instrument that

lie outside the range of the FR-7/FR-5’s registers (1~

14 for Treble, 1~7 for Bass/Free Bass/Orch. Bass, 1~22

for Orchestra). Such “excess” program numbers are

ignored by the FR-7/FR-5 when you transmit them

back (from a sequencer, for example). Example: if you

select PC= 49 and transmit that value to a sequencer

(to select a strings sound on an external module, for

instance), the external module behaves as you expect

when the sequencer track transmits that value. If you

then decide to use the FR-7/FR-5’s ORCHESTRA sec-

tion for your string part, that section will not switch

sounds (because it only recognizes program numbers

1~22).

Another application for this parameter could be to

use the bass notes you play on the FR-7/FR-5 both as

(accordion) bass and counter-melody played by a

digital piano, for example. In this case, you probably

need to transpose the Bass register 3 octaves up.

ICC00, CC32, PC

(Off, 0~127 for CC00 & CC32; Off, 1~128 for PC)

Here are three messages that belong together. The

“oldest” message is called “program change” or “PC”

for short. It has been around since the inception of

the MIDI standard. It is used to select sounds or

memories on the receiving instrument simply by

recalling another sound (or memory) on the trans-

mitting instrument.

Note: If PC is set to “Off”, the CC00 and CC32 values are not

transmitted (CC00/CC32 must always be followed by a pro-

gram change number).

IVolume

(Off, 0~127, Default: 100) This parameter allows you

to specify the volume value (CC07) to be transmitted

by the register whenever you select it while playing.

That way, the MIDI instrument you are controlling is

automatically set to the desired level. Remember that

selecting “0” silences the receiving MIDI instrument.

Select “Off” if the register should not transmit this

message. Note that the FR-7/FR-5 does not execute

this message if it is returned to the FR-7/FR-5 via the

external device’s “Soft Thru” function.

What you set here is transmitted to the FBC-7’s MIDI

OUT port whenever you select the register you are

currently editing. (You can set separate addresses for

each register.) This allows you to cause an external

module to select the sounds that match the accor-

dion, etc., sounds you defined.

Select “Off” if a register should not send CC00, CC32

and/or PC messages.

Why are there three messages? When the MIDI stan-

dard was developed, some 20 years ago, 128 memo-

ries seemed a lot, which is why it was decided to use

a dedicated message type (program change) for

selecting memories on an external device.

IPanpot

(Off, 0~127, Default: 64) This parameter allows you

to specify the Pan value (CC10) to be transmitted by

the register whenever you select it while playing.

That way, the MIDI instrument you are controlling

automatically selects the desired stereo position. “0”

correspond to hard left, “64” to dead center, and

“127” to hard right. Note that the FR-7/FR-5 does not

execute this message if it is returned to the FR-7/

FR-5 via the external device’s “Soft Thru” function.

Select “Off” if the register should not transmit this

message.

The entire MIDI standard evolves around the magic

number “128”. Given that there is no way of expand-

ing that number, so-called Bank Select messages

were later added to accommodate the growing num-

ber of memories (modules with more than 2,000

sounds are quite common these days).

At the time, neither CC00, nor CC32 had dedicated

functions and so these two control change messages

were picked for bank selection.

IReverb

(Off, 0~127, Default: 40) This parameter allows you

to specify the Reverb Send Level value (CC91) to be

transmitted by the register part whenever you select

it. Selecting “0” will set the receiving MIDI instrument

Two bank addresses (“MSB” and “LSB”) with 128 pos-

sibilities each, plus 128 Program Change numbers

provide 128 x 128 x 128 values= 2,097,152 possible

memories.

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FR-7/FR-5 V-Accordion

MIDI functions | MIDI parameters for the various sections/parts

to “dry” (no Reverb), while “127” represents the maxi-

mum Reverb Send level. Select “Off” if the register

should not transmit this message.

Note: If there is no audible change, you may have to check the

Reverb effect settings on the receiving MIDI instrument.

Note: Not all MIDI instruments have a reverb effect and even

if they do, they may not support this control change number

(this is especially true of older instruments).

This effect can be translated into a MIDI message

most external instruments understand. The MIDI

standard provides a message (“control change”) for

remotely controlling the volume of an external

instrument: CC11. It is chiefly used for expression

purposes (similar to the way in which a guitarist or

organ player uses a volume pedal).

If you want to use the bellows for expressive pur-

poses, set this parameter to “Bellows”.

IChorus

(Off, 0~127, Default: 0) This parameter allows you to

specify the Chorus Send Level value (CC93) to be

transmitted by the register whenever you select it.

“0” will set the receiving MIDI instrument to “dry” (no

Chorus), while “127” represents the maximum Chorus

Send level. Select “Off” if the register should not

transmit this message.

Note: If there is no audible change, you may have to check the

Chorus effect settings on the receiving MIDI instrument.

Note: Not all MIDI instruments have a chorus effect and even

if they do, they may not support this control change number

(this is especially true of older instruments).

If you don’t (because the external instrument is too

sensitive and therefore changes its volume too

often), select “Off”.

If you purchased an optional EV-5 expression pedal,

which you connected to the FBC-7’s EXPRESSION

PEDAL socket, you can also control the relative vol-

ume by foot. In that case, set this parameter to

“Pedal”.

IAfterT (only for the Treble and Orchestra sec-

tions)

The Treble keyboard also generates aftertouch mes-

sages. Aftertouch is usually used for temporary

changes to a sound’s volume, timbre or pitch (this

needs to be set on the receiving instrument). Used

right, it can be a very powerful expressive tool.

IVelocity

(On, 1~127) Your FR-7/FR-5 is velocity sensitive. That

is a very learned term for the fact that the volume

and brightness of the notes you play on the Treble or

button keyboard depend on how hard (or fast) you

press the keys/buttons. The accordion sounds do not

respond to these playing dynamics, but the Orchestra

(Treble and Bass) sounds do and so do most MIDI-

compatible sound modules.

The downside is, however, that aftertouch messages

usually represent a massive amount of data, which

makes it a lot harder to find the MIDI messages you

want to edit on an external sequencer, not to men-

tion the fact that your song files become a lot

heavier than they need to be.

Even though the MIDI standard recognizes 128 dif-

ferent velocity values, only 127 can actually be used

for expression purposes. That explains why the set-

ting range is 1~127. Value “0” is usually used to sig-

nal the end of a note (i.e. when you release a key or

button).

Besides, many sounds/parts on external MIDI instru-

ments are set to ignore these messages by default, so

that you would end up sending a lot of information

for nothing. That is why we recommend setting this

parameter to “Off” and only select “On” if you really

mean to take advantage of the Treble keyboard’s

aftertouch capability.

This parameter allows you to specify whether the

velocity values corresponding to the strength with

which you press a key/button should be transmitted

(“On”) or whether your playing dynamics should not

be translated as such. In the latter case, you need to

select a value (1~127) that will be applied to all notes

that are transmitted via MIDI. “64” is still relatively

soft, so even lower values are probably not what you

want in most cases. Fixed velocity values can be use-

ful for playing organ sounds on an external module.

Note that the setting you select here has no effect

when the “Note” parameter is set to “Off”, because

note numbers are always transmitted along with a

velocity value (any value different from “0” also

means “start playing this note”). Sending only a

velocity value without specifying the note to which it

applies doesn’t make sense.

IExpression

(Off, Bellows, Pedal) You probably know that the

strength/speed with which the bellows is pressed or

pulled influences the sound – which corresponds to

an acoustic accordion’s response.

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V-Accordion r

Archiving your settings via MIDI (Bulk Dump)

MIDI can also be used for transmitting parameter and memory settings from the FR-7/FR-5 to an external MIDI device

and back.

(8) On the FR-7/FR-5, press and hold the [EXIT÷JUMP]

Archiving your settings with a sequencer

button, then press register [9].

The Bulk Dump parameters allow you to transmit the

contents of one or all Set memories to a second FR-7 or

FR-5, an external sequencer, computer or data filer.

Sending these data to other instruments (a digital

piano, synthesizer, etc.) does nothing at all. That’s

because the setting data are special MIDI messages only

one model (or model family) understands. They are

called “system exclusive messages” – or “SysEx” for

short. By transmitting them to a second FR-7/FR-5,

however, you can “copy” the settings of your V-Accor-

dion to that of a friend, colleague or student.

Depending on whether you want to archive all Sets

or just the settings of one Set, either press register [7]

(9.7 Bulk Dump ALL) or [8] (9.8 Bulk Dump SET). The

display now responds with:

Even a sequencer or data filer does not know what the

messages mean and so does not use them in any way. It

merely records them. Afterwards, you only need to start

playback on your sequencer or data filer to transmit the

settings back to the FR-7/FR-5.

–OR–

Before going on tour, etc., select “ALL” to make a

backup copy of your Sets. Select “SET” to transmit

only the settings that are actually needed for the

song in question. This transmits the settings of the

Set you are currently using.

(1) Connect the FBC-7’s MIDI OUT socket to the

sequencer’s/computer’s MIDI IN socket.

See page 66 for a connection diagram. Obviously, you

also need to connect the FR-7/FR-5 to the FBC-7.

Note: Your computer needs to be equipped with (or connected

(9) Start recording on your sequencer/computer.

Wait until the count-in (one or two measures) is fin-

ished, then…

to) an appropriate MIDI interface.

(2) If you are working with a computer, launch the

sequencer program.

(3) Create or select an empty song.

(10)Press [MENU÷WRITE] on the FR-7/FR-5 to start the

transmission of the bulk data.

The display now responds with:

(4) Create (or select) an empty track.

The track’s MIDI channel is of no importance here.

You need to ensure, however, that the sequencer/

program accepts SysEx data. If necessary, switch off

the MIDI filter in question (see the manual of your

sequencer or software).

–OR–

(5) Switch off the sequencer’s MIDI Echo (or Soft Thru)

function.

Press [EXIT÷JUMP] if you do not want to transmit your

settings after all.

If that’s too tedious, disconnect the MIDI cable from

the sequencer’s/computer’s MIDI OUT socket. This is

to ensure that the sequencer doesn’t transmit the

SysEx data back to the FR-7/FR-5 right away, which

might cause problems.

(11)Wait until the following message appears, then

stop recording on your sequencer.

(6) Activate the record-ready mode of the track you

selected/created.

Note: It would be wise not to change the tempo on your

sequencer/in the software. By default, most sequencers/pro-

grams use the tempo value ꢀ = 120. Leave it that way (or else

do whatever is necessary to ensure that the new tempo value

is stored along with the data).

(12)Name the “song” (it may only contain data so far)

and save it to hard or floppy disk.

To transmit the settings back to the FR-7/FR-5 at a

later stage, see below.

(7) If you want to archive the settings of just one Set

(9.8 Bulk Dump SET), select it on the FR-7/FR-5

using the SET [√][®] buttons.

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FR-7/FR-5 V-Accordion

MIDI functions | Archiving your settings via MIDI (Bulk Dump)

sound (and MIDI) settings received from the com-

puter, but they will be “forgotten” when you switch

the FR-7/FR-5 off or select another Set.

Sending Bulk data (back) to the FR-7/FR-5

The FR-7/FR-5 not only sends SysEx data to external

devices (see above), it also receives them. In fact, the

FR-7/FR-5 accepts several kinds of Bulk data:

“YES” is selected by default. If you want to save your

changes, proceed as described below. (If you don’t,

turn the [DATA÷ENTER] knob to select “NO”, then

press the [DATA÷ENTER] knob.)

• Entire Sets that overwrite the contents of all internal

Set memories. If you don’t want to lose the settings

that currently reside in the FR-7/FR-5’s internal

memories, archive them first using the procedure

described on page 75.

To save the Set data:

• One Set: in this case, you can choose where to save

the received Set data.

(7) Press the [DATA÷ENTER] knob. The display now

responds with:

(1) Connect the FBC-7’s MIDI IN socket to the

sequencer’s/computer’s MIDI OUT socket.

See page 66 for a connection diagram. Obviously, you

also need to connect the FR-7/FR-5 to the FBC-7.

Note: Your computer needs to be equipped with (or connected

to) an appropriate MIDI interface.

(8) Rotate the [DATA÷ENTER] knob to select the target

memory for the received Set (1~40).

(2) If you are working with a computer, launch the

sequencer program.

(3) Load the song that contains the data you want to

transmit.

Be aware that the data in the memory you select

here will be overwritten.

(9) Press the [WRITE] button to save your changes. The

display briefly shows a confirmation:

(4) On your sequencer, perform all necessary actions

to ensure that it transmits SysEx data.

See its manual for details.

Note: If you are about to transmit a group of 40 Sets (“ALL”) to

the FR-7/FR-5, ask yourself whether you have archived the Set

data that currently reside in the internal memories or whether

it is OK to overwrite them. Be aware that by proceeding with

an “ALL DATA” file, you replace all internal settings.

In some cases, the display may show the following

message. It means that the SysEx data were incom-

plete or that the checksum was missing or wrong.

(5) Start playback of the data file or song on your

sequencer, etc.

The display now responds with:

–OR–

Press [EXIT÷JUMP] to return to the Main page, reduce

the speed at which the data are transmitted by your

sequencer, and try again. If that does not help, check

the data file you are transmitting.

Note: When transmitting an “ALL DATA” file to the FR-7/FR-5,

wait until the “WRITE COMPLETE” message appears before

stopping playback on your sequencer. Failure to do so will ren-

der your FR-7/FR-5 inoperable. If that happens, you need to

initialize it (see “Restoring the factory defaults” on p. 78).

(6) Stop playback of your sequencer.

If you transmitted one Set to the FR-7/FR-5, the dis-

play now responds with:

This message means that the corresponding data cur-

rently reside in the FR-7/FR-5’s temporary memory

but that you need to save them if the FR-7/FR-5

should remember them. A Set received in this way

can be used until you select another (internal) Set.

If you think you’ll need the Set at a later stage, be

sure to save it. If you only need it temporarily, you

can select “NO”. The FR-7/FR-5 will then use the

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V-Ac_Mco_iscr_ed_lli_ao_nen_our_{s functions}

8. Miscellaneous functions

Saving settings using the WRITE function

While editing the MENU functions, you are usually asked whether you want to save the changes you have just made. You

may remember that you also have the option (“NO”) to ignore that message, which may be useful if you are not sure yet

whether the new version is actually better than the previous one.

Note: To save the Global settings, skip to step (7), for the

Orchestra, Orchestra Bass and Set Common parameters, skip to

Important remarks

step (6).

• The WRITE function on the display page shown below

only applies to the registers that you are cur-

rently using. If you decided not to save the settings

of the last Treble register you edited (for example), do

not select another Treble register until you have

made up your mind. Otherwise, your changes are lost

(in which case the “Treble” field on the “WRITE” page

shown below no longer has an “E” flag).

In other words: you cannot edit register [1], not save

it, then edit register [2], not save it, etc. In this exam-

ple, the changes made to register [1] are lost as soon

as you select register [2] (i.e. even before actually start

editing it).

(2) Rotate the [DATA÷ENTER] knob to select the section

whose settings you want to save.

The possibilities are:

I Global—The 1. Tuning, 8. System and 10. MIDI settings.

I Treble—The settings of the selected Treble register, i.e.

the 2. Treble Edit group.

I Bass—The 3. Bass Edit or 4. Free Bass Edit settings.

I Set Com—The 7. Set Common settings.

I Orchest—The 6. Orchestra Edit settings.

I Orch Bs—The 5. ORC Bass Edit settings.

(3) Press the [DATA÷ENTER] knob to jump to a page

where you can name your settings.

This functionality is only available for the following

parameter groups: 2. Treble Edit, 3. Bass Edit and 4.

Free Bass Edit. (See “7.7 Name” on p. 59 for how to

name a Set.)

The same applies to the Bass, Free Bass, Orchestra and

Orchestra Bass sections.

• Bear in mind that Bass/Free Bass/Orchestra/Orchestra

Bass registers are selected automatically when the

Link function is on (page 42). Such a switch also

erases changes to the previously selected registers if

you decided not to save them when the FR-7/FR-5

suggested doing so.

(*)

• The Bass and Free Bass sections cannot be used

simultaneously. Switching to the other mode before

saving the changes you may have made for the regis-

ter of the previous mode (Bass or Free Bass) also leads

to those changes being lost.

(*)

(*) Only one of these pages can be displayed. This depends

on whether you are currently in Bass or Free Bass mode.

Using WRITE

(4) If necessary, change the name of the register you

have just edited. (This is only possible on the three

pages shown above.)

(1) Press and hold the [MENU÷WRITE] button until the

following page appears:

See “Entering names” on p. 40 for details.

On this page, sections whose settings you changed

without saving them are flagged with an “E” (for

“edited”). The “E” flag only applies to the currently

selected register (Treble, Bass/Free Bass, Orchestra or

Orchestra Bass).

The section whose MENU parameter you changed

last before selecting this page is already selected. In

the above example, all sections have changed, while

the last parameter you edited belongs to the TREBLE

group.

Note: If there are no “E” flags, there is nothing that needs to

be saved. Consequently, you can leave this page by pressing

[EXIT÷JUMP] again.

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FR-7/FR-5 V-Accordion

Miscellaneous functions | Restoring the factory defaults

(5) Press the [MENU÷WRITE] button to jump to one of

the following pages (not available when you are

saving the Global settings):

Press the [DATA÷ENTER] knob to select “SET” or

“REGISTER”, then turn it to select the number (“1~40”

for SET, “1~14” for REGISTER).

(7) Press the [MENU÷WRITE] button to save your

changes.

(*)

Note: Never switch off the FR-7/FR-5 while the above mes-

sage is displayed to avoid scrambling the internal memory. See

also “At power-on, the FR-7/FR-5 displays the following mes-

sage” on p. 80 for what to do in such a case.

The display now briefly confirms that your settings

have been stored:

(6) If necessary, select another Set and/or another

(You can only select a different Set for the Orches-

tra, Orchestra Bass and Set Common settings.)

The display returns to the Main page.

(8) Proceed with step (1) above.

Restoring the factory defaults

You can reset the FR-7/FR-5 to its factory settings, which means that your own Sets and Global settings are replaced by

the settings the FR-7/FR-5 contained when you first got it. You may wish to archive your settings before initializing the

FR-7/FR-5 (see p. 75).

(1) Switch on the FR-7/FR-5 while holding down the

[MENU÷WRITE] button.

If you selected “YES” and pressed the [DATA÷ENTER]

knob, the display now briefly confirms that your

V-Accordion has been initialized:

The display changes to:

(2) Press the [DATA÷ENTER] knob to initialize the FR-7/

FR-5 (“YES” is selected by default).

The FR-7/FR-5 now sounds and behaves like when

you first bought it.

If you decide against initializing the FR-7/FR-5,

rotate the [DATA÷ENTER] knob to select “NO”, then

press it.

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V-Accordi_To_ron_ubr_leshooting

Troubleshooting

This section provides an overview of points to check and actions to take when the FR-7/FR-5 does not function as you

expect. Feel free to contact your Roland dealer if your issue remains unsolved after reading through this section.

The screen is difficult or impossible to read

If you have trouble reading the information in the

display, change the “8.1 LCD Contrast” setting

(page 60).

Certain parameters cannot be selected

IIs the FR-7/FR-5 currently in “Easy” mode?

In that mode, only a basic set of parameters is avail-

able. Switch to “Full” mode (page 18).

IDoes the FR-7/FR-5 display a message to inform

you that a parameter or section is not available?

If so, the section is off, which is why its parameters

cannot be edited. Switch the section on and try

again.

No sound

IDid you turn the [VOLUME] knob all the way to

the small dot?

Set it to a higher value.

IDid you turn the [BALANCE] knob all the way to

one side?

Change its setting and try again.

One section sounds off (flat)

Did you set “1.5 Scale Assign” to just one section? Set

it to “ALL” and try again (page 39).

IAre you moving the bellows while triggering

accordion sounds?

The Treble and Bass/Free Bass sections only produce

sound if you move the bellows while playing notes

(like on an acoustic accordion).

Issues related to the bass buttons

IWhy do the bass buttons only provide three

chord rows?

Because you set the “8.5 Bass & Chord Mode” param-

eter to “3 Bass Rows” (page 61). Set it to “2 Bass

Rows”.

IDid you connect the FR-5 to an external ampli-

fier?

IWhy can’t I play diminished chords using the

bass buttons?

Because you set the “8.5 Bass & Chord Mode” param-

eter to “3 Bass Rows” (page 61). Set it to “2 Bass

Rows”.

The FR-5 doesn’t contain internal speakers and there-

fore needs to be connected to an external amplifica-

tion system. Alternatively, you can use a pair of head-

phones.

IDid you connect the audio cables to the correct

sockets?

If so, check whether the external amplifier, mixing

console, etc., is switched on. Also check the cables for

possible damage.

IIn Free Bass mode, the bass buttons play the

wrong notes.

You my have changed the “8.6 Free Bass Mode” set-

ting. Be sure to select the system that best suits your

playing style (page 62).

No power

IIn Free Bass mode, only half the buttons play

notes.

IDid you remove the supplied (FR-7) battery?

Be sure to install it again. Alternatively, connect the

FR-7 to the supplied FBC-7.

That’s because the “STATUS” entry of the “4.2 Regis-

ter” parameter uses the same (“High” or “Low”) set-

ting for both reeds (or “Off” for one of them and

“High”/“Low” for the other). Choose complementary

settings (“High” for one, “Low” for the other) or set at

least one to “Whole” (page 49).

IDid you install the cover of the FR-7/FR-5’s bat-

tery compartment?

You need to install it before you can switch on the

FR-7/FR-5 (page 34). Be sure to tighten the screws all

the way.

Why does the Orchestra mode change when I

press a given Treble register?

Because you established a Link with the Treble sec-

tion and also specified a mode using the “MODE”

entry of the “2.13 Orchestra Link” parameter. Set it to

“---” (page 43).

IDid you connect the FR-5 to the FBC-7?

If you did not purchase an optional battery, the FR-5

needs to be powered by the FBC-7.

The FR-7/FR-5 does not respond to your playing

IYou may have selected “Ext. Seq. Playback” mode

for one or all sections.

Those sections therefore only respond to MIDI mes-

sages received from other instruments. Switch off

the “Ext. Seq. Playback” function (page 70).

My settings have changed

IDid you ignore the message that suggested writ-

ing your settings?

If so, you probably switched to a different mode (e.g.

Free Bass instead of Bass) or another register. The

changes you made before doing so have been erased.

IAre you moving the bellows while triggering

accordion sounds?

The Treble and Bass/Free Bass sections only produce

sound if you move the bellows while playing notes

(like on an acoustic accordion).

You can only edit one register at a time. If you select

another register before saving the changes for the

previously selected register (by selecting “NO”), those

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FR-7/FR-5 V-Accordion

Miscellaneous functions | Troubleshooting

changes are erased. Similarly, do not switch off the

FR-7/FR-5 or select another Set before saving set-

tings you want to keep: save them first.

II cannot find the MIDI sockets on my FR-7/FR-5.

The FR-7/FR-5 does not have MIDI sockets. You need

to connect it to the FBC-7 using the supplied 19-pin

cable (page 66).

IDid you establish a “Link”?

If you change the Bass, Free Bass, and/or Orchestra

settings without saving them, and then select

another Treble register while the Link function is on,

the FR-7/FR-5 selects different settings for the linked

sections. Your changes are therefore lost.

IThe FR-7/FR-5 does not receive the MIDI mes-

sages I recorded for it.

That’s because the “Ext. Seq. Playback” parameter of

the sections in question is set to “Off”. You need to

activate it if you wish to use the FR-7/FR-5 as MIDI

tone generator (page 70).

IDid you save the “SET COMMON” parameters?

Doing so only saves the general Set parameters, not

the settings of the various registers.

IAll the FR-7/FR-5’s settings have changed.

You probably transmitted a “Bulk” file containing 40

Sets (“ALL”) to the FR-7/FR-5. The settings of that file

have replaced your own settings. We regret that your

settings cannot be restored. Be sure to archive the

internal settings before transmitting bulk data to the

FR-7/FR-5 (page 75).

IDid a “Noise” setting change?

Whenever you select “ALL” for “2.1 Reed Type”, and

set a different reed type, the “2.5 Valve Noise” setting

is automatically adapted to that reed type. You may

have to change it afterwards if you wish to use a dif-

ferent noise type.

IThe external sequencer keeps displaying a “MIDI

buffer overflow” message

Whenever you select “ALL” for “3.1 Reed Type” and

set a different reed type, the “3.5 Reed Growl” setting

is automatically adapted to that reed type. It would

therefore be a good idea to first select the reed type

and only then change the growl type. The same

applies to “4.4 Button Noise” and “4.1 Reed Type”.

The bellows sends too many data at once (its data are

transmitted on five channels simultaneously). Select

a different setting (“Medium” or “Low”). This leads to

a coarser resolution, and maybe to audible steps, but

at least, your sequencer will be able to record the

data. See “Solving MIDI buffer problems” on p. 71.

IDid the effects parameters change unexpectedly?

Each effects processor (Reverb, Chorus, Delay) has a

“Macro” parameter (pages 56 and 58) that not only

recalls a different effect type, but also appropriate

settings for that type. If you select another Macro,

the settings for the previous effect type are lost.

While saving data, the FR-7/FR-5 displays the

following message

MIDI-related issues

II selected the “Ext. Seq. Playback” mode, yet the

section in question does not respond to MIDI

messages.

It means that the data could not be saved in the

FR-7/FR-5’s internal memory. Press [EXIT÷JUMP] to

leave this page. WARNING: this will take you to the

Main page. Do not select other registers or Sets. First

try to save your settings using the WRITE function

(page 77). If the above message appears again, con-

tact your Roland dealer to have your FR-7/FR-5’s

memory checked.

Does the section’s MIDI channel correspond to the

transmit channel of the external device (page 69)? Do

not select “Off” for a section that should receive MIDI

messages.

IWhat MIDI channels does the FR-7/FR-5 use by

default?

See the table on page 67.

At power-on, the FR-7/FR-5 displays the follow-

ing message

IThe MIDI channel setting is correct, yet the sec-

tion in question does not transmit notes.

You probably set its “Note” parameter to “Off”

(page 72).

IThe FR-7/FR-5 does not change sounds when my

sequencer transmits program change numbers,

even though I used the FR-7/FR-5 to send those

numbers to the sequencer.

You can send program change numbers to an exter-

nal instrument that lie outside the range of the FR-7/

FR-5’s registers (1~14 for Treble, 1~7 for Bass/Free

Bass/Orch. Bass, 1~22 for Orchestra). Such “excess”

program numbers are ignored by the FR-7/FR-5

when you transmit them back (from a sequencer, for

example).

The FR-7/FR-5 was switched off while it was saving

data (possibly because the battery was depleted, or

because of a power failure). When you switch it on

again, it attemps to recover everything it can. It may,

however, also load the data of the corresponding

factory set. In any case, you will have to program

some or all settings again.

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V-Accordion_Spr_{eciﬁcations}

Specifications

I Keyboards

I Display

Right hand: 41 keys, piano-type with velocity and after-

touch

Left hand: 120 velocity-sensitive bass buttons,

Modes: Standard, Free Bass, Orch.Bass

48 x 84 graphic, backlit LCD

I Rated power output (FR-7)

2 x 25W RMS

I Speakers (FR-7)

2 x 10cm speakers (neodymium transducer magnets), 2

tweeters

I Bellows

Real pneumatic detection of bellows pressure (high-resolu-

tion pressure sensor)

I Others

I Sound source

Connectors on instrument: HEADPHONE socket (stereo),

OUTPUT sockets (stereo), multi-connector (towards exter-

nal FBC-7 power supply/footswitch unit/battery charger)

Power Supply: rechargeable Ni-Mh battery pack (24V-

4500mAh) (optional for FR-5)

External FBC-7 power supply/battery charger: AC 117 V, AC

230 V, AC 240 V (50/60 Hz), AC 220 V (60 Hz)

Power consumption: 96W

Max polyphony: 128 voices

Wave ROM: 32MB of waveforms

Tones: 40 user programmable accordion Sets, each one

including: 14 Treble registers, 7 Bass registers, 7 Free Bass

registers, 7 Orchestra Bass registers, 22 Orchestral sounds

Treble reed footages: 7

Bass reed footages: 5

Chord reed footages: 3

Free Bass footages: 2

Dimensions (mm): 423 (H) x 528 (W) x 275 (D) mm

Weight: FR-7: 11.7kg, FR-5: 9.5kg

I PBM (Physical Behavior Modeling)

Noises: stopping-reed growl, closing valve noise, left but-

ton noise

Individual reed simulation: hysteresis threshold, Expression

curve, pressure-variant filter, pressure-variant pitch devia-

tion

I Supplied accessories

External FBC-7 power supply/battery charger: 5 program-

mable foot switches (SET UP/DOWN, REGISTER UP/DOWN,

SUSTAIN), multi-core connector cable (towards accordion),

expression pedal socket, MIDI IN/OUT/THRU sockets, OUT-

PUT sockets (L/Mono, R), connector for charging a battery,

AC inlet

Owner’s Manual

Power cable

Reed sound wave switching: by bellows acceleration, by

note repetition speed

I Musette tuning

Micro tuning presets: 16 (Off, Dry, Classic, F-Folk, American

L/H, North Europe, German L/H, D-Folk L/H, Alpine, Italian L/

H, French, Scottish)

Reference caps for the bass buttons

19-pin multicore cable

Accordion cloth

Straps

I Effects

Reverb: 8 types, Chorus: 8 types,

Delay: 10 types, Rotary for Orchestra organ sounds (slow/

fast)

Battery (FR-7)

I Options

Accordion soft bag

Battery (for FR-5, spare part for FR-7)

Pedal Board Soft Bag

“Cassotto” and “Sordina” simulation

I Panel controls

Knobs: Volume, Treble/Bass balance, Reverb, Chorus, Delay,

Encoder: [DATA÷ENTER]

Panel Switches: 14 Treble registers + Master + Orchestra,

7 Bass registers

Navigation switches: UP/DOWN, MENU/WRITE, EXIT/JUMP

Other switches: SET UP/DOWN, SORDINA ON/OFF, POWER

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FR-7/FR-5 V-Accordion

Miscellaneous functions | Parameter list

Parameter list

VOLUME AND EFFECT

BALANCE

The default value corresponds to the current physical position of potentiometer. The central position is 0. The values

range from 0 to 64 regardless of whether the arrow symbol indicates BASS or TREBLE.

REVERB

CHORUS

DELAY

The default value corresponds to the current physical position of potentiometer. Range: 0~127

FULL MODE MENU (all parameters)

1. TUNING

1.1 Master Tune*

1.2 Transpose

1.3 Scale*

Value

415.3Hz~440.0Hz~466.2Hz

Value

Type

F# -6, G -5, Ab -4, A -3, Bb -2, B -1, C 0, C#1, D2, Eb3, E4, F5

Equal (Off), User 1, User 2, User 3, Arabic1, Arabic2, Just Major, Just Minor, Pythagorean, Mean-

Tone, Werckmeister, Kirnberger

Key

C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B

User 1, User 2, User 3

1.4 Scale Edit*

Type

Tune Note

Tune Value

Part

C, C#, D, Eb, E, F, F#, G, Ab, A, Bb, B

-64~0~63 for each note

1.5 Scale Assign*

2. TREBLE EDIT

2.1 Reed Type

Treble, Orchestra, Treb&Orch, Bass&Chord, ALL

Foot

Type

ALL, 16', 8', 8'-, 8'+, 4', 5-1/3', 2-2/3'

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,

Tradition, Steierische, OldItaly, TexMex, Trikitixa

2.2 Register

Foot

16', 8', 8'-, 8'+, 4', 5-1/3', 2-2/3'

Off, On, On-Cassotto

16', 8', 8'-, 8'+, 4', 5-1/3', 2-2/3'

Off, –30~Std~30

Status

Value

Level

Value

Type

2.3 Reed Volume

2.4 Treble Octave

2.5 Valve Noise

-1, 0, 1

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,

Tradition, Steierische, OldItaly, TexMex, Trikitixa

Level

Type

Off, -30~Std~30

2.6 Musette Detune

Off, Dry, Classic, F-Folk, American_L, American_H, North_Eur, German_L, D-Folk_L, Italian_L,

German_H, Alpine, Italian_H, D-Folk_H, French, Scottish

2.11 Aftertouch Pitch

2.12 Bass Link

Type

Off, Low, Standard, High

Level

0~127

Level

0~127

Level

0~127

Mode

Bass

Off, 1/4 Down, 1/2 Down, 1/4 Up, 1/2 Up Pitch

No Link, Bass 1~Bass 7, Free 1~Free 7

No Link, Acoustic, Bowed, Fingered, Fretless, Picked, Tuba, TubaMix

Orc.Bass

2.13 Orchestra Link

No Link, 1A Trombone, 1B Trumpet, 2A TenorSax, 2B AltoSax, 3A Clarinet, 3B Oboe, 4A Harmon-

ica, 4B MuteHarm, 5A Violin, 5B Pizzicato, 6A Flute, 6B PanFlute, 7A HighLand, 7B Zampogna, 8A

PercOrgan, 8B JazzOrgan, 9A RotOrgan, 9B TremOrg, 10 ScatVoice, 11 Mandolin, 12AcGuitar, 13

AcPiano

Mode

----, Solo, Dual, Low, High

2.14 Treble MIDI TX

Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume

[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],

Express [Off, Bellows, Pedal], AfterT. [On,Off]

3. BASS EDIT

3.1 Reed Type

Foot

Type

ALL, 16', 8', 8'-4', 4', 2'

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,

Tradition, Steierische, Trikitixa

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V-Accordion_Par_{rameter list}

3.2 Register

Foot

16', 8', 8'-4', 4', 2'

Status

Off, Bass, Chord, Bass&Chord

Note: With the 16' and 8' feet selected the “Status” can only be either “Off” or “Bass”. With the

8'-4', 4' and 2' feet selected the “Status” can only be “Off”, “Chord” or “Bass&Chord”.

3.3 Reed Volume

3.4 Button Noise

Value

Level

Type

16', 8', 8'-4', 4', 2'

Off, –30~Std~30

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,

Tradition, Steierische, Trikitxa

Level

Type

Off, -30~Std~30

3.5 Reed Growl

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,

Tradition, Steierische, Trikitixa

Level

Type

Level

Off, -30~Std~30

Off, Low, Standard, High

0~127

0~127

Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume

[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],

Express [Off, Bellows, Pedal]

3.11 Chord MIDI TX

Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume

[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],

Express [Off, Bellows, Pedal]

4. FREE BASS EDIT

4.1 Reed Type

Foot

Type

ALL, 16', 8'

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,

Tradition, Steierische, Trikitixa

4.2 Register

Foot

16', 8'

Status

Foot

Off, Low, High, Whole

16', 8'

4.3 Reed Volume

4.4 Button Noise

Level

Type

Off, –30~“Std”~30

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,

Tradition, Steierische, Trikitixa

Level

Type

Off, -30~Std~30

4.5 Reed Growl

Bandoneon, I-Folk, I-Folk2, Classic, Cajun, Jazz, F-Folk, D-Folk, Organetto, F-Folk2, Classic2, Studio,

Tradition, Steierische, Trikitixa

Level

Type

Level

Off, –30~Std~30

Off, Low, Standard, High

0~127

0~127

4.10 Free Bass MIDI TX

Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume

[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],

Express [Off, Bellows, Pedal]

5. ORC BASS EDIT

5.1 Lowest Note

Lowest Note

Release Time

Level

E=28, F=29, F#=30, G=31, Ab=32, A=33, Bb=34, B=35, C=36

5.2 Orc Bass Release Time

5.3 Orc Bass Volume

5.4 Reverb Send

0~63

Off, –30~Std~30

0~127

Level

5.5 Chorus Send

Level

0~127

5.6 Delay Send

Level

0~127

5.7 Orc Bass MIDI TX

Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127],CC 32 [Off, 0~127], PC [Off, 1~128], Volume

[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],

Express [Off, Bellows, Pedal]

6. ORCHESTRA EDIT

6.1 Orchestra Octave

6.2 Orchestra Volume

Value

Level

–1~0~1

Off, –30~Std~30

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FR-7/FR-5 V-Accordion

Miscellaneous functions | Parameter list

6.3 Bellows Detune

6.4 Reverb Send

Type

Off, Low, Standard, High

Level

Mode

0~127

6.5 Chorus Send

0~127

6.6 Delay Send

0~127

6.7 Aftertouch Pitch

6.8 Orchestra MIDI TX

Off, 1/4 Down, 1/2 Down, 1/4 Up, 1/2 Up

Message & value Note [On,Off], Octave [-3~0~3], CC 00 [Off, 0~127], CC 32 [Off, 0~127], PC [Off, 1~128], Volume

[Off, 0~127], Panpot [Off, 0~127], Reverb [Off, 0~127], Chorus [Off, 0~127], Velocity [On, 1~127],

Express [Off, Bellows, Pedal], AfterT. [On,Off]

7. SET COMMON

7.1 Reverb Macro Type

Type

Room1, Room2, Room3, Hall1, Hall2, Plate, Delay, Panning Dly

0~127

Level

7.2 Reverb Parameters

7.3 Chorus Macro Type

7.4 Chorus Parameters

Parameters

Macro Type

Parameters

Character [0~7], Pre-LPF [0~7], Time [0~127], Level [0~127], DlyFback [0~127], Pre-DlyT. [0~127]

Chorus1, Chorus2, Chorus3, Chorus4, FBackChr, Flanger, ShortDelay, ShortDlyFB

Pre-LPF [0~7], Level [0~127], Feedback [0~127], Delay [0~127], Rate [0~127], Depth [0~127],

Chr>Rev [0~127], Chr>Dly [0~127]

7.5 Delay Macro Type

7.6 Delay Parameters

Type

Delay1, Delay2, Delay3, Delay4, PanDelay1, PanDelay2, PanDelay3, PanDelay4, Delay>Rev,

PanRepeat

Parameters

Pre-LPF [0~7], Level [0~127], Time L(%) [4%~500%], Time C(ms/s) [0.1~1000], Time R(%) [4%~

500%], Level L [0~127], Level C [0~127], Level R [0~127], Feedback [-64~0~63], Dly>Rev [0~127]

7.7 Name

Characters

Bitmap

See the character table below.

7.8 Master Bar Recall

7.9 Icon

1~14

1~40 Preset

8. SYSTEM

8.1 LCD Contrast*

8.2 Parameter Access

8.3 Bellows Curve*

8.4 Pedal Controller*

Value

Mode

Type

1~7 (Default setting: 5)

Easy, Full

Fixed Low, Fixed Med, Fixed High, X-Light, Light, Standard, Heavy, X-Heavy

1~5

Switch

Assign

Set Up, Set Down, Regist Up, Regist Dwn, Treble Sust, Bass Sust, Chord Sust, Orch.Sust, OrchBs

Sust, Orch.On/Off, Start/Stop, Intro, Fill Up, Fill Down, Ending, Set 1~40, Register 1~14 indepen-

dent for each switch

8.5 Bass & Chord Mode*

Type

2 Bass Rows, 3 Bass Rows

Type

minor 3rd, Bajan, Fifth, N.Europe

-1~-63, Full

Type

Disabled, 10 min., 15 min., 20 min.

Set [1~40], Bass Link [On/Off], Orch Link [On/Off],

1~40 only for Set type, On/Off

8 characters [________ default]

Off, Low, Medium, High, Bellows

Type

Assign

Name

Value

8.10 Startup Name*

8.11 Orch. Bass Touch

9. UTILITY

9.1 Battery Status

9.2 Copy ALL Effects

Adapter, Recharging, NO BATTERY

From

Set 1~40

From

Character table

(Only for Bass and Free Bass)

From

9.7 Bulk Dump ALL

9.8 Bulk Dump SET

9.9 Restore SET

Press WRITE to transmit

Factory Set 1~40

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V-Accordion _Fr_{actory Sets}

10. MIDI

10.1 RealTime RX-TX

Part

Treble (1), Bass/Free (2), Chord (3), Orchestra (4), OrcBass (5), Basic Ch (13)

RX-TX *

Part

Off, 1~16 (can be set for each part)

Treble, Bass-Chord, Orchestra

On, Off (can be set for each part)

High, Medium, Low

10.2 Ext. Seq. Playback*

Value

10.3 Bellows TX Resolution* Value

(*) are Global parameters

Factory Sets

01 CONCERTO

02 CLASSIC

03 JAZZ

11 CAJUN

21 SCOTTISH

22 IRISH

23 CELTIC

24 XLowReed

25 HalfVALV

26 FUTURE

27 MUSETTE

28 BASSOON

29 MASTER

30 EXAMPLES

31 EMPTY

12 TEX MEX

13 OldPARIS

14 CiaoROME

15 DiatFOLK

16 STUDIO

17 TRDITION

18 BAROQUE

19 ROMANTIC

20 CONCERTN

32 EMPTY

33 EMPTY

34 EMPTY

35 EMPTY

36 EMPTY

37 EMPTY

38 EMPTY

39 EMPTY

40 V-Set

04 “I” FOLK

(Italian Folk)

05 “D” FOLK (German Folk)

06 “F” FOLK (French Folk)

07 “SP” FOLK (Spanish Folk)

08 BallROOM

09 BANDNEON

10 ALPINE

Demo Songs

DISPLAYED NAME*

OldPARIS

“I” FOLK

SONG TITLE

PERFORMED BY

Walking in old Paris by S. Scappini

Sergio Scappini

Luigi Bruti

Carnival in Venice - Traditional

Passionate Red Rose by S. Scappini

Bezaubernder Sinaklia by S. Scappini

O Sole Mio - Traditional

BANDNEON

“D” FOLK

NAPLES

CLASSIC

Sonata in C Maj by D. Scarlatti

Edelweiss by S. Scappini

ALPINE

TEX MEX

Mexican Hat Dance - Traditional

Smells from Toccata by J. S. Bach

Capriccio 13 by N. Paganini

Salvador by L. Bruti

BAROQUE

CAPRICCIO

GarageTNGO

JAZZ

Sergio Scappini

Luigi Bruti

Scattered Jazz by S. Scappini

Figaro by G. Rossini

Sergio Scappini

Luigi Bruti

BellwSHAKE

CELTIC

Trinity Knots by L. Bruti

MUSETTE

CAJUN

Rêve d’amour by L. Bruti

Luigi Bruti

Sugar cane by L. Bruti

Luigi Bruti

DiatFOLK

9th Bossa

Sng FarEast

ZakZak Funk

O&B 4Beat

To my beloved teacher by S. Scappini

9th Bossa by Yoshiaki Sato

Song from Far East by Yoshiaki Sato

Zak-Zak Funk by Yoshiaki Sato

O&B 4Beat by Yoshiaki Sato

Sergio Scappini

Yoshiaki Sato

Unauthorized use of the demo songs for purposes other than private enjoyment is a violation of applicable laws.

Note: The performance data of the demo songs are not transmitted to the MIDI OUT socket.

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FR-7/FR-5 V-Accordion

MIDI implementation | Demo Songs

9. MIDI implementation

I System Exclusive Messages

1. Received data

Status

F0H

Data byte

Status

F7H

I Channel Voice Messages

iiH, ddH, ......,eeH

G Note off

F0H:

System Exclusive Message status

Status

8nH

2nd byte

kkH

3rd byte

vvH

ii = ID number:

An ID number (manufacturer ID) to indicate the manufacturer

whose Exclusive message this is. Roland’s manufacturer ID is

41H.

n = MIDI channel number:

kk = note number:

vv = note off velocity:

0H~FH (Ch.1~16)

00H~7FH (0~127)

dd,...,ee = data: 00H~7FH (0~127)

F7H: EOX (End Of Exclusive)

The System Exclusive Messages received by the FR-7/FR-5 are messages related

to Data Set (DT).

G Note on

Status

9nH

2nd byte

kkH

3rd byte

vvH

G Data Set 1 DT1 (12H)

Status

F0H

Data byte

Status

F7H

n = MIDI channel number:

kk = note number:

vv = note on velocity:

0H~FH (Ch.1~16)

00H~7FH (0~127)

01H~7FH (1~127)

41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, … eeH,

ffH, sum

Explanation

Exclusive status

ID number (Roland)

Device ID

Model ID #1 (FR-7/FR-5 V-Accordion)

Model ID #2 (FR-7/FR-5 V-Accordion)

Command ID (DT1)

Address MSB: upper byte of the starting address of

the data to be sent

Byte

F0H

41H

10H

00H

7CH

12H

aaH

G Control Change

The value specified by a Control Change message is not reset by a Program

Change, etc.

•

❍

Bank Select (Controller number 0, 32)

Status

BnH

2nd byte

00H

3rd byte

mmH

llH

BnH

20H

bbH

ccH

ddH

eeH

Address: upper middle byte of the starting address of

the data to be sent

Address: lower middle byte of the starting address of

the data to be sent

Address LSB: lower byte of the starting address of

the data to be sent

Data: the actual data to be sent. Multiple bytes of data

are transmitted in order starting from the address.

n = MIDI channel number:

mm = Bank number MSB:

ll = Bank number LSB:

0H~FH (Ch.1~16)

00H~7FH

•

Only for Free Bass.

❍

Expression (Controller number 11)

Status

BnH

2nd byte

0BH

3rd byte

vvH

n = MIDI channel number:

vv = Expression:

0H~FH (Ch.1~16)

00H~7FH (0~127)

ffH

sum

F7H

Data

Checksum

EOX (End of Exclusive)

•

This adjusts the volume of a Part. It can be used independently from Volume

(CC07) messages. Expression messages are used for musical expression within

a performance, e.g., expression pedal movements, crescendo and decrescendo.

•

The amount of data that can be received at one time depends on the type of data,

and data will be transmitted from the specified starting address and size.

Data larger than 256 bytes must be divided into packets of 256 bytes or less, and

each packet must be sent at an interval of about 20ms.

❍

Hold 1 (Controller number 64)

Status

BnH

2nd byte

40H

3rd byte

vvH

n = MIDI channel number:

vv = Control value:

0H~FH (Ch.1~16)

00H~7FH (0~127)

00H~63H= Off/64H~7FH= On

2. Transmitted data

I Channel Voice Messages

G Note off

❍

Program Change

Status

8nH

2nd byte

kkH

3rd byte

vvH

Status

CnH

2nd byte

ppH

n = MIDI channel number:

kk = note number:

vv = note off velocity:

0H~FH (Ch.1~16)

00H~7FH (0~127)

n = MIDI channel number:

pp = Program number:

0H~FH (Ch.1~16)

00H~0DH: Treble Register 1~14

00H~15H: Orchestra Register 1~22

00H~06H: Bass/FreeBass/Orch.Bass

G Note on

Status

9nH

2nd byte

kkH

3rd byte

vvH

00H~27H: Set 1~40

❍

Channel Pressure

Status

DnH

n = MIDI channel number:

kk = note number:

vv = note on velocity:

0H~FH (Ch.1~16)

00H~7FH (0~127)

01H~7FH (1~127)

2nd byte

vvH

n = MIDI channel number:

vv = Channel Pressure:

0H~FH (Ch.1~16)

00H~7FH (0~127)

G Control Change

❍

Bank Select (Controller number 0, 32)

Status

BnH

2nd byte

00H

20H

3rd byte

mmH

llH

I System Realtime Messages

❍

Active Sensing

Status

FEH

n = MIDI channel number:

mm = Bank number MSB:

ll = Bank number LSB:

0H~FH (Ch.1~16)

00H~7FH

•

When Active Sensing is received, the FR-7/FR-5 starts monitoring the intervals of

all further messages. While monitoring, if the interval between messages exceeds

420 ms, the same processing will be carried out as when All Sounds Off, All Notes

Off and Reset All Controllers are received, and message interval monitoring will

be halted.

❍

Volume (Controller number 7)

Status

BnH

2nd byte

07H

3rd byte

vvH

❍

Start

Status

FAH

n = MIDI channel number:

vv = Volume:

0H~FH (Ch.1~16)

00H~7FH (0~127), Initial value = 64H (100)

•

Volume messages are used to adjust the volume balance of each Part.

•

When an FA message is received from an external MIDI device such as sequenc-

er, the FR-7/FR-5 sends all necessary MIDI information for a song header setup:

Treble, Orchestra, Bass/Free, Orchestra Bass, sound setup.

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V-Accordion r

MIDI implementation

❍

Pan (Controller number 10)

Status

bbH

Data byte

Status

BnH

2nd byte

0AH

3rd byte

vvH

Address: upper middle byte of the starting address of

the data to be sent

Address: lower middle byte of the starting address of

the data to be sent

Address LSB: lower byte of the starting address of

the data to be sent

Data: the actual data to be sent. Multiple bytes of data

are transmitted in order starting from the address.

ccH

ddH

eeH

n = MIDI channel number:

vv = pan:

0H~FH (Ch.1~16)

00H~40H~7FH (Left~Center~Right),

Initial value = 40H (Center)

❍

Expression (Controller number 11)

Status

BnH

2nd byte

0BH

3rd byte

vvH

Data

ffH

sum

F7H

Checksum

EOX (End of Exclusive)

n = MIDI channel number:

vv = Expression:

0H~FH (Ch.1~16)

00H~7FH (0~127)

•

The amount of data that can be transmitted at one time depends on the type of

data, and data will be transmitted from the specified starting address and size.

Data larger than 256 bytes will be divided into packets of 256 bytes or less, and

each packet will be sent at an interval of about 20ms.

•

This adjusts the volume of a Part. Expression messages are used for musical ex-

pression within a performance, e.g., expression pedal movements, crescendo and

decrescendo.

❍

Hold 1 (Controller number 64)

Status

BnH

2nd byte

40H

3rd byte

vvH

3. Bulk Dump

Bulk Dump allows you to transmit a large amount of data at once, and is conve-

nient for storing settings for the entire unit on a computer or sequencer.

The FR-7/FR-5 is able to transmit and receive a SET.

n = MIDI channel number:

vv = Control value:

0H~FH (Ch.1~16)

00H~7FH (0~127)

00H~63H= Off/64H~7FH= On

❍

Effect 1 (Reverb Send Level) (Controller number 91)

4. Program change messages

Status

BnH

2nd byte

5BH

3rd byte

vvH

BANK SELECT

MSB CC00 LSB CC32

PROGRAM

CHANGE

TREBLE REGISTER RX

SET RX (PC)

CONCERTO

CLASSIC

JAZZ

“I” FOLK

“D” FOLK

“F” FOLK

“SP” FOLK

BallROOM

BANDNEON

n = MIDI channel number:

vv = Reverb Send Level:

0H~FH (Ch.1~16)

00H~7FH (0~127), Initial value = 28H (40)

Bassoon

Bandon

Cello

Harmon

Organ

•

This message adjusts the Reverb Send Level of each Part.

❍

Effect 3 (Chorus Send Level) (Controller number 93)

Status

BnH

2nd byte

5DH

3rd byte

vvH

Accord

Violin

n = MIDI channel number:

vv = Chorus Send Level:

0H~FH (Ch.1~16)

00H~7FH (0~127), Initial value = 00H (0)

Master

Musette

Celeste

Tremolo

Clarinet

Oboe

10 ALPINE

11 CAJUN

❍

Program Change

Status

2nd byte

ppH

12 TEX MEX

13 OldPARIS

14 CiaoROME

15 DiatFOLK

16 STUDIO

17 TRDITION

18 BAROQUE

19 ROMANTIC

20 CONCERTN

21 SCOTTISH

22 IRISH

CnH

n = MIDI channel number:

pp = Program number:

0H~FH (Ch.1~16)

00H~7FH: program no. 1~128

Piccolo

ORCHESTRA REGISTER RX

Trombone

Trumpet

Tenor Sax

Alto Sax

Clarinet

❍

Channel Pressure

Status

DnH

2nd byte

vvH

n = MIDI channel number:

vv = Channel Pressure:

0H~FH (Ch.1~16)

00H~7FH (0~127)

Oboe

Harmonica

Mute Harm

Violin

Pizzicato

Flute

Pan Flute

HighLand

Zampogna

PercOrgan

JazzOrgan

RotOrgan

TremOrg

ScatVoice

Mandolin

AcGuitar

AcPiano

23 CELTIC

I System Realtime Messages

24 XLowReed

25 HalfVALV

26 FUTURE

27 MUSETTE

28 BASSOON

29 MASTER

30 EXAMPLES

31 EMPTY

32 EMPTY

33 EMPTY

34 EMPTY

35 EMPTY

❍

Active Sensing

Status

FEH

Transmitted about every 250ms.

❍

Start

Status

FAH

This message is transmitted when a footswitch of FBC-7 Pedal,

programmed as Start/Stop, is pressed.

❍

Stop

Status

FCH

This message is transmitted when a footswitch of FBC-7 Pedal,

programmed as Start/Stop, is pressed.

36 EMPTY

37 EMPTY

I System Exclusive Messages

BASS REGISTER RX

38 EMPTY

39 EMPTY

40 EMPTY

–

2’

4’

8-4’

16’/8’/8-4’/4’/2’

8’/4’/2’

16’/8’/8-4’

16’/2’

Status

F0H

Data byte

Status

F7H

iiH, ddH, ......,eeH

F0H:

System Exclusive Message status

ii = ID number:

An ID number (manufacturer ID) to indicate the manufacturer

whose Exclusive message this is. Roland’s manufacturer ID is

41H.

dd,...,ee= data: 00H~7FH (0~127)

F7H: EOX (End Of Exclusive)

FREE BASS REGISTER RX

–

low

high

The System Exclusive Messages transmitted by the FR-7/FR-5 are messages relat-

ed to Data Set (DT).

low+high

lw+hglow

lwlow+hi

highlw+h

lowhigh

G Data Set 1 DT1 (12H)

Status

Data byte

Status

F7H

F0H

41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, … eeH,

ffH, sum

Byte

F0H

41H

10H

00H

7CH

12H

aaH

Explanation

Exclusive status

ID number (Roland)

Device ID

Model ID #1 (FR-7/FR-5 V-Accordion)

Model ID #2 (FR-7/FR-5 V-Accordion)

Command ID (DT1)

Address MSB: upper byte of the starting address of

the data to be sent

ORCH BASS REGISTER RX

Acoustic

Bowed

Fingered

Fretless

Picked

Tuba

Tuba Mix

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FR-7/FR-5 V-Accordion

MIDI implementation | MIDI Implementation Chart

MIDI Implementation Chart

[V-Accordion]

Date: January 2004

Version: 1.00

Model: FR-7/FR-5

Function...

Transmitted

Recognized

Remarks

5 parts: 1= Treble, 2= Bass/

Free Bass, 3= Chord,

5= Ochestra Bass, 4= Orchestra

1 logical part: 13= Basic Ch for Set

change

Basic

Channel

Default

Changed

1~16

1~16, Off

1~16

1~16, Off

Default

Message

Altered

Mode 3

*****

Mode 3

*****

Mode

Note

Number

0~127

*****

0~127

True Voice

Note ON

Note OFF

Velocity

After

Key’s

Touch

Ch’s

Pitch Bend

0,32

Bank Select

Volume

Panpot

Expression

Hold 1

Reverb Send

Chorus Send

Control

Change

Program Number 1~128

transmitted

Recognized: 1~40:

1~14: Treble Registers

1~7 Bass

1~7 Free Bass

1~7 Orchestra Bass

1~22 Orchestra

1~40 Sets

Program

Change

0~127

0~39

True #

System Exclusive

Song Position Pointer

Song Sel

Tune

System

Common

System

Clock

Real Time

Commands

All Sounds Off

Reset All Controllers

Local On/Off

All Notes Off

Active Sense

Reset

Aux

Messages

*1 O X is selectable

*2 Recognized as M=1 even if M≠1

*3 SysEx used for Bulk Dump only

Notes

*4 Received Start (FA) sends current sound setup

Mode 1: OMNI ON, POLY

Mode 3: OMNI OFF, POLY

Mode 2: OMNI ON, MONO

Mode 4: OMNI OFF, MONO

O:Yes

X: No

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V-Accordion_Ir_nformation

10. Information

When you need repair service, call your nearest Roland Service Center or authorized

Roland distributor in your country as shown below.

PHILIPPINES

COSTA RICA

TRINIDAD

NORWAY

KUWAIT

AFRICA

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

JUAN Bansbach Instrumentos

Musicales

AMR Ltd

Roland Scandinavia Avd.

EASA HUSAIN AL-YOUSIFI

& SONS CO.

Ground Floor

Kontor Norge

EGYPT

Al Fanny Trading Office

9, EBN Hagar A1 Askalany

Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

TEL: 20-2-417-1828

Maritime Plaza

Barataria Trinidad W.I.

TEL: (868)638 6385

Ave.1. Calle 11, Apartado 10237,

San Jose, COSTA RICA

TEL: 258-0211

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

TEL: (02) 899 9801

TEL: 2273 0074

SINGAPORE

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa

1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

CURACAO

Zeelandia Music Center Inc.

Orionweg 30

Curacao, Netherland Antilles

TEL:(305)5926866

LEBANON

Chahine S.A.L.

Gerge Zeidan St., Chahine

Bldg., Achrafieh, P.O.Box: 16-

5857

Beirut, LEBANON

TEL: (01) 20-1441

POLAND

MX MUSIC SP.Z.O.O.

UL. Gibraltarska 4.

PL-03664 Warszawa POLAND

TEL: (022) 679 44 19

CRISTOFORI MUSIC PTE LTD

Blk 3014, Bedok Industrial Park E,

#02-2148, SINGAPORE 489980

TEL: 6243-9555

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung

Shan N.Road Sec.2, Taipei,

TAIWAN, R.O.C.

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3

Ens.La Esperilla

Santo Domingo,

Dominican Republic

TEL:(809) 683 0305

PORTUGAL

Roland Iberia, S.L.

Portugal Office

Cais das Pedras, 8/9-1 Dto

4050-465, Porto, PORTUGAL

TEL: 22 608 00 60

VENEZUELA

Instrumentos Musicales

Allegro,C.A.

Av.las industrias edf.Guitar

OMAN

REUNION ISLAND

TEL: (0262) 218-429

TALENTZ CENTRE L.L.C.

P.O. BOX 37, MUSCAT,

POSTAL CODE 113

TEL: 931-3705

SOUTH AFRICA

That Other Music Shop(PTY)Ltd.

11 Melle St., Braamfontein,

Johannesbourg,

SOUTH AFRICA

TEL: (011) 403 4105

TEL: (02) 2561 3339

import

#7 zona Industrial de Turumo

Caracas, Venezuela

TEL: (212) 244-1122

ROMANIA

FBS LINES

Piata Libertatii 1,

535500 Gheorgheni,

ROMANIA

QATAR

Al Emadi Co. (Badie Studio &

Stores)

P.O. Box 62, Doha, QATAR

TEL: 4423-554

THAILAND

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma

Guayaquil - Ecuador

Theera Music Co. , Ltd.

330 Verng NakornKasem, Soi 2,

Bangkok 10100, THAILAND

TEL: (02) 2248821

FAX: (011) 403 1234

TEL:(593-4)2302364

EUROPE

TEL: (266) 364 609

Paul Bothner(PTY)Ltd.

17 Werdmuller Centre,

Main Road, Claremont 7708

SOUTH AFRICA

VIETNAM

Saigon Music

Suite DP-8

40 Ba Huyen Thanh Quan Street

Hochiminh City, VIETNAM

TEL: (08) 930-1969

SAUDI ARABIA

aDawliah Universal

Electronics APL

Corniche Road, Aldossary

Bldg., 1st Floor, Alkhobar,

SAUDI ARABIA

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final

Alameda Juan Pablo II,

Edificio No.4010 San Salvador,

EL SALVADOR

AUSTRIA

Roland Elektronische

Musikinstrumente HmbH.

RUSSIA

MuTek

3-Bogatyrskaya Str. 1.k.l

107 564 Moscow, RUSSIA

TEL: (095) 169 5043

TEL: (021) 674 4030

Austrian Office

Eduard-Bodem-Gasse 8,

A-6020 Innsbruck, AUSTRIA

TEL: (0512) 26 44 260

TEL: 262-0788

SPAIN

ASIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

Roland Iberia, S.L.

Paseo García Faria, 33-35

08005 Barcelona SPAIN

TEL: 93 493 91 00

GUATEMALA

BELGIUM/FRANCE/

HOLLAND/

LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

CHINA

Roland Shanghai Electronics

Co.,Ltd.

5F. No.1500 Pingliang Road

Shanghai 200090, CHINA

TEL: (021) 5580-0800

AUSTRALIA/

NEW ZEALAND

AUSTRALIA/

NEW ZEALAND

Roland Corporation

Australia Pty.,Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11

Ciudad de Guatemala

Guatemala

SYRIA

Technical Light & Sound

Center

Rawda, Abdul Qader Jazairi St.

Bldg. No. 21, P.O.BOX 13520,

Damascus, SYRIA

SWEDEN

TEL:(502) 599-2888

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (0)8 702 00 20

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona

3 Ave.11 Calle S.O

San Pedro Sula, Honduras

TEL: (504) 553-2029

TEL: (014) 575811

Roland Shanghai Electronics

Co.,Ltd.

(BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili

Chaoyang District Beijing

100011 CHINA

CZECH REP.

K-AUDIO

Kardasovska 626.

CZ-198 00 Praha 9,

CZECH REP.

TEL: (011) 223-5384

TURKEY

Ant Muzik Aletleri Ithalat Ve

Ihracat Ltd Sti

Siraselviler Caddesi

Siraselviler Pasaji No:74/20

Taksim - Istanbul, TURKEY

TEL: (0212) 2449624

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,

CH-4452 Itingen,

SWITZERLAND

TEL: (061) 927-8383

For Australia

MARTINIQUE

Musique & Son

Z.I.Les Mangle

97232 Le Lamantin

Martinique F.W.I.

TEL: 596 596 426860

Tel: (02) 9982 8266

For New Zealand

Tel: (09) 3098 715

TEL: (2) 666 10529

TEL: (010) 6426-5050

DENMARK

Roland Shanghai Electronics

Co.,Ltd.

(GUANGZHOU OFFICE)

2/F., No.30 Si You Nan Er Jie

Yi Xiang, Wu Yang Xin Cheng,

Guangzhou 510600, CHINA

TEL: (020) 8736-0428

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

UKRAINE

TIC-TAC

Mira Str. 19/108

P.O. Box 180

295400 Munkachevo,

UKRAINE

TEL: (03131) 414-40

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai,

U.A.E.

CENTRAL/LATIN

AMERICA

Gigamusic SARL

10 Rte De La Folie

97200 Fort De France

Martinique F.W.I.

TEL: 596 596 715222

TEL: 3916 6200

FINLAND

Roland Scandinavia As, Filial

Finland

Elannontie 5

FIN-01510 Vantaa, FINLAND

TEL: (0)9 68 24 020

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

TEL: (04) 3360715

UNITED KINGDOM

MEXICO

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar

de los Padres 01780 Mexico

D.F. MEXICO

NORTH AMERICA

GERMANY

Roland Elektronische

Musikinstrumente HmbH.

Oststrasse 96, 22844

Norderstedt, GERMANY

TEL: (040) 52 60090

BARBADOS

TEL: 2415 0911

CANADA

Roland Canada Music Ltd.

(Head Office)

5480 Parkwood Way

Richmond B. C., V6V 2M4

CANADA

UNITED KINGDOM

TEL: (01792) 702701

A&B Music Supplies LTD

12 Webster Industrial Park

Wildey, St.Michael, Barbados

TEL: (246)430-1100

TEL: (55) 5668-6699

Parsons Music Ltd.

NICARAGUA

Bansbach Instrumentos

Musicales Nicaragua

Altamira D'Este Calle Principal

de la Farmacia 5ta.Avenida

1 Cuadra al Lago.#503

Managua, Nicaragua

8th Floor, Railway Plaza, 39

Chatham Road South, T.S.T,

Kowloon, HONG KONG

TEL: 2333 1863

MIDDLE EAST

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

GREECE

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: 2610 435400

TEL: (604) 270 6626

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra

Mahalaxmi Flats Compound

Off. Dr. Edwin Moses Road,

Mumbai-400011, INDIA

TEL: (022) 2493 9051

BAHRAIN

Moon Stores

No.16, Bab Al Bahrain Avenue,

P.O.Box 247, Manama 304,

State of BAHRAIN

Roland Canada Music Ltd.

(Toronto Office)

170 Admiral Boulevard

Mississauga On L5T 2N6

CANADA

TEL: (505)277-2557

PANAMA

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,

Panama City, REP. DE

PANAMA

TEL: 17 211 005

HUNGARY

TEL: (905) 362 9707

Roland East Europe Ltd.

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint,

HUNGARY

CYPRUS

Radex Sound Equipment Ltd.

17, Diagorou Street, Nicosia,

CYPRUS

INDONESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

U. S. A.

TEL: 315-0101

Roland Corporation U.S.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

TEL: (23) 511011

PARAGUAY

Distribuidora De

Instrumentos Musicales

J.E. Olear y ESQ. Manduvira

Asuncion PARAGUAY

TEL: (595) 21 492147

TEL: (022) 66-9426

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9

Medellin, Colombia

IRELAND

Roland Ireland

G2 Calmount Park, Calmount

Avenue, Dublin 12

Republic of IRELAND

TEL: (01) 4294444

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave.,

Roberoye Cerahe Mirdamad

Tehran, IRAN

TEL: (323) 890 3700

KOREA

TEL: (574)3812529

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

PERU

Audionet

Distribuciones Musicales SAC

Juan Fanning 530

Miraflores

TEL: (021) 285-4169

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

ISRAEL

Halilit P. Greenspoon & Sons

Ltd.

8 Retzif Ha'aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

MALAYSIA

Roland Asia Pacific Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39,

Dataran Prima, 47301 Petaling

Jaya, Selangor, MALAYSIA

TEL: (03) 7805-3263

Lima - Peru

TEL: (511) 4461388

As of April 26, 2005 (RES)

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FR-7/FR-5 V-Accordion

Index |

11. Index

Copy

All Effects. . . . . . . . . . . . . . . . . . . . . . . . .64

Free Bass . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

MIDI TX . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Panel functions . . . . . . . . . . . . . . . . . . . .12

French . . . . . . . . . . . . . . . . . . . . . . . . .29, 42

Full . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

AfterT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Aftertouch . . . . . . . . . . . . . . . . . . . . . . . . .25

PitchDown . . . . . . . . . . . . . . . . . . . . 42, 54

Alpine . . . . . . . . . . . . . . . . . . . . . . . . . 29, 42

American. . . . . . . . . . . . . . . . . . . . . . . 29, 42

Arabic . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Auto Power OFF . . . . . . . . . . . . . . . . . . . . .62

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Copying . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Copying settings . . . . . . . . . . . . . . . . . . . .64

Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

German . . . . . . . . . . . . . . . . . . . . . . . .29, 42

Growl . . . . . . . . . . . . . . . . . . . . . . . . . .46, 49

Bagpipe sounds . . . . . . . . . . . . . . . . . . . . .25

Balance . . . . . . . . . . . . . . . . . . . . . . . . 20, 22

Bandoneon . . . . . .41, 42, 45, 46, 48, 49

Bass

Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Data Write Error. . . . . . . . . . . . . . . . . . . . .80

Delay . . . . . . . . . . . . . . . . . . 21, 56, 57, 64

Fback. . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Macro Type . . . . . . . . . . . . . . . . . . . . . . .58

Parameters. . . . . . . . . . . . . . . . . . . . . . . .58

Send . . . . . . . . . . . . . 42, 47, 49, 52, 54

Demo songs . . . . . . . . . . . . . . . . . . . . . . . .16

Detune. . . . . . . . . . . . . 28, 42, 47, 49, 53

D-Folk . . . . . .29, 41, 42, 45, 46, 48, 49

Display. . . . . . . . . . . . . . . . . . . . . . . . .18, 60

Drone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Dry . . . . . . . . . . . . . . . . . . . . . . . . . . . .29, 42

Dual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . .25

Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Headphones . . . . . . . . . . . . . . . . . . . .13, 14

High . . . . . . . . . . . . . . . . . . . . . . . . . . .25, 49

HighLand. . . . . . . . . . . . . . . . . . . . . . . . . . .25

Hold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

& Chord Mode. . . . . . . . . . . . . . . . . . . . .61

Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45

Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

MIDI TX. . . . . . . . . . . . . . . . . . . . . . . . . . .47

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . .27

Panel functions. . . . . . . . . . . . . . . . . . . .12

Sust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Using. . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Battery. . . . . . . . . . . . . . . . . . . . . . . . . . 9, 32

Status . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Battery Charger . . . . . . . . . . . . . . . . . . . . .32

Bellows

Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Detune . . . . . . . . . . . . . . . 42, 47, 49, 53

TX Resolution . . . . . . . . . . . . . . . . . . . . .71

Bend. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

Bending notes . . . . . . . . . . . . . . . . . . . . . .42

Bulk

Icon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

I-Folk . . . . . . . . . . 41, 42, 45, 46, 48, 49

Initialize. . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Intro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Italian. . . . . . . . . . . . . . . . . . . . . . . . . .29, 42

Jazz. . . . . . . . . . . . 41, 42, 45, 46, 48, 49

Jump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Just. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Easy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Echo . . . . . . . . . . . . . . . . . . . . . . . . . . .21, 58

Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Effect

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Copying . . . . . . . . . . . . . . . . . . . . . . . . . .64

Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Ending . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Enter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Equal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Expression. . . . . . . . . . . . . . . . . . . . . . . . . .74

Pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Ext. Seq. Playback . . . . . . . . . . . . . . . . . . .70

External Battery Charger . . . . . . . . .32, 33

Key . . . . . . . . . . . . . . . . . . . . . . . . . . . .28, 29

Keyboard icon. . . . . . . . . . . . . . . . . . . . . . .24

Kirnberger . . . . . . . . . . . . . . . . . . . . . . . . . .29

Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Reception. . . . . . . . . . . . . . . . . . . . . . . . .76

Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Noise. . . . . . . . . . . . . . . . . . . . . . . . . 46, 49

LCD Contrast. . . . . . . . . . . . . . . . . . . . . . . .60

Level. . . . . . . . . . . . . . . . . . . . . . . . . . .30, 42

Button Noise . . . . . . . . . . . . . . . . . . . . . .49

Gowl . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Link. . . . . . . . . . . . . . . . . . . . . . . . . . . .42, 43

Low. . . . . . . . . . . . . . . . . . . . . . . . . . . .26, 49

Lowest Note . . . . . . . . . . . . . . . . . . . . . . . .51

Cajun . . . . . . . . . . .41, 42, 45, 46, 48, 49

Cancel . . . . . . . . . . . . . . . . . . . . . . . . . 24, 27

Cassotto . . . . . . . . . . . . . . . . . . . . . . . 20, 41

CC00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

CC32 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Character . . . . . . . . . . . . . . . . . . . . . . . . . .56

Charging . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Chord. . . . . . . . . . . . . . . . . . . . . . 22, 61, 67

MIDI TX. . . . . . . . . . . . . . . . . . . . . . . . . . .47

Chord Sust . . . . . . . . . . . . . . . . . . . . . . . . .60

Chorus. . . . . . . . . . . . . . . . . . . . . . . . . 21, 64

Macro Type . . . . . . . . . . . . . . . . . . . . . . .56

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Parameters. . . . . . . . . . . . . . . . . . . . . . . .57

Send . . . . . . . . . . . . . 42, 47, 49, 52, 54

Classic . . . . . .29, 41, 42, 45, 46, 48, 49

Classic2 . . . . . . . . .41, 42, 45, 46, 48, 49

Common . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Connections . . . . . . . . . . . . . . . . . . . . . . . .14

Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Factory Setup . . . . . . . . . . . . . . . . . . . . . . .78

FBC-7. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Connecting . . . . . . . . . . . . . . . . . . . . . . .14

Footswitch functions . . . . . . . . . . . . . . .60

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Feedback . . . . . . . . . . . . . . . . . . . . . . . . . . .58

F-Folk. . . . . . .29, 41, 42, 45, 46, 48, 49

F-Folk2. . . . . . . . . 41, 42, 45, 46, 48, 49

Fill. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61

Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Foot . . . . . . . . . . . . . . . . . . . . . . . . . . .41, 48

Footswitches. . . . . . . . . . . . . . . . . . . .31, 60

Macro. . . . . . . . . . . . . . . . . . . . . . 55, 56, 58

Main page . . . . . . . . . . . . . . . . . . . . . . . . . .19

Master bar. . . . . . . . . . . . . . . . . . . . . . . . . .26

Master Bar Recall. . . . . . . . . . . . . . . . . . . .59

Master Tune . . . . . . . . . . . . . . . . . . . . . . . .38

Mean-Tone . . . . . . . . . . . . . . . . . . . . . . . . .29

Memory Error . . . . . . . . . . . . . . . . . . . . . . .80

Menu . . . . . . . . . . . . . . . . . . . . . . . . . .35, 36

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V-Accordion

MIDI

Channels. . . . . . . . . . . . . . . . . . . . . . 67, 69

Recovering Data. . . . . . . . . . . . . . . . . . . . .80

Reed

Growl . . . . . . . . . . . . . . . . . . . . . . . .46, 49

Type. . . . . . . . . . . . . . . . . . . . . . 41, 45, 48

Volume . . . . . . . . . . . . . . . . . . . 42, 46, 49

Treble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

MIDI TX . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Octave. . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . 24

Panel functions . . . . . . . . . . . . . . . . . . . 11

Sust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Using. . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Trikitixa . . . . . . . . 41, 42, 45, 46, 48, 49

Tuning . . . . . . . . . . . . . . . . . . . . . . . . .29, 38

Tuning system . . . . . . . . . . . . . . . . . . . . . 38

Type . . . . . . . . . . . . . . . . . . . . . . . . . . .38, 41

Reed . . . . . . . . . . . . . . . . . . . . . . . . .45, 48

Implementation . . . . . . . . . . . . . . . . . . .86

Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Remote control. . . . . . . . . . . . . . . . . . . .60

Sections . . . . . . . . . . . . . . . . . . . . . . . . . .72

TX. . . . . . . . . . . . . . . . 44, 47, 50, 52, 54

Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 43

Module . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Musette Detune. . . . . . . . . . . . . . . . . 28, 42

Bass. . . . . . . . . . . . . . . . . . . . . . . . . .12, 46

Footswitches . . . . . . . . . . . . . . . . . . . . . .31

Free Bass. . . . . . . . . . . . . . . . . . . . . . . . . .49

Treble . . . . . . . . . . . . . . . . . . . . . . . .11, 41

Release Time. . . . . . . . . . . . . . . . . . . . . . . .52

Resetting. . . . . . . . . . . . . . . . . . . . . . . . . . .78

Resolution. . . . . . . . . . . . . . . . . . . . . . . . . .71

Restore SET . . . . . . . . . . . . . . . . . . . . . . . . .65

Reverb . . . . . . . . . . . . . . . . . . . . . . . . .21, 64

Macro Type . . . . . . . . . . . . . . . . . . . . . . .55

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Parameters. . . . . . . . . . . . . . . . . . . . . . . .56

Send . . . . . . . . . . . . . 42, 47, 49, 52, 54

Room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Root note . . . . . . . . . . . . . . . . . . . . . . . . . .29

Name . . . . . . . . . . . . . . . . . . . . . . . . . . 59, 63

No Link . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Noise . . . . . . . . . . . . . . . . . . . . . . . . . . 42, 49

Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

North Eur . . . . . . . . . . . . . . . . . . . . . . 29, 42

Note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

User 1~3 . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Valve. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Velocity . . . . . . . . . . . . . . . . . . . . . . . .25, 74

Velocity sensitivity. . . . . . . . . . . . . . . . . . 25

Volume. . . . . . . . . . . . . . . . . 20, 22, 30, 73

Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Orchestra . . . . . . . . . . . . . . . . . 26, 30, 53

Orchestra Bass. . . . . . . . . . . . . . . . .27, 52

Swells . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Octave . . . . . . . . . . . . . . . . . . . . . 42, 53, 73

OldItaly . . . . . . . . . . . . . . . . . . . . . . . . 41, 42

Orc Bass

Saving settings. . . . . . . . . . . . . . . . . . . . . .77

Scale. . . . . . . . . . . . . . . . . . . . . . . . . . .29, 38

Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . .39

Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Scottish . . . . . . . . . . . . . . . . . . . . . . . .29, 42

Send. . . . . . . . . . . . . . . 42, 47, 49, 52, 54

Sequencer . . . . . . . . . . . . . . . . . . . . . .67, 70

Remarks . . . . . . . . . . . . . . . . . . . . . . . . . .68

Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Common. . . . . . . . . . . . . . . . . . . . . . . . . .55

Description. . . . . . . . . . . . . . . . . . . . . . . .17

Footswitches . . . . . . . . . . . . . . . . . . . . . .31

Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Program change . . . . . . . . . . . . . . . . . . .69

Restore . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Selecting. . . . . . . . . . . . . . . . . . . . . . . . . .21

Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Sordina . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Specifications. . . . . . . . . . . . . . . . . . . . . . .81

Start/Stop . . . . . . . . . . . . . . . . . . . . . . . . . .61

Startup. . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Name. . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Status. . . . . . . . . . . . . . . . . . . . . . 41, 46, 49

Std . . . . . . . . . . . . . . . . . . . . . . . . 26, 27, 30

Steierische. . . . . . 41, 42, 45, 46, 48, 49

Stereo

MIDI TX. . . . . . . . . . . . . . . . . . . . . . . . . . .52

Release Time . . . . . . . . . . . . . . . . . . . . . .52

Volume . . . . . . . . . . . . . . . . . . . . . . . 27, 52

ORC.BASS . . . . . . . . . . . . . . . . . . . . . . . . . .51

ORCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

EDIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Orch

Bs Sust . . . . . . . . . . . . . . . . . . . . . . . . . . .60

On/Off. . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Sust. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . .24

Bass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

MIDI TX. . . . . . . . . . . . . . . . . . . . . . . . . . .54

Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Octave. . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Volume . . . . . . . . . . . . . . . . . . . . . . . 26, 53

Orchestra Bass . . . . . . . . . . . . . . . . . . . . . .51

Organetto . . . . . . 41, 42, 45, 46, 48, 49

Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Warning. . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Werckmeister . . . . . . . . . . . . . . . . . . . . . . 29

Whole. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Wrap. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Write . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Zampogna. . . . . . . . . . . . . . . . . . . . . . . . . 25

Pan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Delay. . . . . . . . . . . . . . . . . . . . . . . . . 56, 58

Dlay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

Panel functions . . . . . . . . . . . . . . . . . . . . .11

Panpot. . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Parameter Access. . . . . . . . . . . . . . . . . . . .60

PBM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Pedal Controller. . . . . . . . . . . . . . . . . . . . .60

Personalizing . . . . . . . . . . . . . . . . . . . . . . .63

PHONES. . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Physical Behavior Modeling. . . . . . . . . . .40

Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Plate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Pre-Dly T.. . . . . . . . . . . . . . . . . . . . . . . . . . .56

Pre-LPF . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Pythagorean. . . . . . . . . . . . . . . . . . . . . . . .29

Position. . . . . . . . . . . . . . . . . . . . . . . . . . .14

Width . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Studio . . . . . . . . . 41, 42, 45, 46, 48, 49

Sustain. . . . . . . . . . . . . . . . . . . . . . . . .31, 60

Switching on/off . . . . . . . . . . . . . . . . . . . .15

System. . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

TexMex. . . . . . . . . . . . . . . . . . . . . . . . .41, 42

Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

TO FBC-7 . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Tone Generator . . . . . . . . . . . . . . . . . . . . .67

Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Tradition . . . . . . . 41, 42, 45, 46, 48, 49

Transpose . . . . . . . . . . . . . . . . . . . . . .28, 38

RealTime RX-TX . . . . . . . . . . . . . . . . . . . . .69

Recharging . . . . . . . . . . . . . . . . . . . . . . . . .32

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FR-7/FR-5 V-Accordion

Index |

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For EU Countries

This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the

FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential

installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in

accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee

that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or

television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the

interference by one or more of the following measures:

–

Reorient or relocate the receiving antenna.

Increase the separation between the equipment and receiver.

Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:

(1) This device may not cause harmful interference, and

(2) This device must accept any interference received, including interference that may cause undesired operation.

Unauthorized changes or modification to this system can void the users authority to operate this equipment.

This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

NOTICE

AVIS

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R®

602.00.0033.02

RES 434-04 FR7/5 Owner's Manual - E

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