®
Owner’s Manual
Thank you, and congratulations on your choice of the Roland Digital Piano FP-5.
Main Features
Stylish, Light, Compact Design
The refined design fits in anywhere; and since it is so lightweight and compact, it’s
easy to take the instrument with you wherever you go.
Authentic Piano Performances
Features high-quality concert grand piano sounds and a Progressive Hammer
Action keyboard that gives a more realistic piano touch by providing a heavier feel
in the low end and a lighter feel in the upper notes.
In addition, the FP-5 is equipped with three pedal jacks and comes with a half-
damper pedal capable of adjusting the depth of the resonance, combining to allow
you to enjoy truly authentic piano performances.
Wide Variety of Tones For Use in Many Musical Genres
The FP-5 offers not just piano sounds, but over 50 different onboard sounds that can
be used in a wide variety of musical styles.
You can also play Drum Sets with the instrument.
Additionally, the high-quality effects allow you to add more richness and expression
to the sound.
“Tone Wheel Mode” Simulates Creation of Organ Sounds
Now, you can simulate the way organ sounds are created using the harmonic bars.
You can turn footages on and off and set their volumes to make fine adjustments in
the sound.
“Session Partner” Lets You Enjoy Playing with a Session-Like Feel
Enjoy true session-like feel while performing along with a "rhythm" section built
upon realistic-sounding "rhythms."
You can specify the "rhythm" chord progression with your left hand, and create
original chord progressions as well.
201a
Before using this unit,
carefully read the sections
entitled: “USING THE UNIT
SAFELY” and
“IMPORTANT NOTES” ( p.
2; p. 4). These sections
provide important
Experience a Variety of Performances with Dual and Split Functions
Layer two of the FP-5’s many internal tones, play with different tones assigned to the
left and right sections of the keyboard, and enjoy many other possibilities in working
with Performances.
information concerning the
proper operation of the unit.
Additionally, in order to feel
assured that you have
gained a good grasp of every
feature provided by your
new unit, Owner’s manual
should be read in its
Easy Recording Functions
You can easily record your own performances using simple button operations.
Includes USB Connector
Connect your computer to the FP-5's USB connector and exchange MIDI data.
High-quality Speaker Provided
Enjoy listening to powerful, moving performances thanks to the high-quality
speaker.
entirety. The manual should
be saved and kept on hand
as a convenient reference.
Copyright © 2002 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in
any form without the written permission of ROLAND CORPORATION.
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012b
101b
•
•
Immediately turn the power off, remove the AC
The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
adaptor 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:
..........................................................................................................
101cThis (FP-5) for use only with Roland stand FPS-
11A. Use with other stands is capable of resulting
in instability causing possible injury.
..........................................................................................................
102cAlways grasp only the plug on the AC adaptor
•
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been
spilled onto the unit; or
•
cord when plugging into, or unplugging from, an
outlet or this unit.
• The unit has been exposed to rain (or otherwise
has become wet); or
..........................................................................................................
103b
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
013 In households with small children, an adult
•
At regular intervals, you should unplug the AC
adaptor and clean it by using a dry cloth to wipe
all dust and other accumulations away from its
prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug and
the power outlet can result in poor insulation and
lead to fire.
•
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
014 Protect the unit from strong impact.
•
..........................................................................................................
104 Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
106 Never climb on top of, nor place heavy objects on
(Do not drop it!)
•
..........................................................................................................
015 Do not force the unit’s power-supply cord to share
•
an outlet with an unreasonable number of other
devices. Be especially 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 rating
(watts/amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
the unit.
..........................................................................................................
107cNever handle the AC adaptor or its plugs with
•
wet hands when plugging into, or unplugging
from, an outlet or this unit.
..........................................................................................................
016 Before using the unit in a foreign country, consult
..........................................................................................................
108b
•
•
Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
..........................................................................................................
..........................................................................................................
023 DO NOT play a CD-ROM disc on a conventional
109b
•
Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet ( p. 8).
•
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
..........................................................................................................
110b
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
..........................................................................................................
•
118 Should you remove screws for the stand or the
music stand, make sure to put them in a safe place
out of children’s reach, so there is no chance of
them being swallowed accidentally.
..........................................................................................................
3
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IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2 and 3, please read and observe the following:
Power Supply
Maintenance
301
401a
• Do not connect this unit to same electrical outlet that is
• For everyday cleaning wipe the unit with a soft, dry cloth
being used by an electrical appliance that is controlled by
an inverter (such as a refrigerator, washing machine,
microwave oven, or air conditioner), or that contains a
motor. Depending on the way in which the electrical
appliance is used, power supply noise may cause this unit
to malfunction or may produce audible noise. If it is not
practical to use a separate electrical outlet, connect a
power supply noise filter between this unit and the
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
electrical outlet.
302
Additional Precautions
• The AC adaptor will begin to generate heat after long
551
hours of consecutive use. This is normal, and is not a
• Please be aware that the contents of memory can be
cause for concern.
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
307
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
device (e.g., a sequencer).
Placement
552
• Unfortunately, it may be impossible to restore the contents
351
• Using the unit near power amplifiers (or other equipment
of data that was stored in another MIDI device (e.g., a
sequencer) once it has been lost. Roland Corporation
assumes no liability concerning such loss of data.
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
553
• Use a reasonable amount of care when using the unit’s
ference.
buttons, sliders, or other controls; and when using its jacks
352a
• This device may interfere with radio and television
and connectors. Rough handling can lead to malfunctions.
556
reception. Do not use this device in the vicinity of such
receivers.
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
352b
• 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 initi-
ating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
internal elements.
558a
• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
them off.
559a
354a
• When you need to transport the unit, package it in the box
• Do not expose the unit to direct sunlight, place it near
(including padding) that it came in, if possible. Otherwise,
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
you will need to use equivalent packaging materials.
561
Excessive heat can deform or discolor the unit.
• Use only the specified expression pedal (EV-5; sold
355b
separately). By connecting any other expression pedals,
• When moved from one location to another where the
you risk causing malfunction and/or damage to the unit.
temperature and/or humidity is very different, water
droplets (condensation) may form inside the unit. Damage
or malfunction may result if you attempt to use the unit in
this condition. Therefore, before using the unit, you must
allow it to stand for several hours, until the condensation
562
• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
• 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 infor-
mation on cable specifications, contact the manufac-
turer of the cable.
has completely evaporated.
358
• Do not allow objects to remain on top of the keyboard.
This can be the cause of malfunction, such as keys ceasing
to produce sound.
Handling CD-ROMs
801
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
4
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Erasing Recorded Performances......................................41
Connecting Pedals................................................................9
Chapter 4 Other Functions .................. 42
Changing How the Pedals Work .....................................43
Listening to Each Part Separately..............................13
Selecting the Footage...................................................17
Performing With Different Tones in the Left and Right
Changing the Keyboard’s Touch .....................................22
(The Reverb Effect).............................................................23
Adding a Variety Effects to the Sound ...........................24
(Factory Reset) ....................................................................53
Disabling Everything Except Piano Play
(Pedal Control) ...................................................................27
Troubleshooting .................................................................54
Chord Fingering List .........................................................65
Internal Song List ...............................................................69
Easy Operation List............................................................72
MIDI Implementation Chart.............................................74
Main Specifications............................................................75
Index.....................................................................................76
Performing Along With Session Partner ........................32
Changing a Rhythm’s Tempo ..........................................34
Selecting a Rhythm’s Chord Progression .......................34
Performing With the Chord Progression Specified in the
Left Hand (Chord Progression off)..................................35
Recording the Chord Progression
(Chord Progression)...........................................................36
Storing Settings (Setup).....................................................37
Selecting Stored Settings.............................................37
5
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Panel Descriptions
Front Panel
3
1
4
5
6
2
10
11
7
8
9
1
[Volume] Knob
10 Tone Buttons
Adjusts the overall volume level (p. 10).
They are used to choose the kinds of sounds (Tone Groups)
played by the keyboard (p. 14).
Wheel mode (p. 17).
2
[Brilliance] Knob
Adjusts the tone brightness (p. 10).
3
[Balance] Knob
Dual Play and Split Play (p. 21).
Simulate the creation of organ tones in Tone Wheel mode
(p. 15).
4
[Pedal Control] Button
12 Display
Use the damper pedal to change the sound’s pitch (p. 27).
Displays information such as the song number, Rhythm
number, tempo, beat, and parameter settings values.
5
[Setup] Button
Calls up the stored settings (p. 37).
13 [Variation/Effects] Button
Press this to change the Tone Variation or Effect Type
(p. 14, p. 24). Each time you press this button, the Tone
Variation and the Effect Type will be displayed alternately.
[Split] button to listen demo song (p. 11).
In addition, you can hold down this button while pressing
[Tempo/Rhythm] button to make various different settings
(p. 42 to p. 53).
6
[Split] Button
of the keyboard (p. 19).
14 [Tempo/Rhythm] Button
7
[Transpose] Button
Press this to change the tempo or Rhythm (p. 29, p. 33).
Transposes the pitch of the keyboard (p. 28).
Each time you press this button, the tempo and the Rhythm
will be displayed alternately.
By holding down this button and pressing the [Reverb]
button, you can change the keyboard’s touch sensitivity
(p. 22).
15 [-]/[+] Buttons
of settings.
8
[Reverb] Button
You can use this to add the characteristic reverberation of a
concert hall to what you play (p. 23).
16 [
(Metronome)] Button
9
[Effects] Button
Turns the internal metronome on and off (p. 29).
Use this to add a variety of different effects to the sound
(p. 24).
17 [Start/Stop] Button
Switches Session Partner start or stop (p. 32).
18 [Drums] Button
Turns the Drums part of Session Partner on and off (p. 32).
6
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Panel Descriptions
12
19
21
23
16 17 18
20
22
24
13 14
15
19 [Bass] Button
22 [Play/Stop] Button
Starts and stops playback of internal songs and recorded
performances (p. 12).
20 [Chord] Button
Used for starting recording of performances (p. 38).
Turns the Chord part of Session Partner on and off (p. 32).
23 [Rec] button
21 [Chord Progression] Button
Puts the unit in the state whereby it is ready for recording
performances (p. 38).
This turns the Session Partner chord progression on and off.
When turned off, chords are specified in the left side of the
keyboard (p. 35).
24 [Song] Button
For selecting internal songs (p. 12).
Rear Panel
1
2
3
4
5
6
7
8
9
1
USB(MIDI) Connector
5
Line Out Jacks
Use this for connecting a computer to the FP-5 using a USB
cable (p. 49).
Provide output of the audio signals. Also used for connecting
audio equipment and other such devices (p. 48).
These allow you to play sounds from the FP-5 through other
audio devices.
2
MIDI Connectors
Used for connecting external MIDI devices and for sending
and receiving MIDI messages (p. 49).
6
[Speaker] Switch
This switch turns the internal speaker on/off (p. 48).
3
Pedal Jacks
7
[Power] Switch
Accepts connection of the supplied pedal, or other suitable
pedals (p. 9).
This switch turns the unit on/off (p. 9).
4
Line In Jacks
8
DC In Jack
Provide input of the audio signals. Used for connecting
audio equipment and other such devices (p. 48).
Connect the supplied AC adaptor here (p. 8).
9
Cord Hook
Use this to fix in place the cord from the supplied AC
adaptor (p. 8).
7
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Before You Play
Making Connections
1. Before you begin making connections, confirm the following.
Is the volume level of the FP-5 turned all the way down?
Is the power to the FP-5 turned off?
2. Connect the supplied AC cable to the supplied AC adaptor.
fig.00-01
AC cable
AC adaptor
Power outlet
3. Connect the supplied AC adaptor to the FP-5, and then plug
its other end into a power outlet.
To prevent the inadvertent disruption of power to your unit (should the
plug be pulled out accidentally), and to avoid applying undue stress to the
AC adaptor jack, anchor the power cord using the cord hook, as shown in
the illustration.
fig.00-02
Rear Panel
Installing the Music Stand
fig.00-03
1. Using the supplied screws, attach the music stand to the
back of the FP-5 as illustrated.
Be sure to use the supplied screws for attaching the music stand.
Turn the screws clockwise until they’re held in place–but don’t tighten them
yet.
2. Put the music stand between the screws and the FP-5’s body.
3. While supporting the music stand with one hand, secure it in
place by turning the screws.
* When attaching the music stand, support it firmly with one hand to make sure that
NOTE
you don’t drop it. Be careful, so you don’t get your fingers pinched.
Do not apply excessive
force to the installed music
stand.
4. To remove the music stand, support it with one hand while
loosening the screws.
* After removing the music stand, don’t forget to retighten the screws.
8
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Before You Play
Soft Pedal
Connecting Pedals
is not as strong as when otherwise played with the
equivalent strength. This is the same function as the left
pedal of an acoustic piano.
of the Pedal jacks.
When connected to the Damper jack, the pedal can be
function as an another works (p. 27, p. 44).
*
With the pedal connected to the Soft(FC2) jack, it can be
assigned other functions as well. Refer to “Changing How the
Pedals Work” (p. 43), “Using the Pedal to Switch Setup
(Pedal shift)” (p. 52).
When connected to Sostenuto(FC1) jack, the pedal can be
used as a sostenuto pedal. In addition, it can be set to
function as an another works (p. 43, p. 52).
*
By obtaining a second and third pedal, you can then use three
pedals simultaneously. If you wish to purchase the optional
pedal (DP series), please contact the dealer where you
purchased the FP-5.
When connected to Soft(FC2) jack, the pedal can be used
as a soft pedal. In addition, it can be set to function as an
another works (p. 43, p. 52).
fig.00-04
Turning the Power On and
Off
*
Once the connections have been completed, turn on power to
your various devices in the order specified. By turning on
devices in the wrong order, you risk causing malfunction and/
or damage to speakers and other devices.
*
Unplugging a pedal cord from the unit while the power is on
may cause the pedal’s effect to be applied without stopping.
The power of the FP-5 must be turned off before inserting or
removing a pedal cord.
■ Turning On the Power
1. Before you switch on the power, turn the volume
down all the way by rotating the [Volume] knob.
fig.00-05
Damper Pedal
Use this pedal to sustain the sound. While the pedal is
depressed, long lingering reverberations continue to be
added to the sound after you release from the keys.
The pedal included with the FP-5 functions as a half-damper
the sound from the strings that were struck resonates with
other strings, adding rich reverberations and broadness to
the sound. You can adjust this resonance (sympathetic
resonance) when the damper pedal is depressed.
The power will turn on, and “FP5” appears in the
display.
After a few seconds, the unit becomes operable and
playing the keyboard produces sound.
fig.00-06
*
With the pedal connected to the Damper jack, it can be
assigned other functions as well. Refer to “Changing the
Sound’s Pitch in Real Time (Pedal Control)” (p. 27).
Rear Panel
Lower Position
ON
*
Sostenuto Pedal
This pedal sustains only the sounds of the keys that were
already played when you pressed the pedal.
*
This unit is equipped with a protection circuit. A brief interval
(a few seconds) after power up is required before the unit will
operate normally.
*
With the pedal connected to the Sostenuto(FC1) jack, it can be
assigned other functions as well. Refer to “Changing How the
Pedals Work” (p. 43), “Using the Pedal to Switch Setup
(Pedal shift)” (p. 52).
3. Adjust the volume to obtain the proper volume
level.
9
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Before You Play
■ Turning Off the Power
1. Before switching the power off, turn the volume
all the way down by rotating the [Volume] knob.
fig.00-05
Connecting Headphones
Connecting headphones allows you to enjoy playing
anytime, even at night, without concern.
*
Headphones are not included. Consult your Roland dealer if
you want to purchase.
fig.00-09
2. Press the [Power] switch on the back of the unit.
The power is switched off.
fig.00-07
Rear Panel
Upper Position
1. Plug the headphones into the Phones jack at the
OFF
front, on the left side of the piano.
Use the [Volume] knob on the FP-5 to adjust the volume
of the headphones.
*
Make sure to use stereo headphones.
Adjusting the Sound’s
Volume and Brilliance
Some Notes on Using Headphones
• To prevent damage to the cord, handle the headphones
only by the headset or the plug.
fig.00-08
• The headphones may be damaged if the volume is too
high when they are plugged in. Lower the volume on the
FP-5 before plugging in the headphones.
• To prevent possible auditory damage, loss of hearing, or
damage to the headphones, the headphones should not
be used at an excessively high volume. Use the
headphones at a moderate volume level.
1. Use the [Volume] knob to adjust the overall
volume level.
Rotating the knob clockwise increases the volume;
counterclockwise rotation decreases it.
2. Use the [Brilliance] knob to adjust the overall
sound quality.
Rotating the knob clockwise makes the tone brighter;
rotating it counterclockwise makes the sound more
subdued.
If the FP-5 is positioned against a wall, you will probably
want to rotate the knob more to the left.
10
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Chapter 1 Playing the Keyboard
Listening to Demo Songs
Now, try listening to demo songs.
NOTE
The FP-5 comes with fifty four demo songs.
The seven Tone buttons, the [Start/Stop] button, and the [Play/Stop] button
are each assigned one demo song.
All rights reserved.
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
Indi-
cation
Button
Composer/Copyright
Masasi & Kazuko Hirashita / © 2002 Roland Corporation
Piano
Pno
E.Piano
E.Pn © 2002 Roland Corporation
© 2002 Roland Corporation
Organ
OrG
Gtr
Masasi & Kazuko Hirashita / © 2002 Roland Corporation
Masasi & Kazuko Hirashita / © 2002 Roland Corporation
© 2002 Roland Corporation
Guitar/Bass
Strings/Pad
Voice/GM2
Tone Wheel
Start/Stop
Play/Stop
Str
Sct
t.Or
SP
© 2002 Roland Corporation
© 2002 Roland Corporation
Masasi & Kazuko Hirashita / © 2002 Roland Corporation
SnG
fig.01-01
1,4
2,3
2,3
2,3
1. Hold down the [Setup] button and press the [Split] button.
The indicators for the Tone and [Start/Stop] and [Play/Stop] buttons flash
The demo song cannot be
played back while recorded
performance data remains
in the FP-5’s memory. Press
[Rec] button to delete the
performance data (p. 13).
in red.
fig.01-03
flash in red
flash in red
2. Press one of the flashing Tone buttons other than the [Setup]
or the [Split] button to select the song.
Songs play back continuously. The button for the song currently being
played back flashes on and off.
When playback of the last song is reached, playback continues by returning
to the first song and playing that again.
Press a button not assigned
to a demo song to exit
Demo mode.
3. To stop playback, press the flashing button.
NOTE
4. Press the [Setup] button or the [Split] button to exit Demo
No MIDI data for the music
that is played will be
output.
mode.
The indicators return to their previous state.
11
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Chapter 1 Playing the Keyboard
Listening to Internal Songs
Now, try listening to Internal songs.
The FP-5 comes with sixty five internal songs.
fig.01-01
3,4 1
2
1. Press the [Song] button, getting its indicator to light.
For more on internal song
names, refer to “Internal
Song List” (p. 69).
The following appears in the display.
fig.01-02
About the Display of
the Internal Songs
USr (User)—Stores
2. Press the [-] or [+] button to select the song.
3. Press the [Play/Stop] button.
recorded Performances (for
more on recording →p. 38).
When “P.” is added—
Indicates one of the piano
songs
The song will begin playing back.
The selected song is played to the end, and then playback stops.
4. To stop playback, press the [Play/Stop] button once more.
The next time you press the [Play/Stop] button, the song that was stopped
is played from the beginning.
■
Playing Back All Songs Continuously (All Song Play)
Listening to all of internal songs repeatedly played back in succession is
known as “All Song Play.”
fig.01-06
2 1
1. Hold down the [Song] button and press the [Play/Stop] button.
Songs play back continuously.
When playback of the last song is reached, playback continues by returning
to the first song and playing that again.
2. To stop playback, press the [Play/Stop] button.
All Song Play is exited when the performance is stopped.
The next time you press the [Play/Stop] button, the song that was stopped
is played.
12
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Chapter 1 Playing the Keyboard
When the following appears in the display
If there is any performance data stored in the FP-5’s memory, the following
appears in the display.
fig.01-03
flash in red
Until you erase the performance data, you cannot play back an internal
song.
To erase the performance data and play back the internal song, press the
[Rec] button.
If you don’t want to erase the song, press the [Play/Stop] or [Song] button.
■ Listening to Each Part Separately
With the internal songs, you can select the performance part that is to be
played back.
You can also practice each hand separately while playing along with the
song.
1. Select the song to be played back.
2. Hold down the [Play/Stop] button and press either [Bass (1)]
button or [Chord(2)] button to select the part for which you
want the sound to not be played.
The indicator on the selected button goes out.
The performance data is assigned to the Track buttons as shown below.
fig.01-05
Left-hand Right-hand
Part
Part
When you release the [Play/Stop] button, the song is played back.
The sound for the performance part selected in Step 2 is not played.
Changing the song cancels
the mute setting.
Temporarily preventing the sounds of a specified part from playing is called
“muting.”
3. Hold down the [Play/Stop] button and press the button
selected in Step 2.
The sound of the muted part is then played.
4. Press the [Play/Stop] button to stop playback.
13
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Chapter 1 Playing the Keyboard
Performing with a Variety of Sounds
The FP-5 features over 300 different internal sounds, allowing you to enjoy
performing with sounds suitable for many different types of music.
These onboard sounds are called “Tones.” The Tones are divided into seven
different groups, each of which is assigned to a different Tone button.
For more on Tones, refer to
“Tone List” (p. 57)
The Tone “Grand Piano 1” is selected when the instrument’s power is
turned on.
fig.01-07
1
2
3
1. Press one of the Tone buttons to choose a Tone Group.
You’ll hear the Tone assigned to Tone number 1 in the selected Tone Group.
Try fingering the keyboard.
The Tone number appears in the display.
fig.01-08
2. Press the [Variation/Effects] button, getting its indicator to
light in red.
3. Press the [-] or [+] button to select a Tone from the Tone
Group.
The Tone you’ve selected is heard when you finger the keyboard.
The next time you choose this Tone button, the tone you’ve selected here is
played.
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Chapter 1 Playing the Keyboard
Simulating the Creation of Organ Tones
(Tone Wheel Mode)
When any of the “Tone Wheel” Tones is selected, you can perform in “Tone
Wheel mode,” in which the creation of organ sounds is simulated.
An organ features nine “harmonic bars” that can be drawn in and out, and
by using the bars in different combinations of positions, a variety of
different tones can be created. Different “Feet” are assigned to each bar, with
the pitches of the sounds being determined by these “Feet.”
You can simulate the creation of tones using the harmonic bars by assigning
footages to the Tone buttons.
NOTE
When the Tone Wheel is
selected, you cannot enable
the dual mode (p. 18).
In Tone Wheel mode, the footages are switched by pressing the [Tone
Wheel] button, and a total of nine footages and percussion instruments are
assigned to the Tone buttons other than [Piano] button.
What Are “Feet?”
Feet basically refers to the lengths of pipe used in pipe organs. The
length of pipe used to produce the reference pitch (the fundamental) for
the keyboard is eight feet. Reducing the pipe to half its length produces
a pitch one octave higher; conversely, doubling the pipe length creates
a pitch one octave lower. Therefore, a pipe producing a pitch one octave
below that of the reference of 8’ (eight feet) would be 16’; for one octave
above the reference, the pipe would be 4’, and to take the pitch up yet
another octave it would be shortened to 2’.
On tone wheel organs, in the high range of the keyboard, high-pitched feet
are “wrapped around” one octave down.
Folding back the high-frequency portion prevents the high-frequency
sounds from being unpleasantly shrill, and folding back the low-frequency
portion prevents the sound from becoming “muddy.”
On the FP-5 faithfully simulates this characteristic.
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Chapter 1 Playing the Keyboard
07
1,3,4
2
1. Press the [Tone Wheel] button, getting its indicator to light
in red.
2. Press the [-] or [+] button to select a Tone.
3. Press the [Tone Wheel] button, getting its indicator to light
in green or orange.
The FP-5 switches to “Tone Wheel mode,” the function is turned on, and the
footage buttons flash.
fig.05-10
lit in green or orange
When you press the [Piano]
button, the FP-5 exits Tone
Wheel Mode, regardless of
the [Tone Wheel] button’s
illumination status.
4. To exit Tone Wheel mode, press the [Tone Wheel] button
until the button’s light is red.
.
About the lighting of the [Tone Wheel] button indicators
The indicators of the [Tone Wheel] buttons indicate the status of the Tone
and Feet Group, as shown below.
Indicator
Performance
Lit in red
“Tone Wheel” tone is selected in the Upper Tone or the
Lower Tone.
Lit in green
The feet of upper footage group in Tone Wheel Mode
can be turned on and off.
Lit in orange
Lit in orange
The feet of lower footage group in Tone Wheel Mode
can be turned on and off.
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Chapter 1 Playing the Keyboard
■ Selecting the Footage
1. Press the [Tone Wheel] button to select the upper (button’s
indicator lights in green) or lower (button’s indicator lights
in orange) footage group.
2. Press the Tone buttons to turn on and off the different
footages.
■ Changing volume of feet
The volume on feet can be adjusted, with eight volume levels available.
1. Press the [Tone Wheel] button to select the upper (button’s
The settings changed here
are stored to each Tone.
Even when you exit from
Tone Wheel mode, you can
press [Tone Wheel] button
to select the Tone with the
changed settings.
indicator lights in green) or lower (button’s indicator lights
in orange) footage group.
2. Hold down the Tone button for the footage for which you
want to change the volume, and press the [-] or [+] button to
adjust the volume.
The volume level of the footage assigned to the button being pressed is
displayed.
About Perc (Percussion)
NOTE
Perc (Percussion) adds an attack-type sound to the beginning of the note to
give the sound more crispness. The attack sound changes according to the
value.
The Percussion is applied
only to the UPPER Tone.
Settings
2nd
Description
Percussion sounds at a pitch one octave
above that of the key pressed.
Percussion sounds at a pitch an octave and
a fifth above that of the key pressed.
3rd
When percussion is on, the
1’ pitch will not be
The percussion on tone wheel organs did not apply to all notes that were
played. When notes were played legato (smoothly and connectedly),
percussion was applied only to the first-played note. When notes were
played staccato (articulating each note separately), percussion was applied
to all notes. This method is referred to as single trigger algorithm, and is a
very important element in organ performance.
produced (p. 15).
On the FP-5 faithfully simulates this characteristic.
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Chapter 1 Playing the Keyboard
Performing With Two Layered Tones
(Dual Play)
You can play two different sounds from a single key at the same time. This
method of performance is called “Dual Play.”
Example: Try Layering Piano and String Tones
fig.01-09
1
1. Hold down the [Piano] button and press the [Strings/Pad]
button.
You can change the pitch of
the Lower Tone an octave at
a time. Refer to “Changing
the Pitch of the Lower Tone
in Octave Steps (Octave
Shift)” (p. 44).
The indicators for both buttons light.
Try fingering the keyboard. Both the piano and string sounds play.
Pressing two Tone buttons at the same time in this manner activates Dual Play.
Of these two selected tones, the one for the Tone button you pressed first is
called the “Upper Tone,” and the one for the Tone button you pressed after
that is called the “Lower Tone.”
You can vary the volume-
level balance of the two
tones. Take a look at
The Tone button’s indicator lights in red for the Upper Tone, and in orange
for the Lower Tone.
fig.01-10
“Changing the Volume
Balance for Dual Play and
red
orange
Upper Tone
Lower Tone
NOTE
Here, the piano tone is the Upper Tone and the strings tone is the Lower
Tone.
When the Tone Wheel is
selected, you cannot
enable the dual mode
(p. 15).
2. To exit Dual Play, press either Tone button.
Now, only the tone of the button you just pressed is sounded.
Changing the Tone variations
Play, the effect is applied to
both tones, you can set the
FP-5 so that the effect is not
applied to the Lower Tone.
Refer to “Changing How
the Pedal Effects Are
1. Press the [-] or [+] button to change the Upper Tone.
2. Hold down the Tone button for the Lower Tone, and press
the [-] or [+] button to change the Lower Tone.
Applied” (p. 43).
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Chapter 1 Playing the Keyboard
Performing With Different Tones in the Left and
Right Sides of the Keyboard (Split Play)
Performing with the keyboard divided at a certain key into a left side and a
right side is called “Split Play,” and the point at which the keyboard is
divided is called the “split point.”
You can specify which part
is to have priority when the
effects assigned to the
In Split Play, you can have a different tone sound in the left and right sides.
Upper Tone and Lower
Tone differ. Refer to
When the instrument is turned on, the split point is set to “F 3.” The split
point key is included in the left side.
“Setting the Part to Which
Effects Are Added” (p. 44).
While in Split Play, a sound played in the right side is called an “Upper
Tone,” and the sound played in the left side is called a “Lower Tone.”
Example: Let’s try split play with the piano tones.
fig.01-11
2,3 1
1. Press the [Piano] button.
Now, the piano tone is selected.
You can vary the volume-
level balance of the two
tones. Take a look at
2. Press the [Split] button, getting its indicator to light.
The keyboard is divided into upper and lower sections.
“Changing the Volume
Balance for Dual Play and
Split Play” (p. 21).
fig.01-12
F 3 (Split Point)
Lower Tone
Upper Tone
When the “Tone Wheel”
tone is selected to the
Lower Tone, the [Tone
Wheel] button’s indicator
light in red (p. 16).
The right-hand section of the keyboard plays piano tone, and the left-hand
section plays A. Bass+Ride tone.
You can play a tone for the right side (the Upper Tone) before splitting the
keyboard.
The Tone button’s indicator lights in red for the Upper Tone, and in green
for the Lower Tone.
3. To exit Split Play, press the [Split] button once more.
When you switch from
Dual Play (p. 18) to Split
Play, the Upper Tone used
in Dual Play is selected as
the Upper Tone for Split
Play.
The [Split] button’s indicator light goes out and the upper tone becomes the
tone for the entire keyboard.
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Chapter 1 Playing the Keyboard
■ Changing Tone Group and Tone variation.
fig.01-13
1,2
2,4
3,4
Changing the Upper Tone
1. Press the Tone button to choose a Tone Group.
2. Press the [-] and [+] buttons to select the Tones.
Changing the Lower Tone
When the tone of the same
Tone button is selected for
Tones, the indicator for
Tone button flash in green
while the [Split] button is
held down.
choose a Tone Group.
2. Hold down the [Split] button and press the [-] and [+]
buttons to select a Tones.
For more on selecting tones, refer to “Performing with a Variety of Sounds”
(p. 14).
You can change the pitch of
the Lower Tone an octave at
a time. Refer to “Changing
the Pitch of the Lower Tone
in Octave Steps (Octave
Shift)” (p. 44).
■ Changing the Keyboard’s Split Point
You can change the location where the keyboard is divided (the split point)
within the range of B1 through B6.
This is set to “F 3” when the instrument is turned on.
This setting remains in effect until you turn off the power.
fig.01-14
F 3
The name of the key acting
as the split point is
indicated in the display, as
shown below.
B1
B6
1. Hold down the [Split] button and press a key set as the split
point.
Display
C
C
d_
d
E_
E
Letter
name
D
D
Display
E
F
F
G
G
b
The key you pressed becomes the split point, and appears in the display.
Letter
name
E
F
F
The key being used as the split point belongs to the left-hand section of the
keyboard.
Display
A_
A
A
A
b_
B
Letter
name
B
When you release the [Split] button, you return to the previous screen.
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Chapter 1 Playing the Keyboard
Changing the Volume Balance for Dual
Play and Split Play
You can change the volume balance of the Upper and Lower Tones in Dual
Play (p. 18) and Split Play (p. 19).
fig.01-15
1
1. Use the [Balance] knob to adjust the volume balance.
You cannot change the
volume balance even if you
turn the [balance] knob,
when Tone Wheel Organs
are selected to both the
Upper Tone and the Lower
Tone.
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Chapter 1 Playing the Keyboard
Changing the Keyboard’s Touch
You can change the touch sensitivity, or response of the keys.
When the instrument is turned on, this is set to “N (Normal).”
fig.01-17
1
2
1. Hold down the [Transpose] button and press the [Reverb]
NOTE
button.
With certain sounds, the
touch may not change.
The indicators for the [Transpose] and [Reverb] buttons flash in red.
fig.01-18
2. Press the [-] or [+] buttons to select the touch.
Indicate
Description
OFF
(Fixed)
The sound plays at one set volume, regardless of the force
used to play the keys.
A light keyboard touch is selected. You can achieve fortis-
simo (ff) play with a less forceful touch than usual, so the
keyboard feels lighter. This setting makes it easy to play,
even for children.
-L-
(Light)
This sets the standard keyboard touch. You can play with
the most natural touch. This is the closest to the touch of
an acoustic piano.
-N-(Normal)
Here, a heavy keyboard touch is selected. You have to fin-
ger the keyboard more forcefully than usual in order to
play fortissimo (ff), so the keyboard touch feels heavier.
Dynamic fingering adds even more feeling to what you
play.
You can set the velocity the
sound will have when the
keyboard touch is set to
“Fixed” (p. 45).
-H-
(Heavy)
3. Press the [Transpose] button or the [Reverb] button.
The indicators return to their previous state.
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Chapter 1 Playing the Keyboard
Adding Reverberation to Sounds (The Reverb Effect)
You can apply a reverb effect to the notes you play on the keyboard. With
the reverb effect, you obtain a pleasant reverberation, making it sound as if
you were performing in a concert hall or similar space.
fig.01-21
1,2
1. Press the [Reverb] button, getting its indicator to light.
Try fingering the keyboard.
The reverb effect is applied to the entire tone.
NOTE
2. The eliminate the Reverb effect, press the [Reverb] button
You cannot make separate
reverb effect depth settings
for each individual tone.
once more, extinguishing the indicator.
■ Changing the Depth of Reverb Effect
You can select from ten levels of depth for the reverb effect.
1. Hold down the [Reverb] button and press the [-] or [+]
button.
NOTE
The selected depth for the reverb effect appears in the display.
You cannot change reverb
effect depth of Session
Partner, Demo songs, and
Internal song.
fig.01-22
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Chapter 1 Playing the Keyboard
Adding a Variety Effects to the Sound
In addition to reverb, you can apply a variety of changes to the FP-5’s
sounds.
NOTE
Effects may not be applied
with some of sounds.
These are referred to as “effects.” With the FP-5, you can select from ten
different effect types.
With the factory default settings, effects have been preselected for each tone.
fig.01-19
1,2
1. Press the [Effects] button, getting its indicator to light.
Some tones initially have
effect applied. Selecting
such a tone makes the
[Effects] button’s indicator
light up automatically.
Try fingering the keyboard.
The effect is applied to the currently selected tone.
2. The remove the effect, press the [Effects] button once more,
extinguishing the indicator.
■ Changing the Effect type
1. Press the [Effects] button, getting its indicator to light.
The effect is applied to the currently selected tone.
You can specify which part
is to have priority when the
effects assigned to the
2. Press the [Variation/Effects] button, getting its indicator to
light in orange.
The effect number appears in the display.
fig.01-22
Upper Tone and Lower
Tone differ. Refer to
“Setting the Part to Which
Effects Are Added” (p. 44).
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Chapter 1 Playing the Keyboard
3. Press the [-] or [+] button to select the effect.
You can select from the following.
Indication
Effects
Description
When you depress the damper pedal on
an acoustic piano, the sound from the
strings that were struck resonates with
other strings, adding rich reverberations
and broadness to the sound.
SYMPATHETIC
RESONANCE
S.rE
This controls the overtone structure of
the high frequencies, adding sparkle and
tightness to the sound.
Enh
ENHANCER
This effect adds a delay sound like an
echo.
dLy
Cho
t.ch
DELAY
You can give the sound greater dimen-
sion, with more fatness and breath.
CHORUS
TREMOLO
CHORUS
This effect is Chorus effect with added
cyclic modulation of volume.
This effect adds spinning sounds similar
to the sound of an organ using a rotating
speaker of the past.
rot
ROTARY
PHASER
This effect adds a phase-shifted sound to
the direct sound, producing a twisting
modulation that creates spaciousness
and depth.
Pha
FLn
This effect produces a metallic resonance
that rises and falls like a jet airplane tak-
ing off or landing.
FLANGER
This effect creates a soft distortion simi-
lar to that produced by vacuum tube
amplifiers.
Odr
dSt
OVER DRIVE
DISTORTION
This effect produces a more intense dis-
tortion than Overdrive.
The next time you choose the same tone, the effect type you’ve selected here
is applied.
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Chapter 1 Playing the Keyboard
■ Changing the Depth of Effect
You can select from ten levels of depth for the effect.
1. Hold down the [Effects] button and press the [-] or [+] button.
NOTE
The depth for the effect being applied to the currently selected tone appears
You cannot change the
levels of depth for the
rotary effect.
in the display.
fig.01-20
The next time you choose the same tone, the effect with the depth you’ve
selected here is applied.
■ Adding a Spinning Sound to Organ Tones (Rotary Effect)
The Rotary effect is applied to some Organ tones you can select with the
[Organ] button, and to the tone of the [Tone Wheel] button. When one of
these tones is selected, you can use the [Effects] button to change the speed
of the rotary effect.
To prevent the Rotary effect
from being applied, select an
effect type other than the
Rotary effect and then
remove the effect.
What the rotary effect does is to add a “spinning” effect similar to the sound
of an organ using a rotating speaker.
1. Press the [Organ] button and select the organ tone.
When a tone that has the Rotary effect added is selected, the [Effects]
button’s indicator flashes or blinks in green.
2. Each time pressing the [Effects] button, switch the speed of
the rotary effect between rapid and slow rotation.
When the [Effects] button’s indicator flashes in green, a more rapid rotary
effect is applied.
When the [Effects] button’s indicator blinks in green, a slower rotary effect
is applied.
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Chapter 1 Playing the Keyboard
Changing the Sound’s Pitch in Real
Time (Pedal Control)
Connecting the included pedal to the Damper jack allows you to use the
pedal to alter the sounds’ pitches.
fig.01-23
1,2
NOTE
1. Hold down the [Pedal Control] button, getting its indicator
to light.
The damper pedal effect
cannot be applied while the
[Pedal Control] button is
lit.
Try fingering the keyboard.
When you press the Damper pedal, the pitch gradually rises. With the pedal
fully pressed, the pitch is raised two semitones(fixed). The sound returns to
its original pitch when you release the pedal. You can adjust how much the
The function does not work
properly when a pedal
(other than expression or
half-damper pedal) is used.
Additionally, when
2. To undo the pitch bend effect, press the [Pedal Control]
button once more so the button’s light goes out.
You can set the Damper pedal to lower the pitch when pressed. You can also
assign the modulation effect to the pedal.
connecting the included
pedal, be sure set the
Refer to “Changing the Work of the Pedal Control” (p. 44).
switch on the included
pedal to “Continuous.”
What “Pitch Bend” and “Modulation” Do
The effect that gradually raises or lowers the pitch is known as pitch bend.
NOTE
The regular, cyclical wavering of the pitch is referred to as modulation or
vibrato.
With some sounds, the
modulation effect may not
be applied, or the amount
of effect you get may be
less or more than what you
get with other sounds.
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Chapter 1 Playing the Keyboard
Transposing the Key of the Keyboard
(Key Transpose)
You can transpose the key of a performance without having to shift the
position of your fingers on the keyboard. This feature is called “Key
Transpose.”
This lets you take a song in a difficult key with lots of sharps ( ) and flats
( ) and play it in a key with fingering that’s easier for you. This is handy
when playing accompaniment to a song, to match what you play to the pitch
of the singer’s voice.
fig.01-23
Press the corresponding key
1
1. Hold down the [Transpose] button and press the key
corresponding to the tonic of the desired key.
The Key Transpose settings value continues to appear in the display while
the [Transpose] button is held down.
By holding down the
[Transpose] button and
pressing both the [-] and [+]
buttons simultaneously, the
setting returns to its
With the [Transpose] button held down, you can change the value, even by
pressing the [-] or [+] button.
The available range is -6–0–5.
When you release the [Transpose] button, you return to the previous screen.
original value.
Example: Playing a Song in the Key of E Major After Transposition
to C Major
Hold down the [Transpose] button and press the E key (since E is the tonic).
Counting from C as a reference point, one moves up four keys, including the
black keys, to reach E, thus “4” appears in the display.
fig.01-25
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Chapter 1 Playing the Keyboard
Using the Metronome
Here’s how you can make use of the metronome.
fig.02-01
1,2
1. Press the [ (Metronome)] button to have the metronome
sound.
The [Tempo/Rhythm] button’s indicator flashes in red and green in time
with the beat selected at that time. The indicator lights in red on the
downbeats, and in green on weak beats.
2. To stop the metronome, press the [
(Metronome)] button
again.
■ Changing the Tempo
1. Press the [Tempo/Rhythm] button, getting its indicator to
light in red.
The tempo is displayed.
Pressing the [Tempo/Rhythm] button alternately displays the tempo and
the currently selected Rhythm number (indicated by an initial “r”).
fig.02-02
2. Press the [-] or [+] button to adjust the tempo.
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Chapter 1 Playing the Keyboard
■ Changing the Beat of Metronome
1. While holding down the [Tempo/Rhythm] button, press the
[-] or [+] button to select the beat.
The currently selected beat is displayed.
fig.02-03
When you change the
rhythm or the Internal
song, the beat of
metronome is changed.
You can select from the following beats.
Display
2.2
Beat
Display
6.4
Beat
6/4
7/4
3/8
6/8
9/8
12/8
2/2
0.4
Weak beats only
7.4
NOTE
2.4
2/4
3/4
4/4
5/4
3.8
You cannot change the
metronome beat while a
song or Rhythm is being
played.
3.4
6.8
4.4
9.8
5.4
12.8
■ Changing the Volume
The volume of the metronome can be adjusted, with ten volume levels
available.
This is set to “5” when the instrument is turned on.
You can change the beat
pattern of the Metronome
Refer to p. 46.
1. While holding down the [
(Metronome)] button, press the
[-] or [+] button to adjust the volume.
The currently selected metronome volume is displayed.
fig.02-04
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Chapter 2 Playing Along with Rhythms
What is Session Partner?
“Session Partner” Lets You Enjoy Playing with a Session-Like Feel
“Session Partner” is an easy-to-use function that plays accompaniment in a
variety of musical styles.
Playing along with this accompaniment, with its realistic sounds, gives you
the feel that you are playing live with a band backing you.
For example, playing with “Session Partner” instead of using the
metronome always lets you practice the piano with something different.
You can also change the accompaniment as you like to suit whatever you are
playing.
By changing the chords and Rhythms, even while playing the same melody,
you can easily create all kinds of new arrangements.
by using the “Session Partner” feature.
What You Can Do With “Session Partner”
• Play piano with a session-like feel along with Rhythms while the chord
progression continues automatically (p. 32).
• Play the piano to provide your own accompaniment as you specify
chords with the left hand (the left part of the keyboard) (p. 35).
• Enjoy freer piano performances using your own original chord
progressions (p. 36).
With “Session Partner,” you select three “rhythms” and add
accompaniment, selecting the rhythms by turning the three part buttons on
and off.
You can play intros, endings, and fill-ins (short phrases inserted at transition
points in the song) by pressing buttons as you play the keyboard.
What are the FP-5’s “Rhythms?”
The FP-5 features internal “Rhythms” complementing Pops, Jazz, and other
various musical genres.
“Rhythms,” or combinations of elements from a musical genre that recreate
the mood or signature sound of a particular style, form the foundation of the
accompaniment used in “Session Partner.”
A “Rhythm” is composed from the following three items.
• Drum Part
• Bass Part
• Chord Part
You can play each of these Parts by pressing the [Drums], [Bass], and
[Chord] buttons.
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Chapter 2 Playing Along with Rhythms
Performing Along With Session Partner
fig.02-05
1,2
Now, let’s try performing along with Session Partner.
Since a wide variety of musical genres is provided, be sure to use a Rhythm
that best suits the song you are performing. Please refer to “Selecting a
Rhythm” (p. 33).
For more information on the
different Rhythm types, refer
to the “Rhythm List” (p. 62).
1. Press the [Start/Stop] button.
The [Start/Stop] button’s indicator lights in red, and the intro begins to play.
After the intro is played, the light’s color changes to green.
You can set the Chord
display on or off (p. 47).
The chord progression advances automatically, freeing you up to play the
melody.
2. When you press the [Start/Stop] button once more, the
You can also specify the
chords to be played in a
Rhythm. For details, refer to
“Performing With the Chord
Progression Specified in the
Left Hand (Chord
ending is played, and the Rhythm stops.
While the ending is being played, the [Start/Stop] button’s indicator lights
in red. When the Rhythm stops, the [Start/Stop] button’s indicator goes out.
Additionally, when the [Start/Stop] button indicator is lit in red, if you then
press the [Start/Stop] button once more, you can immediately stop the intro
or ending, even when while these are being played.
Progression off)” (p. 35).
Selecting Parts
You can switch corresponding Parts on or off using the [Drums], [Bass], and
[Chord] buttons.
You can change the chord
progression patterns. Refer
to the “Selecting a Rhythm’s
Chord Progression” (p. 34).
When you press a button and extinguish its light, its Part is not played.
* Some guitar sounds are included in the [Drums] parts.
You can press the [Start/
Stop] button to finish
without playing an Intro or
Ending. See “Setting the
Intro and Ending on or off”
(p. 47).
32
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Chapter 2 Playing Along with Rhythms
■ Changing the Volume of a Part
You can adjust the volume level of individual Parts.
fig.02-05
1,2
2 1
1. While holding down the button for the Part whose volume
level you want to change (the [Drums], [Bass], or [Chord]
button), press the [-] or [+] button.
The volume level of the Part whose button you pressed is displayed.
2. If you want to change the volume level for all Parts, hold
down the [Start/Stop] button and press the [-] or [+] button.
Selecting a Rhythm
Now, try changing the Rhythm being performed.
fig.02-09
1
2
1. Press the [Tempo/Rhythm] button, getting its indicator to
light in orange.
The Rhythm number is displayed.
Rhythm numbers are indicated by an “r” before the number.
fig.02-10
2. Press the [-] or [+] button to select the Rhythm.
Changing Rhythms As You Perform
If you change Rhythms while a Rhythm is being played, the selected
Rhythm begins after the fill-in is played.
What’s a “Fill In”?
A short improvisational phrase inserted at the bar line is called a “Fill In.”
The phrase best suited to the selected Rhythm is played.
33
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Chapter 2 Playing Along with Rhythms
Changing a Rhythm’s Tempo
The FP-5 has an optimal tempo for each Rhythm.
You can change the tempo of the selected Rhythm.
Furthermore, you can change the tempo as the Rhythm is being played.
fig.02-08
1
2
1. Press the [Tempo/Rhythm] button, getting its indicator to
If you change the Rhythm
during Session Partner play,
the tempo won’t change. At
such times, you can set it to
the optimal tempo by
light in red.
The tempo is displayed.
Pressing the [Tempo/Rhythm] button alternately displays the tempo and
the currently selected Rhythm number (indicated by an initial “r”).
getting the tempo to appear
in the display, then pressing
the [-] and [+] buttons at the
same time.
2. Press the [+] and [-] buttons to adjust the tempo.
The tempo can be changed within the range from
20 ~ 250.
When the [Start/Stop] button is pressed, the Rhythm is played at the
selected tempo.
When the tempo is displayed, you can set it to the optimal tempo to appear
in the display, then pressing the [-] and [+] buttons at the same time.
For more information on
chord progression patterns,
refer to the
Selecting a Rhythm’s Chord Progression
“Chord Progression Pattern
List” (p. 63).
The FP-5 has an optimal chord progression pattern for each Rhythm.
When playing the Chord Part while performing, the chord progression is
automatic. You can change the chord progression pattern if you want.
Recorded chord progression
patterns are saved to
1. Hold down the [Chord Progression] button and press the [-]
“
“
” You can select
” patterns by
or [+] button to change the chord progression pattern.
The currently selected chord progression pattern number is displayed.
fig.02-11
pressing the [-] button when
pattern number 1 is
displayed.
You can change the root
note of the first chord.
refer to “Setting the Root
Note of the Chord
Progression” (p. 47).
34
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Chapter 2 Playing Along with Rhythms
Performing With the Chord Progression
Specified in the Left Hand
(Chord Progression off)
NOTE
When specifying the
Performing with the keyboard divided at a certain key into a left side and a
right side is called “Split Play.”
chords in the left part of the
keyboard, Dual Play (p. 18)
is disabled in the right part.
While in Split Play, you can use the left side to specify chords instead of
using it to play the Lower Tone.
fig.02-13
1,4
3
1. Press the [Chord Progression] button, getting its indicator to
simply with your finger,
even without playing the
keys for all the chords’
constituent notes. For more
information about chord
fingering, refer to the “Chord
Fingering List” (p. 65).
go out.
The [Split] button’s indicator lights up.
The indicator for the [Start/Stop] button flashes, and the FP-5 is put into
standby mode.
2. The chord is specified with a key in the left part of the
keyboard, and the Rhythm begins.
fig.02-14
F 3 (Split point)
The button’s indicator does
not go out when you press
the [Split] button here. At
this point, you can perform
with the Lower Tone while
specifying chords in the left
part of the keyboard.When
you press the [Split] button
once more, the button’s
indicator does go out, and
you can perform while
The range specified a chord
Specify the chord in the left part of the keyboard, and perform the melody
in the right side.
It is not necessary to continue holding down the keys for chords in the left
side. Even after you release the key, the same chord continues until the next
chord is played.
When specifying chords, sounds from the left side of the keyboard are not
played.
specifying chords over the
entire keyboard.
3. To stop the Rhythm, press the [Start/Stop] button.
After the ending is done, the performance stops.
The indicator for the [Start/Stop] buttons then start flashing, and the FP-5 is
put into standby mode.
keyboard is divided is
called the “split point”; you
can also change this split
point. For more
information, take a look at
“Changing the Keyboard’s
Split Point” (p. 20).
4. To exit, press the [Chord Progression] button.
35
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Chapter 2 Playing Along with Rhythms
Recording the Chord Progression
(Chord Progression)
You can listen to a wide
variety of styles with a
favorite chord progression.
Refer to “Fixing a Set Chord
Progression” (p. 47).
You can save a chord progression you’ve specified using the left-hand
section of the keyboard.
fig.02-15
3
1
1. Hold down the [Chord Progression] button and press the
Press the [Chord
[Rec] button.
Progression] button or the
[Rec] button to exit from
recording standby.
The [Chord Progression] button and the [Rec] buttons’ indicator flashes in
red, the [Start/Stop] buttons’ indicator flashes in orange., and the FP-5 is put
into recording standby.
The “UCP (User Chord Progression)” appears in the display.
fig.02-16
Recorded chord progression
patterns are saved to
“
” You can select
“
” patterns by
pressing the [-] button when
pattern number 1 is
displayed.
2. The chord is specified with a key in the left part of the
keyboard, and the Rhythm begins.
The chord being played is indicated in the display.
You can store up to sixteen chords.
NOTE
The song may not play back
correctly if the performance
is played with a different
beat than the one used in
recording the original chord
progression.
3. Recording stops when the performance exceeds eight
measures or when you press the [Start/Stop] button.
Changing the Stored Measure Count
You can change the number of measures recorded for the chord
progression. This is set to eight measures when the FP-5 is turned on.
NOTE
You can store up to sixteen
chords. Regardless of the
number of measures set,
recording stops when the
seventeenth chord is
specified.
Measure counts of “4/8/12/16” can be selected.
1. Hold down the [Chord Progression] button and press the
[Rec] button.
The “UCP (User Chord Progression)” appears in the display.
2. Press the [-] and [+] button to select measure counts.
The recorded chord
progression will be
3. The chord is specified with a key in the left part of the
discarded as soon as the
power is turned off. If you
want to keep it, you’ll need
to save the Setup (p. 37).
keyboard, and the Rhythm begins.
4. Press the [Start/Stop] button to stop recording.
36
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Chapter 2 Playing Along with Rhythms
Storing Settings (Setup)
You can save favorite combinations of Tone settings, settings for dual and
split play, Session Partner settings, and the like as a “Setup.”
The Setup contains stored
and unstored settings.
Refer to “Settings Stored in
the Setup” (p. 71).
Once saved in this way, you can instantaneously switch the instrument to
the desired group of settings simply by calling up the Setup.
You can store up to 7 different Programs.
The recommended settings were stored in the instrument when it shipped
from the factory.
fig.02-15
1
1. Hold down the [Setup] button and press the ether Tone
button.
The pressed Tone button and the display flash, and the current settings are
stored.
■ Selecting Stored Settings
1. Press the [Setup] buttons.
The Tone button’s indicator flashes in green.
2. Press the Tone button to which the settings you want to call
up have been stored.
Only the indicator on the selected button flashes in green.
37
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Chapter 3 Recording a Performance
You can easily record your performances.
You can play back a performance you have recorded to check what and how
accompaniment using the Rhythm.
To Record Without Erasing
the Previously Recorded
Performance...
Notes Regarding Recording
1st Pass
• Only one song can be recorded. With second or later recordings, the
previously recorded song is erased as the new material is recorded.
When recording a new performance, it is probably a good idea to erase
the previously recorded performance first (p. 41).
2nd Pass
The first Perform-
ance is preserved
• Recorded performances are erased when the power is turned off.
Recording a Performance
This records only what you play on the keyboard, without using the Session
Partner.
fig.03-01
3
2
4
6,8
5 1
7
1. Press the [Song] button, getting its indicator to light.
The song number appears in the display.
You can save recorded
songs to an external
2. Press the [-] button to display the “USr.”
3. Select the Tone to be played (p. 14).
4. If necessary, sound the metronome.
sequencer. Refer to p. 49.
While listening the metronome, select the tempo and beat of the song (p. 29).
During the count-in, the
count measure is indicated
in the display as “-2” then
“-1.”
5. Press the [Rec] button.
The [Rec] button’s indicator lights, the [Play/Stop] button’s indicator begins
flashing, and the FP-5 is put into recording standby.
6. Press the [Play/Stop] button or play a key on the keyboard to
begin recording.
About “USr” in the
Display
Press the [Play/Stop] button, and after two measures of count sound,
recording begins.
When recording is stopped,
Recording starts when you start playing the keyboard (without pressing
any button). In this case, a count is not sounded.
the “
” indication
changes to “
” in the
7. Press the [Rec] button or the [Play/Stop] button to stop
display. The “.” in the
display indicates that there
is Performance material
already recorded.
recording.
The indicators for the [Rec] and [Play/Stop] buttons are extinguished, and
recording stops.
38
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Chapter 3 Recording a Performance
Listening to the Recorded Performance
8. Press the [Play/Stop] button.
The demo song cannot be
Press the [Play/Stop] button again, and playback stops.
played back while recorded
performance data remains
in the FP-5’s memory. Press
[Rec] button to delete the
performance data (p. 13).
■ Recording a Performance Using Session Partner
You can also easily record session performances to the session partner.
fig.03-02
4,5
3
1. Select the Tone or Rhythm to be played (p. 32-p. 36).
For more on selecting tone
and Rhythm, refer to p. 14
and p. 33.
2. Press the [Rec] button.
The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator
flashes, and the FP-5 is put into recording standby.
3. Recording starts when you begin the performance with
Session Partner (p. 32, p. 35).
For more information on
the different Rhythm and
Chord progression pattern,
refer to the “Rhythm List”
(p. 62) and “Chord
The Rhythm starts to play, while simultaneously recording begins.
4. Press the [Play/Stop] button to stop recording.
Progression Pattern List”
(p. 63).
Listening to the Recorded Performance
5. Press the [Play/Stop] button.
Press the [Play/Stop] button again to stop playback.
NOTE
If you want to record with
the chord progression
specified (p. 35), the chord
is specified with a key in
the left part of the
keyboard, and recording
begins.
39
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Chapter 3 Recording a Performance
■ Recording Selected Track buttons
FP-5’s Recorder has three Track buttons.
When you press the [Rec] button, all Track buttons are set to be recorded,
but by selecting Track buttons that are not to be recorded, you can then
record only on the specific Track buttons you want.
For example, you can record each hand’s performance to different Track
buttons, or record over only certain Track buttons in a previously recorded
Only sounds from Drum
set tones and Session
Partner sounds can be
recorded to the [Drums (R)]
button.
performance.
fig.03-03
1
1. While holding down the [Rec] button, and turn off the
recorded.
About the Lighting of
Track Button Indicators
when the [Rec] button is
pressed, track button
The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator
flashes, and the FP-5 is put into recording standby.
indicate the status of
With the FP-5 in standby, go on to record the performance according to the
procedures as described in “Recording a Performance” (p. 38), “Recording
a Performance Using Session Partner” (p. 39), starting from Step 3.
recording, as shown below.
Dark
Not Recording
The performance is not recorded only to the Track buttons whose indicator
was turned off.
Flash in red
Recording
Recording along with internal songs
You can also record your own performance as you play along with the
internal piano songs.
When recording to specific Track buttons, the sounds on the selected Track
buttons are not played. For example, you can record what you are playing
with your right hand as you listen to the left-hand part.
1. With the [Song], [-] and [+] buttons select the song.
Correspondence
Between Internal Piano
Song Track Buttons
and Performance
2. Hold down the [Rec] button and turn off the indicator light
for the track button of the track you intend not to play
yourself.
[1] button: left-hand Part
[2] button: right-hand Part
No performance data is
assigned to the [R] button.
The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator
flashes, and the FP-5 is put into recording standby.
3. Press the [Play/Stop] button to start recording.
4. Press the [Rec] or [Play/Stop] button to stop recording.
40
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Chapter 3 Recording a Performance
Erasing Recorded Performances
You can erase recorded performances.
fig.03-04
2 1
1. Hold down the [Song] button and press the [Rec] button.
A confirmation message appears in the display.
fig.03-05
flash in red
2. Press the [Rec] button.
The recorded performance is erased.
If you do not want to erase the performance, press the [Play/Stop] or [Song]
button.
Correspondence Between Recorded Performance and
Track Buttons
A recorded performance will be assigned to the Track buttons as follows.
Track button
Performance recorded
• Session Partner (p. 31)
• A performance of drum set tones
[R]
[1]
• Lower Tone in Dual play or Split play (p. 18, p. 19)
• The performance of the entire keyboard (except drum
set tones)
[2]
• Upper Tone in Dual play or Split play (p. 18, p. 19)
*
You can also record to the [1] button regular keyboard performances in which
only the [1] button is specified.
41
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Chapter 4 Other Functions
You can make a variety of performance- and recording-
related settings in “Function Mode.”
Button
Function
Page
[Pedal Con-
trol]
Works of the pedal control
p. 44
How to make settings
Bulk Dump, Pedal Shift,
Transferring the program
change
[Setup]
p. 52
1. Hold down the [Variation/Effects] button, and
press the [Tempo/rhythm] button.
[Split]
Octave shift
Temperament
Velocity
p. 44
p. 45
p. 45
“Fnc” appears in the display, and the FP-5 switches to
Function Mode.
[Transpose]
[Reverb]
The [Variation/Effects] and [Tempo/Rhythm] buttons
flash in green, and the indicators for the button to which
Setting the part to which effects
are added
[Effects]
[Piano]
p. 44
p. 45
p. 43
the function is assigned flash in red.
fig.04-01
Master Tuning
How the soft pedal(FC2)
effects are applied
[E. Piano]
How the sostenuto pedal(FC1)
effects are applied
[Organ]
p. 43
p. 43
How the damper pedal effects
are applied
[Guitar/Bass]
1
[Strings/Pad]
[Voice/GM2]
[Tone Wheel]
Soft pedal(FC2)s work
Sostenuto pedal(FC1)s work
Set USB driver
p. 43
p. 43
p. 53
2. Press one of the flashing buttons.
The flashing button’s indicator other than the pressed
button go out.
Each value is displayed.
[
Metronome beat pattern
p. 46
p. 47
Metronome]
While pressing the button, function name is displayed.
Setting the Intro and Ending on
or off
3. Press the [-] or [+] button or play a key on the
[Start/Stop]
keyboard to set.
Root note of the chord progres-
sion
[Bass]
p. 47
p. 47
p. 47
4. Press the [Variation/Effects] or [Tempo/Rhythm]
button to exit Function Mode.
[Chord]
Chord display
The button’s indicator will return to the previous state.
[Chord
Progression]
Fixing a set chord progression
[Play/Stop]
[Rec]
MIDI Out mode
p. 51
p. 50
p. 50
MIDI send channel settings
Local Control
[Song]
42
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Changing How the Pedal
Effects Are Applied
Changing How the Pedals
Work
When the pedal is pressed in Dual Play (p. 18) or Split Play
(p. 19), the pedal’s effect is applied to both the Upper Tone
and the Lower Tone, but you can change the settings for the
tone to which the effect is applied.
A pedal connected to the Soft(FC2) jack normally functions as
a soft pedal (p. 9). A pedal connected to the Sostenuto(FC1)
jack normally functions as a sostenuto pedal (p. 9).
It can also be set to function as an another works.
You can select from the following ten pedal functions.
Indication
U-L
Description
*
With certain sounds, the function may not work.
All enabled
Indication
Description
-U-
Applied only to the Upper Tone
Applied only to the Lower Tone
dnP
Sets function to damper pedal.
(Damper)
-L-
SFt
Sets function to soft pedal.
■ How the Soft Pedal(FC2)
(Soft)
effects are applied
Stn
Sets function to sostenuto pedal.
(Sostenuto)
1. Switch to Function mode, and press the [E.Piano]
button.
fig.04-03
EPr
Allows control of the volume. Connect a
separately available expression pedal
(EV-5).
(Expression)
* You cannot change volume level of session
partner.
r.St
Allows control the start/stop of Session
Partner by pressing the pedal, instead of
pressing the buttons.
flashes in red
(Start/Stop)
2. Press the [-] or [+] button to select how the pedal
effects are to be applied.
L.bS
Allows control the on/off of leading bass
(Leading bass) function*. It is turned on while having
■ How the Sostenuto Pedal(FC1)
stepped on the pedal.
effects are applied
EFF
Effects can be switched on/off by pressing
the pedal instead of pressing the [Effects]
button.
1. Switch to Function mode, and press the [Organ]
(On/Off of
Effects)
button.
When effect type is rotary, you can control
the slow/fast of spinning.
2. Press the [-] or [+] button to select how the pedal
effects are to be applied.
b.uP
Pitch rises by pressing the pedal
Pitch lowers by pressing the pedal
Vivrato is added by pressing the pedal
(Bend Up)
■ How the Damper Pedal effects
b.dn
are applied
(Bend Down)
1. Switch to Function mode, then press the [Guitar/
Mod
Bass] button.
(Modulation)
2. Press the [-] or [+] button to select how the pedal
* What is the leading bass function?
The function that sounds the lowest note of a fingered chord
as the bass tone is called “Leading Bass.”
effects are to be applied.
*
Use only the specified expression pedal (EV-5; sold separately).
By connecting any other expression pedals, you risk causing
malfunction and/or damage to the unit.
*
*
The function may not work properly if a pedal other than the
supplied pedal or expression pedal is used.
Be sure to switch off the power to the unit before attempting to
disconnect or connect a pedal cord.
43
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Chapter 4 Other Functions
*
*
The function may not work properly if a pedal other than the
supplied pedal or expression pedal is used.
■ Works of the Soft Pedal(FC2)
When the instrument is turned on, this is set to function as a
soft pedal.
Be sure to switch off the power to the unit before attempting to
disconnect or connect a pedal cord.
1. Switch to Function mode, and press the
[Strings/Pad] button.
fig.04-02
Setting the Part to Which
Effects Are Added
This specifies which part is to have priority when the effects
assigned to the Upper Tone and Lower Tone differ in Dual
Play or Split Play.
flashes in red
2. Press the [-] or [+] button to select the pedal
function.
1. Switch to Function mode, and press the [Effects]
button.
fig.04-04
■ Works of the Sostenuto
Pedal(FC1)
When the instrument is turned on, this is set to function as a
sostenuto pedal.
1. Switch to Function mode, and press the
flashes in red
[Voice/GM2] button.
2. Press the [-] or [+] button to select Upper or
2. Press the [-] or [+] button to select the pedal
Lower.
function.
indication
description
-U-
Effects are added to the Upper Tone.
Changing the Work of the
Pedal Control
(Upper)
-L-
Effects are added to the Lower Tone.
(Lower)
Connecting the included pedal to the Damper jack allows
you to use pedal to alter the sounds’ pitches, when you press
the [Pedal Control] button to light up.
→ If same effects are assigned to the Upper Tone and Lower Tone,
the same effects are added to both of Tones.
It can also be set to function as an another works.
1. Switch to Function mode, and press the
[Pedal Control] button.
fig.04-04
Changing the Pitch of the
Lower Tone in Octave Steps
(Octave Shift)
You can change the pitch of the Lower Tone in Dual Play
(p. 18) and Split Play (p. 19) an octave at a time.
flashes in red
Altering the pitch in one-octave units in this way is called
“Octave Shift.”
2. Press the [-] or [+] button to select the pedal
function.
For example, you can raise the pitch of the Lower Tone to the
same pitch of the Upper Tone in Split Play.
indication
b.uP
function
Bend Up
description
Pitch rises by pressing the pedal
1. Switch to Function mode, and press the [Split]
b.dn
Bend Down Pitch lowers by pressing the
pedal
button.
Mod
Modulation Vivrato is added by pressing the
pedal
44
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Chapter 4 Other Functions
fig.04-04
1. Switch to Function mode, and press the [Piano]
button.
fig.04-05
flashes in red
2. Press the [-] or [+] button to select the pitch.
flashes in red
The range of available pitch change spans from two
octaves higher to two octaves lower.
The last three digits of the current standard pitch setting
appear in the display.
The pitch is lowered one octave each time the [-] button
is pressed, while each press of the [+] button raises the
pitch by one octave.
2. Press the [-] or [+] button to change the standard
pitch.
You can set the standard pitch anywhere in a range of
415.3 Hz to 466.2 Hz.
To return to the original pitch, press the [-] and [+]
buttons simultaneously.
The pitch is lowered 0.1 Hz each time the [-] button is
pressed. When the button is held down, the pitch drops
continuously.
Changing the Velocity When
the Key Touch Is Set to
“Fixed”
The pitch is raised 0.1 Hz each time the [+] button is
pressed. When the button is held down, the pitch rises
continuously.
This sets the velocity the sound will have when the keyboard
touch is set to “Fixed (p. 22).”
To return to the original pitch, press the [-] and [+]
buttons simultaneously.
1. Switch to Function mode, and press the [Reverb]
button.
fig.04-04
Adjusting the Tuning
(Temperament)
You can play classical music such as baroque pieces using
their original tuning.
flashes in red
Most modern songs are composed and played with the
assumption that equal temperament (the most common
tuning in use today) will be used, but when classical music
was composed, there were a wide variety of other tuning
systems in existence. Playing a composition with its original
tuning lets you enjoy the sonorities of the chords that the
composer originally intended.
2. Press the [-] or [+] button to change the velocity.
You can set this to any value from 1 to 127.
Tuning to Other Instruments’
Pitches (Master Tuning)
1. Switch to Function mode, and press the
[Transpose] button.
fig.04-06
When playing ensemble with other instruments and in other
such instances, you can match the standard pitch to another
instrument.
The standard pitch generally refers to the pitch of the note
that’s played when you finger the middle A key. For a
cleaner ensemble sound while performing with one or more
other instruments, ensure that each instrument’s basic pitch
is in tune with that of the other instruments. This tuning of
all the instruments to a standard pitch is called “master
tuning.”
flashes in red
Temperament
Tonic
2. Press the [-] or [+] button to change the
temperament.
When the instrument is turned on, the standard pitch is set to
“440.0 Hz.”
45
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Chapter 4 Other Functions
You can choose from among the seven tunings described
below.
*
When performing in ensemble with other instruments, be
aware that depending on the key, there may be some shifting of
the pitch. Tune the FP-5 to the fundamental pitch of the other
instruments.
Temperament
Equal
Qualities
1
2
In this tuning, each octave is divided
into twelve equal steps. Every inter-
val produces about the same amount
of slight dissonance. This setting is
in effect when you turn on the
power.
Changing the Beat Pattern
The metronome usually sounds one beat per quarter note,
but you can change the beat pattern to sound, for example,
one beat for every dotted quarter note.
Pythagorean
This tuning, devised by the philoso-
pher Pythagoras, eliminates disso-
nance in fourths and fifths.
Dissonance is produced by third-
interval chords, but melodies are
euphonious.
1. Switch to Function mode, and press the
[
(Metronome)] button.
fig.04-07
3
4
Just Major
Just Minor
This tuning eliminates ambiguities
in the fifths and thirds. It is unsuited
to playing melodies and cannot be
transposed, but is capable of beauti-
ful sonorities.
flashes in red
2. Press the [-] or [+] button to change the beat
division.
The Just tunings differ from major
and minor keys. You can get the
same effect with the minor scale as
with the major scale.
Indication
Description
—
The metronome sounds in the ordinary way.
(Normal)
5
6
Mean Tone
This scale makes some compromises
in just intonation, enabling transpo-
sition to other keys.
Counting starts at the beginning of the mea-
sure, in intervals of dotted half-note upbeats.
2. (
2 (
4. (
4 (
8. (
8 (
)
)
)
)
)
Counting starts at the beginning of the mea-
sure, in intervals of half-note upbeats.
Werckmeister
This temperament combines the
Mean Tone and Pythagorean tun-
ings. Performances are possible in all
keys (first technique, III).
Counting starts at the beginning of the measure,
in intervals of dotted quarter-note upbeats.
Counting starts at the beginning of the mea-
sure, in intervals of quarter-note upbeats.
7
Kirnberger
This is an improvement of the Mean
Tone and Just tunings that provides
a high degree of freedom of modula-
tion. Performances are possible in all
keys (III).
Counting starts at the beginning of the measure,
in intervals of dotted eighth-note upbeats.
Counting starts at the beginning of the mea-
sure, in intervals of eighth-note upbeats.
)
3. Press a key corresponding to the keynote.
Counting starts at the beginning of the mea-
sure, in intervals of sixteenth-note upbeats.
The display is as follows:
16 (
)
fig.Chart3
Display
C
C
d_
d
E_
E
E
E
F
F
F
F
G
G
A_
A
A
A
b_
B
b
A1
to each beat.
Letter
name
D
D
B
A2
A3
Counting is with triplets for each beat.
The added sounds are shuffled.
When playing with tuning other than equal
temperament, you need to specify the keynote for tuning
the song to be performed (that is, the note that
corresponds to C for a major key or to A for a minor
key).
→ If you select “A1” with a triplet rhythm (6/8, 9/8, 12/8), the
additional sound is played in the same way as “A2.”
→ Refer to “Using the Metronome” (p. 29).
If you choose an equal temperament, there’s no need to
select a keynote.
46
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Chapter 4 Other Functions
Setting the Intro and Ending
on or off
Setting the Root Note of the
Chord Progression
This sets session partner Intro and Ending on or off. When
set to “Off,” pressing [Start/Stop] causes the Intro and
Ending not to be played.
This sets the root note of the chord progression.
1. Switch to Function mode, and press the [Bass]
button.
fig.04-04
1. Switch to Function mode, and press the
[Start/Stop] button.
fig.04-04
flashes in red
2. Press the key corresponding to the root note of
flashes in red
the first chord.
The root is indicated in the display as shown below.
2. Press the [-] or [+] button to set on or off.
ON
Pressing [Start/Stop] causes the Intro and End-
ing to be played.
Display
C
C
d_
d
E_
E
E
E
F
F
F
F
G
G
A_
A
A
A
b_
B
b
Letter
name
D
D
B
OFF
Pressing [Start/Stop] causes the Intro and End-
ing not to be played.
→ You can hold down the [Bass] button and pressing the [-] or
[+] button to change the cord progression pattern.
Fixing a Set Chord
Progression
Setting the Chord Display on
or off
When changing the Session Partner Rhythm, select whether
or not the chord progression is to change along with the
Rhythm. The default value when the power is turned on is
“ON.”
This setting determines whether or not the chords are
indicated in the display during performances using Session
Partner.
1. Switch to Function mode, and press the [Chord]
button.
fig.04-04
1. Switch to Function mode, and press the
[Chord Progression] button.
fig.04-04
flashes in red
flashes in red
2. Press the [-] or [+] button to set on or off.
2. Press the [-] or [+] button to set on or off.
ON
Chords are displayed.
ON
When the rhythm changes, a change to the
optimal chord progression is made.
OFF
Chords are not displayed.
OFF
When the rhythm changes, the chord progression
does not change.
47
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Chapter 4 Other Functions
❍ Use the following procedure when turning on the power.
Connecting to Audio Equipment
You can connect audio devices to play the sound of the FP-5
through the speakers of your audio system, or to record your
performance on a tape recorder or other recording device.
1. Set the volume of the FP-5 and of the connected
devices to the minimum position.
2. Set the speaker switch to “OFF” located on the
When connecting, please use an audio cable with a standard
phone plug (sold separately).
rear panel.
3. Turn on the power of the connected device.
4. Turn on the power of the FP-5.
5. Adjust the volume of each device.
Turning off the power
Connection Examples
*
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
Playing the sound of the FP-5 through the speakers
of an audio system/Recording the performance of
the FP-5 on a recording device
fig.audio1.e
1. Set the volume of the FP-5 and of the connected
devices to the minimum position.
2. Turn off the power to the FP-5.
Input R/L
(Line In, Aux In)
3. Turn off the connected equipment.
FP-5
About the FP-5 Sound
Generator
The FP-5 come equipped with GM2 sound generators.
❍ Use the following procedure when turning on the power.
General MIDI
1. Set the volume of the FP-5 and of the connected
The General MIDI is a set of recommendations which seeks
to provide a way to go beyond the limitations of proprietary
designs, and standardize the MIDI capabilities of sound
generating devices. Sound generating devices and music files
that meets the General MIDI standard bears the General
MIDI logo. Music files bearing the General MIDI logo can be
played back using any General MIDI sound generating unit
to produce essentially the same musical performance.
devices to the minimum position.
2. Set the speaker switch to “OFF” located on the
rear panel.
3. Turn on the power of the FP-5.
4. Turn on the power of the connected device.
5. Adjust the volume of each device.
When Recording FP-5 Performances on a
Recording Device
General MIDI 2
The upwardly compatible General MIDI 2 recommendations
pick up where the original General MIDI left off, offering
enhanced expressive capabilities, and even greater
6. Start recording with the connected device.
7. Perform on the FP-5.
compatibility. Issues that were not covered by the original
General MIDI recommendations, such as how sounds are to
be edited, and how effects should be handled, have now
been precisely defined. Moreover, the available sounds have
been expanded. General MIDI 2 compliant sound generators
are capable of reliably playing back music files that carry
either the General MIDI or General MIDI 2 logo.
8. When the performance ends, stop recording on
the connected equipment.
Playing the sound of an audio device through
the speakers of the FP-5
fig.audio2.e
Output R/L
(Line Out, Aux Out)
In some cases, the conventional form of General MIDI, which
does not include the new enhancements, is referred to as
“General MIDI 1” as a way of distinguishing it from General
MIDI 2.
FP-5
48
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Chapter 4 Other Functions
*
*
A separate publication titled “MIDI Implementation” is also
available. It provides complete details concerning the way
MIDI has been implemented on this unit. If you should require
this publication (such as when you intend to carry out byte-
level programming), please contact the nearest Roland Service
Center or authorized Roland distributor.
Connecting to the USB
Connector
You can use a USB connector to connect the FP-5 to your
computer. For more details, refer to the separate “USB
Installation Guide.”
MIDI cables are not included. Consult your Roland dealer if
you need to purchase.
*
Connecting your computer to the FP-5 for the first time
requires installation of the “USB Driver” (on the included
CD-ROM) to the computer. For more details, refer to the
separate “USB Installation Manual.”
■ Connectors
fig.04-08
*
*
Only MIDI data can be transmitted using USB.
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
MIDI Out Connector
Sends data about what is being played on the keyboard and
*
*
USB cables are not included. Consult your Roland dealer if
you need to purchase.
other performance data.
Connect to the MIDI in connector on the external MIDI
device.
Turn on the power to the FP-5 before starting up MIDI
applications on the computer. Do not turn the FP-5 on or off
while any MIDI application is running.
MIDI In connector
Receives messages sent from external MIDI devices.
*
Do not connect or disconnect the USB cable while the FP-5’s
power is on.
Connect to the MIDI Out connector on the external MIDI
device.
*
*
If not using USB, disconnect the USB cable from the FP-5.
■ Making the Connections
If, during the transmission/reception of data, the computer
switches to energy-saving mode or suspended mode, or if the
FP-5’s power is switched on or off, the computer may freeze, or
the FP-5’s operation may become unstable.
*
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
*
When using your computer’s sequencer software to record
FP-5 performances, we recommend setting the sequencer
software’s Soft Thru to “OFF,” or setting MIDI Out mode
(p. 51) to “4.”
1. Turn the volume all the way down on the FP-5
and on the device you’re about to connect.
2. Turn off the power to the FP-5 and to the device
being connected.
3. Connect a MIDI cable (sold separately) between
Connecting MIDI Devices
the MIDI connectors on each device.
4. Switch on the power to the FP-5 and the
About MIDI
connected device.
MIDI stands for “Musical Instrument Digital Interface,” and
is a worldwide standard for the exchange of performance
data (MIDI messages) and other information among
electronic instruments and computers.
5. Adjust the volume level on the FP-5 and the
connected device.
6. You should also set the MIDI settings as needed.
The FP-5 features a MIDI connector and a computer
connector to allow performance information to be exchanged
with external devices. Connecting the keyboard to other
devices with these connectors provides you with an even
greater variety of ways to use your keyboard.
Make the settings for the MIDI send and receive
channels (p. 50) and for Local On/Off (p. 50).
49
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Chapter 4 Other Functions
What is a MIDI Sound Module?
■ How to Enjoy MIDI
Inside a synthesizer or electronic piano is the section that
actually produces sound, known as the sound module. A
MIDI sound module produces sounds as the result of MIDI
messages sent to it by other devices.
Recording Data of Performances Played on the FP-5 to a
Sequencer* and Automatically Playing Recorded
Performance Data on the FP-5
Connection example:
■ MIDI Settings
Connecting to a sequencer (the Roland MT series, etc.)
fig.04-09.e
MIDI Send Channel Settings
Select the transmission channel of FP-5.
sequencer
Use a sequencer whici has
MIDI out connector.
MIDI features sixteen MIDI channels, numbered 1–16.
Simply connecting a cable is not enough for communication
to take place. The connected devices must be set to use the
same MIDI channels. Otherwise, no sound will be produced,
and no sounds can be selected.
Out
MIDI
In
FP-5
When the instrument is turned on, this is set to Channel “1.”
The FP-5 receives messages on all channels, 1–16.
*
When the keyboard is in dual play, the channel you’ve set here
is transmitted.
→ When connecting a sequencer, we recommend using it with
the settings described below.
*
When the keyboard is split into left and right sides, the
transmission channel for messages from the left-hand side is
fixed at “3.”
• Local Control off (p. 50)
• MIDI Out Mode 4 (p. 51)
When the instrument is turned on, MIDI Out Mode is set
to “1.”
1. Switch to Function mode(p. 42), and press the
[Rec] button.
fig.04-11
Performing on the FP-5 Using Sounds from Another
Sound Module*
Connection Example: Connecting to a MIDI Sound Module
fig.04-10.e
MIDI Sound Module
flashes in red
MIDI
THRU
OUT
IN
2. Press the [-] or [+] button to select the
transmission channel.
FP-5
Select the transmission channel (1–16) of the FP-5.
Switching Local Control On and Off
When connecting a MIDI sequencer, set Local Control to “Off.”
When the instrument is turned on, this is set to “On.”
→ When connecting to a MIDI sound module, we recommend
using the system with MIDI Out Mode set to “2” (p. 51).
When the instrument is turned on, MIDI Out Mode is set to
“1.”
As illustrated, information describing what has been played
on the keyboard is passed to the internal sound generator
over two different routes, (1) and (2). As a result, you hear
overlapping or intermittent sounds. To prevent this from
happening, route (1) must be severed, by setting the unit to
what is known as “Local Off.”
What is a Sequencer?
A sequencer is a device that records the stream of MIDI
messages that is sent out by an instrument. These messages
convey all the details of what has occurred while the
instrument is played; including the timing of notes, their
sound, the force used to play them, and for how long.
Afterwards, you can send the recorded MIDI information
back to the instrument, and it will play automatically.
50
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Chapter 4 Other Functions
Setting the MIDI Out Mode
fig.04-12.e
Local On
(1)
By setting the MIDI Out Mode, you can select to have a more
suitable (to the external MIDI device) selection of MIDI data
be output from the MIDI Out connector when you make tone
changes on the FP-5.
Sequencer
Memory
MIDI
OUT
MIDI
IN
Sound
Generator
MIDI
OUT
MIDI
IN
Four settings for the MIDI Out Mode are available.
“MIDI Out Mode 1” is the power-up default setting.
Thru function On
(2)
Each note played
is sounded twice
Indication
Descriptions
1
MIDI Out Mode 1
Local Control ON: The keyboard and the internal sound
This setting is suitable for the connection of
sequencers. The MIDI information (for exam-
ple: Bank select, Program Change, Settings of
Effects, and so on) is output from the MIDI
Out connector when you make a tone change
on the FP-5.
generator are in a linked state.
fig.04-13.e
Sound is emitted
Sound Generator
Local On
2
3
4
MIDI Out Mode 2
This setting is suited for connecting to a sound
module. The MIDI information (for example:
Bank select) is not output from the MIDI Out
connector when you make a tone change on
the FP-5.
Local Control OFF: The keyboard and the internal sound
generator are in an unlinked state. No sound will be
MIDI Out Mode 3
produced by the keyboard when it is played.
fig.04-14.e
You can transmit performance data recorded
with the FP-5.
No sound produced
Additionally, the MIDI messages that are out-
put have the same content as those in MIDI
Out Mode 1.
Sound Generator
Local Off
MIDI Out Mode 4
The MIDI messages that are output have the
same content as those in MIDI Out Mode 3.
However, these are not transmit to FP-5’s
sound module.
*
When connecting a unit in the Roland MT series, you don’t
need to switch off Local Control. MT units transmit Local Off
messages when their power is switched on. If you first switch
on the FP-5, then the MT-series device, Local Control is
automatically switched off on the FP-5.
Additionally, the local control is switched to
off (p. 50).
1. Switch to Function mode, and press the [Play/
Stop] button.
fig.04-17
1. Switch to Function mode, and press the [Song]
button.
fig.04-15
flashes in red
flashes in red
2. Press the [-] or [+] button to select the MIDI Out
2. Press the [-] or [+] button to switch Local Control
Mode.
on and off.
51
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Chapter 4 Other Functions
Transferring the Program Change
message
Indication
description
When a setup is switched, a Program Change message is
OFF
You can use a function assigned to the
sostenuto(FC1) pedal and the soft(FC2)
pedal.
transmitted.
1. Switch to Function mode, and press the [Setup]
button.
FC1
FC2
The sostenuto(FC1) pedal is dedicated
to switching Setup. The function
assigned to the sostenuto(FC1) pedal
cannot to be used.
2. Hold down the [Setup] button, and press the [-] or
[+] button to select bank select MSB, LSB or
Program change (PC).
fig.disp—-
The soft(FC2) pedal is dedicated to
switching Setup. The function assigned
to the soft(FC2) pedal cannot to be used.
flashes in red
Transferring the FP-5’s Settings to an
External MIDI Device (Bulk Dump)
You can transfer the contents of FP-5’s Setup settings to an
external MIDI device. This operation is called “bulk dump.”
3. Press [-] or [+] button to select the number.
4. Exit Function mode to register the setup to the
settings (p. 37).
Using the Pedal to Switch Setup
(Pedal shift)
You can use the pedal which is connected to the
sostenuto(FC1) jack or the soft(FC2) jack as a dedicated
switch for selecting Setup in order.
1. Use a MIDI cable (optional) to connect the FP-5’s
MIDI OUT connector to the MIDI IN connector
on an external sequencer, or use a USB cable to
connect the computer.
2. Switch to Function mode, and press the [Setup]
1. Switch to Function mode, and press the [Setup]
button.
button.
3. Hold down the [Setup] button, and press the [-] or
2. Hold down the [Setup] button, and press the [-] or
[+] button to select bank select.
[+] button so “SFt” is displayed.
fig.disp—-
“dnP” is displayed, and the [Play/Stop] button’s
indicator begin flashes.
fig.disp—-
flashes in red
3. Press the [-] or [+] button to select pedal setting.
flashes in red
flashes in red
4. Put the external sequencer in record mode.
5. Press [Play/Stop] to transmit the settings.
After the transmitting is finished, “dnP” is appeared in
display.
6. Stop the external sequencer.
52
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Chapter 4 Other Functions
Making the Settings for the
USB Driver
Disabling Everything Except
Piano Play (Panel Lock)
If you intend to connect to a computer using the USB
connector, you need to make the following setting before you
make the connection.
The “Panel Lock” function locks the FP-5 in a state where
only piano performance can be used, and all buttons will be
disabled. This prevents the settings from being inadvertently
modified even if children press the buttons accidentally.
1. Switch to Function mode, and press the [Tone
1. Turn the volume to the minimum, and press the
Wheel] button.
fig.04-04
[Power] switch to turn off the power.
2. Hold down the [Piano] button and press the [Power]
switch to turn on the power.
Then, continue to hold down these two buttons by
flashes in red
following display will appear.
fig.disp—-
2. Press the [-] or [+] buttons to select the driver.
Indication
Description
vdr
Select this when using the supplied
driver with a USB connection.
(Vender)
GEn
Select this when using a generic USB
driver included with the OS with a
USB connection.
3. Adjust the volume.
(Generic)
When you play the keyboard, the grand piano sound
will be heard.
It cannot be changed to another tone.
4. To defeat the Panel Lock function, turn the
volume down to the minimum, and turn on the
Restoring the settings to the
factory condition
The settings stored in the FP-5 can be returned to their
factory settings.
*
Executing “Factory Reset” results in deletion of the Settings.
If you want to keep any data you have stored, use the “Bulk
Dump” operation to save the data to an external sequencer (p.
52).
1. Turn the volume to the minimum, and press the
[Power] switch to turn off the power.
2. Hold down the [Pedal control] button, and press
the [Power] switch to turn on the power.
Continue pressing the button until “Fct” appears in the
display.
fig.04-04
After “Fct” is displayed, the screen and buttons go back
to normal.
53
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Case
Cause/What to do
Case
Cause/What to do
Is the power cord properly connected?
(p. 8)
Have you set Transpose? (p. 28)
No Power
Are the settings for the Temperament
(p. 45) correct?
Is the volume level of the FP-5 (p. 10) or
connected device turned all the way
down?
Is the setting for Master Tuning correct?
(p. 45)
The Keyboard or
Song Register or
Pitch is Off
Are headphones plugged in?
Has a plug remained connected to the
Phones jack? (p. 10)
Is the [Pedal Control] button’s indicator
on?
When the [Pedal Control] button is
illuminated, pitch bend is applied with the
damper pedal. Press the [Pedal Control]
button, getting its indicator goes out.
No Sound
Is the Speaker switch to “ON”? (p. 7)
Is Local Off selected? When Local Control
is set to OFF, no sound is produced by
“ON”(p. 50).
Rhythm Does Not
Sound
Is the volume balance for the Rhythm
turned all the way down? (p. 33)
Is the MIDI Out mode set to “4”? (p. 51)
Does “dEL” appear in the display? (p. 13)
The internal songs cannot be played back
while recorded performance data remains
in the FP-5’s memory. Try playing back the
song after deleting the performance data.
Is the power to all devices turned on?
(p. 48)
Song Doesn’t Play
Back
No Sound (With a
MIDI Device
Is the MIDI cable connected and plugged
in correctly? (p. 49)
Connected)
Only the Sound of
a Particular
Is Track Mute on? (p. 13)
Does the MIDI channel match the
connected instrument? (p. 50)
If the button’s light is out when you hold
down the [Play/Stop] button, the music on
that track is not heard. Press the track
button so the light is illuminated.
Instrument in a
Song Does Not
Play
Is the [Chord Progression] button’s
indicator off? (p. 35)
No Sound From
the Left Side
No sound from the left side is produced if
the [Chord Progression] button’s indicator
is off while the Session Partner is playing.
Have you selected which of the Track
Buttons to be recorded? (p. 40)
Cannot Record
When you select for recording an internal
song that features tempo changes, the
tempos of Performances recorded on other
tracks are altered along with these
The Volume of the
Keyboard is Too
Low
Is the volume balance turned all the way
down? (p. 21)
Tempo of
Recorded Song or
Metronome is Off
changes. In addition, the Metronome
tempo is also changed the same way.
Is the FP-5 in Dual Play? (p. 18)
Two Sounds are
Produced When
the Keyboard is
Played
When the FP-5 is connected to an external
sequencer, set it to the Local OFF mode
(p. 50). Alternatively, set SOFT THRU on
the sequencer to “OFF.”
Performances that have been recorded are
erased when the power for the FP-5 is
turned off. Once erased, Performances
cannot be recovered.
Recorded
Performance is
Erased
The FP-5 has a maximum polyphony of 64
or Rhythm along with heavy use of the
damper pedal, the performance data may
exceed the number of available voices, and
as a result, some notes or sounds played on
the keyboard may not sound.
The [Split] button’s
light won’t go out
Is the [Chord Progression] button’s
indicator off? (p. 35)
Not All Sounds Are
Played
Is the [Chord Progression] button’s
indicator on? (p. 35)
The
accompaniment
sounds when the
keys are played
When the [Chord Progression] button’s
indicator is on, the Session Partner begins
if you finger a keyboard.
54
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Troubleshooting
Case
Cause/What to do
Case
Cause/What to do
Is the pedal connected correctly?
Connect the pedal securely to the Pedal
jack (p. 9).
When listening through headphones:
Certain piano tones that feature vibrant,
sparking sounds contain a large high-
frequency component, which may make it
appear that a metallic reverberation has
been applied. This faithfully reproduces
the characteristics of acoustic pianos, and
does not indicate any malfunction. Since
this reverberation becomes particularly
audible when supplemented by heavy
reverb, you may be able to diminish the
problem by reducing the amount of reverb
applied to the sound. When listening
through speakers:
Are you using a pedal made by another
manufacturer? Use the pedal included
with the FP-5 or an optional DP Series or
similar pedal.
Unplugging a pedal cord from the unit
while the power is on may cause the
pedal’s effect to be applied nonstop.
Be sure to switch off the power to the unit
before attempting to disconnect or connect
a pedal cord (p. 9).
High-Pitched
Whine is Produced
Pedal Has No
Effect, or Effect
“Sticks”
Here, a different cause (such as resonance
produced by the FP-5) would be suspect.
Consult your Roland dealer or nearest
Roland Service Center.
Is the [Pedal Control] button’s indicator
on? When the [Pedal Control] button’s
indicator is on, a damper pedal cannot be
used for its original function (p. 27).
When listening through speakers:
Playing at loud volumes may cause
instruments near the FP-5 to resonate.
Resonation can also occur with fluorescent
light tubes, glass doors, and other objects.
In particular, this problem occurs more
easily when the bass component is
increased, and when the sound is played at
higher volumes. Use the following
measures to suppress such resonance.
- Place speakers so they are 10–15 cm from
walls and other surfaces.
Once it’s been assigned as a setup switch, a
soft pedal or sostenuto pedal cannot be
used for its original function (p. 52).
When the part to which the effects are
applied is assigned to the Lower Tone, the
effects are then not applied to the Upper
Tone (p. 44).
Effects Not
Applied
As the FP-5 piano sounds faithfully
reproduce the depth and reverberation of
actual acoustic pianos, reverberation may
still be audible even after the reverb effect
is removed from sounds.
Reverb Remains
Even After Reverb
is Lifted
Low End Sounds
Are Strange/Have
a Rattling Sound
- Reduce the volume.
- Move the speakers away from any
resonating objects.
With the acoustic piano settings, sounds in
the upper 1 1/2-octave range are extended
to the end regardless of the damper pedal
actions. The tone is also different in this
range. Roland’s pianos faithfully
- Check to make sure that the screws
holding the music stand in place are not
loose.
Sound Suddenly
Changes at Key in
Upper Octaves
When listening through headphones:
The cause lies somewhere else. Consult
your Roland dealer or nearest Roland
Service Center.
reproduce the sonic qualities of acoustic
pianos. Furthermore, you can use the
instrument’s Key Transpose setting to
change that range over which the damper
pedal has no effect.
The volume level
of the instrument
connected to Line
In Jack is too low
Could you be using a connection cable that
contains a resistor?
Use a connection cable that does not
contain a resistor.
55
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Display
Meaning
USr
User. Stores recorded Performances (p. 12, p. 38).
The “.” in the display indicates that there is Performance material already
recorded (p. 12, p. 38).
Usr.
P.
r.
Piano song number (p. 12).
Rhythm number (p. 33).
This appears when you attempt to delete a recorded song (p. 41).
another song (p. 13).
dEL
SUP
dnP
This appears when you store setting to set up, or select stored settings (p. 37).
Bulk Dump. This appears when you transfer the FP-5’s settings to an external
sequencer (p. 52).
Factory Reset. This appears when you restore the settings to the factory
condition (p. 53).
Fct
The amount of performance information is too large, and further recording is
not possible.
E.32
Too much MIDI data was sent from the external MIDI instrument at one time,
and the unit could not process the data. Reduce the amount of MIDI data
being sent to the FP-5.
E.40
E.41
E.51
A problem such as a loose MIDI cable or computer cable occurred. Make sure
the MIDI cables and computer cables are correctly hooked up.
A system error has occurred. Try performing the procedure over again.
Should this message continue to appear even after repeated attempts, please
consult the nearest Roland Service Center.
* Error messages are indicated by an “E.” before the number
When the Error message appears, the [-] and [+] button indicators flashes in red.
Press the [-] or [+] button, and you can cancel the error message.
56
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Tone List
→ “Performing with a Variety of Sounds” (p. 14)
Rhythm
Piano
→ “Rhythm Set List” (p. 59)
1
2
3
4
5
6
7
8
Grand Piano 1
Piano+Strings
Grand Piano 2
Piano+Pad
8
Pop Drum Set
Jazz Drum Set
Voice Drum Set
House Drum Set
GM2 STANDARD
GM2 ROOM
GM2 POWER
GM2 ELECTRIC
GM2 ANALOG
GM2 JAZZ
9
10
11
12
13
14
15
16
17
18
19
20
Rock Piano
Mellow Piano
Honky-tonk
Harpsichord
E.Piano
1
2
3
4
5
6
7
8
9
10
Pop E.Piano
GM2 BRUSH
GM2 ORCHESTRA
GM2 SFX
Stage E.Piano
60’s E.Piano
70’s E.Piano
E.Grand
GM2
FM E.Piano 1
FM E.Piano 2
Clav.
Vibraphone
Morning Lite
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
Piano 1
Piano 1 (wide)
Piano 1 (dark)
Piano 2
Piano 2 (wide)
Piano 3
Organ
Piano 3 (wide)
Honky-tonk 1
Honky-tonk 2
E.Piano 1
1
2
3
4
5
6
7
8
9
10
Jazz Organ
Mellow Bars
Rock Organ
St.Soft EP
Purple Spin
FM+SA EP
60’s E.Piano
E.Piano 2
Lower Organ
Ballad Organ
60’s Organ
Detuned EP 2
St.FM EP
EP Legend
EP Phase
Harpsichord
Coupled Hps.
Harpsi (wide)
Harpsi (key Off)
Clav.
Pulse Clav
Celesta
Glockenspiel
Music Box
Vibraphone
Vibraphone (wide)
Marimba
Marimba (wide)
Xylophone
Tubular-bell
Church Bell
Carillon
Church Organ 1
Church Organ 2
Nason Flute
Guitar/Bass
1
2
3
4
5
6
7
8
9
10
Steel Gtr
Nylon Gtr
Jazz Guitar
Blusey OD
Acoustic Bass
A.Bass+Ride
Finger Bass
Slap Bass
Synth Bass
Vox Bass
Strings/Pad
1
2
3
4
5
6
7
8
9
Rich Strings
Velo Strings
Fat Strings
Santur
Organ 1
Synth Strings
Synth Pad 1
Synth Pad 2
Glasswaves
Orchestra
Trem. Organ
60’s Organ
70’s E.Organ
Organ 2
Chorus Or.2
Perc. Organ
Organ 3
Church Org.1
Church Org.2
Church Org.3
Reed Organ
Puff Organ
Accordion Fr
Accordion It
Voyager Brass
Voice/GM2
1
2
3
4
5
6
7
Jazz Scat
Choir
Beauty Vox
Voice Oohs
Holy Voice
Tenor Sax
Flute
57
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Tone List
72
73
Harmonica
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213
214
215
216
217
218
219
Tuba
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
Bagpipe
Bandoneon
Nylon-str.Gt
Ukulele
Muted Trumpet 1
Muted Trumpet 2
French Horns 1
French Horns 2
Brass 1
Fiddle
74
Shanai
Tinkle Bell
Agogo
75
76
Nylon Gt (key Off)
Nylon Gt.2
Steel-str.Gt
12-str.Gt
77
Steel Drums
Woodblock
Castanets
Taiko
Concert BD
Melo. Tom 1
Melo. Tom 2
Synth Drum
808 Tom
78
Brass 2
Synth Brass 1
Pro Brass
Oct SynBrass
Jump Brass
Synth Brass 2
SynBrass sfz
Velo Brass
Soprano Sax
Alto Sax
79
80
Mandolin
81
Steel + Body
Jazz Gt.
82
83
Pedal Steel
Clean Gt.
84
85
Chorus Gt.
Mid Tone GTR
Muted Gt.
Funk Pop
86
Elec Perc
Reverse Cym.
Gt.FretNoise
Gt.Cut Noise
String Slap
Breath Noise
Fl.Key Click
Seashore
Rain
87
88
Tenor Sax
Baritone Sax
Oboe
89
Funk Gt.2
Jazz Man
90
91
Overdrive Gt
Guitar Pinch
DistortionGt
Feedback Gt.
Dist Rtm GTR
Gt.Harmonics
Gt. Feedback
Acoustic Bs.
Fingered Bs.
Finger Slap
Picked Bass
Fretless Bs.
Slap Bass 1
Slap Bass 2
Synth Bass 1
Synth Bass 101
Acid Bass
English Horn
Bassoon
92
93
Clarinet
94
Piccolo
95
Flute
Thunder
Wind
96
Recorder
97
Pan Flute
Stream
98
Bottle Blow
Shakuhachi
Whistle
Bubble
99
Bird 1
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
Dog
Ocarina
Horse-Gallop
Bird 2
Square Wave 1
Square Wave 2
Sine Wave
Saw Wave
OB2 Saw
Telephone 1
Telephone 2
DoorCreaking
Door
Doctor Solo
Natural Lead
Sequenced Saw
Syn.Calliope
Chiffer Lead
Charang
Wire Lead
Solo Vox
5th Saw Wave
Bass & Lead
Delayed Lead
Fantasia
Warm Pad
Sine Pad
Polysynth
Space Voice
Itopia
Bowed Glass
Metal Pad
Halo Pad
Sweep Pad
Ice Rain
Soundtrack
Crystal
Scratch
Clavi Bass
Hammer
Synth Bass 2
Beef Bass
Rubber Bass
Attack Pulse
Violin
Slow Violin
Viola
Cello
Wind Chimes
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Train
Jetplane
Starship
Contrabass
Tremolo Str
Pizzicato Str
Harp
Burst Noise
Applause
Laughing
Screaming
Punch
Yang Qin
Timpani
Heart Beat
Footsteps
Gun Shot
Machine Gun
Laser
Strings
Orchestra
60s Strings
Slow Strings
Synth Strings 1
Synth Strings 3
Synth Strings 2
Choir Aahs
Chorus Aahs
Voice Oohs
Humming
SynVox
Explosion
Tone Wheel
Syn Mallet
Atmosphere
Brightness
Goblin
1
2
3
4
5
6
Tone Wheel Organ 1
Tone Wheel Organ 2
Tone Wheel Organ 3
Tone Wheel Organ 4
Tone Wheel Organ 5
Tone Wheel Organ 6
Echo Drops
Echo Bell
Analog Voice
OrchestraHit
Bass Hit
Echo Pan
Star Theme
Sitar 1
6th Hit
Euro Hit
Sitar 2
Banjo
Trumpet
Dark Trumpet
Trombone 1
Trombone 2
Bright Tb
Shamisen
Koto
Taisho Koto
Kalimba
58
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Tone List
Rhythm Set List
Pop Drum Set
Jazz Drum Set
Vox Drum Set
House Drum Set
21
23
24
26
28
29
31
33
35
36
38
40
41
43
45
47
R&B Snare
R&B Snare
R&B Snare
Rock Snare 2
Rock Snare 2
Pop Snare 3
Pop Snare Ghost
Pop Snare 3
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Vox Dut
R&B Snare
Rock Snare 2
Rock Snare 2
Pop Snare 3
Pop Snare Ghost
Pop Snare 3
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Pop Snare Ghost
808 Kick 2
22
Rock Snare 2
Rock Snare 2
Pop Snare 3
Pop Snare Ghost
Pop Snare 3
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Pop Snare Ghost
Pop Kick
Pop Kick
Rock Side Stick
Pop Snare 1
Pop Snare Ghost
Pop Snare 2
Pop Low Tom Flm
Pop CHH 1
Pop Low Tom
Pop CHH 2
Pop Mid Tom Flm
Pop OHH
Pop Mid Tom
Pop High Tom Flm
Pop Snare 3
Pop Snare 3
Pop Snare 3
Pop Snare Ghost
Pop Snare 3
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Pop Snare Ghost
Pop Kick
Pop Kick
Jazz Brsh Swirl 1
Jazz Snare 2
Jazz Brsh Swirl 2
Jazz Snare 2
Jazz Low Tom Flm
Pop CHH 1
Jazz Low Tom
Pop CHH 2
Jazz Mid Tom Flm
Pop OHH
Jazz Mid Tom
Jazz High Tom Flm
Jazz Crash Cymbal 1
Jazz High Tom
NewJzRide1
25
27
30
32
34
[EXC1]
[EXC1]
[EXC1]
Vox Dom
Vox Tuush
Vox Hehho
Vox Doyear
Vox Thu!
Vox That
Vox Aahhh
Vox Tu
Vox Dooh
Vox Ptu
Vox Down
Vox Pa
Vox Bom
909 BD 2
C2
808 Rimshot
DRS Dregg
Hand Clap
707 Claps
Room Tom 5
909 CHH
Room Tom 5
808 CHH 2
Room Tom 6
909 OHH
Room Tom 6
Room Tom 2
Pop Crash Cymbal 1
Room Tom 2
Pop Ride Cymbal 1
ReverseCymbl
Pop Ride Bell
Tambourine
Splash Cymbal
808 Cowbell
Pop Crash Cymbal 3
Vibraslap
Pop Ride Cymbal 2
808 High Bongo
808 Low Bongo
808 High Conga
808 Mid Conga
808 Low Conga
High Timbale 2
Low Timbale 2
High Agogo
37
39
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
42
44
46
Vox Toear
Vox Aahhu
Vox Toya
C3 48
50
Pop Crash Cymbal 1
Pop High Tom
Pop Ride Cymbal 1
Pop Crash Cymbal 2
Pop Ride Bell
Tambourine
Splash Cymbal
Cha Cha Cowbell
Pop Crash Cymbal 3
Vibraslap
49
51
Vox Thu
52
Jazz Crash Cymbal 2
NewJzRide1
Tambourine
Vox Cheey
Vox Cymm
Vox Tub
Vox Pruru
Vox Tut
53
54
56
58
Splash Cymbal
Cha Cha Cowbell
Jazz Crash Cymbal 3
Vibraslap
Pop Ride Cymbal 2
High Bongo 2
Low Bongo 2
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
55
57
Vox Tyun
Vox Tdum
Vox Afahhhh
High Bongo 2
Low Bongo 2
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Shaker 3
59
Pop Ride Cymbal 2
High Bongo 2
Low Bongo 2
C4 60
62
61
63
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Shaker 3
Shaker 4
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
808 Maracas
Jingle Bell
64
65
66
68
70
67
Low Agogo
Shaker 3
Shaker 4
Low Agogo
Shaker 3
Shaker 4
69
Shaker 4
71
[EXC2]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
808 Maracas
Jingle Bell
[EXC2]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
808 Maracas
Jingle Bell
Bar Chimes
Castanets
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
808 Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
808 Maracas
Jingle Bell
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
76
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC5]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
78
80
82
79
81
83
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
Mute Surdo
Open Surdo
-----
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
Flamenco Hi-Timbale
Flamenco Lo-Timbale
Flamenco Tmbl Flam
Shaker 1
Shaker 2
Low Bongo Mute
Cabasa Up
Flamenco Hi-Timbale
Flamenco Lo-Timbale
Flamenco Tmbl Flam
Shaker 1
Shaker 2
Low Bongo Mute
Cabasa Up
Flamenco Hi-Timbale
Flamenco Lo-Timbale
Flamenco Tmbl Flam
Shaker 1
Shaker 2
Low Bongo Mute
Cabasa Up
Flamenco Hi-Timbale
Flamenco Lo-Timbale
Flamenco Tmbl Flam
Shaker 1
Shaker 2
Low Bongo Mute
Cabasa Up
89
90
92
94
91
93
95
Cabasa Down
-----
-----
Cabasa Down
-----
-----
Cabasa Down
-----
-----
Cabasa Down
-----
-----
C7 96
98
97
99
-----
-----
-----
-----
100
Flamenco Hand Clap
Flamenco Hand Clap
Bongo Cowbell
-----
Flamenco Hand Clap
Flamenco Hand Clap
Bongo Cowbell
-----
Bongo Cowbell
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Flamenco Hand Clap
Flamenco Hand Clap
Bongo Cowbell
-----
Bongo Cowbell
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Flamenco Hand Clap
Flamenco Hand Clap
Bongo Cowbell
-----
Bongo Cowbell
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
101
103
105
102
104 Bongo Cowbell
Wah Gtr Noise 1
106
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
107
C8 108
*-----: No sound.
*[EXC]: will not sound simultaneously with other percussion instruments of the same number.
59
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Tone List
GM2 Standard Set
GM2 Room Set
GM2 Power Set
GM2 Electric Set
GM2 Analog Set
21
23
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
22
-----
-----
-----
High-Q
-----
-----
-----
High-Q
-----
-----
-----
High-Q
-----
-----
-----
High-Q
-----
-----
-----
High-Q
24
25
27
26
28
Slap
Slap
Slap
Slap
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 1
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
[EXC7]
[EXC7]
29
30
32
34
31
SquareClick
Mtrnm.Click
Mtrnm. Bell
Standard KK1
Power Kick1
Rock Side Stick
Dance Snare1
Hand Clap
Elec Snare 4
Room Tom 5
Close HiHat2
Room Tom 6
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
SquareClick
Mtrnm.Click
Mtrnm. Bell
Power Kick1
Elec Kick 1
Rock Side Stick
Elec. Snare
Hand Clap
Elec Snare 2
Synth Drum 2
Close HiHat2
Synth Drum 2
Pedal HiHat2
Synth Drum 2
Open HiHat2
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ReverseCymbl
Ride Bell
SquareClick
Mtrnm.Click
Mtrnm. Bell
808 Kick 2
808 Kick 1
808 Rimshot
808 Snare 1
Hand Clap
Elec Snare 6
808 Tom 2
808 CHH [EXC1]
808 Tom 2
808 CHH 1
808 Tom 2
808 OHH 2
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
808 Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
808 High Conga
808 Mid Conga
808 Low Conga
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
808 maracas 2
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
33
35
Standard KK1
Rock Side Stick
Room SN1
Hand Clap
Room SN2
Room Tom 5
Close HiHat2
Room Tom 6
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
C2 36
38
Rock Side Stick
Standard SN1
Hand Clap
Standard SN2
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
37
39
40
41
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
42
44
46
43
[EXC1]
[EXC1]
45
47
C3 48
50
49
51
52
53
Tambourine
Splash Cym.
Cowbell
Tambourine
Splash Cym.
Cowbell
Tambourine
Splash Cym.
Cowbell
54
56
58
55
57
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
59
C4 60
62
61
63
64
65
66
68
70
67
69
Maracas
Maracas
Maracas
Maracas
71
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
76
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
78
80
82
79
81
83
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
89
90
92
94
91
93
95
C7 96
98
97
99
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
100
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
101
103
105
102
104 -----
Wah Gtr Noise 1
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
106
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
107
C8 108
*-----: No sound.
*[EXC]: will not sound simultaneously with other percussion instruments of the same number.
60
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Tone List
GM2 Jazz Set
GM2 Brush Set
GM2 Orchestra Set
GM2 SFX Set
21
23
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
22
-----
-----
-----
High-Q
-----
-----
-----
High-Q
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
High-Q
Slap
24
25
27
26
Close HiHat2
Pedal HiHat2
Open HiHat2
Ride Cymbal4
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Concert BD
Mix Kick
[EXC1]
[EXC1]
[EXC1]
28
Slap
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
29
30
32
34
31
33
35
Jazz Kick 1
Rock Side Stick
Standard SN3
Hand Clap
Elec Snare 5
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
Jazz Kick 1
Rock Side Stick
Brush Swirl
Brush Slap1
Brush Swirl
Brash Tom 2
Pop CHH 1
Brash Tom 2
Pop CHH 2
Brash Tom 2
Pop OHH[EXC1]
Brash Tom 2
Brash Tom 2
Crash Cym.3
Brash Tom 2
NewJzRide1
ChinaCymbal
NewJzRide1
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
C2 36
38
Rock Side Stick
Concert Snr
Castanets
Concert Snr
Timpani F
Timpani F#
Timpani G
Timpani G#
Timpani A
Timpani A#
Timpani B
Timpani C
Timpani C#
Timpani D
Timpani D#
Timpani E
Timpani F
Tambourine
Splash Cym.
Cowbell
Con.Cymbal2
Vibraslap
Concert Cym.
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
37
39
40
ScratchPush
ScratchPull
Sticks
[EXC7]
[EXC7]
41
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
42
44
46
43
SquareClick
Mtrnm.Click
Mtrnm. Bell
Gt.FretNoiz
Gt.CutNoise (Up)
Gt.CutNoise (Down)
String Slap
Fl.KeyClick
Laughing
Screaming
Punch
Heart Beat
Footsteps 1
Footsteps 2
Applause
Creaking
Door
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
45
47
C3 48
50
49
51
52
53
54
56
58
55
57
59
C4 60
62
61
63
64
65
66
68
70
67
Train
69
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
HorseGallop
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
-----
-----
-----
-----
-----
-----
-----
-----
-----
Maracas
Maracas
Maracas
71
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
Applause
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
76
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
78
80
82
79
81
83
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
89
-----
-----
-----
-----
90
92
94
91
93
-----
-----
-----
-----
-----
-----
-----
95
Cabasa Up
Cabasa Down
-----
-----
-----
C7 96
98
97
99
-----
-----
-----
-----
100
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
101
103
105
102
104 -----
Wah Gtr Noise 1
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
106
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
107
C8 108
*-----: No sound.
*[EXC]: will not sound simultaneously with other percussion instruments of the same number.
61
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Rhythm List
→ “Selecting a Rhythm’s Chord Progression” (p. 34)
No.
Genre
Chord
Beat
No.
Genre
Chord
Beat
Progression
Pattern No.
Progression
Pattern No.
r.1
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
r.41
r.42
r.43
r.44
r.45
r.46
r.47
r.48
r.49
r.50
r.51
r.52
r.53
r.54
r.55
r.56
r.57
r.58
r.59
r.60
r.61
r.62
r.63
r.64
r.65
r.66
r.67
r.68
r.69
r.70
r.71
r.72
r.73
r.74
r.75
r.76
r.77
r.78
r.79
r.80
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
Pop
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
Gospel
6/8
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
6/8
3/4
3/4
4/4
4/4
4/4
3/4
3/4
r.2
r.3
Hip Pop
Gospel Shout
Honky Pop
Boogie
r.4
r.5
Guitar Funk
Ballad
r.6
r.7
r.8
r.9
Fast Jazz
Double Time Feel
Scat Swing
Piano Jazz
Piano Ballad
E.Piano Ballad
R&B Ballad
808 Ballad
New Age Ballad
6/8 Ballad
Mambo
r.10
r.11
r.12
r.13
r.14
r.15
r.16
r.17
r.18
r.19
r.20
r.21
r.22
r.23
r.24
r.25
r.26
r.27
r.28
r.29
r.30
r.31
r.32
r.33
r.34
r.35
r.36
r.37
r.38
r.39
r.40
Jazz
Cutting Guitar
Fusion
70’s Soul
Contemporary
Medium Pop
Street Pop
808 Pop
Piano Pop
Guitar Pop
Country Pop
Shuffle
Latin
Latin Pop
Bossa Nova
Beguine
Smooth Pop
8 beat Rock
16 beat Rock
Jazz Waltz
Piano Waltz
62
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Chord Progression Pattern List
*
It is the Chord Progression Pattern List by each measure. These are basic chord progression pattern from No. 1 to No. 10, and these are
suitable chord progression for the internal rhythm from No. 11 to No. 90.
Rhyt
No. hm
Chord Progression
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
No.
—
1
2
C
Am
Dm7
F
G7
E7
G7
C
Am
Dm7
F
G7
E7
—
Am
CM7
Dm7
C
G
Am
CM7
Dm7
F
G
3
—
Am7
G7
Bm7
G7
F7
Dm7
CM7
Em7
CM7
C7
4
—
Am7
Am
G7
G
CM7
Csus4
Am7
C7
A7
C
5
—
6
—
Dm7
C7
FM7
E7
A7
Bm7
F7
5
7
—
G7
F7
C7
G7
8
—
CM7
C
Cdim
Am7
Am
Dm9
Dm7
F
G7
CM7
G7sus4
C
Dm9
CM7
Cdim
Dm9
G7
CM7
9
—
10
11
—
C
C/B
Gm7
F/G
Am/G
G
r. 1
C
FM7
C
Gm7
F/G
F
F/G
F/G
Gm7
B
7
12
13
r. 2
r. 3
FM9
C
C
C
Am7
Gm7
FM9
C
B
C
C
7
B
B
14
15
16
17
18
19
20
21
22
23
24
25
r. 4
r. 5
r. 6
r. 7
r. 8
r. 9
C
G7
Am7
C
G7
C
G7
B
C
Dm7
CM7
Gm7
C
G7
C
Am7
Fm7
Dm7
F/G
Gm7
Am
G7
FM7
C
Am7
FM7
C
F
G7
C7
C7
C7
F
G7
F/G
C7
F
Am7
D7
F7
F/C
C7
B
7
r.10 A7
G7
Dm7
Dm7
Am7
C
r.11 C6
r.12 C6
r.13 Am7
Dm7
Dm7
Am7
Am7
CM9
G7
G7
D7
G7
G7
D7
C6
Am
Am
Am9
aug
Dm7
Dm7
G(11)
G(11)
C6
C6
F/G
C6
A
D7
Am7
F/G
FM9
F/G
F/G
r.14
r.15 CM9
r.16
C
CM9
A
M7
A
M7
A
M7
26
27
28
29
30
31
32
33
A
M9
B
9
A
M9
B
9
r.17 CM9
r.18 FM9
Am9
FM9
FM7
C
CM9
FM9
C
Am9
FM9
F/G
C
FM9
CM9
G6
G6
G7
G6
G6
G7
G6
C7
F/G
r.19
r.20 Dm7
r.21
r.22 FM7
C
Am7
Dm7
G7
FM7
C
C
G
C
F
C
G
Am7
G7
Dm7
C
G
C
C7
G
G
FM7
F/G
r.23
r.24
C
C
G7
G7
D7
F
G7
G7
C7
E7
F
A
A
34
35
D7
D7
D7
C
G7
E
E
r.25 Am7
r.26 Am7
Am7
Gm7
FM7
C
Gm7
E7
B
9
36
37
38
39
40
41
42
43
44
45
D7sus4 Am7
Am
Am7
Am
G7
G7
G
9
M7
r.27
C
r.28 FM7
r.29 CM7
C
FM7
Am7
F
C
C
G7
E
Dm7
Dm
C
r.30
r.31
r.32
r.33
C
C
C
C
C
F
G
C
Am
G
C
Am
G
Am
G
F
G
F
C
F
G7
F7sus4 F7
G7sus4 G7
r.34 FM7
r.35 Cm
G7
C
FM7
Cm
G7
A
C
CmM7
Cm7
F7
G7
7
63
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Chord Progression Pattern List
Rhyt
Chord Progression
No. hm
1
2
3
4
5
7
6
7
8
9
10
11
12
13
14
15
16
No.
46
47
48
49
r.36 Cm
CmM7
Cm7
G
F7
G7
Cm
F7
A
C
F
r.37
r.38
r.39
C
F
G
Am
C/D
Bm
G7
Dm7
Am7
C/D
Bm
G7
G/D
D
G/D
D
B
C
/D
7
B
/D
50
51
r.40
r.41
D
G
A7
G7
F
m7
F
m7
C
Fm7
C/G
C
Dm7
G7
C
dim
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
r.42
r.43
r.44
r.45
r.46
F
A7
D7
F
dim
C
C
C
F
F
C
F
C
F
C
G7
C7
G
G
F7
G7
F7
G7
F
C
F
G
r.47 A7
D7
F
A7
C
D7
F7
F
A7
E7
D7
G7
D7
D7
G7
F7
G7
A7
C
E7
G7
G7
G7
r.48
r.49
r.50
r.51
C
C
C
C
C7
C7
C7
C
A7
A7
G7
C
C
F
C
F7
C
C
C
F
F
r.52 Em7
r.53 CM9
r.54 FM9
Dm7
F/G
CM9
C
G7
Em7
CM9
Dm7
FM9
CM7
C
A7
9
C
dim
9
C9
F/G
F/G
F/G
F/G
G7
F/G
F
Am9
F
Dm7
C
5
G7
F
r.55
r.56
C
F
C
F
C
F
C
Dm7
Dm7
C
r.57 CM7
r.58 FM7
r.59 Cm7
r.60 Ddim
Dm7
CM7
Cm7
Ddim
G7
CM7
FM7
Cm7
Ddim
C
dim
C
dim
G7
Fm7
G7
C7
Fm7
Fm7
G7
Cm7
Ddim
Fm7
G7
9
G7
D7
C7
9
9
G7
D7
9
71
72
r.61 Gm
Gm
Am7
Gm7
5
Am7
Gm
5
r.62
D7
D7
E
C
C
C
F
6
E
M7
73
74
75
76
77
78
79
80
81
r.63
r.64
r.65
r.66
r.67
r.68
Dm
Dm7/G
Em9
F
C
F
Em7
D7
D
E
Bm7
Am
A7
G
Am
C
Dm9
F
G7sus4
G
Am
Em
Dm
C
Em
Am
F
F/G
G7
C
F
G7
C
C
G7
C
C
G7
C7
E7
E7
F
G7
C
r.69 Am
r.70 Am
r.71 DM7
E7
E7
Am
Am
CM7
Am
Dm7
E7
G7
F9
Dm7
Bm7
Em9
E7
E7
F
m9
E
9
82
83
84
85
86
87
r.72 DM7
Bm7
D6
C
Am7
GM7
Dm7
F
Em9
C
A7
C
m7
5
Fm7
G7
5
r.73
r.74
r.75
r.76
C
F
Fm
Fm
G7sus4 G7
C
C
G
C
G7
G
G7
C
G7
G7
G7
Fm7
Dm7
Fm7
G7
B
C
r.77 Fm7
Fm7
Fm7
C7
C7
Fm7
C7
Fm
B
E
7
B
D
7
B
B
7
D
7
B
7
B
C
7
7
88
89
90
r.78
r.79
B
C
m7
7
A
F
Gm7
F
5
CM7
Em7
C7
Dm7
CM7
Dm7
Fm
C
dim
r.80 Dm
A7
G7
C
D
dim
64
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● symbol: indicates the constituent notes of chords.
★ symbol: Chords shown with an “★” can be played by pressing just the key marked with the “★”.
→ “Performing With the Chord Progression Specified in the Left Hand (Chord Progression off)” (p. 35)
C
C#
/
D
/
D
CM7
C7
DM7
D7
C#M7
C#7
D M7
/
D 7
Cm
Cm7
Cdim
Dm
Dm7
Ddim
C#m
C#7m
/
D m
/
D 7m
C#dim
/
D dim
Cm7 ( 5 )
Dm7 ( 5 )
C#m7( 5) / D m7( 5)
C#aug / D aug
Caug
Daug
Csus4
C7sus4
C6
Dsus4
D7sus4
D6
C#sus4 / D sus4
C#7sus4 / D 7sus4
C#6
/
D 6
Cm6
C#m6
/
D m6
Dm6
C other
C# other / D other
D other
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Chord Fingering List
E
E
F
E
E
E
E
E
M7
7
EM7
E7
FM7
F7
m
Em
Em7
Edim
Fm
Fm7
Fdim
m7
dim
E
E
E
E
E
E
E
m7 ( 5 )
Em7 ( 5 )
Fm7 ( 5 )
aug
Eaug
Faug
sus4
7sus4
6
Esus4
E7sus4
E6
Fsus4
F7sus4
F6
Em6
Fm6
m6
other
E other
F other
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Chord Fingering List
G
F#
/
G
/
A
A
A
A
A
A
A
A
A
GM7
G7
F#M7
F#7
G M7
M7
/
G 7
7
Gm
F#m
/
G m
m
Gm7
Gdim
Gm7 ( 5 )
Gaug
Gsus4
F#m7
/
G m7
m7
F#dim
/
G dim
dim
m7 ( 5 )
aug
sus4
F#m7( 5 ) / G m7 ( 5 )
F#aug / G aug
F#sus4 / G sus4
F#7sus4 / G 7sus4
G7sus4
G6
A
A
7sus4
6
F#6
/
G 6
Gm6
F#m6
/
G m6
A
A
m6
F# other / G other
G other
other
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Chord Fingering List
A
B
B
B
B
B
B
B
B
B
B
AM7
A7
M7
BM7
B7
7
Am
m
Bm
Am7
Adim
Am7 ( 5 )
Aaug
Asus4
m7
Bm7
Bdim
Bm7 ( 5 )
Baug
Bsus4
dim
m7 ( 5 )
aug
sus4
A7sus4
A6
B
B
7sus4
6
B7sus4
B6
Am6
B
B
m6
Bm6
A other
other
B other
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Internal Song List
→ “Listening to Demo Songs” (p. 11)
Song
Song Name
No.
Composer
Copyright
F. Chopin/
d. 1
Late Night Chopin
Arranged by John
Maul
© 2002 Roland Corporation
Masashi &
d. 2
d. 3
L'éveil del l'amour
Fly Free
© 2000 Roland Corporation
© 1998 Roland Corporation
Kazuko Hirashita
J. Maul
N. Paganini/
Arranged by John
Maul
Paganini Boogie Variation: Jazz Variation Based on “Caprice No. 24
in A Minor”
d. 4
d. 5
© 1998 Roland Corporation
© 1996 Roland Corporation
J. Brahms/
Arranged by John
Maul
Hungarian Rag: Hungarian Dance No. 5 Ragtime Arrangement For
Solo Piano
d. 6
Sonate für Klavier No. 15
Liebesträume III
W. A. Mozart
F. Liszt
© 1996 Roland Corporation
© 2001 Roland Corporation
© 2001 Roland Corporation
© 1997 Roland Corporation
© 2001 Roland Corporation
© 1995 Roland Corporation
© 2001 Roland Corporation
© 1995 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1995 Roland Corporation
© 1997 Roland Corporation
© 1995 Roland Corporation
© 1998 Roland Corporation
© 2001 Roland Corporation
© 1995 Roland Corporation
© 1995 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
d. 7
d. 8
Étude, op.10-3
F. Chopin
E. Satie
d. 9
Je te veux
d. 10
d. 11
d. 12
d. 13
d. 14
d. 15
d. 16
d. 17
d. 18
d. 19
d. 20
d. 21
d. 22
d. 23
d. 24
d. 25
d. 26
d. 27
d. 28
d. 29
d. 30
d. 31
d. 32
Valse, op.64-1
F. Chopin
C. Debussy
F. Chopin
C. Debussy
J. Strauss
Golliwog’s Cake walk
Fantaisie-Impromptu
1ére Arabesque
An der schönen, blauen Donau
Auf Flügeln des Gesanges
Mazurka No.5
F. Mendelsshon
F. Chopin
E. Satie
1ère Gymnopédie
Étude, op.25-1
F. Chopin
C. Debussy
F. Chopin
C. Debussy
F. Chopin
T. Badarzewska
P. Tchaikovsky
E. Grieg
Clair de Lune
Étude, op.10-5
Doctor Gradus ad Parnassum
Grande Valse Brillante
La prière d'une Vierge
Course en Troïka
To The Spring
Valse, op.64-2
F. Chopin
J. Strauss
Radetzky Marsch
Träumerei
R. Schumann
F. Schubert
F. Chopin
G. Handel
J. Brahms
Moments Musicaux III
Prélude, op.28-15
The harmonious blacksmith
Ungarische Tänze V
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Internal Song List
Song
No.
Song Name
Composer
Copyright
d. 33
d. 34
d. 35
d. 36
d. 37
d. 38
d. 39
d. 40
d. 41
d. 42
d. 43
d. 44
d. 45
d. 46
d. 47
d. 48
d. 49
d. 50
d. 51
d. 52
d. 53
d. 54
d. 55
d. 56
d. 57
d. 58
d. 59
d. 60
d. 61
d. 62
d. 63
d. 64
d. 65
Türkischer Marsch (Beethoven)
L. v. Beethoven
F. Chopin
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1992 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
Nocturne No.2
Frühlingslied
Präludium
F. Mendelsshon
J. S. Bach
Jägerlied
F. Mendelsshon
M. Ravel
Menuet Antique
Für Elise
L. v. Beethoven
W. A. Mozart
F. Schubert
A. Dvorjak
G. Lange
Türkischer Marsch (Mozart)
Ständchen
Humoreske
Blumenlied
Alpenglöckchen
Menuett G dur (Beethoven)
Venezianisches Gondellied
Alpenabendröte
T. Oesten
L. v. Beethoven
F. Mendelsshon
T. Oesten
Farewell to the Piano
Brautchor
L. v. Beethoven
W. Wagner
W. Anderson
C. Czerny
Battle of Waterloo
Wiener Marsch
Le Coucou
L. C. Daquin
J. S. Bach
Menuett G dur (Bach)
Spinnerlied
A. Ellmenreich
F. Gossec
Gavotte
Heidenröslein
G. Lange
Zigeuner Tanz
H. Lichner
La Cinquantaine
Csikos Post
G. Marie
H. Necke
Dolly’s Dreaming Awakening
La Violette
T. Oesten
L. Streabbog
R. Schumann
M. Clementi
F. Kuhlau
Fröhlicher Landmann
Sonatine op.36-1 (Clementi)
Sonatine op.20-1 (Kuhlau)
Sonatine No.5 (Beethoven)
L. v. Beethoven
* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is
a violation of applicable laws.
* No MIDI data for the music that is played will be output.
70
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Settings Stored in the Setup
■ Stored Settings
settings
The Tone which is selected in the Upper Tone or the Lower Tone
The Tone number which is assigned to each Tone button
Settings for dual and split play
page
p. 14 to p. 19
p. 14
p. 18 to p. 20
p. 21
The volume balance for dual and split play
Keyboard’s touch
p. 22
The velocity when the keyboard touch is set to “Fixed”
Reverb switch’s on or off, and the depth of reverb
The effect type and the depth of effects
Pedal control’s on or off
p. 45
p. 23
p. 24
p. 27
Works of Pedal control
p. 44
Key transpose’s on or off, and its value
Session partoner’s settings (*1)
p. 28
p. 32 to p. 36, p. 47
p. 43
How the pedal effects are applied
Pedals work
p. 43
Setting the part to which effects are applied
Octave shift
p. 44
p. 44
MIDI send channel settings
p. 50
Transferring the program number
p. 52
■ Not Stored Settings
settings
Recorded performance
Master tuning
page
p. 38 to p. 40
p. 45
Metronome settings
Temperament
p. 14, p. 46
p. 45
Local control
p. 50
MIDI Out mode
p. 51
Pedal Shift
p. 52
USB Driver settings (*2)
Panel lock
p. 53
p. 53
*1 Only the settings related to the selected tone or rhythm are stored.
*2 Though not stored in the Setup, the FP-5 remembers the settings even while its power is turned off.
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Easy Operation List
Power ON
10
11
Press the Key
8
2
Press the Key
9
3
4
5
6
7
1
No.
You want to
Buttons
Page
Switch to Function mode
Key Touch
[Variation/Effects] + [Tempo/Rhythm]
[Transpose] + [Reverb]
[Setup] + [Split]
p. 42
p. 22
p. 11
p. 12
p. 37
p. 36
p. 41
p. 20
Demo
All Song Play
[Song] + [Play/Stop]
[Setup] + Tone
Storing settings to Setup
Recording Chord Progression
Erasing the recorded performance
Selecting the Lower Tone in Split play
[Chord Progression] + [Rec]
[Song] + [Rec]
[Split] + Tone
Hold down the [ ] button and press the [-] or [+] button.
No.
You want to
Buttons
Page
Depth of the Reverb effect
[Reverb] + [-] [+]
p. 23
p. 26
p. 30
p. 30
p. 33
p. 33
p. 34
1
Depth of the Effect
[Effects] + [-] [+]
2
3
4
5
6
7
Beat of metronome
[Tempo/Rhythm] + [-] [+]
[Metronome] + [-] [+]
Volume level of metronome
Volume level of Session Partner
Volume level of individual parts
Selecting a Chord Progression Pattern
[Start/Stop] + [-] [+]
[Drums], [Bass], [Chord] + [-] [+]
[Chord Progression] + [-] [+]
Hold down the [ ] button and press the key.
Split Point
[Split] + key
p. 20
p. 28
8
9
Key Transpose
[Transpose] + key
Hold down the [ ] button and press the [Power] switch.
Factory Reset
[Pedal Control] + Power ON
[Piano] + Power ON
p. 53
p. 53
10
Panel Lock
11
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Easy Operation List
1
4
2
5
3
6
7 8 9 10 11
14 15
19 20
18
21
16 17
12 13
Function mode
No.
You want to
Buttons
Page
Work of the Pedal Control
[Pedal Control]
[Setup]
p. 44
1
Bulk dump,
Pedal Shift,
p. 52
2
Transferring the Program Change
Octave shift
[Split]
p. 44
p. 45
3
4
Temperament
[Transpose]
Changing the Velocity when the Key Touch is set to
“Fixed”
[Reverb]
p. 45
5
Setting the Part to which Effects are added
Master Tuning
[Effects]
p. 44
p. 45
p. 43
p. 43
p. 43
p. 44
p. 44
p. 53
p. 46
p. 47
p. 47
p. 47
p. 47
p. 51
p. 50
p. 50
6
7
[Piano]
How the Soft Pedal(FC2) effects are applied
How the Sostenuto Pedal(FC1) effects are applied
How the Damper Pedal effects are applied
Soft Pedal(FC2)s Work
[E.Piano]
8
[Organ]
9
[Guitar/Bass]
[Strings/Pad]
[Voice/GM2]
[Song] + [Rec]
10
11
12
13
14
15
16
17
18
19
20
21
Sostenuto Pedal(FC1)s Work
USB Driver
Metronome beat pattern
[
(Metronome)]
Setting the Intro and Ending ON or OFF
Root Note of the Chord Progression
Setting the Chord Display ON or OFF
Fixing a set Chord Progression
MIDI Out mode
[Start/Stop]
[Bass]
[Chord]
[Chord Progression]
[Play/Stop]
[Rec]
MIDI send channel settings
Local Control
[Song]
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DIGITAL PIANO
Model FP-5
Date : Oct. 1, 2002
Version : 1.00
MIDI Implementation Chart
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1
1–16
1–16
1–16
Default
Messages
Altered
Mode 3
x
Mode 3
Mode 3, 4(M=1)
* 2
Mode
**************
Note
Number :
15–113
**************
0–127
0–127
True Voice
Note ON
Note OFF
O
x
O
x
Velocity
8n v=64
*1
*1
After
Touch
Key’s
Ch’s
x
x
O
O
Pitch Bend
O
O
*1
*1
*1
0, 32
1
Bank select
Modulation
Portamento time
Data entry
O
O
x
O
O
5
O
6, 38
7
x
O
*1
*1
*1
*1
Volume
x
O
10
11
64
65
66
67
71
72
73
74
75
76
77
78
84
91
93
Panpot
x
O
Expression
Hold 1
O
O
x
O
O
Portamento
Sostenuto
O
O
O
x
O
Control
Change
Soft
O
Resonance
Release time
Attack time
Cutoff
O
x
O
x
O
x
O
Decay time
Vibrato rate
Vibrato depth
Vibrato delay
Portamento control
Effect1 depth
Effect3 depth
NRPN LSB, MSB
RPN LSB, MSB
x
O
x
O
x
O
x
O
x
O
O
O
x
O (Reverb)
O
x
98, 99
100, 101
x
O
Prog
Change
0–127
**************
O
0–127
: True Number
Program number 1–128
System Exclusive
O
O
: Song Pos
: Song Sel
: Tune
x
x
x
x
x
x
System
Common
System
Real Time
: Clock
: Commands
O
O
x
x
x
x
x
x
O
x
O (120, 126, 127)
: All sound off
O
:
Reset all controllers
Aux
Message
O
: Local Control
: All Notes OFF
: Active Sense
: Reset
O (123–125)
O
x
* 1 O x is selectable by SysEx.
* 2 Recognized as M=1 even if M≠1.
Notes
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
X : No
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
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Main Specifications
Internal Songs
Demo songs: 9
<Keyboard>
88 keys (progressive hammer action keyboard)
Piano songs: 65
Touch Sensitivity
Light/Normal/Heavy/Fixed (adjustable velocity)
Speakers
10 cm x 2
Keyboard Mode
Whole
Rated Power Output
Dual
10 W x 2
Split (adjustable split point)
Display
<Sound Generator>
7-segment, 3-digit LED
Conforms to General MIDI 2 System
Connectors
Max. Polyphony
64 voices
Line Out jacks (L/Mono, R)
Line In jacks (L/Mono, R)
Phones jack (front panel) x 2 (stereo miniature phone type)
USB connector (MIDI)
MIDI connectors (In/Out)
Pedal jacks (Damper, Soft*, Sostenuto*)
* Assignable
Tones
Tones: 7 groups 64 variations (include 6 Tone Wheel Organ
and 4 Drum Sets)
GM2 Tones: 256 + 9 Drum Sets
Effects
Reverb
Multi Effects (10 Types)
DC In Jack
Power Supply
DC 12 V (AC adaptor)
Transposition
-6 to +5 (semitone steps)
Power Consumption
35 W
Temperament
7 types, selectable tonic
Dimensions
FP-5 (Without the music stand) :
Master Tuning
415.3 Hz to 466.2 Hz (0.1 Hz Step)
1,308 (W) x 360 (D) x 128(H) mm
51-1/2 (W) x 14-3/16 (D) x 5-1/16 (H) inches
FP-5 + FPS-11A (With the music stand) :
1,308 (W) x 394 (D) x 920(H) mm
<Session Partner>
Rhythms
51-1/2 (W) x 15-9/16 (D) x 36-1/4 (H) inches
80 Rhythms
Weights
Chord Progression
Automatic or input with keyboard
User Programmable
FP-5: 21.5 kg / 47 lbs 7 oz
FPS-11A: 7.3 kg / 16 lbs 2 oz
Music Stand: 0.6 kg / 1 lbs 6 oz
Total: 29.4 kg / 64 lbs 14 oz
<Recorder>
Metronome
Beat: 2/2, 0/4, 2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 3/8, 6/8, 9/8, 12/8
Volume: 10 levels
Pattern: 11 patterns
Accessories
Owner’s manual
USB Installation guide
CD-ROM (Roland Digital Piano USB Driver)
AC adaptor
Tracks
AC cord
3 tracks (only Rhythm sound can be recorded to Track [R]
button.)
Music Stand / 2 screws for the music stand
Pedal (DP-8)
Song
1 song
Options
Keyboard Stand (FPS-11A)
Pedal (DP-2/8)
Expression Pedal (EV-5)
MIDI Implementation
Tempo
Quarter note = 20 to 250
Resolution
120 ticks per quarter note
*
In the interest of product improvement, the specifications
and/or appearance of this unit are subject to change without
prior notice.
<Others>
Setup
7
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A
AC adaptor ....................................................................... 8
AC cable ............................................................................ 8
All Song Play .................................................................. 12
Expression ...................................................................... 43
Factory Reset .................................................................. 53
Function Mode ............................................................... 42
B
Beat
Metronome ............................................................... 30
Bend Down ............................................................... 43–44
Bend Up .................................................................... 43–44
Brilliance knob ............................................................... 10
Bulk Dump ..................................................................... 52
C
Including pedal ................................................................ 9
Internal Song .................................................................. 12
Root Note .................................................................. 47
Connecting
Leading bass ................................................................... 43
Local Control .................................................................. 50
Audio Equipment .................................................... 48
MIDI .......................................................................... 49
Power ........................................................................... 8
USB ............................................................................ 49
cord hook .......................................................................... 8
MIDI Out Mode ............................................................. 51
MIDI Send Channel ....................................................... 50
MIDI Sound Module ..................................................... 50
Modulation ......................................................... 27, 43–44
Music Stand ...................................................................... 8
Muting ............................................................................. 13
D
Damper jack ......................................................... 9, 27, 44
Damper Pedal ............................................................ 9, 43
Demo Song ..................................................................... 11
Display ............................................................................ 56
Drums button ..................................................... 32–33, 40
Dual Play ........................................................................ 18
E
E.Piano button ............................................................... 43
Easy Operation List ....................................................... 72
Effects ........................................................................ 24, 43
Effects button ........................................................... 24, 44
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Standard pitch ................................................................ 45
Sympathetic Resonance ............................................ 9, 25
O
Octave Shift .................................................................... 44
Organ button .................................................................. 43
P
Pedal Shift ...................................................................... 52
Playback
Tempo
Track Button ............................................................. 13, 40
Transpose button ............................................... 22, 28, 45
All Songs ................................................................... 12
demo song ................................................................ 11
Each part separately ................................................ 13
Internal song ............................................................. 12
Power ................................................................................ 9
Program Change ........................................................... 52
R
Reverb button .......................................................... 23, 45
Reverb Effect .................................................................. 23
Rhythm ........................................................................... 31
selecting .................................................................... 33
Rhythm List .................................................................... 62
Rotary Effect ................................................................... 26
USB .................................................................................. 53
USr ................................................................................... 38
S
Setup button ............................................................. 37, 52
Soft Pedal .............................................................. 9, 43–44
Soft(FC2) jack ............................................................. 9, 43
Song button .................................................. 12, 38, 41, 51
Sostenuto Pedal ................................................... 9, 43–44
Sostenuto(FC1) jack ................................................... 9, 43
Lower Tone and Upper Tone ................................. 21
Volume knob .............................................................. 9–10
volume level ................................................................... 10
77
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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
JORDAN
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.
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
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
TEL: (02) 899 9801
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 2273 0074
SINGAPORE
SWEE LEE MUSIC
COMPANY PTE. LTD.
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
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
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
REUNION
TEL: 243-6399
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
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
CRISTOFORI MUSIC PTE LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
REUNION ISLAND
TEL: (0262) 218-429
SOUTH AFRICA
That Other Music Shop(PTY)Ltd.
11 Melle St., Braamfontein,
Johannesbourg,
SOUTH AFRICA
TEL: (011) 403 4105
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
import
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
OMAN
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TALENTZ CENTRE L.L.C.
P.O. BOX 37, MUSCAT,
POSTAL CODE 113
TEL: 931-3705
FAX: (011) 403 1234
EUROPE
TEL:(593-4)2302364
TEL: (02) 2561 3339
TEL: (266) 364 609
Paul Bothner(PTY)Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: 4423-554
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
THAILAND
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
TEL: (021) 674 4030
Austrian Office
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
VIETNAM
Saigon Music
Suite DP-8
40 Ba Huyen Thanh Quan Street
Hochiminh City, VIETNAM
TEL: (08) 930-1969
TEL: 262-0788
SPAIN
ASIA
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
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
SWEDEN
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
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
AUSTRALIA/
NEW ZEALAND
TEL: (014) 575811
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 3 Section Anhuaxili
Chaoyang District Beijing
100011 CHINA
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
AUSTRALIA/
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
NEW ZEALAND
Roland Corporation
Australia Pty.,Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
TEL: (2) 666 10529
TEL: (010) 6426-5050
TEL: (011) 223-5384
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
TURKEY
Ant Muzik Aletleri Ithalat Ve
Ihracat Ltd Sti
Siraselviler Caddesi
Siraselviler Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2449624
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
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
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
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
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
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
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
TEL: 2415 0911
TEL: (04) 3360715
UNITED KINGDOM
TEL: (01792) 702701
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
NORTH AMERICA
MIDDLE EAST
BARBADOS
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
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
TEL: (505)277-2557
BRAZIL
Roland Brasil Ltda.
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
PANAMA
TEL: (604) 270 6626
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
TEL: 17 211 005
HUNGARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
TEL: 315-0101
TEL: (23) 511011
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
TEL: (022) 66-9426
TEL: (905) 362 9707
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
U. S. A.
KOREA
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
TEL: (021) 285-4169
TEL: (323) 890 3700
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
TEL: (574)3812529
Lima - Peru
TEL: (511) 4461388
As of January 15, 2005 (ROLAND)
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For EU Countries
For the USA
This product complies with the requirements of European Directive 89/336/EEC.
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
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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This owner’s manual is printed on recycled paper.
03124823
’05-2-7N
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