Roland FR-7/FR-5 用户手册
MIDI functions | MIDI parameters for the various sections/parts
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FR-7/FR-5 V-Accordion
to “dry” (no Reverb), while “127” represents the maxi-
mum Reverb Send level. Select “Off” if the register
should not transmit this message.
mum Reverb Send level. Select “Off” if the register
should not transmit this message.
Note: If there is no audible change, you may have to check the
Reverb effect settings on the receiving MIDI instrument.
Note: Not all MIDI instruments have a reverb effect and even
if they do, they may not support this control change number
(this is especially true of older instruments).
Reverb effect settings on the receiving MIDI instrument.
Note: Not all MIDI instruments have a reverb effect and even
if they do, they may not support this control change number
(this is especially true of older instruments).
■Chorus
(Off, 0~127, Default: 0) This parameter allows you to
specify the Chorus Send Level value (CC93) to be
transmitted by the register whenever you select it.
“0” will set the receiving MIDI instrument to “dry” (no
Chorus), while “127” represents the maximum Chorus
Send level. Select “Off” if the register should not
transmit this message.
specify the Chorus Send Level value (CC93) to be
transmitted by the register whenever you select it.
“0” will set the receiving MIDI instrument to “dry” (no
Chorus), while “127” represents the maximum Chorus
Send level. Select “Off” if the register should not
transmit this message.
Note: If there is no audible change, you may have to check the
Chorus effect settings on the receiving MIDI instrument.
Note: Not all MIDI instruments have a chorus effect and even
if they do, they may not support this control change number
(this is especially true of older instruments).
Chorus effect settings on the receiving MIDI instrument.
Note: Not all MIDI instruments have a chorus effect and even
if they do, they may not support this control change number
(this is especially true of older instruments).
■Velocity
(On, 1~127) Your FR-7/FR-5 is velocity sensitive. That
is a very learned term for the fact that the volume
and brightness of the notes you play on the Treble or
button keyboard depend on how hard (or fast) you
press the keys/buttons. The accordion sounds do not
respond to these playing dynamics, but the Orchestra
(Treble and Bass) sounds do and so do most MIDI-
compatible sound modules.
is a very learned term for the fact that the volume
and brightness of the notes you play on the Treble or
button keyboard depend on how hard (or fast) you
press the keys/buttons. The accordion sounds do not
respond to these playing dynamics, but the Orchestra
(Treble and Bass) sounds do and so do most MIDI-
compatible sound modules.
Even though the MIDI standard recognizes 128 dif-
ferent velocity values, only 127 can actually be used
for expression purposes. That explains why the set-
ting range is 1~127. Value “0” is usually used to sig-
nal the end of a note (i.e. when you release a key or
button).
ferent velocity values, only 127 can actually be used
for expression purposes. That explains why the set-
ting range is 1~127. Value “0” is usually used to sig-
nal the end of a note (i.e. when you release a key or
button).
This parameter allows you to specify whether the
velocity values corresponding to the strength with
which you press a key/button should be transmitted
(“On”) or whether your playing dynamics should not
be translated as such. In the latter case, you need to
select a value (1~127) that will be applied to all notes
that are transmitted via MIDI. “64” is still relatively
soft, so even lower values are probably not what you
want in most cases. Fixed velocity values can be use-
ful for playing organ sounds on an external module.
velocity values corresponding to the strength with
which you press a key/button should be transmitted
(“On”) or whether your playing dynamics should not
be translated as such. In the latter case, you need to
select a value (1~127) that will be applied to all notes
that are transmitted via MIDI. “64” is still relatively
soft, so even lower values are probably not what you
want in most cases. Fixed velocity values can be use-
ful for playing organ sounds on an external module.
Note that the setting you select here has no effect
when the “Note” parameter is set to “Off”, because
note numbers are always transmitted along with a
velocity value (any value different from “0” also
means “start playing this note”). Sending only a
velocity value without specifying the note to which it
applies doesn’t make sense.
when the “Note” parameter is set to “Off”, because
note numbers are always transmitted along with a
velocity value (any value different from “0” also
means “start playing this note”). Sending only a
velocity value without specifying the note to which it
applies doesn’t make sense.
■Expression
(Off, Bellows, Pedal) You probably know that the
strength/speed with which the bellows is pressed or
pulled influences the sound – which corresponds to
an acoustic accordion’s response.
strength/speed with which the bellows is pressed or
pulled influences the sound – which corresponds to
an acoustic accordion’s response.
This effect can be translated into a MIDI message
most external instruments understand. The MIDI
standard provides a message (“control change”) for
remotely controlling the volume of an external
instrument: CC11. It is chiefly used for expression
purposes (similar to the way in which a guitarist or
organ player uses a volume pedal).
most external instruments understand. The MIDI
standard provides a message (“control change”) for
remotely controlling the volume of an external
instrument: CC11. It is chiefly used for expression
purposes (similar to the way in which a guitarist or
organ player uses a volume pedal).
If you want to use the bellows for expressive pur-
poses, set this parameter to “Bellows”.
poses, set this parameter to “Bellows”.
If you don’t (because the external instrument is too
sensitive and therefore changes its volume too
often), select “Off”.
sensitive and therefore changes its volume too
often), select “Off”.
If you purchased an optional EV-5 expression pedal,
which you connected to the FBC-7’s EXPRESSION
PEDAL socket, you can also control the relative vol-
ume by foot. In that case, set this parameter to
“Pedal”.
which you connected to the FBC-7’s EXPRESSION
PEDAL socket, you can also control the relative vol-
ume by foot. In that case, set this parameter to
“Pedal”.
■AfterT (only for the Treble and Orchestra sec-
tions)
The Treble keyboard also generates aftertouch mes-
sages. Aftertouch is usually used for temporary
changes to a sound’s volume, timbre or pitch (this
needs to be set on the receiving instrument). Used
right, it can be a very powerful expressive tool.
The Treble keyboard also generates aftertouch mes-
sages. Aftertouch is usually used for temporary
changes to a sound’s volume, timbre or pitch (this
needs to be set on the receiving instrument). Used
right, it can be a very powerful expressive tool.
The downside is, however, that aftertouch messages
usually represent a massive amount of data, which
makes it a lot harder to find the MIDI messages you
want to edit on an external sequencer, not to men-
tion the fact that your song files become a lot
heavier than they need to be.
usually represent a massive amount of data, which
makes it a lot harder to find the MIDI messages you
want to edit on an external sequencer, not to men-
tion the fact that your song files become a lot
heavier than they need to be.
Besides, many sounds/parts on external MIDI instru-
ments are set to ignore these messages by default, so
that you would end up sending a lot of information
for nothing. That is why we recommend setting this
parameter to “Off” and only select “On” if you really
mean to take advantage of the Treble keyboard’s
aftertouch capability.
ments are set to ignore these messages by default, so
that you would end up sending a lot of information
for nothing. That is why we recommend setting this
parameter to “Off” and only select “On” if you really
mean to take advantage of the Treble keyboard’s
aftertouch capability.