Roland owner manual Sections of your FR-7/FR-5, FR-7/FR-5V-Accordion Setting up First steps

FR-7/FR-5V-Accordion

Setting up First steps

First steps

The sections of your FR-7/FR-5

Before showing you how to use the FR-7/FR-5, let’s briefly look at the various “sections” of your instrument, as that will help you understand how your V-Accordion works.

The FR-7/FR-5 is a “virtual” accordion. That term was borrowed from synthesizers that recreate the sounds of other synthesizers using a different technology (hence the term “virtual analog syn- thesizer”, for example).

The FR-7/FR-5 recreates the sounds of various accordion instru- ments (the “virtual” part) and can even generate orchestral sounds, like trumpet, flute, etc. (the synthesizer part).

The sections outlined in the illustration to the right contain several functions you can set. Let us agree to call those functions “parame- ters”.

Master bar

Treble section

Bass,

Orchestra Bass,

Orchestra Chord,

Free Bass,

Orchestra Free

Bass section

Registers of the bass, chord and orches- tral bass/chord sections

The parameters allow you to change certain aspects of the FR-7/FR-5’s sound: you can select a French musette, an Italian accordion, etc., specify how strongly the virtual reeds should be detuned, add digital effects and more. Each section has its own parameters, so that you can fine-tune your sounds until you really like the entire accordion sound. You can save your settings and select them each time you want to play a given piece. There is thus no need to set the parameters time and again.

The various sections are combined into “Sets”. Why is that? Because that way, you only need to select one memory (the Set) in order to save and recall the set- tings of all sections.

Set 40

		Set 3
COMMON		Set 2
		Set 1
Reverb
Chorus
Delay
Name
Icon
Master Bar
Treble	Bass	Free Bass	Orch. Chord	Orch. Bass	Orchestral
1~14	1~7	1~7	1~7	1~7	1~22

If you are really into programming, however, you could also assign completely different instruments to each register, in which case a Set becomes a container (the aforesaid car trunk) for a variety of accordion sounds.

One possibility: each Treble reg-	Treble 14:
ister represents a different	Cajun
instrument.
Treble 2:	The same system also applies
	to the Bass, Free Bass, Orches-
Italian
	tra Bass, Orchestra Free Bass,
Treble 1:
	Orchestra Chord, and Orches-
Bandoneon
	tra section.

Another advantage of the Set structure is that it allows you to reconfigure the three digital effects processors (Reverb, Chorus, Delay) whose settings always apply to all sections.

Oh and… the Sets can be selected with the SET [√][®] buttons on the FR-7/FR-5 and the SET ([1], [2]) foot- switches on the FBC-7 (if it is connected to the FR-7/ FR-5).

r

There are 40 Set memories that already contain useful settings right out of the box. But you can replace them with your own settings. (And if 40 Sets are not enough, you can archive and load new sets via MIDI, see page 89).

Sets are like the trunk of a car that contains several instruments (bandoneon, musette, etc.). The instru- ments themselves can be recalled via the registers.

There are 14 Treble memories, 7 Bass, Free Bass, Orches- tra Chord, Orchestra Free Bass, and Orchestra Bass reg- isters, and 22 Orchestra registers per Set. Except for the orchestral sounds, the registers can behave like on an acoustic accordion, i.e. they allow you to change the footage combinations.

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