ÂØÒňÎ. Workshop. Advanced Fantom-X Recording Techniques. No. 10 in the Fantom-X Workshop Series

Transcription

1 ÂØÒňΠWorkshop Advanced Fantom-X Recording Techniques No. 10 in the Fantom-X Workshop Series 1

2 2004 Roland Corporation U.S. All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland Corporation U.S. 2

3 About the Fantom-X Workshop Series The Fantom-X Workshop Series is a collection of booklets describing how to get the most out of some of the exciting features of the Roland Fantom-X family of products. Much of what s discussed in the series also applies to the Fantom-S keyboard and, to a lesser degree, the original Fantom. Each booklet covers a single topic, with easy-to-follow explanations, procedures and illustrations. Have fun learning to master the Fantom-X in convenient bite-sized pieces. Other Booklets in the Fantom-X Workshop Series The Fantom-X Experience A quick tour of how the major Fantom-X creative tools interact. The Sounds of the Fantom-X A tour of the Fantom-X sounds and Patch mode. The Rhythms of the Fantom-X Exploring the pads, drum sounds and rhythms of the Fantom-X. The Fantom-X Effects This booklet helps you get the most out the powerful effects processing in the Fantom-X. Recording Music on the Fantom-X Learn how to record your music in the Fantom-X s full-featured sequencer. Sampling on the Fantom-X Capture loops, vocals, noises or any other sound with the Fantom-X s advanced sampling capabilities. Smart Storage in the Fantom-X Learn all about the Fantom-X s storage options for samples and other data. Performing with the Fantom-X Splits, layers, realtime controllers and more make the Fantom-X hot onstage. Making a CD of Your Fantom-X Music Learn how to turn your Fantom-X music into a final audio CD. About This Booklet This booklet contains a collection of sequencing tips for the advanced Fantom-X user. You ll learn how to lock sounds to a song s groove, work with the Fantom-X s mastering effect, incorporate arpeggios in a song, automate patch and rhythm set edits and use the Fantom-X with an external sequencer. This book requires a general understanding of the Fantom-X sequencer. The Workshop series booklet Recording Music on the Fantom-X can teach you what you ll need to know. Understanding the Symbols in This Booklet Throughout this booklet, you ll come across information that deserves special attention that s the reason it s labeled with one of the following symbols. A note is something that adds information about the topic at hand. A tip offers suggestions for using the feature being discussed. Warnings contain important information that can help you avoid possible damage to your equipment, your data or yourself. 3

4 Synchronizing Sounds and Effects to the Beat The internal clock that drives the Fantom-X sequencer can do more than simply manage the tempo of a song it can also lock animated, pulsing patches tightly into a song s groove. In dance-oriented music, synchronization can suddenly snap an entire arrangement into startling, propulsive clarity. The sounds in the Fantom-X s Pulsating patch category are excellent examples of patches that contain rhythmic elements you can synchronize to a song s beat. If you re not familiar with the Pulsating patches, check them out they re among the most interesting patches in the Fantom-X. Typically, the Pulsating patches sound the way they do because an: LFO (for Low Frequency Oscillator ) is changing, or modulating, one or more tone parameters in a cyclic fashion. An LFO typically raises and lowers, or vice versa, a parameter s value repeatedly as a note sounds. The modulated parameter may be the: Tone Fine Tune that re-tunes the tone s pitch in cents (100ths of a semitone). Cutoff Frequency that sets the brightness of the sound. Tone Level that sets the tone s loudness. Tone Pan that sets the tone s stereo placement. Analyzing a Pulsating Patch In the next few sections, we ll presume you ve found a patch you want to lock into your song s tempo. If you re programming your own patch, skip ahead to Synchronizing a Patch. Before you can sync a patch to a song s tempo, you ve got to figure out what s producing its animated sound. Essentially, you re looking for the LFO or effect setting that creates the rhythmic element you want to synchronize. As you come across a setting that looks like it may be the culprit, try adjusting its value to see if you ve hit the bullseye or not. The following sections require a working knowledge of patch and effect editing, and of effect routing. See the Workshop series booklets The Sounds of the Fantom-X and The Fantom-X Effects. Looking for LFO Action 1. In: Patch mode select the desired patch. Performance mode select the part that plays the patch you want to synchronize. 2. Press PATCH EDIT. 3. Press F2 ( ) and/or F1 ( ) to select the LFO1 tab. Patch architecture and tones are explained in the Workshop series booklet The Sounds of the Fantom-X and in the Fantom-X Owner s Manual. effect is subjecting the patch to some sort of rhythmic, animated effect processing. To learn about effects and effect editing in general, see the Workshop series booklet The Fantom-X Effects. 4

5 4. At the top of the screen, the yellow buttons show the patch s active tones. Check the LFO settings for each one. The currently selected tone s LFO parameter values appear in black. While other tones values are gray, you can still see their LFO settings. If you want to adjust a non-selected tone s value to see if it s the one that s causing the patch s animation, use 3 and 4 to select the desired tone. 5. Examine the settings of the four bottom parameters. If: Pitch Depth has a value other than zero, the LFO s modulating the Tone Fine Tune parameter. TVF Depth has a value other than zero, the LFO s modulating the tone s Filter Cutoff parameter. TVA Depth has a value other than zero, the LFO s modulating the Tone Level parameter. Pan Depth has a value other than zero, the LFO s modulating the Tone Pan parameter. 6. Press F2 ( ) and repeat Step 5 for LFO If you ve found the source of the patch element you want to synchronize, make note of it for the procedure in Synchronizing a Patch. If not, proceed to Scoping Out the Effect. Scoping Out the Effect Examining a Patch s MFX in Patch Mode 1. Press EFFECTS, and then press F3 (MFX 1/2). If your patch is assigned to the: keyboard press F3 (MFX 1/2) so that MFX 1 at the top left of the screen is black. pads press F3 (MFX 1/2) so that MFX 2 at the top left of the screen is black. 2. Any parameter that has Rate in its name may be the source of the rhythmic element you want to synchronize. If you find such a parameter, make note of it for the procedure in Synchronizing a Patch. Examining a Patch s MFX in Performance Mode 1. Press MIXER and go to the Performance Mixer2 screen. 2. Note the MFX processor the patch s part is assigned to, labeled as FX1, FX2, or FX3 onscreen. 3. Press EFFECTS, and then press F2 (MFX Struct). The MFX Structure screen tells you if your patch is going through more than a single MFX processor. 4. Press F3 (MFX 1/2/3) as necessary to select the patch s MFX processor screen(s). 5. Any parameter that has Rate in its name may be the source of the rhythmic element you want to synchronize. If you find such a parameter, make note of it for the procedure in Synchronizing a Patch. The Synchronizable Chorus Processor If you haven t yet found your rhythm source, press F5 (Chorus). If 01 Chorus is selected, check out its Rate value. If 02 Delay is selected, check out its Delay Left, Right and Center values. 5

6 Synchronizing a Patch Whether you re dealing with an LFO or an effect, a parameter that causes a patch to change rhythmically has the word Rate in its name. To synchronize the rhythmic element to your song s tempo, set the relevant Rate parameter to a beat or note value. This synchronizes the element to a song s tempo. If you re not sure of the note value you want, experiment with different values. Locking Tone LFOs to a Song Tempo 1. On the Patch Edit LFO1 or LFO2 tab, highlight the relevant Rate parameter and set it to the desired note value. (A value from will not synchronize the LFO to a song s tempo.) The Rate Detune parameter is inactive when Rate is set to a note value. As you can see, an LFO can behave in a variety of ways. To learn about LFO programming, see the Fantom-X Owner s Manual. In this book, we re concerned only with an LFO s Rate parameter. Locking Effects to a Song Tempo 1. An effect Rate parameter has two values, as shown here. 2. Highlight the value on the right and set it to NOTE. 3. Highlight the value on the left and set it to the desired note value. Saving Your Work If you re in Patch mode, save the patch to user or card memory to preserve your changes. If you re already working in a song in Performance mode, your changes will be included the next time you next save the song to user or card memory as a Fantom-X song file. The Fantom-X Mastering Effects To learn about the Fantom-X effects in general, see the Workshop series booklet The Fantom-X Effects. In addition to its MFX, chorus and reverb processors, the Fantom-X has a dedicated mastering processor that s designed to provide the final touch to a song s sound. The mastering processor s primary goal is to make your song s mix sound as full and strong as possible by compressing the mix. Mastering compression is utilized in the production of virtually all commercially released CDs. The mastering effect operates on sounds routed to the Fantom-X A output pair, either directly or through the MFX, chorus or reverb processors. How the Mastering Effect Works A compressor lowers the volume of any signal that rises above a specified level. Since most signals rise and fall in level, compression helps smooth out extreme volume changes to make the overall sound more even. It also allows you to make your mix as loud as technically possible. 6

7 The mastering effect employs multi-band compression in which the mix is divided into three frequency ranges. This affords you the opportunity of using differing amounts of compression for the mix s: bass or LO range. middle or MID range. treble or HI range. You can set the dividing point between the LO and MID ranges, and between the MID and Hi ranges. Each of the three compression bands has the same set of five parameters that determine the manner in which it responds to your mix. You can set each band s parameters manually, or use any of the five factory-programmed presets. You can also create your own user preset. Working with the Mastering Effect 1. Press EFFECTS. 2. Press F8 (Effect Sw) to display the Effect Sw ( Effect Switch ) window. 3. If it s not already lit, press F6 (Master) to light the Master indicator in red. 4. Press F8 (Close) when you re done. 5. Press F7 (Mastering) to display the Mastering screen. The meters show the mix s overall level. 6. If you wish to change the frequencies to be controlled by the MID compression band, set: Split Frequency High to set the highest frequency controlled by the MID band. Split Frequency Low to set the lowest frequency controlled by the MID band. Try adjusting these values if you re having trouble achieving satisfactory results using the three bands compression settings. 7. If you d like to try the preset settings, press: F1 (Hard Comp) to apply a high degree of compression to the low, middle and high frequency ranges of your mix. F2 (Soft Comp) to apply a subtle amount of compression to the low and middle frequency ranges of your mix while strongly compressing the highfrequency range. F3 (Lo Boost) to boost the level of the mix s bass content. F4 (Mid Boost) to boost the level of the mix s middle frequencies. F5 (Hi Boost) to boost the level of the mix s treble content. 7

8 8. To set up the compressor bands, select and adjust each band s parameters as desired: ATTACK sets the speed at which compression begins when a signal exceeds the Threshold value. RELEASE sets the length of time for which compression remains in effect after a signal exceeds the Threshold level. THRESHOLD sets the level above which compression is applied to the signal. RATIO sets the amount of compression, with higher values resulting in more extreme compression. LEVEL sets the overall level of the individual compression band. Since you can set the volume of each frequency range with its LEVEL parameter, you can tweak the overall frequency balance of your mix using the mastering effect. You can save your settings as the mastering effect s user preset. To do so, press F7 (System Write). Once stored, you can apply your user settings to any mix by pressing F6 (User.) The mastering effect s settings exist on their own they don t belong to any patch, rhythm set or performance. Using Arpeggios in a Song The Fantom-X has a built-in arpeggiator for playing a repeating series of notes. Each of these series is called an arpeggio, or more officially in the Fantom-X, an arpeggio style. There are 128 preset arpeggio styles, and you can store up to 128 of your own. The arpeggiator can be used in either Patch mode or Performance mode. When you play the keyboard, the currently selected arpeggio style uses notes you hold down as the basis for the note series it produces. Arpeggiator Styles and the Arp Motif Setting An arpeggio style contains a rhythm and a series of harmonic intervals the number of semitones between notes that spell out a melodic and/or chordal phrase that can play in any key. It doesn t contain any actual notes you supply those with what you play on the keyboard. The manner in which the arpeggiator plays a style depends on the currently selected Arp Motif value. We ll point out this parameter in Selecting and Playing Arpeggios in a Song. Most Arp Motif values organize your notes in a specific pitch order, and they re played using the currently selected arpeggio style s rhythm. The arpeggio style s own melodic phrase is ignored, using your notes instead. If the Arp Motif parameter is set to Phrase, each note you play triggers the arpeggio style s phrase, which begins at the pitch you play. If you play two notes simultaneously, the lower note triggers the phrase. You can program up to 128 of your own arpeggio styles. The process is very similar to the creation of rhythm patterns, described in the Workshop series booklet The Rhythms of the Fantom-X. The Fantom-X Owner s Manual also contains information on creating arpeggio styles. The Arpeggio Part To play or record an arpeggio in a song, the desired sound s part must be designated as the arpeggio part. Once an arpeggio s been recorded, the sequencer plays its notes, so the part no longer has to be the arpeggio part. At that point, you can designate another part as the arpeggio part in order to record a new arpeggio there. You can designate the arp part from the Performance Mixer2 screen or on the Arpeggio (Performance) screen. 8

9 Designating the Arp Part from the Mixer 1. Press MIXER. 2. Press F6 to display the Performance Mixer2 screen. 3. Turn on the desired part s Arp Part switch. Selecting and Playing Arpeggios in a Song 1. With the currently designated arp part selected, hold down SHIFT and press ARPEGGIO to display the Arpeggio (Performance) screen. Change the currently selected arp part on this screen by setting the Arp Part parameter as desired. 2. Press the ARPEGGIO button so it lights once ARPEGGIO is lit, you can audition the currently selected arpeggio style by playing the Fantom-X keyboard. 3. Highlight the Style value and turn the VALUE dial to select the desired arpeggio style. 4. Select an Arp Motif. Three commonly used motifs are: Up (_ ) When you hold down two or more notes, they play in low-to-high order using the arpeggio style s rhythm. Down (_ ) When you hold down two or more notes, they play in high-to-low order using the arpeggio style s rhythm. Phrase When Phrase is selected, the arpeggiator style uses each successive note you play as the starting pitch for its note series. For a complete list of the Arp Motif values, see Page 130 of the Fantom-X Owner s Manual. 5. Set the other arpeggio style parameters as desired. Set: Oct Range to automatically add notes from other octaves to the arpeggio style. When Oct Range is set to 0, the arpeggio style plays only the notes you strike on the keyboard. Positive values (+1, +2 or +3) add the same notes in higher octaves. Negative values (-1, -2 or -3) add the same notes in lower octaves. Arp Accent to adjust the dynamics of the arpeggio style s note events. Reduce the style s dynamic range with negative values, or exaggerate it with positive values. You can adjust the Oct Range and Arp Accent parameters using the REALTIME CONTROL knobs. Press the REALTIME CONTROL switch so its ARP/RHY indicator lights, and turn the ARP RANGE and ARP ACCENT knobs as desired. Arp/Rhythm Grid sets the note value of the arpeggio style s rhythm steps. Adjust this parameter to pack more or less arpeggio notes into a measure. L and H values add a light or heavy shuffle feel, respectively. Arp/Rhythm Duration sets the duration of the arpeggio styles s notes to make them more or less staccato than originally programmed. 9

10 The Arp/Rhythm Grid and Arp/Rhythm Duration values are shared by the arpeggiator and the Fantom-X s rhythms. Arp Velocity sets the playback velocity, and therefore volume, of the arpeggio style. Choose REAL to reflect the velocity with which you strike the keys, or a fixed velocity setting (1-127). The settings for the arpeggio style parameters are saved in the song s performance when you save the song in a Fantom-X song file. 6. Hold down the desired notes on the keyboard to hear your arpeggio. To lock in the notes you ve played allowing you to let go of the keys without stopping the arpeggio press the ARP HOLD button so it lights. 7. Hold down other notes as desired to alter the arpeggiator s sound in realtime. Recording an Arpeggio in a Song 1. Select the desired part and set up the arpeggio as previously described. 2. Press ARPEGGIO to light its indicator if it isn t already lit. 3. Navigate to the location in the song at which you want the arpeggio to begin. 4. Press REC to display the Realtime Rec Standby window. 5. Set Count In to WAIT NOTE to ensure that the arpeggio s recorded in perfect time with the song. 6. Set the window s remaining parameters as desired. 7. When you begin playing the keyboard, recording starts. 8. Continue playing notes into the arpeggiator to create your recording as desired. 9. Press STOP when you re done. Automating Patch and Rhythm Set Edits As noted in the Workshop series booklet Recording on the Fantom-X, the Fantom-X sequencer can record changes you make to a sound using the onboard realtime controllers: the REALTIME CONTROL knobs and switches, and the D Beam. The Fantom-X lets you go far beyond this, in fact. Its sequencer can record and play back changes you make to any parameter in the Fantom-X using the VALUE dial, the INC/DEC buttons or the F buttons. Simply record a track or pattern as you make your changes, and they ll all be captured for playback. The possibilities for this feature are pretty much endless, but here are a few ideas to get you thinking. You can record: a patch-editing session in Patch or Performance mode. When you play back what you ve recorded, you ll hear the evolution of your patch. You can find the song location at which the patch sounded the best and save the patch in its state at that point. the muting and un-muting of parts as a song plays to automate the turning off and on of part sounds in a song. the selection of a series of patches or rhythm sets to automate the changing of a part s patch or rhythm set as the song plays. changes to a part s output parameters sending the part s sound to different effects in different sections of the song. changes to any parameters in a part s sound so that the sound changes and evolves over the course of a song, or from section-to-section. You could change a patch s tone structure, for example, or switch between highpass and lowpass filters, or change the behavior of its LFOs. Any sonic change you can produce using patch and rhythm set parameters can be recorded and played back. 10

11 Why It Works Each time you edit a parameter on the Fantom-X using the VALUE dial, the INC/DEC buttons and the F buttons, a string of System Exclusive or Sys Ex values are transmitted. These MIDI Sys Ex values are in a language specific to the Fantom-X hence the Exclusive part of System Exclusive. As with any other sort of MIDI message, the Fantom-X sequencer can record and play back Sys Ex messages. During playback, the Sys Ex messages you recorded during editing are played back, invisibly reproducing your actions, and thus recreating your edits. How It Works This is simple just turn on the transmission of Sys Ex data during operation of the VALUE dial, INC/DEC buttons and F buttons. 1. Press PATCH/RHYTHM, LAYER/SPLIT or MIXER. 2. Press MENU, highlight System and then press ENTER. 3. Press F2 ( ) and/or F1 ( ) to display the MIDI tab. 4. Set Transmit Edit Data to On. 5. Press F8 (System Write). When you start recording and then change parameter values, they re captured in the currently selected track or pattern. When you re done recording parameter edits, turn off Transmit Edit Data. This shuts off the production of now-unnecessary MIDI data and prevents the accidental recording of other edits. It has no effect on the playback of your already-recorded edits. Using the Fantom-X with an External Sequencer While its own internal sequencer is powerful, the Fantom-X can also serve as a master MIDI controller and multitimbral MIDI sound module for use with an external sequencer such as one on a personal computer. You can record notes into the sequencer using the Fantom-X keyboard and pads as the sequencer plays the Fantom-X s sounds. You can also play commercially available General MIDI and General MIDI 2 sequences on your computer using the Fantom-X s sounds. In the following sections, we ll describe how to use the Fantom-X with a computer-based sequencing program. Create a Reception Performance Create a Fantom-X performance that contains the sounds you want to use, with each sound assigned to its own part remember to set up the performance s effects as well. The purpose of this reception performance is to respond to MIDI messages received from the external sequencer. Set it up just as you would if you were recording on the Fantom-X. You can tweak it as your arrangement evolves. To learn about setting up a song s performance, see the Workshop series booklet Recording on the Fantom-X. Make sure all Keyboard Switch checkboxes on the Performance Layer screen are turned off. Be sure to save your reception performance to user or card memory as described in the Workshop series booklet Performing with the Fantom-X. 11

12 Configuring the Performance for MIDI Reception 1. Press MIXER, F2 (Part View) and then F7 (External). On this screen, you can set the reception behavior of your performance. Set: Rx to switch each part s MIDI reception on, as shown by a checkmark, or off as desired. By default, MIDI reception for all parts is enabled. Ch to set the MIDI channel to which each part responds. The default values route MIDI Channels 1-16 to Parts 1-16, respectively. The remaining parameters on this screen enable the transmission of various MIDI messages when you first select the performance. Each of these parameters should be set to OFF. You can leave the setting of the numerical BankSel value as it is. The MIDI Connection Physical MIDI Connections You can connect the Fantom-X to a computer for MIDI communication in either of two ways. You can use: MIDI cables connected to a MIDI interface attached to your computer. an A/B-type USB cable connecting the Fantom-X and computer directly. About Using a MIDI Interface To learn how to set up and configure a MIDI interface, see the documentation for your MIDI interface, computer and sequencing software. If you re playing into the external sequencer from the Fantom-X keyboard and/or pads while you re using the Fantom-X sounds, you ll need twoway MIDI communication between the Fantom-X and the sequencer. This requires two MIDI cables. Connect the MIDI OUT jack of the Fantom-X to the desired MIDI interface MIDI IN jack, and the corresponding MIDI OUT jack on the interface to the Fantom-X s MIDI IN jack. If you re just using the Fantom-X s sounds and not its keyboard or pads simply connect the desired MIDI OUT on the interface to the Fantom-X s MIDI IN jack. USB MIDI Mode The Fantom-X can exchange MIDI data with a computer using a single USB cable directly connecting the Fantom-X and the computer. The Fantom-X can communicate via USB with USB-supporting computers using the following operating systems: Windows XP/2000/Me or higher, Mac OS 9.04 or higher, or Mac OS X. MIDI communication via USB requires a little bit of setup, described in the following paragraphs. In order for the Fantom-X and computer to communicate via USB, start by installing the necessary driver software on the computer. You ll find this software along with installation instructions in a Read Me file on the Fantom-X Editor CD that shipped with your Fantom-X. 12

13 To configure the Fantom-X for MIDI communication via USB: 1. Make sure there s no USB cable currently connecting the Fantom-X to the computer. 2. On the Fantom-X, press MIXER, and then press MENU. 3. Turn the VALUE dial to select System, press ENTER, and then press F2 ( ) or F1 ( ) to select the USB tab. 4. If USB Mode is set to STORAGE, turn the VALUE dial clockwise until the confirmation window appears, and then press F8 (OK) to proceed. Press F8 (System Write) to store your new setting. 5. Turn off the Fantom-X and turn on your computer let it finish starting up before proceeding to Step With an USB A/B-type cable, connect the A-type USB plug to a USB jack on your computer, and the other end to the B-type USB jack on the Fantom-X. USB A plug 7. Turn on the Fantom-X. USB B plug When USB communication is turned on, do not unplug the USB cables connecting the Fantom-X and the computer. Setting the Fantom-X s MIDI Parameters Navigate to the parameters in the following sections by pressing MIXER and MENU. Highlight System and then press ENTER. Press F2 ( ) and/or F1 ( ) to display the desired tabs. Setting The Local Off Switch When you play the Fantom-X keyboard or pads into a sequencer playing Fantom-X sounds, the required two-way MIDI communication can cause the double-triggering of notes on the Fantom-X. First, the notes are played directly from the keyboard or pads. Then data orginally sent from the keyboard or pads returns to the Fantom-X from the sequencer. The two notes are heard almost at the same time a flam in drumming terms. The recommended way to work is to trigger notes only once, from the sequencer. To do this, navigate to the Fantom-X System Sound tab where you ll find the Local Switch parameter. Set this parameter to Off so that MIDI messages generated by Fantom-X s keyboard s and pads are sent only to the MIDI OUT jack and not to the Fantom-X s internal sound generator. If you re not using the Fantom-X keyboard or pads with your external sequencer, you can leave the Local Switch parameter set to On. The MIDI Tab The MIDI tab contains quite a few MIDI-related parameters. Just a few of these have to do with using the Fantom-X in our current application. They re all located in the Receive section: Receive Program Change When this parameter s switched on, the Fantom-X can change patches and rhythm sets in response to received MIDI Program Change messages. Receive Bank Select When this parameter s switched on, the Fantom-X can change patch and rhythm set banks in response to received MIDI Bank Select messages. Receive Exclusive Turn this on to enable receipt of System Exclusive messages. 13

14 Receive GM System On If you re playing General MIDI sequences on your computer, you can remotely select the GM patch and rhythm set banks when this parameter s turned on. Receive GM2 System On If you re playing General MIDI 2 sequences on your computer, you can remotely select the GM 2 patch and rhythm set banks when this parameter s turned on. Receive GS Reset When this parameter s on, the Fantom-X responds to received GS Reset messages by resetting the current performance s parts to default level, pan, chorus and reverb values. The End We hope you ve enjoyed this collection of power tips for the Fantom-X sequencer. Check out the other Workshop series booklets, as well your Fantom-X Handbook and Owner s Manual. We re confident you ll have a great time with the exciting, inspiring Fantom-X. For the latest Fantom-X updates and support tools, visit the Roland U.S. Web site at If you need personal assistance, call our amazing Product Support team at Selecting a Part for Recording When you record into an external sequencer from the Fantom-X keyboard or pads, you ll do so in Performance mode. The nature of your sequencer determines the part you should select on the Fantom-X for sending data to the sequencer. Some sequencers transmit MIDI data using the same MIDI channel on which it s received. If you re using this type of sequencer, select the Fantom-X part whose sound you wish to play. This sends your MIDI data to the sequencer on the part s MIDI channel. When the data comes back from the sequencer, the desired part plays. Many sequencers allow you to select the channel on which MIDI data is to be transmitted. You can send data to the sequencer on any MIDI channel, and then select the channel on which you want the data sent back out. The currently selected part on the Fantom-X makes no difference in this case. 14