2.3 Reed Volume
V-Accordion
r
41
To save time while changing the STATUS of all reeds
in one go, you could proceed as follows: suppose all
reeds are currently “On” and you only want to keep
the 4’ reed. In that case, set FOOT to “ALL” and STA-
TUS to “Off”. Next, set FOOT to “4’” and STATUS to
“On”.
2.3 Reed Volume
(–30~“Std”~30, Default setting:
30) Here comes the last param-
eter that can be set for each
reed/footage individually. It
allows you to create the desired
“mix” (volume balance) for the active reeds (see the “2.2
Register” page).
This is a relative parameter, which means that its value
is added to or subtracted from the standard value
(“Std”). As a rule, it would be wise to decide which reed
is most important and set its Volume parameter to
“Std”. Then reduce or increase the volume of the “ancil-
lary” reeds to create the desired balance.
Note: The overall volume of the Treble section (all registers) can
be changed using the [BALANCE] knob.
2.4 Treble Octave
(–1, 0, 1, Default setting: 0) This
parameter allows you to trans-
pose the selected register one
octave up (“1”) or down (“–1”).
This can be used for two pur-
poses: to quickly correct the pitch that results from the
active reeds (see above) or to avoid overlaps of the
selected register when using a Treble Orchestra sound.
(The Orchestra section also provides an Octave parame-
ter.)
2.5 Valve Noise
Here comes a more elaborate
version of the Noise parameter
discussed on page 29, because it
allows you not only to set the
level of the “typical” valve
noises, but also to specify what kind of instrument
should generate the noise. Though you are free to
experiment with any noise type you like, using the
noise related to the selected instrument (see “2.1 Reed
Type”) is usually more realistic.
There is only one TYPE for the entire register (i.e. all 7
reeds). The options are: Bandoneon, Beltu, Beltu Amp,
Buga, Cajun, Excels, Mauge, Morn, Organetto, Pierma,
Pigi, Scanda, Sopra, Steierische, Stoc, TexMex, Trikitixa.
Use the LEVEL parameter to specify how prominent the
noise should be (–30~“Std”~30, Default setting: Std).
Note: Whenever you select “ALL” for “2.1 Reed Type” and set a
different reed type, this noise setting is automatically adapted to
the reed type. It would therefore be a good idea to first select the
reed type and only then change the noise type.
2.6 Musette Detune
This parameter allows you to
choose the system used for
detuning the 8’ reeds. See
page 27 for details. The options
are: Off, Dry, Classic, Mauge,
American_L, American_H, North_Eur, German_L,
Morn_L, Italian_L, German_H, Alpine, Italian_H,
Morn_H, French, Scottish.
2.7 Bellows Detune
(Off, Low, Standard, High,
Default setting: Standard) This
parameter further adds to the
realism of the sounds emulated
by your FR-7/FR-5. Here, you
can specify how strongly the pitch of the simulated
Treble reed(s) changes when you open or close the bel-
lows faster than usual.
If the “Standard” setting seems too mild, try “High”. If it
is too strong, use “Low”. If you don’t want any detuning
effect, select “Off”. The most convincing setting usually
depends on the selected instrument(s) (see “2.1 Reed
Type”).
2.8 Reverb Send, 2.9 Chorus Send,
2.10 Delay Send
(0~127 for all three) Use these
parameters to set the Reverb, Chorus
or Delay send level (how much effect
should be applied to the Treble sec-
tion). The higher the value you set,
the more the Treble section is pro-
cessed by the effect in question.
It works much the same way as a
cathedral: the louder you sing, the
more reverb (chorus or delay) you
hear. In the case of the cathedral, singing louder means
that you increase the effect send level, i.e. the level of
the signal (your voice) that will be processed by the
acoustic environment.
The other sections (Bass, Free Bass, etc.) have the same
parameters, so that you can create a sound image with
various “levels” (foreground, background).
The effects themselves can be edited on separate pages
(see p. 55).
2.11 Aftertouch Pitch
(Off, 1/4 Down, 1/2 Down, 1/4
Up, 1/2 Up, Default setting: Off)
As stated earlier, the FR-7/
FR-5’s Treble keyboard also gen-
erates aftertouch messages.
“Aftertouch” refers to the fact that you press a key even
further down after playing a note. This effect allows
you to bend the pitch down (temporarily lower the
note) by a quarter (“1/4 Down”) or a semi-tone (“1/2
Down”). Select “1/4 Up” or “1/2 Up” to bend the notes
up a quarter or a semi-tone. Select “Off” to switch off
the Treble sections’ aftertouch recognition.
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