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Editing settings | PARAM LIST parameters
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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion
Orchestra Free Bass Octave TX
(–3~0~3, Default setting: 0) This param-
eter allows you to transpose the Note-
on messages transmitted by the ORCH
FREE BS part.
Basic Channel TX/RX
(Off, 1~16, Default setting: 13) This
parameter allows you to set the basic
MIDI channel number. The “Basic Chan-
nel” can be used for selecting Sets from an external
MIDI device (using program change numbers 1~10). If
your external source sends Bank Select messages along
with the program change number, CC00 and CC32
must both be set to “0”. The assignment set here applies
both to the transmission (“TX”) and reception (“RX”) of
MIDI data. Obviously, “TX” is only used when “MId” (see
above) is set to “Out”, while the “RX” part is only used
when “MId” is set to “In”.
Control Channel TX
(Off, 1~16, Default setting: 13) The
“Control Ch” can only be used for send-
ing program change messages (see
p. 53). This parameter allows you to set the control
MIDI channel number.
Program Change TX
(Off, On, Default setting: On) This is the
first of a series of MIDI filters, i.e. param-
eters that allow you to specify whether
or not the given MIDI type should be transmitted. “TX”,
as you know, is short for “transmission”. This means two
things: (1) the filter only applies to program changes
sent by the FR-3, and (2) it is only meaningful when the
“MId” parameter (see p. 50) is set to “Out”.
Program change messages are used to select sounds or
memories on the receiving instrument simply by recall-
ing another sound (or memory) on the transmitting
instrument. The FR-3 transmits program changes when
you select Sets (on the Basic Channel) and registers (on
the MIDI channel assigned to the section for which you
are selecting a different register). Select “Off” if you
don’t need that.
Note: This filter has no effect on the “Send PC” function (see
p. 53).
Bellows Expression TX
(Off, On, Default setting: Off) You proba-
bly noticed that the strength/speed with
which the bellows is pressed or pulled
influences the sound – which corresponds to an acous-
tic accordion’s response. This effect can be translated
into a MIDI message most external instruments under-
stand. The MIDI standard provides a message (“control
change”) for remotely controlling the volume of an
external instrument: CC11. It is chiefly used for expres-
sion 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 purposes,
set this parameter to “On”. If you don’t (because the
external instrument is too sensitive and therefore
changes its volume too often), select “Off”. Note that
there is a second parameter (see below) that allows you
to specify the bellows’ resolution.
Velocity TX
(On, 1~127, Default setting: On) Your
FR-3 is velocity sensitive. That is a very
learned term for the fact that the vol-
ume and brightness of the notes you play on the Treble
or Bass keyboard depend on how hard (or fast) you
press the buttons. The accordion sounds do not respond
to these playing dynamics, but the Orchestra (Treble,
Bass, Chord, Free Bass) sounds do, and so do most MIDI-
compatible sound modules.
This parameter allows you to specify whether the veloc-
ity values corresponding to the strength with which
you press a key/button should be transmitted (“On”) or
whether your playing dynamics should not be trans-
lated 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. Even lower values are
probably not what you want in most cases. Fixed veloc-
ity values can be useful for playing organ sounds on an
external module.
Bellows TX Resolution
(1~3, Default setting: 2) This parameter
allows you to specify how many data the
FR-3’s bellows may transmit for expres-
sion purposes. As long as the external sequencer you
work with does not display a “MIDI buffer overflow”
message, you can leave its setting at “2”. If, however,
the bellows’ data amount is too much for the receiving
sequencer (because such data are transmitted on sev-
eral channels simultaneously), select “1”. In that case,
the amount of data will be reduced. This leads to a
coarser resolution, and maybe even audible steps, but
at least, your sequencer will be able to record the data.
If your sequencer accepts “3”, use that setting, because
it will lead to even more nuances being captured.
“TX” means that this parameter only applies to data
sent by the FR-3. Its own MIDI buffer is big enough to
receive high-resolution data (“3”).
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