Welcome to the Fantom-G online seminars!
Building on decades of Roland's experience in creating some of the world's most famous synthesizers, the new Fantom-G series combines cutting-edge technologies and stellar sound with great all-round flexibility and incredible ease of use. It's a true all-in-one workstation for modern sound design, music production and realtime performance that will inspire you every day - for years to come. In these seminars, you will hear many examples of how the Fantom-G can power your creativity.
Inside the Fantom-G series lies a very powerful sound engine which builds upon decades of Roland’s experience in making synthesizers. Not only it is capable of reproducing acoustic instruments in great detail, but it allows you to create amazing sounds that never existed before.
The power of up to four stereo partials in a PATCH
A patch in the Fantom-G can consist of up to four stereo partials each with its own tools to modify and animate the sound and define how it responds to your playing. To have a glimpse at just some of these capabilities, let’s hear what sounds we can create out of the same source materials.
Here are four simple bell waveforms that we will use for the tones of the patch.
Velocity switching is typically used to recreate the rich dynamics of various acoustic sounds. But this feature can also be used creatively - for instance, to switch between totally different waveforms. In this example you will hear a different sound depending on how hard you hit the keys.
EX. 1-1-2 (456KB)
Each of these velocity-switched tones can also be set to different pitches. With octave and fifth tuning intervals which will always give musically-sounding results, playing just a few keys rapidly can sound like a complex glissando that no real human is able to play.
EX. 1-1-3 (476KB)
Another great example is setting up all four tones to be delayed against each other, making a short melodic pattern (which will also be synchronized to the sequencer tempo). Playing this patch rather intensively results in dozens of sounds playing at the same time.
EX. 1-1-4 (564KB)
By using the vast sound animation possibilities inside the patch itself, you can crossfade between these four tones so that they endlessly blend one into another in time. In this example, bell waveforms are instantly transformed into a great pad sound.
EX. 1-1-5 (332KB)
With a second animation source, you can add rhythmic modulation (tempo-synchronized too, of course) on top of this tone crossfading, for an even more complex sound. Here, a chorus effect processor is used to fatten the patch up.
EX. 1-1-6 (636KB)
PATCH REMAIN (without any interruption in the sound)
What’s also great is the “patch remain” function which allows you to transition from one patch into another completely smoothly, absolutely without any interruptions in the sound. You can even do this note by note like in this example, which adds even more fun and flexibility to playing the Fantom-G live.
EX. 1-1-7 (604KB)
Inside the Fantom-G synthesizer engine there are lots of ways to define how the sound changes in time. Parameters such as pitch, pan, level, filters and many others can be modulated by means of very flexible envelopes and LFO’s. But what really sets the Fantom-G apart is the sequencer-style LFO with up to 64 steps, which allows for very complex rhythmic and melodic sound animation.
Here is a synth bass patch which uses the step LFO for filter animation, which is of course perfectly synchronized to whatever tempo the sequencer is set to.
Lush Synth Waveforms
This motion synth patch mixes several lush synth waveforms and applies animation onto both the filter and sound level.
EX. 1-3-2 (404KB)
Melodic Bell Phrase
In the next example you hear a melodic bell phrase, but neither the arpeggiator nor the sequencer was used to create it. All the magic happens within the patch itself, with no less than 8 LFO’s playing in sync. Note the wonderful sound transformations happening in real time: they are done by using the controllers such as keyboard aftertouch to vary the modulation properties (for example, reversing the direction of modulation).
Synth Drums, Percussion, Bass and Lead
You can also use all these wonderful possibilities together to create whole one-key arrangements. Here we have four patch tones forming synth drums, percussion, bass and lead sounds. Note that each of the tones can react to aftertouch and other realtime controllers in a different way, making it easy to create interesting sound variations on the fly. And thanks to legato and portamento modes switched on, you can play this arrangement in different keys.
One of the other interesting features of the Fantom-G is that not only the envelopes and LFO’s can be applied onto the patch parameters, but you can route them into the patch effects processors (called PFX) as well. This essentially makes it possible to use the PFX algorithms as additional sound building blocks.
Super Filter PFX Algorithm
In this example, several classic synth waveforms are mixed together to create a synth bass. However, it uses the Super Filter PFX algorithm instead of the internal patch filter, which makes it much fatter and gives it a more special character.
EX. 1-2-1 (228KB)
The phaser effect algorithms in the PFX all have their own modulators, but what if we use the more complex step LFO from within the patch? Here is an example of a synth chord processed with a step-modulated phaser, played in monophonically with portamento.
EX. 1-2-2 (456KB)
New to the Fantom-G are “sample sets” which represent a quick and effective way to use your samples. A sample set consists of up to 16 samples which you can play from either keys or pads. And thanks to a very simple editing interface, you can create a rhythm kit or a selection of tempo-synchronized loops literally in seconds.
Here is an example of a fast beat made using a sample set with just 5 sounds.
EX. 1-4-1 (272KB)
Drum and Percussion Loop
You can take several drum and percussion loops and synchronize them all to one tempo. Realtime sample time-stretching makes it easily possible, and from the next demo you can hear how well it works even for loops with very different original tempos.
EX. 1-4-2 (496KB)
Any sample can also be chopped into pieces, either manually or automatically. For instance, you can take a drum loop, separate it into partial sounds and the Fantom-G will create a sample set out of these sounds. Then, you can play this sample set to make a new custom rhythm - this quick process is shown in the following demo.