Roland Hp 3700 User manual

ee

Roland

Digital

Piano

HP

3/00/2700

OW/NER’S

MANUAL

foy-\tunie)

The

lightning

fiash

with

arrowhead

symbol.

within

an

equilateral

RISCOR

ELECTRIC

SHOCK

triangle.

is

intended

to

alert

the

user

to

the

presence

of

un-

insulated

“dangerous

voltage”

within

the

product's

enclosure

ATTENTION:

aisoue

pe

cHoc

ELECTRIQUE

NE

PAS

OUVRIR

that

may

be

of

sufficient

magnitude

to

constitute

a

risk

of

electric

shock

to

persons

.

CAUTION:

TO

REDUCE

THE

RISK

OF

ELECTRIC

SHOCK,

The

exclamation

point

within

an

equilateral

triangle

is

intended

DO

NOT

REMOVE

COVER

OR

BACK).

to

alert

the

user

to

the

presence

of

important

operating

and

NO

USER-SERVICEABLE

PARTS

INSIDE.

maintenance

(servicing)

instructions

in

the

literature

accom-

panying

the

product.

REFER

SERVICING

TO

QUALIFIED

SERVICE

PERSONNEL.

IMPORTANT

SAFETY

INSTRUCTIONS

WARNING

—

When

using

electric

products,

basic

precautions

should

always

be

followed,

including

the

following:

1.

Read

all

the

instructions

before

using

the

product.

9.

The

power-supply

cord

of

the

product

should

be

unplugged

2.

Do

not

use

this

product

near

water

—

for

example,

near

a

from

the

outlet

when

left

unused

for

a

long

period

of

time.

bathtub,

washbowl,

kitchen

sink,

in

a

wet

basement,

or

near

10.

Do

not

tread

on

the

power-supply

cord.

a

swimming

pool,

or

the

like.

11.

Do

not

pull

the

cord

but

hold

the

plug

when

unplugging.

3.

This

product

should

be

used

only

with

a

cart

or

stand

that

is

12.

When

setting

up

with

any

other

instruments,

the

procedure

recommended

by

the

manufacturer.

7

should

be

followed

in

accordance

with

instruction

manual.

4.

This

product,

either

alone

or

in

combination

with

an

amplifier

13.

Care

should

be

taken

so

that

objects

do

not

fall

and

liquids

and

headphones

or

speakers,

may

be

capable

of

producing

are

not

spilled

into

the

enclosure

through

openings.

sound

levels

that

could

cause

permanent

hearing

loss.

Do

not

operate

for

a

long

period

of

time

at

a

high

volume

level

14.

The

product

should

be

serviced

by

qualified

service

per-

or

at

a

level

that

is

uncomfortable.

If

you

experience

any

sonnel

when:

hearing

loss

or

ringing

in

the

ears,

you

should

consult

an

A.

The

power-supply

cord

or

the

plug

has

been

damaged;

audiologist.

or

ae

i

5.

The

product

should

be

located

so

that

its

location

or

position

B

see

pale

fehen

Stay

Dee

Geet

eeiled

mane

does

not

interfere

with

its

proper

ventilation.

C.

The

product

has

been

exposed

to

rain;

or

6.

The

product

should

be

located

away

from

heat

sources

such

as

D.

The

product

does

not

appear

to

operate

normally

or

radiators,

heat

registers,

or

other

products

that

produce

heat.

exhibits

a

marked

change

in

performance:

or

7.

Avoid

using

the

product

where

it

may

be

effected

by

E.

The

product

has

been

dropped,

or

the

enclosure

dam-

dust.

aged.

8.

The

product

shouid

be

connected

to

a

power

supply

only

of

15.

Do

not

attempt

to

service

the

product

beyond

that

described

the

type

described

in

the

operating

instructions

or

as

marked

in

the

user-maintenance

instructions.

All

other

servicing

on

the

product.

should

be

referred

to

qualified

service

personnel.

SAVE

THESE

INSTRUCTIONS

WARNING:

—

THIS

APPARATUS

MUST

BE

EARTHED

IMPORTANT:

THE

WIRES

IN

THIS

MAINS

LEAD

ARE

COLOURED

IN

ACCORDANCE

WITH

THE

FOLLOWING

CODE.

GREEN-AND-YELLOW:

EARTH,

BLUE:

NEUTRAL,

BROWN:

LIVE

As

the

colours

of

the

wires

in

the

mains

lead

of

this

apparatus

may

not

correspond

with

the

coloured

markings

identifying

For

the

U.K.

the

terminals

in

your

plug

proceed

as

follows:

The

wire

which

is

coloured

GREEN-AND-YELLOW

must

be

connected

to

the

terminal

in

the

plug

which

is

marked

by

the

letter

E

or

by

the

safety

earth

symbol

@

or

coloured

GREEN

or

GREEN-AND-YELLOW.

The

wire

which

is

coloured

BLUE

must

be

connected

to

the

terminal

whichis

marked

with

the

letter

N

or

coloured

BLACK.

The

wire

which

is

coloured

BROWN

must

be

connected

to

the

terminal

which

is

marked

with

the

letter

L

or

coloured

RED.

The

product

which

is

equipped

with

a

THREE

WIRE

GROUNDING

TYPE

AC

PLUG

must

be

grounded.

Copyright

C

1990

by

ROLAND

CORPORATION

All

rights

reserved.

No

part

of

this

publication

may

be

reproduced

in

any

form

without

the

written

permission

of

ROLAND

CORPORATION.

Thank

you,

and

congratulations

on

your

choice

of

the

Roland

HP-3700/2700

Piano.

The

HP-3700/2700

is

a

digital

piano

which,

thanks

to

its

Advanced

SA

Process

digital

sound

source,

provides

the

utmost

in

quality

and

expressive

capacity.

In

order

to

take

full

advantage

of

the

wealth

of

features

that

have

been

made

available,

please

take

the

time

to

read

this

manual

in

its

entirety.

FEATURES

eS

@

Six

Different

Sounds

—

Almost

Any

Style

of

@

The

Touch

Can

Be

Changed

To

Suit

Your

Preference.

Music

Accommodated.

Page

6

The

selection

of

6

sounds

include

a

luscious

grand

piano

and

classically

refined

harpsichord.

There

is

also

vibraphone,

well-

suited

for

jazz;

and

electric

piano,

indispensable

for

pops

and

fusion.

Together,

most

every

genre

of

music

can

be

covered.

@

Newly

Developed

Damper

Pedal

Provides

for

Greater

Expressivity.

Page

8

When

the

Damper

pedal

of

an

acoustic

piano

is

depre-

ssed,

strings

adjacent

to

the

notes

played

also

resonate,

creating

much

richer,

expansive

sonorities.

Thanks

to

a

realistic

simulation

of

sympathetic

resonance,

the

HP-

3700/2700

piano

can

achieve

this

effect.

Moreover,

the

pedal

can

be

delicately

controlled

to

produce

a

“half-

pedalling”

effect,

giving

you

more

control

over

the

way

notes

linger

on.

@

A

Wealth

of

Effects

Page

7

Your

new

piano

comes

equipped

with

3

types

of

inter-

nal

digital

effects.

These

include

Chorus,

which

adds

minute

pulsations

to

the

sound

to

give

it

more

richness

and

breadth;

Tremolo,

which

applies

undulations

to

the

sound;

and

Reverb,

which

allows

you

to

play

while

enjoying

the

ambience

of

a

concert

hall.

Page

11

Three

levels

(strong/average/weak)

for

the

Touch

are

provided,

so

you

can

match

the

instrument

with

the

playing

strength

that

you

normally

use...

@

Comprehensive

Tuning

Functions

With

an

electric

piano,

there

is

actually

no

need

for

tuning

the

piano

at

regular

intervals,

or

after

it

has

been

moved.

However,

the

HP-3700/2700,

by

providing

a

convenient

range

of

tuning

functions,

allows

you

to

easily

change

the

way

the

instrument

is

tuned

to

satisfy

whatever

purpose

you

may

have

in

mind.

Master

Tuning

Page

8

The

overall

pitch

of

the

piano

can

be

altered

simply

by

turning

this

knob.

Classical

Tunings

(Temperament)

Page

12

A

selection

of

classical

style

tuning

are

provided.

As

a

result

you

can,

for

example,

greatly

enhance

the

realism

of

a

baroque

interpretation.

Stretch

Tuning

Page

13

Stretch

Tuning

is

a

method

of

tuning

specific

to

pianos,

whereby

the

higher

range

notes

are

made

higher

and

the

lower

notes

are

made

lower.

Several

setting

choices

are

provided.

@

MIDI

Connectors

Provide

Further

Applications

Page

14

The

instrument

also

provides

for

use

of

MIDI,

the

inter-

face

standard

designed

to

provide

for

the

transfer

of

erformance

information

among

electronic

musical

instruments

and

computers.

@

A

Dual

Function

Allows

Two

Voices

to

be

Combined

Page

6

Any

two

of

the

six

Voices

provided

can

be

combined

and

played

together.

A

Word

About

the

Advanced

SA

Process

Sound

Source

The

sounds

produced

by

this

instrument

are

created

using

the

"Advanced

SA

Process,”

which

represents

a

pooling

of

the

best

in

the

latest

digital

technology

by

Roland.

The

ASA

process

is

first

of

all

based

on

the

SA

process,

which

involves

a

series

of

efforts:

first,

an

analysis

of

the

properties

of

sound

as

generated

by

musical

instruments,

then

an

extraction,

and

finally

a

re-synthesis

designed

to

facilitate

the

expressive

needs

of

musicians.

The

result

is

a

sound

generation

method

which

provides

very

finely

textured

and

realistic

sounds.

Table

of

Contents

How

to

assemble

the

KS-3700

Roland

piano

stand

...

How

to

assemble

the

KS-2700

Roland

piano

stand

...

Attaching

the

Music

Stand

Important

notes

1.

Getting

Started

Turning

Power

On

.

Using

Headphones

Adjusting

the

Volume

Adjusting

the

Brilliance

of

the

Sound

..

Selecting

the

Timbre

Using

the

Chorus

Effect

to

Add

Breadth

..

Adding

Tremolo

to

the

Sound

Applying

Reverberation

to

the

Sound

Listening

to

the

Demonstration

Songs

How

the

Pedals

Function

Precision

Adjustment

of

the

Pitch

(Master

Tuning)

Connecting

External

Devices

Turning

the

Backup

Mode

On

and

Off

2.

Adjusting

to

Suit

Your

Preferences

Put

the

Template

in

Place

Playing

with

the

Key

Transposed

Changing

the

Weight

of

the

Keyboard’s

Touch

....

Using

the

Pedals

to

Change

Voices

Playing

Using

Classical

Tuning

Setting

the

Tuning

Curve

(Stretch

Tuning)

.

Using

MIDI

Connections

Made

With

the

MIDI

Connectors

Put

the

Template

in

Place

Setting

the

MIDI

Transmit/Receive

Channels

Local

On/Off

Omni

On/Off

Selecting

the

Transmission/Reception

Mode

The

Multi-Timbral

Mode

MIDI

Implementation

Chart

Roland

Exclusive

Messages

MIDI

Implementation

Specifications

COONNNAHAAAAAKHNWAN

How

to

assemble

the

KS-3700

Roland

piano

stand

©

You

will

need

a

coin

to

tighten

the

screws.

©

Assembly

will

be

easier

if

done

by

two

people.

<Check

the

parts>

©

Before

you

begin

assembly,

check

that

you

have

all

the

parts.

@®

Side

board

(left)

0...

Side

board

(right)

...

:

©

Pedal

board

.............

@

Center

board

....

©®

Side

covers

........

is

@)

Rear

board

oo...

eee

enw

oo

@

Short

screws

(M4

x

40

mm)

..

@

Long

screws

(M6

x

60

mm)

...

@

Connecting

screws

@)

Philips

screwdriver

ae

@

Joint

nuts

eee

G@®

eno

~y

<Assembly

procedure>

l

Attach

the

side

boards

(left

and

right)

to

the

pedal

board.

%

Extend

the

pedal

cable

out

from

the

pedal

board.

The

finished

surface

is

on

the

inside.

@

Attach

the

pedal

cable

using

the

clamps

on

the

left

side

board.

@

Note:

Cable

clamp

Note

that

the

side

boards

have

screws

for

attaching

the

rear

board.

@

Use

the

long

screws

(M6

x

60

mm)

to

attach

the

side

boards

to

the

pedal

board

{use

two

screws

for

each

side).

The

finished

surfaces

2

Attach

the

center

board

should

face

wards

@

Insert

the

four

joint

nuts

into

the

center

board

with

the

long

groove

horizontal,

making

sure

that

the

holes

of

the

joint

nuts

are

aligned

with

the

holes

of

the

center

board.

Insert

a

short

screw

before

attaching

the

side

boards

to

check

that

the

holes

of

the

joint

nuts

and

the

center

board

are

positioned

correctly.

@

Use

the

short

screws

(M4

x

30

mm)

to

attach

the

center

board

to

the

side

boards

(use

two

screws

for

each

side).

Optional

for

the

HP-3700

%

Attach

the

piano

to

the

stand.

Note:

When

placing

the

piano

on

the

stand,

be

careful

not

to

pinch

your

fingers.

(Avoid

holding

the

ends

of

the

piano.

@

Insert

the

two

connecting

screws

(one

on

each

side)

through

the

holes

in

the

metal

fittings

of

the

side

boards

into

the

screw

holes

on

the

bottom

of

the

piano.

@FPlug

the

pedal

cable

into

the

bottom

of

the

piano.

@

Align

the

screws

(one

on

each

side)

on

the

bottom

of

the

piano

with

the

slots

in

the

metal

fittings

of

the

side

boards,

slide

the

piano

towards

the

rear.

ay

Attach

the

rear

board.

Note:

When

attaching

the

rear

board,

be

careful

not

to

pinch

the

pedal

cable.

@

Use

a

coin

to

tighten

the

connecting

screws,

locking

the

piano

to

the

stand.

Note:

The

screw

holes

in

the

rear

board

are

sunken

on

the

out

side

to

accomodate

the

screw

head.

ame

outside

—_

inside

@

Insert

the

holes

of

the

rear

board

into

the

screws

of

the

side

board

(6

locations),

press

down

into

place,

and

‘:

tighten

the

screws.

5

Attach

the

side

covers.

at

wide

Note:

Be

sure

that

the

side

covers

are

oriented

correctly.

(The

rims

of

the

side

covers

are

wider

at

the

back.)

”

narrow

@

Use

the

long

screws

(M6

x

60

mm)

to

fasten

the

side

covers

in

place

from

the

Lb

inside

(two

screws

for

each

”

narrow

side).

Attach

the

AC

cable

and

adjust

the

adjusting

bolt.

vz

When

you

finish

assembling

the

stand,

attach

the

power

cable

(included

with

the

piano),

and

rotate

the

adjusting

bolt

until

it

touches

the

floor.

Note:

If

the

piano

is

placed

on

carpeting,

rotate

the

adjustment

bolt

a

little

more.

Note:

When

placing

the

piano

in

its

location,

be

sure

not

to

pinch

the

AC

cable

underneath

@

Rotate

the

adjusting

the

piano.

bolt

until

it

touches

the

floor.

(Rotate

it

to

the

right

to

touch

the

floor,

and

to

the

left

to

retract.)

How

to

assemble

the

KS-2700

Roland

piano

Stand

optional

for

the

HP-2700

©

You

will

need

a

coin

to

tighten

the

screws.

©

Assembly

will

be

easier

if

done

by

two

people.

<Check

the

parts>

©

Before

you

begin

assembly,

check

that

you

have

all

the

parts.

®

Side

board

(left)

0

Side

board

(right)

...

ests

©

Pedal

board

..........

ee

@)

Center

board

oo...

eee

@

Short

screws

(M4

x

30

mm)

..

4

yy

@

Long

screws

(M6

x

60

mm)

...

4

D

@

Connecting

screws

..

ee

4

@

Philips

screwdriver

................

1

@

a

@

4

Ps

"

<Assembly

procedure

>

Attach

the

side

boards

to

the

Fasten

the

pedal

cable

and

plug

in

1

pedal

board.

By

the

power

cable

and

pedal

cable.

x

Extend

the

pedal

cable

out

from

the

pedal

board.

Note:

Be

sure

that

the

side

boards

are

oriented

The

metal

fittings

on

the

inside.

correctly:

the

metal

fittings

are

on

the

inside.

@

Fasten

the

pedal

cable

using

the

cable

clamps

{three

locations)

on

the

left

side

of

the

stand.

@

Plug

the

pedal

cable

into

the

bottom

panel

fi

of

the

piano.

(O)

one

the

long

ews

x

60

mm)

to

@

Plug

the

power

cable

fasten

the

side

into

the

back

panel

of

boards

to

the

pedal

the

piano.

e

board

(use

two

—

The

power

cable

is

screws

for

each

side).

incuded

with

the

2

Attach

the

center

board.

as

Pz

5

Adjust

the

adjusting

bolt.

vx

When

you

finish

assembling

the

stand,

rotate

the

adjusting

bolt

until

it

touches

the

floor.

Note:

If

the

piano

is

placed

on

carpeting,

rotate

the

adjustment

bolt

little

@)

Use

the

short

screws

(M4

x

more.

30

mm)

to

attach

the

center

board

to

the

side

boards

{use

two

screws

for

each

side).

3%

Attach

the

piano

to

the

stand.

Note:

When

placing

the

piano

on

the

stand,

be

careful

not

to

pinch

your

fingers.

(Avoid

holding

the

ends

of

the

piano.)

Note:

When

placing

the

piano

in

its

location,

be

careful

not

to

pinch

the

power

cable

underneath

the

piano.

(@

Align

the

screws

(one

on

each

side)

located

on

the

bottom

of

the

piano

with

the

slots

in

the

metal

fittings

on

the

side

boards.

Slide

the

piano

so

the

screws

slide

into

the

slots.

p

@

After

securing

the

piano

to

the

metal

fittings

of

the

side

boards,

insert

the

connecting

screws

into

the

bottom

of

@

Rotate

the

adjusting

bolt

until

it

touches

the

floor.

(Rotate

it

to

the

right

to

touch

the

floor,

and

to

the

left

to

retract.)

the

piano

through

the

holes

in

metal

fittings.

3)

Use

a

coin

to

@

tighten

the

connecting

screws,

locking

the

piano

to

the

stand.

Please

attach

the

supplied

Music

Stand

to

KR-3700/2700

*

Always

make

sure

this

Music

Stand

is

removed

whenever

the

instrument

is

moved

or

shipped.

Important

notes

[Power

Supply]

@

When

making

any

connections

with

other

devices,

al-

ways

turn

off

the

power

to

all

equipment

first;

this

will

help

prevent

damage

or

malfunction.

@

Do

not

use

this

unit

on

the

same

power

circuit

with

any

device

that

will

generate

line

noise,

such

as

a

motor

or

variable

lighting

system.

[Placement]

@

Do

not

subject

the

unit

to

temperature

extremes

(eg.

direct

sunlight

in

an

enclosed

vehicle).

Avoid

using

or

storing

the

unit

in

dusty

or

humid

areas

or

areas

that

are

subject

to

high

vibration

levels.

@

This

unit

may

interfere

with

radio

and

television

recep-

tion.

Do

not

use

this

unit

in

the

vicinity

of

such

receivers.

@

Do

not

expose

this

unit

to

temperature

extremes

(eg.

direct

sunlight

in

an

enclosed

vehicle

can

deform

or

dis-

color

the

unit)

or

install

it

near

devices

that

radiate

heat.

[Maintenance]

@

For

everyday

cleaning

wipe

the

unit

with

a

soft,

dry

cloth

(or

one

that

has

been

slightly

dampened

with

water).

To

remove

stubborn

dirt,

use

a

mild

neutral

detergent.

Afterwards,

be

sure

to

wipe

the

unit

thoroughly

with

a

soft,

dry

cloth.

@

Never

use

benzene,

thinners,

alcohol

or

solvents

of

any

kind,

to

avoid

the

risk

of

discoloration

and/or

deforma-

tion.

Fold

the

Music

Stand

Raise

the

Music

Stand

*

Be

careful

that

you

do

not

tilt

the

Music Stand

towards

you,

as

it

may

slip

off

of

its

stoppers.

In-addition

to

the

items

listed

under

Safety

Precautions

on

the

inside

front

cover:

please:read

and.adhere

to

the

following:

;

aoa

[Memory

Backup]

@

With

the

Backup

Mode

"On",

the

instrument

retains

the

last

settings

that

were

made

before

power

was

turned

off.

If

the

Backup

Mode

is

“Off”,

the

default

settings

will

be

loaded

the

unit

is

turned

on,

and

all

will

be

lost

(Refer

to

page

9

for

directions

on

how

to

turn

on

the

Backup

Mode.).

@

This

instrument

is

equipped

with

a

backup-use

battery

which

serves,

when

the

Backup

Mode

is

“on,”

in

main-

taining

the

contents

of

memory

while

power

is

turned

off.

This

battery

should,

as

a

rule,

be

changed

every

5

years.

(The

actual

lifetime

of

the

battery

may

vary

de-

pending

on

the

conditions

of

use.)

When

it

is

time

to

replace

the

battery,

check

with

your

nearest

Roland

Service

Station.

[Additional

Precautions]

e rae

careful

not

get

your

fingers

caught

when

closing

the

lid.

Special

arrangements

may

need

to

be

mode

for

children.

To

close

the

lid,

slowly

pull

it

completely

forward,

then

lower

it

gently.

@

Never

allow

any

foreign

objects

to

enter

the

unit

through

any

of

its

openings.

@

Protect

the

unit

from

strong

impact.

@

Do

not

allow

objects

or

liquids

of

any

kind

to

penet-

rate

the

unit.

In

the

event

of

such

an

occurrence,

dis-

continue

use

immediately.

Contact

qualified

service

personnel

as

soon

as

possible.

@

Before

using

the

unit

in

a

foreign

country,

consult

with

qualified

service

personnel.

@

Insert

the

plug

on

the

power

cord

into

an

outlet.

Rear

Panel

@

Turn

the

power

switch

on.

(Press

the

POWER

button

at

the

left

side

of

the

panel.)

-—

On

Off

EE...

*

This

unit

is

equipped

with

a

circuit

protection

device.

A

brief

interval

after

power

up

is

required

before

the

unit

will

operate.

Adjusting

the

Volume.

The

VOLUME

Slider

The

further

the

slider

is

moved

toward

"MAX"

the

great-

er

the

volume

becomes.

Volume

is

lowered

as

the

slider

is

moved

toward

“MIN.”

VOLUME

MIN

MAX

Selecting

the

Timbre

BRILLIANCE

MELLOW

Y

Press

one

of

the

Voice

buttons

to

select

the

sound

that

you

want.

Timbre

PIANO

1

A

thick,

rich

concert

grand

piano

sound.

PIANO

2

The

timbre

produced

by

a

somewhat

smaller

grand

piano.

|

HONKY

TONK

|

The

sound

of

a

piano

on

the

verge

of

going

out

of

tune,

and

as

such

having

a

bright,

pleasant

familiarity.

HARPSICHORD

| A

distinctively

sensitive

and

refined

harpsichord

sound,

indispensable

for

baroque

themes.

VIBRAPHONE

E.

PANO

(Electric

Piano)

The

sound

of

a

large

vibraphone.

Provides

the

timbre

of

a

luminous,

transparent

electric

piano.

Eres

oo

To

use

headphones,

insert

the

plug

into

the

jack

located

at

the

left

side

of

the

instrument.

*

HP-3700

owners

can

hang

the

headphones

on

the

hook

provided.

Headphones

hook

*

The

unit's

speakers

will

no

longer

produce

sound

once

you

have

headphones

connected.

This

is

convenient

for

playing

the

keyboard

in

circumstances

where

you

do

not

want

to

disturb

others,

such

as

late

at

night.

*

Use

the

VOLUME

knob

on

the

panel

to

adjust

the

vol-

ume

if

necessary.

Adjusting

the

Brilliance

of

the

Sound.

The

BRILLIANCE

Slider

The

sound

becomes

brighter

as

the

slider

is

moved

to

the

right

(toward

BRIGHT).

When

moved

to

the

left

(toward

MELLOW)

the

sound

becomes

more

relaxed

and

mellow.

KEY

TEMPERA-

PIANO

1

TRANSPOSE

MENT

PIANO

2

HONKY

TONK

a

[ial

6

The

Voice

Buttons

[About

DUAL]

The

DUAL

function

allows

two

different

sounds

to

be

combined

and

played

simultaneously.

You

may

wish

to

experiment

with

the

creative

possibilities

afforded

by

the

sound

mixtures

that

can

be

obtained.

5

*

Regarding

the

treatment

of

effects

when

the

DUAL

mode

is

being

used:

The

settings

for

effects

pertaining

to

the

left

one

of

the

two

Voices

selected

will

be

active.

To

mix

sounds,

simple

press

any

two

Voice

buttons

simultaneously

(such

as

PIANO

1

and

HARPSICHORD).

Applying

Reverberation

to

the

Sound

Reverberation,

creates

a

sense

of

spaciousness,

and

conveys

the

realistic

presence

an

instrument

would

have

in

one

of

3

different

environments.

ROOM

Provides

the

ambience

that

would

exist

when

playing

in

a

room

that

is

“live,”

that

is,

reverberates

well.

Provides

the

feeling

of

presence

that

would

be

obtained

if

playing

on

stage

in

a

small

hall.

Provides

the

reverberation

of

a

concert

hall.

The

Reverb

effect

is

made

active

by

pressing

one

of

the

REVERB

buttons

(ROOM/STAGE/HALL).

The

indicator

for

the

button

will

light.

HARPS!

=

VIBRA-

—E..

PIANO

CHORUS

TREMOLO

CHORD

=

=PHONE

ROOM

eet

al

0

ea

Using

the

Chorus

Effect

to

Add

Breadth

_

The

CHORUS

Button

The

Chorus

effect

is

made

active

by

pressing

the

CHORUS

button.

The

indicator

for

the

button

will

light.

Further,

if

you

press

a

VALUE

button

while

the

CHORUS

button

is

held

down,

you

can

select

the

particular

Depth

for

the

Chorus

effect

that

you

wish,

from

among

the

8

levels

provided.

4

Deepens

the

Chorus

effect.

(Standard

—

level

+3)

¥

Provides

a

more

shailow

Chorus

effect.

(Standard

—

level

—4)

*

To

set

Chorus

at

the

standard

depth,

simultaneously

press

both

Aand

¥.

The

Chorus

effect

is

turned

off

by

pressing

the

CHORUS

button

again.

Its

indicator

will

go

out.

*

Once

a

Chorus

setting

has

been

for

a

voice,

it

will

only

apply

to

that

voice

which

has

been

selected.

Ya

Chit.

J

ae

ESE,

1.

Getting

Started

The

REVERB

Button

To

select

the

Depth

of

the

reverberation,

hold

down

one

of

the

REVERB

buttons

while

you

use

the

VALUE

buttons

to

choose

from

the

8

levels

that

are

available.

A

Deepens

the

Reverb

effect.

(Standard

—

level

+3)

Vv

Provides

a

more

shallow

Reverb

effect.

(Standard

—

level

—4)

*

To

set

Reverb

at

the

standard

Depth,

simultaneously

press

both

A

and

VY.

The

Reverb

effect

is

turned

off

by

pressing

one

of

the

REVERB

buttons

again.

Its

indicator

will

go

out.

*

Once

a

Reverb

setting

is

made,

it

will

apply

to

any

voice

which

is

selected.

VALUE

nnn

DEMO

REVERB_—___

STAGE

HALL

Adding

Tremolo

to

the

Sound

Le

The

Tremolo

Button

The

Tremolo

effect

is

produced

by

shifting

the

sound

from

left

to

right.

Press

the

TREMOLO

button

and

its

indicator

will

light.

Further,

if

you

press

the

VALUE

button

while

the

TREMOLO

button

is

held

down,

you

can

select

the

desired

Speed

for

the

Tremolo

effect

from

among

the

8

levels

provided.

A

Increases

the

speed

of

the

Tremolo

effect.

(Standard

—

Level

+3)

¥

Decreases

the

speed

of

the

Tremolo

effect.

(Standard

—

Level

—4)

*

To

set

Tremolo

at

the

standard

rate,

simultaneously

press

both

A

and

V.

The

Tremolo

effect

is

turned

off

by

pressing

the

TREMOLO

button

again.

Its

indicator

will

go

out.

*

Once

a

Tremoro

setting

has

been

for

a

voice,

it

will

only

apply

to

that

voice

which

has

been

selected.

Listening

to

the

Demonstration

Songs

The

DEMO

Button

If

you

press

the

DEMO

button,

its

indicator

will

light,

and

the

instrument

is

ready

to

begin

playback

of

the

demonstration

songs.

Then,

all

you

need

do

is

press

any

of

the

Voice

buttons,

and

the

song

which

applies

to

that

button

(see

list)

will

begin

playing.

DEMO

Y

Voice

buttons

PIANO

t

PIANO

2)

HONKY

HARPSI-

VIBRA-

£

PIANO

TONK

CHORD

PHONE

mt

Mil

De

rd

a

Sed

SS

Song

Name

Etude

in

G-flat

Major

op.10-5

“Black

keys”

Valse

in

D-flat

Major

_|

op.64-1

“Petit

Chien”

Beethoven

“Fiir

Elise”

Wo

0.59

Clair

de

Lune

Nocturne

in

F-sharp

Major

op.

15-2

Liszt

Liebestraume

No.

3

Voice

buttons

PIANO

1

Composer

Chopin

PIANO

2

Chopin

HONKY

TONK

HARPSICHORD

VIBRAPHONE

E.

PIANO

When

one

song

finishes,

the

will

start

playing

automatically.

If

you

wish,

you

can

also

choose

to

have

one

song

played

repeatedly.

The

VALUE

button

is

used

to

make

this

choice.

A

The

six

songs

are

played

in

order,

repeatedly.

Vv

The

same

song

is

played

repeatedly.

*

If

you

press

the

button

for

another

song

during

play

of

any

particular

song,

the

song

that

is

playing

will

be

terminated,

and

the

unit

will

start

playing

the

newly

selected

one.

To

stop

play

of

the

demonstration

songs,

press

the

DEMO

button

once

again.

The

instrument

will

return

to

the

or-

dinary

mode.

How

the

Pedals

Function

|

Soft

Pedal

Sostenuto

Pedal

Damper

Pedal

@

Damper

Pedal

When

the

Damper

Pedal

is

depressed,

notes

that

have

been

played

will

continue

to

sound

even

after

your

fingers

have

been

removed

from

those

keys.

The

amount

of

time

over

which

the

sound

will

finger

can

be

sensitively

controlled

by

varying

the

depth

of

the

pedal.

@

Sostenuto

Pedal

This

pedal

is

used

to

sustain

only

the

sound

of

those

keys

that

are

pressed

at

the

very

moment

it

is

depre-

ssed.

It

conveniently

allows

you

to

selectively

choose

specific

notes

that

you

wish

to

have

linger

on.

@

Soft

Pedal

Used

to

apply

softness

to

the

notes

played.

If

you

have

the

Soft

Pedal

depressed

while

you

play

on

the

keys,

you

obtain

a

softer

sound

than

you

would

using

the

same

finger

pressure

without

the

pedal.

The

pedal’s

effect

can

be

varied

by

small

degrees

by

altering

the

depth

of

the

pedal.

*

Both

the

Sostenuto

Pedal

@

and

Soft

Pedal

@

can

be

changed

and

used

to

change

voices.

For

details,

refer

to

Page

11.

[About

the

Resonance

Produced

while

the

Damper

Pedal

is

Depressed]

When

the

Damper

Pedal

is

depressed,

ail

strings

on

an

acoustic

piano

are

freed

from

the

effect

of

the

Damper.

For

this

reason,

not

only

will

the

notes

that

were

played

resonate

for

a

longer

time

afterward,

but

such

resonance

is

transmitted

to

other

strings

as

well,

causing

them

to

resonate

sympathetically.

On

the

HP-3700/2700

such

sym-

pathetic

resonation

is

faithfully

simulated

to

create

a

richer,

fuller

sound.

{Half-Pedal

Technique]

This

instrument

allows

you

to

make

use

of

“half-pedal-

ing,”

an

advanced

technique

employed

by

many

skilled

pianists.

Half-pedaling

involves

using

the

Damper

Pedal

skillfully

to

gain

precise,

subtle

control

over

the

length

of

time

that

notes

will

resound.

Precision

Adjustment

of

|

(Master

Tuning)

the

Pitch

Using

the

Tuning

knob

located

at

the

rear

of

the

instrument,

the

pitch

can

be

adjusted

so

it

matches

that

of

some

other

instrument.

A:

440Hz

(—50

Cent)

b

#

(+50

Cent)

With

the

knob

at

its

center

position,

the

center

A

key

on

the

keyboard

will

have

a

frequency

of

440

Hz.

Connecting

External

Devices

@

To

connect

other

sound

producing

devices

and

have

their

sound

output

from

this

instrument's

speakers:

Use

audio

cables

to

make

connection

between

the

out-

put

jacks

on

the

device

you

wish

to

connect,

such

as

a

rhythm

machine

(CR-1000/TR-626)

or

external

sound

module

(MT-100/RA-50),

and

the

INPUT

jacks

on

this

in-

strument.

@

When

you

wish

to

have

this

instrument's

sound

be

played

through

other

external

speakers:

Using

audio

cable,

make

connections

between

the

input

jacks

on

the

audio

set,

amplifier,

or

mixer,

and

the

OUTPUT

jacks

on

this

instrument.

OUTPUT

Jacks

INPUT

Jacks

[Steps

to

Take

to

Make

the

Connections]

@

Turn

down

the

volume

on

both

this

instrument

and

the

unit

you

intend

to

connect.

@

Turn

the

power

OFF

on

both

this

instrument

and

the

unit

you

intend

to

connect.

@

Make

the

cable

connections

between

this

instrument

and

the

unit

you

are

connecting

with

it.

@

Turn

the

power

ON

on

both

this

instrument

and

the

unit

you

have

connected.

@®

Adjust

the

volume

on

both

this

instrument

and

the

unit

you

have

connected

to

an

appropriate

level.

*

if

you

do

not

wish

to

have

sound

come

from

this

instrument's

speakers,

use

headphones.

1.

Getting

Started

Turning

the

Beckup

Mode

On

and

Off

|

Once

the

Backup

Mode

is

turned

on,

the

status

of

everything

set

on

the

panel

(excluding

set-

tings

the

Demo

mode)

is

remem-

bered.

This

way,

the

you

turn

power

on

the

same

settings

profile

will

be

in

effect.

You

thus

do

not

have

to

be

troubled

with

making

the

settings

you

prefer

each

time

power

is

turned

on.

If

the

Backup

Mode

is

set

to

“Off,”

the

instru-

ment

will

return

to

the

factory

default

settings

the

power

is

turned

on.

Procedure

for

Turning

ON

the

Backup

Mode

While

holding

down

both

the

KEY

TRANS-

POSE

and

TEMPERAMENT

buttons,

turn

the

power

ON.

Thereafter,

the

settings

for

all

functions

will

ceeteise

in

memory,

even

while

power

is

fo)

KEY

TEMPERA-

TRANSPOSE

MENT

ROWER

Hold

down

—

turn

On

Procedure

for

Turning

OFF

the

Backup

Mode

While

holding

down

both

the

A

and

¥

but-

tons

for

VALUE,

turn

the

power

ON.

Each

time

power

is

turned

on,

all

settings

will

be

set

at

their

factory

defaults.

VALUE

y

A

b

yA

FY

i

Hold

down

turn

On

*

This

instrument

is

equipped

with

a

backup-use

battery

which

serves,

when

the

Backup

Mode

is

“on,”

in

maintaining

the

contents

of

memory

while

power

is

turned

off.

This

battery

should,

as

a

rule,

be

changed

every

5

years.

(The

actual

lifetime

of

the

battery

may

vary

depending

on

the

conditions

of

use.)

When

it

is

time

to

replace

the

battery,

check

with

your

nearest

Roland

Service

Station.

POWER

2

—

to

Suit”

10

Your

new

instrument

offers

a

wide

range

of

functions

which

allow

for

creation

of

setups

suited

to

particular

playing

habits,

or

musical

tastes.

In

making

use

of

these

functions,

you

most

likely

will

find

it

convenient

to

have

the

supplied

template

in

place

on

the

panel.

TEMPERA

PIANO

+

PIANO

2

HONKY

HARPSI

Bas

£

PANG

CHORUS

TREMOLO

REVERB

VALUE.

DEMO

TRANSPOSE

MENT

TONK

CHORD

PHON

ROO

STAGE

HALE

’

A

b

g

WERCK

KIRN

MULTI

MODE

STRETCH

BAROQUE

7

C2

Gd

ae

JUST

MEAN

*

CH

x

CH

LOCAL

OMNI

TOUCH.

PEDAL

is

Attach

the

template

*

While

you

are

pressing

the

KEY-TRANSPOSE

or

TEMPERMENT

buttons,

the

instrument

cannot

be

played.

KEY-TRANSPOSE

When

you

wish

to

play

a

song

in

the

key

of

E

major

without

using

any

black

keys.

Playing

with

the

Key

Transposed

If

you

wish,

you

can

play

the

instrument

with

the

key

transposed,

without

needing

to

shift

the

position

of

keys

played.

This

conveniently

allows

you

to

play

in

a

key

that

matches

a

vocal

accompaniment,

or

to

change

a

song

in

a

dif-

ficult

key,

having

numerous

sharps

and

flats,

into

a

key

that

is

easier

to

play.

The

following

explains

how

the

key

can

be

transposed

from

E

major

to

C

major.

Consider-

ing

the

note

of

Doh

as

the

tonic

for

the

C

major

key,

you

need

to

go

up

by

four

keys

on

the

keyboard

to

reach

the

Me

of

E

major.

There-

fore,

press

the

&

(#)

button

4

times.

«Erased

A

(#)

Button

Once

Twice

3times

4

times

PitchoftheCkey|

C—+ct—+D—Dt—E

key

oo

While

holding

down

the

KEY

TRANSPOSE

but-

ton,

press

either

of

the

VALUE

buttons

(a

=

#,

Vv

=

b)

enough

times

to

obtain

the

amount

of

transposition

you

wish.

With

each

press,

sound

is

raised

by

1

semi-

tone.

(Max.

of

5

semitones)

With

each

press,

sound

is

lowered

by

1

semitone.

(Max.

of

6

semitones)

It

seems

difficult

G

When

you

wish

to

play

a

song

in

the

key

of

A

major

without

using

any

black

keys.

The

following

explains

how

the

key

is

trans-

posed

from

A

major

to

C

major.

Considering

the

note

of

Doh

as

the

tonic

for

the

C

major

key,

you

need

to

go

down

by

three

keys

on

the

keyboard

to

reach

the

Lah

of

A

major.

There-

See

fore,

press

the

W

(b)

button

3

times.

TRANSPOSE

’

A

a

SS

Vv

(b)

Button

Once

Twice

3

times

Hold

down

eae

|e

Pitch

of

the

C

key

C—+B—

BbhsA

and

press

Key

(Cc)

(B)

(A)

While

the

Key

Transposition

is

in

effect,

the

indicator

on

the

KEY-TRANSPOSE

button

will

be

lit.

The

transposition

is

cancelled

by

once

again

pressing

the

KEY-TRANSPOSE

button

(the

indi-

cator

will

go

out.).

When

you

wish

to

play

a

song

in

the

key

of

G

minor

without

using

any

black

keys.

The

following

explains

how

the

key

is

trans-

posed

from

G

minor

to

A

minor.

Considering

the

note

of

Lah

as

the

tonic

for

the

key

of

A

Once

any

setting

has

been

made

for

a

transpos-

ition,

you

thereafter

only

need

press

the

KEY-

TRANSPOSE

button

to

immediately

obtain

that

setting

again.

TRAMSPORE

_

Hianae

JSE

P

minor,

you

need

to

go

down

by

two

keys

on

the

keyboard

to

reach

the

Soh

of

G

minor.

There-

fore,

press

the

W

(b)

button

twice.

¥

(b)

Button

Pitch

of

the

A

key

Key

2.

Adjusting

to

Suit

Your

Preferences

Changing

the

Weight

of

Using

the

Pedals

to

the

Keyboard’s

Touch

Change

Voices

You

can

also

use

the

Soft

or

Sostenuto

pedals

to

change

voices.

This

is

convenient

when

you

wish

to

keep

both

hands

on

the

keys

while

changing

to

a

different

voice.

This

instrument

provides

you

with

3

different

choices

for

Touch.

This

setting

determines

how

the

strength

the

keys

are

played

with,

the

volume,

and

the

tone

will

relate

to

each

other.

The

keyboard

will

have

a

lighter

feel

to

it,

and

fortissimo

can

be

obtained

with

a

touch

that

is

|

weaker

than

normal.

Convenient

for

those

using

lighter

fingering

than

most

people,

or

for

young

children.

u

An

ordinary,

natural

touch.

At

this

setting,

the

keyboard

will

have

a

heavier

feel,

and

quite

a

bit

of

force

will

be

needed

to

obtain

fortissimo.

Useful

for

those

who

normally

apply

more

pressure

than

others,

or

when

wish-

ing

to

strengthen

the

fingers.

L.

Strength

of

Touch

[L—

Lai,

4

@

Press

the

KEY-TRANSPOSE

button.

Reverts

the

unit

to

the

standard

mode

of

operation.

(See

page

8.)

Allows

changing

the

voice

using

the

Soft

pedal

(left

pedal).

Allows

changing

the

voice

using

the

Sostenuto

pedal

(right

pedal).

@

While

holding

down

the

KEY-TRANSPOSE

button,

press

the

TREMOLO

(PEDAL)

button.

The

indicator

on

the

TREMOLO

(PEDAL)

but-

ton

will

start

blinking.

One

of

the

REVERB

(AIH)

buttons

will

also

start

blinking,

indi-

cating

the

function

which

is

currently

in

effect.

SUWINjOA

@

With

the

KEY-TRANSPOSE

button

still

held

down,

make

the

selection

by

pressing

one

of

the

REVERB

(I/II/IIl)

buttons.

TREMOLO

REVERB.

TRANSPOSE

ROOM

=

STAGE

HALL

Hold

down

@

[Voice

Changes

Made

With

a

Pedal]

The

pedal

switches

between

the

currently

selected

voice

and

the

previously

selected

voice.

Hf

you

have

pressed

PIANO

1,

then

have

pressed

VIBRAPHONE...

When

the

pedal

is

depressed,

it

will

switch

between

the

PIANO

1

and

VIBRAPHONE

sounds.

The

indicator

on

the

CHORUS

(TOUCH)

but-

ton

will

start

blinking.

One

of

the

REVERB

(IMM)

buttons

will

also

start

blinking,

indi-

cating

which

Touch

setting

is

currently

in

effect.

@

With

the

KEY-TRANSPOSE

button

still

press-

ed,

select

the

new

choice

for

the

Touch

by

pressing

one

of

the

REVERB

(IJ/I/Il)

buttons.

If

you

have

pressed

PIANO

1,

then

have

simul-

taneously

pressed

both

PIANO

2

and

VIBRA-

PHONE...

When

the

pedal

is

depressed,

it

will

switch

you

between

the

PIANO

1

sound,

and

PIANO

2

mixed

with

VIBRAPHOEN

sound.

KEY

CHORUS

REVERS.

TRANSPOSE

ROOM

STAGE

HALL

=

comm

Hold

down

|

Playing

Using

Classical

Tuning

Your

new

piano

allows

you

to

play

classical

music,

such

as

baroque,

while

tuned

in

a

manner

common

to

that

age.

TEMPERAMENT

refers

to

the

method

of

tuning

used.

In

modern

times,

most

music

is

written

with

Equal

Tem-

perament

in

mind.

During

the

course

of

the

development

of

classical

music,

however,

a

number

of

other

forms

of

tuning

were

also

in

common

use.

By

playing

while

tuned

in

the

manner

which

was

correct

for

the

period,

you

will

be

able

to

enjoy

the

sonorities

that

the

chords

in

a

particular

piece

were

originally

meant

to

have.

@

Press

the

TEMPERAMENT

button.

The

indicator

on

the

TEMPERAMENT

button

will

light.

One

of

the

Voice

buttons

will

start

blinking.

In

this

case,

it

represents

the

type

of

tuning

that

is

active

at

that

time.

@

While

continuing

to

hold

down

the

TEMPER-

AMENT

button,

press

the

Voice

button

that

corresponds

to

the

temperament

you

wish

to

use.

Once

a

setting

for

a

temperament

other

than

Equal

has

been

made,

the

TEMPERA-

MENT

button

can

thereafter

be

used

to

switch

between

Equal

temperament

and

the

other

selected

tuning.

Voice

buttons

TEMPERA-

PIANO

|

PIANO

2

HONKY

HARPSI.

VIBRA-

€

PIANO

MENT

TONK

CHORD

PHONE

Lo

tS

eo

ea

Lecce

paresis

Breen

cecaten

ss

el

H

old

down

and

press

@

Equal

Temperament

12-tone

equal

temperament.

The

temperament

most

commonly

used

today.

@

Pythagorean

Temperament

Developed

by

the

philosopher

Pythagoras

as

a

method

of

tuning

which

resolved

the

ambiguity

of

fourths

and

fifths.

As

a

result

melodies

sound

cleaner,

but

a

certain

amount

of

ambiguity

is

produced

with

triads.

@

Just

Temperament

A

method

of

tuning

which

resolved

the

ambiguity

of

fifths

and

thirds.

Quite

beautiful

sonorities

are

pro-

duced

with

chords,

but

the

scale

is

unbalanced

and

is

thus

not

well-suited

for

melodies.

2.

Adjusting

to

Suit

Your

Preferences

[Changing

the

Tonic]

@

With

the

Major

Scale

While

holding

down

the

TEMPERAMENT

button,

press

the

keynote

for

the

key.

(For

C

major,

this

is

C.)

When

wishing

to

play

a

piece

in

A

major:

o

The

keynote

for

A

major

is

the

note

of

A.

So,

while

holding

down

the

TEMPERAMENT

but-

ton,

press

the

A

note.

@

With

the

Minor

Scale

While

holding

down

the

TEMPERAMENT

button,

press

the

note

which

is

the

keynote

for

a

key

that

has

an

identical

number

of

sharps

and

flats

as

the

key

in

question.

However,

when

using

Just

temperament,

the

manner

in

which

the

setting

is

made

differs,

due

to

the

need

for

differentiating

between

major

and

minor

keys

and

sounding

the

principal

triads

in

compliance

with

Just

temperament.

While

holding

down

the

TEMPERAMENT

button,

press

the

keynote

for

the

key,

along

with

the

key

which

is

a

minor

third

above.

When

wishing

to

play

a

piece

in

the

key

of

C

minor

(With

temperaments

other

than

Just)

The

key

which

has

an

identical

number

of

#

and

b

as

Cm

is

the

E-flat

major

key.

The

keynote

for

the

E-flat

major

key

is

Eb.

So,

while

holding

down

the

TEMPERAMENT

button,

press

the

Eb

key.

When

wishing

to

play

a

piece

in

the

key

of

C

minor

(With

Just

temperament)

The

keynote

of

Cm

is

C,

and

the

key

a

minor

third

above

is

Eb.

So,

while

holding

down

the

TEMPERAMENT

button,

press

the

C

and

Eb

keys.

*

Once

a

setting

for

the

tonic

has

been

made,

it

will

not

change

even

if

you

change

temperaments.

*

When

you

have

selected

a

temperament

other

than

Equal

and

play

in

ensemble

with

other

instruments,

certain

discrepancies

in

pitch

may

be

noticed,

depending

on

the

key

being

used.

In

such

cases,

use

the

Tuning

knob

to

adjust

the

pitch

so

it

matches

the

tonic

for

the

other

instruments.

@

Mean

Tone

Temperament

A

temperament

which

adds

some

compromises

to

Just

temperament,

and

facilitates

transposition.

@

Werckmeister

Temperament

(The

3rd

scale

within

the

first

group

of

scales)

Through

combining

the

Mean

Tone

and

Pythagorean

temperaments,

it

allows

for

playing

in

any

key.

@

Kirnberger

Temperament

(The

3rd

scale)

As

a

result

of

improvements

made

to

the

Mean

Tone

and

Just

temperaments,

it

is

relatively

tolerant

towards

transposition,

and

can

be

used

to

play

in

all

keys.

Playing

Using

Classical

Tuning

;

[Playing

Using

Baroque

Pitch]

Currently,

standard

pitch

is

determined

as

being

that

where

A

=

440

Hz.

However,

in

the

Baroque

period,

it

is

believed

that

standard

pitch

was

that

where

A

=

415

Hz.

Follow

the

procedure

below

in

order

to

play

using

the

standard

pitch

of

the

baroque

period.

OG

While

holding

down

the

TEMPERAMENT

but-

ton,

press

the

TREMOLO

(BAROQUE)

button.

If

you

press

the

TREMOLO

button

a

second

time

while

holding

down

the

TEMPERAMENT

but-

ton,

its

indicator

will

go

out,

and

the

pitch

will

be

returned

to

normal.

TEMPERA-

MENT

TREMOLO

aT)

On

Baroque

Pitch

Off

Normal

Pitch

Hold

down

2.

Adjusting

to

Suit

Your

Preferences

Setting

the

Tuning

Curve

—_y

(Stretch

Tuning)

Stretch

Tuning

refers

to

a

method

of

tuning

specific

to

pianos.

A

piano

is

ordinarily

tuned

so

that,

in

compari-

son

with

the

pitches

of

equal

temperament,

the

lower

range

notes

are

made

lower

and

the

higher

notes

are

made

higher.

The

“Tuning

Curve”

represents

the

actual

pitch

changes

produced

by

a

particular

tuning,

when

compared

with

the

pitch

changes

of

Equal

temperament.

By

changing

the

Tuning

Curve,

subtle

changes

in

chord

sonorities

will

be

heard.

You

can

choose

whichever

curve

suits

your

purpose.

A

natural

tuning

curve,

with

most

wavering

suppressed.

A

tuning

curve

which

tends

to

emphasize

the

lower

notes.

This

acts

in

compensating

for

the

fact

that

the

lower

notes

are

often

perceived

as

being

higher.

This

tuning

curve

places

emphasis

on

both

lower

and

upper

ranges.

*

Even

when

a

temperament

other

than

Equal

is

selected,

the

setting

for

the

Tuning

Curve

that

has

been

made

will

remain

in

effect.

G

@

Press

the

TEMPERAMENT

button.

The

indicator

on

the

CHORUS

(STRETCH)

but-

ton

will

start

blinking.

The

indicator

on

one

of

the

REVERB

(I/II/II)

buttons

will

also

be

blinking.

This

indicates

the

Tuning

Curve

that

is

currently

is

in

effect.

@

While

holding

down

the

TEMPERAMENT

button,

press

the

REVERB

(I/II/ill)

button

you

need

to

make

your

selection.

CHORUS

STRETCH

TEMPERA

MENT

IC

VERB.

ROOM

STAGE

HALL

ae

ee

Hold

down

About

MIDI...

:

ce

The

MIDI

(Musical

Instrument

Digital

Interface)

standard

was

formulated

to

provide

for

the

transfer

of

performance

information

among

electronic

musical

instruments

and

computers.

@

Another

MIDI

keyboard

or

a

sequencer

can

be

used

to

play

the

sounds

in

the

HP-3700/2700.

@

The

HP-3700/2700

can

be

played

and

used

to

trigger

other

instruments

or

sound

modules

equipped

with

MIDI.

@

What

you

perform

on

the

HP-3700/2700

can

be

recorded

into

a

sequencer.

Connections

Made

With

the

MIDI

Connectors

Three

MID!

connectors

are

provided

on

the

instru-

ment's

rear

panel.

(IN,

OUT,

and

THRU)

MIDI

IN

Connector

Here,

MIDI

data

is

re-

ceived.

When

wishing

to

have

the

HP-3700/2700

played

by

a

sequencer

or

other

MIDI

device,

con-

nect

the

cable

so

it

runs

from

here

to

the

MIDI

OUT

or

MIDI

THRU

con-

nector

on

the

device

being

connected.

MIDI

OUT

Connector

MIDI

data

is

sent

out

from

this

connector.

When

wishing

to

play

the

sounds

of

an

external

MIDI-equipped

instrument

or

sound

module,

or

record

what

you

play

into

a

sequencer,

connect

a

cable

be-

tween

here

and

the

MIDI

IN

connector

on

the

device

you

are

connecting.

MIDI

THRU

Connector

An

exact

copy

of

any

MIDI

signals

arriving

at

this

instru-

ment's

MIDI

IN

connector

is

sent

out

from

this

connector.

Connections

between

MIDI

connectors

should

be

made

using

MIDI

cable

as

shown

in

the

figure

below

(option:

MSC-

15/25/50).

@

Connecting

a

MIDI

sound

source

(MT-32

etc...)

MIDI

Sound

Source

HP-3700/2700

__sag_

we

san

9

99

ewe

®@

Connecting

an

RA-50

Roland

RA-50

HP-3700/2700

@

Connecting

an

MT-100

Roland

MT-100

“

66

aU

Q

>

2

Lerereod

®

Connecting

a

PR-100

and

MID!

Sound

Source

Roland

PR-100

MIDI

Sound

Source

HP-3700/2700

@

69

S06

Q

2

Lortmod

Put

the

Template

in

Place

3.

Using

MIDI

Whenever

you

wish

to

make

any

settings

for

MIDI,

it

is

helpful

to

have

the

supplied

template

in

place

on

the

panel.

KEY

TEMPERA:

PIANO

1

PIAND

2

HONKY

HARPS!

VIBRA

ft

PIANO

TRANSPOSE

MENT

TONK

CHORD

PHONE

CHORUS

TREMOLO

eee

AE

VI

VALUE

DEMO

ROOM

-

ane

e

HALL

aE

Se

a

|

eanfee

Cass

ao

PTR

os

wer

MEAN

aes

sean

STRETCH

Bee

Lges

the

template

*

While

you

are

pressing

the

KEY-TRANSPOSE

(MIDI)

button,

the

instrument

cannot

be

played.

Setting

the

MIDI

Transmit/Receive

Channels

MID!

allows

you

to

play

sounds

on

a

remote

unit,

or

change

the

sounds

used

(only

if

the

channels

used

on

the

transmitter

and

receiver

are

matched.).

If

the

MIDI

channels

are

not

matched,

no

sound

will

be

produced.

Confirm

that

you

have

the

channels

set

correctly.

To

set

the

transmission

and

reception

channels

o

to

the

same

channel:

@

Press

the

KEY-TRANSPOSE

button

and

con-

firm

that

the

indicators

on

the

Piano

1

and

Piano

2

buttons

are

both

blinking.

If

only

one

of

them

is

blinking,

hold

down

the

KEY-TRANSPOSE

button

while

you

press

both

buttons.

@

While

holding

down

the

KEY-TRANSPOSE

(MIDI)

button,

press

the

key

which

corre-

sponds

to

the

desired

MIDI

channel.

(See

illustration

below.)

KEY

TRANSPOSE

Press

the

key

that

corresponds

to

the

MIDI

channel

you

want

To

set

separate

channels

for

the

transmission

7

and

reception

channels:

@

Setting

the

Transmit

Channel

Hold

down

@

While

holding

down

the

KEY-TRANSPOSE

(MIDI)

button,

press

the

PIANO

1

(TX

CH)

button.

KEY

PIANO

1

TRANSPOSE

Hold

down

@

While

still

holding

down

the

KEY-TRANS-

POSE

(MIDI)

button,

press

the

key

which

corresponds

to

the

desired

MIDI

channel.

(See

illustration

below.)

KEY

TRANSPOSE

Hold

down

Press

the

key

that

corresponds

to

the

MIDI

channel

you

want

@

Setting

the

Receive

Channel

@

While

holding

down

the

KEY-TRANSPOSE

(MIDI)

button,

press

the

PIANO

2

(RX

CH)

button.

KEY

PIANO

2

TRANSPOSE

Hold

down

@

While

still

holding

down

the

KEY-TRANS-

POSE

(MIDI)

button,

press

the

key

which

corresponds

to

the

desired

MIDI

channel.

(See

illustration

below.)

KEY

TRANSPOSE

Press

the

key

that

corresponds

to

the

MIDI

channel

you

want

Hold

down

18

Local

ON/OFF

The

information

below

will

be

helpful

when

wishing

to

use

the

instrument

in

combination

with

a

sequencer.

(When

one

cable

should

run

between

the

MID!

OUT

on

this

instrument

and

the

MIDI

IN

on

the

sequencer,

and

another

should

run

between

the

sequencer’s

MIDI

OUT

and

this

unit’s

MIDI

IN.)

When

connections

are

made

as

illustrated

below,

the

music

you

play

can

be

recorded

into

a

sequencer.

Then,

you

can

hear

a

reproduction

of

it

when

the

sequencer

is

played

back.

Sequencer

HP-3700/2700

lf

“Soft

Thru”

on

the

sequencer

is

on

at

this

time,

the

same

notes

will

be

produced

twice.

As

a

result,

the

sound

may

seem

unnatural,

and

the

maximum

number

of

voices

that

can

be

produced

simultaneously

may

be

reduced.

Sequencer

HP-3700/2700

Each

note

(

(Sound

source

}a™

ror

|

ATH

sounded

[1]

MIL

OUT

lh

twise.

Hdd

ibid

Soft

Thru

On

This

is

because

the

performance

data

generated

by

play-

ing

the

keyboard

reaches

the

internal

sound

source

through

two

different

routes,

which

are:

@

The

circuit

connections

within

the

HP-3700/2700.

@)

Soft

Thru

on

the

sequencer.

(State

whereby

a

copy

of

the

performance

data

received

at

MIDI

IN

is

sent

out

from

MIDI

OUT.)

In

order

to

alleviate

problems,

the

first

route

@

can

be

switched

out

of

use.

Doing

this

is

referred

to

as

setting

the

instrument

to

“Local

Off.”

Conversely,

the

ordinary

state,

where

the

route

in

(@

is

left

active,

is

known

as

“Local

On.”

Local

Off

In

this

mode,

the

key-

board

will

not

be

con-

nected

to

its

built-in

sound

source,

and

play-

ing

the

keyboard

will

not

produce

sound.

Local

On

This

is

the

normal

mode,

in

which

the

keyboard

connected

to

its

bult-in

sound

source.

No

sound

produced

Local

Off

Sound

is

emitted

Sound

source

3.

Using

MIDI

Omni

On/Off

When

set

to

“Omni

On,”

the

HP-3700/2700

will

produce

sound

regardless

of

the

channel

that

any

performance

data

is

received

on.

This

is

convenient

for

times

such

as

when

checking

arrangements

that

require

hearing

the

perfor-

mance

data

on

all

channels

at

the

same

time.

G

While

holding

down

the

KEY-TRANSPOSE

(MIDI)

button,

press

the

HARPSICHORD

(OMNI)

button.

This

allows

you

to

switch

between

Omni

ON

and

OFF.

With

the

indicator

blinking,

it is

ON,

and

when

it

is

not

lit,

it

is

OFF.

KEY

HARPSI-

TRANSPOSE

CHORD

maa

Hold

down

On

*

Settings

for

the

transmission

and

reception

channels

are

not

affected

by

this

setting.

The

instrument

can

also

be

set

to

Omni

ON

by

pressing

the

key

at

the

farthest

right

(highest

key)

of

the

keyboard

while

holding

down

the

KEY-TRANSPOSE

(MIDI)

button.

When

set

in

this

manner,

the

Transmit/Receive

channel

is

au-

tomatically

always

set

at

channel

1.

KEY

TRANSPOSE

Press

the

C

key

_

Hold

down

at

the

far

right.

*

Whenever

a

setting

for

the

Receive

channel

is

made,

the

unit

returns

to

the

Omni

OFF

mode.

While

holding

down

the

KEY-TRANSPOSE

(MIDI)

button,

press

the

HONKY

TONK

(LOCAL)

button.

This

allows

you

to

switch

between

Local

ON

and

OFF.

With

the

indicator

blinking,

it is

ON;

and

when

it

is

not

lit,

it

is

OFF.

KEY

HONKY

TRANSPOSE

TONK

Hold

down

On

*

ff

there

is

no

MIDI

cable

connected

to

the

piano’s

MIDI

IN

connector,

the

mode

will

automatically

be

at

“Local

On”

regardless

of

what.is

indicated

by

the

HONKY

TONK

(LOCAL)

button.

3.

Using

MIDI

Selecting

the

Transmission/Reception

Mode

|

Three

Transmission/Reception

Modes

have

been

provided

to

allow

you

to

select

the

mode

which

Chorus

On/Off

Control

No.

93

best

matches

your

needs.

Tremolo

On/Off

Control

No,

92

*

Note

and

Pedal

messages

can

be

received

and

transmit-

ted

regardless

of

the

mode

selected.

Volume

Control

No.7

Allows

for

transmission/reception

of

Program

Roland

Exclusive

Messages

Change

messages.

(Data

used

to

make

changes

in

the

Voice

used.)

Program

Change

messages

can

be

transmitted

by

holding

down

the

KEY-TRANSPOSE

(MIDI)

btton

and

then

pressing

the

relevant

key.

(See

chart

.

below.)

Such

messages

are

not

sent

out

when

simply

changing

the

Voice

using

the

panel.

Allows

for

transmission

only

of

Program

Change,

=

@

While

holding

down

the

KEY-TRANSPOSE

Chorus,

and

Tremolo

On/Off

messages.

Program

Lieve

button,

press

the

E.

PIANO

(MODE)

Change

messages

can

be

transmitted

by

holding

Seg

down

the

KEY-TRANSPOSE

(MIDI)

button

and

bias

sak

eecineing

PIANO

(MODE)

but-

then

pressing

the

relevant

key.

(See

chart

below.)

tat,

:

They

aa

ss

a

out

when

Saale

changing

the

The

indicator

on

one

of

the

REVERB

(I/II/III)

Voice

using

the

panel

buttons

will

be

blinking.

This

indicates

the

When

set

to

this

mode,

the

Voice

will

not

be

Mode

that

is

currently

is

in

effect.

changed

even

if

Program

Changes

are

received.

It

is

thus

convenient

to

use

in

combination

with

Omni

On

when

wishing

to

have

the

instrument

played

using

the

Note

messages

on

all

channels.

@

While

holding

down

the

KEY-TRANSPOSE

(MIDI)

button,

press

the

REVERB

(I/Ii/Iil)

but-

ton

you

need

to

make

your

selection.

ae

F

KEY

E_

PIANO

Ri

Allows

for

transmission/reception

of

Chorus,

TRANSPOSE

ROOM

SiAGE

HALL

Temperament

messages.

MODE

a

Program

Change

messages

will

be

sent

out

when

Lf)

changing

the

Voice

using

the

panel

(See

MIDI

implementation.).

At

the

same

time,

the

Chorus

Hold

down

and

Tremolo

On/Off

messages

for

the

Voice

will

®

@

be

transmitted

along

with

them.

This

mode

is

convenient

to

use

when

wishing

to

record

a

performance

into

a

sequencer,

or

similar

device.

Tremolo,

Reverb

On/Off,

Volume,

Brilliance,

and

a

CaCI

Co

1

a

Transmitting

Program

Change

messages

(Mode

|,

Il)

KEY

TRANSPOSE

Group

B

iy

Hold

down

Number

Middle

C

eee]

eof

Press

the

keys

that

correspond

to

the

program

change

number

you

want.

18

The

Multi-Timbral

Mode

This

instrument

also

provides

a

Multi-Timbral

mode

which

allows

MIDI!

data

that

is

received

to

be

used

to

simultaneously

play

each

of

the

6

internal

Voices.

Employing

the

Multi-Timbral

mode,

you

can

create

ensemble-like

perfor-

mances.

For

example,

you

could

play

the

vibra-

phone

while

having

performance

data

sent

in

from

a

sequencer

used

to

provide

piano

accompaniment.

@

When

the

Multi-Timbrai

Mode

is

OFF

Data

arriving

on

the

set

Receive

channel

(see

page

15)

is

received

and

used

to

play

the

currently

selected

Voice.

@

When

the

Multi-Timbral

Mode

is

ON

Of

any

MIDI

data

that

arrives,

that

which

arrives

on

channels

1,

11,

12,

and

13

is

received.

Data

on

all

other

channels

is

ignored.

The

Voice

that

is

used

to

play

the

notes

will

be

deter-

mined

by

the

Program

Change

message

that

is

re-

ceived

on

the

relevant channel.

The

correspondence

between

Program

Change

Numbers

and

the

Voices

switched

to

as

a

result

of

them

is

as

shown

at

MIDI

Implementation.

While

holding

down

the

KEY-TRANSPOSE

(MIDI)

7]

button,

press

the

VIBRAPHONE

(MULTI)

button

to

make

the

setting

for

Multi-Timbral

Mode.

With

the

indicator

blinking,

it is

ON,

and

when

it

is

not

lit,

it is

OFF.

KEY

VIBRA-

TRANSPOSE

PHONE

Hold

down

3.

Using

MIDI

[How

Various

Types

of

Messages

Function

When

in

Multi-Timbral

Mode

on]

@

Pedal

Messages

The

action

of

this

instrument's

pedals

will

effect

only

the

notes

actually

played

on

the

keyboard.

Pedal

messages

received

from

an

external

MIDI

device

take

effect

only

with

respect

to

notes

that

play

as

a

result

of

messages

received

from

the

external

device.

*

Pedal

Messages

are:

Damper:

Control

Change

Number

64

Sostenuto:

Control

Change

Number

66

Soft:

Control

Change

Number

67

@

Concerning

the

Volume

messages

(Control

Number

7)

control

the

volume,

and

function

independently

for

each

channel,

1,

11,

12,

or

13.

Such

messages,

however,

have

no

effect

on

what

is

played

on

this

instrument's

keyboard.

The

actual

volume

obtained

is

determined

by

the

value

of

the

Volume

message,

and

the

position

of

the

Volume

slider

on

this

instrument.

When

Volume

messages

at

the

maximum

value

are

received,

the

volume

produced

will

be

in

keeping

with

the

position

of

the

Volume

slider.

@

Chorus

and

Tremolo

On/Off

Messages

Chorus

and

Tremolo

On/Off

messages

function

inde-

pendently

for

each

channel,

1,

11, 12,

or

13.

@

About

Brilliance

messages

(Roland

Exclusive

Messages)

control

the

quality

of

the

sound,

and

affect

all

Voices

identically

regardless

of

whether

they

are

received

on

channels

1,

11,

12,

or

13.

@

Reverb

On/Off

Messages

Reverb On/Off

messages

(Roland

Exclusive

Messages)

affect

all

Voices

identically

regardless

of

whether

they

are

received

on

channels

1,

11,

12

or

13.

*

When

the

Multi-Timbral

Moe

is

“On,”

the

unit

will

constantly

be

at

“Omni

OFF.”

Roland HP 3700 User manual

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