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New Roland FR7X V-Accordion Review And Information
New Roland FR7X V-Accordion Review And InformationAs you may or may not know, Promenade Music have had massive success with the range of Roland FR7 V-Accordion which was the first digital accordion that Roland released. The New Improved FR7X is now here.
When the new Roland FR7X was released this month, I called Brian Davis, who's one of my very good accordion playing customers who bought an FR7 when they came out. Brian has been a musician for over forty years and has played both professionally and has had his own recording business. I therefore asked Brian to come up to Morecambe (one very cold day in November 09) to compare the Roland FR7, that he knows inside out, with the new Roland FR7X.
Call Steven (or David) at Promenade Music on 01524 410202 for the very vest pricing on the Roland FR7X and FR7XB (button version)
Below is the 'un-edited' review of what Brian Davis thinks of the new Roland FR7X and how it compares to the old Roland FR7 model.
"During my 40 years on the road as a gigging keyboard player, progress in the portability of electronic keyboards has seemed tediously slow. From stage organs with big rotary cabinets, through keyboards and sound systems, I dreamed of the day when I might walk into a venue with an instrument in one hand and an amp in the other and be set up in 5 minutes. Minimal kit and minimal cables – the nearest thing to retirement I might ever achieve.
As well as keyboards, I had played piano accordions throughout my musical career. I occasionally used one for small venues, but for me it lacked two vital functions, transposition and pitch, and often needed a mic. Yes, I could have taken the MIDI accordion route, but that would have involved more kit and cables. Three years ago, I acquired a Roland FR-7 virtual accordion. This revolutionary instrument completely changed the landscape with its on board sound system and battery power supply, its orchestral voices in addition to reeds, and its sensitivity and functionality. I now had a digital keyboard in an accordion body. With the advent also of the latest generation of lightweight active speakers, I had realised my “retirement” goal.
I was recently delighted to receive an invitation from David Wood to test drive the first of the new Roland FR-7X V-Accordions to reach the Promenade Music store in Morecambe. On lifting the FR-7X for the first time, my immediate impressions were as follows. The weight was similar to the previous model; the many improvements and new features added by Roland had not increased the burden. Glossy black replaced the grey body colour. The display panel had been redesigned with higher resolution and clearer fonts and graphics (now white on black). The tabs, buttons, knobs and switches, however, were all unchanged and promised easy transition.
After switching on, my attention went firstly to the bellows action. Although the earlier FR-7 lacked the bellows inertia adjuster available on other (later, smaller) models, I had long since discovered that slower opening and closing of the bellows, together with a higher master volume level, produced a reasonable reward for effort. In particular, this technique demanded little more muscle than would a reed accordion, and also allowed longer phrasing between changes of bellows direction. Occasionally, however, a weary left arm would create a jerk and volume spike on change of direction (especially the return from bellows extended). Concentration was needed to achieve smooth changes.
The new model’s inertia adjuster progressively reduced the bellows resistance, removing a potential discouragement to reed accordionists contemplating transition to the FR-7X. For me, however, the sound of air escaping from the pressure relief valve reminded me of the accordionist’s nightmare – an air leak. Further, I found the noise intrusive when playing quietly. I soon reverted to playing with the full bellows resistance to which I had become accustomed. It was then that I noticed the beneficial effect of the changes Roland had applied to the bellows pressure sensing circuitry. I found that the new circuitry did indeed improve the instrument’s response to the player’s use of the bellows. In particular, I found it easier to achieve smooth changes of bellows direction – a valuable enhancement.
My second focus was upon the quality of the reed sounds carried forward from the old to the new model, where a direct comparison was possible. I was impressed by the smoother, cleaner sound in like for like comparisons. Also in this area the new reed sounds were a useful addition.
Thirdly, I compared the orchestral sounds carried forward and again found a noticeable improvement in tonal quality. The new model delivered even exotic sounds like the solo trumpet with greater clarity and accuracy. The new voices added were well chosen and useful. I was particularly pleased to find they included several ensemble sounds in a departure from the mainly solo instruments of the earlier model. These would be particularly useful to some of my musical genres.
Then I tried the tone wheel section. I still thrill to the sound of a good tone wheel organ. Since I last owned one many years ago, I had been repeatedly disappointed by the tone bars offered by various keyboards. Either the quality of tone had been poor, or access had been inconvenient. The new tone wheel section in the FR-7X delivered a full and convincing sound reminiscent of the finest organs. The menu driven editing facilities were generously endowed with a wide variety of parameters. Time did not allow me to explore the registration techniques, but I formed the opinion that many settings could probably be saved in the user sets and registers, with 4 upper manual settings readily available on 2 of the orchestral tabs.
For me, an important feature of the tone wheel sound was the acceleration and braking of the rotary speakers, and this was indeed available among the parameters in the FR-7X. This was, however, an effect that needed to be readily accessible in real-time. The first method of switching offered by Roland was outboard via the FBC-7 footswitch. This was fully programmable and met the real-time criterion. But I roam while playing, so this would not be useful to me. I was pleased to find a second switch was available onboard among the 6 programmable switches at the top end of the bass buttons. Good, but how does one get either hand there and back without losing playing continuity? The master bar commended itself for the purpose, but was already oversubscribed by other important functions. Nonetheless, so much tone wheel sound so faithfully presented in such a small instrument is little short of a miracle.
In one brief session, I was unable to explore fully the potential for assigning drum sounds to the bass parts of the accordion. The sounds I encountered among the factory presets and demos were of good quality. They would clearly be very useful when accompanying community singing, of which I do plenty. Automated rhythm units are high risk in this context as audiences can vary their tempo at will, in defiance of any fixed tempo device. Lacking percussion, a reed accordion might struggle to dominate the tempo, but with added percussion on the bass sections, the FR-7X player should be able to lead (or follow) the audience tempo at all times. Real-time switching on/off the drum voices appears to be achievable, but probably only by means of adjacent registrations (with and without drums respectively).
For such a small instrument, the earlier FR-7 featured a commendable number of registration tabs, 7 on the bass end and 14 on the treble. Roland had assigned most of them to factory preset reed registrations and multiplied them across 30 sets, with 10 sets for user registrations. Other buttons and knobs gave menu-driven access to very many underlying parameters. Thirteen of the 14 treble tabs, however, could be diverted to control the 22 orchestral sounds, two to each tab using toggle switching. This rendered changes of orchestral sound conveniently available in real time.
In bringing forward the same tabs format to the FR-7X, Roland made just 4 of the many new orchestral sounds accessible on the treble tabs with the rest being menu-driven parameters requiring presetting. I found the menu-driven access to so many of the new features (the extra orchestral sounds, the tone wheel section and the drums) disappointing but fully understandable, in view of the extensive range of additional features shoehorned in by Roland. Roland seem to have acknowledged this lack of real time access by greatly increasing the number of sets of user memories.
In conclusion, I found the new model to be easier to play by virtue of the improved bellows technology and the greater responsiveness of the main processor. I was immediately at home with the continuity of layout from the previous model. The improvements in the audio quality were significant. The new orchestral and drum sounds were well chosen, faithfully represented and useful. The tone wheel section was superb. Not to mention the invaluable addition of USB memory for recording and playback. Was the original FR-7 a major breakthrough? Yes. Had Roland done enough to justify bringing out a further model? Definitely".
Brian Davis
Call Steven (or David) at Promenade Music on 01524 410202 for the very vest pricing on the Roland FR7X and FR7XB (button version)
Here's what Roland say
ROLAND FR-7 FEATURES
The V-Accordion is the first instrument of its kind to provide powerful digital modelling technology in a traditional, immediately familiar, accordion design, and with performance functions and authentic sounds. It combines the familiar sounds and nuances of a traditional accordion with the versatility of a modern digital musical instrument. The FR-7X is the successor to the current FR-7. It is enhanced with the latest V-Accordion features.
- Faster response and higher sensitivity and precision, plus detection of bellows opening/closing with new bellows pressure-sensor circuitry
- New French accordion sounds, Bayan accordion sounds, Italian classic accordion sounds, 24 new orchestral sounds and Virtual ToneWheel organ sounds
- USB host port onboard for new sound-upload possibility, MP3 playback, wave recorder
- Bellows Resistance Regulator knob to specify the bellows inertia (the force needed to push and pull it)
- New LCD display for comfortable operation
- Advanced musical expression: Bass to Treble function, Percussion sounds playable by Bass & Chord buttons, and 6 user assignable function bass buttons
Call Steven (or David) at Promenade Music on 01524 410202 for the very vest pricing on the Roland FR7X and FR7XB (button version)
More info
Fast response and high sensitivity
Thanks to Roland’s newly-developed sound generator, which is optimised for Accordion performance, the FR-7X will satisfy the most demanding accordion players. You will be impressed by the fast response of the keys/buttons, the higher sensitivity and precision, and the detection of bellows opening/closing with new bellows pressure-sensor circuitry. Thanks to this new technology, accordionists can feel perfectly at ease when playing their music, especially once they have experienced the enhanced response of this instrument.
USB host port onboard
Easy data storage, handy customisation of V-Accordion sound-sets to satisfy special accordion/orchestra demands from different countries, and easy to upload software versions, thanks to the USB Flash Memory. What’s more, you can manage MP3 and Wav files and even record your performances in Wav format on the optional USB Flash Memory. Playback and record functions are perfect for educational use, and enhance live performance too.
Battery-powered instrument with built-in speakers
Though the FR-7X is a fully digital instrument, it’s also an all-in-one instrument, i.e. you do not need to connect it to any amplifier to produce sounds. Its onboard amplification system is powerful enough for small venues, restaurants, pubs. Furthermore, the FR-7X comes with a rechargeable battery, so that you do not need to connect it to a power outlet. It goes far beyond the control possibilities of a MIDI keyboard with optional performance functions.
Super realistic accordion simulations…
The FR-7X has 41 keys (with velocity and aftertouch), 120 velocity-sensitive bass buttons (6 bass & chord modes and 5 free bass modes to suit your playing style) and can simulate up to 80 different accordion instruments each including 14 treble registers, 26 orchestral sounds, 7 bass & chord registers, 7 free bass registers, 7 orchestral free bass, 7 orchestral bass registers, and 7 orchestral chord registers. Thanks to the Bass to Treble mode the FR-7X can be used like a “Basoon accordion.” In this mode the bass part is played with the right hand (the bass and chord buttons are inactive). Moreover the programmable Drum function allows you to play percussion sounds with the Bass & Chord buttons.
…and organ simulations
Thanks to the Virtual ToneWheel sound engine, the FR-7X allows you to play amazing organ sounds, by using Treble (upper), Chord (lower) and Bass (pedal) sections. Harmonic Bar controls will allow you to personalize your organ sounds to satisfy every musical genre.
Easy combination of Orchestral and traditional accordion sounds
Traditional accordion and orchestral sounds can be easily combined and played with full bellows articulation. Several unique Orchestra modes (Solo, Dual, High/Low, and more) provide amazing flexibility and instant sound switching. The 26 onboard orchestral treble, 7 orchestral bass sounds, 7 orchestral chord sounds and 7 orchestral free bass sounds can be easily mixed with traditional sounds.
Other features
LCD Display: FR-7X is provided with a easy to read LCD display (OLED type, 128x64) for setting easily your V-Accordion. USER assignable switches: you can now assign different functions to the 6 switches located in the last row of bass buttons.
Call Steven (or David) at Promenade Music on 01524 410202 for the very vest pricing on the Roland FR7X and FR7XB (button version)
FULL SPECIFICATION
Keyboard, Bass & Bellows
Right hand - 41 piano-type keys, velocity-sensitive, with aftertouch
Left hand - 120 bass buttons, with velocity standard, Free Bass mode, Orch. Bass, Orch. Chord, Orch. Free Bass
Free Bass Modes - Minor 3rd, Bajan, Fifth, North Europe, FinnishBass & Chord Modes
2 Bs Rows, 3 Bs Rows A-7th, 3 Bs Rows A-5dim, 3 Bs Rows B-7th, 3 Bs Rows B-5dim, 3 Bs Rows Bx
Bellows - New pressure sensor for better sensitivity and Advanced Physical Behaviour Modelling such as detection of bellows opening/closing
Bellow curve - Fixed Low. Fixed Med, Fixed High, X-Light, Light, Standard, Heavy, X-Heavy
Bellows resistance regulator - Wheel with fine adjustment
Sound Source
Max Polyphony - 128 voices
Wave ROM - 64 Mbyte Wave ROM
Tones - 80 Accordion sets, including: 14 Treble registers, 7 Bass/Chord registers, 7 Free Bass registers, 7 Orchestra Free Bass registers, 7 Orchestra Bass registers, 7 Orchestra Chord registers, 49 Orchestral sounds (26 realtime + others selectable by MENU), 128 Drum sounds
Organ sounds with Harmonic Bar - 32 presets x Treble, Chord and Free Bass sections, 16 presets x Bass section. Up to 26 Harmonic Bar combinations customisable, can be controlled and shaped by bellows
Additional sounds - Uploadable from USB memory and saved on internal memory
Treble Reed Footages - 7
Bass Reed Footages - 5
Chord Reed footages - 3
Free Bass Footages - 2
PBM (Physical Behaviour Modelling)
Noises - Stopping-reed growl, closing valve noise, left button voice
Individual Reed Simulation - Hysteresis threshold, Expression curve, Pressure variant filter, Pressure variant pitch deviation
Reed waveform switching - By bellows acceleration, by note repetition speed
Bellow opening/closing sound change - By bellows opening/closing detection
Musette Tuning
Micro-Tuning Presets - 16 types: Off, Dry, Classic, F-Folk, American L/H, North Europe, German L/H, D-Folk L/H, Alpine, Italian L/H, French, Scottish)
Effects
Reverb - 8 types
Chorus - 8 types
Delay - 10 types
Rotary for orchestral organ sound - Slow/Fast with Vibrato, Chorus, Overdrive and VK-Rotary
“Cassotto” and “Sordina” Simulation - Yes
Panel controls
Knob controls - Volume, Treble/Bass balance, Reverb, Chorus, Delay
Encoder - Data Edit with Enter
Panel Switches
Treble Registers - 14 + Master + Orchestra
Bass Registers - 7
Navigation Switches - Up, Down, Menu/Write, Exit/Jump
Other switches - Accordion set Up/Down, Sordina On/Off, Power
Additional switches - 6 user assignable function switches on last row of bass buttons
Operation Mode
Orchestra Mode - Solo, Dual, Low. High, Solo M, Dual M, Low M, High M, Low M Trb, High M Trb, Low Trb, High Trb
Octave - -1, 0, 1 for Treble and Orchestra
Treble register feature - Orchestra Link, Bass Link, Orchestra Bass Link, Orchestra Chord Link, Orchestra Free Bass Link
Part Mute - Treble, Orchestra, Bass
Percussion sounds with Bass - For Bass/Orch Bass 2 rows, Chord/Orchestra Chord 4 rows
MP3 player - MP3 player from USB memory
Wave Recorder - On USB memory
MIDI functions - Ext. Seq. Playback.(MIDI In): Treble, Bass Start/Stop MIDI TX: Send Start/Stop by pushing Alpha dial
Display - 128 x 64 OLED type
Rated Power Output - 2 x 25 W RMS
Speakers - 10cm x 2 speakers (using Neodymium Transducer Magnets), Tweeters x 2
Onboard connectors - Headphone jack (stereo), Output jack: L/Mono (Treble), R/ Mono (Bass), Multi connector (to external FBC-7 power supply/Footswitch unit/battery charger),
USB host
Power Supply - Rechargeable Ni-MH battery pack, 24V-4500mAh, External FBC-7 power supply/battery charger: AC117V, AC 230V, AC 240V (50/60hz), AC 220 V (60Hz)
Supplied accessories - FBC-7 (Power supply/Battery Charger), Owner’s Manual, Straps, Accordion Cloth, Bass Reference caps, Power Cable, 19-pin Multicore cable, Rechargeable Ni-MH battery pack 24V-4500mAh.External FBC-7 Specifications: 5 Programmable Foot switches (set Up /Down Register Up/Down, Sustain), Multi connector (towards Accordion), Expression Pedal jack, MIDI connectors (In, Out, Thru), Output jacks (L/Mono, R), AC Inlet
Optional Accessories - V-Accordion Gig bag, FBC-7 Gig bag, Headphones RH-300,RH-200, AMC-4 (Audio/midi cable), AAP-1 (Music Rest and Throne)
Size and Weight ( FR-7x Piano type )
Width - 528 mm20-13/16 inches
Depth - 275 mm10-7/8 inches
Height - 423 mm16-11/16 inches
Weight - 11.7 kg25 lbs. 13 oz.
Click here for FR7X Brochure http://cms.rolandus.com/assets/media/pdf/fr-7x_brochure.pdf
Call Steven (or David) at Promenade Music on 01524 410202 for the very vest pricing on the Roland FR7X and FR7XB (button version)
New Roland FR7X V-Accordion Review And Information
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