Music in Motion...Fantom has onboard rhythm patterns that can be triggered from keys. With several keys assigned to different grooves, players can add rhythm and percussion to support

MUSIC WAITING TO HAPPENAnother keyboard? Hardly. The newRoland Fantom is a musical instrumentin the truest sense, and it goes farbeyond. Any musician, whether vocal-ist, violinist or accordianist, under-stands the expressive link betweeninstrument and instrumentalist. It’s allabout interactivity—the way a musi-cian plays his or her instrument is whatmakes a performance inspiring.

Fantom offers musicians a wealth ofinteractivity. For starters, it has aVariable Arpeggiator which can gener-ate a pattern or musical phrase that canbe woven into what’s being played onthe keyboard. The arpeggiator patterncan be changed to suit the dynamics orsound by turning one of Fantom’sassignable knobs. This generates a fluidenvironment where sonic texture andenergy can be contoured to suit theworship setting.

RHYTHM ON ‘TAP’Along with the interactivity of theVariable Arpeggiator and knobs, theFantom has onboard rhythm patternsthat can be triggered from keys. Withseveral keys assigned to differentgrooves, players can add rhythm and

percussion to support a performance.Tempo can be changed in realtime withthe infrared D-Beam controller, or“tapped in” from an assignable button.This next level of interactivity yieldsexpressive results in live worship, butit’s also a great tool for composition.

All the creative elements of argpeggia-tion, one-touch rhythm patterns anddynamic controllers are bolstered byFantom’s professional sequencingcapabilities. This intuitive sequencertruly makes music composition a fastand seamless process. Pressing REC dis-plays all the relevant parameters in thehuge, friendly screen and opens thegateway to recording. Start building asong with the preset drum patterns.Use the arpeggiator to create bass lines,strummed guitar riffs and keyboardpatterns. Knobs, buttons and the D-Beam provide realtime, interactivevariations.

Check out the Fantom and experiencenew levels of musicianship and joy inthe creative process. This workstationblurs the line between playing andcomposing with a friendly environ-ment for keyboardists at every level.Hear it at a Roland dealer or online at:w w w . R o l a n d U S . c o m

worship

The INFO Source for Church Musicians Vol. V No. 3

with Norm Stockton5 MINUTES

1

Norm Stockton is a bassist/composer/instructor whose credits range fromjazz artists Steve Laury and RobMullins to Christian artists PeterShambrook and Billy Batstone. He isalso an experienced worship musi-cian, having traveled extensivelythroughout North America as abassist and clinician for MaranathaMusic’s Worship Leader Workshops.

MIDI in Ministry: What role do youfeel the bass plays in a worship setting?

Norm Stockton: With worship, you'regenerally not looking for a bass to takethe sonic lead; it's mainly about beingfoundational and not becoming a dis-traction. As in any kind of music, butespecially worship, I listen to thesounds happening around me. As Ihear what's happening instrumentally,I try to create a solid foundation tosupport the rest of the rhythm section.

MiM: How does technology play intothe picture?

NS: One big element of technologythat blows things wide open is thewhole world of effects. The first effectpedal I ever got was a BOSS Flangerpedal, the BF-2. It was one of thingsthat really got me excited about usingeffects. It was usually the guitar players

(Cont. on page 2)

The Fantom workstation is a powerful tool in creating dynamic and expressive soundscapesfor worship. Interactive controllers, a large display and a simplified front panel facilitate amusical experience free of frustration and distraction.

www.RolandUS.com • FaxBack (323) 890-3780 All trademarks are property of their respective owners. ®ÂØÒÅˆÎ®

From the technical, to the musical, to thespiritual... Grooving for Heaven videosare engaging, one-on-one clinics fromNorm Stockton that helpbass players establish asolid foundation for theirplaying and help themadvance to the nextlevel.

Volume 1 covers topicslike “Warm-ups for theImpatient,” “ProperHand & BassPositioning,” “Effects,”and “The Heart &Ministry.” This videofocuses on playing con-siderations for contem-porary worship, sobassists at any experi-ence level will comeaway with valuable toolsand insights.

Grooving for Heaven Volume 2 is for

the contemporary worship bassist desir-ing to build upon a solid understandingof the fundamentals. Bass players will

emerge with a fresh per-spective on what to play,as well as performancesubtleties. Topics include“Bassic Communication,”“The Slap Style,”“Fretless Bass” andmore.

Here’s what the pros aresaying about thesevideos:

"I endorse and highlyrecommend thesevideos... very well done!" Abraham Laboriel, Sr.

"This section (Modes–Vol. 2) alone is worth theprice of both videos!"

Bass Frontiers Magazine(Jul/Aug ‘99)

The Bassist & Contemporary Worshipw w w . n o r m s t o c k t o n . c o mIn This IssueIn This Issue:

� “5 Minutes with…” An interview withN o r m S t o c k t o n

� Fantom: the nextgeneration workstationkeyboard for worship

� Norm’s Recipes forTasty Bass Tones

� “Grooving for Heaven”Instructional Videos

worship

Roland Corporation U.S.P.O. Box 910921

Los Angeles, CA 90091-0921(323) 890-3700

Fax: (323) 890-3735www.rolandus.com

E-mail:[email protected]

2887US4®ÂØÒÅˆÎ® All trademarks are property of their respective owners. www.RolandUS.com • FaxBack (323) 890-3780

Music in MotionFantom: A Next-Generation Interactive Keyboard Workstation

Fingerstyle Funk or Rock

Latin

Smooth Jazz

Stank Funk

Norm’s Recipes forCookin’ up Great Bass

with all the effects—they were the oneswho got to have the fun! But nowadays,there are so many great sounding effectsfor bassists, too.

MiM: How do effects help to create dif-ferent sounds?

NS: For bass, I still feel that the biggestfactor relative to the sound and texture isthe actual playing technique; what you dowith your fingers and where you play onthe bass are hugely important. Effectsboxes can definitely enhance what I'mdoing, though, and can really inspire meto play in different ways.

MiM: What are some examples?

NS: If I need a more distinctive sound orneed to make a more overt musical state-ment, I might use a flanger or even anoctaver. The BOSS SYB-3 Bass Synthesizerpedal totally makes you wanna go into a‘70s retro-funk kinda thing. The BOSSOC-2 Dual Octave is a bass classic whichtons of guys use to emulate a keyboardsynth bass. If I use a nice warm choruseffect, that might lend itself to playingsome slap stuff or nice melody stuff. It'sgreat for playing melodic, legato, singingtypes of lines.

MiM: You've also done lots of recording.How does that differ from live worship?

NS: My sonic approach to bass playing isvery different for live worship thanrecording. For me, recording can be moreabout exploration and experimentation. I

get to try lots of ideas that wouldn't reallybe appropriate for most live worship envi-ronments. On my recent album, I createdsounds with multiple layers of flangingand chorusing. In a worship context I havea much different approach. It's all aboutstaying out of the way and supportingwhat's happening on both a musical andspiritual level.

MiM: What is one of the most importantthings you try to teach bass players inyour worship seminars?

NS: From a musical standpoint, I try toemphasize the idea that the bass is arhythm instrument, and though it has thecapability to be melodic and harmonic, itshould never be so at the expense ofrhythmic considerations. One of the ideasI emphasize is “bass as drum.” This idea isfocused on making the bass so rhythmi-cally solid that it's difficult to tell wherethe bass leaves off and the drums begin.Almost as though the bass is part of thedrum kit. In a worship setting, what theensemble needs is that foundational state-ment, making a platform for the rest ofthe band so they have total solidity.

Another big point I try to get across tobass players is the idea of 'emoting' ontheir instrument. We're trying to musical-ly convey what's happening lyrically andspiritually. Sometimes bass players slipinto the mode of, "Okay, here's a bar of C,and now a bar of D, next is two bars of F,so when is this song gonna be over?" Whatwe should be doing is thinking aboutphrasing, dynamics, note duration... youknow, things that help the instrumentconvey emotion instead of what I call the‘FedEx’ bass line: "Okay, here's your bassline. Just sign right here."

MiM: You've also createdsome instructionalvideos. What concepts doyou cover?

NS: One thing I cover isa study of different gen-res, called "Bass IdiomsAnalyzed: 'What Makesthe Funk...Funky?'",which explores specificrhythmic, harmonic,sonic and phrasing ideasthat define various com-mon styles of music. Bassplayers can really benefitfrom expanding theirstylistic vocabulary.

Playing a Latin-style bass line isn't aboutgrabbing a sombrero and playing a rockbass line. There are certain tangible, prac-tical elements that characterize a part asLatin, funk, reggae, or whatever else.

Among the other topics covered, there is asection devoted to the somewhat subjec-tive area of how to play a fill tastefully("Taste: Is It All in Your Mouth?"). I spendsome time demonstrating how to weaveembellishments around a vocal line, giv-ing both good and fairly bad examples ofhow one might play a fill! Especially forworship bass players, it's critical to be sen-sitive to what's going on musically. Anyfills or embellishments must be donetastefully, so they don't impede but ratherenhance what is going on musically andspiritually. Anyway, in that section, I showa number of examples of what does anddoesn't work and why.

MiM: Do you think most bass players liketo experiment with different sounds?

NS: Yes, it boils down to the fact that bassplayers historically have been a bit left outof the effects thing. That's good to someextent because there's no substitute for agood clean, dry bass line. But some effectscan be great, like chorus for a worship bal-lad, when your line is a singing type voiceor needing more sustain. The octaver(OC-2) can be great for certain styles too.

MiM: In your seminars, do you encouragebass players to experiment with technolo-gy to achieve different sounds?

5 MINUTESwith Norm Stockton

Continued from page 1

3®ÂØÒÅˆÎ® All trademarks are property of their respective owners. www.RolandUS.com • FaxBack (323) 890-37802

These are a few choice ways to get genre-specific bass tones using BOSSpedals and the Roland DB-700 D-Bass Amplifier, courtesy of NormStockton. Enjoy!


NS: It's good for bass players to learn whereeffects can broaden their sonic palette, andexpand their bag of tricks. I spend a lot oftime, though, showing players how muchsound is derived just from their hands. Iexplain how much a bass sound can bechanged without touching a knob. So theultimate is when you can combine what'shappening, from a technique standpoint,with all the choices that are available withBOSS pedal effects and such.

MiM: You're also a songwriter. On yourrecent album, Pondering the Sushi, how didyou develop your sounds?

NS: Much of the inspiration for the soundscame from recording dry (no effects) on theVS-1680 [Digital Studio Workstation] andthen scrolling through the myriad effects onthe VS8F-2 expansion cards. Those reallyhelped to clarify what sounds would workthe best. The effects on the cards are killerand some are very unique, so it really gaveme a lot of choices. I could narrow my focusand get good ideas. The immediate andsimple access to those presets gave me theability to easily experiment and try thingsout without having to permanently alter thesound. It also helped me get to a placewhere I knew what would and wouldn'twork without having to go out and get abunch of external effects I didn't have.

MiM: What other types of gear have youfound useful in developing your music?

NS: I tracked so much of the record in dif-ferent places and the VS-1680 is what madethat possible. The -1680 has been a hugetool for me from so many different perspec-tives: compositionally, in terms of arrang-ing, simple woodshedding, etc. Plus, it'sridiculously versatile due to its combinationof amazing fidelity and utterly effortlessportability. For example, I tracked a lot ofthe final, “keeper” takes for Pondering theSushi in some fairly unconventional envi-ronments. I recorded horns in severalchurches, including a full brass section inthe backstage greenroom at Coast HillsCommunity Church in Aliso Viejo, CA. Irecorded percussion in the living room of afriend of mine's house in Del Mar, CA. AndI even took the VS-1680 to New York Citylast year, and recorded the Star SpangledBanner in a hotel room in midtownManhattan while overlooking the sea ofhumanity below. It was very inspiring.

For information on Norm’s videos, recordingsand workshops, visit his website atw w w . n o r m s t o c k t o n . c o m



Norm teaching bassists “The Role of Groove in Worship.”

“Sound is derived from the hands...”

(Cont. on page 3)

Stank Funk

DB-700 D-Bass Amplifier

AW-3 Dynamic Wah

OC-2 Dual Octave

Smooth Jazz


GEB-7 Bass Equalizer

CEB-3 Bass Chorus

Latin

DB-700 D-Bass AmplifierGEB-7 Bass Equalizer

Boost EQ at 120Hz andReduce high frequen-cies as desired.

Or, use a fretless bassand boost EQ at 120Hzto ad low end “oomph”and at 800Hz for pitchdefinition.


Boost frequencies at120Hz and at 10kHz.Reduce frequencies at800Hz.

Same diagram as Latin example above. Boost lowfrequencies at 120Hz. Slightly boost mid’s around250 – 400Hz depending upon the type of bass andstrings. Use Speaker Modeling as appropriate toemulate 15” speakers. Adding a slight tube overdriveeffect may work well for rock styles.


Latin

Smooth Jazz

Stank Funk


with all the effects—they were the oneswho got to have the fun! But nowadays,there are so many great sounding effectsfor bassists, too.

MiM: How do effects help to create dif-ferent sounds?

NS: For bass, I still feel that the biggestfactor relative to the sound and texture isthe actual playing technique; what you dowith your fingers and where you play onthe bass are hugely important. Effectsboxes can definitely enhance what I'mdoing, though, and can really inspire meto play in different ways.

MiM: What are some examples?

NS: If I need a more distinctive sound orneed to make a more overt musical state-ment, I might use a flanger or even anoctaver. The BOSS SYB-3 Bass Synthesizerpedal totally makes you wanna go into a‘70s retro-funk kinda thing. The BOSSOC-2 Dual Octave is a bass classic whichtons of guys use to emulate a keyboardsynth bass. If I use a nice warm choruseffect, that might lend itself to playingsome slap stuff or nice melody stuff. It'sgreat for playing melodic, legato, singingtypes of lines.

MiM: You've also done lots of recording.How does that differ from live worship?

NS: My sonic approach to bass playing isvery different for live worship thanrecording. For me, recording can be moreabout exploration and experimentation. I

get to try lots of ideas that wouldn't reallybe appropriate for most live worship envi-ronments. On my recent album, I createdsounds with multiple layers of flangingand chorusing. In a worship context I havea much different approach. It's all aboutstaying out of the way and supportingwhat's happening on both a musical andspiritual level.

MiM: What is one of the most importantthings you try to teach bass players inyour worship seminars?

NS: From a musical standpoint, I try toemphasize the idea that the bass is arhythm instrument, and though it has thecapability to be melodic and harmonic, itshould never be so at the expense ofrhythmic considerations. One of the ideasI emphasize is “bass as drum.” This idea isfocused on making the bass so rhythmi-cally solid that it's difficult to tell wherethe bass leaves off and the drums begin.Almost as though the bass is part of thedrum kit. In a worship setting, what theensemble needs is that foundational state-ment, making a platform for the rest ofthe band so they have total solidity.

Another big point I try to get across tobass players is the idea of 'emoting' ontheir instrument. We're trying to musical-ly convey what's happening lyrically andspiritually. Sometimes bass players slipinto the mode of, "Okay, here's a bar of C,and now a bar of D, next is two bars of F,so when is this song gonna be over?" Whatwe should be doing is thinking aboutphrasing, dynamics, note duration... youknow, things that help the instrumentconvey emotion instead of what I call the‘FedEx’ bass line: "Okay, here's your bassline. Just sign right here."

MiM: You've also createdsome instructionalvideos. What concepts doyou cover?

NS: One thing I cover isa study of different gen-res, called "Bass IdiomsAnalyzed: 'What Makesthe Funk...Funky?'",which explores specificrhythmic, harmonic,sonic and phrasing ideasthat define various com-mon styles of music. Bassplayers can really benefitfrom expanding theirstylistic vocabulary.

Playing a Latin-style bass line isn't aboutgrabbing a sombrero and playing a rockbass line. There are certain tangible, prac-tical elements that characterize a part asLatin, funk, reggae, or whatever else.

Among the other topics covered, there is asection devoted to the somewhat subjec-tive area of how to play a fill tastefully("Taste: Is It All in Your Mouth?"). I spendsome time demonstrating how to weaveembellishments around a vocal line, giv-ing both good and fairly bad examples ofhow one might play a fill! Especially forworship bass players, it's critical to be sen-sitive to what's going on musically. Anyfills or embellishments must be donetastefully, so they don't impede but ratherenhance what is going on musically andspiritually. Anyway, in that section, I showa number of examples of what does anddoesn't work and why.

MiM: Do you think most bass players liketo experiment with different sounds?

NS: Yes, it boils down to the fact that bassplayers historically have been a bit left outof the effects thing. That's good to someextent because there's no substitute for agood clean, dry bass line. But some effectscan be great, like chorus for a worship bal-lad, when your line is a singing type voiceor needing more sustain. The octaver(OC-2) can be great for certain styles too.

MiM: In your seminars, do you encouragebass players to experiment with technolo-gy to achieve different sounds?

5 MINUTESwith Norm Stockton


3®ÂØÒÅˆÎ® All trademarks are property of their respective owners. www.RolandUS.com • FaxBack (323) 890-37802

These are a few choice ways to get genre-specific bass tones using BOSSpedals and the Roland DB-700 D-Bass Amplifier, courtesy of NormStockton. Enjoy!


NS: It's good for bass players to learn whereeffects can broaden their sonic palette, andexpand their bag of tricks. I spend a lot oftime, though, showing players how muchsound is derived just from their hands. Iexplain how much a bass sound can bechanged without touching a knob. So theultimate is when you can combine what'shappening, from a technique standpoint,with all the choices that are available withBOSS pedal effects and such.

MiM: You're also a songwriter. On yourrecent album, Pondering the Sushi, how didyou develop your sounds?

NS: Much of the inspiration for the soundscame from recording dry (no effects) on theVS-1680 [Digital Studio Workstation] andthen scrolling through the myriad effects onthe VS8F-2 expansion cards. Those reallyhelped to clarify what sounds would workthe best. The effects on the cards are killerand some are very unique, so it really gaveme a lot of choices. I could narrow my focusand get good ideas. The immediate andsimple access to those presets gave me theability to easily experiment and try thingsout without having to permanently alter thesound. It also helped me get to a placewhere I knew what would and wouldn'twork without having to go out and get abunch of external effects I didn't have.

MiM: What other types of gear have youfound useful in developing your music?

NS: I tracked so much of the record in dif-ferent places and the VS-1680 is what madethat possible. The -1680 has been a hugetool for me from so many different perspec-tives: compositionally, in terms of arrang-ing, simple woodshedding, etc. Plus, it'sridiculously versatile due to its combinationof amazing fidelity and utterly effortlessportability. For example, I tracked a lot ofthe final, “keeper” takes for Pondering theSushi in some fairly unconventional envi-ronments. I recorded horns in severalchurches, including a full brass section inthe backstage greenroom at Coast HillsCommunity Church in Aliso Viejo, CA. Irecorded percussion in the living room of afriend of mine's house in Del Mar, CA. AndI even took the VS-1680 to New York Citylast year, and recorded the Star SpangledBanner in a hotel room in midtownManhattan while overlooking the sea ofhumanity below. It was very inspiring.

For information on Norm’s videos, recordingsand workshops, visit his website atw w w . n o r m s t o c k t o n . c o m



Norm teaching bassists “The Role of Groove in Worship.”

“Sound is derived from the hands...”

(Cont. on page 3)

Stank Funk


AW-3 Dynamic Wah

OC-2 Dual Octave

Smooth Jazz


GEB-7 Bass Equalizer

CEB-3 Bass Chorus

Latin

DB-700 D-Bass AmplifierGEB-7 Bass Equalizer

Boost EQ at 120Hz andReduce high frequen-cies as desired.

Or, use a fretless bassand boost EQ at 120Hzto ad low end “oomph”and at 800Hz for pitchdefinition.


Boost frequencies at120Hz and at 10kHz.Reduce frequencies at800Hz.

Same diagram as Latin example above. Boost lowfrequencies at 120Hz. Slightly boost mid’s around250 – 400Hz depending upon the type of bass andstrings. Use Speaker Modeling as appropriate toemulate 15” speakers. Adding a slight tube overdriveeffect may work well for rock styles.

MUSIC WAITING TO HAPPENAnother keyboard? Hardly. The newRoland Fantom is a musical instrumentin the truest sense, and it goes farbeyond. Any musician, whether vocal-ist, violinist or accordianist, under-stands the expressive link betweeninstrument and instrumentalist. It’s allabout interactivity—the way a musi-cian plays his or her instrument is whatmakes a performance inspiring.

Fantom offers musicians a wealth ofinteractivity. For starters, it has aVariable Arpeggiator which can gener-ate a pattern or musical phrase that canbe woven into what’s being played onthe keyboard. The arpeggiator patterncan be changed to suit the dynamics orsound by turning one of Fantom’sassignable knobs. This generates a fluidenvironment where sonic texture andenergy can be contoured to suit theworship setting.

RHYTHM ON ‘TAP’Along with the interactivity of theVariable Arpeggiator and knobs, theFantom has onboard rhythm patternsthat can be triggered from keys. Withseveral keys assigned to differentgrooves, players can add rhythm and

percussion to support a performance.Tempo can be changed in realtime withthe infrared D-Beam controller, or“tapped in” from an assignable button.This next level of interactivity yieldsexpressive results in live worship, butit’s also a great tool for composition.

All the creative elements of argpeggia-tion, one-touch rhythm patterns anddynamic controllers are bolstered byFantom’s professional sequencingcapabilities. This intuitive sequencertruly makes music composition a fastand seamless process. Pressing REC dis-plays all the relevant parameters in thehuge, friendly screen and opens thegateway to recording. Start building asong with the preset drum patterns.Use the arpeggiator to create bass lines,strummed guitar riffs and keyboardpatterns. Knobs, buttons and the D-Beam provide realtime, interactivevariations.

Check out the Fantom and experiencenew levels of musicianship and joy inthe creative process. This workstationblurs the line between playing andcomposing with a friendly environ-ment for keyboardists at every level.Hear it at a Roland dealer or online at:w w w . R o l a n d U S . c o m

worship

The INFO Source for Church Musicians Vol. V No. 3

with Norm Stockton5 MINUTES

1

Norm Stockton is a bassist/composer/instructor whose credits range fromjazz artists Steve Laury and RobMullins to Christian artists PeterShambrook and Billy Batstone. He isalso an experienced worship musi-cian, having traveled extensivelythroughout North America as abassist and clinician for MaranathaMusic’s Worship Leader Workshops.

MIDI in Ministry: What role do youfeel the bass plays in a worship setting?

Norm Stockton: With worship, you'regenerally not looking for a bass to takethe sonic lead; it's mainly about beingfoundational and not becoming a dis-traction. As in any kind of music, butespecially worship, I listen to thesounds happening around me. As Ihear what's happening instrumentally,I try to create a solid foundation tosupport the rest of the rhythm section.

MiM: How does technology play intothe picture?

NS: One big element of technologythat blows things wide open is thewhole world of effects. The first effectpedal I ever got was a BOSS Flangerpedal, the BF-2. It was one of thingsthat really got me excited about usingeffects. It was usually the guitar players

(Cont. on page 2)

The Fantom workstation is a powerful tool in creating dynamic and expressive soundscapesfor worship. Interactive controllers, a large display and a simplified front panel facilitate amusical experience free of frustration and distraction.


From the technical, to the musical, to thespiritual... Grooving for Heaven videosare engaging, one-on-one clinics fromNorm Stockton that helpbass players establish asolid foundation for theirplaying and help themadvance to the nextlevel.

Volume 1 covers topicslike “Warm-ups for theImpatient,” “ProperHand & BassPositioning,” “Effects,”and “The Heart &Ministry.” This videofocuses on playing con-siderations for contem-porary worship, sobassists at any experi-ence level will comeaway with valuable toolsand insights.

Grooving for Heaven Volume 2 is for

the contemporary worship bassist desir-ing to build upon a solid understandingof the fundamentals. Bass players will

emerge with a fresh per-spective on what to play,as well as performancesubtleties. Topics include“Bassic Communication,”“The Slap Style,”“Fretless Bass” andmore.

Here’s what the pros aresaying about thesevideos:

"I endorse and highlyrecommend thesevideos... very well done!" Abraham Laboriel, Sr.

"This section (Modes–Vol. 2) alone is worth theprice of both videos!"

Bass Frontiers Magazine(Jul/Aug ‘99)

The Bassist & Contemporary Worshipw w w . n o r m s t o c k t o n . c o mIn This IssueIn This Issue:

� “5 Minutes with…” An interview withN o r m S t o c k t o n

� Fantom: the nextgeneration workstationkeyboard for worship

� Norm’s Recipes forTasty Bass Tones

� “Grooving for Heaven”Instructional Videos

worship

Roland Corporation U.S.P.O. Box 910921

Los Angeles, CA 90091-0921(323) 890-3700

Fax: (323) 890-3735www.rolandus.com

E-mail:[email protected]

2887US4®ÂØÒÅˆÎ® All trademarks are property of their respective owners. www.RolandUS.com • FaxBack (323) 890-3780

Music in MotionFantom: A Next-Generation Interactive Keyboard Workstation

Documents

Music in Motion...Fantom has onboard rhythm patterns that can be triggered from keys. With several keys assigned to different grooves, players can add rhythm and percussion to support