Crumar Spirit User manual

spirit
OWNER'S MANUAL BY TOM RHEA
reJrm[J)JfMJrAJ[KL
sound design for the creative musician

AUDIO HOOKUP D.
Continue to GETTI NG A SOUND/TUNEUP section of this manual.
GETTING A SOUND/TUNEUP
BEFORE POWERING UP THE SPIRIT, CHECK THE PLATE ON THE
REAR PANEL FOR THE APPROPRIATE OPERATING VOLTAGE (117
Volt Model is for use in U.S.A.). DO NOT CONNECT A 117 VOLT MODEL
INTO EUROPEAN (220 Volts) MAINS WITHOUT AN APPROPRIATE
ADAPTER.
THE FOLLOWING IS A SOUND CHECK/TUNEUP: A QUICK AND SURE
WAY TO GET A SOUND FROM THE SPIRIT.
AFTER CHECKING THE SPIRIT FOR APPROPRIATE OPERATING
VOLTAGE, DO THE FOLLOWING:
FIRST ...
Do the following to "prepare" the Spirit:
A. Plug the Spirit power cord into a conventional power outlet.
1. (Follow instructions in AUDIO HOOKUP section of the manual.)
B. Connect the ADSR/MIX AUDIO OUT jack on the Spirit rear panel to
your amplifier input. The Spirit output is high level.
2. Turn all Spirit rotary pots (smooth turning knobs) to 12 o'clock position
Choose the least sensitive amplifier input, probably marked "high level."
Keep your amplifier volume knob to zero "a" to avoid connection
thump.
--"straight up."
3. Switch all rotary switches fully to the left.
4. Switch all rocker switches down.
5. Push all slidepots fully down.
C. Flip the power switch (near power cord) on the Spirit's rear panel up
(on).
6. Center the PITCH BEND wheel, and move the MOD X and SHAPER Y
wheels fully back toward you.
PREPARATORY PATTERN
~ ______ ~M~A~S~T~E=R~ ______ ~Ir--=O~S~C~I=L=L~~~T~O~R~A~41 ____________ ~O=S=C~I~L=L~~~T=O~R~B~ __________ --1
\
TRIGGER t- __ G_A_T_E __ S_E_L_E:;;.;C;;;,.T~---I
TUNE OCTAVE WAVEFORM SYNC.
WAVEFORM
OCTAVE/RANGE
INTERVAL
KBO
x
ON
V/EXT
ON
BINCILE
•
.0. } A·.O .. ~ [) ~.O. ,~.·.O. ~··I :: 9=
~~b~~,==~~~=32~.=,==.=:=.=4~h~~~~~50~3~~~~:5~8~1~~~O!iF====~~~40~~~~~~,~~~3~1 ~~UN='B=O=N=.;==:~2r~BA~5~5~~O~A~ON~E~P='T=CH=d
WHEEL OESTINATIONS AUDIO MIXER UPPER FILTER U FILTER ENVELOPE
S DDD
MULTIPLE • • •
.0· 0 0 o ... e' / 'M~N' = 1=1=:=1-1=
• L"_, _ •• c.--: .... · Q_', \ ,~q6.c 1 =~=
-CUTOFF-I-RESONANCE II-SLOPE--TRACKING 1- -A-O-S-R-
1 1 =A
·oj ·6-·-~ 0 ~O_uJ 'OVPABB I 1;~;11
o '10 0 10 au'.. -HIGH -1- -a- - -
OVEA_ BA':~~B DYNAMIC NORMAL - - -0- - -
LOWER ONLY DAIVE PAsa *
MOD X SHAPE X BHAPER Y
TO: WITH Y TO:
ON
·0· 0 ·0·
OFF FILT. OFF FILT.
• • u •• L
~!'i' • • r.~Ll· 'l~5' • • I:.';..~E
ole. T..5;: o:c. ~'W.:
OFF
BRIGHTNESS A A B NOISE
B RINO NOIBE
4 ." -1-1-1-1-'0 -1-1-1-
- -- --- --- -8- -- ----
--------,,------
.Q. :
BHAPER Y PATH
FILTEFI/ADSR PATH
LOWER FILTER L
LOUDNESS ENVELOPE
MOD X
ARPEOGIATDR
.0.
OFF • • LEAP
RIPPLE ARPEOGIO
MOD SOURCE
LFO/B+H RATE
BHAPER Y
MOOR
.0 .
F",· • ~
rL Nt..
KS HOLD RESET
SHAPE
-."
aOB
o '0
RATE
_ • B
aO-
o '"
Rotary pots to 12 o'clock. Rotary switches to left. Rocker switches down. Sliders down.
This Preparatory Pattern produces no sound. It is simply an easily remem-
bered
starting point.
3

4
THEN ... GETTING A SOUND ...
7. Switch veA switch in LOUDNESS EVELOPE section to BYPASS.
8. Push FILTER/ADSR PATH slider A up. (sound).
OCTAVE
.0.
MOD X
TO:
SHAPE X SHAPER V
WITH V TO :
ON
·0·
OFF F.LT.
• • u
~-W- ::.t!i~· · ,
o:c . ~~~
D
OFF. 0 ~OLT.
• • L
2.,!~ . • • ~';.~E
asc . csc .s
B AWM
BRIGHTNESS A B RING NOISE
o
SHAPER V PATH
GLIDE ;\1 ~
R- -8
// \'
D 1D
OFF ON
UP
AUTO
~
1
WAVEFORM
·0·
A. "-
. .
I"D_ •• _SI
LO~
rL
AUDIO MIXER
MASTER VOLUME
o
A B NOISE
-FILTER/ADSR PATH-
aLlDe
MODI!
DOWN
MOO BHAPER
)(
y
TUNEUP
SYNC. WAVEFORM
o
14D _ •• ~
L
010
rL
MASTER
KB AMOUNT
Q- 0--, 0
L __ , VARIABLE I 24 dB L __ ,
CUTOFF -1- RESONANCE :-- SLOPE --- TRACKING I
I I
I ,
___ -.J
oJ Os
LOWER ONLY
.0.
OUT • • HIGH
PASS
OVEA- BANO -
DAIVE PASS.
GATE SELECT
KBD
)(
Y / EXT
ON
o 000
-1-1-"'-
-1-1-
8-
I 1===
- -- -D-
NORMAL
-A--O--S--R-
MOD X
ARPEGOIATDR
.0.
OFF • • LEAP
MOD SOURCE
LFD/B+H RATE
o
SHAPER Y
MODE
.0 .
F~· • ~N
rL NI...
KD HOLD AESET
SHAPE
4AS
o
RATE
o

NOW... TO TUNE THE SPIRIT...
BEFORE TUNING ALWAYS CHECK TO SEE THAT THE PITCH BEND
WHEEL IS CENTERED.
9. Depress the key you want to match and tune using the TUNE control in
the MASTER section. You may want to select a brighter sound for
tuning; to do so, use the OSCILLATOR A WAVEFORM switch.
10 . Push FILTER/ADSR slider B (next to A) up.
11. Use
the OSCILLATOR B INTERVALcontrol to produce beatfree tuning
between Band A. (Note: Osc B is presently one octave lower that A.
Change OCTAVE/RANGE to UNISON to match pitches.) Once again,
you may want to Iisten to a brighter waveform; to do so, change the
WAVEFORM switch for Oscillator B.
When
you start from the Preparatory Pattern it is easy to get a sound:
switch VCA to BYPASS and raise the A slider. When tuning, tune A first
using the MASTER TUNE control, then tune B relative to A using the
I NTERVAL control and OCTAVE/RANGE switch .
For best signal- to -noise ratio, place MASTER VOLUME high (at least 5).
use reasonalby high slider
positions (at least 6). and adjust your amplifier
loudness to a comfortable listening level.
SOUND CHARTS
THIS SECTION SHOWS YOU HOW TO CREATE SOUNDS EASILY
BY DUPLICATING SOUND CHART SETTINGS ON THE CONTROL
PANEL OF THE SPI RIT, AND HELPS YOU LEARN THROUGH
EXPERIMENTATION.
Unlike the traditional arranger, who chooses from a group of instruments
with somewhat fixed characteristics, the synthesist is confronted by a
continuous spectrum of instrumental and non-instrumental sound textures.
Because the sounds of the synthesizer are not as fixed and well-known as
many other instruments, we have developed a notation system that shows
what the front panel of the instrument looks like when a particular sound is
produced - - the sound chart. A sound chart is only an approximation. To
get the most from these sound charts several ideas may be helpful:
PREPARATORY PATTERN
~ ________ ~_A __ S_T_E_R ________ ~I~_o==S=C~I=L=L=~~T~O~R~A~_~r ____________ ~O~S=C~IL~L~~~T~O~R~B~ __________ ~
\'
TRIGGER
~----------------~
GATE SELECT
TUNE
OCTAVE
'NAVE FORM SYNC . VtlAVEFDRM
ON
OCTAVE/RANGE INTERVAL
KBO
X
ON
v / eXT
ON
-
_0. } "-.0:,, [) "-.0.·,, .,-0. ~'OE' I ::0
1
~:
• • I 50 _,. ._ B I I 40 _. ._ 3 I UN,aON·.. l -sAa"
~~ , ~~,;=~~~~3~2~ ' ='B~ ' =B~ ' =4~!J~==~ ~ ~3~~ ~ ~~==~OhiF====~~~~~0nL~' ~ ~~======.='== · ~~' I ~~~~O~R~O_~=P'T=C=H=d
1;1 000
WHEEL DESTINATIONS AUDID ~IXER UPPER FILTER U FILTER ENVELOPE
MOD X SHAPE X BHAPER V
TO : WITH V TO:
ON
-0· 0-0·
O~F F"-T . OFF FILT.
• • u •• L
~ . • • ~,!-~ . i'ffi ' • • ~~~E
a.c . oac .A oec . Olle .•
A · AWM a RWM
.,...
a '0
BRI[JHTNEBa A 8 RING NOIBE
A B
NOISE
.. 0
4
-B a 1 111 : 111
- -- -- -- -4- --- ---
010 ________ R ______ _
- -- -- -- -0- -- ---
IIHAPI!R V PATH FILTER/ADBR PATH
MASTER
4 - B O
LOW. o'~d" KB .. A.O~NT I AM"UNT -1 -1-"'-1-1-
II 0 B - -i ~ 0B :: 0 ~~ 1 ~~~
o l ~O_1 VARIABLE I 24aa 0 L:_, I~T "!;;;;-AL- _ -0- __
-CUTOFF-I - RESDNANCE I I-SLOPE--TRACKING 1- -A-D-B--R-
1 1 ~A
·6j · 6-·-" .0. '·0-"] 'OVPASS I 1~11
· ~ · ~ -' .. ,- 1
ovER- BA~~B O'l'NAMIC NORMAL - - -0- - -
OICttVE PABB. LO\NER ONLY
LOWER FILTER L
LOUDNESS ENVELOPE
Rotary pots to 12 o'clock. Rotary switches to left. Rocker switches down. Sliders down.
~OD X
ARPEOCIIATOR
RIPPLE AAPlEOOlO
MOO BDURCI!
LFO/B+H RATI!
a ....
BHAPEA Y
MOO.
SHAPe.
... -
"0-
o 10
RATE
.. -.
"0-
o 10
5

6
1. Start from the Preparatory Pattern.
This assures that controls that do not playa part in the sound will not
interfere.
2. Set up the sound chart accurately .
3. Change
the MASTER CUTOFF control to alter tone color.
4. Adjust ENVELOPE settings, especially "A" and "D."
5. When simulating orchestral instruments , place the synthesized sound in
context by playing in the appropriate pitch range, and select musical
lines
that could be played on that instrument .
6.
Don't forget you are playing a soloistic instrument; such instruments are
played expressively. Use
the PITCH BEND wheel and the MOD X wheel
to do what solo instruments do best: bend pitch and vary vibrato.
The following sound charts illustrate some of the Spirit's sound world. Play
with them in any orde r. Try them by the book first, and then experiment .
SOUND SOURCES
MOD X SHAPE X SHAPER V
TO: WITH Y TO:
ON
OF' 0 ~'CT . 0 OF' 0 "'CT .
• • u •• L
Dac . • • FILT. asc . • • LFO
A+a U+L A+a RATE
cae . oeC .A - CBC . OSC.a
A . AW'M a AWM
OFF
BRIGHTNESS A B NOISE
a------
4------
a- ~ ---
:=1=1=1=
_ ...... __ ....... 0 - -- -- -
- FtL.TER/ADSR PATH-
EXPLORATION OF RAW AUDIO SIGNALS.
1. Start from the Preparatory Pattern.
2. Push slider A in
SHAPER Y PATH up.
(Sound is articulated repeatedly).
3. Strike highest note on keyboard.
MASTER KB AMOUNT
-6· 0--' 10 aOs
0 1 10 o j .,o
L __ -, VARIABLE I 24 d B L __ ,
TRIGGER
SINGLE
GATE SELECT
r---------~
KBD x
ON
V/EXT
ON
oD DD
MULTIPLE • • •
-A- ~ -O-S-R-
-CUTOFF -1- RESONANCE :- SL.OPE -- TRACKING 1-
.. ·a i 4 .~--~ FOoAMANT. i "O~~s =I =f-:=l=l=
aO~ aOs 0 j =1_=:===
• . _1- -2- __
0.,0 OUT • • ;;:'::"°aMs -e- 0- __
OVEA - BAND- DYNAMIC NORMAL
LOWER ONLY
DAIVE "Asa.
6. Switch Osc B OCTAVE/RANGE to WIDE.
MOO X
SHAPER Y
I-----------i
ARPEOGIATOR
.0.
OFF • • LIEAP
MOD SOURCE
LFD/B+H RATE
4 ...
aOB
MODE
.0 .
F",· • ~
rL Nt.
KB HOLD Re..,.
SHAPE
-6-
o
RATE
Push RING slider (only) up. Play with INTERVAL and Octave.
7. Push NOISE slider (only) up .
4. Play
with each control - - individually - - in the MASTER, OSCI L-
LATOR A, and OSCI LLATOR B sections. Return each control to its
original position after you play with it.
YOU LEARNED : The MASTER section affects both oscillators. There are
individual controls for A and B. Each oscillator has its own WAVESHAPE
control, which changes the basic tone color . RING can produce bell-like
sounds; WAVEFORM controls have no effect on RI NG, or Ring Modulator
output. NOISE sounds like static - - has no definite pitch.
5. Repeat step 4, with (only) slider B pushed up.

MASTER
OSCILLATOR A
TUNE
OCTAVE
WAVEFORM
WHEEL OESTINATIONS
AUOIO MIXER
MOD X SHAPE X SHAPER Y MASTER VOLUME
TO: \NITH Y TO:
ON
·0· D·O.
OFF FILT . OFF FILT .
• • U
•• L
~!ii ' • • C':l' ~':5 ' • • ~~~e
esc . OSC .A esc . OSC .S
A · RWM B RWM
BRIGHTNESS A B RING NOISE
A B NOISE
·6· 11 l' 1-1 ~ ttl
--------2------
'0
--------0- ____ _
BHAPER Y PATH - FIL.TER/ADSR PATH-
FAT FILTER
SYNC .
o
OSCILLATOR B
WAVEFORM
"'.0.· .....
140 _. ._ 3 I
L01~
n...
UPPER
OCTAve / RANGE
MASTER
l.OW e
Adjust to unison
,
INTE VAL
•
KB AMOUNT
[3- -; 0 00'
-6-
o J 10
L ...... _-, VARIA.LS I : 24 c:t B L __ ,
';-- CUTOFF :-I- RESc)NANCE 1-, - SL.OPE -- TRACK ING 1-
" < r " I
I ' r~-- J I=ORMANT.. I
< 4 • • I 4 a I
'Q~ .Q. J)o""" OJ
PASS
OVER · BAND-
OYNAMIC
DRIVE PASS ..
LOWER FILTER L
EXPLORATION OF GATING AND UPPER FILTER FEATURES.
1. Play... (no sound). Switch GATE SELECT KBD switch ON. Play!
2. Try GATE SELECT switches individually and in combination.
MOO X
SHAPER Y
ARPEGGIATDR
MODE
o .0.
OFF • • LEAP
.0.
/"'../".. •• A..
FReE RUN
MULTIPLE
RIPPLE ARPEGGIO
rL N'l..
KS HOLO RESET
FILTER
ENVELOPE
MOD SOURCE SHAPE
AM~UNT -1-
1
-"'-1-1-
'·0· -1- -9-
1
- -
- - -6- --
V A t t:=
INVERT NORMAL
-6-
o
-A-O-S-Fl-
VCA
LFO/B+H RATE RATE
BYPASS =1=1 =:=r=l=
O
-I- I -e- --
=~=l=:=I=== ==
NORMAL - - -0- -- -
LOUONESS ENVELOPE
3. Place (only) KBD switch ON.
4. Hold key and listen. Switch UPPER FI L TER RESONANCE switch
between VARIABLE and LOW and compare. Return to VARIABLE
position .
YOU LEARNED: Must have one GATE SELECT switch ON to articulate
sound in FI L TERjADSR PATH. Sound can be gated by MOD X, SHAPER Y,
or keyboard.
5. Experiment with LOWER FI L TER RESONANCE control. Return to 10.
6. Alter setting of MASTER CUTOFF . Play. Return to original position.
7. Do same with LOWER ONLY CUTOFF.
Filter resonance affects sound greatly. Resonance of UPPER F)L TER is
varied by (lower) RESONANCE control when VARIABLE position selected
above. MASTER CUTOFF sets filter "starting point." LOWER ONLY
CUTOFF inoperable when Lower Filter is OUT (look again).
7

8
50
MASTER
TUNE OCTAVE
I
.0.
·0·
"'. • r-...
31ii!" • • a'
"IB' s'
I ~o _. ._ 6 I
LO~
rL
DESTINATIONS
AUDIO MIXER
MASTER VOLUME
BRIGHTNESS A B RING NOISE
A B
NOISE
UP
DOWN
BHAPER V PATH
Ii".
- FILTER/ADBR PATH-
GLIDE
MODE
OFF ON
I f
PITCH
BEND
MOD
)(
AUTO
BHAPER
Y
MOD WHISTLE
OSCILLATOR B
TRIGGER
GATE SELECT MOO X SHAPER Y
WAVEFORM OCTAVE/RANGE
' :6: [] ODD
DRONE PITCH MULTIPLE ••
o
·0· ·0·
A.. • • '" -1. • WIDE
1
40
_. -_ :3 1 UNISON.. BASS
L01~
rL
ARPEGIGIIATOR
.0.
OFF • • LEAP
ARPIEOQID
MOOE
.0 .
F~ •• ~N
rL ,vi...
KB HOLD REBET
UPPER FILTER U FILTER
ENVELOPE
MASTER KB AMOUNT AMOUNT _ __I_~_ -- _
_Qo 0--, 0 _Qo ;6~ I I~~~I=I=
L __ --, VAR'ABLE 1 24 dB L __ , 'NVERT NO"MAL----~o-EE
-CUTOFF- I- RESONANCE II-SLOPE--TRACKING 1- -A--O--S--R-
I I VCA
·OJ -6-·-~ .0. 'OOO.OOJ 0 I 1~r=I=
OUT •• H'GH =' t l=t
OVER- BA':~~S DYNAMIC NORMAL - -- -0- -- -
SHAPE
·6·
RATE
LOWER ONLY DRIVE PASS.
LOWER FILTEI=I L LOUDNESS ENVELOPE
EXPLORATION OF X MODULATIONS
1. Play. MOD X wheel controls vibrato amount.
2. Adjust vibrato speed with LFO/S+H control.
3. Try all MOD X TO: positions; for each, move MOD X wheel fully forward
and back.
4. Repeat step 3
for each MOD SOURCE position.
YOU LEARNED: MOD SOURCE determines the shape of modulation signal;
MOD X wheel controls the amount; MOD X TO: determines where the signal
goes.
GLIDE smoothes pitch transitions.

Osc B
TUNE
WHEEL.
MOD X SHAPE
TO : WITH V
ON
OFF· 0 ~'CT . D
'1.'!~ ••• ~'!-~
otIC . 08C .A
A · RWM
BRIGHTNESS A B
BHAPER V PATH - FILTER/ADSR PATH-
GLIDE -:\ I /~
R-
-8
/.
\'--
D 10
UP
~
I
DOWN
PITCH
BEND
IMPORTANT!
DFF DN
MDD
X
AUTD
OLh::J&
MqOE
MASTER
4 • 6
"OS
o I .,0
SYNC
+1
KB AMOUNT
TRIGGER t-_G_Ai._T_E_S_E_L.,;;;E..;;C;.,.T_--i
MOO X
o ODD
MULTIPLE ••
ARPEGOIATOR
.0.
OFF • • LEAP
RIPPLE ~P.ClOIO I . ' ~ . . . ...... ",
FIL.TER ENVEL.OPE
.sO." -1- -6- - -
=1=' =:= == ·0·
-4 +4 _ __ _ .. _ __ _ /".::: • • 0:
0-- ; 0 -Q-
L_-
t
VARIABLE I 24 dB L_ - i
- CUTOFF - I- RESONANCE :- SLOPE -- TRACKING I-
AM~UNT -1-I-G -l1 -= ~U"C.
V ~ 0 ~ •• ::l~?8E
INVERT NOAMAL~--l= '"--...",~--"
-A-O--S-R-
I I
I .- - - - .-J FORMANT. I
veA
LFDI&+H RATE
-oJ -0' o",Qo"_ D-J
PASS
LOWER ONLY
OVEA- BANO-
DAIVE PAa ••
DYNAMIC
L.OWER FIL.TER L. L.OUONESS ENVEL.OPE
EXPLORATION OF OSCILLATOR SYNC
1. Play (siren). Put SYNC switch ON.
Play (sync sound).
2. Play - - change Oscillator controls In shaded area. Return to original
positions. (Important!)
3. Put SHAPER Y TO : switch to OFF .
Play
(no sync sound). Return to OSC B.
4.
Move SHAPER Y wheel fully back toward you. Play (no sync sound).
Move wheel forward.
5. Experiment with - - one at a time - - the SHAPER Y section controls.
6. Repeat steps 1 through 5 with only the A slider up .
YOU LEARNED : The sync sound is heard when SYNC is ON, Osc B is
listened to, and B pitch is moved. It is important to tune Osc B pitch higher
than A to get a strong sync sound.
Osc A WAVEFORM doesn't influence sound heard at slider B. Osc B
WAVERFORM does somewhat.
9

10
OSCILLATOR A
WAVEFORM
·0·
A "-
. .
I eo _ •• _ e I
LO~
rL
AUDID MIXER
MASTER VOLUME
BRIGHTNESS A B
RING NOISE
-l-'-§l-'O
80 ....
8= -
l=-=: S,
--------- .. ~
0.,0 - __ _ ___ a,
- -- -- - 0 ,.. ,; ~ ,
UP
BHAPER Y PATH
aLICE ;\I/~
8- -B
I'\:
PITCH
BEND
'1\
OFF ON
AUTO
--~ ..
GLIDE
MODe:
SHAKE SHAPE
OSCILLATOR B TRIGGER
GATE SELECT
~------------------~
SYNC . WAVEFORM
OCTAVE/RANGE
INTERVAL
D DD~
MULTIPLE
-. .
UPPER
FILTER
ENVELOPE
ARPEG(JIATOR
.0.
OFF • • LEAP
~IPPL. ARPII!!DGIO
SHAPER V
MODE
.0.
F~.· ~
rL Nt..
KB HOLO RESET
KB AMOUNT
'0
0
0-- , []
L __
j
VARIABLE I 24(:111 L _ _ ,
SHAPE
.. A.
' -CUTOFF - 1- RESONANCE :- SLOPE --TRACKING I-
I I
VCA
-A---O---S---R --
·dJ ·o·-~
BYPA8S
D
.0.
OUT •• ;;:~GBHS
OVEA- BANO·
NO~MAL.
RATE
LOWER
ONLY
OAIVE "ASS.
LO\NER FILTER L
LOUDNESS ENVELOPE
EXPLORATION OF SHAPER Y VIBRATO AMOUNT/RATE CONTROL
1. Hold any key down. (Immediate vibrato).
2. Switch SHAPE X WITH Y SWITCH ON. Play. (Vibrato amount is
shaped by Y).
3. Switch SHAPE X WITH Y SWITCH OFF.
4. Move SHAPER Y wheel to midpoint. Play. (Vibrato rate is increased
by V).
5. Try different SHAPER Y wheel and LFO-S+H RATE settings; experi-
ment.
6. Adjust MOD X wheel for desired vibrato depth . Repeat step number 2.
YOU LEARNED: MOD X wheel determines the maximum depth of modula-
tion routed to MOD X TO: switch. SHAPE X WITH Y switch shapes within
that maximum.
Shaper Y alters MOD X rate when SHAPER Y TO : switch is toLFO RATE.
The Y wheel sets fastest rate; LFD/S+H RATE sets slowest (beginning) rate.

MASTER
TUNE
OCTAVE
WHEEL DESTINATIONS
Mdb ·,x
TO' : ':'
SHAPE x SHAPER Y
WITH Y TO :
ON
'1 00
'"
~,{! • •
"l'. FlLoT OF!" FILT
u •• L
~l.c I ~~5 • • ~~!?e
osc esc .s
B AWM
OFF
OSCILLATOR A
WAVEFORM
AUDIO MIXER
MASTER VOLUME
BRIGHTNESS A B RING NOISE A B NOISE
UP
&HAPER V PATH
- FILTER/ADSR PATH-
GLIDE ;\ I 1:-
Ii!-
-8
/.
\'
0
10
I
r
PITCH
BEND
'1\
GLIDE
MODE
OFF ON
AUTO
BHAPER
y
SYNC .
o
OFF
SAMPLE & HOLD
OSCILLATOR B
WAVEFORM
OCTAVE / RANGE
",e.O .. " .,e.O. ~'OE
[:
0 ..~ UNISON.. BASS
_0 .,0
rL
UPPER FILTER U
INTERVAL.
KB AMOUNT
4 e s
TRIGGER
~~~~~~----~
SINGLE
o
MULTIPLE
FILTER ENVELOPE
.. ." -1- -B- --
O
=1 '= 1 =:= ==
·4 '4 •
MOO X
ARPEGGIATOR
eO.
OFF • • LEAP
ARPEOGIO
SHAPER Y
MODI!
eO.
F", •• ~N
rL N'L
Ka HOLD RESET
0_-
'1
0 -OB
01_ 01_
AM~UNT - -'-"'-~1-
- ---1-
2-
-- - --
V A_~ - 0- _
INVERT NORMAL
L __ -, V ARIABLE I 24 dB L __ -,
- CUTOFF -1- RESONANCE :- SLOPE --- TRACKING I-
-A --- O---S -- -R -
VCA
I 1
·oJ · o· -~ "",Q._ IJ) CJ hl~r 8
OVER- BANO-
CAlVE PASS. LOWER ONLY
LOWER FILTER L
LOUDNESS ENVELOPE
EXPLORATION OF SAMPLE AND HOLD MODES
1. Hold any key down . (Filter effect).
2. In GATE SELECT section put switch X ON . (Auto-repeat).
3. Change MOD X TO: the OSC A+B position.
4. Change MOD SOURCE to position Y. (The pattern is now regular, not
random .)
5.
Vary SHAPE, then RATE in SHAPER Y section.
6.
Vary MOD X RATE.
YOU LEARNED : S&H effects are routed through the MOD X wheel.
Therefore, the MOD X TO: switch selects destination of S&H pattern,
determining whether S&H effects pitch, tone color, etc.
MOD X LFOjS+H RATE determines S&H rate. SHAPER Y output determi-
nes S&H pattern when MOD X is in Y position. RANDOM MOD X position
causes random sample and hold pattem.
11

12
MASTER OSCILLATOR A
TUNE OCTAVE WAVEFORM
.0.
32" •• 4"
1& e"
A·.O.· .......
150 _. ._ e I
LO~
rL -
MIXER
MASTER VOLUME
BHAPER V PATH
___ - FILTER/ADSR PATH-
GLIDE -:\ I ~
UP
DOWN
2- -8
/. \"
D 10
1
PITCH
BEND
OFF ON
AUTO
GLICE
MODE
PARALLEL RECTANGLES
Adjust
OSCILLATOR B
TRIGGER GATE SELECT
r---------------~
MOD X
SHAPER Y
SYNC. WAVEFORM OCTAVE / RANGE
o
OFF
·0·
A .......
1 4'; _ •• _ ·31
LO 1~
rL
ARPEGGIATOR
.0.
OFF • • LEAP
RIPPLE ARPEGGIO
u ODD
-.- .
MODE
.0 .
F~· • ~N
"- N1..
KB HOLD RESET
UPPER FILTER FILTER
ENVELOPE
MOD SOURCE SHAPE
KB
: 0· U--, []
L __ , VARIABLE I 24dB L __ ,
·0·
o
" /I
AM~UNT -'-f"'- -§
- ,- -e-I_-
·~O·2 =-- _==:1--
V A -t=I-~-r=-
- - -0- ---
INVERT NORMAL
-CUTOFF- I- RESONANCE :- SLOPE-- TRACKING I-
I I
VCA
-A-O - S-R-
·bJ ·cs·-~
LOWER ONLY
.0.
OUT • • HIGH
PASS
OVER-
CRIVE
BAND-
PASS.
FORMANT. I
1J
J
LFO/B+H RATE
RATE
BYPASS =, =1 =::=:~~
O
- 1-1=e--
=,=T=::=: ==
NORMAL - - -0- -- -
LOWER FILTER L
LOUDNESS ENVELOPE
EXPLORATION OF OSCILLATOR TUNING AND RECTANGULAR
WAVE MODULATION
L
Hold highest note on keyboard. Adjust INTERVAL control to create
interval of perfect fifth between oscillators. Use MASTER VOLUME
sliders to iisten to each Oscillator individually. then together.
Raise Slider A only. Push MOD X wheel fully forward and listen.
Raise Slider B only. Push SHAPER Y wheel fully forward and listen.
Raise Sliders A and B. Adjust wheels. Play.
Repeat experiment. Try all WAVEFORM settings.
YOU LEARNED: Osc B can be tuned to an interval above (or below) Osc A.
RWM is Rectangular Width Mudulation; it has no effect on Triangular and
Sawtooth waveforms. Osc A and Osc B RWM can be done independently
(see WHEEL DESTINATIONS).

MASTER
OSCILLATOR A
TUNE
OCTAVE
'WAVEFORM
·0·
A. ."
150 _. ._ S I
L O~
n...
WHEEL OESTINATIONS AUOIO MIXER
MOD X SHAPE X SHAPER Y MASTER VOLUME
TO : WITH Y TO :
ON
OF' 0 ~'LT . 0 OF' 0 ·F'LT .
• • u •• L
aBC . • • F.LT . esc . • • L F O
A+e U +L A . e RATE
esc . oaC .A esc . csc .s
A . RWM B RW M
OFF
BR IG .... TNESS A B B NOISE
SHAPER Y PATH
GLICE ::.\ I 1';-
aL.ICE
MODE
.. -
-B
/.
\"-
'1 \
0 10
OFF
ON
UP
AUTO
I j
r 1 •
DOWN PITCH
MOO
SHAPER
BEND
X V
ARPEGGIO
OSCILLATOR B
TRIGGER I--_G=..:....A~T-=E=---.=S:..:E:..:L:..:E=C....:T_----l b-_M...;,O,;;;..;;O;;,.....-,;.,X;...,.....j
SHAPER Y
S Y NC .
WAVEFORM
OCTAVE / RANGE
INTERVAL
u OD D
AR ... ~ A,Td"
~.o .. " ., .. 0. ~'OE
.0.
~
o • ._ :3 I UNISON.. BAS _
eD 1 ~
n...
MULTIPLE
• •
F~ •• ~N
IL. Nt..
KB HOLO ReseT
MASTER
4 • S
a O-
o I 10
L_ _ ,
I
I
a (j J
LOWER ON LY
UPPER FILTER U
0- ;0
V AR I ABLE I 24 dB
·cr ~ .0.
OU T •• =~0.rs
OVER - BANO-
DRi v e P A SS.
LOWER FILTER L
KB AMOUNT
aO-
o I 10
6. __ ,
LOUONESS
EXPLORATION OF MOD X ARPEGGIATOR
1. Play and hold a three-note chord in middle of keyboard.
2. Try different ARPEGGIATOR modes wh i le holding chord.
3. Push
LOUDNESS ENVELOPE slider R to "4."
Turn FI LI ER ENVELOPE AMOUNT to "+4."
4. Raise NOISE slider in SHAPER Y PATH.
5. Change LFO/S+H RATE; watch X and Y RATE lights.
SHAPE
·6·
YOU LEARNED: The Spir it will make a sequence of notes played on the
keyboard when the ARPEGGIATOR is on. Octave changes occur in the
ARPEGGIO and LEAP modes.
Sound produced may be enveloped by FI LTER ENVELOPE and LOUDNESS
ENVELOPE .
ARPEGG IATOR modes cause SHAPER Y RATE to synchronize with LFO/
S+H R ATE. (Ex ception : FR EE MODE).
13

14
SHAPER V PATH
GLICE ;.\ I /~
UP
I '
DOWN
R- -8
/. \'-...
o "KJ
PITCH
BEND
CJLIDE
MODE
OFF ON
MO _D
X
AUTO
BHAPER
y
NOISE SCALE
TRIGGER
GATE SELECT
MOO X
ARPEGGIATOR
.0.
OFF • • LEAP
I L.FO/S+H RATE
LOUONESS ENVELOPE
EXPLORATION OF NOISE AS SOUND SOURCIE
l. Play keyboard . Turn RESONANCE to " ] 0." Play!
SHAPER Y
MODE
.0.
F", •• ~
r-L Nt..
KB HOLD RESET
SHAPE
·6·
o 10
RATE
2. Compare noise pitc h to Osc A pitch. Use SI ' ider A only, then NOISE
Slider only.
3. Hold lowest key and "tune" noise to Osc A pitch using MASTER CU-
TOFF. Adjust keyboard scale (interva l size) using KB AMOUNT TRA-
CKING control.
4. Play. Push MOD X wheel forward . Note position of MOD X TO : switch.
5. Put MOD X wheel fully forward . Change MOD SOURCE. Play. Vary
LFO/S+H RATE .
YOU LEARNED: Noise takes on the pitch of fi l ter cutoff frequency when
resonance.is maximum. KB AMOUNT TRACKING causes the filter cutoff to
move, or "track" the keyboard.
Filter modulations sound like pitch changes when filter resonance is ma-
ximum. (Because the cutoff frequency determines pitch, and it is being
moved .)

INVERTED GUITAR
~ ________ ~~ ~ A ~ S~T~E ~ R ~ __ ______ ~I~~D~S~C~I~L~L~A~T~D~R~A~_I~ ____________ ~D=S==C~I=L=L~A~~~O~R~B~ ____________ _1
\
TRIGGER GATE SELECT
r--- - ---- --~
MOD X I
BHAPER Y
r---- -'1
TUNE
OCTAVE
WAVEFORM
SYNC . WAVEFORM OCTAVE / RANGE
INTERVAL
ARPEOGIATOR MODI!
.0. ) A· .0 .. " 0- "0 "~"" 0 ~OO·I
.· ~~ ~ t. ~ UN' S ON· • ., [BASS I
~~ b ~===I~==~ ~~ 3 ~ 2 =' ~B ' ~8~4==~~ ~~~~~ nL ~ ~~~~0 ~ j ~ F == ==~~ R O~nL~'~0~ ~~~~=.~ ' ~. 2~~~~~0~~0~N~E~P'=TC=M~
[] ODD
MULTIPLE ••
.0.
O F F • • LEAP
RIPPLE AAP . OGIO
.0.
F~· • ~N
rL N'l.
KII HOLD RESET
-
\NHEEL DESTINATIONS AUDIO MIXER UPPER FILTER U
FILTER ENVELOPE
MOO X SHAPE X SHAPER V
MASTER VOLUME
TO : WITH V TO :
ON
OFF· 0 ~' " T . DOFF. 0 ·F'"T .
OBC . ·. • ~'".::' osc~. • tFO"
A.e U +L A + B R A TE
esc . esC .A e s c . CSC .S
A · RWM B AWM
OFF
.'
BRIGHTNESS
A B
RING NOIS E • •
NOISE
4 B - I -l- ' ~-'O _ " ~ '. ,. ~ ; ' , I I-
· -~ -1- -8 _ - I-
' : ., I
2 0e= === =: ,.' ~ .; =
o '0 - - - - - 2 - .:.:"..u -1 -
- - - - 0 ;- -----1:- , ~
UP
DOWN
SHAPER Y PATH
PITCH
BEND
'1\
OFF ON
AUTO
Ie
( VIBRATO)
;:- . ~ .. '" .. '
GLIDe;
MODE
FILT I! R / AOSR PATH
'2. " KB AMOUNT / . "':;"P':; N;' MASTER
ROe
MOD SOURCE SHAPE
-0·
o I .,0
o '0
O- -i 0 -Q. , ~ ,, ~ t nt1
L __ , VA RI A EIL E I 2 4 d B L _ _ , lN VE RT: .. "'IO ~ M A ":- -- -0 - -- -
-CUTOFF -i - RESONANCE : -SLOPE -- TRACKING i - VCA - A -- O- - S- - R-
-dJ · d:- - ~ o.;9"~ ,. " :Q "J 0 ~ ~I~E
O V ER - II AND -
LFO/B+H RATE
RATE
LOWER ONLY DR IV E PAS S .
LO\NER FILTER L
LOUDNESS ENVELOPE
EXPLORATION OF NORMAL/INVERTED FILTER ENVELOPES
1. Hold a note in mi ddle of keyboard for 10 seconds,
2.
Turn FI L TER ENVELOPE AMOUNT to "+ 4 ." (NORMAL) .
Repeat step
number 1.
3, Turn FI LT ER ENVELOPE AMOUNT to "- 4." (I NVERT),
4, Turn FI L TER ENVELOPE AMOUNT to -2.
5. Push B
Slider up and SHAPER Y wheel forward. Play.
6. Use MOD X whe el to introduce vibrato ,
YOU LEARNED: NORMAL filter envelopes cause the filter cutoff to rise,
then fal l. INVER T (ed) filter envelopes cause the filter cutoff to fall, then
r ise .
The Spirit synthesizer has balls,
15

16
SYNTHESIZER BASICS
The synthesizer offers the performer new ways to deal with the properties of
sound: pitch, timbre (tone color), and loudness. With electronic musical
instruments, form need not follow function. That is, the physical construction,
size and shape of the synthesizer doesn't dictate the sounds it produces. The
way its electronic elements are connected, controlled and calibrated does.
The early versions of the modern synthesizer were modular. This type has
separate modules - - like stereo system components - - that provide
independent and variable control over sound properties. An inexpensive and
reliable way to connect these modules is with cables called "patchcords."
Synthesizers designed specifically for live performances - - such as the
Spirit - - let you "patch" together sections (modules) of the instrument
using switches, knobs, and sliders instead of patchcords. (Even when pat-
chcords are not used, a synthesizer control panel setup is still often referred
to as a "patch. ")
For the purpose of learning about synthesizers, let's continue to think of the
synthesizer as a collection of modules that do different things, and require
patchcord connection. Since sound has the properties of pitch, timbre, and
loudness,
it follows that the synthesizer has modules dealing with each
property:
SYNTHESIZER SOUND MODULES
The synthesizer manipulates electronic signals - - sound is created by a
speaker.
Sound starts as an electronic signal capable of driving a speaker --
an audio signal. Not surprisingly, the module that does this is called an "au-
dio signal generator." This generator is sometimes called simply a "sound
sou rce."
A sound source generates the unrefined tone or noise that can be shaped into
musical sound. Take the mouthpiece of a trumpet and buzz sounds using
your lips - - this is an unrefined sound source! The timbre module on most
synthesizers acts somewhat like a trumpet mute - - each is a sound modi-
fier. The loudness module is another modifier, like the bell of the trumpet.
The pitch module of the synthesizer is a sound source similar to the lips,
mouthpiece, and column lengths that make trumpet pitches.
We need at least two things to get sound from a synthesizer: a sound source
and a speaker
to translate the audio signal coming from the sound so urce:
MINIMUM AUDIO "PATCH"
MONITOR
SOUND SOURCE
AMP
&
~PITCH~r ~-- --·---- - "m(
The sound produced by this most basic of "patches" is not interesting. The
sound properties are static - - they don't change. Now let's insert the tim-
bre and loudness modifiers between the sound source and the speaker:
SOUNO SOURCE
SOUND MODIFIER
PITCH
TIMBRE
SOUND MOD IFIER
LOUDNESS
MONITO'R
AMP
&
SPEAKER /
The path from sound source through the modifiers to the speaker is called
the "audio signal path." Note that the sound source has only an audio output
since it actually generates the audio signal. The mod i fiers have both an audio
input and an audio output since the signal to be modified passes through
them.
Now let's use the appropriate synthesize r terminology, The pitch-generating
module is called an oscillator, the timbre-modifying module is called a filter,
and the loudness modifie r is called an amplifier. The diagram below shows
these
synthesizer modules in the audio signal, path tha i establish a pitched
musical sound:
TYPICAL AUDIO SIGNAL PATH MODULES
SOUNO SOURCE
SOUND MODIFIER
SOUND MODIFIER
OSCILLATOR FILTER
J
AMPLIFIER
,I l

Modulation
Modulation is a change - - typically a recurring, or repetitive change. Let's
consider the case of vibrato. Vibrato is a repetitive, smooth change above
and
below a "center" pitch . The VCO's make pitched sound; we simply
must find a source that makes smooth up-and - down voltage chang. es around
zero volts so we can control the VCO. What, not another oscill ator? Right.
An oscillator connected to the control input of a VCO. Of course we will
want this control signal generator to run very slowly - - at about 6 Hz for
vibrato speed! What we need is a "low frequency" oscillator, or LFO.
MOD X
Mod X is a source of control signals. Part of this section is our needed low
frequency oscillator - - LFO . The LFO part is represented by the triangle
and square waveforms on the MOO SOURCE switch. The frequency of this
LFO is determined by the LFO/S + H RATE control.
When any MOO SOURCE is chosen, it is routed to the MOO X wheel where
its size may be controlled (attenuated), and sent to the MOD X TO: switch
in the WHEEL DESTI NATIONS section. All Wheel Destinations are control
inputs . All MOD SOURCES are (controller) outputs . In some cases (e.g.
OSCI LLATOR B). one section can be used as a sound source and/or a con-
troller.
SHAPER Y
Shaper Y is a simple envelope generator in every MODE except FREE. In the
FREE mode Shaper Y becomes a low frequency oscillator. In either case the
symmetry or shape of the output signal is determined by the SHAPE control,
as panel graphics indicate.
ATTENUATORS
An attenuator reduces the size of a signal. It is easy to hear and understand
attenuation of an audio signal - - the sound gets quieter. As signals are
pictured traditionally, attenuation causes the height (vertical) of the signal to
be reduced . The Spirit has a number of attenuators . The most obvious are
the MASTER VOLUME control and the sliders in the AUDIO MIXER ,
which control audio levels (signal size).
The FI L TER ENVELOPE AMOUNT knob attenuates the envelope sent to
the filter control inputs, allowing more subtle (smaller) movements of the
cutoff frequency.
The MOO X and SHAPER Y wheel are attenuators that let you "play" the
site of modulation signals such as vibrato.
It is useful to know that attenuation always occurs "toward zero." That is,
signal size is attenuated toward "0" volts, whether the signal is presently a
negative
voltage or positive. This allows predictable attenuation of control
signals - - some of wh ich involve only positive voltage excursions (Loudness
Envelope); others both positive and negative excursions (Triangle position of
MOO SOURCE switch).
25

26
SPIRIT SYNTHESIZER: AUDIO
DESCRIPTION OF FUNCTIONS
WHEEL
MDD X SHAPE X SHAPER V
TO : WITH Y TO :
ON
OFF· 0 ;"LT . 0 OFF· 0 ""LT
~!li · · • • ~I!-[ 2~i~ • • l';..~Le
CSC . eSC.A DSC . aSC .B
A · RWM B AWM
The Sound Sources of the Spirit include two tone oscillators and a noise
generator. The Noise signal is a combination of white and pink random noise
suitable for producing pitchless sounds. A ring modulator provides clangorous
(bell-like) sounds by generating new partials (sum and difference pitches)
from OSCI LLATOR A&B triangle waveforms via fixed internal connections.
The audio signals follow two different paths, as the AUDIO MIXER section
indicates: The SHAPER V PATH routes a mix of all possible sound sources
- -
including ring mod - - through a simple 6 dB/octave BRIGHTNESS
filter, then though a voltage controlled amplifier (VCA) whose gain is con-
trolled - - "shaped" - - by the SHAPER V section . The SHAPER V
PATH audio signal is alwllYs available at the SHAPED AUDIO OUT jack on
the back panel.
TRIGGER GATE SELECT
r-~~~ ~~~ ~
KBD
X
ON
V / EXT
ON
o 000
FILTER
ENVELOPE
AMc:,UNT -'--1-'0---
-e o·aII 1 ===
- 4 .4
V A===:==
IN VE RT NORMAL
-A-C - S-R-
VCA
BYPASS
- 1-
- -
=1=
-- -
- - -
o
LOUDNESS ENVELOPE
MOO X
ARPEGGIATOR
.0.
OFF • • LEAP
RIPPLE ARPEGGIO
MOD SOURce
LFO/B+H RATE
SHAPER v
MODE
.0.
F~ •• ~N
rL- Nt.
KB HOLD RESET
SHAPE
4 A.
RATE
The FI LTER-ADSR PATH routes a mix of the tone oscillators and noise in
series
through dual voltage controlled filter sections - - the LOWER FI L-
TER L and the UPPER FILTER U. The cutoff frequencies of these filters
can be "enveloped," or moved by the FI L TER ENVELOPE to create dyna-
mic tone colors . Th is path also has a VCA that can be bypassed, or its gain
may be controlled by the LOUDNESS ENVELOPE section . This signal path
is available only at the ADSR/MIX AUDIO OUT jack on the rear panel.
The Spirit is a stereo instrument. The outputs of the two audio signal paths
appear
as separate signals at their respective audio outputs on the rear panel
--SHAPED AUDIO OUT and ADSR/MIX AUDIO OUT. However, if there
is no phone plug in the SHAPED AUDIO OUT jack, a mix of both signal
paths
is available at the ADSR/MIX AUDIO OUT jack . When both jacks
are used, a stereo
mix is possible; for mono, use only ADSR/MIX AUDIO
OUT to hear both signals at a single jack. The MASTER VOLUME knob
c ontrols, or "attenuates" " the volume of both signal paths .

CONTROL
MASTER
OSCILLATOR A
OSCILLATOR B
TUNE
OCTAVE WAVEFORM
SYNC. WAVEFORM
OCTAVE / RANGE
TRIGGER
INTERVAL
SINGLE
GATE SELECT
KBD x
ON
v / eXT
ON
MOO : ?< . · . SHAPER Y
.0.
·0·
A. "-
. . O 0 .
20 '"
. . . .
A ......... - '1 WIDE _4 _4
. . ..
o o
000
C:
0
•• _ 31
UNISON • • BASS
20 1 ~
rt..
MASTER VOLUME MASTER
KB AMOUNT
0--; 0 oQ.
L _ _ , I L _ _ ,
-CUTOFF -I- RESONANCE :- SLOPE -- TRACKING I -
I I
I , _ __ .J
BRIGHTNESS A B RING NO I SE
A B
NOISE
"o J 20B
.0.
OUT ~~~S
O V ER - BANO -
LO\NER ONLY DRI V E PASS.
SHAPER V PATH - FIL TER/ADSR PATH - LOWER FILTER L
The Spirit has a variety of control resources. Chief among these are two dedi·
cated ADSR envelope generators, and two sources of modulation: MOD X,
and SHAPER Y.
MOD X is the primary source of modulations on the Spirit. All periodic/clo-
cked modulations from MOD X are controlled in rate by a low frequency
oscillator (LFO), which is also the sample-and-hold clock. The ARPEGGIA-
TOR section creates repeating pitch patterns according to which keys are
depressed
on the digitally-scanned keyboard and which arpeggiation mode is
selected. In addition, slow-moving random (red noise) and Oscillator Bare
among the MOD SOURCE selections.
SHAPER Y is used primarily to create "one-shots ," or envelopes with a sim-
ple shape. In the FREE MODE it becomes a secondary LFO, a source of low
frequency variable symmetry waveforms.
Each selected MOD X and SHAPER Y signal is routed through its respective
wheel
on the performance panel; each wheel is an attenuator that lets you
control signal size. X and Y attenuated signals are routed to various destina-
tions by respective rotary switches in the WHEEL DESTINATIONS section .
In addition, the SHAPE X WITH Y switch allows "second order" modula-
tion; in this case the SHAPER Y section shapes the size of the MOD X signal.
This allows automatic shaping of vibrato depth, for instance.
The FI L TER ENVELOPE is permanently connected to the cutoff frequency
control input of the UPPER FI L TER U. It is connected to the LOWER FI L-
TER L only when the TRACKI NG switch is in the DYNAM IC position . The
signal from the FI L TER ENVELOPE is attenuated (controlled in size) by
the AMOUNT control. The NORMAL side of AMOUNT provides a "positi-
ve" envelope that rises and falls; the INVERT side pro vides an inverted, or
mirror-image version that falls and rises. In either case the envelope straddles
the cutoff frequency set by the CUTOFF control. An unattenuated envelope
moves the cutoff frequency from 2.5 octaves below to 2.5 octaves above its
cutoff setting.
The LOUDNESS ENVELOPE is permanently connected to the VCA in the
FI L TER/AOSR audio signal path. When VCA BYPASS is on, the VCA is
biased fully open; that is, LOUDNESS ENVELOPE ADSR settings have no
effect in BYPASS mode and sounds will not be articulated, but uninter-
rupted .
27

28
DESCRIPTION OF THE CONTROLS
TONE OSCILLATORS
MASTER
II
OSCILLATOR A
OSCILLATOR a
TUN. DCTAV.
\
WAVtl.~OAM
aVNC. WAV.FOAM OCTAve / RANoa
INT.AVAL
rry
~
a
.0.
f}
",·.0.·"
D
A.O.·"
··0··
·0·
., . . W'""I
-. ..
...
.. .
Ii
~'::J
L:' .~
~ON.jPITC,",
~ I
~.
.
~ ,. T
ao 10
VNI.ON .: :.1 ...... .
n. rL
Oscillator controls are divided into a MASTER section that affects both
oscillators, and individual OSCILLATOR A and OSCILLATOR B sections.
MAS
TUNE
MASTER TUNE is the overall tuning control for the entire instrument over a
narrow (+/- minor 3rd) span. Use this control to match the pitch level of
the Spirit to other instruments . (Although this control affects both oscillators
equally, tune by listening exclusively to Oscillator A, since Oscillator B
might be detuned widely due to its INTERVAL control setting. After tuning
while listening to Oscillator A, tune Oscillator B to match A, or to desired
interval above or below A.)
TER
OCTAVE
.0.
MASTER OCTAVE transposes both oscillators in octave steps. The footage
designations 32' 16' 8' 4' are adapted from pipe organ terminology; at the 8'
position, the C one octave from the bottom of the keyboard will sound
middle C. (This is always true for Oscillator A, and is true of Oscillator B
when its OCTAVE/RANGE switch is in the UN ISON position, and I NTER-
VAL is set to zero.) The MASTER OCTAVE switch extends the pitch span
of the Spirit well beyond its three octave keyboard .
OSCILLATOR A
WAVEFORM
·0·
Ao "-
. .
1150 _. ._ 8 I
LO~
n..
OSCI LLATOR A WAVEFORM selects triangle, rectangular, and sawtooth
waveforms from left-to-right as panel graphics indicate. The percentage duty
cycle of each rectangular waveform is indicated by number within the
bracket. Duty cycle is the percentage of time during a single cycle that the
rectangular waveform stays at a high level. For instance, the selection mar-
ked "50" is a 50% duty cyle rectangular wave, known as a "square wave."
SYNC.
D
OFF
~
The SYNC switch hard-synchronizes Oscillator B to A. This forces B to oscil-
late
at the same frequency as A. The familiar hard sync sound can be created
by moving Osc B frequency (usually upward) in relationship to Osc A. This
is most apparent when you listen to Osc B alone. In this case Osc A is "the
pitch" of the sound, and Osc B creates the unusual sync sound. Sync may
also be used to create "beat-free" octave tunings between the oscillators.
c
WAVEFORM
·0·
A "-
. .
140 _. ._ 3 I
L01~
n..
OSCI LlATOR B WAVEFORM selects Oscillator B waveforms and functions
like its Oscillator A counterpart. Note, however, that the rectangular widths,
or selection of duty cycles is not the same as for Oscillator A. This feature
provides more tone color possibilities.

' SCILLATOR B
OCTAVE / RANGE
·0·
0 '. Clw,oe
UNISON • • BASS
., ·a
OSCI LLATOR B OCTAVE/RANGE is used to tune Osc B relative to Osc A.
The first four switch positions provide tuning in octave steps. Osc B can be
tuned to the sameoctave (UNISON), one octave lower or higher, or two
octaves higher than Osc A.
The BASS and WIDE positions cause Oscillator B to become disconnected
from all manual tuning controls other than the INTERVAL control. That is,
the keyboard, MASTER TUNE, MASTER OCTAVE, and PITCH BEND
wheel now have no influence on Osc B pitch. (MOD X, SHAPER Y, and the
rear panel OSC B PEDAL input work normally). In the BASS position, the
I NTERVAL control tunes Osc B from 30 to 300 Hz; in the WI DE position,
from 2 to 10,000 Hz . BASS and WIDE positions make it possible to create
an Osc B
"drone," or unvarying pitch that sounds as you play, while Osc A
follows the keyboard.
OSCIL.L.ATOR B
OCTAVE / RANGE
INTERVAL
o
OSCILLATOR B INTERVAL transposes Osc B up or down as much as a
perfect fifth when the adjacent OCTAVE/RANGE is in one of the first four
"octave step" positions. The center zero position causes no transposition;
slight deviations from center create the slight mistuning between the oscilla-
tors that adds warmth and fatness to the sound.
As discussed above, the I NTERVAL control becomes a continuous tuning
control for Osc B (only) when the BASS or WI DE position on the adjacent
OCTAVE/RANGE control is selected. When BASS is selected, the INTER-
VAL Control spans four octaves in the bass (lower) pitch range. When WI DE
is selected, the I NTERVAL control spans the 12 octaves of Osc B range.
AUDIO MIXER
AUOIO MIXER
MASTER VOL.UME
4 s
2
OB
0 10
BRIGHTN • •• A B
RING NOISE
A B
NOISE
-
-1-
--
- -10-
--
-I-
4 B -
-- --
--
-B
-
--
-- -
0 -
-1-
--
-B
- --
-- -
Q B
- -- -- -- -4 -
--
I
0
'0
-
-- --
-- -Q -
--
-
-- --
--
-
0-
--
SHAPER V PATH FILTER/ADSR PATH
Controls in this section let you combine the sound sources available to both
audio signal paths, adjust brightness in the SHAPER Y PATH, and adjust
overall volume of both paths.
BRIGHTNESS adjusts the overtone content of SHAPER Y PATH signals.
This control changes the cutoff frequency of a 6 dB per octave lowpass
filter. This type of filter is similar to an amplifier tone control filter .
The SHAPER Y PATH sliders adjust the relative strengths of oscillators A
and B,
Ring Modulator, and Noise signals in the Shaper Y Path. When an
external audio signal is introduced into the EXTERNAL AUDIO IN jack on
the rear panel, the ex ternal signal takes the place of Noise in both audio
signal and Noise is no longer available as an audio signal.
The FI L TER/ADSR PATH sliders adjust the relative strengths of the Tone
Oscillators A and B, and Noise signals in the Filte r/ ADSR Path. As indicated
above, the EXTERNAL AUDIO IN jack on the rear panel is "normaled" to
cause any external signal routed the re to appear in place of the Noise signal;
external signal strength would be adjusted using the NOISE slider in this
case.
MASTER VOLUME adjusts the final loudness levels of both audio channels.
This is an attenuator; for best signal-to-noise ratio use high settings and
adjust your amplifier accordingly .
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