Eml Electrocomp 500 User manual

TURN

IT

ON!

Set

the

500

on

a

flat

surface.

Unwrap

the

power

cord

and

plug

it

into

a

110

volt

outlet.

If

your

wall

socket

will

not

accept

this

plug,

use

a

universally

available

3

to

2

adapter.

Do

not

cut

the

third

prong

off

of

the

500

power

cord.

Turn

on

the

power

switch

located

near

the

fuse

holder

on

the

back

of

the

500.

(If

the

fuse

ever

blows,

only

replace

it

with

a

1/4

amp

SLO BLO

fuse.)

The

500

must

be

connected

to

a

sound

system

to

produce

a

sound.

Three

separate

outputs

are

available

for

connecting

the

500

to

different

sound

systems.

1.

Hi

Out.

This

output

is

used

in

connecting

the

500

to

stereo

amplifiers,

tape

recorders,

and

organs.

To

complete

this

connection,

take

the

phono

to

RCA

patch

cord.

Place

the

phono

end

into

the

plug

where

it

says

Hi

Out.

Take

the

RCA

end

and

plug

it

into

your

amplifier

where

it

says

Aux

or

Tape

Mon.

2.

Lo

Out.

This

output

is

used

for

connecting

the

500

to

guitar

type

amplifiers

and

other

electronic

music

amplifiers.

This

connection

is

made

by

taking

a

phono

to

phono

patch

cord.

Plug one end

into

the 500

where

the

Lo

Out

is.

Take

the

other

end and

plug

it

into

the

amplifier.

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3.

Phones.

This

output

is

for

monitoring

with

high

impedance headphones

(500

ohms

or

greater).

When

connecting

the

500

to

an

amplifier

be

sure

that

the

volume

slide

pot

on

the

500

is

all

the

way

down

and

the

volume

control

on

your

amplifier

is

all

the

way

off.

This

is

to

insure

the

safety

of

your

speakers.

The volume

of

the

Hi

and

Lo

Output

jacks

is

controlled

by

the

synthesizer's

output

Volume

slide

control.

The

output Volume

slider

does

not

vary

the

volume

when

monitoring

the

headphones.

This

permits

you

to

monitor

the

500

on

stage

without

having

the

sound

pass

through

your

amplification

system.

When

the

synthesizer

is

connected,

set

the

controls

as

shown

and

turn

up

your

amplifier

to

a

desired

level.

Depress

a

key

-

you

should

hear

a

sound.

If

you

don't,disconnect

the

500

from

the

amplifier

and

monitor

the

500

with

headphones.

If

you

hear

a

sound

in

the

headphones,

this

indicates

the

problem

is

with

your

amplifier.

If

you

still

don't

hear

a

sound,

check

and

see

if

your

controls

are

set

as

shown.

OUTPUTS

INPUTS

PHONES

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SYNTHESIZER

ELECTRONIC MUSIC

LABS..

INC.

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OSC

1

OSC

2

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TUNE

MODIFIERS

TUNE

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oh

Scan by Manual Manor

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EXPLORING

THE

500!

The first

thing

to do

is

to

look

over

the

panel.

Notice

there

are

three

sections:

Controllers,

Sources,

and

Modifiers.

The

Sources

section

is

where

pitches are

produced

and

varied.

There

are

three

sources

within

the

500.

Two

are

audio

oscil

lators

that

produce

pitched

sounds.

One

is

a

noise

source

for

producing

percussive,

sea,

wind,

and

thunder

effects.

This

section

also

provides

for

introducing

external

sources

through

the

synthesizer's

microphone

input.

Identify

the

sources

and

study

their

controls.

Of

the

seven

controls,

three

provide

for

selection,

three

control

volume,

and

one

controls

tuning.

After

being

mixed,

the

Sources

go

to

the

Modifiers.

The

Modifiers

have

the

ability

to

vary

the

timbre

and

loudness

of

the

sources.

The

Filter

changes

the

timbre

or

quality

of

the sound.

It

has

three

controls.

The

Tune

control

determines

the

brightness

of

the

sound.

The

Resonance

control

determines

the

amount

of em

phasis.

The

Mode

switch

determines

whether

the

high,

low

or

combination

frequencies

will

be

emphasized.

The

Modulator

takes

the

output

of

the

Filter

and

can

reshape

its

loudness

with

tremolo

or

change

its

timbre

by

ring

modulation,

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It has

two

controls.

The

slider

determines

the

amount

of modula

tion.

The

switch

permits

selection

of

the

modulation

source.

The

,final

modifier

is

the

Amplifier.

It

modifies

the

loudness

of

the

sound

in

partnership

with

the

Envelope

Generator.

The

Envelope

Generator

contains

4

controls.

The

Attack

slider

determines

how

long

it

takes

to

reach

maximum

loudness

after

depressing

a

key

(silence).

The

Decay

control

determines

how

long

it

takes

to

return

silence.

The

Sustain

control

determines

how

loud

the

sound

is

while

the

key

is

depressed

after

the

attack

and

decay

have

settled

out.

The

Volume

control

determines

the

maximum

volume

during

an

attack/decay/

sustain

cycle.

The

switch

determines

whether

an

envelope

occurs

once

for

each

key

depression

or

repeats

continuously.

(The

keyboard

"remembers"

the

last

key

depressed.)

The

path

taken

by

the

sound

from

the

Sources

through

the

Modifiers

is

called

the

audio

path.

It

is

blocked

below.

MODIFIER

VCF

ENVELOPE

MODULATOR

Scan by Manual Manor

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Now

that

you

are

familiar

with

the

controls

in

the

audio

path,

we

will

go

through

them

in

detail.

The

Controller

section

acts

on

the

Audio

path

and

determines

what

kind

and

how

much

of

a

change

will

occur

in

the

audio

path.

It

is

necessary

to

use

one

of

the

Controllers

-

the

Keyboard.

This

is

necessary

because

the

Keyboard

tells

the

Oscillators

what

pitch

to

produce,

the

Filter

"where

to"

filter,

and

tells

the

Envelope

Generator

to

start

its

attack,

decay,

sustain

function.

OSCILLATORS.

The

Oscillators

produce

pitches

that

correspond

to

the

keys

on

the

Keyboard.

When

a

key

is

depressed,

it

sends out

a

voltage

which

goes

to

the

Oscillator.

The

Oscillator

reads

the

voltage

and

produces

the

corresponding

pitch

for

that

key

depressed.

This

ability

gives

the

synthesizer

Oscillators

a

special

name

-

Voltage

Controlled

Oscillators.

This

means

that

the

pitch

of the

Oscillator

will

respond

to

a

change

in

voltage

with

a

corresponding

change

in

pitch.

When

a

varying

voltage

is

applied

to

the

Voltage

Controlled

Oscil

lator,

a

varying

pitch

is

produced.

This

will

be

apparent

in

the

Controller

section

of

the

synthesizer.

The

500

contains

two

Voltage

Controlled

Oscillators

(VCO).

These

oscillators

produce

pitches

in

the

audio

range

-

that

is,

when

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connected

to

speakers

they

cause

the

air

to

move

fast

enough

to

be

heard.

Both

Oscillators

have

volume

controls.

These

sliders

can

be

preset.

The

switches

located

below

them

permit

selection

of

the

preset volume

levels.

These

switches

also

permit

you

to

select

one

of

two

different

waveforms

-

either

square

| j

|

or

sawtooth

I

^v>

These

waveforms

sound

different

from

each

other

because

their

harmonic

structures

(timbres)

are

different.

Their

pitches

and

loudness

are

equal.

To

this

point,

you

have

been

listening

to

only

Oscillator

1.

Now

turn

on

Oscillator

2

to

its

square

wave.

The

Oscillators

produce

pitches

proportional

to

the

lowest

key

beinq

depressed.

Oscillator

2's

pitch

is

normally

different

from

Oscilla

tor

1.

This

is

because

Oscillator

2

has

a

separate

Tune

slider

located

its

Volume

slider.

This

control

permits

its

pitch

to

be

trans

posed

above

or

below

Oscillator

1.

You

should

hear

them

beating.

The

number

of

beats

tells

you

how

flat

or

sharp

they

are

tuned.

When

they

are

in

tune,

you

will

not

hear

any

beating.

(See

Phase

Locking

in

the

back

of

the

manual.)

Oscillator

2's

Tune

slider

allows

you

to

tune

these

oscillators

to

any musical

or

non-musical

interval.

Move

the

Tune

slider

slowly

while

depressing

a

key.

Experiment

with

the

two

Voltage

Controlled

Oscillators.

Select

different

wave

forms

for

the

two.

Notice

how

the

sound

changes.

Don't

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hesitate

to

mark

some

of

the

interesting

positions

of

the

Tune

slider

on

a

facsimile

sheet

for

future

reference.

THE

NOISE

SOURCE.

Turn

your

two

VCO's

off.

Turn

on

the

Noise

and

raise

its

Volume

slider.

Like

the

VCO's,

the

Noise

volume

can

be

preset

and

selected

with

the

switch

located

below

it.

When

a

key

is

depressed,

you

will

hear

a

constant

hissing.

This

is

called

Noise

-

it

is

like

listening

to

a

1000

oscillators

all

tuned

at

random.

It

is

used

for

creating

percussive,

wind,

sea

and

thunder

effects.

Achieving

these

effects

will

be

covered

in

the

Modifier

and

Controller

sections.

As

you

know,

sounds

that

don't

vary

are

not

usually

considered

musically

interesting.

Therefore,

the

major

part

of

your

synthe

sizer

-

the

Modifiers

and

Controllers

-

are

dedicated

to

producing

variations

in

the

sound.

The

Controllers

determine

the

amount

of

variation

that

occurs

in

the

pitch,

timbre

and/or

loudness.

The

variations

in

pitch

actually

occur

in

the

Oscillators.

The

variations

in

timbre

and

loudness

occur

in

the

Modifiers.

So far,

you

have

learned

about

the

Keyboard

and

Sources

(Oscilla

tors

and

Noise).

Now

we'll

go

to

the

in

the

audio

path

-

the

Filters.

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THE

FILTERS.

The

Filters

in

the

500

are

Voltage

Controlled

Filters

(VCF).

Their

job

is

to

permit

variations

in

timbre.

They

do

this

by

modifying

the

waveshapes

of

the

Sources,

particularly

the

Oscillators.

This

should

not

be

a

surprise.

You

are

already

aware

that

chang

ing

the

waveform

from

square

to

sawtooth

changes

the

timbre.

Simply,

different

waveshapes

produce

different

timbres.

Your

Filter

works

with

the

Source's

basic

timbre

and

has

an

ability

to

alter

these

basic

waveshapes

to

produce

different

timbres.

These

changes

can

be

of

two

varieties,

either

1)

manual

change

by

moving

a

switch

or

slider

or

2)

automatic

change

as

commanded

by

the

Controller

section.

This

is

identical

to

the

way

the

pitch

of

Oscillator

2

can

be

changed

-

manually

by

moving

its

Tune

slider

or

automatically

from

the

Controller

section.

The

Filter

contains

three

controls

for

manual

changes

in

timbre.

They

warrant

extensive

exploration

with

various

sources.

Begin

with

Oscillator

l's

sawtooth.

The

Filter's

Tune

slider

permits

you

to

brighten

or

dull

the

sound.

The

higher

it

goes,

the

brighter

the

sound.

Depress

a

key

and

move

this

control

up

and

down.

Repeat

this

3

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process

varying

the

speed

and

the

position

of

its

companion

control

-

the

Resonance

slider.

Often

when

the

Resonance

slider

is

moved

up,

it

is

necessary

to

increase

the

volume

of

the

selected

Source

because

the

Filter

has

eliminated

most

of

the

overtones

except

for

those

located

near

the

pitch

set

by

the

Filter's

Tune

slider.

Using

these

controls

you

should

be

able

to

produce

excellent

wah-wah

effects.

When

performing,

don't

hesitate

to

manually

effect

the

sound

with

these

controls

or

any

other,

even

after

you

are

familiar

with

automatic

control

of

the

synthesizer.

Experiment

freelywith

the

Filter.

One

thing

you

shouldn't

miss

is

to

set

the

Resonance

up

full.

Depress

a

key

and

slowly

move

the

Tune

slider

up

and

down.

You

are

hearing

the

individual

harmonics

of

this

basic

sawtooth

waveshape.

(Harmonics

will

be

covered

in

a

separate

technical

publication.)

Below

the

Resonance

control

is

a

switch

which

lets

you

select

any

of

the

synthesizer's

three

Filters.

Set

the

Filter's

Tune

and

Resonance controls

about

1/3

of

the

way

up.

Move

the

Filter's

mode

switch

between

its

three positions.

Try

this

with

other

settings

of

Tune

and

Resonance.

After

experimenting

with

the

Oscillators,

try

the

same

with

the

Noise

source.

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TUNING

THE

EML

500

KEYBOARD

SYNTHESIZER

The

EML

500

synthesizer

should

be

turned

on

20

to

25

minutes

before

tuning

is

done. (Warm

up.)

1.

All

Controllers

must

be

off.

2.

Octave

switch

must

be

in

center

position

(0

octave).

3.

Oscillator

1 -

On.

Oscillator

2

-

Off.

4.

Depress

bottom

key

and

adjust

Bend

pot

for

correct

pitch

(87.3

Hz).

5.

Depress

top key

and

adjust

Scale

pot

for

correct

pitch

(1046.5

Hz).

This

completes

tuning

for

Oscillator

1.

Oscillator

2

tuning

should

be

done

with

Phase

Lock

Switch

in

Off

position.

Turn

on

Oscillators

1

and

2,

depress

the

top

key

and

adjust

Oscillator

2,

Tune

for

desired

interval

(unison,

third,

fourth,

fifth,

etc.).

EXPLANATION

OF

BEND

AND

SCALE

CONTROLS.

SCALE:

This

control

varies

the

interval

between

keys,

and

swivels

about

the

bottom

key.

It

is

used

for

tuning

purposes

only

and

should

not

be

used

as

a

"Bend11

while

playing.

BEND:

This

control

transposes

the

entire

keyboard

up

or

down

about

6

semitones

without

affecting

the

interval

between

keys.

It

is

used

for

tuning

and

may

also

be

used

to

nBend"

pitches

while

playing.

10

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NEW

FEATURES

For

the

patches

descirbed

to

this

point,

the

Phase

Lock switch

located

under

OSC

2's

Tune

control

can

be

in

any

position;

the

Tracking

switch

located

under

the

Filter's

Tune

control

should

be

in

the

uppermost

position

(1).

PHASE

LOCK

SWITCH

The

addition

of

Phase

Lock

to

the

500

musically

expands

the

effectiveness

of

the

MODULATOR,

enables

more

realistic

guitar

and

piano

synthesis,

and

permits

perfect

tuning

of

the

two

audio

oscillators

to

traditional

musical

intervals.

A

switch

for

selecting

Phase

Lock

is

located

under

OSC

2's

Tune

control.

It

is

a

three

position

switch.

In

its

lowermost

position,

Phase

Lock

is

off.

This

permits

you

to

adjust

the

two

audio

oscillators

to

slow

beating.

PL

1

or

the

middle

position

permits

"weak"

locking.

PL

2

or

the

uppermost

position

is

a

"strong1

lock.

Experiment with

moving

OSC

2's

Tune

control

with

Phase

Lock.

You

should

find

it

particularly

easy

to

adjust

the

two

audio

oscillators

to

various

musical

intervals.

(Both

OSC

1

and

OSC

2

should

be

on

during

this

experimentation).

Other

interesting

effects

can

be

achieved

by

using Phase

Lock

on

OSC

2

while

using

the

500's MODULATOR.

Experiment with

the

MODULATOR,

using

OSC

1

as

a

source

oscillator

and

OSC

2

as

"the

modulating

oscillator".

Move

the

OSC

2's

Tune

control

to

acheive

different

effects.

11

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FILTER

TRACK

SWITCH

Musically

the

addition

of

variable

FILTER

tracking

permits

more

realistic

synthesis

of

some

instrumental

sounds.

This

is

accomplished

with

a

switch

located

under

the

FILTER

TUNE

CONTROL

which

permits

the

FILTER

to

track

the

keyboaro

three

different

ways.

In

it's

lowermost

position

(1),

the

FILTER

follows

the

KEYBOARD

exactly

resulting

in

constant

timbre

across

the

keyboard.

In

its

upper

position

(0),

the

FILTER

does

not

move

with

the

KEYBOARD,

but

rather

behaves

like

a

fixed

filter similar

to

the

bass

and

treble

controls

on

an

amplifier.

If

the

Resonance

control

is

not

set

"up"

at

its

maximum,

this

is

a

useful

position

for

some

instrumental

sounds.

Experiment

with

patches

provided

on

the

proceeding

pages. (Since

the

FILTER

does

not

track

the

keyboard

in

this

position,

adjustment

of

the

FILTER'S

TUNE

CONTROL

may

be

necessary

for

proper

voicing

of

these

patches).

In

the

middle

position

(.5),

the

FILTER

partially

tracks

the

KEYBOARD.

Repeat

your

with

the

FILTER

tracking

switch

in

this

position.

12

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WAVESHAPES

AND HARMONICS

The

sine

wave

-

f\

j

is

pure,

it

has

no

harmonics.

The frequency

(or

rate

of

vibration)

of

the

sine

will

determine

its

pitch.

If

it

is

vibrating

very

fast,

say

2000 cycles

per

second,

the

pitch

is

high.

If

it

vibrates

slow

-

40 cycles

per

second,

the

pitch

is

low.

Since

the

sine

is

pure,

the

pitch

we

hear

we

identify

as

the

fundamental

(fj).

A

sine wave

is

like

a

flute

in

tonal

quality.

Other

waveshapes

are

actually

a

group

or

series

of

sine

waves

combined

together.

The

particular

series

of

sine

waves

will

determine

the

tonal

quality

of

the

sound.

In

the

series,

the

fundamental

sine

wave

which

is

the

strongest

-

the

loudest

-

in

series

determines

the

pitch.

The remaining

sine

waves

which

are

weaker

than

the

fundamental

give

the

sound

its

"quality",

its

timbre.

The

frequencies

of

these

sine

waves

are

whole

number

multiples

of

the

fundamental,

hence

they

do

not

"beat".

They

are

called

harmonics.

For

example,

a

sound

having

a

fundamental

sine

wave

of

100

Hz

may

have

possible

harmonics

of

200

Hz,

300

Hz,

400

Hz,

500

Hz,

and

so

on.

The

basic

waveshapes

are:/Ay

sine

which

has

no

harmonics,

just

the

funda

mental

(fj).

The/\y

triangle

wave

is

made

up

of

the

fundamental

(fj)

and

all

of

the

odd

numbered

harmonics

(f3,

f5, f7, fg,

fn

).

The

harmonics

of

the

triangle

are

very,

very

weak.

The

quality

of

the

triangle

is

similar

to

that

of

a

recorder.

The

jI

I

square

wave

contains

the

fundamental

(fj)

and

like

the

triangle

wave

all

of

the

odd

numbered

harmonics

(f3,

fg,

f7,

fg,

fn,

).

The

difference

being the

harmonics

of

the

square

wave

are

much

stronger

and

louder.

(NOTE:

Bar

Graph)

13

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The

square

wave

is

like

a

clarinet

in

quality.

The

j^\

sawtooth

wave

shape

consists

of

the

fundamental

(f^)

plus

all

of

the

odd

and

even

harmonics

(f2,

f3>

f^

f$,

fg, fy,

f8,

).

It

is

the

richest

wave

shape.

Its

timbre

is

similar

to

brass

and

string

instruments

(tonal

quality

for

brass

and

strings

is

determined

by

the

filter

mode).

FILTER:

TUNE,

RESONANCE

&

MODE

The

filter,

as

mentioned

before,

selects

which

harmonic(s)

will

be

emphasized

and

which

will

be

attenuated.

The

tune

control

will

"move11

the

filter

to

"pinpoint"

a

specific

harmonic.

The

resonance

control

will

determine

how

that

"tuned-to"

harmonic

will

be

emphasized.

The

mode

will

select

what

filter

(low

pass,

band

pass,

or

high

pass)

is

operating

and

hence

what

other

harmonics,

if

any,

will

be

allowed

to be

passed

(heard).

(NOTE:

Graphs)

Instruments

are

like

pre-set

synthesizers,

they

all

have

oscillators,

filter,

and

amplifiers

controlled

by

envelopes.

For

example

-

a

violin:

the

strings

are

the

oscillators,

the

box

and

its

resonant

characteristics

determine

the

filter;

the

bow

and

the

violinist

control

the

envelope

or

loudness

pattern.

In

a

horn,

the

air

the

player

blows

into

the

instrument

is

the

oscillator,

the

tube

and

bell

determine

the

filtering

and

how

he

blows

into

the

instrument determines

the

loudness

pattern.

For

help

in

synthesizing

instruments

we

have

generally

indicated

the

filter

modes

for

many

of

the

orchestras

instruments.

LOW

PASS:

wood

winds,

brass,

bass,

drums,

bass

end

of

the

piano,

organ

and

cellos,

BAND

PASS:

brass,

treble

end

of

the

piano,

violas,

harpsicord

and

celeste

HIGH

PASS:

violins,

harps

and

bells

14

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A

CO

WAVESHAPE

and

HARMONICS

SINE WAVE

Hz

A

2.

TRIANGLE

WAVE

f?

fr

A

3.

SQUARE

WAVE

A

SAWTOOTH

WAVE

A

h

fA

'

f

Lhfs

15

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Sawtooth

wave

into

a

Low

Pass

Filter

with

the

Filter

"tuned"

to

the

3rd

harmonic,

Resonance

set

Lo.

f

Sawtooth

wave

into

a

Low

Pass

Filter

with

the

Filter

"tuned"

to

the

5th

harmonic,

Resonance

set

Hi.

Square

wave

into a

Law

Pass

Filter

with

the

Filter

"tuned"

to

the

fundamental.

Resonance

set

Lo.

Square

wave

into

a

Low

Pass

Filter

with

the

Filter

"tuned"

to

the

7th

harmonic,

Resonance

set

Med.

16

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Sawtooth

wave

into

a Hi

Pass

Filter

with

the

Filter

"tuned"

to

the

6th

harmonicj

Resonance

set

Lo.

Square

wave

into

a

Hi

Pass

Filter

with

the

Filter

"tuned"

to

the

5th

harmonicj

Resonance

set

Hi.

Sawtooth

wave

into

a

Hi

Pass

Filter

with

the

Filter

"tuned"

to

the*2nd

harmonic^

Resonance

set

Med.

Square

wave

into

a

Band

Pass

Filter

with

the

Filter

"tuned"

to

the

3rd

harmonic>

Resonance

set

Lo.

17

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Square

wave

into

a

Band

Pass

Filter

with

the

Filter

"tuned"

to

the

7th

harmonic.

Resonance

set

Hi.

Sawtooth

wave

into

a

Band

Pass

Filter

with

the

Filter

"tuned"

to

the

4th

harmonic,

Resonance

set

Med.

18

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Before

continuing

to

the

read

the

following

and

consider

it

in

the

context

of

your

experimenting.

Please

go

back

and

reconsider

the

Filter

in

this

light.

LO

PASS

FILTER.

The

Lo

Pass

Filter

lets

youvhear

all

the

overtones

below

its

Tune

slider's

setting.

In

general,

this

is

a

duller,

heavier

sound

than

any

of

the

other

Filter

modes.

If

this

control

is

set

too

low,

the

signal

will

be

very

weak.

Normally

the

Tune

control

in

this

mode

is

set

at

least

1/4

of

the

way

up

or

higher.

HIGH

PASS

FILTER.

The

Hi

Pass

Filter

lets

you

hear

all

the

overtones

above

its

Tune

slider's

setting.

In

general,

this

is

a

brighter,

buzzier

sharp

sound

than

any

of the

other

Filter

modes.

If

this

con

trol

is

set

too

high,

the

signal

will

be

weak

because

the

higher

overtones

don't

have

much

strength.

Normally

this

control

is

set

1/4

of

the

way

down

or

lower.

BAND

PASS

FILTER.

The

Band

Pass

Filter

lets

you

hear

all

the

overtones

around

its

Tune

slider's

setting.

In

general

this

sound

is

like

a

combination

of

Hi

Pass

and

Lo

Pass

-

dull,

but

brighter

than

Lo

Pass.

When

the

Resonance

slider

is

at

or

near

the

top

these

three

modes

sound

wery

similar.

19

Scan by Manual Manor

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From

the

filter,

the

audio

path

continues

through

the

Modulator,

THE

MODULATOR.

The

Modulator

can

be

used

to

vary

the

timbre

of

the

sound

or

the

loudness

of

the

sound.

Whether

timbre

or

loudness

is

to

be

controlled

is

determined

by

the

position

of

the

Modulator!s

slider

and

switch.

The

slider

permits

you

to

preset

the

type

of

modulation.

The

switch

permits

you

to

select

the

source

of

modulation

-

either

Oscillator

2

or

the

Modulation

Oscillator.

The

settings

shown

below

illustrate

various

forms

of

loudness

and

timbre

controls

possible

with

the

Modulator.

Play

a

bit.

Don't hesitate

to

vary

the

sliders

marked with

arrows

as

you

play.

OUTPUTS

INPUTS

tO

PHONES

VOLTAGE

SUSTAIN

SEQUENCER

MIC

IN

MIC

VOL

i

I

I.3

l«i

FROCOMP'

SYNTHESIZER

ELECTRONIC

MUSIC

LABS..

INC.

VERNON.

CONN.

MOM

SOURCES

£

Z

1

NOISE

OSC

1

OSC

2

VOL

VOL TUNE

TT

TUNE

I

Irti

do-

MODIFIERS

TUNE

RESONANCE

MODULATOR

ENVELOPE

OUTPUT

UOOE

ATTACK

DECAY

SUSTAIN

VOL

t

B;

B;;

B:r

-B

::

RING

MODULATION

20

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EML Electrocomp 500 User manual

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