EML SynKey User manual

programmable synthesizer
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ey is a ivgisiereil trademark ol tile Kaman Corporainm.
Introducing SynKey. The first
synthesizer you can program.
Until now synthesizers were a lot more
complicated than your average musical
instrument.
To play them well required a solid
knowledge of electronics. To create music on
them took plenty of knob twiddling and fine
tuning. And to recreate a musical sound on
them demanded a complicated system of
notation. •
SynKey by JEML is different. SynKey is
made for the musician who doesn't happen
to have a degree in electronics.
To play SynKey takes musical ability
not electronics training. To create music on
SynKey requires musical imagination not a
technician's skill. And to recreate a sound
you've created is as simple as plugging in
a SynKey Program Card and playing the
keyboard.
The SynKey programming feature
gives you more time to create,
more flexibility in performance.
Spend your time creating. Once you get
the sound you want, punch out
the control positions in a SynKey
Program Card and file it. Then
start creating again. No need to
spend time writing down dial
positions and patches.
Every SynKey comes with a set of
twenty-five blank cards and a cardpunch plus
twenty-five factory-prepared cards with some
voicings to set you to thinking.
When you want to recreate a particular
sound on your SynKey, just plug in the card,
punch on the reader and your controls are al
ready set. You just play! On stage, that can
mean more imaginative arrangements, faster
changeover from sound to sound and a
tremendous new potential for the synthesizer
as a performance instrument.
SynKey is the most
playable synthesizer ever built.
We've simplified the synthesizer. SynKey
is easy to understand, easy to play. You can
manually set the controls just like other
synthesizers. The keyboard is a full 44 notes.
Second-touch is available with a variety of
effects. And the clearly marked, white-on-black
control panel with color-coded buttons cuts
out a lot of the confusion you may associate
with other synthesizers.
A sound like thirteen oscillators.
The more oscillators, the richer the
sound. Most portable synthesizers have, at
most, three oscillators. That limits the sound.
But to duplicate the SynKey sound you'd
need a synthesizer with thirteen oscillators,
and there isn't one made.
The SynKey sound is generated by a
unique top-octave divider which produces a
basic tone plus the next twelve higher semi
tones in precise intervals.
All you do is select the semitones you
want by punching the semitone select buttons.
No multiple oscillators to tune. No compli
cated setup time.
Carry a synthesized orchestra
under your arm.
SynKey weighs only twenty-nine
pounds. Which means you can travel light.
The SynKey system may just replace
two or three other keyboards you
may pack. So SynKey may just be all
you need to make all the music
you want. t
The first synthesizer you can program.
A Kaman Music Product made by Electronic Music Labs,

KEYBOARD:
3Y2 octave Pratt Read keyboard with second touch and gold
plated contacts. Second touch selects:
• pitch bend + a third
• filter sweep
• vibrato
• Mod. Osc. applied to filter (wah)
Any combination may be selected.
Portamento variable from 0 to 2 seconds per octave (may be
selected by optional footswitch or controlled from
optional pedal).
SOURCES:
A Master oscillator generates 13 pitches at semitone inter
vals. Pitches are selected by indicator push buttons. Any
combination of semitones may be selected within the octave.
Accuracy of pitch interval. 1.2 cents maximum (approxi
mately = 1/100 of a semitone).
Octave select: ± 1 octave with precision digital divider.
Root pitch wave continuously variable with
and intermediate waveshapes available.
Pulse waveshape is modulated from 50% to 10% duty cycles by
filter envelope for increased brightness. Remaining 12 pitch
sources are bright 30% duty cycle pulses.
Frequency range without vibrato 44Hz - 4186Hz
Vibrato amount - adjustable up to ±2 octaves.
Noise: white, selected by indicating push button.
MODIFIERS:
Voltage Controlled Filter
State variable filter continuously variable from low pass thru
band pass and high pass modes. ttOoo
Frequency range 44Hz (F«|) thru flUHz (Gg)
Inputs: (1) filter envelope 0 to +5 octave sweep.
(2) modulation oscillator 0 to ±3 octaves.
Ring modulator - Digital with modulation pitch tracking a
5th above root pitch. Other timbres may be selected by using
other than root pitch source.
VOLTAGE CONTROLLED AMPLIFIER
AMPLIFIER ENVELOP*
#'■■■.*■;•
CONTROLLERS:
Envelopes — 1 for filter, 1 for voltage controlled amplifier,
each with attack, decay and sustain controls.
Attack .005 to 3 sec. Decay .002 to 9 sec.
Modulation Oscillator
Variable rate from .15 cycles/second to 50 cycles/second.
5 switch selected waveshapes |\f\ y\ r~l_J
plus sampled triangle and sampled sawtooth #.-\ •••:*•-
Light emitting diode indicates rate.
CARD READER:
40 bits with gold plated contacts. Rated for 100,000
card insertions.
CARD PROGRAMMABLE CAPABILITIES:
Root waveform
Vibrato amount
Modulation oscillator shape
Amount of envelope applied to filter
Amount of modulation oscillator applied to filter
Filter tune
Filter resonance
Filter mode: low pass, band pass, and high pass.
Filter envelope: attack, decay, and sustain.
Amplifier envelope: attack, decay, and sustain.
NON PROGRAMMABLE CONTROLS:
Card reader select
Octave select
Semitone select
Portamento time
Modulation oscillator speed
Ring select
Output volume
Output: High and low outputs of 4 and .4 volts nominal
range suitable for driving standard music and hi-fi amplifiers.
Warm-up: 3!4 minutes at normal temperatures.
Synkey uses quality components throughout.
All potentionmeters are Allen Bradley and are sealed
against contaminents. Allen Bradley pots are rated at
100.000 rotations and become quieter with use. All
switch contacts are gold and silver plated (excludes
power switch).
Size29"x\7"x 8"-Weight 26lbs.-PWR Requirements 10watts
Special
Products
Group

Programming, second touch and pushbutton semitone
select make SynKey a true performance synthesizer.
Programming your SynKey
is as easy as punching
a few holes in these plastic computer cards.
In the past, synthesizers were used for
one, maybe two, numbers in a performance.
Setting them up and getting them right made
it impossible to use them more.
SynKey, with completely programmable
voicings, makes it possible to change from
one sound to another just by switching cards
in the card reader. Pull one. Plug in another
and your SynKey makes a completely
different sound.
You can change sounds from one musical
number to another, even within a given
number. For instance, you can open as lead
on your SynKey, play some, then have some
one else go on lead. Then you can pull the
card in the reader, put in another, and go
back on lead with a completely new sound
That means flexibility and variety to your
repertoire and arrangements.
Plug in your punched card, press
the card reader button, and you're ready to play
the first synthesizer you can program.
Second touch gives you selected effects
played through the keyboard.
Second touch allows two distinct sounds
to be produced with one depression of a
given key.
Press once and you get the basic sound
as programmed by the manual set of the
controls or programmed on a card.
Second touch feature allows you to select
vibrato, wah-wah, and/or
one-third octave bend.
Press harder and you get a selective
modification of the basic sound. You can
choose wah-wah predetermined by the
parameters set on the filter controls. Or
choose selective vibrato predetermined
by the parameters set on the modulation
oscillator controls. Or your SynKey can
produce a precise one-third octave bend of
the basic note.
Press once and you get the basic
note; press harder and you get a
selective variation of that note.
Tweaking your oscillators
is a thing of the past
Just punch a button for the semitone
you want, from one to thirteen.
Tuning a synthesizer's oscillators used
to be a time consuming job. They all had
to be correct to get the harmonic sound
you wanted.
SynKey's exclusive top-octave divider
generates the sound of thirteen oscillators, in
precise intervals, from one oscillator. So when
you select the third semitone of your basic
note on the SynKey chord select, you know
you'll get precisely that third, no more,
no less.
Programmable parameters
on SynKey synthesizer.
Oscillator waveshape
Oscillator modulation (mod osc)
Modulation oscillator shape
Filter envelope
Filter envelope mod osc
Filter tune
Filter resonance
Filter mode
Filter envelope attack
Filter envelope decay
Filter envelope sustain
Amplifier envelope attack
Amplifier envelope decay
Amplifier envelope sustain
The first synthesizer you can program.
A Kaman Music Product made
by Electronic Music Laboratories, Inc.
For a free catalog, write
SynKey, Dept. E, Box 205,
New Hartford, CT 06057
VOLTAGE CONTROLLED OSCILLATOR
The basic tone plus twelve precisely-generated semitones can be selected at the push of a button.

programmable synthesizer

KEYBOARD:
31/2 octave Pratt Read keyboard with second touch and gold
plated contacts. Secona1 touch selects:
• pitch bend + a third
• filter sweep
• vibrato
• Mod. Osc. applied to filter (wah)
Any combination may be selected.
Portamento variable from 0 to 2 seconds per octave (may be
selected by optional footswitch or controlled from
optional pedal).
SOURCES:
A Master oscillator generates 13 pitches at semitone inter
vals. Pitches are selected by indicator push buttons. Any
combination of semitones may be selected within the octave.
Accuracy of pitch interval. 1.2 cents maximum (approxi
mately = 1/100 of a semitone).
Octave select: ± 1 octave with precision digital divider.
Root pitch wave continuously variable with
n\ r^qj
and intermediate waveshapes available.
Pulse waveshape is modulated from 50% to 10% duty cycles by
filter envelope for increased brightness. Remaining 12 pitch
sources are bright 30% duty cycle pulses.
CONTROLLERS:
Envelopes — 1 for filter, 1 for voltage controlled amplifier,
each with attack, decay and sustain controls.
Attack .005 to 3 sec. Decay .002 to 9 sec..
Modulation Oscillator
Variable rate from .15 cycles/second to 50 cycles/second.
5 switch selected waveshapes N\ S\ n_l
plus sampled triangle and sampled sawtooth #.-\ •••:"•-
Light emitting diode indicates rate.
CARD READER:
40 bits with gold plated contacts. Rated for 100,000
card insertions.
CARD PROGRAMMABLE CAPABILITIES:
Root waveform
Vibrato amount
Modulation oscillator shape
Amount of envelope applied to filter
Amount of modulation oscillator applied to filter
Filter tune
Filter resonance
Filter mode: low pass, band pass, and high pass.
Filter envelope: attack, decay, and sustain.
Amplifier envelope: attack, decay, and sustain.
Frequency range without vibrato 44Hz — Hz - 4186 Hz
Vibrato amount — adjustable up to ±2 octaves.
Noise: white, selected by indicating push button.
MODIFIERS:
Voltage Controlled Filter
State variable filter continuously variable from low pass thru
band pass and high pass modes.
Frequency range 44Hz (F^ thru 12,000 Hz (Gg)
Inputs: (1) filter envelope 0 to +5 octave sweep.
(2) modulation oscillator 0 to ±3 octaves.
Ring modulator — Digital with modulation pitch tracking a
5th above root pitch. Other timbres may be selected by using
other than root pitch source.
VOLTAGE CONTROLLED FILTER 1 f VOLTAGE CONTROLLED AMPLIFIER
NON PROGRAMMABLE CONTROLS:
Card reader select
Octave select
Semitone select
Portamento time
Modulation oscillator speed
Ring select
Output volume
Output: High and low outputs of 4 and .4 volts nominal
range suitable for driving standard music and hi-fi amplifiers.
FILTER ENVELOPE
AMPLIFIES ENVELOPE
3 4 5 3*3
7 1 7 I 7
ATTACK D€CAY SUSTAIN
Warm-up: 314 minutes at normal temperatures.
Synkey uses quality components throughout.
All potentionmeters are Allen Bradley and are sealed
against contaminents. Allen Bradley pots are rated at
100.000 rotations and become quieter with use. All
switch contacts are gold and silver plated (excludes
power switch).
Size29"x7"x8"-Weight26lbs.-PWR Requirements 10watts
Special
Products
Group
a marketing
division of
MUSIC
177 West Hintz Road
Wheeling, Illinois 60090
312/537-7777

SynKey: The first synthesizer you can program.
SynKey is a truly innovative synthesizer
designed to make the performing musician's
job easier — on the stage and in the studio.
SynKey is a full-fledged, versatile
synthesizer with features of special interest to
the performer.
First, SynKey is programmable. This means
that you can use the front panel controls to
generate just the sound you want — then
reduce the front panel settings to holes on
special computer punch cards. When you
are performing you simply use the cards to
preset the important synthesizer functions.
It's fast and you never "lose" sounds you
have worked hard to get.
Second, SynKey eliminates the hassle of
tuning oscillators to intervals. SynKey's
voltage controlled oscillator simultaneously
produces 13 pitches at precise semitone
intervals. You select parallel 3rds, 5ths, or
chords at the touch of a few buttons — and
oscillator tracking problems are a thing of the
past. If you wish, you can play all thirteen
pitch sources at the same time.
Spend your time creating music. You re for
creating music. SynKey's programming
system is for remembering what you have
created.
SynKey's exclusive computer punched
card system automatically controls over
twenty synthesizer variables.
A Kaman Music Product
Box 205, New Hartford, CT 06057
To help you get started, SynKey\comes
with 25 prepunched cards, each w\th a
different SynKey voicing. You also get 25
blank cards plus a hand punch so you can y
start creating your own voicings. And : /
remember, SynKey can always be operated
manually, like ordinary synthesizers. ^
Here's how easy it is to preserve a created
SynKey sound. Use the panel controls to
find a voicing you like. Use the hand punch
to code the program card for that voice. The
next time you want that voicing, simply insert
the card into the card reader and play. No
other synthesizer has this unique feature.
The richest sound ever in a portable
synthesizer. The more oscillators, the richer
and fuller the sound. Most good synthesizers
have three oscillators. But to duplicate the
SynKey sound, you would need a
synthesizer with thirteen oscillators.
SynKey has a unique top-octave divider
which creates this dramatic multiple-oscillator
effect. You get the basic pitch, plus the next
twelve higher semitones in precise intervals.
And, instead of manually tuning each tone,
you just punch a button to select it.
In addition to SynKey's programming
ability and its full 13 oscillator sound,
SynKey's second touch keyboard'lets you
add nuance and expression to your music.
Press a little harder on its 314 octave
keyboard and^you can bend npfes, add
vibrato, filter sweeps, or any combination at
once. s
A functional synthesizer for concert and
recording work. In the past, synthesizers
were used for two, maybe three
arrangements in a performance. The time
required to change sounds made it almost
impossible to use them more. SynKey's
programming and playing features make it
the first true live performance synthesizer
you can use throughout a concert.
Programming makes it possible to change
voicings from one musical arrangement to
another, or even within an arrangement. All
you do is pull one card from the reader and
insert another, or simply alternate from
program card to panel voice. SynKey does
the rest.
For instance, you can operas lead GiV'
your SynKey, then have someone- else take
the lead. You pull the card in the reader,
insert another, and go back on lead with a
completely different sound.
Think of the flexibility. Think of what variety
this can mean in arranging. And think what
versatility it can mean during a concert.
SynKey: The most playable synthesizer
ever made. We've simplified the synthesizer
so it's easy to understand and easy to play.
The control panel is white on black for
viewing ease under any lighting conditions.
The controls are arranged logically for ease
of use. SynKey uses only the finest rotary
controls, and the push buttons are color
keyed to show you when they're depressed.

\
Making music with SynKey.
1.
1. The Card Reader accepts SynKey
orogramming cards which preset over 20
synthesizer variables. The card reader select
switch lets you alternate between the card
/oice and the voice set on the front panel at
:he touch of a button.
2. SynKey's wide range Voltage Controlled
Oscillator simultaneously produces 13
Ditches at semitone intervals. Pitches are
selected by indicating push buttons. Octave
switching is accomplished with precision
digital dividers. The accompanying oscillator
;o<7tl permits the addition of portamento
vibrato. The root waveform is
continuously variable, while the remaining 12
pitches have a bright 30% duty cycles
waveform. Root waveform, including pulse
width modulated pulse plus 5 others, and
vibrato amount are programmable functions.
3. Noise produces white noise, which is
used to create wind, surf, and percussive
effects.
4. The Voltage Controlled Filter with its
associated control mixer is the principal
timbre modifier. SynKey has a filter mode
control in addition to the normal tune and
resonance controls. SynKey's filter is
continuously variable from low pass through
band pass and high pass modes. This means
extra timbre control. Filter tune, resonance,
and mode are programmable functions.
5. The Ring Modulator creates bell-like
sounds such as chimes and gongs, as well
as many new and interesting timbres.
6. SynKey's dual Envelope Generators
provide independent control of timbre and
loudness as a function of time. If filter
envelope is selected on the second touch
panel, filter sweep is delayed until second
touch is activated. Attack, decay, and sustain
are programmable in each envelope.
7. SynKey uses a 44-Note F-C Pratt Read
Keyboard with second touch capability. Play
with normal touch and SynKey behaves as
you would expect — press a little harder to
introduce dynamic effects and expression.
The Second Touch panel switches permit the
addition of pitch bend, vibrato, and filter
sweeps from either (or both) the modulation
oscillator or filter envelope. The amount of
vibrato and filter sweep from either
modulation oscillator or filter envelope are
programmable functions.
8. The Modulation Oscillator offers a ~ '
choice of five different waveshapes, including
two sampled waveshapes for dramatic
vibrato and filter sweep effects. The saw,
triangle, and square waveshapes are
programmable.
We designed SynKey to be the
Stradivarius of synthesizers. We designed
and built SynKey with the care you expect.
We start with the finest components and
subject each instrument to the most exacting
inspection at each stage of manufacture.
And with just one oscillator generating that
13-oscillator sound, you can't have tracking
problems, and there isn't much to break
down.
We built SynKey to be rugged. Its going to
become the standard instrument for a lot of
performers. The programming feature means
you can use SynKey throughout a concert
instead of just once or twice. We use Allen
Bradley rotary pots, good for 100,000
rotations — and they get quieter with use.
You don't have to worry about grit or dust in
a slide control. And SynKey's fine hardwood
cabinetry will stand up to travel, rehearsal
and performance and still look great.
The most advanced performance
synthesizer made.
• You can't buy a performance synthesizer
with more advanced features than SynKey.
• No other synthesizer has user-
programming.
• No other synthesizer has push button
semitone select to build parallel chords.
• No portable synthesizer has a sound like
13 oscillators.

Technical Specifications
KEYBOARD: 31/2 octave Pratt Read
keyboard with Second Touch and gold
plated contacts. Pitch bend + a third, filter
sweep, vibrato, Mod. Osc. applied to filter
(wah).
Any combination may be selected.
Portamento variable from 0 to 2 seconds per
octave (may be selected by optional
footswitch or controlled from optional pedal).
SOURCES: A Master oscillator generates 13
pitches at semitone intervals. Pitches are
selected by indicator push buttons. Any
combination of semitones may be selected
within the octave.
Accuracy of pitch interval: 1.2 cents
maximum (approximately = 1/100 of a
semitone). Octave select: ± 1 octave with
precision digital divider. Root pitch wave
continuously variable with
j j j| /i /m ([} ru
and intermediate waveshapes available.
Pulse waveshape is modulated from 50% to
10% duty cycle by filter envelope for
increased brightness. Remaining 12 pitch
sources are bright 30% duty cycle pulses.
Frequency range without vibrato 44Hz —
4186Hz. Vibrato amount — adjustable up to
±2 octaves. Noise: white, selected by
indicating push button.
MODIFIERS: Voltage Controlled Filter. State
variable filter continuously variable from low
pass thru band pass and high pass modes.
Frequency range 44Hz (F,) thru 12000Hz, or
12KHz (Gg). Inputs: (1) filter envelope 0 to
+ 5 octave sweep. (2) modulation oscillator 0
to ±3 octaves.
Ring modulator— Digital with modulation
pitch tracking a 5th above root pitch. Other
timbres may be selected by using other than
root pitch source.
CONTROLLERS: Envelopes - 1 for filter, 1
for voltage controlled amplifier, each with
attack, decay and sustain controls. Attack:
.005 to 3 sec. Decay: .002 to 9 sec.
Modulation Oscillator: Variable rate from .15
cycles/second to 50 cycles/second. 5 switch
selected waveshapes r^ /\ ru
plus sampled triangle and sampled
sawtooth .•'•. w Light emitting diode
indicates rate.
CARD READER: 40 bits with gold plated
contacts. Rated for 100,000 card insertions.
CARD PROGRAMMABLE CAPABILITIES:
Root waveform
Vibrato amount
Modulation oscillator shape
Amount of envelope applied to filter
Amount of modulation oscillator applied to
filter
Filter tune
Filter resonance
Filter mode: low pass, band pass, and high
pass
Filter envelope: attack, decay, and sustain
Amplifier envelope: attack, decay, and
sustain
Panelcontrol of any parameter is retained if
that parameter is not programmed.
NON PROGRAMMABLE CONTROLS:
Card reader select
Octave select
Semitone select
Portamento time
Modulation oscillator speed
Noise
Ring select
Output volume.
Output: High and low outputs of 4 and .4
volts nominal range suitable for driving
standard music and hi-fi amplifiers.
WARM-UP: 3ft minutes at norfl
temperatures.
POTS AND SWITCHES: All potentiometers ;
are Allen Bradley and are sealed against
contaminents. Allen Bradley pots are rated at
100,000 rotations and become quieter with
use. All switch contacts are gold and silver . /
plated (excludes power switch).
SIZE:29"x17"x8"
WEIGHT: 26 lbs.
POWER REQUIREMENTS: 10 watts
Specifications subject to change without notice.
A Kaman Music Product - ~-~- -
Box 205, New Hartford, CT 06057
The first synthesizer you can program.

Setting up your SynKey for play.
1. Unpack your SynKey and place on a
fiun, flat surface. Remove the accessories
packed with the instrument.
2. Connect your SynKey to an amplifier/
speaker system. Select the correct output on
the back panel of the SynKey.
Use high level output with hi-fi amplifiers.
Use low level output with guitar-type
amplifiers.
3. Plug your SynKey into a wall socket
using the 3 wire cord. If the receptacle will
not accept a 3 wire plug, use a properly
grounded adapter. Turn on your SynKey with
the toggle switch on the back panel. A red
light should glow in the Modulation Oscillator
section of the control panel. The light may be
blinking on and off; this is normal. The light
will go on and off in synchronization with the
Modulation Oscillator as long as SynKey is on.
4. Set the tuning and octavation controls
on the back panel straight up. (For tuning
instructions, see page 10; tuning is not
necessary for the getting-acquainted period.)
This manual is designed to lead you
through SynKey in a step-by-step fashion.
Do not be unnecessarily concerned with
technicalities. Do move controls very slowly
and listen carefully to the sounds produced.
Try to determine at each step whether you
are controlling pitch, timbre, or loudness.
When you are able to relate the various
SynKey controls to these parameters, you
are well on your way to becoming an
accomplished synthesist.
©copyright 1976 Kaman Music

Owner's Manual
Electronic Music Laboratories, Inc.

Table of Contents
Introduction
Page
• 3,4
.. 5
I. SOURCES
Octave Select 5
Semitone Select 5
Portamento 5
Root Waveform 5
Noise 5
II. CONTROLLERS 5
Modulation Oscillator 5
Amplifier Envelope 6
Filter Envelope 6
Volume Control 6
III. MODIFIERS 6
Voltage Controlled Filter 6
Ring Modulation 7
Pulse Width Modulation 7
IV. SECOND TOUCH 8
Bend 8
Modulation Oscillator 8
Filter Envelope 8
V. PROGRAMMING 8
Using Program Cards 8
Programming Your Own Cards 8,9
REAR PANEL 10
Tuning 10
BIBLIOGRAPHY 10
SAMPLE PATCHES 11-16
MAINTENANCE 17
VI.
VII.
VIII.
IX.
TECHNICAL SPECIFICATIONS
18
A Kaman Music Product
P.O. Box 529, Bloomfield, CT 06002
The first synthesizer you can program.

Introduction
All musical sounds may be described in
terms of just four characteristics: duration,
pitch, loudness and timbre. The duration,
pitch, loudness and timbre of traditional
instruments depend upon the size and shape
of the instrument, the materials of which it is
made, and the manner in which it is bowed,
struck, plucked or blown.
DURATION: Some instruments — strings,
woodwinds and brasses — produce
sustained tones, limited only by bowing
technique or by human lung capacity.
Percussive instuments like the harpsichord or
piano, bells, or plucked strings produce
sounds which fade in a predictable way.
PITCH: Traditional instruments may be
grouped according to the definiteness of
their pitch. Strings, woodwinds and brasses
have well defined pitch; bells, woodblocks
and tympani have less well defined pitch;
and snare drums and gongs have virtually no
pitch.
The pitch of traditional instruments
depends upon the mechanical properties of
the vibrating element; for example, the length
of a column of air, or the weight, tension and
length of a vibrating string. Generally, to
produce lower pitches, traditional musical
instruments must be made larger. The cello
is larger than the violin; the flute is longer
than the piccolo: a tuba is larger than a
trumpet.
LOUDNESS: Each instrument has various
possibilities for loudness and for the way in
which loudness changes in time. In a large
horn, such as a tuba, it takes a while to get a
large amount of air moving, so it takes time
for the tone to reach maximum loudness.
With a percussive or plucked instrument, the
performer controls only the overall loudness.
In an instrument with a sustained tone the
r
performer can control the way in which
loudness changes with time. However, the
" loudness of the tone is somewhat coupled
to the pitch of an instrument and is closely
connected to the timbre of the instrument.
For example, it is impossible to blow a loud
low note on a recorder, and the overtones of
a woodwind or brass instrument change
considerably with loudness.
TIMBRE: Timbre is defined as the quality
of a tone. Because different musical
instruments have different timbre, you are
able to distinguish between them. Timbre
is a many-sided characteristic of sound.
Some elements of timbre depend upon the
nature of the steady tone of an instrument.
The quality of steady tones is determined by
the presence of tones in addition to the
tone which produces the fundamental pitch.
These extra tones are called partials. In the
case of instruments with well defined pitch,
these extra tones are harmonics or
overtones.
When a string player plays an A-440 (the
440 indicates the number of vibrations or
cycles per second being produced by the
string) he also produces 2 x 440 or 880
cycles per second, 3 x 440 or 1320 cycles
per second, 4 x 440 or 1760 cycles per
second, etc. The relative strength of these
harmonics or overtones determines the
timbre and relative brightness of the sound.
Strong overtones mean bright sound; weak
overtones mean a mellow sound. A clarinet
player producing an A-440 will similarly
produce this overtone series; but the even
harmonics 2 x 440, 4 x 440, 6 x 440,
etc. will be very weak, while 3 x 440, 5 x
440, etc. will be relatively strong. This is why
a violin sounds different from a clarinet.
But musical timbre is not completely
determined by the quality of a steady tone.
At least equally important to timbre are
transient effects, particularly the way in
which the strengths of the overtones rise
when a note begins or change with vibrato
or tremelo or with intonation. These dynamic
aspects of a tone are vitally important to
timbre. For example, most of the difference
between a violin tone and a trumpet tone is
due only to these dynamic effects.
Our forebearers have provided us with a
variety of traditional instruments, each of
which provides varying degrees of control
over pitch, timbre, and loudness. Because
these instruments depend on physical con
struction, each has limits on the extent of
control.
THE SYNTHESIZER: The synthesizer is an
electronic instrument which provides the
performer with control over duration, pitch,
loudness, and timbre. The synthesizer does
not depend upon moving air columns,
vibrating reeds or strings to produce sounds.
The synthesizer uses a flow of electrons to
create an electrical wave which can be
amplified and converted into sound waves by
a loudspeaker. With today's technology it is
easy to manipulate electron flow.
The duration of a synthesized tone can be
controlled independently of timbre charac
teristics so that a sound with percussive
character can be sustained.
To change the pitch of a synthesizer by
an octave, we do not have to stretch the
instrument to twice its size, but simply push a
button. The pitch of a synthesized sound can
be precisely controlled, bent, or sent into
motion at superhuman rates.
The loudness, and its variation with time,
of a synthesized sound can be precisely
controlled by a voltage controlled amplifier
without affecting the timbre of the tone.
The timbre of a synthesized sound can be
changed to simulate traditional instruments
or to create sounds of instruments which
never existed. The quality of the sustained
sound can be changed by using different
oscillator waveforms or different settings of a
filter. The flexibility of control of synthesizer
components allows the musician control over
the important dynamic aspects of timbre.
This flexibility, achieved by voltage-controlled
electronics, accounts for the major difference
between a synthesizer and an electronic
organ. It is this flexibility — the fact that the
synthesizer is really a rubber instrument —
which makes it such an attractive and useful
instrument to today's musician.
Naturally, to get the most out of your instru
ment, you will want to learn it thoroughly —
learn its capabilities and limitations — that's
what the next part is about. Have fun!

Making music with SynKey.
1. The Card Reader accepts SynKey
programming cards which preset over 20
synthesizer variables. The card reader select
switch lets you alternate between the card
voice and the voice set on the front panel at
the touch of a button.
2. SynKey's wide range Voltage Controlled
Oscillator simultaneously produces 13
pitches at semitone intervals. Pitches are
selected by indicating push buttons. Octave
switching is accomplished with precision
digital dividers., The accompanying oscillator
coritrol. permits the addition of portamento
a^ibrato. The root waveform is
continuously variable, while the remaining 12
pitches have a bright 30% duty cycles
waveform. Root waveform, including pulse
width modulated pulse plus 5 others, and
vibrato amount are programmable functions.
3. Noise produces white noise, which is
used to create wind, surf, and percussive
effects.
4. The Voltage Controlled Filter with its
associated control mixer is the principal
timbre modifier. SynKey has a filter mode
control in addition to the normal tune and
resonance controls. SynKey's filter is
continuously variable from low pass through
band pass and high pass modes. This means
extra timbre control. Filter tune, resonance,
and mode are programmable functions.
5. The Ring Modulator creates bell-like
sounds such as chimes and gongs, as well
as many new and interesting timbres.
6. SynKey's dual Envelope Generators
provide independent control of timbre and
loudness as a function of time. If filter
envelope is selected on the second touch
panel, filter sweep is delayed until second
touch is activated. Attack, decay, and sustain
are programmable in each envelope.
7. SynKey uses a 44-Note F-C Pratt Read
Keyboard with second touch capability. Play
with normal touch and SynKey behaves as
you would expect — press a little harder to
introduce dynamic effects and expression.
The Second Touch panel switches permit the
addition of pitch bend, vibrato, and filter
sweeps from either (or both) the modulation
oscillator or filter envelope. The amount of
vibrato and filter sweep from either
modulation oscillator or filter envelope are
programmable functions.
8. The Modulation Oscillator offers a
choice of five different waveshapes, including
two sampled waveshapes for dramatic
vibrato and filter sweep effects. The saw,
triangle, and square waveshapes are
programmable.
We designed SynKey lo be the
Stradivarius of synthosi?^. We designed
and built SynKey with the care you expect.
We start with the finest components and
subject each instrument to the most exacting
inspection at each stage of manufacture.
And with just one oscillator generating that
13-oscillator sound, you can't have tracking
problems, and there isn't much to break
down.
We built SynKny lo he. rugged. It's going to
become the standard instrument for a lot of
performers. The programming feature means
you can use SynKey throughout a concert
instead of just once or twice. We use Allen
Bradley rotary pots, good for 100,000
rotations — and they get quieter with use.
You don't have to worry about grit or dust in
a slide control. And SynKey's fine hardwood
cabinetry will stand up to travel, rehearsal
and performance and still look great.
The most advanced performance
synthesizer made.
• You can't buy a performance synthesizer
with more advanced features than SynKey.
• No other synthesizer has user-
programming.
•
No other synthesizer has push button
semitone select to build parallel chords.
• No portable synthesizer has a sound like
13 oscillators.

VOLTAGE CONTROUED OSCILLATOR
I OCUVl -I I .) j -J } 4 4* J mt, 6 .7
06CIUAKM CONfBOl
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MOOUIATKX OSClllATOB
VOLTAGE CONTROLLED FILTER
* * tr
1 J J J s •
\.
U&ONANCf MOOt
FIITEB ENVELOPf
J * 6 j * 6 2 /
VOLTAGE CONTROLLED AMPLIFIER
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AMPLIFIES ENVELOPE
Fig. 2 Source Controls
:. BuUnCES. The SynKey sources are com
prised of the thirteen semitone select push
buttons and the NOISE select button. The
OCTAVE select push buttons, PORTAMENTO
and ROOT WAVEFORM (WAVESHAPE on
early instruments) are closely associated
with the sources. The sources provide the
raw pitches for the synthesizer.
A. Set the controls on your SynKey as
shown in figure 1. Note the controls shown
as SOURCE CONTROLS in figure 2.
B. Hold down a key — press the R (root)
semitone select push button and adjust the
level at either your amp or the VOLUME
control (far right) on your SynKey to obtain a
comfortable listening level. Play a little riff.
(Note: if none of the semitone push buttons
are selected — and the NOISE is not
selected you will get no sound.)
C. Depress the -1 OCTAVE push button
and play. The pitch has been transposed 1
octave lower. Push again to release and you
are back where you started. Push the + 1
push button and transpose one octave
higher. Push again to release. Note that if
both the —1 and + 1 octave buttons are
depressed + 1 always wins!
D. Depress the m2 button and release the
root. The pitch is transposed up 1 semitone.
You can repeat this for each push button
until you reach 8 va. Each button will raise
the pitch by 1 semitone until you have
covered a complete octave. With SynKey
you can learn a tune in one key and play it in
any other simply by selecting the proper
semitone push button.
E. Now depress R, 3, 5, and play. By
depressing the proper semitone select push
button you can readily play any parallel
chord. Try the following chords.
Major - R, 3, 5
Minor — R, m3, 5
Suspended- R, 4, 5
Major 7th - R, 3, 5, 7
Minor 7th - R, m3, 5, m7
Dominant — R, 3, 5, m7
Sixth - R, 3, 5, 6
Augmented— R, 3, m6
Diminished - R, m3, +4,6
F. Now release all semitone push buttons
except R and play while gradually rotating
the PORTAMENTO dial clockwise. PORT
AMENTO causes the pitch to glide to succes
sive notes. The pitch will continue to glide to
the last key depressed even if it is released
prematurely. A footswitch or footpedal may
be used to control portamento. See page 10.
G. ROOT WAVEFORM (WAVESHAPE on
early instruments) determines the basic timbre
or quality of sound on the SynKey. Rotate
this control fully clockwise. Play a simple
tune in a lower register and slowly rotate the
control counterclockwise. Note that:
the nj (square) waveform is rather
"hollow" like a clarinet.
The AA (double sawtooth) is stringlike and
up an octave.
The /\ (sawtooth) is string or brass like.
The _J1 (pulse) is very bright — reedy.
When listening to the pulse with the synthesizer
set as in fig. 1, you should hear a change in
timbre with key depression. The pulse is
being "width modulated" by the Filter En
velope to make it even brighter. More about
that later. As you become more familiar with
SynKey you will find that the ROOT WAVE
FORM control will be very useful in developing
particular timbres.
H. NOISE. Release all of the semitone select
push buttons and depress NOISE. Noise is
really the presence of all pitches at the same
time. It will prove useful later to develop surf,
wind, thunder, and percussive effects. Note
that if you depress all thirteen semitone
select buttons the result will be rather like
noise — even though you are using just 13
pitches and their overtones rather than all
pitches.
II. CONTROLLERS: Figure 3 indicates
those functions we have designated as
CONTROLLERS. The controllers are used
basically to introduce time varying changes
in pitch, timbre, and loudness.
A. MODULATION OSCILLATOR-The
MODULATION OSCILLATOR produces a
voltage which varies reasonably slowly with
time. The position of the SHAPE control
determines the way in which the voltage
changes with time, and the SPEED control
determines how often the changes occur.
1. Begin with the SHAPE at /\ and SPEED
at 5. Now hold down a key and slowly rotate
the modulation oscillator (MOD. OSC.) dial in
the OSCILLATOR CONTROL clockwise. You
will hear a vibrato which begins as a small
part of a semitone and increases to about ± 2
octaves. The MOD. OSC. control determines
the amount of modulation oscillator signal
which is applied to the SynKey VOLTAGE
CONTROLLED OSCILLATOR. The more
MOD. OSC. you apply, the greater the pitch
change. -
2. Now slowly adjust both the SPEED control
and the MOD. OSC. control (key depressed)*
You will be able to achieve a wide variety
of effects.
3. With the SPEED set rather slow and MOD.
OSC. set to about midpoint, move the shape
alternately to m\ (double sawtooth), /\
(triangle), and ru (square). You will hear a
pitch change represented by the shapes.

4. The dotted shapes .•'•. and \\ signify
sampled /I and m\ shapes. Instead of
smoothly varying, these voltages are broken
into steps. As you change the SPEED control
you will find that you can generate various
pitch patterns for special effects.
Experiment with various combinations of
MOD. OSC, SHAPE, and SPEED controls to
become thoroughly familiar with them.
B. AMPLIFIER ENVELOPE - The AMPLI
FIER ENVELOPE generates a voltage at each
key depression. This voltage is applied to the
VOLTAGE CONTROLLED AMPLIFIER. The
VOLTAGE CONTROLLED AMPLIFIER'
determines how the loudness of your SynKey
changes with time after you depress a key.
There are three controls in the AMPLIFIER
ENVELOPE: ATTACK, DECAY, and
SUSTAIN. Note: no new envelope can be
initiated unless all keys have been released.
1. The ATTACK control will determine how
long it takes a sound to reach maximum
loudness. Clockwise rotation results in longer
attacks. Once the maximum loudness is
reached the process is reversed and the
sound level begins to decrease. The time to
reach silence is determined by the DECAY
control. With the SUSTAIN control off (set
to 1), the envelope will always be the same
regardless of when (or whether) you release
the key. Experiment with various combinations
of the ATTACK and DECAY controls. You
should be able to make loudness versus time
varions such as the following:
Don't be surprised that you can't hear how
the loudness is changing at short attack and
decay times — the time can be as short as
2/100pthof 3 second.
2. V^tj^he SUStAIN control at other than 1
the situaiion is a little different. The envelope
(andrloudness) will attack to the maximum
level and then begin to decay. If a key is not
held down, the envelope will decay to zero
level as before. If a key is being held down,
however, the loudness will decay to the level
set by the SUSTAIN control and remain there
as long as the key is depressed. Upon key
release, the loudness will decay toward
silence at aTSte determined by the DECAY
control. Holding a key down simply prevents
the loudness from decreasing below the level
set by the SUSTAIN control.
By experimenting with all three controls
you should be able to make sounds change
loudness with time as shown below.
KEY RELEASE
If you read our discussion of musical
instruments and are starting to think in terms
of pitch, loudness, and timbre, you may have
guessed that to play plucked or struck
sounds you will use fast attacks, medium
decays and no sustain. Horn sounds will
require medium short attacks and decays
with moderate to high sustain. An organ-like
sound will have fast attack and decay with
maximum sustain.
C. FILTER ENVELOPE - The FILTER
ENVELOPE has the same controls and
works in the same way as the AMPLIFIER
ENVELOPE. It is, however, applied to the
VOLTAGE CONTROLLED FILTER. More
about that in Section III.
D. VOLUME CONTROL - The VOLUME
CONTROL is grouped with the controllers as
a matter of convenience. It simply sets the
overall volume of the SynKey. Generally
speaking, the best signal-to-noise ratio is
obtained with the SynKey VOLUME turned
well up and your amp volume down. You will
find that some compromise is required to
accommodate different kinds of sounds. At a
gig, the best bet is to set your amp for the
proper level with the SynKey volume at 7
while playing your "thinnest" sounds, then
you will be able to turn down the SynKey
volume for songs with thicker sounds.
Now is a good time to practice what you
have learned so far and let it sink in. Try
combining different envelopes, root wave
forms, chord structures, and varying degrees
of portamento and vibrato.
III. MODIFIERS: There are three modifiers
on the SynKey. Basically they pertain to
timbre modification. They are:
A. Voltage Controlled Filter
B. Ring Modulator (designated by RING)
C. Pulse Width Modulation
A. VOLTAGE CONTROLLED FILTER - The
filter is primarily responsible for the wide
variety of timbres available on your SynKey.
It accomplishes this by emphasizing or
de-emphasizing different overtones or har
monics naturally present in the basic pitch
waveforms.
1. Begin by setting your SynKey's controls
as shown in Figure 4. With resonance set to 1
and mode set to LP (low pass), gradually
rotate the TUNE control clockwise while hold
ing down a low key. Notice that the note
becomes progressively brighter. As you
rotate the TUNE clockwise, you are actually
permitting more overtones to pass (remember
overtones are integral multiples of the basic
pitch) without changing the strength of the
fundamental pitch.
2. Now rotate the MODE control to BP (band
pass) and again rotate the TUNE control.
(You can play a little riff now and then too —
it helps make subtle timbre changes more
evident.) Now as you rotate clockwise, you
will tend to pass a band of overtones. When
fully clockwise the fundamental and lower
overtones will tend to be reduced — resulting
in a still brighter timbre.
VOLTAGE CONTROLLED OSCILLATOR
ml 1 mi ]
OSCILLATOR CONTRCX
MODULATION OSCILLATOR
VOLTAGE CONTROLLED FILTER
IUNE ttiONANCf MODI
FILTER ENVELOPE
MCAV SUSTAIN
VOLTAGE CONTROLLED AMPLIFIER
AMPllflfft ENVELOPE
Fig. 3 Controllers
OSCILLATOR CONTROL
MODULATION OSCILLATOR
VOLTAGE CONTROLLED FILTER
/ •■/ •-/
•I SON a NO wOOt
fllTER ENVELOPE
} *• 6 2 W 6 J
VOLTAGE CONTROLLED AMPLIFIER
Fig. 4

Fig. 6
3. Set the MODE control to HP (high pass)
and repeat the same exercise. Here, as you
rotate the TUNE control, the higher
overtones remain at the same strength while
the fundamental pitch and lower overtones
are successively diminished in strength. In
high pass mode, with the TUNE at 7, you'll
have a very thin sound, depending on pitch
range.
4. You have performed the preceeding with
the RESONANCE control set to 1. Now
return the MODE to LP (low pass), set
RESONANCE to 3 and rotate the TUNE
control back and forth. Set RESONANCE
successively to 4, 5, 6, & 7 and rotate TUNE
repeatedly.
Now in addition to diminishing certain
overtones, the filter is emphasizing the
overtones to which it is tuned. At higher
resonance you can readily distinguish the
individual overtones.
5. With RESONANCE set to 5 or 6, set the
ROOT WAVEFORM control to square (fU )
and rotate the filter TUNE. Return to the
sawtooth ( /\) and repeat. The difference
you hear is due to the fact that sawtooth has
both even and odd harmonics; while the
square wave has only odd. Each of the
waveforms depicted on the ROOT WAVE
FORM control has a different overtone
structure and will provide somewhat different
results after being modified by the filter.
The filter provides much to think about and
many possibilities. Practice, with various
settings of the TUNE, RESONANCE, and
MODE while playing simple pieces.
6. Return all controls to positions indicated in
Figure 4, except set RESONANCE to 5 and
ENVELOPE in the FILTER CONTROL section
to 5. Thus far you have been using static
timbres — now we are going to change
timbre with time.
Play a few notes and notice that the timbre
changes during the note. The position of the
ENVELOPE dial in the FILTER CONTROL
section determines the amount of timbre
change; while ATTACK, DECAY, and
SUSTAIN levels of the FILTER ENVELOPE
determine just how the timbre changes with
time. This effect is commonly called "envelope
sweep" or "filter sweep". What you are doing
is using the FILTER ENVELOPE voltage to
change the tuning of the filter electronically
rather than by rotating the TUNE control.
It is similar to changing loudness with
AMPLIFIER ENVELOPE.
7. Experiment — slowly — with various
settings of the filter TUNE, RESONANCE,
and MODE controls, the ENVELOPE control,
and the ATTACK, DECAY, and SUSTAIN
controls of the FILTER ENVELOPE.
8. Reset all controls to positions shown in
Figure 4, except RESONANCE at 5. Now
rotate the MOD. OSC. control in the FILTER
CONTROL section clockwise. You are now
using the modulation oscillator to "sweep"
the filter. The modulation oscillator is now
effectively changing the filter tune.
9. With MOD. OSC. in the FILTER CONTROL
set to 5 or so, go to the MODULATION
OSCILLATOR itself and manipulate the
SPEED and SHAPE controls. You will be able
to affect the rate of timbre change and how it
changes with time. Notice when the SPEED
is set high, the ear cannot distinguish how
the timbre changes with time. The ear simply
hears a new timbre. Experiment!
B. Ring Modulation — Ring modulation is a
process which generates non-harmonic
partials. Overtones are harmonic partials.
Their frequencies are integer multiples of the
fundamental pitch, hence the tone having
harmonic partials will be bright, but have
a well defined pitch. A source with non-
harmonic partials will tend to sound discord
ant. Bells, cymbals and chimes are examples
of instruments rich in non-harmonic partials.
They are often described as being clangorous.
The ear will regard tones with non-harmonic
partials as having a "different" timbre.
1. Set the SynKey's controls as shown in
Figure 5. Play a little tune, then depress the
RING push button.
2. Push m2 and release R while playing.
Repeat the process of depressing the next
semitone button and releasing the previous
one. You will find a wide variety of timbres
(not all will sound pleasant).
3. Experiment with various filter settings, filter
control settings and root waveforms while
using ring modulation.
C. Pulse Width Modulation — Pulse width
modulation creates a chorus effect — the
sound of a number of instruments playing
together. This is accomplished electronically
by using the FILTER ENVELOPE to control
the width of a pulse produced by the
VOLTAGE CONTROLLED OSCILLATOR. This
results in the phase of the oscillator signal
changing in time much like the phase
variations of a chorus of instruments.
Set up the SynKey according to figure 6.
Depress a key and notice the chorus effect.
Experiment with different settings of
AMPLIFIER ENVELOPE and FILTER
ENVELOPE ATTACK, DECAY, and SUSTAIN.
The amount of chorus effect can be
decreased by moving the ROOT
WAVEFORM control clockwise until it is
vertical where the effect will disappear.

IV. SECOND TOUCH: The second touch
keyboard permits you to selectively initiate
pitch bend, vibrato, and timbre changes
directly from the keyboard. Set SynKey as
shown in Figure 5, and refer to Figure 7.
A. BEND — Begin with all rocker switches
on the SECOND TOUCH panel off except
the BEND switch. Depress a key slowly (use
a long decay or some sustain in the amplifier
envelope). As you continue to press down
you will hear the pitch bend up approximately
a third. Play a little riff with normal light
touch, then simply press harder to initiate
pitch bend on desired notes. Notice that
the amount of bend is not determined by
how hard you press.
B. MODULATOR OSCILLATOR - Turn off
BEND and adjust SynKey to produce a
vibrato using the MOD. OSC. control'in the
OSCILLATOR CONTROL section, and the
MOD. OSC. SHAPE and SPEED controls.
Have the MOD. OSC. dial in FILTER
CONTROL set to 1.
Play a little and notice you always have
vibrato. Now activate the MOD. OSC. rocker
switch on the SECOND TOUCH panel. The
vibrato will disappear with normal light touch
and only occur when a key is depressed
sufficiently to initiate second touch.
Turn the MOD. OSC. dial in OSCILLATOR
CONTROL to 1 to remove the vibrato and
turn up the MOD. OSC. dial in FILTER
CONTROL (slow down the modulation
oscillator speed too, if you wish). Repeat the
previous playing exercises and you will find
that you can introduce a wah-wah effect at
any time by simply pressing harder.
C. FILTER ENVELOPE - Set the MOD.
OSC. rocker switch to off. In the FILTER
CONTROL section set MOD. OSC. to 1 and
the ENVELOPE to 7. Set the FILTER
ENVELOPE ATTACK and DECAY dials to 4.
Play a riff and npte that you have timbre
chariges (fitter sweep) on each key
dep&§8ion. Activate the FILTER ENVELOPE
roqker switch on the SECOND TOUCH
panel. Note that the filter envelope and
resulting timbre changes will only occur upon
sufficiently forceful key depression. You can,
of course, have all 4 effects (bend, vibrato,
wah-wah, and filter envelope sweep) at the
same timed*-you wish.
Remember, if the FILTER ENVELOPE and
MOD. OSC. rocker switches are off, you
will have timbre changes and vibrato as
determined by the front panel controls. If
the rocker switches are on, you will get these
effects only when a key is depressed suf
ficiently. Always make sure the rockers are
in the position desired or you will have
surprises!
V. PROGRAMMING: The programming
feature of your SynKey is designed to make
life easier when you have to go quickly
from one sound to another. Making a card
for sounds you particularly like will prevent
"losing" them, too.
Basically what the card reader and
programming cards do is preset most of the
important front panel controls of your
SynKey. The programmable controls are:
ROOT WAVEFORM
MOD. OSC. in OSCILLATOR CONTROL
(vibrato amount)
MODULATION OSCILLATOR SHAPE
ENVELOPE in FILTER CONTROL (amount of
envelope applied to filter)
MOD. OSC. in FILTER CONTROL (amount of
modulation oscillator applied to the FILTER)
Filter TUNE
Filter RESONANCE
Filter MODE: Low pass, band pass, and high
pass
Filter Envelope: ATTACK, DECAY, and
SUSTAIN
Amplifier Envelope: ATTACK, DECAY, and
SUSTAIN
A number of controls are not program
mable. They allow you to introduce nuance
and variations during a piece. They are:
CARD READER select
SECOND TOUCH select
OCTAVE select
SEMITONE select
MODULATION OSCILLATOR SPEED
PORTAMENTO time
NOISE SELECT
RING SELECT
Output VOLUME
A. USING PROGRAM CARDS - Select a
prepunched card from those provided. See
Figure 8. Insert it firmly into the card reader
slot, printing side up with the cut corner to
the left. (Never put anything into the slot but
a factory supplied card — make sure cards
are clean and do not have bits of tape or
other debris on them. The reader is a
precision device and rather expensive.)
The groove running across the top of the
instrument may be used to hold cards for
easy access during a performance.
Set the non-programmed controls as
specified on the card. The first row indicates
the OCTAVE (-1,0, + 1) and semitone
select push button R, m2, 2 ).
PORTAMENTO, MOD. OSC, SPEED, RING,
and SECOND TOUCH selection may also be
given.
Push the CARD READER select push
button and play. Try various cards —
SECOND TOUCH .
following the auxilliary instructions each time
— to get an idea of the kinds of sound your
SynKey can make. These sounds have been
selected for variety and therefore require
different playing techniques. Don't be shy
about experimenting with OCTAVE select,
SEMITONE SELECT, PORTAMENTO, etc.
while using the cards.
Note that if no card is in the reader slot
you will get the sound determined by the
front panel controls regardless of the reader
select push button position. If a card is in the
slot, you can go back and forth between the
front panel sound and the programmed
sound by merely activating the reader push
button.
B. PROGRAMMING YOUR OWN CARDS -
Programming your own cards is easy. It is
necessary to: (1.) set up a sound using front
panel controls and (2.) translate the setting of
the programmable controls into holes in a
card.
I
- MANUAL SETTINGS ONLY -
DO NOT PUNCH
OCTAVE MUSE <BK
D D DDDDDDODDDDDDD D
-I +1 R m2 2 m3 3 4 4* 5 ro6 6 m7 7 Iva
SECOND TOUCH
D D D
Fig. 7 Second Touch Panel
Fig. 8 Program Card

Fig. 9 Rockford Files
- MANUAL SETTINGS ONLY •
DO NOT PUNCH
lTd ddoddddddddddd d
-I *\ R ra2 2 ro3 3 4 4* 5 tn6 6 ml 7 In
PORT
MOO. OSC. MASTER
SPEEO VOLUME .
SECOND TOUCH
D D D
-PROGRAM TITLE-
Fig. 8 Program Card
TRANSLATING SETTINGS TO HOLES -
Most controls have markings which are
directly translatable to card holes. For
example, consider the ATTACK control in the
AMPLIFIER ENVELOPE. The ATTACK control
has seven marks around it numbered 1
through 7. If the control is set to number 1,
you simply punch out the 1 hole in the
ATTACK portion of the VOLTAGE
CONTROLLED AMPLIFIER section of the
card. If the control is set to 2, punch out the
2 hole. If the control is set to 3, punch out
the 1 hole plus the 2 hole (1 +2 = 3).
If the
CONTROL setting is:
1
2
3
4
5
6
7
Punch holes
valued at:
1
2
2 + 1
4
4 + 1
4 + 2
4 + 2 + 1
If no holes are punched, the ATTACK time is
not programmed and the panel control
setting determines the attack time. The
ATTACK time can then be varied manually
while using a program card.
This same procedure may be used to set the
remaining programmable parameters with
numbered controls. Remember, if no holes
are punched, that parameter may be manu
ally controlled.
The following programmable parameters do
not have numbers on the panel face. In
these cases, a code is provided for their
translation.
for panel
for_Jl
for J
for A
ROOT WAVEFORM
punch 0
punch 1
punch 2
punch 3(2
D
for
for
for
for ITJ
punch 4
punch 5 (4 + 1)
punch 6 (4 + 2)
punch 7 (4 + 2 +
1)
MOD. OSC. SHAPE
for panel punch 0
for rvrv. punch 1
for /\ punch 2
for ru punch 3 (2
+ 1)
for panel
for low pass
for band pass
for high pass
FILTER MODE
punch 0
punch 1
punch 2
punch 3(2 +
CAUTION: When punching cards, use care
to align the punch directly over the marked
rectangle. Turn the card and punch so that
punched rectangle is directed away from
face!
A PRACTICE TRANSLATION. Before trying
to program one of your own settings, set up
your SynKey as shown in Fig. 9. Translate
this setting to a blank program card. Compare
what you have punched to the card that
came with your instrument. The newly
punched card and prepunched card should
be identical.
In programming your own sounds
remember the following: you cannot
program "in between" settings. If you have
RESONANCE set midway between 3 and 4
for instance, alternately try 3 and 4 to see
which is more suitable. Usually you will find
that either 3 or 4 will suffice. If not, mark the
card "RES 3.5" and leave the resonance
unprogrammed.
(China marking pens, such as the Sanford's
Sharpie, may be used to mark cards. Do not
leave the cap off as the pen tip dries rapidly.)
After a little practice you will be able to
punch cards without reference to diagrams.
Additional decks of blank cards are
available from your dealer. If temporarily
unavailable write: SynKey, Dept. E, Box 205,
New Hartford, CT 06057.

Fig. 10 Rear Panel
VI. REAR PANEL: The rear panel contains
the power switch, fuse, tuning controls,
portamento jack, and output jacks. See
Figure 10.
A. The power switch is on when up.
B. The fuse is 3 AG, }A amp and should be
replaced only with a direct equivalent.
C. High and low outputs are provided. The
low level is suitable for guitar and other amps
with low level inputs. The high level is used
for most high fidelity type amplifiers, tape
recorders and line level mixing boards.
D. A stereo plug, using the tip and ring may
be connected to a switch to shunt the
portamento control on SynKey. See below.
Alternatively a foot pedal with a 2 megohm
potentiometer foot pedal wired to the tips and
ring of a stereo plug may be used to directly
control portamento.
2 MEG '..'POT
Stereo Plug with Potentiometer
TIP SLEEVE
Stereo Plug
NORMALLY
CLOSED SWITCH
TUNING — There are two ways to tune
SynKey. Begin with both the TRANSPOSE
and OCTAVATION controls straight up. If
SynKey is at room temperature, a 3 minute
warm-up will be sufficient. If the instrument
has been stored or transported in a cold
environment, a longer warm up is required.
Method A: Alternate between the top C
key and C an octave down. Use the OC
TAVATION control to get a perfect octave
— do not be concerned whether C is actually
a C. When a perfect octave is obtained, use
the TRANSPOSE control to make the C key
a musical C. SynKey will be in tune. If you
must tune to other instruments use the
TRANSPOSE control.
Method B: Tune the bottom F key to a
musical F with the TRANSPOSE control. Use
the OCTAVATION control to adjust the top C
to the correct pitch.
VII. RECOMMENDED BOOKS ON
SOUND AND ELECTRONIC MUSIC
Synthesizer Primer, Electronic Music
Laboratories, Inc., P. O. Box H, Vernon,
Connecticut 06066
The New World of Electronic Music, by
Walter Sear, Alfred Publishing Co., 75
Channel Drive, Port Washington, New York
11050
Electronic Music, by Allen Strange, Wm. C.
Brown Publishing Co., 2460 Kerper Blvd.,
Dubuque, Iowa
Electronic Music Synthesis.by Hubert Howe,
Jr., W. W. Norton & Company, New York,
New York
A Guide to Musical Acoustics, by H. Lowery.
Dover Publications, 180 Varick Street. New
York, New York
Music, Sound and Sensation, by Fritz Winkel,
Dover Publications, 180 Varick Street, New
York, New York
Music. Physics, and Engineering, by Harry F.
Olson, Dover Publications, 180 Varick Street,
New York, New York
The Technique of Electronic Music, by
Thomas Wells and Eric Vogel, University
Stores, Inc., P. O. Box 7756, Austin, Texas
78712
Introduction to the Physics and
Psychophysics of Music, by Juan G.
Roederer, Springer Verlag, 125 Fifth Avenue,
New York, N. Y. 10010
The Development and Practice of Electronic
Music, by Jon Appleton and Ronald Peresa,
Prentice Hall, Inc., P. O. Box 500, Englewood
Cliffs, New Jersey 07632
How to Make Electronic Music, by R. Drake,
R. Herder, and A. Modugno, EAV Vineyard
Edition, Pleasantville, N. Y. 10570
10