Kawai T-5 User manual

Kawai
Electronic
Organs
INSTRUCTION
T-5
Kawai Musical Instrument
Manufacturing
Co.,
Ltd.
ISSUED:
MAY
1976

‘Upper drawbars
Music rock
Lower drawbars:
ý tone t :
pper
tone
tabs:
‘Wow
tabs
Lower tone tabs
Pilot light
Power switch
Solo manual
keyboard
nthesizer
controls
ercussion
button
Upper manual keyboard
Lower manual keyboard
Expression pedal
Pedal keyboard

KEYBOARDS
Upper Manual: 61 keys
Lower Manual: 61 keys
Pedals: 25 keys
Solo Manual: 37 keys
(for synthesizer)
PRESET TOUCH SWITCH
Preset touch switch
Four preset touch switches are provided on the
left-hand side panel for both the upper and lower manual
keyboards. Keep in mind the function of these: preset
touch switches, as they are very important in playing the
organ.
The touch switch operates at a touch of the finger tips.
The switch is lighted when engaged.
UPPER PRESET SWITCH
[E] > Pressing this switch turns on the manual voices on
the upper manual tabs. Press this switch when using
the upper manual tone tabs.
D|: Pressing this switch turns on the upper drawbars and
Percussion voices. Press this switch when using the
upper manual drawbars and percussion.
Pressing this switch turns on the preset tibia chorus.
Ey H
Pressing on this switch turns on the preset reed
chorus.
LOWER PRESET SWITCH
L|: Pressing this switch turns on the voices controlled
by the lower tabs, drawbars.
Pressing this switch turns on the lower drawbars.
Pressing this switch turns on preset tibia chorus.
z3) H) [Sl
Pressing this switch turns on preset reed chorus.
Note: When the main switch is on, the preset touch
switches, upper and lower O, also are on.
UPPER
TONE
LEVERS
(TABS)
Upper tone tabs
The organ is provided with 15 upper tone levers, Put
on the upper preset switch [E] when using any of the levers
(tabs). The voices obtained by using the upper tone levers
are divided into tibia tones and orchestra! tones.
TIBIA
16’, 8’, 5—1/3', 4’, 2-2/3’, 2’, 1-3/5’, 1-1/3’, 1"
ORCHESTRAL
Violin 8’
Clarinet 8
Trumpet 8
Oboe 8’
Kinura 8’
String g
The following effect levers can vary the orchestral
tones.

Orchestra Accent: With this tab depressed, orchestral
tones can be increased in volume and accentuated.
Orchestra Sustain: With this tab depressed, a sustain
effect is given to orchestral tones. The sustain time is
predetermined and invariable.
The effects available for these percussion voices are as
follows:
Drawbar Cancel: When this tablet is on, only the
percussion voices are produced with the drawbar tones
canceled. This effect works only on the upper key-
board.
Sustain: With this tablet on, the percussion voices
other than the vibraphone, glockenspiel and chime are
produced with sustain effect.
The vibraphone, glockenspiel and chime voices are
sustained irrespective of the position of the sustain
tablet.
‘Upper to Lower: When this tablet is on, percussion
voices are available with the lower keyboard through
The tones are of the tibia range. the effect of the coupler. In this case, while the lower
Drawbar: 16’, 8’, 5-1/3", 4’, 2-2/3, 2’, 1-3/5", preset switches may be set in any position, the upper
1-1/3, v preset switch must be turned on.
Repeat Speed: The tones of the banjo, mandolin and
marimba are repeat percussion voices. The repeating
rate can be adjusted by this repeat speed knob. The
repeat percussion uses a synchro repeat system that
begins the moment a key is depressed.
UPPER DRAWBARS
Nine upper drawbars ranging from 16’ to 1’ are
provided to enable an infinite number of sounds to be
produced. Set the upper preset switch ID) to use any of
the upper drawbars.
UPPER PERCUSSIONS
Upper percussion tabs
LOWER TONE LEVERS
ower tone tabs
Three tones can be obtained by using the lower tone
levers. The levers may be used together with the drawbars.
When using them, put on the lower preset switch E).
The tones — cello 8’, clarinet 8‘ and horn 8’ — belong
to the orchestral tone group, for which the following
effect lever is provided:
Orchestra Accent: This increases the volume of the
orchestral tones and accents them.
The upper percussion tablets are located on the left
side of the center row. The musical instrument tones
indicated on the various tablets can be obtained by
pressing the tablet of the particular sound or sound
combination desired. These percussion voices are arranged
to be used with the drawbars, and so the upper preset
switch should be on when using percussion voices.
Eight percussion voices are available, as given below:
Piano
Banjo
Harpsichord LOWER DRAWBARS
Glockenspiel
Mandolin
There
are
nine
lower
drawbars,
ranging
from
16’
to
1’.
Marimba
The
lower
preset
switch
D:
should
be
put
on
when
any
Vibraphone
drawbars
are
used.
These
drawbars
may
be
used together
Chimes
with
the
orchestral
tones
by
putting
on
the lower
preset
switch 5O.

PEDAL DRAWBARS
The pedal drawbars are used to set the pedal tones,
offering the following five tones:
Tibia 16°
Tibia 8’
String 16’
String 8’
Bass guitar*
* The bass guitar tone is a percussive sound.
PEDAL EFFECT
The pedal effect tablets are used to give a sustain effect
to the pedal tones. The sustain length can be selected by
the following tablets:
Sustain: A short sustain effect can be obtained by
pressing this tablet.
Sustain Long: A medium-length sustain effect can be
obtained by pressing this tablet.
* With these two tablets on at the same time, a tong
sustaining effect can be obtained. In other words,
the organ affords the choice of three sustain effects.
EFFECT
ATTACK
Despite the title, “Attack”, this effect has sound in
itself. This attack sound varies in strength and length and
can be played with other tones (tone levers and drawbars)
to lend a fast positive attack to the upper manual.
Drawbar Attack: When this lever is on, a fast attack is
obtained with the upper preset switch D): put on. This
is used along with the drawbar. With this lever in the
off position, an attack sound is obtained when the
upper preset switch O} is put on.
Attack Forte: A strong attack sound can be obtained
by pressing this lever.
Decay Long: With this lever on, the attack sound
slowing diminishes.
Attack 4’: Pressing this lever provides a 4’ or second
harmonic attack sound.
Attack 2—2/3': Pressing this lever provides a 2—2/3’ or
third harmonic attack sound.
Note: Attack sounds are available in two kinds, 4’ and
2-2/3’. Both levers should be turned off when
the attack effects are not required. The attack
sounds belong to the tibia group. The attack
sounds can be used when the upper preset switch
or L is on.
wow
In this electronic organ, “wow” effect is provided in
combination with the expression pedal. The “wow” effect
changes as the pedal is depressed, and “wow” sound can
be obtained only by putting on the “wow”' lever. l
Upper Orchestra Wow: With this lever put on, “wow”
sounds can be obtained for notes of the upper
keyboard.
Lower Orchestra Wow: With this lever put on, the
lower keyboard notes will be played with a “wow”
effect.
REVERB
Several degrees of reverb are abailable.
Reverb i: A slight reverb effect can be obtained with
this tablet.
Reverb II: A deep reverb effect can be obtained with
this tablet.
Note: A deeper reverb effect is provided when the
tablets | and Il are put on at the same time.
Thus, three kinds of reverb effects can be
obtained.
LESLIE
This electronic organ is designed exclusively to go with
the Leslie Model 710 tone cabinet. Two tone cabinets are
normally required. The organ is built to produce the tibia
tones from the rotary (Leslie) channel and the other tones
(orchestral tones) from the stationary channel.
Slow: A slowly rotating Leslie effect (chorus) can be
obtained with this lever on.
Fast: A fast rotating Leslie effect (tremolo) can be
obtained with this lever on.
Leslie Orchestra Chorus: When this lever is put on, not
only the tibia tones but also the orchestral tones are
played with Leslie effects.
Orchestra Ensemble: A string ensembie effect can be
obtained by using this lever. This effect is useful only
for the orchestral tones.
Note: The Leslie orchestra chorus and orchestra ensem-
ble effects act on the tones produced by the tone
levers. The preset switch [J should be turned on
when using the above effect.

Leslie controls
SOLO MANUAL
The solo manual keyboard is to be used solely for tones. The synthetic tones are monophonic fone note at a
producing the tones of the built-in synthesizer. The time, and the highest tone sounds when two or more keys
synthesizer affords synthesized tones as well as 14 preset are fingered simultaneously.
Synthesizer preset tones ;
y P Synthesizer controls
Page oh
Solo manual

PRESET TONES
Violin
Saxophone
Tuba
Trombone
Trumpet
Horn
Clarinet
Flute
Guitar
Electric bass
Whistle
Voice
Shakuhachi
Shamisen
SYNTHETIC TONES
A variety of tone can be synthesized, for which a group
of controllers are provided.
Controller
The controllers are divided into two groups: one group
provides control over the entire synthesizer (preset tones
and synthetic tone) and the other controls only the
synthetic tones
* Controller for entire synthesizer
è Wow: It gives a “wow” effect to the synthesizer tones,
Its effect can be varied by depressing the expression
pedal in various degrees.
è Glow: This produces an effect like the flatted attack in
playing a flute. The effect can be delayed.
® Sustain: This keeps sound going even after the key is
released. However, this effect differs a little from the
manual and pedal keyboard sustain keys. The attenua-
tion curve is determined by the envelope of the
loudness control. Use of the control with the electric
bass and guitar makes performance very authentic.
® Reverb Volume: This controller is used to give reverb
effect to the synthesizer tones. Turn it clockwise for
greater reverberation and counterclockwise for less
reverberation. Reverberation is off when the contro! is
turned to the left-most position.
® Solo Volume: This provides control of the synthesizer
volume (solo keyboard). Sound increases as it is turned
clockwise.
@ Tuner Block: The controls related to the pitch of the
solo keyboard are gathered in this block.
Slope: This is used to determine the scale between
octaves. It permits 1 octave (12 keys) to be tuned with
the standard scale or to be converted into a detuned
scale,
Tune: This is provided to change the pitch of the entire
solo keyboard, The pitch can be tuned higher or lower
with this knob,
Glide: This is used to determine the glide time of a
portamento. Turning the knob clockwise increases the
glide time (time required for frequency shifting from
one note to the next). The glide time is reduced to zero
for normal playing when the knob is turned fully
counterclockwise, Such instruments as trombone will
give an even better performance if played with a touch
of glide.
* Controller for synthesizer (synthetic tones) only
The controllers described below should be used with
the preset switch of the solo keyboard set to the synthe-
sizer.
@ Range: This is a six-position rotary switch to determine
the footage of the solo keyboard (4’, 8’, 16‘, 32"). Set
the switch to the desired footage.
Noise: With the rotary switch set to this position, the
tone becomes a white noise, which may be utilized to
produce the sound of wind or waves,
OFF: The tone sources are canceled when the switch is
in this position. This position is used when the
oscillation sound of the VCF (filter control) described
later is used as a sound source, for example to create
special effects requiring unstable pitch.
© Filter Control Block: The controllers related to the
tones of the synthesizer are grouped in this part. The
tone of a musical instrument rarely retains a constant
sound from the beginning to the end of its sounding; it
usually fluctuates irregularly. This filter control block
changes the tone colors after notes have started to
sound (keys have been pressed).
Low Pass: This determines the passing frequency of the
filter. Sound becomes harder as the knob is turned
clockwise and softer as it moves counterclockwise. This
is sometimes called a cutoff.
Emphasis: This produces a resonant point with the
frequency determined by the low pass and decides the
degree of emphasizing harmonics. This is also Known as
a peak. The peak lowers and the harmonics decrease as
the knob is turned counterclockwise, and the peak
grows stronger when the knob is turned clockwise.
Oscillation is caused by intensifying the peak, and an
oscillation tone determined by the balance of the low
pass and emphasis settings is obtained regardless of
tones. This can be applied to the creation of special
effect sounds.
Attack [ J -> _-7 ]: This is used to set the rise of
a tone. The rise of a tone refers to its change from a
soft sound to a hard sound. The tone color changes
increasingly slowly as the knob is turned clockwise,
while its change quickens as it is turned counterclock-
wise. Orchestral tones will be more authentic effective
when played with a slow attack.
Decay [L > NL H: Contrary to the attack knob,
this determines the fall of a tone. The tone turns into
decay after its rise time set by the attack knob. The
decay grows slower as the knob is turned clockwise and
faster as it is turned counterclockwise.

Sustain [ J\—— ]: The sustain knob is used to
make the tone remain constant after its decay has
started. The remaining volume increases as the knob is
turned further clockwise, and the tone at the end of
the attack is maintained regardless of the decay setting
when it is turned fully clockwise. The tone changes
according to the decay determined by the decay knob
when it is turned fully counterclockwise. The slow
attack tones of a reed organ and an accordion can be
created by turning this knob fully clockwise.
Level: This knob controls the intensity of the varia-
tions set by the attack, decay and sustain knobs,
thereby deciding to what degree these effects should be
applied to the tone. Variations in sound can be
obtained by turning the knob clockwise, and it
becomes less varied by turning counterclockwise. With
the knob turned fully counterclockwise, a tone deter-
mined by the low pass and emphasis settings is
obtained, one which is free from the attack, decay and
sustain effects.
Loudness Control Block: The controls related to the
volume of the synthesizer are arranged in this area.
Elements of sound are not always uniform from
beginning to end, and the characteristics of various
instruments and tones are consistent with the manner
in which sounds increase and diminish.
Attack[ J > —~_ J: This determines the attack of
a sound by changing the volume after a key has been
depressed. Turning the knob counterclockwise causes a
quicker rise. The sound of such instruments as a piano,
etc. should be palyed with the knob turned fully
counterclockwise so that they rise the fastest. Turning
the knob clockwise results in a slower attack, which is
effective for creating the tones of a wind instrument
and strings.
Decay [ L > \— ]: This determines the attenu-
ation of sound. Turn the knob to the right for slower
decay, which is effective for creating the decay sounds
of a guitar and piano. Turn the knob to the left for
faster decay. This helps authenticate the sounds of the
wind instruments, such as a tuba, French horn, etc.
Sustain [ JA ]: Though the title is the same as
those of the upper manual and pedal keyboards, the
effect differs from them slightly. This is used to define
how long the tone lasts after the decay, as in the filter
control. The remaining sound increases and the decay
effect lessens as the knob is turned clockwise. The
knob should be turned fully clockwise when the
continuous sounds of an electronic organ are required.
The remaining sound lessens as the knob is turned
counterclockwise. Turn the knob counterclockwise to
use the damping curve of decaying sounds like those of
a piano,
Vibrato Block: The controllers related to the fre-
quency modulation of the synthesizer are grouped in
this area. In short, vibrato effects are produced by
these controls. Unlike the electronic organ, a variety of
vibrato effects can be obtained.
Depth: This control defines the depth of vibrato. Tur
the knob to the right for deeper vibrato and to the lef
for less vibrato. No vibrato is produced when the kno
is turned to the far left. While the electronic orga
usually provides vibrato as deep as 20 cents, th
synthesizer can afford extremely deep vibrato, exceec
ing 1 octave.
Speed: This determines the frequency of vibrato. Th
knob should be turned clockwise for faster speed ant
counterclockwise for slower speed. Unlike the electro
nic organ, the synthesizer offers a wide range of speet
changes.
Wave form: The electronic organ employs a sine wav
as the modulated wave for vibrato, and the synthesize
uses various wave forms. This wave form controller ha:
a four-position switch, thereby enabling selective use ©
four wave forms to suit the music.
Saw tooth wave [ AANA ]: The frequency repeat:
gradual rises and abrupt drops, resulting in a serratec
wave form.
Square wave [ TUUL ]: This changes as if twc
frequencies were repeated alternately. An interesting
effect can be created by selecting this difference
skillfully,
Sine Wave [7\“\“ ]: The frequency changes as
mildly as that of the electronic organ.
Delay Vibrato [——~w_ ]: This is the sine wave
vibrato provided with delay effect. This is effective for
creating the sounds of the string and wind instruments.
RHYTHMER
RHYTHM
Ballad
Waltz
Mambo
Tango
Cha-Cha
Bossa Noval |
March
Bossa Nova II
Rhumba
Samba
Beguine
Shuffle
Swing
Bolero
Rock Variation 1 — 4
Swing Variation 1 — 4
Swing 2 — 4 Beat Select

RHYTHM CONTROL
Rhythm
Start:
A
rhythm
is
produced
by
using
this
tablet.
Rhythm
Break:
With
this
tab
turned
on,
rhythm
is
interlocked
with
the
pedal
and
lower
manual
key-
boards.
The
first
rhythm
beat
starts
at
the
same
time
that
a
key
or
pedal
is
depressed,
and
it
stops
when
a
depressed
key
is
released.
Intro:
With
this
tablet
turned
on,
an
introduction
is
provided
before
the
rhythm
starts.
When
using
the
tablet,
it
should
be
put
on
before
the
“rhythm
start”
tablet
is
set.
Note:
Of
the
above
three
tablets,
the
“rhythm
start”
tablet
has
first
priority;
therefore,
the
other
two
tablets
will
remain
inoperative
if
the
“rhythm
start”
tablet
is
turned
on
first.
As
already
stated,
the
“intro”
tablet
should
be
set
before
the
“rhythm
start”
tablet
is
put
on
or
rhythm
with
an
introduction
will
not
sound.
When
using
the
“break”
tablet,
the
tablet
alone
should
be
turned
on.
INTRO SYNCHRO
Rhythm controls
Rhythm Volume: This controls the volume of the
rhythmer. The volume increases as the knob is turned
to the right and decreases as it is turned to the left.
Tempo: This knob is used to adjust the rhythm tempo.
The tempo quickens as the knob turned to the right
and slows down as it is turned to the left.
Tone: The rhythm tone quality can be adjusted by this
slide control. The drum tones become stronger when
the lever is pulled toward the player, and the cymbals
tone becomes stronger when the lever is pushed in
farther. A balanced tone will result with the lever set at
the midway point.
Bass Drum Volume
Low Conga Volume
High Conga Volume
Claves Volume
Cabasa Volume
Guiro Volume
As
the
above
slide
controls
are
pulled
toward
the
player,
the
respective
tones
are
stressed
more.
They
weaken
as
the
controls
are
pushed
in
farther,
and
no
tones
will
be
produced
if
set
to
the
innermost
position,
allowing
free
control
of
each
instruments
volume.
These
controls
should
be
set
in
the
middle
position
for
normal
playing
conditions.
TEMPO LAMP
With the rhythmer turned on, this lamp flashes with
the
first
beats,
enabling
visual
recognition
of
the
rhythm.
Rhythm
percussion
volume
Rhythm select switches
HAND
PERCUSSION
BUTTON
The effect sounds of the respective indicators can be
obtained by pushing these buttons. Each volume can be
adjusted by the rhythm volume knob. This electronic
organ has the following four percussion buttons:
Tap
Roll Drum
High Conga
Siren
SYNCHRO PERCUSSION
The synchro percussion produces the percussion
sounds in conjunction with the pedal keyboard and lower
manaul keyboard,
Synchro Percussion: This tablet is used to turn on and
off the synchro percussion. The synchro percussion
will not operate unless the tablet is on.

10
Pedal Keyboard
Pedal Brush
Pedal Cymbal
Pedal Claves
With these tablets on, the respective sounds are produced
in conjunction with the pedal keyboard,
Lower Manual Keyboard
Lower Snare Drum
Lower Brush
Lower Conga
With these tablets on, the respective sounds are produced
in conjunction with the lower manual keyboard.
AUTO ARPEGGIO
The auto arpeggio is the function by which a splendid
arpeggio performance can be obtained automatically in
the tones of depressed keys simply by holding down the
keys played on the lower keyboard.
Auto arpeggio: Used to turn on and off the auto
arpeggio function. Note that auto arpeggio will not be
played when the tablet is not set to the ON position
even if some of the arpeggio voice tablets and pattern
buttons are turned on.
Voice
The tones of the piano, harpsichord and harp are
predetermined exclusively for the auto arpeggio. Use them
as desired. However, note that auto arpeggio will not
sound if any of these voice tablets is not set to the ON
position.
Pattern
Three auto arpeggio patterns are available as described
below and may be used as desired.
Up: With this button pushed, an arpeggio rises from a
low key to a high key. The arpeggio stops when the
hand is released from the keyboard and starts again
with the first low key when lower manual keys are
depressed once more,
Up-Down: Pushing this button produces an arpeggio
which rises from a low key to a high key and returns to
the low.
Repeat: With this button pushed, an arpeggio repeat-
edly sounds from a low key to a high key and vice
versa until the lower manual keys are released.
Note: The auto arpeggio operates only while the lower
manual key is being depressed, and comes to a
stop when the hand is released. It starts from the
first bass of the keys played when depressed
again.
Control
Rate: Arpeggio speed is adjusted by turning this knob.
The speed increases and decreases respectively when
the knob is turned clockwise and counterclockwise.
Arpeggio Balance: The knob controls the arpeggio
volume. The volume increases and decreases respec-
tively with the clockwise and counterclockwise turning
of the knob.

OTHERS
Total Volume: This controls the total volume of the
organ.
Microphone Reverb: This is used to adjust the reveber-
ation desired in the microphone channel (used in
speaking or singing}. Reverb increases and decreases
respectively with the clockwise and counterclockwise
turning of the knob. No reverb effect sounds when the
knob is turned fully counterclockwise.
Microphone Volume: This is used to adjust the volume
of a microphone. Sound volume increases and de-
creases respectively when the knob is turned clockwise
and counterclockwise.
CONNECTION WITH TONE CABINET
The
Model
T-5
electronic
organ
has
but
one
small
monitor
speaker
built
in
the
console;
therefore,
the
organ
cannot
be
played
with
the
self-contained
speaker
alone.
The
Leslie
Model
710
is
the
standard
tone
cabinet
specifically
designed
for
the
T-5.
Although
the
organ
may
Tone cabinet
710
Monitor volume: The knob is provided to adjust the
sound volume of the monitor speaker housed in the
organ console.
Expression pedal: Depressing and releasing the pedal
permits playing with more expression.
Power Switch: The organ is actuated by turning on this
switch.
Pilot Lamp: This lamp lights up when the organ is
turned on.
be played with single tone cabinet, two units are the
minimum
required
to
fully
project
an
orchestral
ensemble.
An exclusive connecting cable (021600) should be used to
connect the organ and the tone cabinets.
27 Cable 021600
Tone cabinet
710
When additional speaker cabinets are used in a concert, the connections
should be made as illustrated below, using the power relay (021709),
Power relay 021709
710 710 T-5
Cable
Cable 02
able 021600 021600
710 710
11

12
Connectors
LEVEL ADJUSTMENT
The T-5 produces its output through two channels, the
rotary channel and the stationary channel. The output
level of each channel can be adjusted by a volome control
fitted with the Leslie 710. The standard volume level is
Volume controls
obtained with the control in the neutral position. Adjust
it according to the hall condition and locations of the
tone cabinets. Also, adjust the controls to balance the
volume properly between the two channels.

MODEL
T-5
SPECIFICATIONS
Keyboards
Upper Manual 61 keys
Lower Manual 61 keys
Pedals 25 keys
Solo Manual 37 keys
Upper Manual Voices
Tibia 16’, 8’, 5-1/3", 4’, 2-2/3'
2°, 1-3/5', 1-1/3", 1
Violin 8°
Clarinet 38
Trumpet 8
Oboe 8’
Kinura 8
String 4
Orchestra Sustain
Orchestra Accent
Upper Manual Drawbars
Tibia 16’, 8’, 51/3", 4’, 2-2/3°
Piano, Banjo, Harpsichord
Glockenspiel, Mandolin
Marimba, Chimes, Vibraphone
Drawbars Cancei
Sustain
Upper to Lower (Coupler)
Upper Manual Preset
Lever Switches
Drawbars
Tibia Chorus
Reed Chorus
Lower Manual Voices
Cello 8'
Clarinet 8'
Horn 8
Orchestra Accent
Lower Manual Drawbars
Tibia 16°, 8“, 5—1/3', 4°, 2—2/3'
2’, 1-3/5", 1-1/3", 1°
Lower Manual Preset
Lever Switches and Drawbars
Drawbars
Tibia Chorus
Reed Chorus
Pedal Drawbars
Tibia 16',8'
Bass Guitar
String 16’, 8°
Pedat Controls
Pedal Sustain on/off
Pedal Sustain tong/short
Soio Manual Voices
* Preset Voices
Violin, Saxophone, Tuba
Trombone, Trumpet, Horn
Clarinet, Flute, Guitar
Electric Bass, Whistle
Voice, Shakuhachi (bamboo flute}
Shamisen, Synthesizer
* Controls
Wow, Glow, Sustain
Reverb Volume, Solo Volume
Filter Control (Low pass, Emphasis, Attack
Decay, Sustain, Level}
Loudness Control (Attack, Decay, Sustain}
Vibrato (Depth, Speed, Waveform)
Tuner (Slope, Tune, Glide)
Range (32', 16°, 8’, 4’, Noise, off)
Effects
Upper Attack Forte
Upper Decay Long
Upper Attack 4
Upper Attack 2—2/3'
Upper Drawbar Attack
The
specifications
and
prices
are
subject
to
change
without
notice.
Upper Orchestra Wow
Lower Orchestra Wow
Orchestra Ensemble
Reverb |
Reverb II
Tremolo (Leslie)
Leslie Fast
Leslie Slow
Leslie Orchestra Chorus
Orchestra Ensemble
Automatic Rhythm (Rhythmer)
* Rhythm Selectors
Bailad, Waltz, Mambo, Tango
Cha-cha, Bossa Nova |, March
Bossa Nova 2, Rhumba, Samba
Rock, Beguine, Shuffle, Swing
Bolero, Rock Variation
Swing Variation, 2—4 Beat select
* Rhythm Controls
Rhythm Start, Rhythm Break
Intro, Rhythm Volume, Tempo
Tone
Bass Drum Volume
Claves Volume
Guiro Volume
Low Conga Volume
High Conga Volume
Cabasa Volume
* Tempo Indicator Lamp
Hand Percussion Buttons
High Conga
Roll Drum
Tap
Siren
Synchro Percussion
On/Off
Pedal Brush
Pedal Cymbal!
Pedal Claves
Lower Snare Drum
Lower Brush
Lower Conga
Automatic Arpeggio
* Voices
Piano
Harpsichord
Harp
* Controls
Rate
Up
“Up-Down
Repeat
Arpeggio Balance (Volume}
Others
Microphone Reverb
Microphone Volume
Total Volume
Expression Pedal
Power Switch
Pilot Lamp
Monitor
Monitor Volume
Monitor Speaker (1—-8" x 6")
Monitor Amp. 10 watts r.m.s.
Dimensions
Width 140 cm
Height 117 cm
Depth 130 cm
Weight
Console 297 kg
Bench 29 kg
Finish
Rose wood and Black polish
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PRINTED IN JAPAN