Kawai 100F User manual

Thank you for your purchase of synthesizer model 100F. It has been designed to create
an endless versatility in sounds and will provide you with the years of musical enjoyment.
Capability of creating the completely new sounds by your own way is another unique
feature of your instrument.
The basic purpose of this synthesizer is to -allow you to demonstrate your own creativity
and to deepen your self expression. The challenge is yours and entertain yourself inthe
new dimension of sounds.
This manual will acquaint you with all the fascinating features of your synthesizer and we
trust you will add your playing pleasure following the instructions contained.

/YMJTrklTC
1. Theory of operation 3
2. Connection with External Amplifier and
Speaker 4
3. Description of each Function 4~10
3-1 VCO 4
a. Tuning and Pitch Range
b. Waveform Selector and Sound Source Selector
c. Function of LFO on VCO
d. Delay Vibrato
e. Portamento
3- 2VCF 7
a. HPF
b. VCF
c. Function of VCO Sound Source on VCF
d. Function of Expression Pedal on VCF
e. Function of LFO on VCF
f. Function of ENV Ion VCF
3- 3VCA 8
a. Gain Controller
b. Function of KYBD and ENV II on VCF
3- 4Envelope Generator 8
a. Envelope Selector and Controller
b. Function of ENV II on VCA
c. Function of ENV Ion VCF
d. Function of Envelope Generator on VCO
e. KYBD TRIG and LFO TRIG
4. Basic Method of Sound Producing 11~17
4-1 Flute Family Tone 11
4-2 String Family Tone 13
4-3 Brass Family Tone 14
4-4 Repeated Tone 15
4-5 Percussion Tone 16
4-6 Noise Family Tone 17
5. Various Ways to use 10OF 18~19
6. Registration Guide 20~24
7. Specifications 25
8. Index 26

1.Theory of operation
Selectors and Controllers on the panel are devided by line depending on their function for
clear reference and easy performance. For better understanding, the panel is transcribed in the
following diagram. (Fig. 1)
Keyboard ®vco
.Vallage
•• Controlled
.Oscillator**
DELAY VIB.
@VCF
Voltage
.Controlled-
Filter
r-N ©LFO
nr
EXP.P
(3; VGA COhpf
Voltage
.Controlled '
Amplifier ...
ENV i
®(ADSR)
ENVELOPE
GENERATOR Fig. 1
--Sound source signal
"--Control signal'
n
o<
n
D
"H
oP
Q
AUDIO ID
3Ml
OUTPUT
-DECAY TIME
Fig. 2TIME-
©Flow of Sound Source Signal
Asound source signal is produced by the Voltage Controlled Oscillator (VCO) ©, shaped by
the Voltage controlled Filter (VCF)(D ,amplified by the voltage Controlled Amplifier (VCA)
<S, fed to the High Pass Filter (HPF) @,controlled its volume by the Volume Controller with
the red knob, then drived from the Audio Output on the rear panel. By adding various control
signals {shown in orange lines) to these VCO (D, VCF ®, and VCA ®, you will create
different sounds.
®Operation of each Function
1VCO
This is the oscillator which produces the sound source signal of the Synthesizer.
On the 100F, the pitch of the VCO can be controlled by three control signals produced by the
Delay Vibrato, LFO and Envelope Generator.
2VCF
This is the filter to change the sound timbre.
On the 100F, the sound timbre can be controlled by five different control signals of t\N,rLT,
Exp. P, LFO and ENV I.
3VCA
This is the amplifier which controls the volume of the sound signal at its attack or decay time.
On the 100F, the volume can be controlled by two different control signals such as the
Keyboard (KYBp) and the ENV II.
4HPF
This is used when you wish to harden the sound signal derived from the VCA.
5Envelope Generator (ADSR)
Generally with aSynthesizer, you can easily change the pitch, the timbre and the volume of
the sound from the moment akey is depressed to create asound until Iit decays and fades
away after the key is released. This variation of the sound along with time can be exchanged
by the Envelope Generator.
Fig. 2shows its form. Upon depressing akey, the voltage of the Envelope Generator rises
gradually from zero to acertain point. The time required for this stage is called ATTACK
TIME. Then the voltage decays gradually to the point predetermined. This is called
SUSTAIN LEVEL. The time spent for this part is DECAY TIME. The voltage is kept at
the SUSTAIN LEVEL while the key is kept depressed, but it drops gradually when the key
is released. The time required for this interval is called RELEASE TIME.
The Envelope Generator controls ATTACK TIME, DECAY TIME, SUSTAIN LEVEL and
RELEASE TIME from the beginning to the end of asound. This cycle is generally called
ADSR taking the initial letter of each word.
6LFO
This is akind of oscillator which produces very low frequency. On the 100F, it works on he
VCO and the VCF, and changes the pitch and the timbre of the sound.
3

2. Connection with External Amplifier and Speaker
Connect the 100F to atone reproducing equipment. The sound quality may be changed by
the type of equipment. The list on the right shows the general connection between the Audio
Jacks on the rear panel of the 100F and the connection devices of various equipments.
AUDIO
i—i—
i
© © @
IN HIGH OUT LOWOUT
(5V) (0.2V)
•—r-1
Fig. 3
Output Signal
HIGH OUT
LOW OUT
9^f^j^j^etilrtf*Eq^!?^Sni
Input Jack of an Organ
Auxiliary Jack of aStereo System
Line In Jack of aTape Recorder
Input Jack of aGuitar Amplifier
Mic In Jack of aTape Recorder
Mic, Guitar Input Jack of an Organ
3. Description of each Function
3-1 VCO a. Tuning and Pitch Range (Fig. 5)
The pitch of the VCO is controlled by the control signal (voltage) applied to it. On the 100F;
TUNE, RANGE, LFO, PROTAMENTO and ENVELOPE GENERATOR are provided as
controllers or selectors to change the voltage fed to the VCO. Set all the controllers and
selectors to match the positions shown in Fig. 4, then play on the keyboard. It will give you
the 8feet pitch sound which is equivalent to the pitch of pianos or organs.
Tuning the 100F with another musical instruments can be done by moving the VCO TUNE
slider, located on the upper centre of the panel, up and down. The RANGE is the transposer
to shift the pitch octave by octave. By turning it to RANGE 4, the entire pitch is shifted to 4
feet which is one octave higher; and to RANGE 2, it is shifted to 2feet range. On the other
hand, by turning it to RANGE 16, the pitch is shifted down by one octave from 8feet to 16
feet, and to RANGE 32 and 64, it is shifted down by one octave each in sequence. On LOW
RANGE, the VCO oscillates so low frequency (the lowest is about 0.3 Hz) that you can hear
the sound only intermittently. This LOW RANGE is often used to control the VCF. (See P.7)
Following is the list which shows the general relation between each range and various musical
instruments.
JRANGE Musical Instruments ..... __!
—
Musical Instruments
Reed,.Whistle, Grocken-Spiel Horn, Marimba,. Cello
Piccolo, Violin .-.••' Tenor Sax, Trombone
Flute, Viola, Clarinet Tuba, Contra-bass '.

ENVI
ATTACK DECAY
ENVELOPE GENERATOR
ENV Jt
SLOW LONG
ATTACK DECAY
ENVELOPE GENERATOR
vco
TUNE
VOLTAGE CONTROLLED OSC.
_
-4 I*—4
vo LUME
LFO
50Hz ^
J/A
11 rLr
-4y*—0 «
0.O3HZ
LOW FREQUENCY OSC. DELAY VIB.
tLFO
CUT OFF PEAK
VOLTAGE CONTROLLED FILTER
VCA
r=Fn
LFO
t
Fig. 4
b. Wave form Selector and Sound Source Selector (Fig. 6)
The selector placed on the right hand side of the VCO TUNE is the Wave form Selector.The
VCO produces two different wave forms.One is called sawtooth wave(|\f\) which contains all
the harmonics useful to create most of the musical instruments sound. The other is called
square waveffUl) which consists of only odd (1, 3, 5)harmonics and is suitable for
creating some characteristic musical instruments sound such as aclarinet.
The sound source signal fed to the VCF is selected by the Sound Source Selector which is
placed on the right hand side of the Wave form Selector. When it is set in the middle, it
transmits the sound source signai of the VCO. When it is to NOISE, the white noise signal is
obtained. The noise signal is often used to create sound effects such as wind or wave beating
on the seashore. When the Sound Source Selector is set to AUDIO INPUT, an external input
(organ etc.) can be used for the sound source of the VCF,
In case creating the sound utilizing the oscillation of the VCF (See P. 7), the sound will be
distorted if the signal of the VCO or the NOISE is mixed to it. To avoid the distortion,put the
Sound Source Selector to AUDIO INPUT. In this case, disconnect the external sound
source from the AUDIO INPUT JACK.
Shifting the pitch Tuning with Selecting wave Sound Source
octave by octave other instrument form of VCO Selector
TUNE
VOLTAGE CONTROLLED OSC.
NK
an.
AUDIO
INPUT
it
NOISE
Fig. 5Fig. 6

c. Function of LFO on VCO (Fig. 7}
Your 100F provides the Low Frequency Oscillator (LFO) which controls the VCO and the
VCF.
Set the 100F back to the state of Fig. 4. Then set the LFO Controller @, placed on the lower
left centre of the panel, to LEVEL 2, then depress a note on the keyboard. If you raise the
LFO Controller (§), while holding the key down, the pitch will rise and fall periodically. As
you raise the controller upwards, the fluctuation of the pitch is increased. When the
Controller is all the way up, only the lower pitch sound is heard intermittently. This means
that the higher frequency becomes beyond audible (usually above 20kHz). In this state, if
you raise the LFO Controller (g), the speed of the intermittent sound (repeat speed)
becomes faster. If you lower the Controller, it becomes slower. The speed can be changed
continuously from 0.03 Hz to 50 Hz.
The LFO of the 100F produces three different output wave forms,sawtooth{/Vl), triangle
(AA) and square! n_T).These wave forms can be selected by the LFO Waveform Selector.
When the square wave is fed to the VCO, the pitch alternates between high and low, therefore
marimba like sound can be created. The triangle wave changes the pitch continuously, so this
is used to obtain the Vibrato Effect. When the sawtooth wave is selected, the pitch rises
continuously then suddenly falls down from acertain point to the original low level. This
wave form, therefore, can be used to make the water dripping tone for instance. Try out
various changes in wave forms or speed.
Fig. 7
LFO
AA
n_r
0.03Hz
LOW/ FREQUENCY /OSC.
1
Changing LFO Waveform Changing of the (§) Changing VCO
frequency Selector of depth ofDelay pitch level
LFO Vibrato
d. Delay Vibrato
The Delay Vibrato is the effect to obtain the vibrato alittle while after akey is depressed.
The Delay Vibrato is often used for string instruments sound such as aviolin or acello to
provide an extra reality to the sound.
Set the LFO Controller ®to LEVEL 4, and the LFO Waveform Selector to triangle wave,
then move the DELAY VIB Controller. You will notice that the Delay Vibrato effect is
obtained. The effect becomes deeper as your raise the Controller.
Changing the time ofPortament
e. Portamento (Fig. 8)
The Portamento is the effect of sliding change
of the pitch while anote played is shifted to
another on the keyboard.
Set the PORTAMENTO Controller, placed on
the lower left side of the panel, to LEVEL 10.
Then depress the lowest note "C".
Holding the key down, depress the highest note
"C". You can hear the pitch rises continuously.
Then release the highest note "C". The sliding
fall of the pitch is recognized.
The MODE selector gives different Portamento
effects being related with the ways of depress-
ing keys.
Fig. 8
Portament ofMode Selector
When the MODE Selector is at A, the Portamento is obtained at both staccato (discontinuous
playing of notes on the keyboard) and legato (continuous playing). (Fig. 9(a) (b)}.
When the MODE Selector is at Bor C, it is obtained only at the legato palying. (Fig. 9(b)
only). However, when the MODE Selector is at C, the Envelope Generator is operated by the
legato playing. This is noticed by setting the Pitch Control Selector of the VCO (Page. 9)to
ENV II, and the Envelope Selector of the ENV II to ADRf/Vj or AD(/\_), and playing
notes leagto on the keyboard. Regarding the function of the ENV II, refer to Page 9.
Fig. 9
#P^P
:a) (b)

3-2 VCF
On the 100F, there are provided the VCF and the HPF which modify timbre of the sound
signal sent from the sound source-
Set the 1O0F again according to Fig. 4.
a. HPF (Fig. 10)
Holding akey down, slowly raise the HPF Controller, located at the upper right hand corner
of the panel. Higher frequencies are picked up gradually, and the tone becomes harder. You
can catch it more clearly by switching the sound source to NOISE, then move the controller
in the same way. The HPF allows only frequencies higher than acertain point to pass. When
the controller is set at the bottom, it passes frequencies above 10Hz;and at the top above 16
kHz.
Cut off Controller
Cutoff
frequencies
decrease
H
Peak Controller
L
Oscillating
to the Peak
Fig. 10 HPF Controller Fig. 11
In other words, the VCF works as aLow Pass Filter (LPF) which induces to pass the
frequencies lower than certain point (Cutoff frequencies) and cuts off all the higher
frequencies. The Cutoff Controller changes the level of the cutoff frequency.
Next, set the Cutoff Controller around LEVEL 6, then raise the Peak Controller. High
frequency will be emphasized by degrees to the point it oscillates the sound "Peak".
Utilizing such avariation of oscillating sound, special effects like abird singing can be
produced.
Now, setting the Peak Contolier around LEVEL 6, then move the Cutoff Controller up and
down. It is noted that the frequency to be emphasized is changed by this. (See Fig. 12)
On the 100F, the VCO can be controlled by the VCO Source Wave, Exp. P., and ENV I.
Fig. 12
c. Function of VCO Sound Source on VCF
Set the Cutoff Controller to 5, the Peak Controller to 10, then raise the VCF Controller
followed after the VCO Sound Source Waveform and Exp. P. Selector. The cutoff frequency
moves higher. Now, set the VCO RANGE to LOW and the VCF Control Selector in the
middle (n_T), then raise the VCF Controller. The cutoff frequency of the VCF moves up and
down alternately. When the VCF Control Selector is switched to the top(N\), the cutoff
frequency changes taking ashape of its wave form (|\N). The speed of the variation can be
controlled by both TUNE and the keyboard.
b. VCF (Fig. 11)
From the setting of Fig. 4, lower the Cutoff Controller of the VCF slowly. The sharp sound
with rich harmonics will gradually become soft sound with less harmonics then finally fades
away.
(Switch the Sound Source Selector on NOISE and try that again).
d. Function of EXP.P. on VCF
The VCF can be controlled by the optional Expression Pedal. When using the Exp. P., switch
the VCF Control Selector to Exp. P. CV. (Fig. 13) As you step on the Expression Pedal, the
cutoff frequency becomes higher, thereby the Wow effect is obtained.

Changing Cut off
frequenc)
-+rz
7
Gain Controller
IVCF Controller by VCF
/Sound Source and Exp. P
VCFControll Selector ©LFO Controller
Envelope Controller
Fig. 14
VCA Control
Selector
KYBD I
ENVE
e. Function of LFO on VCF (Fig. 13)
Set the Cutoff Controller at LEVEL 6, raise the LFO Controller ©. The cutoff frequency of
the VCF rises gradually. Then raise the oscillation frequency of the LFO (See Fig. 7). You can
hear the cutoff frequency moves up and down. By switching the Sound Source Selector to
NOISE, make the sound of SL with operating the Cutoff Controller, LFO Controller ©or
LFO Waveform Selector.
f. Function of EI\!V Ion VCF (Fig. 13)
Set the Cutoff Controller between LEVEL 4and 8, then raise the Envelope Controller. You
can see the VCF cut off frequency moves higher. This movement can be controlled by the
ENV Ilocated at the upper left corner of the panel.
Try out various state of cutoff or peak by handling the ENV IController or the MODE
Selector.
Refer to the paragraph of the Envelope Generator to find out the function of the ENV I.
3-3 VCA
The volume of the sound signal transmitted from the VCF can be changed by the amplifier
called VCA. As the control signal (voltage) fed to the VCA increases, the volume of the sound
signal becomes larger.
Repeat the setting as Fig. 4again.
a. Gain Controller
As you raise the Gain Controller (Fig. 13) located at the upper right of the panel, the voltage
fed to the VCA increases and the sound begins to come out, then gradually becomes larger. If
anote is depressed on the keyboard at this state, the pitch of the sound is shifted to that
corresponding to the note and held there.
b. Function of KYBD, ENV II on VCA (Fig. 14)
Lowering the Gain Controller back to zero level, turn the Control Selector of the VCA to
KYBD (Keyboard). Under this state the sound comes out only while the key is kept
depressed. This time, the volume stays on the same level without change.
When the Selector is switched to ENV II, the volume can be changed by the controll signal
fed to the VCA. Refer to the paragraph of the Envelope Generator about the function of the
ENV II.
3-4 Envelope Generator
The 100F contains two Envelope Generators (ENV I, ENV II).
The ENV Icontrols the VCO and the VCF, while the ENV II controls the VCO and the VCA.
a. Envelope Selector and Controller (Fig. 15)
For the easier operation of the Envelope Generator, it is divided into three patterns. These
patterns are ADR (y\J which controls the Attack, Decay and Release; ADLAJ which
controls the Attack and Decay; AR i/\) which controls the Attack and Release. Each of
these can be selected by the Envelope Selector. Also the Attack Time can be controlled by
the Attack Controller, while the Decay and Release Time by the Decay 'Controller.
Attack Time Decay &Release
Envelope Selector Controller Time Controller
KYBD
TRIG
ATTACK DECAY
ENVELOPE GENERATOR Fig. 15

b. Function of ENV II on VCA
Set all the controllers and selectors as shown in Fig. 4. Then switch the VCA Control Selector
(Fig. 14) to ENV II, and the Envelope Selector of the ENV li to ADR(/V). Under this
setting, while depressing akey, raise the Attack Controller to find the Attack Time becomes
longer. Then raise the Decay Controller to see the sound gradually becomes smaller and fades
away. When you release the key at halfway through, the sound begins to decay from that
point. As you raise the Decay Controller, the Decay Time becomes longer.
This ADR pattern can be used to create asound like aguitar or aharpsichord.
When the Envelope Selector is switched to ADLAJ, you will notice the volume of the sound
will be changed at its Attack and Decay by depressing- akey. On AD, the volume of the sound
rises as you depress akey then it decays. If you release the key at halfway through, the sound
wilt be cut off immediately. Therefore, this is useful to create asound like a piano. Switch the
Envelope Selector to AR (/\), and depress a key. Now the volume is kept at certain level
until it starts to decay by releasing the key. The effect that the sound decays after the key is
released is called "Sustain" on an electronic organ but it is called "Release" on asynthesizer.
This AR is used for producing acontinuous sound like an electronic organ or aviolin.
c. Function of ENV Ion VCF (Fig. 16)
On your 100F, the cut off frequency of the
VCF can be changed by the ENV I.
Set back all the controllers and the selectors as
Fig. 4, then set the Cutoff Controller of the
VCF (Fig. 11) at LEVEL 6.. As you raise the
ENV IController which controls the VCF, you
hear agradual rise of the cutoff frequency.
Now set the ENV IController to top (LEVEL
10), and switch the Envelope Selector of the
ENV Ito ADR (AJ. Then raise the Attack ENV I
Changing
Cutoff
frequency
Fig. 16
Controller and depress akey. The cutoff frequency rises gradually to the level which has been
set by the Controller of the ENV I, and immediately falls down to the original cutoff
frequency. If you lower the Decay Controller, the cutoff frequency falls down gradually.
Upon switching the Envelope Selector to AD</\J, you can change the cutoff frequency by
the Attack and Decay Controllers of the ENV I. This time, there is no change of the sound
after the key is released.
When you switch the Envelope Selector to AR(/\), cutoff frequency rises gradually then
keeps acertain level. When you release the key, the cutoff frequency falls down gradually. To
check this process, operate the VCA by the ENV II.
d. Function of Envelope Generator on
VCO (Fig. 17)
ENV I
VCO
Pitch Controller
ENV 1
.Pitch
Control
Selector
Fig. 17
On your 100F, the pitch of the sound can be
controlled by two Envelope Generators (ENV I
and ENV II).
If you set back all the controllers and the
selectors according to Fig. 4, and raise the Pitch
Controller of the VCO, the pitch will increase.
In this case, the Envelope Selector of the ENV
II is on AR (/\). Therefore, by raising the
Attack and Decay Controller and depressing a
key, the pitch rises gradually and keeps the
level which has been set by the Pitch Controller of the VCO. When you release the key, it
gradually falls back to the original pitch (zero level pitch of the VCO Pitch Controller). To
have the variation of the pitch during this Release Time, set the Control Selector of the VCA
to ENV ll.
By switching the Envelope Selector of the ENV II to ADR<.AJ, you can control the Attack,
Decay and Release Time which are the control signals (voltages! to the VCO, thus obtaining
the pitch variation.
By the ENV I., you can also control the pitch in the same way as by the ENV II. In this case,
switch the Pitch Control Selector of the VCO to ENV I.

e. KYBD TRIG and LFO TRIG {Fig. 18)
The Selector of KYBD TRIG and LFO TRIG, located at the upper left side of the panel,
determines to let the Envelope Generator operate with either the keyboard or the output
wave form of the LFO.
Set all the controllers and selectors of your 100F to match the settings of Fig. 18. In this
state, the VCA is being controlled by the EIW II and the Envelope Selector of the ENV II is
on ADR (/V.), therefore awave form of asharp rise and immediate decay shown in Fig. 19
(a)-1 is obtained. This time, by depressing akey, only the wave form of (a)-1 is obtained.
Now, switch the Operation Selector of the ENV Ito LFO TRIG and depress akey. Wave
forms like Fig. 19 (a)-1 ,2,3, are obtained continuously. This is because the start of operation
of the ENV I, II is repeated at every double oscillation frequency of the LFO (indicated by
arrow marks shown in Fig. 19 (b)) as you depress the key. The repeat speed is controlled by
changing the oscillation frequency of the LFO. The LFO TRIG is used for creating arepeated
tone like amandolin or a marimba.
Fig. 19
Operating ENVI, ENVII with LFO
\
Operating ENVI, ENVII with Keyboard
TUNE
VOLTAGE CONTROLLED OSC.
VCF
20KHZ OSC
CUT OFF PEAK
VOLTAGE CONTROLLED FILTER
Ar
F=f=n
*\—nn.
^g&
LFO ENV I
Fig. 18 lO

4. Basic Method of sound Producing Sound
Following all the given instructions, let's produce actual sounds. The
most important point in producing asound is to well acquaint with
the characteristics of the sound which you are creating.
We suggest you will analyze the pitch range, tone color, changes of
pitch at the attack or the decay, and study which selectors and con-
trollers are most applicable in order to obtain the character of the
sound. Please refer to the fundamental methods in the following
pages. Further you will find many more variations are created by
your own method. .....
4-1 Ftute Family Tone (Fig. 20)
The character of this tone family, as represented by Flute, is soft and contains few harmonics.
(1) Selecting the Pitch Range and the Sound Source Waveform
The compass of aflute is equivalent to the middle range of apiano. So, set the VCO Pitch
Range to 8feet. The sound of aflute contains strong fundamental tone (the tone with the
basic pitch of the sound) and few overtones beyond the second harmonics (the tone of one
octave higher than the basic pitch). The sawtooth wave which contains all the integral
(1,2,3,...) harmonics is used for the sound source.
(2) Arranging the Sound Timbre
Since the flute sound contains very few harmonics, it is necessary to cut high overtones by
lowering the cutoff frequency of the VCF. Set the sound soft with less harmonics by
adjusting the Cutoff Controller and the ENV IController. It is unnecessary to emphasize the
frequency around the cutoff point, therefore fix the Peak Controller at LEVEL 0. In this
case, as you are adjusting the tone timbre while listening, move up the VCA Gain Controller.
(3) Setting the Tonal Change during its Attack and Decay Period
The sound of areal flute has comparatively few overtones at its attack period (the beginning
of the play), then gains aslight increase of them. Such atonal change by time can be
controlled by the ENV I. Set the Envelope Selector to AH(f\) and adjust the tonal change
at its attack and decay period.

{4) Setting the Volume Change during the Attack and Decay Period
Consider how the volume changes when you play areal flute. At the beginning, there is a
gradual increase in volume and the rest it maintains the same level till you stop blowing. This
volume change (envelope) can be made by controlling the VCA with the ENV II. Set the Gain
Controller of the VCA at LEVEL 0, then the Envelope Selector of the ENV 1 1 to AR i/\),
and shape the envelope by the Attack and the Decay Controtters.
(5) Setting the Portamento and the Delay Vibrato
When you play areal flute, there is also asubtle variation in the pitch. When asound move to
another, for instance, the pitch may have asliding change. And also there is asubtfe Vibrato
in the sound.
Therefore, by adding the pitch shift utilizing the Portamento or the Delay Vibrato, you can
create more realistic sound. Other flute family tones (piccolo etc.) have similar features. Try
out various flute family tones.
(3) Determine the tonal
change by time
rx
(1) Determine (1) Select the wave
(4) Determine the envelope the range ofsound form ofsound source (2JSet the tone similar to flute
ENV I
.A.
£-<1-
:
ATTACK DECAY
ENVELOPE GENERATOR
KYBO
TRIG
LFO
TRIG
_^
4s»
vo uME
VENV I
SLOW LONG
./V
£-<i&-
ATTACK DECAY
ENVELOPE GENERATOR TUNE VOLTAGE CONTROLLED OSC
0.03HJ
[»* LOW FREQUENCY OSC. DELAY VIS LFO 4-
r
/VCF \
CUT OFF PEAK
VOLTAGE CONTROLLED FILTER
r^
VCA
rOH2
CUT OFF
(5) Add the Portament and Delay Vibrato to make more real sound
LFO
J
Fig. 20
®
ON
12

4-2 String Family Tone (Fig. 21]
This is astring family tone such as aviolin or acello. The rich overtones and the distinctively
strong fundamental tone are the characteristics of this tone.
Let's try out the sound of aviolin.
(1) Selecting the Pitch Range and the Wave form of the Sound Source
The compass of aviolin is equivalent to the treble range of apiano, so the Pitch Range is set
on 4feet.
The sawtooth wave form containing all the harmonics is suitable for the source of the string
sound. Set the Wave form Selector of the VCO to Sawtooth.
(2) Selecting the Sound Timbre Arrangement
The violin sound contains pretty high overtones. Listening to the sound, find the sound close
to aviolin with the Cutoff Controller.
(3) Setting the Volume and the Tonal Change
The volume of aviolin increases at the first stage then maintains acertain level. Therefore, set
the Envelope Selector of the ENV II to ARif\) and adjust the volume during the attack
time by the Attack Controller.
Also overtones increase almost equally at the first stage but they take subtle changes
constantly during the duration. Create these subtle change of the sound timbre by adjusting
the cutoff frequency of the VCF with the ENV I, LFO and VCO Controllers.
(4) Adding the Portamento and the Delay Vibrato
As other features of the violin sound, there are the Portamento and the Delay Vibrato. Add
these effects adequately. Finally, adjust the pitch by the Tune Controller.
(1) Select the range (V Select the wave
(3) Determine the volume and tonal change by time ofsound (5) Tuning form ofsound (2) Adjust the tonal character
source (tvcf
"^
J\.
J\.
M&
—
ENVE
SctfW LONG
A. «I¥~
J\.
f\ '
ATTACK DECAY
ENVELOPE GENERATOR TUNE
VOLTAGE CONTROLLED OSC.
LFO
0.03Hz
LOW FREQUENCY OSC. *J t
JUMD
INPUT
i
-rtn.1
EXP. P1
CUT OFF PEAK
VOLTAGE CONTROLLED FILTER
r=Fn
_t
13(4) Adjust to make real sound (3') Adjust the subtle sound ofstrings
10Hz
CUT OFF
®
ON
Fig. 21

Brass Family Tone (Fig. 22}
The feature of the Brass Family Tone is in generally stronger overtone than the fundamental
tone (the sound of the basic pitch) and there is abright effect in the sound. Let's create the
sound of a trumpet.
(1) The Pitch Range and the Sound Source Wave form
Select 8feet Pitch Range and the Sawtooth Wave form.
(2) Arranging the Sound Timbre
The trumpet sound is bright and glossy. It has stronger overtones compared to the
fundamental tone, therefore the sound is brilliant. To produce such asound, lower the cutoff
frequency of the VCF and emphasize the frequency around the cutoff point by the Peak
Controller.
Set the sound close to atrumpet by adjusting the Cutoff Controller and the Peak Controller.
(3) Setting the Variation of the Volume and the Sound Timbre along with Time
The trumpet sound rises sharply then decays gradually. The variation of the volume can be
made by controlling the VCA with the ENV II.
The variation of the sound timbre features that the low overtones dominate at the beginning,
then overtones are gradually emphasized afterwards.
(4) Others
To give an extra reality to the sound created, add the Portamento or the Delay Vibrato effect.
(5) Wow Trumpet
To obtain the effect of atrumpet being played with amute (Wow Wow), move the cutoff
frequency of the VCF by the LFO. When the mute is attached, the cutoff frequency becomes
low, while it is higher without the mute.
(3) Determine the volume and tonal change by time
FNVT *
ATTACK DECAY
ENVELOPE GENERATOR
(1) Select the tone and wave form ofsound source (2) Emphsize the overtone by Peak Controller
ATTACK DECAY
ENVELOPE GENERATOR TUNE VOLTAGE CONTROLLED OSC.
_
-« 1—>
vo uME
LONG
—1A
1B
Mc£—2
KODE
PORTAMENTC>\
rir
v/fi
0.O3HJ
LOW/ FREQUENCY OSC.
(4) To make the real trumpet sound
/DEI .DELAY VIB. LFO
*l—ruri
CUT OFF PEAK
VOLTAGE CONTROLLED FILTER
t
Fig. 22 (5) To make the sound of wow trumpet

4-4 Repeated Tone (Fig. 23)
The repeated tone means the periodically repeated tone such as amondolin or amarimba.
Mandolin sound is created by the following way.
(1) The Pitch Range and the Sound Source Wave form
The pitch range of amandolin is in the middle range and the sound timbre is asort of string
family tone. Set the Pitch Range to 8feet and the Sound Source Waveform to Sawtooth
(ISM.
(2) Finding the Volume and the Sound Timbre
At first, find out the volume and the timbre of the sound with no repeat. That is asound of a
mandolin of which astring is played only once. The volume of the sound rises sharply then
decays immediately as you fillip the string. To obtain this volume change, control the VCA by
the ENV II. In this case, set the Operation Selector of the VCO to KYBD TRIG, so that the
ENV II is operated by the keyboard. After setting the volume change, arrange the sound
timbre. The timbre change of the mandolin sound is that the overtones are enormousely
emphasized at the beginning. This is made by controlling the cutoff frequency of the VCF
with the ENV I. In order to obtain the satisfactory change of the sound timbre, adjust the
Cutoff Controller and the Peak Controller.
(3) Setting the Repeat Speed
The mandolin tone is the succesive sound chain of this filHpped string. Operate the Envelope
Generator by the LFO to make this sequence. To do this, switch the Operation Selector of
the Envelope Generator from KYBD to LFO TRIG. Control the repeat speed by the LFO
Controller.
ENV I
(2') Determine the volume and tonal change by time
Set the KYBD TRIGfirst y/ (1) Select the range ofsound and sound source (2) Determine the tone ofmandlin^
1JlUDKJ
*IMDI IT
-
yv.
JV
^.&
ATTACK DECAY
ENVELOPE GENERATOR
_
—4 1-4
vo LUME
LONG
k
—1A
~J B
ODE
PORTAMENT<
!
1
&—
ATTACK DECAY
ENVELOPE GENERATOR TUNE
VOLTAGE CONTROLLED OSC.
LFO
0«Hz
LOW IFREQUENCY OSC.
tVCF \
AI
CUT OFF PEAK
VOLTAGE CONTROLLED FILTER
DELAY VIB.
tLFO A.
r=F
VCA
-N\L
-anI
EXPP —3|&—
LFO
(3) Determine repeat rate
15 Fig. 23
©
ON
®

5Percussion Sound (Fig. 24)
Among the percussion sounds, there are noise family tones such as acymbal and ordinary
musical scale family tones such as aconga.
Here, let's try out aconga tone.
(1) The Pitch Range and the Sound Source
Select 32 feet for the pitch range of ahigh conga. As the sound source wave form, select the
Sawtooth which contains all the harmonics.
{2} Arranging the Volume Change
First, arrange the changing state of the conga sound. Holding akey down so as to derive the
sound out, (raise the cutoff frequency of the VCF), control the VCA by the ENV II. Set the
controller and the selector of the ENV I! as to obtain asharp attack and immediate decay at
the moment akey is depressed.
Use LFO TRIGfor repeated (2) Determine the sound volume on attack and decay
(3) Setting the Pitch Change
With apercussion instrument like conga, the pitch changes always from the beginning of the
sound to the end. Control the VCO by the Envelope Generator so that the pitch changes from
high to low. The pitch change can be made by either the ENV Ior the ENV II, however, here
we do this by the ENV II.
(4) Selecting the Sound Timbre and its Change
When the changing state of both the volume and the pitch are already set, determine the
sound timbre and its change. The sound timbre can be selected by the Cutoff Controller of
the VCF and the Peak Controller, while its changing state by the ENV I. The conga tone is
comparatively soft with emphasized overtones at its attack period. Adjust each controller
carefully till you get asatisfactory result. Use the note "F" in the centre of the keyboard for
making the sound.
(5) Others
The actual conga sound decays with asubtle variation of the pitch. Add the Delay Vibrato for
the realistic effect. For beating the conga repeatedly, switch the Operation Selector of the
Envelope Generator to LFO TRIG in order to operate it by the LFO.
conga beat
ENV I
./v.
J\.
yv_« i&_
ATTACK DECAY
ENVELOPE GENERATOR
ENVJt
SLOW LOWS
(1) Determine the pitch and waveform of sound source
ATTACK DECAY
ENVELOPE GENERATOR
(4) Determine carefully
the volume.and tonal change by time
TONE
VOLTAGE CONTROLLED 0SC.
_
-4Ip—
vo -U ME
LONG
K
—1A
_J B
10 -«
ODE
PORTAMENK
!^—
LFO
0.03Hz
LOW /FREQUENCY OSC.
NOISE
OSC
CUTOFF PEAK
VOLTAGE CONTROLLED FILTER
/"DELAY VIS.
TLFO t
f=Fn.
VCA
GAIN
_r
HPF
LFO
KY8D
ENVn
(5) Control the change of decaying pitch Fi.g 24 16

4-6 Noise Family Tone (Fig. 25)
With the Noise Sound Source, you can create the sound of acymbal or asnare drum as well as
various sound effects such as a steam locomotive, wind or wave beating on the seashore.
We try here the sound of wave on the seashore.
(3) Arranging the Tonal Change
Set the tone as a gradual rolling and breaking. For this, control the VCF by the ENV I. Adjust
the tone so that overtones gradually increase then decrease.
(1) Selecting the Sound Source
Set the Sound Source Selector to NOISE.
(2) Arranging the Volume Change
In the effect of wave rolling on the seashore, the volume gradually increases then fades down.
Set this effect by controlling the VCA with the ENV II.
(4) Setting the Effect of Repetitious Rolling
Switch the Operation Selector to LFO TRIG to operate the ENV Iand II by the LFO. By
lowering down the oscillation frequency of the LFO, you can obtain aeffect of slow rolling.
(4) Set the LFOfrequency (1) Use the sound source
to make the seashore wave (2) To make the beating ofseashore wave ofNoice
ENV I
f"
A-* I&-
JV
f\
ATTACK DECAY
ENVELOPE GENERATOR
r\
—4i_«
vo LUME
ENVH ?
LONG
1!A
~| 6
lie _^
MODE
PORTAMENT<3
*—o
J<~+ 1BE*—
yv
f\
ATTACK DECAY
ENVELOPE GENERATOR
vco
TUNE
VOLTAGE CONTROLLED OSC.
N\
DELAY VIB.
t
LFO
(3) Control the cutofffrequency with ENVI
*uoo
INPUT
I
TVCF
CUT OFF PEAK
VOLTAGE CONTROLLED FILTER
r=F=i
'I—rurl
tLFO ENV I
Fig. 25
VCA
®
ON
®
17

/) .Various Ways to use your synthesizer
(a) By employing the optional Expression Pedal, the VCF and theVCA can be controlled.
Connect it to the Exp.P. Jack (Fig. 26) on the rear panel of the 100F.
SYNTHESIZER
CONTROL VOLTAGE
©.(§>©©
IN UPPER LOWER EXP PEDAL
OUT OUT
-15V-+4V
®VCF Control
Fig. 26
Expression Pedal
Switch the Control Selector of the VCF (Fig. 13) to Exp. P. CV, then step on the Expression
Pedal. You can get aWow effect.
®VCA Control
Switch the Control Selector of the VCF (Fig. 13) to either|Hr|prf\J\The volume can be
controlled by the Expression Pedal.
(Connection Ex. 1)
Connect the LOWER OUT of the 100F(A) with the SYNTHESIZER IN of the 100F(B). By
depressing two notes together on the keyboard of the 100F(A), you can obtain the sound of
the 100F(A) from the higher note and the sound of the 100F(B) from the lower note.
I00F(A) lOOF(B)
AUDIO
T
n
AUDIO CONTfiOLTOUAGE
t"
AMPLIFIER(B)
wsm ©©©m
AMPLIFIER(A)
(Connection Ex. 2)
The third one
100F
Connect the UPPER OUT of the 100F(A) with the SYNTHESIZER IN of the 100F(B). You
can control the 100(B) by the 100F(A), thereby obtaining asynthesizer having two VCO's.
I00F(A) I00F(B)
AIDIQ... SYNTHESES >vt:,:ii:K''i
CpNTROLVDtWK fttnu CONrROlVOUASf.
(3) © © ®
IK OlfTBl IQWER EXEPEDAL
B © ©©© ® ©
Y'-i.M--% UFPEH inWSI EXEPEML
J¥AMPLIFIER (B)mJF Jf
AMPLIFIER (A) -100F
(b) Upon connecting more than one 100F together, you can obtain more than one tone
from one note on the keyboard or the composition of the VCO and the Noise Sound Source,
thus enabling you to create awider expression of performance.
Also in both cases (Ex.1 and 2), when you depress just one note on the keyboard, you can
obtain the sound of the 100F(A) and (B) one above another. Upon tuning both sets on the
same pitch, anew mixed tone is obtained. Aslight difference in these pitches gives you an
ensemble effect.
By setting two sets of the 10OF as Fig. 27, you can have the effect of Saxophone with breath.
18

"Saxophone with breath"
100F(A)
ENVI
ATTACK DECAY
ENVELOPE GENERATOR
KYBD
TRIG
LFO
TRIG
ENVE
A
ATTACK DECAY
ENVELOPE GENERATOR
vco
TUNE
VOLTAGE CONTROLLED OSC.
-4 i^—10
VO LUME
LONG p10
—s
L1A
BBA
[Tie \
MODE "-J
PORTAMENTO
LFO
/v\
nr
0.03Hi
LOW FREQUENCY OSC. DELAY VIB.
t±
H1DK)
INPUT
t
VCF
CUTOFF PEAK
VOLTAGE CONTROLLED FILTER
-rur
EXP. P
r=Fn
tLFO ENV
I
t
VCA
100F(B)
ENVI
SlOW LONG
.A.
£^s&—
ATTACK DECAY
ENVELOPE GENERATOR
KYBD
TRIG
LFO
TRIG
ENVI
yv
Si.
ATTACK DECAY
ENVELOPE GENERATOR
VCO
TUNE
VOLTAGE CONTROLLED OSC.
N\
_
4§>
b
VO -UME PORTAMENTO
LFO
jA\
nj-
O03Hz
LOW FREQUENCY OSC. DELAY VIB. LFO
1?1
MJOK)
INPUT
M—rui
CUTOFF PEAK
VOLTAGE CONTROLLED FILTER
r=1=T
VCA
10Hz
CUT OFF
LFO ENV I
t
Fig. 27
Connect 100F{A) with 100F(B) as connection Ex. 2specified on the page 18