Korg PS-3300 User manual

SIGNAL GENERATORS
wavc rem
l»*\l
POLYPHONIC SYNTHESIZER
[DYNAMIC LP nUERStENVELOPE MOOTERS
CUT Off MtlQUfNCY ATTACH r*c
PSU330I
SIGNAL MOOFIERS
KiO VOLUW 1AUMCC
SKiftAL OU1
nil MftMlH
-fMQULHC'-CWHIf MP #»!! tMMCt
«(•! iMt
*I•
tfSONATOftS ftff&PlO* I
!••
r- rr-.
••
mm !•'••*.
MJ„ 111 ill KtO NOLO
DAM*ID
HAU
Mil AH *
I'.<.** 141 ;
AVUtUDf
UOOULATICM
V:
cut orr iri .1
MOOU|ATtCM
MttMltJN I
pi* tit
•M', o*
WOUATK* GIMRATMt |OK
OUT
I»'I
fMOffiiCf
MOCMM1QN
IT W
inuhAfia*
QCHfltATOfl V
s1,"
flUAMi
tOl 0»> l*l)jittfJ<.t HWtftAl ...» ATTACK fttttASI si titfii M(«t too
CO* 'MX CQIITML
oo oo
HI.**. UMiML
HCV I
oomn
oo
-»-* -IT- tl¥
**r
CAA fMQOlftTV
CQPP*X
*i -i .» -i •« it| i Mt*i {.* i,| -i
MWliAWHT AOJUtF
SIGNAL GENERATORS
WAVf fO«
CCI
AAWK, J**—
POLYPHONIC SYNTHESIZER
DYNAMIC LPFIUERS ENVELOPE MOWERS
CUT Off mtOUCtCY ATTACK HUE
,- S'/Nt/
PSU-33QI
SIGNAL MOOFIERS
KK> VOLUME ftALUCr
I*' SrT«l*Al OUT
fwltHMlt DfCAf 1
•I
;/ r^r:/ :
-IllljUl*! ClA^f "10 fftHU **L**Cl
rRfOUEKV
VOOULAItON CUT Off f*fQ MXWUTIOH
«UtflN 4l¥U
miam mmoid
DAAf^rD
HAir ii
MltAftt
niouNcr mnmnr
,/ :
K**' *+*
rr*» tutu
it mu
KTHitl MOOOLAtlOM QlftfiATO* |
mw«vm *-
CQHTftQl
II
T
n|s*-
tO*T*0t
I'
/
fl^» rtnit
IMhm ami
PHIQIrt^t lM'jillf« r^^*
S1'
tJTffttaAL »-,*
COfTML COH
'A'^ PHIftUi
CUT 0*1 IK V4A*I AttAti IMMt
UMim COMML
oo |«l|MtAt IM fI»HA|
Ml il Wit Wtl IflHj
CtfttMl <<j*»«n*
I1 1 *"*t
oo oo
r.iiiiiijiiii
.H
timmuMfn *uiuii
POLYPHONIC SYNTHESIZER mWp
SIGNAL MIXER
CUIMtL I
HI *»'.'
.".'.* SWTCM U< IVCLUMI CNAimi iIOTAI «XUM
POLYPHONIC SYNTHESIZER
UMl^W =OWNER'S MANUAL
Sound
Revolution
KORG

ttu«>i INTRODUCTION
ZCOI&li, ai\,7 ,-tf '} 7*=--, 9•x>-fe-*M -f— PS-3300 £
KORG.-tf 1)7t-v ?•>->•*-* 4"f —14, Mini KORGl-'ft^^
a^3/t'?*' -sfJerfr-i if—«>tt#^«flKL"C "Synthesist" Of*
H:t-t .««±T-I±##*»T*> ') .tttt £HJ i- »fc# SB fc IXli P
*'*—*-—*#*fciwctt, MUHr^v^MtJVvvSH -cii
:iii] l-r v
»
tz&X'i* %v*** t-f.^^i ii-„
^coKORG PS>-U-X'(i, ^flg*»i<'»;btt.&i'>-fe-'M-«f—
^r*6*££$fctCifcfcL, £< «f Uv*S< V-WM -if— «0#lf &«J ')
Thank you for choosing rhc Korg PS-3300 Polyphonic
Synthesizer.
The PS-3 300 could honestly be called a dream synthesizer. It is
completely polyphonic, it has all the facilities you need for any
type of sound synthesis, it can easily be interfaced with other
units, and it is designed to give you maximum playability for
live or studio applications. In developing the PS-3300 we built
on our years of experience and technical know-how embodied
in such earlier refined units as the Mini-Korg.
Conventional synthesizers, even larger models with more than
one oscillator, are essentially monophonic instruments as far as
playing the keyboard is concerned. This fact alone makes most
synthesizers unique among keyboard-operated instruments. It
also means that without the intermediate step of multi-track
recording, one cannot create harmony, and harmony is one of
the three basic elements of music. This serious drawback has for
too long prevented the synthesizer from exhibiting its full
potential in live performance situations.
The PS-3300 is different. By using IC's instead of conventional
circuitry we have, for the first time, successfully built in a
separate synthesizer for each and every key on the keyboard,
thereby cheating atruly polyphonic instrument.
Nothing has been sacrificed in converting from monophonic to
polyphonic performance. You can even use the PS-3300 just as
you would amonophonic instrument, if you tike. The whole of
Korg's PS-series has this kind of exciting innovation in design
and performance, so you can go beyond the options of con-
ventional synthesizers and discover whole new worlds for
musical exploration.

yuvo -y-cpo^L*
33001*. Z%M<Dft& *>>*•* 4?- (PSU-33
01) t. fit*** *#— (PSU-3302) »*£
Fig. 2UPS-33O0tPS-30106O"7'a v^-*M T
•Block diagram
The Korg PS-3300 Polyphonic Synthesizer
is made up of three complete polyphonic
synthesizer units (PSU-3301) and one
signal mixer (PSU-3302). The keyboard
designed for use with this system is the
PS-3010.
Figure 2is ablock diagram of the PS-3300
and PS-3010. Understanding each block in
the system and how they arc related to
each other will be of great practical use to
you when you get down to synthesizing
sounds.
fig. 1PS-3300+ PS-3010

I*
SIGNAL GENERATORS
TEMPERAMENT
ADJUST
XI2
X12
MODULATION
GENERATOR
2
J
FREO
VOLTAGE
CONTROLLED
OSCILLATORS
X12
COARSE
FINE
FREO
X. FM
FREOUENCY
DIVIDERS
X48
606
SCALE
WAVEFORM
X48
66666
DYNAMIC
LOW -PASS
Fl LTERS X48
Fo
y
awaveform
Opwm
VOLTAGE
CONTROLLED
AM PLI Fl ERS
X48
J
PEAK KBD FBAL
/
FcM
ENVELOPE
GENERATORS
X48
O
H
O
O^R
D S
RESONATOR
D
oo
JFo-1
RESONATOR
2
Jf^T
RESONATOR
3
60P
CONNECTOR n
FoM
l
JFo-3 a
VOLTAGE
CONTROLLED
AMPLIFIER
kr
AM PLI TUDE
MODULATOR
ri
\RESONANCE
NTENSITY
MG-I
LEVEL
P
KEYBOARD
VOLUM E
BALANCE
P
INTENSITY KBD VBAL
MODULATION
GENERATOR
i
6666 66 FREO
WAVEFORM o
To
SIGNAL
MIXER
(ig.2(A) Block Diagram (7d -• ?•y-T T7=? A) PSU- 3301 (CHANNEL I. 2, 3)

S/H S/H
OUT
*o
CLOCK SYNCHRO
TRIGGER O-*GENERAL
ENVELOPE
GENERATOR
J
ho
AUTO
D A R
VP-I
VP-2
IN
ENVELOPE
OUT
VOLTAGE
PROCESSOR
2
VP-2
OUT
h
SI GNAL
SWITCH
PSU-3301 ^n
CHANNEL l""*^
PSU-3301 ^n
CHANNEL 2
PSU-3301
CHANNEL 3PHONES
OUT
HEAD PHONE
AMP
SIGNAL MIXER-
dg.2(B)PSU-3302(MIXER)
60P
CONNECTOP
|I
48 O—
50-
4O-
30-
20-
550-
57 0-
58 O-
60 O-
+I5V
irt; 0/ o
F8F5G G A
GND
-I5V
N»i
KEYBOARD (48KEYS)
KEYBOARD
TRIGGER
SELECT
SW ITCH
OUT OUT OUT
-»QTRIQ OUT
-*0 SINGLE OUT
-OMULTIPLE OUT
MOMENTARY X-Y MANIPULATOR
SWITCH
OUT YOUT XOUT
? ? JL
1
h
i1
fig.2(C)PS-3010(KEYB0ARD)

CH- I
POLYPHONIC SYNTHESIZER
SG
WAVE FOWM
PSU-3301
SIGNAL MODIFERS
CCODE FGbAAB
oooooooooooo
J-^?K> t™ ya
MIXER fig. 3Normal Selling {/ —v;U--fe -y x-f >20
POLYPHONIC SYNTHESIZER
SIGNAL MIXER chi vol ch,
Cm IoKiNAL 5W
PSU-3302
TOTAL VOL
Jf^^S. MIX OUT
Fig.3U PS-3300 -#tt#<0/—^f •-t yT
—>&$'>% K-m&l-U. Fig. 3CDilfi »J C-t vt 4
COflUSUMfM, Fig. 3CO/— 7^ -t vr
^^|»i:U. PS-33OOcOft&<o0Jtt*-W
fl'f.fff^Dir^^-ht4J: ?«Ml'*Tlt iLX
?9
AC
•Normal setting
Figure 3shows the "normal settling" for
one unit (channel 1) and the mixer of the
PS- 3300.
With this setting, all modulation functions
are turned off to produce asimple organ
tone. If you don't get an organ tone,
you've probably missed one of the knobs
or switches; go over Fig. 3again.
This manual uses the normal setting as a
starting point for all further explanations
of synthesizer functions and operation.
Learn how to return to this setting quickly
and effortlessly whenever you want; it will
make your relationship with the synthe-
sizer alot smoother.

8- S(S<7) £**£««&
1-1
rSBCDSffictffiig/FEATURES AND FUNCTIONS
SIGNAL GENERATORS (SG)
OOCXJOQQOCOCO '1Q 3
QOQ OOO^OO
S*3HAt GENERATORS
•eco. ILMC
LiT„
•WAVEFORM SELECTOR
The waveform determines the basic
tone color.
•PULSE WIDTH MODULA
TION SENSITIVITY
Adjusts intensity of PWM.
•77-f >-^a-i>y(±IOOcents)
v"• -
•FINE TUNING
('100 cents)
•3-X-fa-2>>(i40CT) •COARSE TUNING
1''. octave)
•OCTAVE SELECTOR
MODULATION•REVERSE
SWITCH
Reverses phase of modulating wave.
Mux*?* •MODULATION SWITCH
Turns FM on and off-
•ASSHM
MG-1 Hi*a«<?>i3R?S-MKU*r.
•INTERNAL MODULATION
SENSITIVITY
Adjusts intensity of modulation
from MG-1,
/***8Sit^i:«t43E»<03**; LIT
•EXTERNAL MODULATION
SENSITIVITY
Adjusts intensity of modulation
from external signal (connected to
FM input jack).
... '7-
CCHT*0t ffl«agcntn^«A*T-r,
•FM INPUT JACK
For frequency modulation from ex-
ternal source.
UV •PWM INPUT
Input jack for external modulation
of pulse width.
:} -i- .-f: -•} •:t- -T :T-. :T: r'j'-. -4'. :}-. :']'
** '• ** -» '> -• •* i'» -I *t ^-* *. I»<-i .1 t.1 -* .|
Ui» lam*TMMT
lig.4 SG 7-> +*h
?-t-T„
•TEMPERAMENT ADJUST
Independent tuning knobs for all
12 notes.
£-t 6.h-c*£* tfc *MWttlWMRk Lit.
12*545:^-3--- >^*li. *n£'*i£>'y^ i*r
+*© "0" faw.^- -m')U¥&v$mwmv
h
u•) *-r.
7r-f>, 3—xco-f-i ——>^"t '("Afiii-C
A=440HzCf-^-->^&ni-fo
t"7'7 -r^yf"<>^fc' CO JftJ *£&«.<#
(FREQUENCY MODULATION (FM] )IJ.
«EU 3EiW*4 ^i:i oTON-OFF^Li-fo
*A:. =1 —7xjft^fc i* $Ma 6fc *©->** saW
£M (PULSE WIDTH MODULATION [PW
y-*3'#%L&&*4Ratfl*, MG-2 fcft«H$ft$
*iT^4t<9r, i£ff29J&£ TtlL" i:U. /*
/f x|sKCH©«aHBlE»>^ ?*"o" »-6 "10"
£04ft&% MG- 2CD FREQUENCY(FREQ) >-?
1*^*-7'^tL i-r.
1-1 Signal Generators (SG)
This section is what is commonly called a
VCO (Voltage Conrrolled Oscillator). With
these knobs you have control of pitch and
the choice of several oscillator waveforms
that will determine basic tone color
(timbre).
When the 12 independent TEMPERA-
MENT ADJUST knobs are all at their cen-
tral "0" positions, the keyboard will be
tuned to the conventional "well tempered
scale". These independent tuning knobs let
you tune each note separately.
When the FINE and COARSE tuning
knobs arc at their center positions also, the
pitch of Awill be 4401 Iz.
VibrtfO, pitch bends, and the like are prod-
uced bv frequency modulation (FM); use
the MG-1 INT and EXT INT internal and
external modulation sensitivity knobs to
adjust the intensity (depth) of this modula-
tion. The modulation switch turns FM on
and off
Chorus and other effects are produced by
pulse width modulation (PWM). When an
external signal is not patched to the PWM
input jack, MG-2 provides the modulating
signal via the internal (built-in) patch. Turn
the WAVEFORM knob to ""and
try turning the PWM INT knob (which
adjusts PWM sensitivity) from "0" to "10";
use the MG-2 frequency (FRF.Q) knob
to adjust the speed of the modulation. To
get an idea of the amount of variation
available in this and other effects, play one
key near the center of the keyboard and
beginning with the normal setting try turn-
ing one knob at atime working from the
top-down. The maximum input sensitivity
for frequency modulation is a1octave
variation per 1volt input.

FEATURES AND FUNCTIONS
vco(n&mmKMm)
Hu -tti:r>fay-r>r, VCO. j&JMft
PS-3300COSG t>—iftOVCO tlHlt^C £*a—
VCO
(Voltage Controlled Oscillator)
Those modules found in music synthesizers
and referred to as VCO's include antilog
amps, waveform shapers and generators,
and of course VCO's.
In the sound synthesis process the VCO
controls pitch and the basic tone color (the
waveform).
With the PS-3300 SG section you have
available such conventional functions as
tuning, vibrato, and pitch bends; you also
select from waveforms including triangle,
sawtooth, rectangle, and PWM.
%¥f%'&£X9\.(Dffimm Scales other than the well-tempered scale
Cc* DD* E F F* GG* AA* B
*>'*-*> Y•T^-r ft K®*"* ^izx of Adjust the TEMPERAMENT ADJUST
Mf9fc& fYR?<:.3Sln>L -c*i U?„ knobs to tune to these and other uncon-
ventional scales.
Ex.1 *£:**( Mean tone system
)
<T>—ffi| Ex-*Mean Tone System
—*».*.«- ... .»,..._ «, ..*. This is ascale used for medieval key-
WMMMMe^lfttMIMai board inslruments.It features ,^
gttik tt4 emajor third.
Ex.2 &&IE?*(Just intonation)
c«j* :«, &&&&***&&*nm± Ex -2Just lntonation
Atheoretical scale with apure major
475 ffW third and fifth in C.
Ex.3 -b«A*M
Ex. 3. Hepatonal Scale
*iF.tt&JRIftUtt ^ iv? '$"&.——>¥•YV—This scale divides one octave into 7equal
•*— *rWll <^?v. intervals.
CCis DEs EFEis GGis ABH
Ex. 1-24 -7+10 -14 [phone] +7-17
Ex.2 /+4-14 -2/+2-16 /
/-12
Ex.3 /-28.58 /
/-57.15 +14.28
i
/-14.29 / /-42.86 /-71.43
(IN CENTS)
•For fine tuning we suggest using the
KORG TUNING STANDARD.

&gptf)£#r>t«ffc
1-2 DYNAMIC LOW-PASS FILTERS (DLPF)
OOOOOOQOO
DYNAMC LPFI7EK
CUT Off nvcQuucv
-\-
«»D (Ml* flAlAftCt
ft BIS! -tKttaLfcP-'** •7< /u?- •CUT-OFF FREQUENCY {Fc)
adjustment for each key's indepen-
dent tow-pass filter.
•PEAK ADJUSTMENT
Emphasizes resonance at cut-off
point.
<7)Fc£. arfi±.«»ffii:WE5L/:Sjec««
LIT
•KEYBOARD FILTER BAL-
ANCE
Adjusts tho Fc of each of the key's
independent low-pass filters over a
rising or falling slope corresponding
to the scale of the keyboard.
Fc&, EMta??n;:iv^a-71»§i; •EXPAND
Adjusts the degree to which the EM
envelope signal affects the Fc.
J} '/ f*7/S,*«3:no ON-OFF tlit
•MODULATION SWITCH
On/off switch for cutoff frequency
modulation.
mg-i uiiSMwsat LIT
•INTERNAL MODULATION
SENSITIVITY
Adjusts depth of modulation from
MG-1.
L*T
•EXTERNAL MODULATION
SENSITIVITY
Adjusts depth of modulation from
external signal.
•CUT-OFF MODULATION
INPUT JACK
For FcM from external signal.
1Offll'/>!i "I1-f[ x>-tlJ- AiK-<0 VCF Clill
WW?* A"*—)tzffift-f 5^i/a—JU-C%SG*'
&&<»*vc#4$fcl* OMclMcflfe) 4-. ft 41:
ftu Ci-sftli tut.
*<#&**.<*&) ££-#»i»t, tr— *©*
»5-riiFct: io-cffij oJK c, n*itfe.'.V; (*7h*
it.
^-t:-K-7P^--^7>^(KBD FBA
L)tt-o --0(0flfc«(4-> 3rfci;aufc<r*&»ft
nti-4 7i*»— (VCF) cOFcfc, HMSWftWV
1: *tJ© Lfc^ft&Jgft 4"0 (t SU*><»*-* VtTm
S-R) Hi ot7'n/7^Sn/:i>'<D-7,l:
l
'•/ (fir M«*fbl»ltt8) T*Fc fc 0Mfc3 #*M: fr,*|#
rn —»'&&*gk'7?£b&, h£*<*< •t"7*v —
h(9M&fc' 4* tft &/j ACO *vh* 7 KM jrie r« '£ .#1
(FcM) u. SGOffllffcftKffl tIBI MHMrttftv
#*>\ y—-7 tv --t -/ f- < >^co^S*- &ft -v
"o-c-r&t.fc k©««WM '^-ryfi/.-rti:
fir a'WI wA. fc <U*«J-fr**A *> 4ttO-Cffi*; L-c
<«r#f.
1-2 Dynamic Low-pass Filters
(DLPF)
This section corresponds to the VCF of a
monophonic synthesizer. It processes the
waveform (which is the primary determi-
nant of tone color) coming from the SG.
The FC knob controls the cut-off frequen-
cy. Since these are low-pass filters, the
harmonic elements of the waveform which
arc higher than the cut-off frequency will
be shaved off, thereby producing amore
rounded sound.
The PEAK knob controls the amount of
emphasis given to the frequencies right
below the cut-off frequency. In other
words, it varies the slope steepness (Q) of a
resonance at the cut-off point.
Use the keyboard filter balance (KBD F
BAD knob if you want the cut-off fre-
quency to be different for different parts
of the keyboard.
Each key has its own filter (VCF), the
cut-off frequency of which can be varied
independently; this knob raises or lowers
the Fc of each key to conform to a rising
or falling slope corresponding to the scale
of the keyboard. With the EXPAND knob
you can make the cut-off frequency vary
along with the "envelope" (the volume
contour) determined by the controls in the
EM section (Attack, Decay, Sustain.
Release).
Cut-off frequency modulation (FcM) for
such effects as wow and growl is controlled
in the same way as frequency modulation
in the SG section.
Starting from the normal setting, check out
what happens when you use the controls in
the DLPF section; note that if yoitturn the
Fc knob all the way to "0", the sound may
become so rounded that it is inaudible.

FEATURES AND FUNCTIONS
•vcF(«E*Jffll^-r;i^-)
>>*•* -f iK— CD ft* i^'a —/KOWtf.*>l5-r^
D-y^Mfli. lil/l t'tDiiitf". VCO->VCF —
VCAcoWi-r/ffW •«* (fffi!. fife, frfc) 4-3
•*-„ *L?W4Sfc«*ftfcfirl* (&JI2) frvcor*
4-*'-*Hico -*' 3<7->- fci^ff&tt, ceo
VCF01JJ y h *? •-7V *>•>- (Fc) 4--x.>-<
"f-A.-Ci- i-f*T.VCFCi SfffceoafciRfc LtC
ff-urni) to.'hMv*-;- <reiffiftCj^< oS-tlBft
^-(Fc> 4-5!ft§tfiai:i'.ti^>ns0j
i/.-*r)(0'C'KSC-C^&vcFo#^*', *»>«?'*<:
Fig. 6it >>-fc *• -f -tf*-co VCFfr 'KiftcM ifc
i-r :«Mf. vcou/=>**9ttcDJKift un
mtut. vcocD*£&i**5t:fimi i-ro-r, •=*
Jfx^ni-r. *Lt. VCFliWOJ: ?c:, '£«
--» i•> .cto /KHco.vj, ?a.vcfco *?**7<
7H>i- (Fc) cflivr *biff*.
&c*t:. z®7bn0&m<o*i'ikKt£*>x^sm'ft
o»*&? »;u*ot, *.<** fclt&fc<DAta
fj ./a*' >; ttcoJfcrtltD *, <L/„•»*> tK-lft-T 4
g>X,&"<B -?-<,? V>c: J; oTMHMSfcMC Vf
s>^T\ —W$i: l.-«Jls nr* ifc c/i'4*»
Itr*. MflftC, ***jli :> n> •x***u-
*—(;£*#? h*7fflftfcftRH (**«&*, r
p—A-a&ft) a. /Jc|"|fr I-. h"c <lilsl*li*'t;
fc ufti^ttri-.
•VCF (Voltage Controlled Filter)
When you look at the block diagram of a
synthesizer, you will almost always see this
series: VCO *VCF -* VGA. These three
basic modules control the three elements
of sound: pitch, timbre, and volume.
The VCO generates awaveform (with a
certain tone color) of acertain pitch
(determined by its frequency).
By shaving off upper harmonic elements of
the waveform, the VCF adds roundness to
the sound.
Anumber of unique synthesizer effects are
created by automatically varying the cut-
off frequency in proportion to volume.
These volume changes are controlled by
the envelope signal. In other words, in this
so-called "expand" effect the envelope
control voltage varies the volume and cut-
off frequency at the same time.
Other VCF effects based on variation of
tone color arc "wow" and "growl". These
arc obtained by using amodulation genera-
tor output signal (the MG is also known as
an LFO or low frequency oscillator). This
cyclic control voltage signal is used to mod-
ulate the VCF. If the operation of the VCF
seems too abstract to you, think of it as a
kind of Watergate.
The VCO sends out asawtooth-shaped pul-
sating wave. (Of course this could also be a
square wave, triangle wave, and so on.) The
VCF is aWatergate with teeth on it like a
comb. You can see that when the saw-
tooth wave tries to get by the Watergate,
the top of the wave will be more or less
shaved off depending on the Watergate's
height; when the top is shaved off, it will
be more rounded. In other words, the
height of the Watergate corresponds to the
cut-off frequency (Fc) of the VCF.
As the wave goes through the teeth of the
Watergate, aresonance is created at the
cut-off frequency because of the interac-
tion between the teeth and the points cre-
ated on the top of the wave as parts of it
are shaved off. The longer the teeth, the
stronger the resonance. In other words, the
length of the teeth corresponds to the
PEAK function of the VHF.
To understand the expand effect, think of
the Watergate being temporarily raised and
lowered as the volume goes up and down.
With cut-off frequency modulation (FcM),
the Watergate is repeatedly raised and low-
ered in proportion to the cyclic low-
frequency signal from the MG (modulation
generator) section. (This gives "wow" and
"growl" effects.)
fig. 6Watergate theory of VCF operation.
(*m*VCF £#*.*)

&gBOT£ffcfc«8£
1-3 ENVELOPE MODIFIERS (EM)
(ENVELOPE MOWFIE,
ATTACK TlMt
'\^/
/-
DCCAf T«
WITAn itvtl
"IUAJI
•ATTACK TIME
Adjusts attack (rise) time of en-
velope.
•DECAY TIME
Adjusts the time it takes for the
volume to fall from its peak to the
sustain level.
nX04M, «ftLT<.'6Sl£MSLiT
•SUSTAIN LEVEL
Adjusts the level at which the vol
ume will be sustained from the end
of the decay time until the key is
released (end of trigger signal).
•RELEASE SWITCH (R-SW)
Setting determines how long the
sound will take to fade away after a
key is released.
•HOLD SWITCH
Allows you to maintain the sound
of akey after you have released it-
AT*.
•ATTACK TIME EXTERNAL
CONTROL INPUT JACK
For external control (by foot pedal,
etc.) of attack time.
•RELEASE SWITCH EXTER-
NAL CONTROL INPUT
JACK
For external switching (by foot
switch, etc.) of release time. Can be
used as piano damper pedal. The
PEAK jack is connected to the
RESO section, not MG-2,
ATTACK
TIME DECAY
TIME
UJ
5
-J
o
>
RELEASE—
J
TIME
T
SUSTAIN LEVEL
1
I
Key is hit
fig. 8Envelope Signal (x>*4Q —7lf*j)
Volume level whon key is roloased
fig. 7EM fig. 9Release Switch Operation
x>*a-7tgq
ENVELOPE SfGNAL
f
DHD TIME
MJ4MM
TRIGGER SIGNAL
Key isreleased
1
DAM PEG
HALF D
RELEASE
DAMPED
HALF
RELEASE
DAMPED
HAI I|,
RFIFASE
Sound cuts off quickly
alter key is released.
Sound takes ashort
time lo fado away.
DECAY Tl ME tSUSTAIN
LEVEL vO&fclCfc^T&SS
Sound takes longer to fade
away. It fades away in
proportion to the decay and
sustain settings.

FEATURES AND FUNCTIONS
c«0 »'/>(*. -ft i: VCA («Fh&J9PJMs&> t
qmSfvCt******—at. eg <fc#**«fc'i-:£*>
t"flfnt i"i *^a-— /n&»—f£fc 'jroT. ^>
^o-r.^f^ 77 -f r—(EM) kft-o-ci*!
to
VCAJJ. DLPF*-c,Off><'f,;'»;-65iifijffl.W:4rTe/i-:
KUto
—7j. EGii. VCAVa >ho-*t4t«!)
©jiv^o-r^j- (Fig. 8) *r. *W*tf*fMM3
*r*T«LfcitiM:, «fi*%^^T <*hSI *'-
EMcofty-v- ii. :«x^<D-ni"ot. *
*i«y» S*f,4T«, WtfrLfcft**:. 3£R?<7>lr
fcSMfctOt'COfflS^V^'o^^ Lti-6*'*. Fi
g. 8- 9t$^i:LTaLT*t <fcfSV.
** #-<9ffVffiL^< ii:t6 HOLD* 4?
f«M4-iALtAi Li?,
Jt-Tfttoc. HOLDx-f yf^ONllLito
*lt. r?7'^-?ut*ii">ii:i-© "io"
«:Lit.
5fcj***—If. -*//!«< »i*T <*f*V%
:fOHft>, LV&i-ttk <7****l>
//it&jfi-r *t>tf*4ffl-r& **** soffeo*
fc M3" BTFct t'Lit.
:5t4t, *—.* KL/.-ffttt Ci:/htSt»
on, *—/uKli. T#*fi •*4 A* •> fc
fet^-l^WIf. HfefHiLfcMM£***»* J)C&
»t&t, ^-^KUWKt&ni-To ft*:, *-
fc-ot. 1t-xt4 >•w^i'i' "10" t: Lfclfci
i,ij ci>--' a-^rmv Lit.
^o?60fl*ti«i]L'#Mt^Li-rcor'. f-f*-* •#
SEc:i*4ft%*<«<) i-r.
;©t.-^K^>( vf-i-fitillL fc*NDJftffi|£,
HiU««^!iLitLtAT <*.***»•
\zT*?P *4 AlrSCit &&&**& &ttl?6-jA
•f &B$C. 77hn>hu-7- (PS-3040)
#«, 77ha>^-7- (PS-3040) f\
77hM->f O/i^S i* 17") &fc*t"\ Sfc
&*r, ftHl*»1-&**^ON-OFF-r6 4ft£-. !» V
-x-x-f -y^UDAMPED. ftfcMU HALF DO
1-3 Envelope Modifiers (EM)
The EM section consists of acombination
Of VCA (voltage controlled amplifier) and
F.G (envelope generator).
The VCA varies the volume of the sound
signal coming from the DLPF. It is voltage
controlled by the F.G which generates an
envelope signal. The generation of the en-
velope signal is triggered by a"trigger sig-
nal" whenever akey is played on the key-
board.
You use the knobs and switches in the EM
section to determine the shape of the en-
velope signal. Refer to figures 8and 9and
see how these controls affect the sound
when you play akey.
The HOLD switch maintains the sound of a
key after you have released it. To put akey
into hold, first turn on the HOLD switch,
then turn the ATTACK time knob all the
way up to "10". Now lightly hit asingle
key, wait asecond, and the sound will
appear. (It is delayed for the length of the
attack time.) Next, turn down the attack
time to below "3" and try playing some
other notes. While the original key stays in
the hold condition, you can play other
keys as usual.
If the HOLD switch is on, akey goes into
the hold condition if it is played within a
shorter time period than the attack time
(set by the ATTACK knob). Therefore if
the attack time is set at "3", you can
accidentally (or intentionally, for that mat-
ter) put akey into hold if you play and
release it very quickly.
If akey is in the hold condition and you
play that same key again, it will be released
from hold.
When the HOLD switch is on, the DECAY
and SUSTAIN knobs no longer affect the
sound; the envelope produced is the same
as if the sustain level were set at "10".
The RELEASE switch (on the lower left,
next to the HOLD switch) operates as usu-
al, but in this case it also affects the decay
time and sustain level.
Practice using the HOLD switch and other
controls in the EM section.
If you want to be able to easily vary the
attack time while playing, you can connect
an external controller (such as the
PS-3040) to the attack time input jack (at
the lower left corner of the MG-1 section).
For external control of the RELEASE
switch, you can connect afoot controller
(BS-3040) or foot switch (KORG S-type)
to the release input jack (next to the attack
jack). The RELEASE switch should be set
to the damped or half-damped position for
externally controlled ON/OFF switching.

*g50>£&fc*fi6
ENVELOPE GENERATORS £m
Fjg.lOti, afc>-*e»—-?•&*&*>—*— (EG)
-fM-t*ftfn, EG*=*H**lMtft nMNNt^j
^i^i'h'i sMTt*, MULTIPLE TRI-
GGER {-7*-?-7»- ('/*'-) t"fVtf.-i+.
ST. £«-f> 9*t*-§t*k*ftiC*t*++&ttt
/jEGIi. A(r^-v^>. Dir.i>r<t). S(-*-
EG» *-«(*. VCAO/KnWIH]ltm«>. -on
ltvcfco^>-«<0'Kh (Fc) trswchirTir
Lit. -ft*\ x*x^*>Ki"M*c'i'ito
3^^*PS-3100. 3300Oitt^U. C3>*»*'«
««o8t (483) jetwm t**. tn-sbtf-r-r*
r-f*-^, ^i^fi<j(:n(tto*-*-rmi/j*ft^
ri*. —o—>corrac^i. jkx<=> **ie*i
COVCF, VCA. EG*'iftfl£l*1»,
-ICO hV**- ti>^o-7*©0WIS*5RIL-C
#****•$(:, #ftt:££&4W >hift »i
PS-3300cOEM*flM1:
-l X. %U<0 fYfrWI Sft
A.D.S, R
TR IGGER
•Envelope Generator (EG)
In figure 10, the Watergate theory is ex-
tended to Include the operation of the en-
velope generator.
When you play akey, a light goes on; in a
real synthesizer, this light corresponds to
the trigger signal. It's called atrigger signal
because it triggers the beginning and end of
EG operation.
Usually the light (the trigger signal) stays
on for the full length of time the key is
depressed, but it can also just give abrief
flash when the key is first hit. This second
type of trigger signal is called a"multiple
trigger'.
So the EG receives the trigger signal from
the keyboard and proceeds to control the
VCA in accordance with the attack, decay,
sustain, and release settings. The VCA, in
turn, raises and lowers the volume of the
sound passing through it.
Meanwhile, back at Watergate, the agent
(EG) sees the light (trigger) go on; this is a
signal for him to pull the second Watergate
(VCA) back and forth according to his
instructions (the attack, decay, sustain, and
release settings). When his big stick is tied
to the VCF and the VCA together, the
expand effect is produced.
In constrast to other synthesizers you
may have used, the Korg PS-3300 (and
PS-3100) has separate VCF's, VCA's, and
EG*5 for every key (48 of them) on the
keyboard, so you can play any number of
keys, together or separetly, in aseries or
overlapping, and each key will be provid-
ed with its own accurate envelope.
Understanding the relationship between
triggers and envelopes and sound will be a
big help when you get down to more com-
plex synthesis. This is because the envelope
of asound (its volume change over time)
has asurprisingly large relationship with
our ability to distinguish sounds and their
sources in everyday life. Since the EM con-
trols the envelope, work with its controls
until you feel confident in being able to
create the kind of envelope you have in
mind.
fig. 10 Watergate theory applied to envelope generate
(iVKD-^.yi^-?-««« 'J)

1-4 RESONATORS (RESO)
FEATURES AND FUNCTIONS
tt SOWTOR*
3k.
(SOftATO* t
^AA A*.
HMN41QN 1
•.,v*-*-*rfrra* *RESONATOR SENSITIVITY
•W->-irai ADJUSTMENT
uV*-?-U%H»Wl**IWL Adjusts the degree that the resona-
•'tors will affect the tone color.
•PEAK FREQUENCY AD
JUSTMENT
Use these knobs to choose the peak
frequencies of the resonances (Fo).
•MG-2l-J:fc3:Wx*f vf
3o<^t -?«)£»£MG-2 ££ ->TSCWT
•MG-2 MODULATION
SWITCH
Used to switch MG-2 modulation of
all three resonance frequencies on
and off.
•tf-?/S|iS»*rW3EMAa
•RESONANCE PEAK EXTER-
NAL MODULATION INPUT
Input for external signal used to
modulate resonance peak frequen-
cy.
if>
T
tOOHz -RESO
—RESO
-RESO
(Fo-1)
(Fo-2)
(Fo-3)
tig. 12 Example ol frequency response produced by resonators.
tcttfcL ti»fcO«:Wtf, Z<Ou-/*—9-
li. fYGiV h-*Mi'J<:=i> hd-/uL i-To
—^H)tttfBc(Fo) friooH*- loKHzonut:, full
Fig.l2t:. Fo 1. Fo 2. Fo 3£. (6« •#** '
ft »CttS L/j «i 6co .I.'.l i£ 8c*W. «i'tAi
^fB5t:irfe#fc*<Di 9cJMtt1s<^*-£-fiTH^r <
&fftt>.
&*r; Fo-1. Fo-2. Fo-3coftV-?i U, 1HftS")
Im| II Resonators (is'/* —9—)
1-4 Resonators (RESO)
You may recall that separate SG, DLPF,
and EM modules are provided for each of
the 48 keys. This is not the case with the
three resonators; they affect the total tone
color of the output, not that of individual
keys.
Each of the three resonators consists of a
band pass filter with avariable peak (reso-
nance) frequency (Fo). You can set each of
these to resonate at any point between
lOOHzand 10kHz.
Figure 12 is afrequency response graph
showing the peaks created if you set the
resonators for the low range, mid-range,
and high range, respectively.
Try various combinations of resonance fre-
quencies and see what happens to the tone
color. The markings on the resonance
knobs are such that each line equals about
aone octave change in frequency.

&geOT£tt;t«fi6|
1-5 AMPLITUDE MODULATOR (AM)
mg- itzi 4is«3:n^>.2^ tnsu it
.
•AMPLITUDE
SENSITIVITY
Adjusts intensity
tion by MG 1.
MODULATION
of AM modulo
«*3C««tt«*0N-OPFT **< ?**
rAM SWITCH
On/off switch for AM.
fig. 13 AM
G-i ©JUttR*** <';u fffii**f?-rnt, •&
if.
WC AMffl«E««0'V» tl*, "5" <OB*c:«
WflME»T100%, "10" 3>l$t*2OO06 t&•) .'/c'?:
wO100?ot200%^*.*U*liMG- l^)i«JM*.
-HfiiST (A). IW«r»4r "3- <-k>L-. AM co
v"o" *•<:> "io" i:±.irr«.-o-cAT:</-'M'
hw^ncoMRft', "5" ii'Cy 2f&<:&* ^t
1-5 Amplitude Modulator (AM)
This raises and lowers the volume in a
cyclic fashion dependent on the output
signal of the modulation generator (EM-1).
This is how you get crcmclo and other
effects. If you want tremelo, note that if
you turn down the MG-1 frequency knob
too far, the speed of the effect will be too
slow to be recognized by the average brain.
On the other hand, if you turn up the
MG-1 frequency too high, the pitch of the
sound will become inconspicuous in the
face of the metallic "ring modulator" ef-
fect that you produce.
Specifically, if you turn the AM knob to
"5", modulation is 100%; if you turn it to
"10", modulation is 200% and you've got a
real ring modulator on your hands.
Discover the difference between 100% and
200% modulation by turning the MG-1
waveform knob to the triangle (A) posi-
tion and the frequency knob to about 3".
Then turn on the AM switch and slowly
turn up the AM sensitivity knob from "1"
to "10" (while playing something on the
keyboard).
You'll notice that the frequency (the num-
ber of cycles of volume variation per sec-
ond) doubles between "5" and "10".

FEATURES AND FUNCTIONS
1-6 KEYBOARD VOLUME BALANCE (KBD VBAL)
•>9* iU •T-3 r•SIGNAL OUT
This jack gives you the signal from
the synthesizer unit before it goes
on to the mixer section to be mixed
with the other two synthesizer out-
put signals.
•KEYBOARD VOLUME
BALANCE
Varies the relative volume of the
f-,t.-K'*iJa-A"*7>^ keyboard along aslope correspond-
:Jgi:»a^EjK*oCt*/:ar>«-y-7;T-T ing to the scale.
fig. 14 KBD VBAL
PEAK
ON
MG1 INT
I
EXT INT
i<V
SIGNAL MODIFERS
KBD VB*L SIGNAL
OUT
RESO *
RESO
INT
PEAK
KBD FBAL
ON
MGI INT
I
EXT INT
FcW
SIGNAL MODIFERS
KUO VUAL BbT,A,
in
RESO
RESO
v
B
lig. 15 Selling (or independent control of iwo synthesizer units from the same keyboard.
(2$J£0>:l-7 h*. RJ-«»_hT\ &&C3M? *fctf><7>*»)
*WJl£il-Ci*« i<*>PS-3300t*tt. ^if/iio
/-"»* •tyf-f >^W^B*"^>. DLPFfc
KBD VBAL, &£<=. RESOVFiK.15C0J: 7C
-tvhLT. w<Oftft*4-4i^L-C <//M*.
ate. ^ffffiaflrfrffi-fflMM* -yfo^rto
1-6 Keybaord Volume Balance
(KBD VBAL)
Whereas you use the keyboard filter bal-
ance knob to create adifference in tone
color between the high and low range of
the keyboard (perceived as adifference in
"brightness"), you can use this keyboard
volume balance knob to create alarge vol-
ume difference between different sections
of the keyboard.
By using both knobs together, you can
greatly reduce both volume and brightness
of the high or low end of the keyboard. If
you do this with each of the three synthe-
sizer units of the PS-3300, you can give
each unit virtually independent control
over the sound produced when you play a
certain section of kevs.
Beginning with the normal setting, adjust
the DLPF, KBD VBAL, and RESO sect-
ions of two of the synthesizer units as
shown in figure 15. Then play something
on the upper and lower ranges of the key-
board. The "A" setting will attenuate the
low range; the "B" setting will attentate
the high range.

*fflo*«;t«te
1-7 MODULATION GENERATOR 1(MG-1)
SG. DLPF. AM t:i»TT'i:i<3»}|tt?hT
•MG-1 OUT
Output jack for use when modulat-
ing sections other than the SG.
DLPF, and AM sections (which are
already internally connected).
IXTtlMAi 1iTCflMAL
ATTACK ftUIAJC
CONTtQtt C&fTftOl WCi UVCL HGI HlfQ CONTROL CiVMIhX
oo oo
-»-*+* "v <*-**» -*' •»
L
•WAVEFORM SELECTOR
ifln;fi»n»(o.iHz-iKHz)
•FREQUENCY ADJUSTMENT
(0.1H2 ~1kHz)
Frequency adjustment of modular
ing wave.
mg- i(nftmm&n** ^fntttZTft&fr
•EXTERNAL FREQUENCY
CONTROL INPUT JACK
For external control (by foot pedal.
etc.) of MG-1 frequency.
MG- IC<t£3:Mtf>;S?£. ^^HfiTT-W
•OUTPUT LEVEL EXTERNAL
CONTROL INPUT JACK
For external control (by foot pedal,
etc.) of MG-1 modulation intensity
(depth), (output level is at its maxi-
mum when this jack is not used.)
mg- i(*, lfo (n&mftmm t»f i*n. fm.
FcM. AM Ufc'<:ffli'4fc»<O*,Wffl<0fctt*SfT'
t. o.iHz- ikHzo^mmii'-}^ <o£t##%,$t
MG- 1li. SG. DLPF. AMI: hl> *' L' &AI0
f^Mi-C^C. SG-riik'7'7- h4-c'cOFM
'£,$. DLPFT'tt^n— rv tefim* FcM *&«#),
*LTAM-Tti bu*o^t'Wi)j!ft^, *****
1-7 Modulation Generator (MG-1)
MG-1 is basically alow-frequency oscil-
lator (LFO) that generates acyclic voltage
signal which is used for FM, FcM, and AM
types of modulation.
The internal patch (the synthesizer's inter-
nal wiring) connects the MG-1 to the SG,
DLPF, and AM sections. When switched
into the SG section, you get frequency
modulation (FM); when switched into the
DLPF section, you get cut-off frequency
modulation (FcM) (called "growl"); when
switched into the AM section, you get am-
plitude modulation for atremclo or ring
modulator effect.
All this is available without patching. (In
other words, you don't need to use apatch
cord to connect output jacks to input
jacks.)
fifl. 16 mg-i

FEATURES AND FUNCTIONS
SG
WAVE FORM
PWM INT
SN
MG1 INI a
EXT INT
FM ,'.',*
fig. 18 External control of MG-1
(MG-1 £?f-SB*r<bn> l- Q-JUT43M*)
-TU. SGfrttoTMG- 1co$MV=£';£Rs <:**«>
y_-?,u- t7r f>^'C0^!S*'^. SGfrFig.
17cDitfi *) c-fc xr4>/Lt. MG- 1(OW X&
ftfrl t&% <rtfSW
^l£U. MG- 1£. PS-3010 <* —rK-K) <0
X-Y-v- fc"a.u-* —T\ nW*'i»3> hB—A
LTAi Ui,
Fig.l8C0 J: 5t:. PS-3010COX-Y-?- fa. w—
*—**£. MG- li:",7f>r^U</../5^
fc*f, *e/)ftJUi, Fig.l7tf)R#il"Jt'-fc vr 4>^
ft*. X-Y7-t'au-i/-t, Fig.181^5
-©^fiefl*. MG- H:i5 FMftfKOJVM t
Z*l£, MG- 1 COVl-illln >hn—n, K)jO)%<D
Let's see what happens if you apply MG-1
to the SG section. Starting with the normal
setting, adjust the knobs and switches as
shown in figure 17. Then try turning the
waveform and frequency knobs while play-
ing akey.
In the next experiment, You'll use the X-Y
manipulator (the joy-stick on the left of the
PS-3010 keyboard) for external control of
MG-1.
Set up apatch between the PS-3010 and
the MG-1 jacks as shown in Figure 18.
(Leave the controls in the same settings
shown in figure 17). Move the X-Y manipu-
lator within the range indicated in figure
18. When you move the joy-stick, you will
be controlling both the intensity (depth)
and the frequency (speed) of the FM mod-
ulation. Other examples are shown in the
setting charts 2"" 5at the end of this
manual.
fig. 17 MG-1 experiment

<erB0>%mt9m
1-8 MODULATION GENERATOR 2(MG-2)
OC<XOOQOCOCC
0000C0900JI
23
yoouuTkOH 1
1
GENERATOR 2!•MG-27"} r
PWM. RESO OFoM CjMTSrtBftWiUtt
r•] O§ncffl^S tzerxniUTi TT.
LJ
\if•ffliflf»M»(0.3Hz 10Hz)
1*
v.". 'v.' :. -:«'.,.".;* i'I
CGfllftOL
o
•MG-2 OUTPUT JACK
For modulolion of sections other
than SG PWM or RESO FoM
(which are already internally con
neeted).
•FREQUENCY ADJUSTMENT
(0.3Hz~10Hz)
Frequency adjustment of modular
tng wavo-
ftcj 19 MG-2
SG
>v»vL FORM
PWM INT
Br ::.
MG1 INT a
frg.20 PWM (PWM<n*WO
MG 1ij\ SGtOFM. DLPFiOFcM. *IT.
7i/( X•->"7£ —^^^t^SljiKi-iiU^*
cresocofoMc *n*'nr'-j8f;-t£*ftsn-ct-
0.3Hs~10Hzfc&-*?i» ±1%
-Tti. MG-2 C J: oPWMcO^-iK^. Fig.lOcO
*fc, Fig.2lU. RES0Ota-*MfiJ#r.t»!
(FoM) ot7f .f>/r-r DiyjiR-v^L-cA-c
hg.2l FoM ol RESO (FoM (7) £|ft;
1-8 Modulation Generator 2(MG-2)
MG-1 is connected by the internal patch to
the SG section for FM, to the DLPF for
FcM. and to the AM section for amplitude
modulation. In contrast, MG-2 is internally
connected to the SG for PWM (pulse width
modulation) which can be used for acho-
rus effect; to give you phase shift and wow
effects, MG-2 is also internally connected
to the RESO section's FoM (resonance fre-
quency modulation) input.
The only output waveform available from
MG-2 is atriangle wave, but you can vary
its oscillator frequency from 0.3Hz to
10Hz.
Try out alittle PWM by setting the con-
trols to match figure 20.
Figure 21 shows the setting for resonance
frequency modulation (FoM) in the RESO
section.

FEATURES AND FUNCTIONS
1-9 SAMPLE AND HOLD (S/H)
•sH7 ^* •S/H OUTPUT
a*tti:£<tT*Aa*E*»Hatt<:8:<t* Converts input voltage signal into
stepped output signal.
it t:\ti7lTT
t-MLJT
•CLOCK FREQUENCY
Used to adjust frequency of sampl-
ing signal (determines sampling
rate).
£- -.
s>9 X< yf
•SYNCHRO SWITCH
If the input signal is cyclic, this
yitafYtifltairmuw/r**. swilcn wi"synchronize the sampl-
«2?/ ,,-iA;f??,^ in9rale with the in Put si9nal so
LSHfc*< us***/-**)** vthaT the 5tepped outpM
ut sig*al will
repeat itself in regular cycles also.
1AHPU4 •INPUT JACK
For voltage signal to be sampled.
fig. 22 S/H
C)
30 I
25- •
15- •
I0--
5-
7
r1
\
15
(A)
21 (K|)
(O'CLOCK)
6912 15 18 21 (B#)
(B) (o- clock;
fig. 24 S/H experiment (S/HCD3I5*)
f-VT-^*T>t' &—** K(S/H) (0$tliY-&
i»P.Wt4;.'K)i:, i-f. Fig.23t0^*7 -7(A)t ,?•
77(B)frit1<§L'C*-C <fcf*l».
^v 7(A)U, 1 II OiUa<7)*!it* BfteSfciUffi
*LT, /7 7(BM, ^J©7*a-*H
£Lt:«^7 7(Ajli.MG Jp3 >ho—7—4*
ffOMKttugKttli- ft(IS;XHV#-9* *« S/H £>A
ftfl»U4MU /7 7(B)U, WS« (7.T-V7"
ft'-J) Cfftt SS/Htf)rti^t>i:tt|'U i-To
ifz. P5 TQAfSlMcr ci:ttK{»!|-<? fc Ifc
-Tli:. Fi 8.24c/)iifl c-fc yr <>/L. S/HO)
art LIT </.'?t' a
*fc, MG- 1&Wd&&ty f^tX, S/HcDil't)}
#&&&€&* =) lifih 4*'L IALT <&*-«*•
fete. AJjM^t:lfrW1*$>«tt«*f>* M*'
^rfc *7 4h•/-f X"£• MJ i. •X,^ > ^a-Xi-s
-f- £• ON Lfc rt-- :u, fir*acoa:^tA.'(trcc <. ^
fig. 23 Two graphs (2OCO^-5 7)
SG
WAVE FORM
1-9 Sample and Hold (S/H)
Look at graphs "A" and "B" in figure 23.
Graph "A" is one day's temperature
changes drawn by an automatic recording
thermometer. Graph "B" is abar graph
that you could draw if you checked the
temperature every three hours.
What the sample and hold circuitry does is
convert graph "A" into graph "B".
In asynthesizer, graph "A" corresponds to
the kind of continuously changing output
signal produced by amodulation generator.
Graph "B" corresponds to the stepped
output signal produced by the S/H sec-
tion.
As its name implies, the S/H section sam-
ples the input signal at regular intervals and
holds the voltage at that level until the
next sample is taken. The regular intervals
(every three hours in our temperature ex-
ample) are determined by the CLOCK fre-
quency knob.
With the setting shown in figure 24, you
can use the S/H to cause pitch variations.
Try using different MG-1 waveforms and
see what happens*to the S/H output.
If you turn on the SYNCHRO switch and
use white or pink noise (which is not cy-
clic) as the S/H input signal, both the pitch
variations and the clock frequency will be-
come random-