Sequential Split-Eight User manual

Announcing The Split-Eight,
Sequential^ New 8-Voice Programmable Synthesizer!
The Split-Eight is a fully programmable eight voice
synthesizer featuring a full 5-octave keyboard and
programmable keyboard split for $1,195.00 suggested retail.
And that's just the beginning!
For instance, The Split-Eight offers a choice of four
keyboard modes: Single, Unison, Double or Split. In Single
Mode, the same sound is played across the length of the
five-octave keyboard. This provides the user with eight full
voices for traditional polyphonic playing. Unison mode
assigns all eight voices to a single note, creating a very full,
bold sound ideal for lead synth playing.
Double mode lets the user layer different sounds on top
of each other. In this way, two sounds are triggered by each
key to create complex sounds utilizing the full programming
capabilities of two independent oscillators, filters, and VGA's
at one time.
The exciting Split Mode is particularly useful in
performance, because it lets the user play different sounds
at each end of the keyboard (such as playing a bass sound
with the left hand and a flute with the right)! The split
point can be programmed. When in Split Mode, the
instrument automatically assigns four voices to each side of
the split point. The Split-Eight also features a programmable
link feature which lets you call up Split or Double programs
simultaneously.
The fully programmable Split-Eight comes with 64 pre
programmed sounds, including a variety of original sounds
and several impressive orchestral and keyboard timbres. All
sounds can be easily modified or replaced with custom
sounds.
A built-in chorus provides programmable on/off
chorusing.
The Technical Stuff
Each of the instrument's eight voices feature a multi-
waveform VCO, a 4-pole lowpass filter, a VCA, two ADSR
envelope generators and an LFO. The Split-Eight comes with
64 pre-programmed sounds.
Creating custom sounds is easy! There is a graphic matrix
which allows fast selection and easy editing of 31 different
parameters. LEDs clearly indicate the selected program, and
if the program is being edited, will also display the
parameter value.
The back panel contains individual outputs for channels A
and B along with a 1/4" main output that gives you the
chorus mix. Cassette In and Out, a multi-purpose
footswitch, and MIDI Input and Output are also included.
Sequential supports the Split-Eight with an extensive array
of MIDI functions. Modes 1 and 3 (Omni and Poly) are
available along with the ability to disengage MIDI. Each side
of a split program may be assigned to a separate MIDI
channel. This allows the user to control other MIDI
keyboards independently with each side of the keyboard.
Through MIDI, the Split-Eight can send and receive program
change information, and transfer programs to and from a
second Split-Eight. Other MIDI features include the ability
to receive and send pitch bend and modulation information.

SPLIT-EIGHT SPECIFICATIONS
VOICES:
Split-Eight is an eight-voice polyphonic synthesizer. Each voice
consists of:
One Voltage-Controlled Oscillator:
Waveshapes available are sawtooth, triangle, and
variable pulse.
Timing: 9-octave range.
One Voltage-Controlled Lowpass Filter:
24dB/octave slope.
One Voltage-Controlled Oscillator:
Waveshapes available: Square wave, Rate: 1-33 Hz.
Waveshapes available: Triangle, Rate: 1-12.5 Hz.
IWo Envelope Generators (filter, amp):
Attack: 7 milliseconds - 11 seconds.
Decay: 7 milliseconds - 11 seconds.
Sustain: 0 to 10 Volts.
Release: 7 milliseconds - 14 seconds.
PROGRAMMABILITT:
31 Parameters are available for programming.
KEYBOARD:
Five octave (C to C).
Split Keyboard range: 2 octaves (C2 to C4).
Link, Split, Double.
CHORUS:
Programmable On/Off.
OUTPUTS:
Audio Output: 1/4" phone jack (mix).
Separate audio outputs for A and B (4 voices to each).
Tape Out: For saving programs to cassette.
One MIDI: 5 pin DIN.
INPUTS:
One MIDI: 5 pin DIN.
Tape In: For loading programs from cassette.
Footswitch Jack: 1/4" phone.
MIDI IMPLEMENTATION: (partial list)
MIDI Modes:
OMNI Mode.
POLY Mode
Separate MIDI channels for each side in Split Mode.
Channel Assignment:
Channels 01 through 16.
Program Select Enable/Disable.
Wheel Enable/Disable.
Program Send/Receive:
Send 1 program.
Local Off: (for Channel B)
Allows separate control of Channel B over MIDI.
UNIQUE FEATURES:
1) Delay: when in unison, the triggering of half the voices
can be delayed by 20, 40, or 80 milliseconds.
2) Poly Mode: When in Double Mode, this assigns the
entire audio output of program B to the filter input of
program A (replacing A's oscillator).
3051 North First Street
San Jose, CA 95134
Telex: 4997150 SEQC1R
In Europe:
Sequential/Europe
P.O. Box 16, 3640 AA Mijdrecht
The Netherlands
Telex: 12721 SQNTL

OPERATION MANUAL

PREPARATION
Table of Contents
PLAYING
Introduction
Tuning
Preset Mode
Single Mode
Link Mode
Split Mode
Double Mode
Wheels and Footswitch
Programmable Parameters
3
3
•3
4
4
4
4
5
5
6
PARAMETERS
Editing and Programming
Selecting Parameters
Adjusting Parameter Values
Cancelling Edits
Recording Edited Programs
Copying Programs
Basic Patch
Performance Parameters
Glide
Chorus
Unison
Delay
Footswitch Accent
Footswitch Sub-program
Synthesizer Parameters
Oscillator Group
LFO Group
Filter Group
Amplifier Group
7
7
7
7
7
8
8
8
8
8
8
9
9
9
10
12
Kf
15
17
CASSETTE INTERFACE
Connections
Save
Verify
Load
19
19
19
19
19
MIDI
Connections
Keyboard
Channel B Local Control Disable
Channel Selection
21
21
21
21
21
CM 60 8 A
iii
MIDI Disable
MIDI Enable
MIDI Expand Mode
#1 Mode 1 Select
02 Dump Programs
03 Mode 3 Select
05 Enable/Disable Program Changes
06 Enable/Disable Wheel Changes
Program Dump by MIDI Request
Tune by MIDI Request
MIDI Specification
Transmitted
Recognized
21
22
22
22
22
22
22
22
22
23
23
23
23
CM608A

PREPARATION
WARNING! Switch power off to all equipment in use before
connecting or disconnecting anything.
1. Connect audio outputs.
For a monophonic system, use MIX OUTPUT. This signal contains
both the A and B channels, plus the chorus.
Note: The built-in chorus is only available at this output.
For a stereo or mixer-input system, use the separate A and B
OUTPUTS. This will be most useful when the keyboard is in Split or
Double mode. In Split mode, Channel A comes from the right side of
the keyboard and Channel B comes from the left. In Double mode,
playing anywhere on the keyboard plays both channels simultaneously.
2. If desired, connect optional footswitch to CASS/FTSW IN.
Use Sequential Model 839 or equivalent (momentary-type,
normally open). The footswitch control functions are explained below,
under Performance Parameters.
3. For cassette interface connections see Cassette Interface section
(below).
4. For MIDI connections, see the MIDI section (below).
CAUTION! Before proceeding, check that the power switch is set
to OFF.
5. Connect power cable to a properly-grounded power line.
6. Switch power on.
Normal indications are that the right display counts from "1" to
"8", indicating which voice is tuning up. When this ends, Preset lights,
and program 11 is automatically selected.
If you do not obtain these visual indications, check your power
source first, then the fuse (1/2A, slo-blo).
CM608A
CAUTION! To prevent a loud pop, when switching Split-Eight
power off, switch off amplifier power first. Also, to protect the
memory, use the power switch on the back of the Split-Eight (rather
than unplugging it).
7. Adjust Volume A and B.
CAUTION! To protect ears and speakers, before playing, reduce
both Volume A and B to minimum. .Then play the keyboard and
increase both volumes gradually.
Note: The volume controls are also used to balance the channels,
so you will often want to adjust them simultaneously. (For best
signal-to-noise ratio, raise the A and B Volumes while lowering the
amplifier gain.)
8. Check that the Pitch wheel is centered.
Always start with this wheel centered in its "detent." From this
position it is possible to bend pitch upwards or downwards by as much
as a major 3rd.
9. Check that the Mod wheel is fully down (towards you).
Start with a minimum of modulation. To increase modulation,
move the wheel forward. The effect of this depends upon the selected
program.
10. Center Master Tune. Or adjust as needed to tune the Split-Eight
to a piano, for example.
CM608A

PLAYING
INTRODUCTION
At this point, power has been switched on and the wheels, Master
Tune and Volume knobs have been positioned correctly (see
"PREPARATION11). Only the Preset switch is on.
Basically, playing the Split-Eight is a matter of:
1 Selecting the keyboard mode: Single, Split, or Double.
2. Selectin! the desired program (Single mode) or programs (Split or
3.°PUying°th^ keyboard and using the wheels for expression.
This section covers these activities.
The Split-Eight comes pre-programmed with 64 r*^*""*
Drofcrams. These represent a wide range of useful instruments and
Ks?The sound programs stay in memory even when power is
switched off.
After familiarizing yourself with the Split-Eight and its factory
mmmsTtry creating your own sound programs by studying the
PARAMETERS section.
TUNING
Before olavin* however, you must be aware that the Split-Eight uses
££ oPs1^tors which drift in response to changing temperature So
U wM sound out of tune for a little while as it warms-up™*W£
Einht also includes an automatic tuning system which retunes the
osHllatofs wnenThl Split-Eight is not being played (but power is still
on!)
If the Split-Eight is tuning a voice while you want to play, this is no
it retunes:
Hold down Record (which will blink) and press the OSC
Parameter Group switch.
This starts tuning of aU voices, with the display indicating as it did
when power was switched on.
Note: Tuning, whether automatic or manual, does not alter-any
control or paramfler settings, but if playing with other instruments,
you may need to slightly readjust Master Tune as the Split-Eight
warms up.
PRESET MODE
When the Preset switch is lit, the number in the display is that of the
current soimd program. Program 11 is selected automat.cally on
»wer-up?To select another program, enter the desired number usmg
the PROGRAM SELECT switches (1-8).
When the Preset switch is off, the Split-Eight is in Edit mode. Edit
mode allows you to reprogram the parameters to suit your taste. (For
more information on editing, see the PARAMETERS section.)
SINGLE MODE
When the Split and Double LEDs are both off, the Split-Eight is in
LINK MODE
When Link is off, keyboard mode is only controlled with the Split and
Double switches.
Channel B.
SPLIT MODE
When Split is on, the four Channel A voices play from the right side
f th keyboard while the four Channel B voices play from the left
of the
, the four Channel A py
while the four Channel B voices play f
mode you select the same program number for both channels, this is
essentially the same as Single mode.)
within the second and third octaves.
^iKStfK control pane. will blink), and press the key
which is to be the lowest key on the right side.
CM608A
CM60SA
J

To Link Channel B and the split point to Channel A:
1. With Split on, but Link off, select the desired programs.
2. Set the split point as above.
3. Switch Link on.
k. Switch Record on. (This will clear any edits currently made to
the Channel B program, and if Channel B was selected, will also
switch back to Channel A. Any edits in Channel A are not lost.)
5. Enter two digits for desired destination program in Channel A.
6. Record mode will switch off automatically.
DOUBLE MODE
When Double mode is on, the four voices each in Channels A and B
play in parallel. In other words each key plays one voice from both
channels. (Since there are four voices per channel, you can play a
maximum of four keys.)
If in Double mode you select the same program for both channels,
then two voices with the same sound are asigned to one key. This
thickens the sound but does not change the timbre.
To link a specific Channel B program to Channel A selections
1. With Double on but Link off, select desired programs.
2. Switch Link on.
3. Switch Record on. (If Channel B was selected, Channel A will be
selected automatically.)
k. Enter two digits for desired destination program in Channel A.
5. Record goes off.
WHEELS AND FOOTSWITCH
The wheels are monophonic, that is, they affect all voices to the
same degree. The effect of the Pitch wheel is always the same. The
effect of the Mod (modulation) wheel depends on the selected
program. When they are not in use, be sure to return them to their
rest positions.
In Split mode it is useful to be able to disable the effect of the
wheels on either side. To switch the wheels on and off:
1. Select desired channel.
2. Hold down Record, and press the LFO Parameter Group switch.
The effect of the footswitch is programmed. For more information,
continue reading.
CM608A
PROGRAMMABLE PARAMETERS
While playing with the factory programs, you may have noticed the
response of the keyboard, wheels, and footswitch changing. This is
because by selecting a program you indirectly control over thirty
parameters which define the performance controls as well as the
sound produced by the synthesizer voices.
For example, you may have noticed that some programs assign all
vojces to the lowest key played. This is the Unison parameter. Also,
the glide parameter determines whether the keyboard plays discrete
pitches or slews the notes. The program, may or may not cause the
footswitch to provide an accent, or temporarily change to a "sub
program.*1 The program may switch on the chorus, or Poly-Mod (which
cuts-off the Channel B audio output).
All of the programmable parameters are explained in the next
section.
CM608A

PARAMETERS
EDITING AND PROGRAMMING
Note: Before editing programs it may be a good idea to save the
factory programs using the cassette interface.
To adjust (edit) program parameters, first switch Preset off. (If Link
was on, it will also switch off.)
Selecting Parameters
There are 30 program parameters arranged in a k x 8 matrix.
(Selection 032 is the MIDI Channel, and one location is unused.) In
either order, select the row using the Parameter Group switches, and
select the column using the PROGRAM SELECT switches.
For example, if the FILTER Parameter Group switch is lit and
PROGRAM SELECT 5 is lit, then the Filter Decay parameter is
selected.
Adjusting Parameter Values
When Preset is off, the number in the display is the value ot the
parameter which is currently selected (by the parameter matrix
switches). To adjust the parameter value, turn the Parameter Value
knob.
Note: The Filter Cutoff parameter ranges to 127, but the display
only shows two digits. Therefore when adjusting this parameter above
99 (100 to 127), the 1 is not displayed.
Cancelling Edits: . .
to cancel all edit changes and restore the original program, switch
Preset on and re-select the program.
Recording Edited Programs
After editing a program as desired,
1. Switch Preset on.
2. Switch Record on. It blinks.
3. Enter two digits for the desired program destination. The control
panel stops blinking, 'indicating recording is completed.
Note: If you made an error with your first digit entry, you can
switch Record off to abort. But when you press the second digit, the
edited program is recorded in that location (and erases the previous
program).
CM60SA
Copying Programs .
To copy a program, select the desired program, switch Record on,
then select the desired destination.
As a starting point for creating new sounds it is often helpful to clear
all program parameters to the minimum required to produce a tone.
This can be done easily by holding down Record and pressing
PROGRAM SELECT 1. This sets all parameters to 00, except as
follows:
Coarse: 2^
Sawtooth wave: 1 (on)
Cutoff: 127
KBD Track: 2 (full)
Amp Sustain: 15
Voice Volume: 15
If desired, this basic patch can be recorded as a program from which
many editing*departures can be made.
PERFORMANCE PARAMETERS
Glide
Sy£2!l?!fc« the Keyboard. As the glide value increases
the voices do not step instantly between pitches, nstead, they begm
to slew. The effect can be made subtle or quite extreme. When
Unison is off, polyphonic glide results, which is not easy to preset,
but can make an interesting effect.
Chorus
^SSSfi^U^ rate and depth. It is programmed on or off If
in Split or Double modes, and one channel programs the chorus on,
this will overide the other channel programming it off.
Unison
^X™«~< that some factory programs only allow you to
olav one note at a time. This is because the Unison parameter s
programmed on? When Unison is on, all eight voices (or four vo.ces ,1
uTspTlt or Double modes), are played only by the lowest key. Thw
monophonic, rather than polyphonic, voice ass.gnment is used to
produce a richer sound.
In addition, if Unison is on, the keyboard changes from m"»tiple-
tri«er to single-trigger mode. In this mode the "envelope" wh.ch
sha%s each note is not necessarily triggered with each new keystroke
CM608A

(as they are in multiple-trigger mode). Instead, the envelope is
triggered only when all previous keys have been completely released.
This allows you to selectively accent notes by touch.
Delay
Range:00-03
00s off
01 s 20 millisecond delay
02s 40 ms
03s 80 ms
When Unison is on, use this for an interesting flange, doubling, or
echo effect.
Footswitch Accent
This parameter allows the footswitch to temporarily change the
setting of one of the following parameters:
Glide
Filter Cutoff
Filter Amount
Filter Attack
Voice Volume
Amplifier Decay
Amplifier Release
To program the footswitch:
1. Switch Preset off.
2. Hold down Record and press PROGRAM SELECT 2. The control
panel blinks, and the Glide parameter is selected.
3. To select other parameters, press the footswitch.
4. When the desired accent parameter has been selected, press
Record again. (It stops blinking.)
5. While holding.the footswitch, adjust the Value knob for the desired
accent tone or effect. When you release the footswitch, the displayed
parameter returns to its original programmed value.
6. Switch Preset on.
7. Switch Record on. It blinks.
8. Enter the desired two-digit program number.
9. Pressing on the footswitch temporarily selects the accent
parameter value.
Footswitch Sub-program
If the accent feature is not used or desired, you can program the
footswitch to temporarily switch to a new program:
1. Switch Preset on.
2. Hold down Record and press PROGRAM SELECT 2. (Blinking
starts.)
3. Enter two digits for sub-program number. (Blinking stops.)
4. Press the footswitch.
5. Pressing the footswitch alternately selects the main program and
the subprogram.
CM608A
SYNTHESIZER PARAMETERS
This section describes the Split-Eight's programmable voice
parameters.
The Split-Eight actually contains eight synthesizers, termed "voices."
Figure 1 diagrams one of these voices at a very general level. The
Split-Eight fits into the tradition of voltage-controlled analog
synthesizers. To understand these instruments it has proven useful to
identify three basic functions: controllers, audio sources, and
modifiers (filters and amplifiers). Each voice contains several of each
type of function.
Basically, controllers provide the control voltages (CVs) which
determine the pitch of the audio sources, or the filtering or
attenuation effects of the modifiers. Controllers can be mechanical
devices such as keyboards and wheels. For example, as the CV from
the keyboard to the oscillator (audio source) is increased, the
oscillator frequency increases. Or controllers can be electronic, such
as the LFO or the two envelope generators. For example, as a
rapidly-decreasing CV from an envelope generator sweeps down the
the filter cutoff frequency, it imparts a "pluck" to the voice. Other
controllers include The MASTER TUNE knob and PITCH wheel, which
in effect provide two CVs which control all of the oscillators.
There are two audio sources: the oscillator, and the filter, if it is
adjusted for self-resonance.
The mixer, filter (when not in self-resonance), and amplifier are
modifiers.
A more detailed examination of the voice parameters follows.
CM608A
10

I
in io lj
dog
Figure 1
VOICE BLOCK DIAGRAM
CM60SA
11
OSCILLATOR
The oscillator is an audio-frequency source always under control of
COARSE and FINE FREQUENCY, the keyboard, PITCH wheel, and
MASTER TUNE. Oscillator frequency can be modulated by the LFO
and by the envelope generator. PULSE-WIDTH (PW) can also be
modulated by the LFO.
If no waveshape parameter is on, the oscillator will have no audio
output. If two or three waveshapes are on, they are mixed at full
level and supplied as the oscillator's output to the MIXER.
COARSE FREQUENCY
Value Range: 00-48
00s lowest octave
12= one octave up
24= two octaves (middle C)
36= three octaves
48= four octaves
Adjusts oscillator'pitch in semitones, over a four-octave range. To
this is added the four-octave keyboard, for a total range of eight
octaves.
Note that to keep programs in tune, this parameter should normally
be adjusted to the octaves (00, 12, 24...).
Exact oscillator- pitch should be fine-toned with MASTER TUNE, with
FINE at a value of 0.
FINE FREQUENCY
Value Range: 00-31
32= one semitone
Normally this parameter is set to 0, while oscillator pitch is adjusted
with MASTER TUNE. This parameter adjusts oscillator frequency by
up to just less than a semitone. This allows detuning of the oscillator,
usually for use only in Double mode.
SAWTOOTH WAVE
Value Range: 00/01
00= Off
01= On
Enables full-level waveshape containing all harmonics. This basic
shape is often described as "brassy."
CM608A 12

TRIANGLE WAVE
Value Range: 00/01
00s Off
01= On
Enables full-level triangle wave, containing little harmonic energy,
thus having a dull tone.
PULSE WAVE
Value Range: 00/01
00s Off
01= On
Enables full-level waveshape whose harmonic content, thus timbre,
depends on the value of PULSE WIDTH and LFO modulation. If
switching this on produces no sound, try adjusting Pulse Width to a
value between 2 and 60.
Note: If all three waveshapes are on, and the filter is well open, some
distortion may occur when several keys are played simultaneously. If
this occurs, compensate by simply reducing VOICE VOLUME.
PULSE WIDTH
Value Range: 00-63
0U 1%
15= 25%
31= square wave
47= 75%
63= 99%
Adjusts the harmonic content of the pulse wave by varying its duty
cycle from approximately 1 to 99%. At the extreme parameter values
(00-02 and 60-63) the pulses may be barely audible. A 50% duty-cycle
pulse (having only odd harmonics), also called a square wave, can be
selected (approximately value 31).
This parameter is only effective if PULSE is on. This parameter has
no effect on the sawtooth or triangle waves.
POLY-MOD
Value Range: 00-15
In Double Mode, the Output of Channel B is applied to the external
signal input of the Channel A filters. Channel A oscillator output is
switched to externally-modulate these filters, Thus, Channel A
modulates Channel B. Channel B and the Channel A VCO output is
disabled. Of course, there is a four-voice limit.
Note that if value range is set very low, this will activate the patch
switching arrangement (disabling Channel B), but provide little
effect.
CM608A
13
LFO
"Modulation" refers to a periodic or consistent (as opposed to
accidental) aural change which is interesting or musically useful.
Modulation is created by electronic controllers when it is not possible
to adjust a mechanical controller with the required speed or
precision. Modulation systems thus free the hands for playing the
keyboard.
Modulation involves a signal-generating source and a modulated
destination. LFO-MOD has a low-frequency oscillator (LFO) as a
source, but has three selectable destinations. The LFO frequency,
waveshape, and basic output level are adjusted by three parameters.
To this modulation level will be added any contribution of the MOD-
wheel. Total modulation is applied by the LFO switches to three
destinations.
FREQUENCY
Value Range: 00-15
Adjusts LFO frequency from about K to 20 Hz.
PROGRAMMED AMOUNT
Value Range: 00-31
Programs modulation depth independently from the MOD wheel.
TRIANGLE/SQUARE WAVE SHAPE
Value Range: 00/01
00=T dangle
OUSquare
Selects a triangle wave for vibrato, or a square wave for trills.
OSCILLATOR MODULATION
Value Range: 00/01
00= Off
01= On
This enables LFO modulation to the oscillator frequency, according
to the level set by LFO AMOUNT and the MOD wheel. This produces
a vibrato or trill, according to the value of LFO SHAPE.
PULSE-WIDTH LFO-MODULATION
Value Range: 00/01
00= Off
01= On
Applies LFO-modulation to oscillator pulse width.
CM608A

FILTER MOD BY LFO
Value Ranges 00/01
00= Off
OUOn
This parameter switches LFO-modulation to the filter, which
normally produces a vibrato effect.
FILTER
The FILTER section contains parameters of the filter itself and of its
ADSR envelope generator.
CUTOFF FREQUENCY
Value Range: 00-127
(The "hundreds" digit is not displayed. For example, value 127 is
displayed as 27.)
Adjusts cutoff frequency of the 24 dD/octave (4-pole) low-pass filter.
This parameter is rather like a tone control. "Cutoff" is the
frequency below which all elements of the mixer's output signal are
let through. The higher-frequency components of the input signal
(that is, all those above the cutoff frequency) are suppressed. The
higher the parameter value, the higher the frequencies are which pass
through the filter. Thus, the "brighter" the sound.
In addition to this parameter, overall cutoff frequency is the result of
all the filter modulation parameters.
RESONANCE
Value Range: 00-31
26s approximate oscillation point (may vary by voice)
Adjusts the amount of filter resonance. As the value is increased
from 0, the amount of resonance ("emphasis," "regeneration," or "Q")
applied to those signal components at the cutoff frequency will
increase. As resonance increases, frequencies lower than the cutoff
will become decreasingly audible in comparison with those nearer the
cutoff. As the parameter value is increased, the filter breaks into
oscillation, acting like a sine-wave audio source whose pitch is
determined by CUTOFF FREQUENCY (and the various filter
modulation sources). . :
ENVELOPE AMOUNT
Value Range: 00-15
00s no envelope modulation
The filter cutoff may be varied over time by the filter envelope
generator. This parameter adjusts the depth of filter envelope
modulation.
Each voice contains two independent ADSR envelope generators: one
controls filter cutoff frequency, and one controls the amplifier gain.
The following comments on the ADSR envelope generators are valid
for both.
An "envelope" changes value over time at a rate adjusted by the
ATTACK, DECAY, and RELEASE parameters. As the envelopes are
generated with each keystroke, they "contour" the voice intonation,
timbre, and dynamics, animating the otherwise raw waveshapes which
come from the mixer.
The contour pattern is initiated when a key is struck. This "triggers"
the envelope generator(s) to proceed through their attack and decay
periods. These periods can each range from zero to about 11 seconds.
The envelope voltage rises to its full value, then falls (decays) to the
level set by the sustain parameter, where it remains until the key is
released. When the key is released, the gate goes off and the
envelope voltage drops to zero at a rate set by the release
parameter.
ATTACK
Value Range: 00-15
8= 1 second
15s U seconds
Adjusts the length of time for the envelope to go from zero level
(when key is initially depressed) to maximum level.
DECAY
Value Range: 00-15
8s 1 second
I5s 11 seconds
Adjusts the length of time for the envelope to go from maximum
level to sustain level. If sustain is set at maximum then the decay
parameter value is irrelevant, because level is already maximum.
SUSTAIN
Value Range: 00-15
Adjusts the sustain level from zero to maximum. This is a level
control, not a time control. Sustain time is the period between the
end of the decay period and the beginning of the release period. This
is the length of time the key is held after attack and decay.
CM608A
15
CM608A
16

RELEASE
Value Range: 00-15
Adjusts the length of time for the envelope to go from sustain level
to zero. If the key is released before the attack or decay periods have
elapsed, release controls the time taken for the envelope to drop to
zero from whatever its level when the key was released. If the attack
and decay periods have elapsed and sustain is set to 0, then the
release value is irrelevant, because the level is already minimum.
If filter release produces no effect, check that AMPLIFIER RELEASE
is set to approximately the same value.
KEYBOARD TRACK
Value Range: 00-02
00= Off
01= Half
02s Full
When Full, the KEYBOARD control voltage (CV) is applied to the
filter's cutoff frequency just as it is normally applied to the
oscillator. With the filter thus "tracking" the keyboard, cutoff
frequency is maintained at a constant point relative to the notes
being played. This results in a consistency of timbre over.the whole
keyboard range. When KEYBOARD is off, notes played higher on the
keyboard will have have a duller timbre. Obviously, the 1/2 value
selects the midrange between these two effects.
If FILTER RESONANCE is set for self-oscillation, setting
KEYBOARD on Full will allow the filter to be played from the
keyboard. However, since the filters in resonance are not precisely
tuned, there will be considerable error from the normal keyboard
scale. (Unless a complex effect is desired, ENVELOPE AMOUNT will
in this case normally be set to 0, to maintain a steady frequency from
voice to voice).
If the KEYBOARD parameter is toggled while holding keys down, the
effect will not be heard until the key is restruck.
AMPLIFIER
VOICE VOLUME
Value Range: 00-15
15= maximum signal-to-noise ratio
Programmable voice volume is a convenient way to balance the
loudness of programs so you aren't always fiddling with the Volume
knobs. Use it after the program is basically recorded.
The remaining amplifier controls are the envelope generator attack,
decay, sustain, and release parameters, which shape the envelope
CM608A
17
applied to the VCA. These are identical to the corresponding filter
envelope parameters.
Unless the sustain parameter is turned up slightly, nothing will be
heard after the attack and decay periods have elapsed.
CM608A
18

CASSETTE INTERFACE
Use the cassette interface to provide long-term storage for your
programs.
Note: It is recommended that portable recorders equipped with
automatic level control (AIX) be used with this interface.
Connections
1. If necessary, disconnect footswitch from CASS/FTSW IN jack.
2. Connect EAR output of tape recorder to CASS/FTSW IN jack.
3. Connect CASS OUT jack to MIC input of tape recorder.
Save
1- Start recorder (in Record mode).
2. Wait for the tape leader to pass.
3. Hold down Record and press PROGRAM SELECT 6.
4. When pilot tone appears, adjust level to 0 dB (if not using ALC).
5. While the Split-Eight is saving, only this switch remains lit.
6. After less than one minute, PROGRAM SELECT 7 blinks to
indicate that verification should be done.
7. Stop the recorder.
Verify
1. Rewind to the start of the recording.
2. PROGRAM SELECT 7 is still blinking.
3. Adjust playback level to approximately 50% of full level.
4. Start the recorder (in play mode).
5. Just after you hear the pilot tone, press PROGRAM SELECT 7. It
should stop blinking and light steadily.
6. When the LED goes out, the recording has been verified.
7. If the LED instead blinks, there has been a verification error. It is
possible that the tape is not recorded correctly but more likely that
recorder output level is not set to match the interface. It sometimes
takes a few tries to find the correct levels for your specific recorder.
If a cassette will not verify (or load) with several different levels, try
a new cassette or different recorder.
Load
Note; Loading erases the current contents of memory. Therefore,
before proceeding, make sure that you have already saved important
programs.
1. Set recorder output level as for verification (above).
2. Start recorder in playback.
CM608A
19
3. When the pilot tone appears, hold down Record and press
PROGRAM SELECT 7.
it. While the cassette is loading, only PROGRAM SELECT 7 will be
lit.
5. When the LED goes out and the Split-Eight enters its tune routine,
stop the recorder. The cassette has loaded successfully.
6. If instead the LED blinks, a load error has occured. Adjust recorder
level and try again.
CM608A

MIDI
it^Toiten best to first switch power off between both units, so that
they are correctly initialized.
When using the Split-Eight as a master, its MIDI OUT goes to the
MIDI IN of the slave.
When using it as a slave, connect the master's MIDI OUT to the Split-
g's MIDI IN.
Tor^w« the effect of disable, hold down Record and press
PROGRAM/SELECT <f.
riT£Sp!.t-Eights M.D. .unctions are se.ected in M.D.
EXPAND mode. To activate ttus modes
Hold down Record, and press PROGRAM SELECT 5. This will
cause all PROGRAM SELECTS to blink.
Pressing one ol the PROGRAM SELECTS determines the function, as
follows:
WheM
recognized.
is switched on, keyboard information is transmitted and
Channel B Local Control Disable
It is possible to switch Channel B so that it is not controlled from the
bd but only by MIDI IN. This is handy for live playback using
, while an external sequencer plays a different program.
To switch Channel B local control off, set the split point to the
lowest key (CO). This assigns the entire keyboard to Channel A.
Channel B only plays from MIDI.
When this mode is selected, it may also be useful to.disable^ the
wheels in Channel B. (To disable wheel, select Channel B, hold down
Record and press the LFO Parameter Group switch.)
Channel Selection . c;««u
When power Is switched on, the channel number is set to 1. If 5mgle
or Double mote is on, it plays notes received in Channel I. By
selecting Channel A or B, MIDI channels can be individually set for
Split-Eight Channels A and B.
If Split mode is on, and Mode 3 is selected, notes received in MIDI
Channel 1 will go to Split-Eight Channel A (default), ^and no es
received in MIDI Channel 5 will go to Split-Eight Channel B (default).
The channel numbers can be changed freely.
To change the channel:
1. Switch Preset off.
2. Select the MIDI Channel parameter using the AMPLIFItK
Paramter Group switch and PROGRAM SELECT 8.
3. Adjust Value knob for desired channel.
MUM ^enabled on power up. To switch off MIDI transmit and
receive, hold down Record, and press PROGRAM SELECT 3.
CM60SA
21
#l Then JweVis switched on, the mode is set to 1 (Onnni On/Mono
Off) In M^de.1 the Split-Eight recognizes ail MIDI channels. This
function reverses the effect of #3.
In Mode 1, if Split is selected, MIDI IN will act as if Double
mode were selected.
^h?sCrm^»ars%rs!aves proems with that tf the
master's. (To hear the new programs on the slave,you ™*t «£c
them.) While the programs are being transmitted,
PROGRAM/SELECT 2 remains lit.
°£ IZtet the Split-Eight listens to data only in the selected
channlTfn ?plit mo'de, Channels Aand E.operate^ssent*£ as
independent synthesizers, transm.tt.ng all notes °ut tl£1seIeCtea
channel and playing all notes received in the selected channel.
are disabled (both receive and
"5 En
transmit).
//6 Enable/Disable Wheel Changes
On power-up, wheel changes are disabled.
Program Dump by MIDI Request
Use for backup to external MIDI equipment.
CM608A
22

Tune by System Request
Continuous MIDI activity may prevent the Split-Eight from auto-
tuning. Therefore it should receive tune commands from the system.
You can also tune manually.
MIDI SPECIFICATION
Transmitted
Note On
Note Off
Mod Wheel Amount, if enabled, and only when changed
Program Change, if enabled
Pitch Wheel Change, ENH. Wheel Center: LS = 0, MS = 6'*. If enabled,
and only when changed.
Omni Off, BNH
System Exclusive FOH, 01H (SEQ ID), ODH (608 ID), prog data, F7H
Program data. 15-bytes of data transmitted as 30 four-bit nibbles, Is
nibble first. See bit map.. v
Recognized
Note On. Does not recognize velocity.
Note Off
Mod Wheel Amount, if enabled, is added to the current Mod wheel
setting.
Program Change, CNH. If enabled.
Pitch Wheel Change, ENH. Wheel Center: LS = 0, MS = 64. If enabled.
Tune Request, F6.
Omni Off, BNH
System Exclusive
Program dump request.
Program dump. 15-bytes of data transmitted as 30 four-bit nibbles,
Is nibble first. See bit map.
discussed
WHAT » NOT COVCTCD
OATE PURCHASED--
PURCHASEDFROM-
22»
27-36
C*w»
TVrfOFMJSttMl:
.1'
2r :s :i
Rock o R48 o I
MM.*** o O*oo ° S
C««f -^ I
BBSSS5BS3B3SS9*S3
the original purchase recent to obtain warranty performance, unless appoca
bie laws state otherwise.
Sift:
UCTS WOULD TOO LKt»a TO CPKATt?
unMmey
You must pay all
H you desire a ft*ynnsured **™«EZ™*
Anyfctfiledwarrantlea.lni
a particular purpose, are t
BBBBSfflSHSwesS
CM608A
23
October, 1984

1111
NO POSTAGE
NECESSARY
UNITEOTSTATES
BUSINESS REPLY CARD
FIRST CLASS PERMIT NO. 6W7 3ANJO3CCA