Yamaha Electone CSY-2A User manual

AD
Read
the
following
before
playing
In
general,
treat
your
Electone
with
the
same
care
you
would
any
fine
musical
instrument.
The
follow-
ing
points
are
suggested
for
optimum
enjoyment.
1.
Use
only
proper
line
voltage.
Consult
your
4.
Shield
the
cabinet
from
direct
sunlight,
hu-
Yamaha
serviceman
for
changes.
midity
and
heat
to
protect
the
finish
and
As
to
British-Standard
Model,
¡ts
information
is
in
joints.
‘Specifications’ on the last page.
5.
Do
not
hit
or
scratch
the
cabinet
with
a
hard
object.
3.
Clean
keys,
etc,
with
a
damp
cloth
only.
6.
Always
shut
off
the
power
after
playing.
Never
use
solvents
such
as
gasoline;
they
will
|
damage
the
finish.
A
IDE TENGEN I

¿2
This is Your Electone
008 to eo ©
| |
|
| |
Bee
MOLA
Oo ho | |
| - v: ps pt ca
i || i ii 1
| om | TT ai ME ao
rad
9 | KA de

ki pn ilh Man:
ia a pla EE
$ tgpi iniii ie
==
OQ
€)
Expression Pedal
(Y) Foot Switch
=> a m
a fi,
u
|
ae unimos nun) 7h pA
ae Bee
While reading the manual, keep
thia page open for reference
Power Switch
Power Indicalor
Specifications aa 1 chango BAG mb

€)
A
New
Sound
in
the
World
of
Music
Yamaha is continually striving for
the production of sound which is
“lively” and “rich”. The CSY-2A
has thus been hailed as a great suc-
cess — it features a new “live sound”.
Furthermore, it incorporates func-
tions by which this sound can be
freely varied. The synthesizer func-
tion is a new addition, bringing an
even wider range of music to the
fingertips of the performer.
O Osea frequency
a a PA OG {interval} is determined
3] Circuit which varies the
4 of tone volume and tone color:
In the synthesizer section of the CSY-2A, all basic tones are
pre-set to solve complex operational problems which often
hamper the effectiveness of synthesizers. A system which
allows freedom of variation in tone color, intervals, pre-set
tone volume, and the creation of new sounds is built into the
synthesizer section of the CSY-2A.
The synthesizer is a system to control the oscillator which
generates tones, a filter which affects tone color and an am-
plifier which amplifies tones by voltage. Thanks to the syn-
thesizer, we can now control tone color according to time,
control the starting and damping of tones, and freely vary
intervals. |
As for the tones of natural instruments such as the trumpet,
violin, etc. which we hear all the time without paying much
attention to, at the points of the tones’ beginning, continua-
tion, and decay, the color, interval and volume are subtly
changing. The time required for these changes is not the same
for all instruments, and this time plays an important part in
forming the tone color of each instrument. Therefore, with
the use of the synthesizer tones extremely close to the natu-
ral tones can be created, while in addition completely new
musical sounds can also be created.
To briefly describe the principle of this synthesizer, there is a
voltage-controlled oscillator (VCO), a voltage-controlled filter
(VCF) and a voltage-controlled amplifier (VCA), which are
linked as shown in the diagram below. When a key is pressed,
a certain voltage is generated which affects the VCO to deter-
mine the interval. The signal passed through the VCO enters
the VCF, where tone color is determined. The spacing of the
tone color changes is controlled by signals from another
circuit (the envelope generator). Finally, amplification is
carried out in the VCA. Start, decay and length of sustain are
also determined, and the sound is emitted. Sounds produced
in this way have a natural and vivid feel.
Tone colo
timing

nd
Kevboards
The CSY-2A has three keyboards. The upper two are called “manuals” and the lower one, played with
the feet, “pedals.” They have keys and octaves as follows:
Upper Manual 44 keys (3% octaves)
Lower Manual 44 keys (3% octaves)
Pedals 13 keys (1 octave)
The CSY-2A is designed to permit playing the melody on the upper manual with the right hand, the
chords on the lower manual with the left hand, and bass notes on the pedals with the left foot.
All keys are arranged in the keyboard method layout shown below. Each white key has a name (from
C to B), and the blacks are sharps or flats.
epoca
leelo
UPPER MANUAL
MELODY
LOWER MANUAL
CHORD
MIDDLE C
SY: — SS
[AE AA ARA
D | ER ESO A AE
A AOL SA
PEDALS
BASS
Note:
Only one note sounds if two more keys are pressed simu!taneously, the higher
note. This assures tonal clarity.

Cy
Electone
and
Synthesizer
Selectors
You can play synthesizer voices on either the upper manual or the pedals. Many combinations can be
made by combining the positions of the three levers at the right of the panel
and Synthesizer Selector levers.
1. When you want to play the Electone voices,
but not the synthesized voices.
KEY- ELEC- SYNTHE-
BOARD TONE SIZER
UPPER
PEDAL CANCEL
2. When you want to play = synthesized
voices, but not the Electone voices, on the
upper manual:
KEY- ELEC- SYNTHE-
BOARD TONE SIZER
UPPER
PEDAL w ON
3. When you want to play the synthesized
voices, but not the Electone voices, on the
pedals:
KEY- ELEC- SYNTHE-
BOARD TONE SIZER
UPPER
PEDAL GANCEL
4.
Keyboard, Electone,
When you want to play both the synthesized
and the Electone voices on the upper manual:
KEY- ELEC- SYNTHE-
Bon TONE SIZER
UPPER
PEDAL CANCEL
5.
When
you
want
to
play
both
the
synthesized
and the Electone voices on the pedals:
KEY- ELEC- SYNTHE-
BOARD TONE SIZER
UPPER
ww CANCEL ON

Preset Tone
Your CSY-2A has 14 preset tone levers on the front panel.
When you depress one of the levers and push a note, you
hear the sound of the instrument voice identified by name
on the lever panel. It is designed to create the sound of
only one instrument at a time.
Note: If you depress more than one preset tone lever at the same
time, you hear only the instrument selected by the lever
furthest to the right on the panel. When no levers are de-
pressed, you hear no synthesized voices.
Tuning
To tune the synthesizer section of the CSY-2A with the
Electone or another instrument, wait about fifteen min-
utes after it is turned on. Then push down the Flute preset
and the vibrato lever to the “control” position, and slide
the vibrato depth control to the “minimum” position to
eliminate the vibrato. Slide the “tuning control” (at the
extreme left of the panel) to the left (flat) or right (sharp)
until you obtain the right pitch; the pitch can be increased
or lowered about 100 cents (one semitone) in relation to
the standard pitch. To easily obtain proper pitch, match
the Flute preset with the 8° Flute tone lever on the
Electone portion of the CSY-2A.
Transposition
On the front panel, to the right of the preset tones, there
are four transposition levers. These levers shift the syn-
thesized voices up one or two octaves, or down one octave.
When you depress two or more transposition levers at the
same time, you hear only the one furthest to the right on
the panel. When no transposition lever is depressed, you
hear the keyboard as if the “normal” transposition lever
was depressed.
The synthesizer section of the CSY-2A is designed to sound
one note at a time; if you depress more than one key at
the same time, you will always hear the highest note.
The volume of the synthesized voices is affected by the
expression pedal.
Filter
Simply stated, a filter alters the harmonics contained in a
note to change its color or timbre. Each of the preset
tones has as a design feature the characteristic harmonic
structure and resonant points that identify a particular
instrument. Switch the filter to manual control by putting
the filter lever in the “control” position (down).
You can now control the filter characteristics (from low-
pass to highpass, and degree of resonance) with the cutoff
frequency and resonance controls.

E)
The
closer
the
cutoff
frequency
control
is
to
the
high
posi-
tion,
the
more
harmonics
are
allowed
to
pass
through
the
filter
resulting
in
a
very“brilliant
sound.
When
you
slide
the
cutoff
frequency
control
from
the
“low”
to
“high”
while
holding
a
key
down,
the
sound
you
hear
changes
from
soft
and
muted
to
bright
and
crisp.
In
the
meantime,
the
closer
the
resonance
control
is
to
the
maximum
posi-
tion,
the
more
nasal
the
sound
becomes,
emphasizing
the
frequency
just
before
cutoff.
When
you
set
the
resonance
control
in
its
center
position,
you
can
create
a
wah-wah
effect
by
sliding
the
cut
off
frequency
control
left
and
right.
Envelope
The
term
“envelope”
may
seem
strange,
however,
every
sound
event
has
an
envelope.
If
you
draw
a
heavy
line
connecting
the
peaks
of
the
sound’s
waveform,
you
would
have
the
event,
or
“envelope”
waveform.
Synthesizers
employ
separate
envelope
generators
with
a
varying
num-
ber
of
controls
to
adjust
the
different
portions
of
the
envelope
wave
shape.
The
Yamaha
CSY-2A
preset
voices
all
have
peset
attack
and
sustain
envelope
patterns.
In
the
preset
position,
the
“attack”
(the
time
required
for
a
note
to
reach
full
volume)
and
the
length
of
time
the
note
sounds
(sustain
and
release)
are
adjusted
for
you
in
advance.
By
placing
the
envelope
lever
in
the
control
position,
the
preset
envelope
is
cancelled
and
the
variable
attack
and
sustain
controls
are
now
functional.
When
the
attack
control
is
set
to
“slow”,
a
long
rise
time
results.
When
the
sustain
control
is
set
to
“long”
the
tone
will
continue
to
sound
for
quite
some
time
after
the
key
is
released.
Conversely,
when
the
con-
trols
are
set
to
fast
and
short,
a
staccato
tone
will
result.
Vibrato
The
effect
called
“vibrato”
is
a
familiar
one
to
almost
every
one
involved
in
music.
The
term
actually
indicates
a
change
in
frequency,
both
above
and
below
the
normal
pitch
of
the
note.
This
change
is
quite
small
and
is
not
to
be
confused
with
other
effects.
The vibrato lever cancels the preset vibrato included in
some
of
the
preset
voices,
i.e.,
flute,
trumpet,
oboe,
etc.,
and
enables
the
performer
to
adjust
the
rate
(speed)
and
depth
to
their
own
taste.
There
are
controls
for
speed
(right—hand
slide
causes
a
faster
vibrato
rate)
and
for
depth
(right-hand
slide
increases
the
amount
of
change
in
pitch).
Note:
The
rate
of
“wah-wah”
included
in
the
tone
of
“funny”
as
a
preset
part
of
the
voice,
can
be
altered
using
the
vibrato
controls.
Place
the
vibrato
lever
to
“control”
position,
set
the
vibrato
depth
control
to
the
minimum
(extreme
left)
position.
You
can
now
adjust
the
vibrato
speed
contro!
to
obtain
the
desired
rate
of
wah
without
introducing
a
vibrato
effect.

Attack Bend
Attack bend has two levers: the pitch bend that lowers a
note a little in pitch the mgment it is pressed and the tone
bend that changes the timbre. With the pitch bend lever
depressed, a note will be lower by about 100 cents (one
semitone) in pitch the moment a key is depressed, then
return to the normal pitch gradually. The tone bend lever
alters timbre by adjusting the extent to which a note
changes in tone to sound its intended sound after the key
is pressed. Since the levers are independent, you can intro-
duce pitch bend or tone bend or both at any time.
Note: It affects only the upper manual.
Portamento
The term “Portamento” is a latin musical notation used to
indicate a sound gliding continuously from some selected
note (frequency) to a second selectable point, sounding
all the intermediate frequencies. This effect is designed to
function between any two keys played in sequence, either
higher or lower. The time required for the pitch to shift
from the first note played to the second (oscillator slew
rate) is controlled by the portamento contro!. Sliding the
control to the right increases the time required for the
pitch to reach the normal pitch of the second key played.
Conversely, sliding it to the left results in a very short
period (fast slew rate).
Touch Control
Your Yamaha Electone Organ with synthesizer is equipped
with special touch controls that adjust the vibrato depth,
wah-wah and volume in direct proportion to the down-
ward pressure on the keys.
There are three levers to the right of the panel and next to
the transposition levers: vibrato depth, wah-wah and
volume. There is also a sensitivity control that adjusts the
overall effect of the touch controls. (These controls do
not function when the synthesizer is being used on the
pedals. When the vibrato depth lever is depressed, and a
key is played lightly, you hear almost no vibrato. When
you press the key harder, the vibrato effect will increase.
You can adjust the sensitivity of this effect with the
sensitivity control.
All of the touch-sensitive effects can be used in combina-
tion with each other. For example, when the vibrato
depth and volume levers are depressed, a subtle change in
finger pressure on a note alters both the vibrato depth and
the volume.
Synthesizer Volume
The synthesizer volume control adjusts the overall volume
of the synthesized voices, so you can achieve a balance in
volume between the synthesized and Electone voices or
other instrument.

gir
Tone Levers
To the left of the upper and lower manuals are series of
tone levers which control the Electone voices that will
sound when the keys are depressed. They are divided into
groups for upper, lower and pedals, so that different
registrations can be set for each.
Upper Manual Levers 6 voices
Lower Manual Levers 3 voices
Pedal Levers 2 voices
Each lever provides two methods of control. One is by
continuously moving the lever from off to full, to achieve
the exact setting for that tone, and thus balancing the
overall tone setting with perfect precision. Each lever also
has two easy-to-feel click stops, at 1/3 and 2/3 positions.
This lets you refind any setting with mathematical preci-
sion and no guesswork in a matter of seconds.
PITCHES OR FOOTAGES
The Electone section of your CSY-2A has three different
pitch levels, indicated by the numbers 16', 8”, 4”. These
are standard organ abbreviations showing the tone's pitch
in relation to the fundamental (written note). An 8' tone
will sound just as it has been written, A 16’ tone will
provide a tone exactly one octave lower than the written
note. Similarly, 4’ tones are one octave higher than the
written note.
Vibrato
Vibrato is a waving of the tone. You will see violin and
cello players use it freely by an oscillating motion of the
left hand, that increases the emotional quality of the
violin tone. This vibrato levers produces the same vibrato
effect.
Upper Percussive
Changing the beginning of some or all notes can do won-
ders for lively selections. Your CSY-2A’s percussive
effects provide subtle but important shading at the
moment each note is heard. The special popping 4’ per-
cussive drive can be smoothly blended into all upper
manual tones with a single variable lever (percussive 4’),
and a separate lever (percussive length) regulates the length
of decay for this effect.
With percussive, use a detached fingering. Each note
should be played cleanly; slurred notes will diminish the
percussive impact.

iz
Reverb .
The reverberation effect, which makes your playing sound
full and rich as if you were playing in a large hall, can be
adjusted continuously and smoothly to suit your taste.
Note: You can add reverberation to the synthesized voices, too.
Pedal
Sustain
This control provides continuous adjustment of the sustain
effect on the pedals. For the pedals, this is the only
sustain control, and it affects all pedal tones with the
exception of Bass Guitar, which sustains automatically.
Manual Balance
This control governs the volume strength of the upper and
lower manuals. It is normally left in the center position,
but can be shifted to stress the melody or accompaniment
in a selection or passage. This control can also be used to
compensate for a higher number of total tone lever settings
(which would ordinarily result in higher volume) on one of
the two manuals.
Expression Pedal
Push down the pedal to control the volume of each note or
phrase. This pedal is extremely important for adding emo-
tion to your playing. The pedal is balanced to stay in any
position once set. Rest the entire right foot on the pedal
and relax it, pressing with the toe to increase volume, with
the heel to decrease it.
Master Volume
The master volume control adjusts the overall volume of
the whole organ function, including the synthesized voices,
Electone voices and rhythm section voices.

213)
Tremolo/Chorus i
CHORUS
UPPER
VOICE
FLUTE SPLIT
FLUTE
SPLIT
TREMOLO
SYNTHESIZER VOICE
TREMOLO
SYNTHE -
SIZER
WOI CE
The Electone's special tremolo is produced by a rotating
baffle that actually spins just behind the rotary speaker
grille on the side of the cabinet.
The tremolo selector is complemented by a continuous
tremolo speed control knob.
When the speed control is set to its maximum position, the
Tremolo will turn the baffle at normal revolution. The
Chorus will turn it at one revolution. Once either tablet
is switched on, it takes several seconds for the rotary
speaker to attain the standard speed. This is also true
when switching to a slower speed (Tremolo to Chorus),
the speed variation will be heard in the music.
If you wish an instant tremolo or chorus sound, be sure to
switch on that tablet well in advance of the speaker
selector. For special selections you can use this speed
variation by switching the speaker on first, the Tremolo or
Chorus switch later.
Note: Only Tremolo is produced when Tremolo and Chorus are
switched on simultaneously.
Note: Unless either the Tremolo or Chorus tablets is depressed, you
hear no Tremolo Voices regardless of the positions of the
Upper, Lower Voice, Synthesizer Voice, or Flute Split
Selectors. |
UPPER VOICE
Lets you divert upper manual voices from the main to the
rotary speaker.
LOWER VOICE
Does the same for lower manual voices.
FLUTE SPLIT
This tablet feeds Flute voices of the upper and lower
manuals and preset Combinations to the rotary speaker.
Combined with other manual voices through the main
speaker it creates a rich, singing blend.
Note: The Fiute Split control maintain precedence, and supersede
the Upper and Lower Voice functions.
SYNTHESIZER VOICE
If you switch this tablet on, you can hear the synthesized
voice with tremolo from the Rotary speaker. Other voices
come out of the Main speaker.

aP)
Auto Rhythm Section .
This section provides eight catchy rhythms, each one called forthe by a simple button. You can also
create more rhythm variations with the variation button. In addition to a combined volume and
balance knob, tempo control and tempo indicator light, there are two other switches: ordinary Start
and the Yamaha Synchro-Start which begins the rhythm accompaniment on the first beat of a
measure when the first lower manual or pedal note is depressed. A foot switch fitted in the ex-
pression pedal housing lets you stop and restart the rhythm at any point during play.
NORMAL START
For instant rhythm at the beginning of a selection. Push the rhythm selector desired, then flick the
Start switch on.
SYNCHRO-START
Select the rhythm, switch on the Synchro-Start and begin to play once you have the tempo estab-
lished. The rhythm will begin as soon as you strike a lower manual or pedal note. This switch permits
you to lead in with a rhythm-free melody at first if so desired.
You can switch off the Auto Rhythm with the foot switch.
When you wish to continue hearing the Auto Rhythm, be sure to switch on with the foot switch.
RHYTHM FOOT SWITCH
Once the rhythm is on, push this switch once to instantly stop it,
once again to restart. It lets you stop and restart the rhythm in the
ON j ; i ;
Foot Switch H "4 middle of a selection without using your hand.
Note: If the foot switch has been used, be sure it is reset to normal after you
finish playing your selection, and then make sure both Start and Synchro-
Start switches are off. Otherwise you may turn on one of the switches
in the middle of a new number only to find the rhythm still cancelled.
TEMPO
The tempo of the Auto Rhythm section can be adjusted by a con-
tinuous control knob. This is best accomplished by turning on the
Synchro-Start switch.
Although no sound will be produced, the indicator lamp will flash
each quarter note, letting you visually check the tempo while you
adjust.
BALANCE
This contro! lets you balance the low rhythm sounds, such as drums,
and the high sounds (i.e., cymbals) according to your taste and the
Expression Pedal
© selection. It can make a big difference even when using the same
rhythm. Turn the knob to the right to accentuate the higher (treble)
Bakes TREBLE sounds, to the left for lower (bass). If you accentuate the treble
Ur N sounds the rhythm becomes brighter.
( ) | Check the playing hints for specific settings.
i VOLUME
A Use it to balance the volume of the rhythm section and the manuals.
VOLUME-@-BALANGE This volume is then varied during the selection by the expression
pedal, just like that of the other tones.

D
Auto Bass/Chord Fun Blocks
The CSY-2A is equipped with a “Fun Block‘ section of
five buttons which can be used in conjunction with the
Auto Rhythm section (see p. 14). It enables you to play
a variety of alternating bass chord rhythms, with the pedal
and chords automatically matching the melody notes,
simply by holding down either a single lower manual key
or a lower manual chord, according to which fun block
button you press. From your very first keyboard attempt,
the fun block feature will let you sound like a pro, making
full rhythmic use of the lower manual and pedals. Here
is how it works.
Note: You cannot add synthesized voices to the Auto Bass/Chords.
When the Auto Bass/Chord is in its ON position, pressing
the pedals produces no bass, unless the keyboard, electone
and synthesizer selector levers are properly arranged. To do
so, move all the pedal tone levers to their “OFF” positions
and depress the synthesizer selector lever to its “ON” posi-
tion. Then play chords with your left hand and depress the
pedals; you will hear the Auto Bass/Chords and the synthe-
sized bass voices.
SINGLE FINGER CHORDS (THE EASY PLAY WAY)
e Set the tone levers for the tones you want on the lower
manual both Piano and Guitar sounds are available); use
either or both levers to adjust the Auto Bass Chord tone
color and volume in the normal way.
jr
Ano]
e
Match
the
setting
of
the
Pedal
tone
lever
to
the
lower
NORMAL
SINGLE
FINGERED
CON-
MEMORY
manual
tones.
ORD
STANT
f
CHORD
e
Select
a
rhythm
pattern
and
push
the
corresponding
button until it clicks and stays down.
e Set the Rhythm Start switch on.
e Adjust the rhythm tempo and volume.
e Press the Single Finger Chord button.
Now, if you press a C key on the lower manual, a C major
chord will play in an alternating pattern which matches the
rhythm pattern and tempo set.
As long as the key is held down, the bass chord rhythm
continues. When the Black-key pedal is pressed, the chord
changed from major to minor, and when released, the
chord returns to major. When the White-key pedal is
pressed, the chord changes from major to seventh, and
C chord
= when released, the chord returns to major. When both
Black- and White-key pedals are pressed, a minor seventh
results. —
Note: The bass note will play the root and fifth of any chord
pressed, except when the Jazz Rock rhythm is used; in that
case the bass sounds the root only.

El)
FINGERED CHORDS
e Select the rhythm and set both its tempo and volume as
explained earlier.
e Depress the Fingered Chord button.
NORMAL
SINGLE
FINGERED
CON-
MEMORY
e
Play
a
desired
chord
(major,
minor,
seventh,
minor
FINGER
CHORD
STANT
CHORD
seventh)
on
the
lower
manual.
Now as long as you hold that chord it will play according
to the rhythm and tempo you have set.
C Major chord If the Single Finger Chord and Fingered Chord buttons
are both pressed, the Single Finger Chord takes proce-
dence.
CONSTANT
e
Select
the
rhythm
and
set
both
its
tempo
and
volume
as
explained
above.
e
Depress
the
Constant
button
and
either
Single
Finger
Chord
button
or
the
Fingered
Chord
button.
e
Press
the
desired
key
or
chord
on
the
lower
manual.
As
long
as
the
keys
are
held
down,
the
chord,
as
well
as
a
i)
eee
YY
Y
pedal
note,
will
sound
as
if
they
were
held
down
during
CIAL
La
1
normal
play,
without
any
rhythm
pattern.
As
soon
as
NORMAL
SINGLE
FINGERED
CON
MEMORY
this
key
is
released
the
chord
stops.
FINGER CHORD
CHORD
MEMORY
This
button
can
be
used
in
conjunction
with
the
(Single
Finger
Chord
button
only)
press
both
buttons
and
set
the
rhythm
(including
tempo
and
volume)
as
explained
above.
=
Now,
when
a
lower
manual
key
is
held
down
the
bass
na
| aana.)
5
Mg
chord
rhythm
will
play
according
to
the
rhythm
set,
but
I Jl I ISA will also continue to play even when the key is released.
NORMAL FINGER CHORD STANT O RAT The memory function also has another use. When this
sais
button
is
depressed
along
with
both
the
Single
Finger-
Chord
and
Constant
buttons,
it
provides
a
continuing
bass
chord
just
as
when
the
latter
two
buttons
are
used
alone.
In
this
case,
however,
the
bass
chord
will
continue
to
sound
even
alter
the
key
is
released.
NORMAL
This
button
cancels
the
other
Fun
Blocks,
returning
the
lower
manual
and
the
pedals
to
normal
playing
functions.
Note:
The
Flute
voices
on
the
lower
manual
are
not
affected
by
the
“Auto
Rhythm”
rhythm
pattern.
If
it
is
set
on
it
will
sound
continuously
for
any
key
held
down.
Use
it
to
soften
the
mood
of
the
Auto
Bass
Chord
accompani-
ment.

Ey)
Bass Variation
f pa 7
CG
dee
|
i
|
Ce er —— WE
A
After
you
have
mastered
this
simplest
use
of
the
Auto
Bass/Chord
system,
you
can
vary
the
effect
by
choosing
between
the
three
Bass
Variation
selector
buttons.
It is also possible to combine the Auto-Rhythm sounds
with
the
Auto
Bass/Chord
accompaniment;
simply
turn
up
the rhythm volume.
By
using
the
ordinary
Start
switch
instead
of
Synchro-
Start,
the
combined
rhythm
sounds
will
play
before
and
after
the
chord
is
pressed.
This is the basic pattern; it alternates the root (1) and fifth
(5) in the bass regardless of rhythm chosen or type of
chord.
The
one
exception
is
the
Jazz
Rock
rhythm,
which
maintains root (1) pedal and no alternation.
Note: The Slow Rock and Jazz Rock rhythms play only the root
(1), when the Rhythm Variation is switched on.
13,5
This selector effects the Slow Rock and Rhumba rhythms,
with which it will play a root (1), third (3), and fifth (5) *
pattern. All other rhythms function as with the (1.5)
selector.
Note: The Rhumba rhythm will play a root (1), third (3), and fifth
(5) pattern, when the Rhythm Variation is switched on.
This
selector
effects
the
Slow
Rock
and
Rhumba
rhythms
when
a
seventh
or
minor
seventh
chord
is
being
played,
with
which
you
will
hear
the
root
(1),
seventh
(7),
and
fifth
(5)
bass
notes.
When
playing
a
major
or
minor
chord
the
unit
will
perform
exactly
as
it
does
with
the
second
Bass
Variation
selector
(1:3-5).
Note: The Rhumba rhythm will play a root (1), seventh (7), and
fifth (5) pattern, when the Rhythm Variation is switched on.