Yamaha Electone GX-1 User manual

GX
GUIDE TO YOUR YAMAHA ELECTONE

Characteristics of the GX-1
1
.
Anatural, living sound is obtained by
changing the time relationship of pitch,
tone and volume.
2. When one key is pressed in the Upper or
Lower Manual or in Pedal board, acom-
bination of two tones is obtained. The
tone generators, however, work inde-
pendently and anatural, rich harmonious
sound fills the place.
3. Asingle tone module spans awide range
of tones, replacing the conventional tone
levers that have fixed sounds of flute,
strings, etc. Once tone modules are set,
the player can obtain any desired tone,
simply by pressing the tone selector. In
addition, the tone modules' settings can
be changed at will to suit the player's
own taste and musical concepts.
4. This new system leads you into
unexplored realms of expression.
5. Controls activated at the touch of a
finger encompass awhole gamut of
mechanism, giving you the greatest ease
and freedom in your musical expression.
6. The acoustical cabinet was developed
simultaneously to amplify the Natural
Sound with the utmost fidelity.
Conceived for theaters and similar uses,
the GX-1 electronic organ is the finest
Electone Yamaha has developed. Using the
most advanced electronic technology, toge-
ther with the inventiveness and precision
that have given birth to the world's most
outstanding musical instruments, Yamaha
has now created the GX-1
.
Aunique system produces Natural Sound,
with that full, resonant tone essential to the
music the new generations want to hear.
Both composers and performing artists will
find the GX-1 tailored to their personal
styles and most complex demands.
CONTENTSI
Page
How to Mount the Pedal Board and
Adjust the Seat 1
Connecting the Tone Cabinet 2
The GX-l's High Quality Speaker
System-Model TX-II 3
The GX-1 Tone Generators 5
The Keyboards 6
Exclusive Features of the GX- 1... 7
Solo Keyboard's Effect Control ... 9
Playing the GX-1 After Selecting
Preset Tones 12
Control Lever of the Upper
Manual 13
Knee Control 15
Auto Rhythm Section 17
What makes the GX-1 truly Unique
is Natural Sound 19
Operating Steps that Require Special
Attention 21
Care of Your Electone 23
Specifications 24

How to Mount the Pedal Board and Adjust the Seat
move up
^, and down
To move back
and forth
HOW TO MOUNT THE PEDAL BOARD
The GX-Ts Pedal Board is aself-contained unit, and, as
such, it can be dismounted. The following precautions
should be observed when dismounting or mounting the
Pedal Board.
1. It must always be carried by 2persons and under no
circumstances should any extraordinary force be used.
2. When mounting, follow the direction of the. arrow in the
illustration shown while lifting it alittle with asmooth,
sliding motion.
3. When dismounting, lift slightly at first and then draw it
out.
TO ADJUST THE SEAT
The Seat of the GX-1 is an inseparable part of the Pedal
Board cover. It can be moved back and forth or up and
down to the ideal position for playing.
TO MOVE IT UP AND DOWN
Sit lightly on the seat, and lift the handle under the seat
plank to move it up. If you put more weight on the seat
while holding this handle up, the seat will be lowered.
Once the right position has been found, the seat will remain
there if the handle is relased.
TO MOVE BACK AND FORTH
By loosening the screw of the adjustment bolt under the
seat plank, the seat can be moved into the desired position
by sliding it; then tighten the screw to prevent further
movement.
1
i

Connecting the Tone Cabinet
1
a
c^
rnssti
TO* CHUSIUFT
urrc«
TONE CABINET TERMINALS
The GX-I lias 4terminals fnr the Tone Cabinet arkJa
multiple units switch. These terminals aie an the lower part
of the main body of ihe GX-L on both sides, and any of
them can be used. Any Tone Cabinet model which can be
used with an El eel one can couple.
With the GX-1 ,one or more Tone Cabinets, tan be used
according to the size of the hall where she player is per-
forming. (Any conventional electone cabinet can be used,
but Ibe rotary speaker docs not rotate and no sound is
produced.)
WITH ONE TONE CABINET
Connect she Tone Cabinet as shown above when only one is
to be used.
1
.
Connect the Center General Terminal to ihe Tone
Cabinet's sotVet
-
2. Set the Tone Cabinet smultiple Units Switch al *"V\
WITH TWO TONE CABINETS
When Using Iwo Tone Cabincts hconneet (hem as shown
above.
1. Connect the Upper and Lower terminals Io"lone
Cabinet sockets.
2, S*t Lhc Multiple Units Switch M"2". Warning -When
using 2 Tone Cabinets:
From Upper terminal to Uppex
From Lower terminal to Lower
*Thc sounds of the Pedal, Solo Rliyilim and Port amen to
bwards are emit led fmin ihe Upper and Luwer Tcnriinals
respectively.
WITH THREE TONE CABINETS
Connect the Tone Cabinets as shown above whenever 3are
being used.
1. Connect Upper, Lower and Center General terminals lo
sockets in the Tone Cabinet.
2. Set (he Multiple Unils Switch at ".T\ Warning. -When
using 3 Tone Cabinets:
From Upper Terminal to Upper
From Lower Terminal to Lower
The sounds of ihe Pedal, Solo. Rhythm and Port ament"
Boards are emit led from the Center General Terminal.

bCH OUTPUT
10KS2
5CHANNEL-OUT TERMINAL
The respective sounds of Upper, Lower, Pedal, Solo, and
Rhythm can be separated and become output from this
terminal.
However, unless the special connector for this terminal is
used, the Tone Cabinet will not be connected.
EXT REVERB TERMINAL
This terminal connects the Reverb Box found on the out-
side. When input, the reverb in the inside of the main body
is cut off. The outside reverb can be controlled with Reverb
Lever.
*The power input terminals are 2. One is the reverb for
Upper and Lower and the other is the reverb for Solo.
EXT.
REVERB
The GX-PsHigh Quality Speaker System- Model TX-II
TX-II Rear Pane!
Voltage adjuster
AC OUTLET
FUSE
VOLT. ADJ. max :oova FUlSE POWEJR SW VOLUME
/(jS IAREMOTE
Power ON/OFF
remote controler
\®J
Tone cabinet Volume control
TONE CAB.
>6
Connected for Tone cabinet
FIXED
Illustration Is General model
Any cabinet model designed for use with Electones can be connected to the GX-1 .But to derive the full richness of the
GX-l's Natural Sound, with total fidelity, Yamaha specifically developed the new TX-IIcabinet. They form an ideal
combination.
CIRCUITRY
Input Sensitivity: 400mV, (MAX)
Output Power ;120W (RMS)
Power Consumption :11OW
Power Source: 50/60Hz, AC
SPEAKERS
Woofer: 38cm (15") x1
Squawker: 20cm (8") x4
Tweeter: 5cm (2") x4
DEMENSIONS
Width: 94cm (37")
Depth: 65cm(25 l
/T)
Height: 138.8cm (54VT)
Weight: 141kg (311 lbs.)

Overton
Filch^nvtlDfuj
Sustain
Coupler
AllJL-k
Rjug modulator
Fildi tend i
Sample- li-:l:l
Tunc
(Bri]]isn«)
(Rswnnijos)
Sub QKCMIilLor
Overtone
Tone iitodufe-

Solo keyboard
Volume
Brilliance
Resonance
Mixing
Reverb
To Lai volume
Sola touch
response
-Sjo1o portamento
Power switch
Knee control
Exp. dynamic
lan^; COfnp-
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Foot switch
selectors

The GX-1 Tone Generators
PORTAMENTO KEYBOARD
This keyboard is astrip covering three continuous octaves changing pitch according to the place where
pressure is exerted. By asliding method, this portamento keyboard can lengthen and change pitch.
And since it is coupled to the solo keyboard, the full potential of the solo keyboard can be utilized.
When the solo keyboard is pressed simultaneously, the portamento keyboard prevails.
SOLO KEYBOARD
The solo keyboard has the same width as the Upper and Lower manuals. It has one monotone tone
generator for each tone quality. tone module
"SOLO"
2
3
4
5
6
8
9
10
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Portamento Keyboard
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Gx
TONE SELECTOR
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UPPER AND LOWER MANUALS
As each manual is connected to two tone generators, sounds from the upper and lower manuals result
from 16 tone generators, 8from row Iand 8from row II. Therefore, by exerting pressure on the key-
boards simultaneously, up to 8chords can be obtained. Moreover, two tone qualities can be mixed.
TONE MODULE
"UPPER" or "LOWER"
Upper and Lower Manuals
'—ROW I—*| T_I
RTR T'G
Mixing
Lever
"—ROW II-
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TONE SELECTOR
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PEDAL KEYBOARD
The pedal keyboard produces monotone sounds, but because they are made from three tone genera-
tors, one from row Iand two from row II, the bass sound created is extremely stable. Moreover, two
tone qualities can be mixed. (By setting the 2and 4of the tone
selector, the tone qualities of num-
ber 2in row 1(contrabass) and TONE MODULE
number 4in row 11(tuba) are "PEDAL"
mixed)
Mixing
Lever
TONE SELECTOR
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3a
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The Keyboards
KEYBOARDS
Upper Manual
Lower Manual
Pedal board
Solo board
Portamento
61 keys C~C4 5octaves
61 keys C~C4 5octaves
25 keys Cl~c 2octaves
37keysCl~C4 3octaves
3octaves Ci~ C4
TONE GENERATOR
Upper Manual
Lower Manual
Pedal board
Solo board
Portamento
8notes 2rows
8notes 2rows
1note 2rows
1note 1row
Auto changeable with Solo board.
(portamento has priority)
Portamento Keyboard
Cl C2
Upper
Keyboard
Lower
Keyboard
Pedal
Keyboard 1ti it 1 1 n1i I I
U

Exclusive features of the GX-1; and how to use theim.
PITCH BEND
Thanks to this effect, when akey is pressed, pitch automatically and immedi
ately becomes lower, and at the end of the set time, returns to its original
position. The length of time required for pitch to change and then return to its
original position is preset. The degree to which pitch is lowered is also preset.
COUPLER
This lever permits more versatile performance by adding the tone colors from
one manual to the notes played on another. For example, "L to U" adds tone
selected for the lower manual to all notes played on the upper manual.
SUSTAIN
This effect produces atrailing-note sound. If the lever is set all the way up, the
decay time will be zero and therefore no sustain effect will occur unless the
sustain effect has already been properly entered with the preset tone. Decay
time is increased as the lever is pressed downwards.
OVERTONE
Preset tones have two rows of tone generators, and Overtone sets the pitch for
both of them. The number "1" in this Overtone indicates the 16' of the con-
ventional electone's harmonics (other equivalents are: 2=8', 4=4', and 8=2'.)
This Overtone plays an important role in setting the sounds you produce with
the GX-1 ,and you will find many ways to use it successfully.

-TONE
The structural organization of the totally preset tones of the GX-1 involves 20 tone generators, 10 in row Iand 10 in row II
of each of the Keyboards, with the exception of the Solo keyboard which has only the 10 of row I.
In addition to conventional tones preset by means of atone lever, solo tone or preset tone, the player can instead choose the
tones he likes, changing them to suit his varied musical intentions. Consequently, levers such as flute 8' or strings 41are not
found on the GX-1. By pressing the switch, alamp is turned on under the numbers 1to 10 and the desired tone can be
selected. Even two tones can be selected simultaneously. Asingle selector button in each of the keyboards is used to obtain a
combination of two tones from the tone generators in rows Iand II. But when selecting two tones simultaneously, use the
left hand button for tones in row I, and the right hand button *for tones in row II. The extent of mixing is adjusted by
means of the Mixing Lever, enabling you to obtain awide variety of tones instantaneously (However, this is not applicable
to the Solo Keyboard).
VOLUME
This lever controls volume balance in the Upper and Lower Manuals as well as
in the Pedal Board. The center line indicates normal volume: to increase volume
push the lever on.
BRILLIANCE
This effect imparts asparkling yet gentle feeling to all tones. Put more
technically, it adjusts the way harmonics are embraced.
Mellow
Feeling &
TOTAL VOLUME
This lever adjusts the volume anywhere, and of any effect possible, on the
GX-1, completely at the will of the player.
MIXING
Selection of preset tones in row Iand II, by the Overtone blend, is adjusted by
this lever.
REVERB
This effect creates the same echo as is produced naturally when an instrument
is played in avery large hall. This effect can be divided between the Solo
Keyboard and the Upper and Lower Manuals.
Echos last progressively longer as the lever is gradually pushed downward.
RESONANCE
Resonance serves to stress the specified harmonics and create amost unique
sound. Once mastered, this particular tone change can maximize the individu-
ality of your music.

Solo Keyboard's Effect Control
RING MODULATOR
The Ring Modulator is used to obtain avery special effect with adifferent
tone generator in the Solo Keyboard. With the modulation lever ON, a
change is caused in the way the Ring Modulator operates.
The Ring Modulator effect does not function when the modulation lever is
not connected.
OSCILLATOR AND KEYBOARD
The effect's tone generator has asawtooth waveform which is changed by
means of the lever control, and the speed of modulation is regulated by
means by the speed control.
With the Keyboard switch ON, speed changes in accordance with the
pressing of the Solo Keyboard's Keys. That is, when ahigh pitch key is
pressed the speed increases and it decreases when alow pitch key is
pressed.
NOISE:
This effect consists of noise. Modulated by the tone generator.
The nature of noise is used to cause color changes. This generated noise
increases in high-frequency harmonics as the lever is pulled further out
toward the player.
ATTACK
It adjusts the speed of the attack, or the time in which anote rises to full
volume and pitch. Speed increases the more the lever is pulled out.
SUSTAIN
It controls the trailing duration of the sustain effect. As the lever is pulled
out more and more toward the player, the effect is prolonged.
PITCH ENVELOP
The pitch and duration of asound are made to change by means of these levers,
in accordance with the attack or the decay as is shown in the following illustra-
tion.
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INITIAL PITCH:
When pressed, this controls the width of pitch instantaneously. Change increases
by pulling the lever toward the player.
1st DECAY:
This controls the time it takes to return to the original pitch. The time is short-
ened by pulling the lever toward the player.
2nd DECAY
This controls decay time of the pitch after the finger is withdrawn from the key.
The time becomes shorter by pulling the lever toward the player. (If there is not
enough trailing to introduce sustain, the effect of final pitch and 2nd decay
cannot be obtained.)
FINAL PITCH:
This controls the width of the final pitch as the finger is withdrawn from the
key. Increase change by pulling the lever toward the player.

—TONE BRILLIANCE:
This effect imparts aglowing feeling of softness to the solo keyboard's tone quality. The normal position of the lever is the
middle click-stop. If pressed back, asoft, mellow feeling is added. This gives abeautiful brilliance when pulled out toward
the player.
RESONANCE:
This is an effect that accentuates certain harmonics of the solo keyboard paralleling the resonance lever. Pulling the lever
toward the player gradually changes the adjustment.
-SUB OSCILLATOR
By means of aseparate oscillator, the tone generator produces tremolo, vibrato and wah-wah in the Solo Keyboard.
VCO:
Usually called vibrato, VCO produces pitch changes in accordance with
voltage. The vibrato effect grows deeper when the lever is pulled toward
the player.
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VCF:
Usually called wah-wah, VCF changes the frequency according to voltage.
By pulling the lever toward the player this effect becomes deeper.
VCA:
Usually called electronic tremolo, the waveform amplitude is changed
according to voltage. By pulling the lever toward the player, the tremolo
effect becomes deeper.
SPEED:
The speed of vibrato, tremolo and wah-wah increases when the lever is
pulled toward the player. Set the middle click-stop for normal speed.
FUNCTION :
This lever selects the waveform of the tone generator. There are 6differ-
ent functions.
(Sine wave) an undulating sound
(triangular wave) aharder feeling than the sine wave
(sawtooth wave) ahigh attack
(sawtooth wave) aslow speed attack
(square wave) asharp-cornered feeling
S/H (sample hold) Set function lever in this position, then adjust
the Auto Rhythm and the Rhythm Pattern of the Sample
Hold to obtain the Sub Oscillator effect.
OVERTONE
This sets the overtone for the Solo Keyboard. It works by the same method as
the overtones in the pedal board, and in the upper and lower manuals, 1/8 (128')
is an extraordinarily low bass and can be used as an effect .sound.
VOLUME
This adjusts the volume of the Solo Keyboard. Acenter line, showing the stan-
dard level, makes for easy volume control.
FOOT SWITCH (PORTAMENTO):
With this switch in the ON position, Portamento can be obtained in the Solo
Keyboard only when the Foot Switch is on (with the Foot Switch pressed
continuously). Oscillator slew rate is controlled by the Portamento Lever.
L

Solo Keyboard
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SOLO PORTAMENTO
In the Solo Keyboard, to achieve the effect of acjafntin-
ual pitch change from the moment one key ^"pressed
until the following one, keep the portamento lever on
the left connected. The time rate is prolonged by pull-
ing the lever toward the player. Connecting the left
tablet, Lever 2causes the portamerrto effect in the solo
Keyboard. Therefore, when this tablet is connected (ON
position) the portamento effecj/eannot be obtained with
the Solo Keyboard.
It can be produced only after Lever 2 has been moved to
the right. The duration^ glide in the portamento effect
is changed by adjusting the portamento lever according-
iy.
TOUCH RESPONCE
Alight' touch on the Solo Keyboard produces the
following effects.
It changes in accordance with the pressure with which
the keys are pressed.
ATTACK TIME:
The Attack time becomes faster when keys are struck
with harder force.
INITIAL PITCH:
Sound becomes lower and returns to the original pitch
right after the key is pressed. The pitch becomes deep-
er with greater applied pressure.
When akey is pressed in the Solo Keyboard and then
pressed again while/sound is being produced the follow-
ing effects are obtained.
After the note /is produced, stronger pressure causes
pitch to rise.
After the note is produced, it becomes brighter with
stronger pressure.
After the note is produced, stronger pressure increases
the volume.
After sound is produced, astronger pressure will cause
the sarpe effect as with the sub oscillator.
Depress these tablets and the effect of the
lever of Panel 2's sub oscillator is cancel-
led. For example, when agiven VCO
lever is connected and the speed tablet of
touch response is in the ON position, a
singing vibrato effect is obtained by pres-
sing the Solo Keyboard with your fingers.
3rd:
This is the conventional touch vibrato obtained by pres-
sing akey while moving the finger from side to side.
Vibrato, wah-wah and resonance effects are also produc-
ed.
11

Playing the GX-1 After Selecting Preset Tones
HOW TO PLAY THE GX-1
First, check to see that control levers, switches, tablets, etc. are in their correct positions. If they are
not in their correct positions, asound may be changed from what it was set at, and it may resemble
the desired basic sound, though it is not the same. In an extreme case, no sound at all will come out.
(1) PRESET TONE
Choose sounds by using the tone selector. Up
to two can be selected to sound simultane-
ously.
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(2) MATCH THE PITCH OF THE SEVERAL
KEYBOARDS
(by using the tuning lever located on the pre-
set board).
(3) FRONT PANEL
Choose the overtone.
(1') OVERTONE
Set the overtone at 2on all keyboards. The
2pitch corresponds to the 8' of the conven-
tional tone lever.
Normally the pitch of all keyboards match
exactly, but it can be intentionally set to be
uneven.
(4) MIXING
Mix rows Iand II.
When the lever is set in middle click-stop
sounds comes out uniformly from Iand II.
(5) BRILLIANCE, RESONANCE
Adjust the brilliance and resonance.
Because there is aconsiderable range of
variation, first listen carefully to the sounds,
and then set to the desired position.
(6) VOLUME
Adjust the volume of the various keyboards.
(7) WAVE MOTION
Adjust the wave motion.
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(8) EFFECT
Coupler, Sustain, Reverb, Vibrato, etc.
This mechanism controls the differences in
pitch of the tone generators in rows Iand II
to make them differ uninterruptedly from
on up. Using some degree of difference
usually- produces aricher sound. As pitch
differs more and more, the beat gets faster
(like surging waves).
Choose the effect to suit the mood of the
music. For example, since the coupler mixes
the sound of the upper manual to that of the
lower one, or vice versa, choose the effect
which creates afuller, more stable sound.
12

Control Levers of the Upper Manual
TOUCH RESPONSE
This effect permits innumerable changes of expression which up to now were\
possible by merely pressing the keys of akeyboard musical instrument. The
keyboard will, vibrato sideways, in response to the finger technique, making
exuberant vibrato, wah-wah and resonance effects available to meet the player's
musical demands. This effect is only possible in the Upper Manual.
RESONANCE, WAH-WAH, VIBRATO:
These effects are controlled by levers, and the feelings they evoke are obtained
according to the extent that they are deepened.
NOISE —
The Noise signal originates in irregular proportions and sizes (from avery
low number of vibrations to avery high one.)
VCF:
With this, the wah-wah effects are obtained mixed irregularly with Noise.
vco
With this, the vibrato effect is obtained mixed irregularly with Noise.
COLOR:
This changes the nature of Noise. When pulled toward the player, the
elements in the high region become larger.
SUB OSCILLATOR
It is the same as Upper Manual's sub oscillator and produces tremolo,
vibrato and wah-wah modulations in the Upper Manual.
By means of the leftmost lever, the speed of the sub oscillator is coupled
with the pitch of the Solo Keyboard. With this lever connected (ON)
and drawn toward the player, the speed of the Upper Manual's sub oscil-
lator increases when high pitch sounds of the Solo Keyboard are played,
and slows down when low pitch sounds are played.
If the Solo Keyboard is not being played, it is possible to maintain the
speed coupled to pitch as it was at the moment when the Solo Keyboard
was pressed for the last time.
FOOT SWITCH PORTAMENTO:
As with the solo yellow tablet on the left, only when the Foot Switch is in
the ON position can Portamento be obtained in the Upper Manual.
The Portamento Lever controls the changes of the oscillator slew rate.
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Lower Manual
SUB OSCILLATOR—
This has the same effect as explained under Upper Manual's sub oscillator,
and produces vibrato and other modulations in the Lower Manual.
FOOT SWITCH (SUB OSCILLATOR)
With this switch in the ON position, the sub oscillator effect on the Upper
Manual can be cancelled by turning the Foot Switch on. The lamp works
the same as in the Upper.
KNEE CONTROL (LOWER SUSTAIN)
This Lower Sustain Tablet and Sustain-Lower lever determine the length
of the trailing note effect, and by moving the Knee Lever all the way to
the right the sustain effect is produced in the Lower Manual.
H

Portamento and Knee Control
KNEE CONTROL
Once having preset these tablets, Portamento and Sustain effects are produced,
in the Upper Manual in the midst of playing, by activating the Knee Lever.
UPPER PORTAMENTO:
This Portamento is an effect obtained in the Upper Manual. Pitch variation is
continuously maintained from the moment that the first key is pressed until the
next key is pressed. The depth of depression of the Portamento lever determines
the time lapse (oscillator slew rate) until the second key is pressed. Playing
harmony, pitch varies at random and is similar to the pitch of the keyboard being
pressed.
When the right-hand panels are pushed in, the Portamento effect can be obtain-
ed in the Upper Manual by means of the Knee Lever. Therefore, if these panels
are set at ON, Portamento cannot be obtained on the Upper Manual. Only when
the Knee Lever is moved to the right, can this effect be obtained.
The yellow lever on the left adjusts the duration of the Portamento's pitch
variation.
UPPER SUSTAIN:
Using the Upper Sustain tablet and the Sustain-Upper lever, set the trailing
length at the desired position. Then, by moving the Knee Lever all the way to
the right the sustain effect is obtained in the Upper Manual.
SUB OSCILLATOR
VCO:
With this VCO tablet in the On position, pressing the Knee Lever all the way to
the right produces the vibrato effect in the Upper Manual.
VCF:
With this VCA tablet on moving the Knee Lever all the to the right produces a
wah-wah effect on the Upper Manual.
VCA:
With this VCA tablet ON moving the Knee Lever all the way to the right creates
an electronic tremolo effect on the Upper Manual.
SPEED:
With this Speed Tablet on, the speed of the sub oscillator's VCO, VCF and VAC
changes as the Knee Lever moves to the right.
However, when the levers of the sub oscillator in the Upper Manual's effect
control have been set, the corresponding levers in the Upper Manual's effects
are cancelled by setting the Knee Control tablet in the ON position.
FOOT SWITCH (SUB OSCILLATOR)
With this switch in the ON position, the sub oscillator effect on the Upper
Manual can be cancelled by turning the Foot Switch on.
14

Knee Control Switch and Others
MANUAL BALANCE
This Manual Balance Lever balances the sounds of the Upper and Lower
Manuals, and these match when it is in the middle click-stop
position.
For example, if you want to stress amelody in the Upper Manual, press
the lever forward and Preset it in the opposite direction to adjust the
sound of the Lower Manual when it is too weak.
KNEE CONTROL
Set these tablet switches in advance. Then, by activating the Knee Lever
in the midst of playing, sustain and other effects are obtained in the Lower
Manual. With the exception of the Lower Sustain, the effects and their
mode of operation are the same as explained under Knee Control.
(See Knee Control on page 14.)
FOOT SWITCH
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The following 5effects can be controlled by means of the Foot Switch.
This switch selects the desired effect for the music being played.
PORTAMENTO
It is arubber switch located on the upper left of the Expression Pedal. To
connect it bend it to the left using the tip of the right foot. Once it is in
the ON position, turn it off by repeating the same action.
15'

,EXP. DYNAMIC RANGE COMPRESSOR
These 5button switches fix the volume range that can be modified by
means of the Expression Pedal, within agiven range. For example, even if
the Expression Pedal is in the OFF position when switch Uis pushed in,
volume can be preserved up to acertain degree. When the Expression
Pedal is at max, volume change is practically nil. At mini, volume is
preserved up to the usual middle point 2of the pedal.
OVERTONE PRESET BUTTON
In order to accomplish the musical intention, even in the midst of playing,
buttons 1, 2, 3and 4, which were preset with the selected overtones, can
be interchanged at will. Also, connected to the inner part of button 4is
apitch which resembles afull organ. Switch Ccancels the preset.
PRESET BOARD
The GX-l's preset does not indicate tone lever preset. Rather, it is 3kinds
of combinations of overtones in the Upper and Lower Manuals and in the
Pedal Board. This preset is activated by means of the 5buttons located
between the Upper and the Lower Manuals.
OVERTONE
The overtone of the Preset Board corresponds to overtone.
TUNING :
The GX-l's Upper and Lower Manuals, as well as the Pedal Board, can all
be tuned, and its pitch can easily be adjusted for ensembles with other
musical instruments. Pitch rises when the various levers are pulled toward
the player. Pitch changes cover arange of 200 cents (1 whole tone).
WAVE MOTION:
By changing pitch in row II and mixing in row I, the sound of the Upper
and Lower Manuals as well as the Pedal Board produce amore robust
impression. Raise the pitch by pulling the lever toward the player. There
are two tone generators in row II of the pedal sounds. By controlling PIF,
awave motion is obtained only in row II. This is why there is aPII and P
IP only for the Pedal.
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Auto Rhythm Section
The GX-l's Auto Rhythm adds new mechanisms to the conventional ones.
Image control, variations Aand B, and Swinger increase the colorful
possibilities of expression that are available. Details which used to be
beyond the player's control, plus aclear tone quality, embellish your play-
ing and innovative, colorful rhythm patterns provide deeper musical enjoy-
ment.
RHYTHM SELECTOR
Press the Rhythm Selector Button to select the desired rhythm. Two or
even three of the following 14 rhythm buttons may be pressed simulta-
neously and thus be used in combination. Furthermore, by using Varia-
tion Aor B, one rhythm will acquire subtle differences and become 4
different rhythm patterns.
EXAMPLES OF COMBINATIONS WITH MARCH
1March I
2March I+Variation A
3March I+Variation B
4March I+Variation A+Variation B
*When variation Aand Bare combined with Waltz, arhythm with a5/4
beat is obtained.
RHYTHM START :
This switch sets the rhythm to start after 2or 4bars of the music have
been played.
SYNCHRO-START :
When the Synchro-Start switch is set in the ON position, it couples with
the Lower Manual or with the Pedal Board, and rhythm starts the instant
that you touch the board. At any one time your use of the above Start
Switch and Synchro-Start should be limited to one or the other. If you
start rhythm with the Start Switch, the same switch should be used to
stop the rhythm. When rhythm is started with the Synchro Start switch,
use the same switch to stop the rhythm. For best musical performance
always follow this practice. Note that' this does not apply when the
Foot Switch is being used.
IMAGE CONTROL:
This mechanism enhances rhythm by strengthening or weakening beat.
The center line position is the normal setting. When the lever is pulled in
the direction of the player, second and fourth beats are up-beat, when
pushed back, first and third beats are upbeat.
FOOT SWITCH (RHYTHM STOP)
When you want to restart or to stop the Auto Rhythm once it has already
been started, press this switch to the ON position, and control Auto
Rhythm by turning the Foot Switch on or off, accordingly.
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