Yamaha CS-30L User manual

SYNTHESIZER CS-30L
We thank you very much for your purchase of our YAMAHA synthesizer CS-30L. The CS-30L is a
full-fledged synthesizer developed based on YAMAHA 's superior technology and rich experience cultivated
over the years with YAMAHA Electone Organs and by giving full play to the latest in IC technology.
The synthesizer, unlike other musical instruments, has no fixed sound of its own. However, it has the
capacity of producing, with practically unlimited freedom, new sounds that no other instruments can
produce. The new sounds that you have created yourself with the CS-30L, will no doubt direct you along
apath that will lead you into anew world of music.
The CS-30L is asynthesizer equipped with 2systems of VCO, VCF and VCA as well as 3Eds. Further,
it is provided on its rear panel with terminals that will enable its use also as aguitar synthesizer as well as
connection to 2, or more, other synthesizers. To make full use of such functions and to discover original
sounds that are uniquely yours, we urge you to read the contents of this Owner's Manual carefully.

Full attention should be paid to the following points
prior to operation.
•Place of installation
When installing the synthesizer, such places as those
subjected to direct sunshine, or dusty or highly
humid places should be avoided, Furthermore, in
no case should it be installed close to fire, or heat-
generating objects such as apower amplifier, as it
may not only cause disorders and cabinet deforma-
tion but may also lead to afire disaster.
•Cleaning
When cleaning the set, do not wipe the panel, or
keyboard with athinner-type liquid, or spray of the
same-type liquid; as it will cause discoloration, or
stains. Always wipe it with asoft and dry piece
of cloth,
•Connection
Connections such as to amplifiers should be carried
out properly with full care. Erroneous connections
will lead to disorders of the synthesizer and ampli-
fier.
•VOLUME
The application of an excessive input to the amplifier
may cause damage of the amplifier or speakers. For
this reason, careful consideration must be given when
setting the volume.
CONTENTS PAGE
CHARACTERISTIC POINTS OF
SYNTHESIZERS 4
CONNECTION 6
BASIC SETTING 7
FUNCTIONS OF EACH SECTION
KEYBOARD/PITCH 8
VC01/VC02 9
VCF1/VCF2 10
VCA1/VCA2 11
TRIGGER/EG 12
EG/EFFECT 13
LFO/EFFECT 14
EXTERNAL 15
OPERATION SEQUENCE 16
TROUBLE SHOOTING 19
SOUND MEMO 20
BLOCK DIAGRAM 21
SPECIFICATIONS 22

CHARACTERISTIC POINTS OF SYNTHESIZERS
The function of the synthesizer is to electrically
synthesize and control the three elements of sound,
that is, interval, tone and volume as well as the timewise
change from the instant asound is generated to the
point it fades away.
The interval is controlled by the VCO, tone by the
VCF, volume by the VCA and the timewise variation
of sound by the EG, "VC" in VCO, VCF and VCA
stands for "voltage-controlled". Now, let us consider
what kind of function this voltage control has in the
synthesizer. The drawing at the right is the block
diagram showing the basic composition of asynthesizer.
•KEYBOARD CIRCUIT
This circuit generates the key's voltage (KEY
VOLT) that corresponds to the interval, and the
signal voltage (TRIGGER) that indicates that the
key is being depressed. Although the TRIGGER will
become "o" volt when the finger is released from
the key, the KEY VOLT that indicates the interval
will be memorized by the SAMPLE AND HOLD
(S/II) circuit until the next key is depressed.
The drawing at the right shows the relationship
between the key's interval and KEY VOLT voltage
together with the wave forms of the TRIGGER and
KEY VOLT signals mi (E) do (C) -* sol (G)
are depressed.
•VCO (Voltage control oscillator)
The VCO makes asound source of afrequency
that corresponds to the KEY VOLT of the key-
board circuit. It oscillates simultaneously such sound
source wave forms as saw-tooth waves and square
waves that have agreat number of harmonics and
sine waves of asingle frequency. Although the
oscillator frequency corresponds linearly to the KEY
VOLT value, if the oscillator should be controlled
while adding an AC voltage such as low frequency
oscillator (LFO) to the KEY VOLT voltage, it will
be possible to modulate the key interval with the
LFO, or the like. The function of adding this voltage
is carried out by an adder. Regarding this voltage
value that is used to control the VCO, it is possible
to freely control the VCO's oscillating frequency
in accordance with the voltage value since asyn-
thetic voltage formed by several AC wave forms is
used instead of afixed DC voltage.
The drawing at the right shows acase of VCO
control in which the sine waves of the LFO is
added to the KEY VOLT. Needless to say, it is
also possible to add an EG voltage in place of, or
simultaneously with, the LFO.
•VCF (Voltage controlled filter)
The VCF, which is the heart of the synthesizer,
VCO VCF VCA
KEYBOARD FOLLOW
EG
KEY VOLT
KEYBOARD
EG
TRIGGER
VOLTAGE KEY VOLT
C
PITCH
HOLD HOLD
mm TRIGGER
E| I[c
EG C
132
^KEYON
L-KEY OFF
-KEYON LKEY OFF
PITCH
VCO MOD
CONTROL VOLT
LFO
KEY VOLT
VCO OUT

creates the tone by changing the harmonic structure
by cutting, or emphasizing, with the filter apart of
the harmonics of VCO-produced sound source having
alarge number of harmonics.
The VCF creates the tone by changing the cut-
off frequency (existing on the borderline between
the passage and shield-off sections) by controlling
the voltage. To eliminate any harmonics structure
deviation fKEY BOARD FOLLOW) caused by the
difference in intervals, it is designed so that the
cut-off frequency will shift along with the shift in
the interval, by adding the KEY VOLT voltage of
the keyboard circuit to the DC voltage generated
with the use of the control. The tone can be rendered
with atimewise variation by adding to these con-
trol voltages avoltage such as that of the LFO, or
EG, that changes with time as in the case of the
VCO.
The drawing at the right illustrates the mode in
which the cut-off frequency of the LPF is controlled
by the EG.
VCA (Voltage controlled amplifier)
The VCA is an amplifier block whose amplifica-
tion degree is varied by the control voltage.
The drawing at the right shows acase in which
the amplification degree of the amplifier is controlled
by the EG voltage to give atimewise variation
(envelope) to the volume, from the point the sound
starts up to the point it fades away. Naturally, as
in the cases of the VCO and VCF, it is possible
to add avoltage such as of the LFO to the EG
voltage and use the resulting voltage as VGA's con-
trol voltage.
CUT OFF FRO.
-KEY VOLT
AMPLITUDE
INPUT OUTPUT
EG (Envelope Generator)
The EG has the function of producing the voltage
curve that indicates the condition in which the
sound changes in order to render the sound with a
timewise variation. Given asignal to initiate the
start and end of the envelope by the TRIGGER
voltage of the keyboard circuit, the EG generates
signals that will be used as the control signals for
the VCO, VCF, VCA, etc.
In addition to the elements described above, the
synthesizer has such elements as the LFO (low
frequency oscillator) that functions to give aperi-
odical variation, and controls to enhance the effects
of the performance. But in any case, the fact re-
mains the same that something is controlled by
changing the voltage.
In this way, since all controls in asynthesizer are
effected by using the voltage value as a medium,
the synthesizer is capable of producing various
variations of sounds with ease.
EG 1,1
TRIGGER
KEY-ON KEY-OFF ON OFF ON
Difference in envelope waveforms caused by
trigger waveforms.

CONNECTION
(T) POWER CORD
Connect the power cord plug into an AC outlet.
(2) OUTPUT
These are output terminals. They are terminals
for three different outputs: "1" and "2" will feed out
outputs respectively of VCA-1 and VCA-2, while "1 +
2" will feed out an output wherein VCA-1 and VCA-2
are mixed.
•Switchover can be effected among the voltage levels
to be fed out.
•The amplifier to be connected to the synthesizer
should have as flat as possible frequency response.
(3) FOOT SWITCH
SUSTAIN/PORTAMENTO
By connecting the FOOT switch, the effects of
the SUSTAIN and PORTAMENTO levers can be can-
celled.
@FOOT CONTROLLER
BRILLIANCE/VOLUME
By the use of the FOOT CONTROLLER, the
BRILLIANCE and VOLUME levers can be operated.
©KEY VOLT &(6) TRIGGER
By connecting the set with another synthesizer
having KEY VOLT and TRIGGER terminals, this
set can be used as amultiple-system synthesizer.
See Page 15 for further details.
®EXTERNAL
By connecting an electric guitar, or an electric
piano to this terminal, asynthesizer effect can be
given to the sound source. For further details, please
refer to Page 15.
•Connections should be carried out carefully as an
erroneous connection will become the cause of
troubles of the synthesizer and amplifier.
•Never apply an excessive input (5V, or more) to
the KEY VOLT's IN terminal as it will cause trouble
to generate in the synthesizer.

BASIC SETTING
The functions of the respective controls and switches will be described in the section starting
from Page 8. Here we shall merely refer to how basic setting is carried out when sounds are to be
produced experimentally to check the synthesizer, or amplifier.
This is for the case in which the saw-tooth waves (|\ )of VCO-1 are fed out from OUTPUT 1
and the square waves (V\_) of VCO-2 from OUTPUT 2in their original form. OUTPUT 1+2 will feed
out awaveform wherein the two are mixed.
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•Setting is carried out by checking the controls and
switches from 1to 18.
•Once the controls and switches are set in the state
of basic setting, sounds will be produced no matter
how other controls and switches may be set. How-
ever, to acquire abetter understanding of the func-
tions of each section, we suggest that you set them
as shown in the diagram.
•When sounds cannot be produced for some un-
known reason, the setting should be brought back
to the basic setting.
LEVEL
OUTPUT
1
LFO IN EG IN
EG OUT—
A*BfCf D* Ef
EG-1 EG-2
mm <Sa# mm fcb-3

functions KEYBOARD/PITCH
ill !Mil
Hf§
iqam
illllL
(2) (3) (4)
POWE R
©POWER
This is the power switch. When switched
the POWER indicator will illuminate.
ON,
OUTPUT
(2) VOLUME
These controls are used to control the overall
volume of CS-30L. The control on the amplifier
side should be fixed to an optimum position.
(3) BALANCE
Used to control the volume balance between
VCA-1 and VCA-2 in the CS-30L which has 2systems
of the VCO, VCF and VCA.
KEYBOARD
The CS-30 is amonotone synthesizer that covers
3-1/2 octaves with its 44 keys. When 2, or more,
keys are depressed simultaneously, priority will be
given to the key of the higher, or highest interval.
(Priority to higher sound)
®PHONES
This is an output terminal for the headphones.
PITCH
©TUNE
Used for adjusting the intervals. VCO-1 and VCO-
2will change in the same manner.
•It takes roughly 30 minutes for the stabilizer's inter-
vals to stabilize. Accordingly, when tuning is to be
carried out, power should be switched on approxi-
mately 30 minutes prior to tuning.
(DDE TUNE
Used for adjusting the intervals of VCO-1 alone.
The interval of VCO-2 will remain unchanged.
©-
(g>—
(3)(4>
(3)EG SELECTOR
Effects switchover of envelope generator (EG).
(4) EG DEPTH
Used when modulating the VCO with the envelope
generator: adjusts the depth.
w1
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FUNCTIONS VC01 /VC0 2
©-
(6>
(5}
(4> 3©e o
:Jl=- —_JK
©FEET
As stated earlier, the keyboard covers 3-1/2
octaves with its 44 keys. By making use of this
FEET Switch, the sound range to be covered can
be shifted as shown in the diagram.
•VC01: Covers 2' ~64'
•VC02: Covers 4' ~128'
©PWAdjusts the pulse width of the square wave out-
put of VCO. (50% ~90%)
(3)PWM
Changes the pulse width at intervals equivalent
to LFO's period. (10%~90%)
(4) MODULATION FUNCTION
Used for switching over the way in which VCO
modulation is to be applied.
•At S/H, sounds whose intervals vary in an irregular
manner will be fed out.
•At EXT, the intervals will be varied by the external
input.
©MODULATION DEPTH
Modulates the VCO using the period of LFO.
PW: Pulse Width (at maximum change)
-5095- -90%—
Pulse Width: 90%
PWM: Pulse Width Modulator
"2596 7596
It changes in the order of
®-©-©-©-®.
U-O'
©MOD VC0Z
VCOl will be modulated by the output of VC02.

FUNCTIONS VCF1 /VCF2
(1) ©
3QE ©
(4) (I) © ©
LEVEL KBD F0L10W RESONANCF
MOD DEPTH EG DEPTH
-0 'O
'
LEVEL MOD FUNCTION EG SEtBCTOFi
O3&
FOLLOW SESONANCE
MOD DEPTH El
£
10D FUNCTION EG SEIECTOP
(8) C7)
ffiOARD r
EG IN
VCD
LFO IN
LFO IN
IINPUT LEVEL
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VLEVEL
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VCF-1 -
LFO IN EG IN
Li
INPUT
VCF IHP
—-*r
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S i
I1
•
VCF-2 -
IT
LFO IN EG II
n+2
LFO iN EG IN
©INPUT/LEVEL
These are input changeover switches and acon-
trol for the VCF.
•No control is provided for the VCF-2 side.
©CUT OFF FRQ
Adjusts the cut off frequency of the VCF.
(3) RESONANCE
Adjusts the resonance in the neighborhood of
the VCF cut off frequency.
(4) KBD FOLLOW
It is designed so that the cut off frequency of
the VCF will shift, following the intervals of the
keys. This is the control used for adjusting the
following properties.
(5) MOD FUNCTION
Selects waveform of LFO with which VCF is to be
modulated.
•At S/H, sounds whose tones vary in an irregular man-
ner will be fed out.
•At EXT, the tones will be modulated by the external
input.
(6) MOD DEPTH
Adjusts modulation degree.
EG SELECTOR
Selects envelope generator.
®EG DEPTH
Adjusts the way in which EG is to be applied.

FUNCTIONS VCA1 /VCA2
®©(3) (© (6) (7) (8)
A-
'CF IEG
QI I |I
LEVEL
EG )
IFILTER
VCF-1 b"R
..JO IN LFO IN EG IN FT
LFO IN EG
©HP/BP/LP
This is aswitch used for changing over the filter
characteristics of the VCF.
HP: High pass filter
BP: Band pass filter
LP: Low pass filter
(2) VCF1, VCF2 ^VVCOI
Permits mixing of sine waves of VCF1, VCF2
and VCOl at VCA1.
(3) HOLD/EG
When positioned toward the HOLD side, the
interval of the key that has been depressed im-
mediately before operating this switch will be con-
tinued to be fed out regardless of the EG.
•Offers convenience for pitch matching.
•When positioned toward the EG side, the volume
variation set by the EG will be gained.
(4) EG A/C/E
Aswitch used for changing over the envelope
generator employed for the VCA.
(5) MOD FUNCTION
Aswitch for selecting the modulation wave-
form.
•When set to EXT, permits modulation to be carried
out by the use of external signals.
©MOD DEPTH
Used for modulating the VCA with the period
of LFO.
RMO (Ring Modulator)
Enables unique effects to be gained by ring-modulat-
ing the VCF 2output, by using the sine waves of VCO 1
,
or LFO.
®NORMAL/RMO.
Adjusts the modulation degree of ring modulation.
©VCO 1/LFO.
Selects the modulation wave of ring modulation.

functions TRIGER/EG
1
1
KEY 1
BOARD)
PITCH
|
.J
EG IN
vco--
VCO"A.
LFO
EG IN
A
EG IN
PO IN EG
At B1
EG IN
A
:IN EG IN
-EG OUT-
EL
EG-1 EG-2 EG-3
TRIGGE R
©LFO/NORMAL
When set to the LFO side, atrigger will be
applied synchronizing with the LFO period for the
whole duration the key is kept depressed.
When set to the NORMAL side, atrigger will be
applied the instant the key is depressed.
(2) SINGLE/MULTI
When positioned to the MULT1 side, slur execu-
tion toward ahigher interval is possible.
SINGLE
t_ The interval
will change at
the next key
but the envel-
ope will not.
The first key's envel-
ope.
^—Anew envelope
starts at the
next key.
The first key's envel-
ope.

functions EG/EFFECT
EG1, EG2 and EG3
These are envelope generators which are used for
making envelopes with trigger signals developed by
means of the keyboard, or by external signals, to control
the PITCH, VCF, VCA and LFO blocks.
To enable changeover, an EG SELECT switch is pro-
vided for each of the blocks (i.e., PITCH, VCF, VCA
and LFO).
•At each envelope generator, an indicator will illumi-
nate whenever the EG is in use to enable confirmation
of which block an EG is being used for.
Regarding the PITCH block, EG signals will cause a
change in the intervals.
As regards the VCF, EG signals will cause the cut-off
frequency to change.
Meanwhile, for the VCA, EG signals arc used for con-
trolling volume variation (from the point akey is de-
pressed up to the point the sound fades away).
With regard to the LFO, EG signals will cause the
period to change.
E61 ATh»- DT K-RT -i
KEY ON
TRIGGER
KEY OFF
EG2.3
1
SL
ENVELOPE
(3) KBO/EXT
This is aswitch used for selecting the trigger input.
Switch this over toward the KBD side for key-
board performances and toward the EXT side when
the trigger is to be applied with external inputs.
(4) INITIAL LEVEL (IL)
(§) ATTACK LEVEL (AL)
(6) ATTACK TIME (AT)
(7) DECAY TIME (DT)
(8) RELEASE TIME (RT)
(9) SUSTAIN LEVEL (SL)
(g) NORMAL/TIME x5
When positioned to the "TIME x5" side, the
lengths of AT, DT and RT will become 5times the
NORMAL time.
•The Boutputs of EG-1 are inverted-A outputs, while
the Doutput of EG-2 is an inverted- Coutput.
•In the PITCH, VCF and LFO blocks, the EG's
A, B, C, Dand Ecan be used by effecting change-
over to any of them that is desired.
•In the VCA block, the A, Cand Eoutputs can be
used by changeover operations.
•When the EG outputs C, Dand Eof EGs 2and 3are
used for the PITCH block, the intervals will shift as
set by the SUSTAIN LEVEL.

functions LFO/EFFECT
LFO
©SPEED
Used for adjusting the period of LFO. (0.1 ~
100Hz)
(D EG SELECTOR
Aswitch used for changing over the envelope
generator.
(D EG DEPTH
Used for modulating the period of LFO with the
envelope generator.
EFFECT
®PORTAMENTO
Determines the time for which the PORTAMENTO
effect is to be varied.
•By connecting the FOOT switch to the terminal
on the rear panel, the PORTAMENTO effect can
be switched ON and OFF.
(D SUSTAIN
Controls the RELEASE TIME of the envelope
generators.
•If the SUSTAIN lever is positioned to ahigher
point than the envelope generator sRT lever, pri-
ority will be given to SUSTAIN.
•The SUSTAIN effect can be switched ON and OFF
by making use of the FOOT SWITCH.
(6) BRILLIANCE
The cut-off frequencies of the VCF can be changed
continuously by manual operation by sliding the
BRILLIANCE lever vertically.
®VCF1 +VCF2
Switches over the VCF that is to be controlled by
BRILLIANCE.
•Foot-controlled BRILLIANCE performance is pos-
sible by connecting the FOOT CONTROLLER.
(§) PITCH BEND
By sliding the PITCH BEND lever longitudinally,
the pitch can be changed continuously through man-
ual operation.
(§) LIMITTER
Determines the variable range for PITCH BEND.
•Enables intervals to be changed within the range of
MAX ±1octave.

functions EXTERNAL
r
©£
-EXTERNAL
By connecting external signals to the EXTERNAL
terminal provided on the rear panel, it is possible to use
these external signals as sound sources. It is also possible
to make the trigger signals with which the start of the
envelope generator (EG) is controlled, by detecting the
waveforms of these signals. Accordingly, synthesized
sounds can be gained (by the unit functioning, for ex-
ample, as aguitar synthesizer), when an electric guitar,
or an electric piano is connected.
©EXTERNAL
This is aterminal used for feeding in external
signals such as those of an electric guitar, or elec-
tronic piano.
KEY-
BOARD
PITCH
EG IN
IIINPUT LEVEL
¥CG~i r
LFO IN
VCF-1
vco:.:
LFO IN
EXTER-
NAL
LFO IN EG IN I
•* VCF-2
EG IN
LFO LFO
OUT NOISE-G EG-1
(2) 0/-20
Switching is to be carried out in accordance
with the external signal levels.
•INPUT &LEVEL (VCF1)
When external signals are used as the sound source,
the INPUT switch is to be set to the EXT side and
the volume should be adjusted by means of the
LEVEL control.
(3) TRIGGERLEVEL
When the trigger is to be applied by external
signals, the EG block's trigger switch, KBD/EXT is to
be set to EXT. Then, the condition of trigger appli-
cation should be adjusted by means of LEVEL.
(g) SIGNAL LEVEL
Used for adjusting the input level of external
signals.
WHEN USING TWO SYNTHESIZERS
By using the KEY VOLT, TRIGGER and SEQUEN-
CER terminals to transmit the data of this CS-30L to
another CS-30L (or to other synthesizers having similar
terminals), this synthesizer can be used as amultiple-
system synthesizer.
©KEY VOLT
This is the voltage by which the intervals of the
VCO are determined.
(2) TRIGGER
This is the signal to indicate the KEY-ON and
KEY-OFF timings of the keyboard.
KEY DATA
Synthesizer 1
Synthesizer 2
®
-KEY VOLT-
®ft
—TRIGGER -
IN
-KEY VOLT—
IN OUT
—TRIGGER —
i> ©
NOUT
Fig. 1
Fig. 1shows the connections for the case of keyboard
performance of Synthesizer 1, with control effected
Synthesizer 2by Synthesizer 1.

OPERATION SEQUENCE
BASIC SETTING
3' H
IIII
Same as that shown on Page 7.
EG IN
;sNir LEVEL
OUTPUT
1
"INPUT
^y~^ *
;^r-z bp
fLKS
SETTING
©Referring to "CONNECTION", set the synthe-
sizer.
(2) Switch on the synthesizer and amplifier and set
the amplifier's VOLUME control to an optimum
position.
(3) When carrying out tuning, remember to switch on
power about 30 minutes prior to tuning.
SOUND MAKING
(?) Before playing the synthesizer, you must start
by making your own original sounds.
(2) The signals, which flow from the left side of
the control panel to the right, can be controlled
by the respective control knobs.
(3) Set the controls of the VCF and VCA as shown
in the above drawing (Basic Setting). The signal of
the interval of the key that has been depressed will
be produced without receiving any "spicing" from
either the VCF, or VCA.
•With the synthesizer in this mode, if the BAL-
ANCE lever is positioned toward the "1" side,
saw-tooth waves of VCO-1 will be fed out without
any modulation, and when positioned toward the
"2" side, square waves will be fed out.
EG IN LFO IN EG IN
(4) Starting from Basic Setting, make sounds for
one system each. Finally, mix the 2systems, and
complete the overall sound. In the CS-30L, the signal
flows can be combined into several kinds of patterns
by selecting the input selector and by carrying out
mixing operations.
(5) The operational sequence of three signal flow
patterns is described below.
(6) In actual sound making, the sequence can be
freely changed, while confirming the sounds with
your own ears and adjusting the control knobs, or
changing the flow pattern. However, if you adjust -
the controls in adisorderly manner, you would
eventually become too confused to understand which
block you are controlling, or which control to use
for which block. When carrying out adjustment,
you should be always mindful of the flow of the
sound source signal flow as well as of the control
signal flow.

OPERATION SEQUENCE
VCO-2 -*• VCF-2 -* VCA-2 Pattern
As the most basic and simple pattern, the case in which sounds are made by the VCO-2 ->• VCF-2
-* VCA-2 flow is described below. Push down the BALANCE lever to the "2" side.
r
KEY-
BOARD
PITCH
EG IN
10)
dQ
"OFF F
DFOLLKB DFOLLOW RESONANCE
MOD DEPTH EG C
AQD FUNCTION EG SELECTOR
VCO-2
T
LFO II
INPUT
I1
(7)62)
fl-B
^> VCF-2 ;^g-Ue
FILTER
RMO VCA-2
LFO IN EG IN LFO IN EG IN
1+2
©VCO BLOCK
•Select the sound source that is to become the
fundamental sound, using the INPUT switch ©
of the VCF block.
•Determine the keyboard's interval range by means
of the FEET switch (2).
•When an_ wave is being used, it is possible to
change the pulse width of the VCO by means
of the PW (§).
•Further, by using the PWM(4), it can be utilized
as asound source of afurther different touch.
•By using the EG DEPTH (5) and EG SELECTOR
(6) of the PITCH block, the intervals can be ren-
dered with an evelope.
(2) VCF BLOCK
•This is the stage at which the basic harmonic
structure is made. First, select the filter using
the FILTER switch (7) of the VCA block.
•Produce the tone of your preference by adjust-
ing the CUT OFF FRQ ®and RESONANCE (9).
•Apply an envelope to the tone by using the EG
DEPTH ®,EG SELECTOR (Q) and EG (en-
velope generator).
(D VCA BLOCK
•By the use of the EG changing switch @,
select the envelope generators for A, Cand E.
Apply an envelope to the volume by operating
the respective levers of the envelope generators.
(4) LFO BLOCK
•Adjust SPEED ©to an adequate speed.
•It is also possible to control the LFO period
by adjusting the MODULATION of VCO, VCF
and VCA.
•It is also possible to modulate the LFO period
(SPEED) by using the EG SELECTOR (§) and
EG DEPTH (3).
(5) Steps 1through 4are the basic sequence to be
followed for making sounds. Actually, however, you
can create sounds that best fits your image by ad-
opting afreer sequence.

OPERATION SEQUENCE
PATTERN USING TWO VCOs
LFO IN
7-+<=>\ ^
(input level .
©VCO BLOCK
•The intervals of VCO-1 and VCO-2 can be applied
by means of DE TUNE ©of the PITCH block.
•The saw-tooth waves of VCO-1 will be fed into
VCF-1.
(g)VCF BLOCK
•Set the INPUT changing switch (2) to VCO-2
l\ .
•Position the INPUT changing switch (3) to f\ ,
or n_ of VCO-1.
•Mix VCO-1 and VCO-2 by means of the INPUT
LEVEL controls ©and (5).
EH"
INPUT
I
PATTERN IN WHICH TWO VCFs ARE USED IN
SERIES
(2)VCF BLOCK
•Position the FILTER switch ©of VCF-2 to
VCF-1 HP.
•When VCF-2 is set to either LP, or BP, and the
CUT OFF FRQ ©is set to afrequency lower
than that of VCF-1's CUT OFF FRQ ®, some-
times sounds will not be produced.
The controls of the respective blocks, even in
the case any block of the 2systems is arranged in
series or in parallel, is to be carried out in amanner
similar to that carried out for the VCO-2 -» VCF-2
VCO
FO ih
FO IN LFO IN EG IN
-> VCA-2 Pattern described on Page 17. When you
reach the stage where you can understand, by re-
ferring to the block diagram, what kind of positions
the controls and switches of the panel occupy in the
overall signal flow, then you will no doubt be able to
discover agreater number of patterns.
Try to get an understanding of the function of
each control by actually producing sounds and adjust-
ing the control with your own hands, while confirm-
ing the difference in sounds with your own ears.

TROUBLE SHOOTING
NO SOUND
£
Sounds that have
been set are not heard.
Set to the basic
setting shown on page 7.
During oper.
have ceased
stion, sounds
to come out.
Restore settinc
setting showr to the basic
on page 7.
1
During performance, sounds have
suddently ceased to come out.
Do sounds come out?
Are the controls of the
amplifier normal?
Has the Synthesizer Amplifier
-» Speaker connections been
properly executed?
Is there any disconnected power
cord, or connection cord of the
amplifier, or synthesizer?
After thoroughly checking each item, if the situ
ation still cannot be remedied, please refer the
matter to your nearest YAMAHA service shop
OPERATES BUT NOT IN
ANORMAL MANNER.
Faint sounds (Volume
will not increase)
.
Are the VOLUME controls of
the synthesizer and amplifier
properly set?
Sounds co
are not ne out but normal.
'r
If sounds have been normal at the
basic setting shown on page 7,
then the trouble is due to the
misoperation of controls.
1
Other controls do not work.
As the controls of the EG are
correlated, setting is to be
carried out with the function
of each switch kept in mind.
Are the amplifier's sensitivity and
output large enough?
Is setting of the EG selected by
VCA normal?
After setting the ILand AL of the
EG selected by VCF, aclick will
be heard when AT and DT are "0".
When SL is "0", only small
sounds will be heard if AT
and DT are too small.
Alarge change in volume is
observed at the position to
which CUT OFF FRO
control is set.
c1£
Please read the contents of the owner's man-
ual carefully to fully understand the func-
tions of the respective controls and switches
to ensure proper operation of them. )©

Please copy the drawing and use it as amemorandum for your "original sounds.