Yamaha CS-5 User manual

YAMAHA
Synthesizer
OWNER'S MANUAL

PROFILE
The CS-5 synthesizer is ideal for awide variety
of applications. It can serve as a beginner's
instrument, and it can equally well be used as a
versatile solo keyboard.
w^m
This block controls
the external input
signal.
page®©
ill
This block consists of
avery low frequency
oscillator to modulate
theVCO,VCF,and
VGA blocks. Q
Voltage controlled oscillator
block to control the pitch and
generate square waves and
sawtooth waves as sound
sources. "^
page©
iMiiiiiiffij
Points of Attention
Installation
Avoid places subjected to direct sunshine, high
humidity, or extremely dusty locations. Never use the
synthesizer near fire or heat -producing objects, such
as on top of apower amplifier.
Cleaning
When cleaning the set, do not wipe the panel or key-
board with thinner or other cleaninc) liquids, as this
may leave stains or cause discoloration. Always use
only asoft and dry piece of cloth.
Connections
Connections to an amplifier or other equipment must
be made appropriately and with due care, as wrong
connections may lead to damage in the synthesizer
or amplifier.
Volume
The volume level should always be set with care, as
the application of excessive input to the amplifier
may cause damage to the amplifier or speakers.
Sliding
control
to change
the pitch
manually
during
performance.
page©LFO
s- SPEED
,^L1
.
«-/r^AV2 ^.
-10 s-
LFO MOD POdTAN
©

Thil Bfictlan
lIlB^ldliJfld
IQ thfl VCF
Ilia lBv»l£.
p..^
VottBgHi CDnlrQiled Fihir black. Thh Jilo'ct:
produiSi Ehelun? nolpr Ijy co[i(rDlll[»|]
Iht liarniDnic sLruftur^ dF the ^ound s{>iirc«
ivhich in luni isgsKorno^l tiy ili« niil'QJF
friqueinv o! Itie fMter. DonUDl voltaflM
in yiv»ik by iIm CUT OPJ^ FREO knpti, bv
rliB envelope kX in Itit EG bbclt, esc, gm^
oetieUF
ViilLjip canirDlJHf «np|||tar falDcli.
T|ii^ block CDnliols tt\i train ni»
jiccttrding to ilw enuilaiM sal Ity
til? E(ii l}|gck iiid olJitr FS'CiQf
L
page,®
Enufflofw ggn^rHTpr 1fl prpduije the (r*\rw of tDmporal diflng* ii) th» JOuind ('ariyBliine'J,
by munsoF t\'ma £lyrdls,r«f]rB$en«in[|ik ON/OFF timiivti af (tie keyboard.
OUTPUT
POWDI
fli^itch
paae^
.iLVilO"
h..r
VUL1ALC
OdHmCuEt
FIITTP -ipf —
1h|K«ii/^i;r '' iig h:'P "r'l'"!-
-11 I-
I. -=.
YAMAHA
rtiL'JWi 1J-Tester [I ^
l'€ UDP
Z^
€>

WHAT IS A SYNTHESIZER
Unlike other musical instruments, the synthesizer has
no fixed sound of its own. Thus, before playing it, it is
necessary to shape the sounds. But with the synthesizer
you will be able to create, with your own liands and by
synthesizing sounds, anew type of sound that can never
be made by any other musical instrument.
•THE THREE ELEMENTS OF SOUND
How does asynthesizer make sounds? Before
explaining the principle of the synthesizer, let us
consider what kind of properties sound has.
Sound produced by musical instruments such as
the piano or the guitar has acertain pitch, according
to the key or string used. It is possible to change the
pitch by changing the length of the vibrating portion
of the string. In this case, the string's nuinber of
vibrations per second also changes. The slower the
string vibrates, the lower the pitcii becomes. In this
way, it is possible to express the difference in pitch
by the number of vibrations (frequency).
PITCHES
30rSS $(?UJO(i
wwwv
However, between the sound of apiano and that
of aguitar there is adifference in tone even when
both sounds are of the same pitch: no one will mis-
take the sound of the piano for that of the guitar.
This is because there is adifference in the way the
strings vibrate (tlie vibration waveform ), due to the
difference in the arrangement by which the sounds
are generated, and because of the difference in the
shape and size of the musical instruments.
TONES jDifferetlca (n -tones means
PIOMO
Furthermore, even when both the pitch and tone
quality are the same there can be adifference in
sound, such as when the same key of the piano is hit
in aforcible or agentle manner. It is easy to discern
the two sounds trom each other because of the
magnitude (volume) of the sound. This is because a
difference will be produced in the size and amplitude
of the string's vibrations, due to the intensity with
which it has been struck.
In this way, sounds produced by musical instru-
ments have such elements as pitch, tone and volume,
whose differences add to the sound's characteristics.
These elements are referred to as "the three elements
of sound", which may also be considered as the
difference in frequency, waveform and amplitude.
•TEMPORAL CHANGE IN SOUNDS
However, the elements which render sounds with
certain ciiaractcristics are not confined to these
three. Taking the piano for example, the volume will
reach maximum the instant the key is hit, then will
decrease graduahy. When the finger is released from
the keyboard, the sound will fade out. In the case of
the organ, the action of depressing the key will cause
the volume to rise to acertain level, which will be
retanicd for the duration the keyboard is depressed.
The sound will fade away when the finger is released
from the key.
Ktr ON
In such musical instruments as the trumpet, for
example, the harmonic spectrum changes together
with the change in volume. The tone changes too,
along with the passage of time.
Thus, the sounds of musical instruments undergo
delicate changes from the time the sound is generated
to the time it fades away. These temporal changes are
known as an "envelope."
HARMOMICS
What must we do in order to produce electrical
sounds that have the above mentioned three elements
of sound, these are pitch, tone and volume, and which
vary with time (have an envelope)? Before going into
the matter, let us view sound again from adifferent
angle
.
As regards the vibration waveforms by which the
tone is determined, it is known that any given wave-
form can be considered as consisting of acertain
number of sine waves. !n other words, all waveforms
can be produced by combining a large number of
sine waves. For example, let us overlap over asingle
sine wave waveforms having an integral multiple
o

number of vibrations, such as 2-fold, 3-fold, and so
oil. It is seen that the waveform will gradually come
to resemble asaVk-tooth waveform, in addition to this,
it is apparent that this sawtooth waveform has a
cycle similar to that of the sine wave that has been
used as the basis. The sine wave with the basic cycle is
referred to as the fundamental and the sine waves of
harmonic overtones as the harmonics. In the case of
musical instruments, the way in which harmonics are
contained in sounds will depend on the arrangement
by which sounds are generated. When we discuss the
difference in tones (waveforms), it is the same as dis-
cussing what kind of harmonics the sounds contain.
Accordingly, one can express the three elements of
sound in another manner, that is, as 1) pitch. 2) the
manner in which harmonics are contained (harmonic
structure) and 3) volume.
SfiWTOOTH WAVE
leve\
Ampl;tu<je ;/^
2-f 3^
A.A
5* 3d-f
Hitrmcnfc^
STRUCTURE OF THE SYNTH ESIZEft
In the synthesizer, sounds are synthesized by
electronically effecting control on the four properties
of sound (the three elements of sound plus the
envelope), dividing it into 4blocks.
Control of pitch is effected by the VCO. that of
harmonic spectrum by the VCF, that of volume by
the VCA and that of envelope by the EG (envelope
generator). The following describes the functions of
each block.
Chanae of uratreforfft o
Change o{ hctrmorlics.
f
o
ToCutotf
'him«ii'5 '^ -fc
In addition to adjusting the cut-off frequency by
means of aknob, the tone is caused to undergo a
temporal change (from the time the sound is
generated to the time it ceases) to give it an "enve-
lope". This is accomplished by effecting control on
the filter's cut-off frequencies by means of the
envelope generator.
VCA
The VCA block adds an "envelope" to the volume.
The process starting from the generation of the sound
up to the point the sound gradually fades away is
governed by the envelope generator's ATTACK TIME,
DECAY TIME, SUSTAIN LEVEL, RELEASE TIME
(A.D.S.R.), changing the amplification degree of the
VCA amplifier.
VCA and Ewe\oae
V^f\ Oatput
V
It
•VCO
The VCO block produces sound sources of fre-
quencies corresponding to the intervals of the key-
board. The sound source waveforms produced" by the
VCO are sawtooth waves and square waves that
include many harmonics in aregular manner. These
waves are oscillated, using an electronic circuit.
•VCF
The VCF block determines the tone, changing the
harmonic spectrum of the sound sources by cutting,
or emphasizing, certain parts of the harmonics by
passing the sound sources through filters. The
boundary between the portion that passes through
(he filter and the portion that is cut off is known as
the cut-off frequency. The VCF creates the charac-
teristic harmonic spectrum, by varying the cut-off
frequency.
The signals from the VCO reach the VCF where
they undergo achange with regard to their harmonic
spectrum by being passed through afilter. The sig-
nals, now containing certain tone characteristics, are
given avolume "envelope" at the VCA and then fed
out. In this way, all elements of the properties of
sound are controlled electronically, by utilizing the
three elements of sound and the "envelope." The
synthesizer has, in addition to the blocks described
above, other blocks such as the LEO which permit
further changes in the sounds. But in this case too,
the job is performed by controlling the three ele-
ments of sound and the envelope.
We hope that the points described in this section
may be helpful to understand the immense possibili-
ties and great pleasure awaiting you on apath that
will lead you into anew world of music using a
totally new musical instrument, the synthesizer. ©

CONNECTIONS
-^OUTPUT-
o
fg
OUTLET
in
-COMTROL VOLT-
IN OUT
-TRIGGER-
OUT
For details of terminals Q) and i
see page 14.
PIN PLUG
STEREO AMPLIFIER (mono.j'W ^ermmal.
[^cd[i3 Dia did.
^
ELECTRIC GUITAR
PHONE PLUG
to INPUT terminal
^
OPOWER CORD
Connect the power cord plug to an AC outlet.
©OUTPUT
The CS-5 can be connected to all kinds of ampli-
fiers. Use connection cords with plugs matching the
shape of the input terminal of the amplifier to be
used. The following input terminals are to be used:
KEYBOARD AMPLIFIER .,..INPUT TERMINAL
GUITAR AMPLIFIER LOW INPUT
STEREO AMPLIFIER AUX TERMINAL
ELECTRONIC ORGAN EXT IN, AUX IN,
EXP IN, etc.
©CONTROLVOLT ©TRIGGER
By connecting the set with other synthesizers,
such as CS-5, CS-IO, CS-15, CS-30 etc., having
CONTROL VOLT (or KEY VOLT), and TRIGGER
terminals, this set can be used as a multi-system
synthesizer. See page 14 for further details.
©EXTERNAL
If an electric guitar or the like is connected as
sound source, it is possible to give its sound asynthe-
sizer effect by the control blocks. For details see page
14.
©

HOW TO PRODUCE SOUND
/TiiL'^ stctioft wfff fa- rvf'ktifiCii atv^iniitig mttiv rS^fttti JJtiw. {*ksie uprme Ttit knuim and
Switches mesch iiem Ho ^md^niuTxd tiKirSwsctkm wJtik Unminji to ft}f ^hatri-si mn?nmj.
Ti> inmediitteiy ointiftt ammt wftcn (Jk kayi^f*.' iicim-!H^, it isnttviyiry u> xtrs iit6 %yMhvsiser
{hefe«^f;r referred to s& imiic ietii{tf((.
BASIC SETTING
2. S«l Lite ^til|kg$|7^r 3IS ^vwn In \he masimVta
!Ki:ofiilri| to (tic A.il1n«inp slcps.
®POWER SWITCH
VVIwii puslifd iliiwn, tlte iyiirhMtoris s-wJldmid on
und 1lLr indlciitrth Il1tiiriir^iik».
*Sfll 1|M MIXi-R T>k^k iv UAUmv.
N. iMwIOQi hW9wq] knob "^ 1(f ully riflht)
*Sel llw VC'F Wiitk ji! Pnlkwi-
HPF.'BPF/LPFiwitch 'LPF
CUTOFF FREQkhghi !-M (fuHv iIah1^
•S*< ihc VCA liL{K:K jti t'yll™-!:
EG DEPTH fcnoh -tO flultv rlih!)
•hic[ chi^ LG bloi;k a$ R^IJuVvg;
Sy^TAIR LEVEL knob- 1Q (fiiilyriiiHul
iict Hie cHlifir kiirttn ynJ M*d<iclic3 as i]lun;^4i^J
bekw. irnder this vtin^Jlliciii ?^iiind Ir fiii:iiJiii,.'«J ivlwii
the keyiL uic ikp^i^jtcl,
CD
j0 -n
-W^
^^ki \0^
i, Tliitcuntpleic tltc bajLt; seiciitg. TJie CS-5 pamtl layegl fciKows ihc block diagirarn
jyiillLfislzer and H'tjw ol'sieniuk Sl^uih flooring frorn
bft III riipli^ iiif i'umrciljjd in uuch bkisk ahd Itiiii [ha
sound 1^ ^rejii«*(|,

FUNCTIONS KEYBOARD/VCO
to tkepitSssfsd the TKitjGi^fi cwiimlsigtiBlr^lHWttf^ ffr^ KEY-ON si\d KEY-OFf timift^.
IKEVeOARD
TiiL" t'S'fi huiiT(»itii|ili(Hiib vfM\\n^i ^mt\i\\i
Uirre cx:8:ivc3 with 37 fccj's.
•Wntn EMM] Of mort htyi if* ikmullirll4ullv d«'
pfBSMdi^ prior iiv ii gi^vn to th? key of llw higher
pllcli.
•The ajund rartgs to ba covered on be thniigcd bv
thi PBETiwUcli lit 1ha VOO blodt.
)PITCH BEMO
The fhlEdi t^t be- 'variied up jjid down witliin Lhr
r^nito Lif Iu.,'C;iw ntaiitully 1^ s^liifcinn ilii^ PI IT]
I
U1:ND itiding i;on[ruL 3
7Ae TOO fcb** ft ay<fU«iS!C CfmtfoBtii nsdiliifOf ^imtikg »^-\i>t(X>fft ^id i^Muw wat>ti ^-fifclt
^ts&ttt ihf swad KumtantmilHS f* tht amtroi liffiirtt fH>f)f the ktfyisxi^^ Mi<^.
^TONE
Tl1i^ kiinb ai^ii^li Ibc p^4di. Turniiij; Ulu^-iir^;^
'"ipija"' itw^tiAiCi pJiclk jiid [uj'rtitg LL Lowardi "inlniLi"
dcfd'ji'i'^ plltli. Tl1^^ is Used miuflP 1lw jtynlheslisr
wtLl:i uilioi tiiiSiruiiMiiL&.
•It will tnfcfl *DUl l&miinwtB-ssMer |K5iv"thg?ifflr
19 swl^tl-ifid Ol\l unlll Ihe |]itc>i ttthnont^t ft^liMi^Mii,
Thui, thrf iv'^tbtii^nr should Iw Iwmfld on 1&
mtnuiei bB^ors iumng.
fEET
The ktyboniJ covtrs ?njcilavH ^ith 37 k*}'i. The
smtiid milit' tiv Ihi i;<n<i:!ruU ciin Im 4\.\fK4 by ilie
FEKT 41^1 tth \i% illuslTBlei] tifinw.
FEET Conlrori
f^M 2l-£tT
p1 |. hfT'
apecT "
gJI=£.ET
•^
'-J
.J a
T
LFDMDD
Tht rrequf<iLi;i«!^ c»r LiflcLllalinii ^iiera1«d In Lhc
VC'U ^'HM \>v lurthtrT iini>iliibEt;'il wtthjn hnimlmn rmijji!
Iiy Ihc LFO bIcKli. Thir furllicr 111? Ll'O MUD knob
11 liiirii^J |4iU[iriJ« 10, ikie ij«i!frtr Elili' im><ljl4i;ji,>n
bMMjnics.
QD PORTAMENTO
I'UR JAMLN ro d^ till dlVe-^E by utidi eI$? h^ititd of
ane key ari'*wllily thaiyj*s iiilo (]l* i^ltth *f Eh* iie.(i(
(Hi« JcpieiicJ, The Jilfiliiij ipdtMl J^ i|dJuiL«d by ihk
kr<jb. Tjig fuirher ii i; iminted rL>w;j.jds L. |]i« lorjjer
(|w tr«i^ililLin IJim bi)t«|i]pL
®

FUNCTIONS VCO/LFO
{E? ?m (P4I IH mUh MQ4JIJ Iftti an)
Mdduljtc-j llts fvula wj(li.h uf Ihe VCO's (squirt)
Vjives III uporliHl sr'E u^iili ili«* SiE'l-:]':!]' kitiib In [he
IFO. Whcr the kiicilv 1$ lurnd tc* O. symmc-(rlcal
H]UiiH' i^iVMii iiffi iHikJiik'fiJ. Tl|[!' liliUi^i II hLurnud
lowarnJi 10, the latgpr twcyniei tltc change in piiEj«
^IJlh.
•To DiMiPlrm iht fHict sf Tht PWM, II li nHctimv
to turn Itu K(lamlmilh wawJ knob ij^i flfta th*
EXT/NO ISe fcncitj jjji Jn tht HIXEfl bloei! lully
lelt, find [Urrt (hfr PL (squane movb) knob Kjw^rJs
10.
•ThH PVM ioWiiviL !j ^kin»waveK regard lej? ai
Ih* v^flvflloim hvlLch isaiihltiii mth» LFO.
PWM: Ptilu VviiltFi ntQdiiktitiJi
Sir* YYivB qF
L..
-AW
l(t PWM ID In^n.K
60 ici SDW..
rftf ^Fi7 /^ 4f ir^- J'rJii^/nfiflrjCTrf^i' (wici^wr bhck ret produce ffeiindlatl C^ftgts in piidi, ims,
srttii HiAntu ill c-m/ftiJ by itn' V'tV. VCF. ami VfA iiint^kt,
*To confirm the effei^ 0f th? LFO, it ii nB^flHSfv I* tMrn up th» Lf MOD kiwb? in Mch
blQi^.
m
:ri I
^A
i^4
^F^^P
^^?^ ^?^ L^-J
-^?^ -.^- -^^
This Juiah a^jual? ||ic myJul-alian pttJod. The
^l>cv(l liPCHnsifi I'lisitr \\ki; IliTihtr clic- kn^tlt fi turiwij
|y*ardi F. The aijiiSiiiibk langc is 0.3 to rOO He.
ft^ ^iMiniilnjf the 9|h?fd flUTvrfinl kuurtd lMVi^cH c«II
be pivduee^t.
(» IFO
PS;
MNI-WAVI:
Oeiirly ehangl^K skujuid rlTecIs i;aik be oh-
tnihwd,
Vlbra[g.«rrwttaVtO.
"Wiih Wnh- lilt J^'firnwr efr*Cli (n VfF.
TiKTimuIrt efl'en;! lo VCA.
SAWTTJOTIIfrAVK
Int-rnniUJtit i^idden. vhansP and alnw
-UhiUl^D
£/l| .- ,'ilAMPI.I'. ANJJIIULD
Causra iircijiibr elmn^pfs S(\i samplift an
kimaiM viiJue n( i|ie irr«iiiiilufly- (iltuiigliig
noise warvTS, aitd SD^Mins that vaJuf uiHil
iini,Nlhi;i winplliky aiiuiie, ilnu |triii.kk:ltis
irreguljrJy oharglng nindoluii^jii M^nals. The
iiiinplliifl ]wdui.l h4l.i!ii?ri'nl.i»tl \iy tf\i ^VHUD
tm Principle
iHeiw wivsr^rrtft. SrTH ouidirt.
f,P# ij^
©

FUNCTIONS MiXER/EXTERNAL
Tf\e MiXIi'fi Miti sffcrtJ iftt iHn*/iwm ffJ i# (f*fJat satiHiJ uitiretft atni adftiafi She itrput
OEXT/NOISE
Wlinn CMlernal $i)iiiulj oi noist wJected by \hc
ijsrd ai titc wmiuL suum. udjusL lltCir voktm^ wL[||
IlLhKimb,
Adjusts Ehe sawkKtth w^C \tvt\s. Sniwio^tclt
whii^ti suJ4j Ihaa Uv bf used ss pwud^ S4>iind
iujr«^i fur litiliEiilliiji LiiilmnKnil^ iM Win
l\kc.
<S^ W. :SQJBuewaivB
AiLljUAlik \\w <n\i.\i\\! vavv Wwli, The pulw
widlh niuduliillyiL i>r iht-ge wjvftjtfiin hi? e4in.
hkicli. S^Udr^ <j^ivi-:i have liiiMnonioi oK 1\k
an ciT^;:! pGLiilJsir to ihf synUtcsixitr fan b?
oldlHlhicMt.
•In tha MIXER the valurnes af ths r«p«five wsw-
forini CBH bt idjuit'Bd indafHndtnEl^ jnd Ch*
(IHF^rflnt sound KMire?* c»n t>* 1r*etv mliieci-
Spictruin of UwliS«Ch wjau«
•Jri-i
ArrVil'ituCtf' N\- Titm
-'0
-JO
s
PtilfKl
\
M.....IHl
Spacer uft'i q1 symmetricjil -PflriDcf '
AmpJIiLudii
J;
•Tlma
-ffi'
Fi-equt«'V If I
Ji
S^c EXTERNAL *t>fi !5j on JliyMf/ eanimfiin^ nrciK>n whitit {xr/ftlfi joiits ^xjeftifii j:(jHflft
Ait-tt tfi /hJWP (lit ftn-tyU- Ki'diff ftiFjNrtJftt^ fri tlt« gXTJ::ftyAf. H-miml (it\ the mtr fffUfi, an tfK HHttuS
soufres ef tf\e synlficsisf:f.
•fot til* iXTi RN AL iHrnal* Hnd TftlOG€P LS VBL fetwb m(MQ* 14.
®> HOISE
NUISIi. LdiL be ^'ha^iTi ii IJLC suuiid EK>ur« by iha
l\XT/NOIf;i^ khuh Ilk lli<< MIXV.R bliii^k. Thf nulsc Is
white ikobu Int^luding widely 'dufKiseJ l^r^qvi^nckS;
fstiijlrg fmnt v#ry Unv Mvo-ry lilflt. 11iR wl\ suilnl
a^ sound source ia imLtHte su-ch luturul suuEid^ us
®

FUNCTIONS VCF
Tfw yt'i-' Cittisti^ ctnttrtfUpii ffitff f>hK-i; fiatm^ ff\f tmwtntic Mmeiitre and ar^ffi ftte mw
isifsraiion fty fiitffift^ Skt ataiui iOwme ^prafe sekctfd i» iht: MfX^ER hhiak.
(i5 HPF/BPf/LPF
HIM- :IHjih-puii filter
Frv^iirn^k^ hllllifr Ehiii 0\t ciM-nff l^.^y^rii^'
ml by lite CUT OFP FRIlCJ knob '^ pass.
l'[icxliicjii:|i}s Ijfinjf betwrcr tht rtLirnCffri'qucn-
cy !*t l>y Ik CLiT Ol-Fi FRGg kni)h |Jilv^.
TJi* CUT OFM- FkttJ kiiub Is m^^J to vary il\i
wnfth uf (htr hunil ml' frct|iiii}n4;i(!« hi'wvf jntuK<A,
I,PF :La^jniiM flUcr
E''r(,'i[iKnck's luwrr chiiiB (lie cin^off (rCtiiwnuj'
wl hy (ln^ VVJ OFF FRRQ k,n;h. piiw/lhis ii
i]it lypc III' IUkt ijfliiL-iilty used jji s>Tthc^i!»i:s.
•Vfhvn thf CUT OFF FREfl km^lj »(urnhtd luit^
la Lin th» LPF postiian, all iie^u^ncir^s ait cui
oft wiih no sound bfifPig producnd,
•Waitfii ihK CUT OFF FREQ kiwb ii luiriKt fullr
(0 HJPi mt HPF fir BPf pn-sition, Uvfl wsliim* wjlf
LieuLirni;! snmll &ln-« Qnly turrtionlc* In th« hFgt)
r^nn? df? paiHd throuvjh.
(0) CUTOFFFREQ
1'h(: huuihUi^ frt^qu^ncy bt'lwi^viL iJlii ruii^ lx?tii:g
fonK*} by (he l^hc^r jr»d the raiigc (o br luI Ui:ulkJ
lI» cii[-<in' tt^f<,\^vtn<iy ,'line lidrrionJi:^ ul' iJl£ nulii)4
K>iiir« E.i|ijn«li arc partially cul hy iitlii^itliij). the tut-
Li^r PretiLMticy la Jni1tieiki;r: iIl« cutiL^ Citikinijltiil. Turn-
ing llif knnb imwflrdi II will i^\,m tlie cmt'ofl' Fk-
\f RESONANCE
It d-is RtJ;ON^NCR knob h(urreul lenkjirdiH.
cliu iLtni^Liiiki Ml; i\\t ncljiJIiNrliuuJ lif iltt mi-viiX
rrcqucKity are einphaEizcil> «nd Uie tcmss arg more
jLTlUltUiltpd.
®©
KlndioF Filtirj
HPF 6fr
/-1
f-Paw —-PBIt -—
1.. '., r
lpf
r-> f:- tj Ta ^!^ ifc f' T;? f3•
.
'' Pii'i lii'i'MnI ^'V: fli.l-"i'l F^'i^^fffiQy
DLFO MOD
PcriTiLti the chajifc 4tf 1lt£ to^eg pt^rkidicjlly by
iiiwJjbliiiy. Llii; (JUI'eMT rrei]yeiic:y iiF I]l« VC'I' «i 4
period giwn hy ihe LFO. The mcdubdi-m wj|| bc-
vnniir tlflBpei llie itn^rt; rheHjinh lUowards lU,
P£G QEPTH
<:'Liiilr(f]s jhf dfpih \ii i\k ^nvcDopn that ii to be
iipirfkJ til. ihu Vn- l>y lltg liC (tziivclupcCiuicriJ.tufJ
bl4x:k. [>£pr|i incpcasca when ih« knoFi is turned lo-
watdj 10.
RKDHilKfr .1
lm|>nili|ftf
Rfti; H
(1
>^ ~
/\ 1
y\||' 1,
\kRea: L
1
1
1K1
tinrnMnics Fo: fiUndHiTwnial
®

FUNCTIONS VGA/EG
from rte VCF.
Sft IHITI^L LEVEL
AdjiLsli [he volutin; le^'uJ (iniliol level) uf the VCA
Liuipul ^licii kc^i. jrtr n^^\ il?|:i[t[i»ij. Wlts^n Elifhimih
|9 set In 0, ilie vuUiine is deleutiinc-J orly by (lie
ifT^Wi H»K (hi^ Ftp l^liFrM mill LiG blL»;9j kn>i»l>K
D) EG DEPTH
Aijijui^^ IJtt JeplJb uf Ihe vitvdctpc xi by Lhe EG
h|<ivk j|i|ilkil Hi Nir VCA himk Adiimtnwnlnjf iitl
UL;]^IU winrul iIlc jinipliluili; vi the VCA Dulpuc.
*Thg VCA output whim* uth» urn of tht lewtlt
«t ijy 1^5 INITIAL LEVEL knob {^ and The E<3
DEPTH knoft (^T:. .
^LFOMO0
MliJiiIli[i;¥ tlitf VfA ill ipvrionl; Ect by llic LFG
:^uj pri.idu<r'<:L fl lrc!iit)lt>-likc en'E^L {LFO waw; liiii
wav«), MQduJijLkH^ b£^;i.ii]i«^ 4lecp«r at ibu kitub Is.
liitne'd triM'ijTijh ]>
Tlw Hj bk^c}; iitvule^ in inviiipi tiirvc ivlUdi
aubmils Ihe sminil ta tcmpcHnl elinn^' in lhc rmir
modM <>l' A'l: IAt'K TIML, DLCaY TIML, SUSTAIN
lt:Vel»ihJRK[.e;asi;ttmi;.
^.
»
Inilifll lavil
Oulpirl IriHf whnnt no
knys f^* <lBpr4Wdni,
TwiBl <hjipui LkiI
A
IdfUlBl LtVBl
TrtQgnr Sional
EFY Cf..
The EG (s tonifOiki! by tke KRY-ONlKtY-OFF iigmh from the keyboard aftd loudi temporal
Chafifftii th' f*>nr tinafmt'if Sit ffii' Vffi'ftHd lhpv(ii\tm- St\ tfu- VCA.
*This block cam be trigi^Bried bv the axler'ul si^nal^ connectad cq ttu EXTERNAL lerfnl^l
gn ihifl mm pninfl. For dtliHi hi p^fi 14.
*To ironlirm th* operations ol ths EG- block, it is neca&sarv to ui9 the £fl DEPTH knotoi
in ihn VCF [|fM| VCA ^tlocki. Turn tht INITIAL LEVEL knchb ^- iaihn VCAtMuch com'
filetfiilV tq 0-
3
3) ATTAClSTIMi
Ailjiijl!^ tlie Cirne from th^ lYkDiincnt when ktyi anc
ilpf^i^d i^idijl jimKlinum cIniiiik, 11(UiilJ-uh lii«
BilBck charac(eris4ic^ u.L IIk l>r|i,iniiing i^fbrund ]»ii>
ijjuiltj^i. TurrJrii^ the kii<»b 4uw«ndj L^juumi ikiiMf
sltsi:];.
#DECAY TIME
Ailjtislj Ul-c Ltinii frutii Ihu iiuiilnuiiii i:liJri^i! itn1|i
tht: tliblc conditjan ast with tiae SLLSTAIN LEVEL
kiiub @\i rciiulivd. Tuiith^ llt^ kiiah- LuwLirJM L
causes sloweT decay.
©

FUNCTJONS EG
)SUSTAIN LEVEL
AdjuMi 4hf iiMa ^\iufi<\ Icv^l (KiaL wj|| pvrsi^t
uiilll ku><3 iif« ffiteui^Ll jfVr i^liiin^'it by A1TA,<'iC
lIMli ard KHCAY TIML h:ive bwn uyinplnlcd.
Turning, LMu kinili MUjirds \U uuiixcit iJtc ^UitlAlN
LEVEL t-D bci;cMiic higher.
i> RELEMETIME
Adjusis ilM iliiiij ttmft Lite rulu Buf l.^^ li*)?* umll tin;
sourd i;cMiipte1ely fjiles Mway. Tumiraii: the fcimb 1o-
ivaijs Ltu^Hd iJtc tinii? lu licLiJine' lutnijer
En^elaipe tjrve
F<Hjr ii^iDf or
\t\a iiYfllia[H
B^fflTAIM l,CVEL
ATTACK TIME rDECAY TIMf -T-H
PCLCASE TiM«
*WlisflEG isflitpliurtto VCF
Tti» flrveUtiie ;i]3|i|JgLl miJim VCF cunlrals Use
vcr% t-iit'Liff ft|it|ii«in;j' nnd t;hiii|ua llir liarrnaniL:
$L[U{;luri; ul' 4Ik lauiul ^Liyr<j£ cVmii ihn VC!0.
The tiUHjff ritqugikti' It 4«1ffnniiied hy iiJle
CUT OFF FRHE) tfl*l) In llic VCKbJock. the KEY
WLTACil'; fnjin Ihe keylhiiiml. e(c,. hm it' nitH'uw
fi'iriti (t^iiiiiirul vultu^J likt an cnvelu|M frciqri tha BG
bltHjk is npflicd, the ciil-UKflf fieqn^ricy will jilsu
cliLLiL^i Itkc Ihe *riw?i(t|>l; cane, tuts esiuiiipie, in slic
tu^ ^>r 1-PF (|iJW']MiM niler), 11 beiCQiiKS IN hlFdl^^i
!i( lIic |^eLlk u^ e||i; ejn^lupt' i;urve and paasci niDre
iaiiniiLiiiUvi 43r ii liiglKT r«n^.
In llkiij way, ilkc cjii^eliif* hitvs- -uuii uhajij^ the
wavflffltpn (l<3iK> pawing llic VTF,
WhunEQipplslftdlD VCF
\__^ ckm^ltcl by EG to ni*i!
\T^ 10"' eh*r,fli* In- Hm*-
.I., IThi 4»HHQrm4tta
chinoet.
*When EG ij applied [o VGA
Ad iliD^iL III thi! Illujciulkhii 4>ih th« [ijjltu, [hE^
volume can bf eantin^hll^d dtOt^fdinfi [[> iti^ (^jtvtlu|7^'
ouive.
Wliflii Ei; Bppliad Eg VCA
^Ignul -Irarn VCf
.
'lllnllllllMl
VCA
Tht ¥(jlur»i& ii 5CPl>ali*d liw
tlvi laHMPHbfllVtrrMUlIt
vgl<i»gB,
]h-
®

HOW TO USE EXTERNAL TERMINALS
SuL|ii4 biurcti MjcU Lis uit elfglric ijiHinr. ckglric
piano etc. tan Ixi CflnnttieJ 1o the EXTERNAL lerridi-
riuli (ML rh? reir iwkfl, 'L'Il<! 9ilii:iLti|i c^ii il\sn Iw fi:J
ihioufiji Ch* syinheiliei' front (lie VCF hlnck on, and
lit^^' 1,'an uIm; Ik uhJ ai LrJ|jttifr iLjjnaJi. i'iiiilr<ii']llii|t tlw
Slan r>r iJw eg (cftrrf^mnillrijs lo KEYfliW, KEV-OFF
inim II10 Ij^ybikiiiih, Tlkuii, o|ic]-;iiliiii ai il\a lynilietliLS'r
(D EXTERNAL
I'LMniliul Eli (.iiiiiiifi;! lifxCPTiiiil islpulKsULh uiftiMtJ
ui clrctric ^ilar ur Ckclrii; piint>.
<B EXT/N&I5E
When (xrcrii.i] ii;^fiiilMii«iiiM(l \)i thawimnti Uiiyrcff,
1hifl ^wJlfh muit bi: set (o EXT.
®TRIGGEF LEVEL
4Ujiii(!i llifi \e\-Ql uf lltE CMlcrniil ilIiijijiI (:» |irn?T4il?
criggcL' i^nuls r'ar ehc EG (cquiv'LileiiL 1u ^KV-ONm
KEY-OFF frnnt 11mi ItflyhnurdJ. SnnilLlvUy Iwuoinna
Ikiglwi wh<Mi Ihe knot htujiiud Howards 10.
•Tha Itvgo*)- nBlwavi conitiollml by thii lindb.
TB3flrdl*i[ of Che pdsitign cyf Mi« e;<T.'UOI$E
switch''"?).
*Eniigri'i^l aignalt can be ui«d at itia sauinri iaurc«
<Nint w-lth-t^wt »ny iriiKer runnloiHi. Thii knob
mull be sal to ^nd MJIuitmenl \i mid* t>ni>f
by Iha EXT/NO IBE svrilch Yand tha EXTV
NOISE lint?t>in iht MIXER l:tic^ck.
;[]ER- "^r
(ii'[
^MAL-
1) CD
pi& .^^
Tlic keybward (tula of Ute CS'i car he sent I* llm
uUiiIro] HOiA- L'lf an^i'Lhej CS^S jynLheslicr (aj anuther
lyiithfsi/cr havimi similuf Kfrninuls) hy nMnf ITie
iilNlbtClL VOL't 4iiid TKI^^lilill Ldi'irJiiJJs un Lhi;
neir panel. Ihii penmits (hi? huii^llne "P "I" aJduMb
SViilh^ititei' sys^LDi'i'i.
OCONTROL VOLT
KpyhnuTd dyiy ^IsnyJ! £iortlrfl|llnft tlia pHeh,
tWl<l£ !f*rii!i:ik'il hy llii* Vt'U.
cle.
®TRIGGER
Kfylmurd 41110 represCiHiill ill* KEY.OJJ ajvd
KliV-OEit-' ilntliifiK ftif uuHLfHJii *5f Lhe EfJ {enwikiiw
^nt^raliir^.
•thfi llluiErAilQU. on ilu rlgl^E iIwvmi an tiiHmrsIt
in which (he kevboard of SVNiTHESIZER 1h
bi^lriD plnV4tl dflxJ SYNrHESIJER 3li Iwlof] un-
trolled.
•Bb cartrul «<n 16 rniijd vvranfl eoAMaiom [iiu«h
ai Out \it OUT^ ^thti nuv {laiui? dam^? lo the
unitl.
SYWTHESfZER 1
SYNTHESIZERS

OPERATING SEQUENCES
BAS^CSmiNfl
Stilting
I-Set Ihc ij'nthesiKf rup Bccordinji to tX3NHFCTI0KS
[{jTurnijin tlic (wLkhc^!! cif 1hf lynLhcsi/ior anilaiiipilidBr
tM t^i \\t6 viilitiiUr' uJ' Hk untplMkr \u usuit^bls-
pLisitkin.
SQUMD CREATING
I^Wiih \\\0 i^M\tiHi\iar yuu L'Jin deti^JiThlno ywt nfvm
vrtgintl iovnd even ttiiaic staining iSL'tual j^rforni-
]|E]^i[<jn3l3 iw tlDwij^ frori left 4o trlgli tand {:iii l)« toil'
iTLilk'J l*^ lltLi rt:iptf4,'1Jvf kii4)l>& Lin ilie jNunel,
[^Scuitd si^al^ L'<)rr«i<(HJitJLitg In tlic liikr/ijls of lh(
hcys- iir«.' jit^iiLifuleil }iy \\u Viil) hliiLk ^lifii keyi ur«
depressed. Sel 111* knobi of tlie VCF add V^A
lllnuhl 113 alkUWII .ibiUVC *!} Ilblll llw oullldUi^ ilgiiuli
of basic scninds cut be produced (wlllkoui bei^i; bk-
f^uniLiitd b>' llic VCI-' unit VCA bl!j)i;i(i].
in VCOblQcMMlXEnblDch
*^electa llic sound scHirces for tbe bsjk sound
wjlh ihcMIXIiR viHuiiH
*[>c |>rc^i^ [he faifi wi IL pjoduoe launii.
*Kiiii^ .>!' Ili« ttuybuiLrd ii diil^nikl|»J by Hko
I'liirr swiiteh.
IS] VCF Jilack
*Produces IJK basic harmonic itruclur'T C4oik).
Ymi wl?i;i Chi,* Til lor -uhjirucEprl^iElu's s^'llli Ilie
HPF, SrF, LPF switch, and detemiirtr lli-c
Ihiii'iiKiikIc xlrnvlmru I'urehtn-r M<\i\ llic CtJr Ol'l'
E-'Mg aril KESONA^'C.F knobj.
[£] EG block
pKkluiifla i*iu|SLi(!il dkui^» fpiin the iurl uJ'
Eh(^ ^hihI ^in;^ p^n^raK^J i*j it; f^diiti iwsy..
TliBre Bie ATI" AC KTIML^, DIT.\Y TtMEl,
SUSTAFK LEVEL, and KLLIIA.';!: TIME.
SB VCA hroGi;
*Ci''ii(riils Irntpofal -chjir^;; tit voluirif with ih^
i^lJ UM'IM nnd IMllAL LtiVLLkiwjbi.
[E VCFblDci!
*l'tudiiL'L!n trMiijK^riJ i:libii|j.« In ikuw udu^nllnu
wi(hl]ictiCDHPTKkiK.h.
(S LFQ/EI^FECT
*Selects llLi! SPEED and wavcrorin$ ui ih« I.FO
bluch. AIm^ Mivst. Lu jdjiiil 4]i« L|-U .MQU of
Ibe VTO. VCF. add VCA, if needed.
*IViinlL^ vuirljtiLinh ^Ul^hl}| |i«hri)riiiuihMi wHIi Ijte
PORTAMI-NTO kneb anil PITCH REiNI>slade
gOJtClLll.
[LG Tli« nKpt fn^m OS 10 (II EtrD llufi Luile prugaduro lu
crtjitt KMiitd, I'o achieve yout ide^ Eotuid, ii hncee^-
Hry 11) c»|»iulu ilie njs.iKcll^o lit4ibkKEH)att<iilly while
c?on(iii£iir(g tJK results by car. Tiie orif^nal Aotinds
i1luii< crculk'il CiUt be lepiudii^d ni uny tlitic If the
positi^jn of facit knob nrcfi&lertd Jn like SOUNP
®

cm: :.
a^ '•^..:
Sl.J^. w-
>: i M. . III i
.
-11n
HH
iI
Ir^l
f
Ir4l^
J
I
II.f
^o-
1^ I
\~[
-J
r.
U|.
r'5 I
1?>
Ch
iL.[ rii.
-I it;
rL-L
LU
a
^[LjJ pij
l"M"l
H-h.
.JJ *!..-
-.pi
LU
3
©

BLOCK DIAGRAM/SPECIFICATIONS
BLOCK DIAGRAM
CONTROL VOLT
OUT
TRISGER
OUT
c
-f 64 32 16 842
ooopooFEET
-f
vco
;PEED LFO
OUTPUT
^f-: jINITIAL
LEVEL
EG
Lj{ TRIS
TRIGGER
LEVEL
A: ATTACK TIME
AD S R
DECAY TIME
SUSTAIN LEVEL
RELEASE TIME
SPECIFICATIONS
KEYBOARD .37 keys, 3octaves
CONTROLS
EXTERNAL. .TRIGGER LEVEL Control:
Min. -35dBm
Function Switch: EXT/NOISE
LFO SPEED Control: 0.3 to 100Hz
Waveform Selector: ^/ K/s/H
VCO FEET Switch: 2', 4', 8', 16', 32', 64'
TUNE Control: -200 to +200 cents
LFO MOD Control:
-200 to +200 cents
PWM Control :50% to 90%
PORTAMENTO: Max. 3.5 sec.
MIXER EXT/NOISE Control
N, :Savi/tooth wave control
("L :Square wave control
VCF CUT OFF FREQ Control
RESONANCE Control
LFO MOD Control: ±3 octaves
EG DEPTH: +10 octaves
Filter Selector: HPF/BPF/LPF
VCA LFO MOD Control: AM modulation,
max. 90%
INITIAL LEVEL Control
EG DEPTH Control
EG ATTACK TIME: 0.007 to 7sec.
DECAY TIME: 0.018 to 18 sec.
SUSTAIN LEVEL: to 10 V
RELEASE TIME: O.OIBto 18sec.
PITCH BEND ±1 octave
TERMINALS
EXTERNAL IN
Sensitivity: -35dB (Min.)
TRIGGER OUT
.3V (OFF) to 7V (ON)
TRIGGER IN
+15V ~+3V{0FF) toOV -
-10V (ON)
CONTROL VOLT OUT
125mV to4V
CONTROL VOLT IN
125mV to4V
OUTPUT. . . .-22dBm/600ohms
OTHERS
POWER SOURCE U.S. and Canadian models
120 V60 Hz
General models
110, 130, 220 or 240
Vselectable,
50/60 Hz
POWER CONSUMPTION 8watts
DIMENSIONS 641 X290 X157 mm
(WxDxH) (25-1/4x11-3/8x6-1/8")
WEIGHT 7kg (15.4 lbs)
FINISH Semi-gloss black
Specifications subject to change without notice.
®

TROUBLESHOOTING
Sounds that have
been set are not heard.
Set to the basic
setting shown on Page 7.
Is sound heard?
(Are the controls of the '
amplifier normal?
NO SOUND
During operation, sounds
have ceased to come out.
ZL
During performance,
sounds have ceased to come out.
If the CUT OFF FREQknob is turned
to Ldirection to far when the filter
switch is set to LPF, no sound
sometimes comes out.
)
Is there any disconnected power
or connection cord of the
amplifier or synthesizer?
J_
Restore setting to the
basic setting shown on Page 7.
Has the Synthesizer—Amplifier
—Speaker connection been
properly made?
c
y
After thoroughly checking each item
ation still cannot be remedied, please
matter to your nearest YAMAHA servi
fthe situ- ^
refer the I
i/ice shop. J
OPERATES BUT NOT IN
ANORMAL MANNER.
Faint sounds (Volume
will not increase.)
Sounds come out but are
not normal.
Are the VOLUME controls of
the synthesizer and amplifier
properly set?
Other knobs do not work.
If sounds have been normal at the
basic setting shown on Page 7,
then the trouble is due to the
misoperation of knobs.
(Are the amplifier's sensitivity and
output large enough? )
As the knobs of the EG are
correlated, setting is to be
made with the function
of each switch kept in mind.
(
'Are the setting of the EG LEVELs of
the EG block and the VCA normal?>
Settings of the INITIAL LEVEL
control will alter the VCA envelope
characteristics
It ATTACK TIME and DECAY
TIME are too short when the
SUSTAIN LEVEL is 0, faint
sounds are heard.
Volume depends upon position
of the CUT OFF FREQ knob.
Aher thoroughly checking each 'item, "i^ the^
situation still cannot be remedied, please refer
the matter to your nearest YAMAHA service
shop.
©