Yamaha Cs-5 User manual

YAMAHA

Synthesizer

CS-5

•OWNER’S

MANUAL

PROFILE

The

CS-5

synthesizer

is

ideal

for

a

wide

variety

of

applications.

It

can

serve

as

a

beginner’s

instrument,

and

it

can

equally

well

be

used

as

a

versatile

solo

keyboard.

This

block

controls

the

external

input

signal.

D

a

3

e

©©

This

block

consists

of

a

very

low

frequency

oscillator

to

modulate

the

VCO,

VCF,

and

VCA

blocks.

/SV

page^S^

Voltage

controlled

oscillator

block

to

control

the

pitch

and

generate

square

waves

and

sawtooth

waves

as

sound

sources.

page

©

■

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

a

power

amplifier.

•

Cleaning

When

cleaning

the

set,

do

not

wipe

the

panel

or

key¬

board

with

thinner

or

other

cleaning

liquids,

as

this

may

leave

stains

or

cause

discoloration.

Always

use

only

a

soft

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

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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

hands

and

by

synthesizing

sounds,

a

new

type

of

sound

that

can

never

be

made

by

any

other

musical

instrument.

•

THE

THREE

ELEMENTS

OF

SOUND

How

does

a

synthesizer

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

a

certain

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

number

of

vibrations

per

second

also

changes.

The

slower

the

string

vibrates,

the

lower

the

pitch

becomes.

In

this

way,

it

is

possible

to

express

the

difference

in

pitch

by

the

number

of

vibrations

(frequency).

sound

Tr

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sound

Wl/WW

However,

between

the

sound

of

a

piano

and

that

of

a

guitar

there

is

a

difference

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

a

difference

in

the

way

the

strings

vibrate

(the

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.

Furthermore,

even

when

both

the

pitch

and

tone

quality

are

the

same

there

can

be

a

difference

in

sound,

such

as

when

the

same

key

of

the

piano

is

hit

in

a

forcible

or

a

gentle

manner.

It

is

easy

to

discern

the

two

sounds

from

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

characteristics

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

gradually.

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

a

certain

level,

which

will

be

retained

for

the

duration

the

keyboard

is

depressed.

The

sound

will

fade

away

when

the

finger

is

released

from

the

key.

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.”

•

HARMONICS

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

a

different

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

a

certain

number

of

sine

waves.

In

other

words,

all

waveforms

can

be

produced

by

combining

a

large

number

of

sine

waves.

For

example,

let

us

overlap

over

a

single

sine

wave

waveforms

having

an

integral

multiple

number

of

vibrations,

such

as

2-fold,

3-fold,

and

so

on.

It

is

seen

that

the

waveform

will

gradually

come

to

resemble

a

sawtooth

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.

SAWTOOTH

WAVE

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•

STRUCTURE

OF

THE

SYNTHESIZE?)

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

4

blocks.

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.

•

VCO

The

VCO

block

produces

sound

sources

of

fre¬

quencies

corresponding

to

the

intervals

of

the

key¬

board.

The

sound

source

waveforms

produced

1

by

the

VCO

are

sawtooth

waves

and

square

waves

that

include

many

harmonics

in

a

regular

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

the

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.

F

:

Funda-me/ifa)

In

addition

to

adjusting

the

cut-off

frequency

by

means

of

a

knob,

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.

The

signals

from

the

VCO

reach

the

VCF

where

they

undergo

a

change

with

regard

to

their

harmonic

spectrum

by

being

passed

through

a

filter.

The

sig¬

nals,

now

containing

certain

tone

characteristics,

are

given

a

volume

“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

LFO

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

a

path

that

will

lead

you

into

a

new

world

of

music

using

a

totally

new

musical

instrument,

the

synthesizer.

CONNECTIONS

O

POWER

CORD

Connect

the

power

cord

plug

to

an

AC

outlet.

©OUTPUT

The

CS-5

cun

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.

©CONTROL

VOLT

©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

a

synthe¬

sizer

effect

by

the

control

blocks.

For

details

see

page

14.

HOW

TO

PRODUCE

SOUND

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s^-n

changed

hv

H'-i

!

h

I;

r

I

twllch

i“-

thn

VT-i

i

n

ii-T

’

a

pitch

be

mo

Tfii

frilch

-j-i!

be

varied

up

jjij

down

wltlilfi

lItc

mi-.,

mi

i

i

,is

..

■■

i-v

diin

"

i

k

iin

rirni

IJLND

hiding

:arnl

yfj(T

Tr

d

frtovk

na

roitiigv

cWHOffai

uuMvW

Ktneratif'ft

mwHxHh

and

tift/ure

nwnci

ufiri

Ji

hi

■

>

u11

-

Ml<

i

am!

'.i

nun

w

..'i

i

■■

i/.tjl:

,'i

1

1

!?,

■

•

itm\

i

f

'.iTr

in'J

lhnu

■

hi'

hi

\

I'.VA-jrn'

n

1

4

TONE

[hi-

kj|nh

o.i|j(jvli

III.-

|iil,

■

li|rim.j

ii

luvvnr.l-.

''pllif''

JciLlGLldGS

plld,

jliJ

LU

i

!

i.i

■

:

il

!

,.h

:u-

"li

Li

III''

d^lAUM

plldt-

Tills

Is

SWj

In

linn?

Ihfl

HJrflllnfM/i-'i

Vl(t|,

'PilL-i

:ILi

11

|JI

I

n'll

I:

*

If

will

D*TOUl

10

mimrtm

plt*r

|tw

svnlhn^ir<i|

is

ON

iiiiIiI

I

he

pi

1

1

:

-

■

Lii

:

.

nr-

ns

.

>,::

j

1

1

1

.

■

i

-11

Thus,

rh»

ivi'ihwirnr

ibould

Iw

Ivrnnl

on

IS

m-r-utvs

dl-'oiu

Tuning,

s;

PEfT

I'li!’

kiybnnn]

omi

1

hh|.,v.-,

y-ith

,

1T

ki-j

s

[Up

H-'lll

1

1

.ll[>-

El,

I

:

■

L

i.A

U

fL'I-l

■

'

■

III

il-.

"llll'L

.1

hy

ll.L

HI

J

■

mil

i

.

i

in

il

I

s

i

T

n

l

cd

hslnw

fl

LFO

MOD

Th-.

fVoqufimfiles.

-.T

u^-LUuOnn

grnariited

in

lho

veil

,

m

Iw

IdUliAi

iho-IiiIaU'tI

wiLhln

u

vi'Uihri

umui;

hy

ihe

LFO

hkK.'k.

Tin

fu

rllicc

ihc

LPO

MOD

knerb

i"

tunM

I".iv:iilU

mt,

iM

dtdper

Uii

m&iiiitoHffli

ti

peonies,

■

?:

portamento

FOR

I

AMENT

1

h

to

nr

qiYqui

by

Wltldi

ifia

found

ui

■

ire

key

artoolhly

ch4fl$SI

JriW

(J»

ifii-'li

of

IhfllgHt

■

me

tlqnfijiuf

J.

The

Oil

III

ill

ipce-i

ii

iKljusliid

hy

ehii

knob,

Tht

furrheT

ii

b

tlifliefl

toward*

L.

i]ie

Ibflfrf

ll[r

ll-umlllLTrl

1

liI-L

I'm.,'Ml'.-"

FUNCTIONS

VCO./LF0

.

■

PiD'M

(PiiUd

Widllt

'-io>.1111111

>

■

i

■

■

'

■■

1

dii

-u

-.

il

l-

|it<

i'

xvi:iih

iif

"I:

Vl'O'f-

Hqu

□

.r<

j

[

i

-Lves

Ill

il

|

1

L‘?nI;l

Itfl

wjlll

(Mu-

SI'I

I

n

kiMili

|>|

I.hp

LPO.

When

the

knoh

Ik

lurnud

to

O,

symmcirleBl

limin'

■

..IT

.

r.-

|irikJucrd

I

In-

in

|l

.

■

turned

Inwards

10,

Lhc

i»rg>r

iNXUiiiw

liic

charge

in

pulse

wlJlh

*

I

1

1

M

il

i

i

lllu

"I|i

>

I

f

tin-

r'tVM,

1|

ll

i-in.-

■

,

,

■

y

to

turo

ih-e

T--

jsawtooth

wav?)

knot

I?

ant?

the

I

X

|

-NQIft

Ilf

ab

I

l!

..

VI

XI

n

1

11,,

-

\,||

V

Wt.

end

turn

ih*

l”L

(square

wawai

knoll

lowvrdi

irl

■

The

PWfiVl

follows

:i

'\.

I

sine

wavel,

itnardleis

of

■

"

VM,i.iih.|M-

viwlirh

....

the

LI

O

77

ie

LFQ

Sr

ft

very

hnr

frequency

QjctfktQr

block

to

[wcrfuce

periodic*}

inplfcft,

rneie’,

,m<i

i

/fiutw

hi

m

ated

by

fSi*

I

t

it,

Li

1-,

I

t

A

htneks

*

To

rent

Mil

the

sJfact

of

thr

Iff},

il

ii

necessary

c-.

n.irn

up

the

LiFO

VIOD

knobs

m

n«h

hlpc*

•

9'

SPIED

I

his

knob

aiijuits

Hie

mtiduktion

period

The

■

I

■■

I

■

I

I'.-

i

I|.|l

■

railS-T

II:

nil'll

:

I'M'

krlkl'

II

llJilsed

lywirds

f-

The

*djusifibl*:

runup

is

0.3

to

MjO

llz,

llv

V

II

ill

IN.il

lit

the

ifKH'd

-I

II1L

l«II

I

bOIIIILl

L

L

fifL-H

Lip

hu

produced.

I*

IFO

■

\

SlNI

WAVl

Gently

charging

s>imd

cl'fculs

can

he

nh-

nmiL’ii

...

ifi

I'rct

to

VtO.

"Vnih

ft

'

.nil!

"1

mi',.

I'

,-1

feels

In

Til

!

icmolo

el'rtma

to

Vt.'A.

r>

MftisuTi

nw,u

r

i

;

IntrimilLaeit

sudden

ch

Jis.ec

and

ilin*-

lIuiiul'

11

HAMPI

l

ini

i

III

?L

L>

Causes

irregular

changes.

S/M

sompEra

an

i"i..i,l

mine

i.'

Use

ImIj

.i.iiijiln.

noise

whves,

and

eiisl/iins

ihu

I

value

urn

it

iiholhui

snnpllim

is

11.1.ip,

linn

mmi,I

n,

in.

insularly

changing

modulation

signals

The

..i

11|iiiii.a

i-

i

lii'J

i

Ip

i

fi

iii.i.'lI

|t,

i

SCI

I

I)

knoh

.

S/H

Principle

huiw

SNjvat-arikl.

S/H

nijllnyl.

functions

MIXER/EXTERNAL

Du

fin

ivm

iTVJA

to

in-

tikJ

tn

iu#tki

^

■

!/»

n

irfhJ

iii'mO'

tin

ittfiui

/.

v.:--/1

■

r^ic

vn

iw

.

y

'!•

exTiVloiSE

When

eternal

siguuh-

n

tin

■■■

'

selected

bj

I

li

e

i

JcrftJniRSi

vwiu.ii

of

ihi

i

XfflflNAl

block

.nr

used

jt

i

Uc

sound

source.

iidiusi

I

heir

vokuma

wirh

llils

Kiimh

ii

:

Sjuvioq

th

turMh

Adjusts

I

hit

jwffftMth

wire

levels

SaWfoofll

i..

hiivw

huriiiuutet.

nf

duHUled

liilfpds,

which

suits

them

in

he

used

us

pseudo

■

sound

miiKvi

in

i

>

1111

11111

,

■

I

ii

v|

i

mi

i

ii.

ii

n

.nd

1

1

!•

like.

•IS

_

:

Square

wafca

1nlimi>

I

Iw

'.i.|li

.:.i

e

u-m

1

level!

ITie

puU-

width

nsuduialLon

uf

three

he

e^m

ii.

lied

lhe

I'Vv'M

Mlilh

w

in

thr

VC

O

i.

Squire

wx\)&$

hnve

hflitnemlft!

of

ihc

ii

si"..;

.

her

i

If

ll

-

v

in'

in

"in'

me

I

dik

trfT&cll

peciilisr

to

iJlc

synUtesiueir

can

be

otHnlnni:

*

In

the

MIXER

’ha

volun’^s

o+the

'osprctivft

wave-

liiiink

CHn

I3»

Milultvd

»nd*p*nd*ndy

unci

th*

dMFijreni

sound

KHirces

uvin

t:::

lieely

ml-Hed

S|jmc

|

r

u

m

u

I

MiwtuuLh

wuee

Fi

KU;*ACV

IF'

A'llIU

Mirln

<AI'

vSpuLirum

hi

Symmetrical

square

wave

F

"Ti

"vm

e

I

f

|

At.

pi

.1

iidp

(At

If

*

An-|illj.-udp

j

i

-

I

Fflriciu

■

I

LI

F

fllTlM

yVjt-

hX'ftjkyAL

lilt

i-k

i\

tm

input

fontraHing

ncciwrt

whttrj

pi-rmltf

using

ex

finytl

.dgmh

Vtcf

'i

v

pout

Wt

I

/

if.

'Mr

y'liittii

Mmt'rti

!

t

th

EXTWltSAi.

H'rmtml

>rn

(h

war

lunel.

r«

tht

;^<wi

SLiNfiirs

of

the

synthesizer.

*

hi

i

i

i.X

If

MPJAL

in

i

i

-.|

I

li

I

is

-

I

VI

n!i

«•

■

Ilf

14

U

litSISE

Wirh

tire

r

MAT

MSI

wili/h

....

=

vum

.

'JQISt

^ju

lie

Ji-

sen

s

I

he

sound

-fmiii..-.-

jy

ic

1

VI'.NOM

MiLih

In

.

Ml

MU,

h

in-

file

,

.i.-i,

wink

ii"

-e

indudhi

widely

dL.perset

e

ute/icle-.

■

ii,

in.,

firm

very

1

^

1st

very

I

i.T

11

in

well

uiled

js

sound

m

ine

to

mulule

such

ruifurui

sound-.

a

■

Mini

'

■

'...i

■

>

■

m

..ill

■

;i,

I!

FUNCTIONS

VCF

iftr

\'(T

Uvfitayi

mntftttifii

flitrrf

bkw>-

ciMtlgri

tin*

hiftmmk

.smn

s

unrand

i-n,

j

.'la

ih.-

j^aUi

et>tnf.)W)h

hy

fiijffittf

(tie

fftfvai

v.mnr

iifpTah

selected

in

fhc

MIXER

H*ct.

14

HWOPF/lPF

HIM

in.Bti-HLUi.

1'ilLer

I

ii

ini'fu

!

■

'

■

in:

■

i

Hun

Ilk

is-

..-I

lie

,

11

.-..

irtby

lisa

CUT

OFi

FREQ

knob

d$

pass.

HIM'

’

|"JM

lili.

I

I

i'-i|iil-iilil

:.

Ivmy.

ht-hvecii

llw

L.ir-ii

'

I'ri.-tfiit-n-

=J

ll"’

C

UT

cl

I

Fftl

fj

bltub

p.

II

•

ill

Oil

J

K!

Q

kiiu'n

is

,isl'lI

to

s

;

r

v

i!k

■

n'.lili

1,1

Mi..-

hdil-il

mI"

ftC5|ik’iicles

beljij;

p-b'jH'J

IVckTLI

Iiiii

i.iw

|,0

vf

jiji.

1

I

f

I

!

uw-jmsT,

rili.-i

I

i-

juiirki.

•

mi

iiuij

!I

l

ile

i-I

I

rr-etpL

-nuv

ml

by

ili

i-

'

I

I

OFF

FREQ

kflyfo

|

3

aft

THli

i

ilLC

lype

LiJ

lUier

yum.

i

:i

li

j

mud

in

nyr

thesiren.

*

Whon

ih?

COT

OFF

FRSO

knob

is

turpuri

lull^

tu

i

in

the

U*F

poui

on

all

lii^tuunc.i,

s

ar*

cut

flfl

with

no

sound

DEmi]

prorhicnil

•

WHw-n

iI

ik

COT

OFF

FREQ

knob

it

turned

Miy

to

H

|rv

Itii-

HPF

i.t

Fl-P^

ixs-.

“inn,

1H

a

yolvm.

will

lif

i:i

in

hi

tniall

s-i

■

only

ai

pnon

lti

ttn:

hi&h

ranne

*ra

passed

through

-f

CUTDFFFRfQ

Mil-

I-i.muJ.iu

■

ii-i|,

m

,

^y

hdwuen

Mm

ruiijM!

heuig

passed

h>-

she

filler

and

I

he

imue

to

he

cm

is

culled

I

III'

I'llUilT

.-ii.

.IV.

Il

'

lij|

lilies

Ll

I

i

S

0

U||.l

i.«rcf

-i

lals

urc

p:i

i

jllv

cu

I

b>

iitl|U!lilk|i

the

cut-

ufl'

lreikun'ru.

1

,

I..

Hie

tone

1

vnknrylftii,

Tllrrt-

m-s

ihe

fciw-h

loWsftlJ

II

will

cause

the

ctii-eifT

fir-

qualify

In

become

lu.hei.

IT

resonance

IE

the

RESQN

"lNCF

knob

is

untied

tow

ir.h

IE.

Mil'

!lbliliumI

ls

In

Bt|*

fil-|^.

l

i

1m

n

,

'

mjh.J

iH

ll|?

liiL-i.I'I

I'requemey

are

einpIraEjned.

and

line

tones

are

more

ac

cesi

runted

CutaH

FrHqucnnv

LHF

t

r

_

i

«_

i,

-...

f^i*

®

re-

fc

Cue

■

lo

F

ik.lpin.ir.i^

tp:

ClyNjil

Ffhjwnnk

'«

L.FQ

MOM

Permils

l

he

change

oF

I

he

rnriej

js-Tiud

injllv

by

■

li

.-

.-in

-I

I.,

.in'

k'j,

11

lie

V<

!

.

period

(liven

h>

the

l

I-C'I

I

I

k

modulaMcni

will

be-

l'hiiic

Jv>u|Mhi

(he

IflOT-e

the

kiinh

fltOWflrtl*

10

.

H

EC

DEPTH

r'miiiolv

the

depth

of

[In?

gnsslope

LhaL

is

tn

Im

iipiplfci

i'

rliB

V'L'l

iv

il

I

-i

i

l

i

■■

i

■

l

■

11

■

'.

i

.imi

iii.

i

block.

Depili

increases

when,

the

knob

is

lurnuLl

lo-

wurdi

10,

Hi-:.uridl

tfi

FUNCTIONS

VCA/EG

f'S\r

I

t

'.I

{vitifttyr

OMMikd

biink

i'ffrvtH

cAwfinvi

Ut

p^&Knf

vf

itw

j'-rNri^j^

from

rtt

VCF,

?n

INITIAL

LEVEL

Ad!.,Si

5

rhu

vylten.

level

(iniliu

lev

£

-1

>

i

U.c-

Vi.'A

i

nipui

w|-

•

I

■

.

i-

n-

11

.

I-,.

■■

•

.I

Wl

••.

il-

fl

mA

in

O.

(hp

^iipnie

ii

de

I

ejinineil

uiUy

by

due

..

.

A

Ihi*

!

■

:(

lirl'Hl...,

l

(.

In.,

k

Kin,.l-'.

H

EG

DEPTH

A.j|..v

1

i

Hie

(Jep

I;

ul

die

eiuwlofH

sei

■■

>

the

bt,

IT

■

li

■

i

i

|

l

il

i"

Hi

Vl

\

lilis

L

A

i

in

-

ui

•

,i

I

■

Ul.l't

11

..s>inin|

i.

>m|'li

itV

.

he

VL'A

i.uijuai.

*

T'ho

VC

A

-

■

V.

,I.#|

1

I.

.

i

I

iuiri

<jf

I

hr

ilVill

shi

hv

tfM

INITIAL

LEVEL

knob

^

and

The

EG

DEPTH

knnn

Ol

n

LED

MOD

MuJjUitiL-s

llu.

VTA

■

perioJ

n

■

■

<

,

n.,-

LhO

.in

i»

r.

>

11

|

iTiin.

i'ti

-1

ike

el

Ice

I

ft

FO

w-O'.

din

1

.

t.

M

1

1

■

Jl

1

1

:11111

betenrsi

ibtytif

it

Ihe

Itrtob

is,

111

Hied

fi

iMvmds

i

LI

The

EG

htui.T,

ereeles

iis

envelop

fiWVfi

HHfldl

tubmiH

Ihe

tdUnd

r.i

tempore!

elmnidv

in

|lan

four

.dn

of

til

l

Af

&

IlMJ

DECAY

mU,

ELISTA

IK

i

I

VI

I

ii

i

Ri

I

I-VsL

FIMI

Initial

level

Diiipul

Itri

rtihai;

I,!

1

mill

r

l

.ill

■

„

1

Lrvril

key*

:<c

ilcp-c-t-car

V

i

ImIiIhI

0*mbI

■

-

.

qcHr

S.anai

ihv

k(r

h

rvrUftfttnl

!:v

the

KJ

V-fJA

'KtiV-QFI-'signals

twin

ttarkeyb&ardtutd

toads

temporal

rtbittf

I

hi

tftr

im.

/

■

/

Ju.

<

■

I

iVl

>>w

Vt’i

uf.t

rhf

i

n#«w«

)>|

»>

■

IT

VI

■

This,

black

caa

be

triggered

by

Ihe

external

signals

cannected

fq

[he

EXTERNAL

terminal

»*>

...

-

pn

tel

Ffn

Jin.ni,

srn

puf.

|

-I

■

To

coniir"i

t>K-

op-re

t

oris

of

th-

EG

bock.

it

is

necessaiy

la

use

th-

EG

DEPTH

knobs

.

ilin

VCF

iind

VCA

blainHt

1

11

the

INITIAL

LEVEL

hurti

■

Vb

■

Ihn

VGA

block

■

rxrn-

pleteky

to

0,

31

A1

TALK

TIME

Adjii'ls

llie

time

frtwi

the

roomer!

^hen

keys

ere

,1.

jin

wj

nr

1.1

inn\l

.

■■

i

-

i

i|i>

I*

.

.,i

in.'li

illi*

lit

Inc

k

eharacleTislies

ul.

Use

htjiinjiing

of

WHind

(tr&>

Mi

hi

I

ii

I

ini'

1

1

■

l

■

,ivhi

Ji

I

i

rs

iIluvci

delude.

K

DECAY

TIME

A

Liu

Hi

I

In'

I

line

front

Hie

ntCfltlWTIt

L-luisuf

bill

|l

(he

sleblf

smul.i

ion

sc|

with

the

>(

STAfK

L.E

:

V

E

iI

Limb

r

L

<

i

|

Ii

.icMr

I

I

nhln-.

Use

knuh

Luwui

I

-.iuscs

eJwct

dcc^

©

FUNCTIONS

EG

H

SUSTAIN

LiVEL

Adjusii

lilt

suable

sliijpicL

level

dial

will

pgraft

Unlll

ki/y-s

jib

irltiisrij

n

i

d

1

,

111

;.,

t

Uy

ATI.UK

TIM

l

anti

15

I

t

AY

I

J.ML

h:*ve

•i«

,

n

comp

1

“led.

I

...

I

In'

kl.it.i4i

(uWi|

.N

IH

L-.i

ii

.

i

SlJi-lAlM

I

HVt

l

lu

bcumic

hie

Ik

i

RELEASE

TIME

M.l|n.

)

|

hr

I

111

ic

In

mi

l|ir

i

ulnae

LtfUfiyi

UlUll

tile

sound

completely

r'u.Les

away,

Turning

the

krttib

lo-

i^jIlK

I

i/atliM

lliL'

tJHic

III

h.'Li'|i|i;

In.I

*

W*in'i

EG

is

appliifrt

to

VCF

Ora

arvfltopt

applied

to

I

he

VCI

^.mlrals

Lhe

YCF's

GUl'Bfl

111

'tpieiKT

rind

chAftgfti

(ftc

!ii

■

-...

slcutlnrr

pi

(lie

sound

saur^

from

ilk

Vl'O.

lhe

imiH

rfr

Tiequcibc^

Is

delenniiwd

by

llw

CUT

(,)FP

FRFQ

tflob

in

lhe

VCF

Upek.

die

KEY

VIILTAf-T.

flam

the

keyboard,

etc.,

bill

il

<i

wdVe

form

ftiuilrul

vollBge)

like

*n

envelope

ftijfa

lh#

F.{.;

block

it

iippk-M.

11II.

CUl-ofr'

1

1

r

*.|il

l

'i’i,

v

will

,i|sn

diajiiiL'

Ilk#

ttse

envolApA

tuive.

Few

wtflinpLi?,

in

eIio

.

■

■

of

Uf

11

lift

1

-

pass

llller),

Il

her.j;

uk

|t|gh

4

fl

iii

Mil'

peak

pi

die

e-ituolupv

curve

ind

pusses

mure

Inririinniir-,

of

:i

hipjluT

r;mpe.

In

II

.

way.

11

■

uilvuIuik-

curve

can

chimin'

sin

w

vcforiii

i

lone|

p.

-^in

,

■

ihe

VO

*

Whin

EG

is

applied

to

VGA

nJi

*n

*

i

lhe

Ulunuuiluii

hi

the

i

ipj11

11»>.-

volume

can

be

eon

[colled

aeL-oidiriu,

ru

du?

envelope

uiuve.

Envfiiopeeurvs

VU

J

i

en

EG

iici[i

l-i>d

to

VC

A

Ffiynnl

Itcjin

VCF.

Thti

vi-

■

i

in-!

■■

is

nnH'olitd

lit*

I

hi!

IQ

slupsti

tiy

(N

thrtkPV

■

.V-lllHHU,

HOW

TO

USE

EXTERNAL

TERMINALS

.

.ll

lLIL|

|

Ll'

M

11

HM

i.-.

ill.

(Iillt

I

•

i-

■

III.

r'uim

tip

^:;iri

hi'

COflnJvtid

M>

ike

EXTERNAL

termi-

iiiiis

uu

Mil

1

toil

ptftol.

TIm

*ljum|j

m<

ihen

t*

fad

iliniujtli

ibf

plhWl

fMltl

<he

VrF

block

uil,

and

HiL’V

-,

.in

||IVII

-

Iisnl

-

IMggfl

null

||-

t

‘ii|||lvlllll(L

i

s|:iii

■

>1

i

■

IXi

11

ife'-jHJiiiJini;

■

■

KEY-ON,

KEY-OFF

.

I’ll-

ki-V

ll-

Mil}.

I

I

HI.

I

if

I-

ir|

II

1

1

1

>

■

I

,1/1

I

ij

external

sound

source

■

:

ii

;

,

13-1II1

lu

^ncr:p'i,A.

‘j

EXTERNAL

11*iinIm-iI

ni

..

I

.

11111-i

ulnii-i

in

11

ll?

'i

;n

iMratrk

pjiiai

nrtJetUnc

pianu

a

EXT/N

0.1

SE

I

•.

...

lid'-

i

1

■

r-i.'d

ii'

Mu-

-

■

'I-

Mil";

swllda

lE'iii'i

hi;

sci

ic

I

XI

TRIGGER

LEVEL

VI

justs

I

Ik

1

level

uf

I

Up

ealernal

lipival

in

fittttisli

trigger

j^liuIs

tar

the

EG

{equivalent

In

KI

:

Y

-

OV

KIT'Oil

In

in

■

l:-;-vl"

iMi

Vndlivllt

-

■

nes

litglMiwhen

Lhc

knob

es

Lamed

I

wards

IV

•

I

In;

h

mi-

-.

ulwrivi

ciii'iiollml

■

'"/

rhii

kpph,

rognrti|«s5

qF

the

position

oF

inn

EXT

NOISE

Wdck-

7

*

E

menial

vigimii

can

ba

used

at

i"a

round

source

i

nnn

without

.iny

S'-iii.|i;’

^.Hli:(lnri.

I

ll

;

kiifth

i'

jsi

I>l-

sal

to

0

end

adjutimeni

;

nrMirb

tiMy

by

Ihe

EXT-NOISE

ranch

1

nnd

the

TXT

NO

I

SC

k

nob

ip

Mia-

Uil

X.E11

bbd(.

Using

Two

Synthcsirers

SYNTNESI/LH

I

TJvt

kcybnnrd

dula

of

Mm

CSU5

tan

ba

sent

Ip

Uic

.

..

ill

I

i

'

■

k

Ll

...

11

if

i

‘S

-

l

l

I

liL’

.

.

l

l

-i

lii-

1

tyivHiosi/cr

luwinj:

Mmilm

mi-iinu

nils)

by

living

Hip

11VN

|

lit

]

L.

Veil.

I

:i|nl

TdlUtlLJi

Laruniiiali

Lin

lUu

rear

purirl

This

pettiltlS

Mil-

building

lip

of

a

dnuhfa

SJ

l

lll

ll

iL/L'l

e_l|-

LL‘ri

1.

CONTROL

VOLT

Key

bn

uni

-l.i

i

;i

-.j^nu]

ooittmlll

iqj

tire

pilch.

ci

in

i

,.

,-i

i

.-1

.

■

i

.

il

I

;

ihii

Vi

O

'tftvrtn.

yu.-

i4

OUT

TRIGGER

Kcybnurd

dulii

jrprese

(i

i

mil

KEY-ON

and

Ki

V

:M

I

Up

in.-

1

iliiil

-I

I|il'

Mi

.

-Iivdliijiv

pcne-ralnrj.

•

r

I,u

ill,i,na!,ijrl

L'l

|

ho

r

In

hi

ihbwl

I"I

.'*il"

.|'li"

in

whinb

m

kaylioard

Ol

SYrs

"

HL&lZtR

1

i

ijrinit

pluvial

'

■

i

SYNUiF

i.l^CM

?

-.

imu'ii

i-flu.

trolled.

*

Bn

liirartil

Ip

ri-iAK-u

*fOJT(

rtnM'itlonl

Hwdh

■

n

OUT

lb

OUT

as

this

may

cause

tNm^cin

|o

thm

itnltk-.

SYNTHESISER

7

OPERATING

SEQUENCES

BASIC

SE

I

l

A

k;

Sflltlufl

1

11

u

1

syuthcsiKir

up

Bccnidifif

to

CONNECTIONS

P>tJl!

h

.

2

I

mm

on

iInc

switches

of

iha

synthesize

ultd.

unpliltef

Hid

I

lit

1

vi

i|

in

iif

ul

ti

n.-

uiiiptll'lei

I

li

u

suitable

pujirfeirv

SOUHO

CREATING

ti

Wlih

Il

f

syii

I

IniM

am

vnu

l-.iI

i

-.k-if

iniiih'

ym.n

liwu

■

in

j

i

n

j

l

sound

cv:-n

before

stuNin^

ui’luut

rier-im..

miff.

2

Signals

lire

llowuqj

I'runi

left

In

Unfit

and

s;,ii

k

•Ml

iiy

IJmU

'Pl

l

IJW

ktlmhsuim

flu?

iMIH'l-

3

Sound

signals

eorreswuiidln®

in

I

lie

Uvfafvall

nl

til?

1

;l",

i

lire

piwruif

d

Iry

Use

WO

Much

tvlsen

ki

4

y*

in'

depressed.

5cl

Hue

knobs

of

aim

VCF

find

V^A

i|

iu:kv

i.

shown

ibuve

•

■■■

Hi

n

Use

..oiil.n

mg

ils

nl

basic

v

■

iind'-

can

be

produced

u'illinm

being

in-

Hhuiil'ihI

‘

iy

he

Vt

i

nl

Vi

\

I

-eh

-

■

■

1

VCQ

blfickttllXER

tiiort

■

Selc.-I-

Ihe

snund

so

irces

for

the

Pjoj

found

Willi

Iho

MEM

li

vnluiur

*

Drpre.isii^g

the

keys

will

product

sound.

*

Ei.uige

i

i

ilif

fee

0

1

.

i,i

rd

i“

h'lfmillHd

Isy

||-.u

FI

El

switch,

!&l

VCF

Mock

*

Produces

ibr

basic

liannonfe

structure

None},

'l

in

wp|,..

i

11

ii'

i.l

11

11

unddfnr

its

will

II

I

IFF.

BPF,

LPf

swik'h,

and

deierniiue

Hie

l..i

i

icitiv

.n.i.

■

ii.

Ulirli-

i.v||ii

I

||f

l'LI

I

in

1

'

L-EtEQ

and

tii.SU\A\[

1

-.

knobs.

in

EG

lilnck

*

I'

In.kmpiifuKi.

■

•

itsipi

r|u

nl

nl

Hi.-

sound

Eifhic

Kdneralcd

le

h>

fading

iw.iv

I

hew

jrt

Ul

«‘K

11

ME.

DF.L'.W

|

tWL.

SUSTAIN

LEVEL,

and

RELEASE

TIME

1\

VGA

blur*

*

Ctumuli

Lrmpcoal

clun^iis

in

i

olinoe

w

rh

r|u>

Hi

I

H

I'l

I

md

|M

i

l

\i

I

i

YE

I

knobs

a:

VCF

block

*

PiudiiL'C'-

enijtoi'ii

c.iini

■

«.

in

■

•

ii.

■

l

In

.:

n-ii

willi

lifer

f-C

DEPTH

km

-

41

LFO/EFFECT

*

Sclccls

I

li

e

SPEED

and

wave

form*

Of

l|w

II

fi

line*.

\b

h-ivc

tu

jjpj.i

lu

I

l(i

M(J(J

>i

il.c

VOO.

VCF.

und

Vi

a

i

,

ceitcd

*

IV

Mulls.

(ill

..

i

In

Mil

H

jk

11

ul

uni

Ii

.k

■

.*,

I

111

I

Iil<

PORTAMENTO

knob

and

PITCH

EiL

:

NI

>

si

;Ee

L'NItml

ilS

Tim

'if

pi

inun

IS

in

El

iin

lire

limk

ppocL'dsirL'

eo

create

sound.

I'o

achieve

yauT

ideal

sound,

it

is

sifcw-

«ty

M

LS]wiuie

the

HlgtttfJW

tattlbl

confirming

line

results

by

car.

The

tirfgfrtUl

ao.mds

Him

l

11

.-

r

.

■

.hi

lie

u-pu

ii,i.1

al

m>

nine

I

Hie

position

of

cadi

knob

Li

regislered

in

I

lie

SO

UN

Ii

MEMO

SOUND

MEMO

BLOCK

DIAGRAM/SPECIFICATIONS

BLOCK

DIAGRAM

SPECIFICATIONS

KEYBOARD

.

.

.37

keys,

3

octaves

CONTROLS

EXTERNAL.

.TRIGGER

LEVEL

Control:

Min.

—35dBm

Function

Switch:

EXT/NOISE

LFO.SPEED

Control:

0.3

to

100Hz

Waveform

Selector:

'X,

/

N.

/

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.

:

Sawtooth

wave

control

rL:

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

7

sec.

DECAY

TIME:

0.018

to

18

sec.

SUSTAIN

LEVEL:

0

to

10

V

RELEASE

TIME:

0.018to

18sec.

PITCH

BEND

±1

octave

TERMINALS

EXTERNAL

IN

.Sensitivity:

—35dB

(Min.)

TRIGGER

OUT

.

..3V

(OFF)

to

7V

(ON)

TRIGGER

IN

.+15V

~

+3V

(OFF)

to

0V

~

-10V

(ON)

CONTROL

VOLT

OUT

.125mV

to

4V

CONTROL

VOLT

IN

.125mV

to

4V

OUTPUT.

.

.

22dBm/600

ohms

OTHERS

POWER

SOURCE.U.S.

and

Canadian

models

■

120

V

60

Hz

General

models

110,

130,220

or

240

V

selectable,

50/60

Hz

POWER

CONSUMPTION

8

watts

DIMENSIONS

.

641

x

290

x

157

mm

(WxDxH)

(25-1/4x11-3/8x6-1/8'')

WEIGHT.7

kg

(15.4

lbs)

FINISH.Semi-gloss

black

Specifications

subject

to

change

without

notice.

TROUBLESHOOTING

MMl.

tvH7

<S>

YAMAHA

ISMPPON

&AKKI

CO,

LTD

H4MAMA1

-iU

.lAI'ARi

(MEHU

KW

fl

RF

RR

BBQ

C

-J-

^

..,.,,,

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