Yamaha CS-80 User manual

CS-80
POLYPHONIC
SYNTHESIZER
INSntUCTION MANUAL
©YAMAHA

H0( TO USE THIS MANUAL
This instruction manual is probably different from
any synthesizer manua! you have previously read. The
controls and functions are explained in terms that
should be comprehensible to non-technical and
technically oriented players alike. The CS-80 is a
unique step forward in synthesizer technology, an
advanced and very playable instrument. This instruc-
tion manual complements the CS-80, and will also
serve as avaluable reference book for understanding
many other synthesizers.
All CS-80 controls referenced in the manual are
followed by anumber in brackets, like this: the
VOLUME control [2] .The numbers refer to the
callouts on the photograph inside the front cover,
Consult the INDEX on page 1to find other pages
where the same control is discussed.
Those who are already experienced with synthesizers
may wish to review the control functions as outlined in
Section IV. Amore detailed and less technical explana-
tion is provided in Sections II and III.
When portions of the control panels are shown in
examples, all controls not shown in the example should
be set at the nominal positions indicated by the inside
cover photo (unless othervvise suggested by the accom-
panying text).
Try the example settings shown, and experiment as
you read the text. Feel free to use your own music, and
adjust your playing style to suit the nature of the patch
you have selected.

IS ^4G 16- STI^SMK »Z73SS3aai3?S34 3^37383344 41 j124^^-A^
13 H
II] ACPOWVER^Hwit^
l£] UHflVGLUME
|3i TO#ftSELECTOIE?
[5( FftThlF
mD€Ty*rEtii II
IfiJ DvPisfl RESGiJ AhCt
ijS] KEVMa RD CDMROL-
|101 KEl'BQAftOCfWtHOL-
LEVEL Lptfr^Ml^hl
[111 SUftO&CILLATQft
fiaj TOUCH Rf5*Oi«St
[13] SUSTAIN
Ii4| PcinTA,«fHT0-<:LiSS4NDd
I1S1 TflEM01.0i'&HiDn|jtS
|lt| RING MOOULATQR
117] FOOT PEDAL SE4.ECT0iH
I1A1 PlfCi^ Ceurtir^
111] JifllfcHlltfl^ CHVlr«JkT
cm HMMd^HM
1^1 H* dirty CV^k;
W] £pwiAiHfe«pi«Mi/OFF
EKJ l\flilA NCttSf
|J7| Hi5»| UfOf -Q"
l-ESI LPFIJiteruEitlf
i»i ReS^ l|tc«f -45-
is] ILMriiqiilL^tll
[31 rAi IAltfid.L*MI
r^l A[AttK^ Tlimli
1331 IDfeiiMy r^n^
iM\ HiRa\iiidmTiTww\
im VCF LEVEL
[^1 Sm^Wp*?-
[371 AiAVMM^ TinB)
[3tl OCCTtfuy r^iuh
[^] SISiEiaIn LtrMll'
|4«] R[Rrif^tK T^fTwH
[41] VCA LEVEL
[4a] INITIAL-TVPOCH WlLLIANCE
[43] INITIAL-TOUCN LWCL
.[443 AFTER-TOMCH eJIILLlAMC£
r4il AFTER TCMJCfH t^W^^t
imi MEMORY PANEL

QUICK SETUP INSTRUCTIONS iVIPORTANT INFORMATION INTRODUCTION
1. Physically assemble the legs (see instructions on
page 2} or set the CS-80 atop asturdy surface,
allowing space for air to circulate through the top
and bottom cooling vent panels.
2. Plug in the FOOT SWITCH and FOOT PEDAL
(CONTROLLER) at the rear panel; be sure to
insert the plugs in the proper jacks.
3. Using guitar cord(s), connect the CS-80 Rear-Panel
Output Jack(s) to aprofessional, wide-range speaker/
amplifier unit. LEFT and RIGHT may be used for
2-channel systems, or GENERAL (mono) for single-
channel systems, such as guitar amps. (Hi-Fi music
systems are not recommended for this application.)
Alternately, connect apair of stereo headphones to
the PHONE JACK below the right side of the key-
board.
4. Open the storage panel below the synthesizer,
remove the power cord, and plug it in to asuitable
AC power main.
5. Set the rear-panel HIGH/LOW switch to LOW, turn
on the CS-80 power, and set all controls at nominal.
If the volume is too low, even with the VOLUME
control all the way up and the FOOT PEDAL flat
(maximum level), then switch HIGH/LOW to HIGH.
6. Try various preset patches by touching different
TONE SELECTOR buttons [3] and moving the MIX
l-l Ilever [4] up or down to point at the row cor-
responding to the selected preset. Adjust BRIL-
LIANCE [7] as you do this. See pages 24 through
30 for additional panel-programmed patches.
1. Always allow space below and above the synthesizer
for air to circulate through the vent panels. This is
essential for proper cooling of the circuitry. If the
vents are blocked, tuning instability and component
failure may occur.
2. Always plug the FOOT SWITCH and FOOT PEDAL
(CONTROLLER) into the proper jacks. THE
SYNTHESIZER WILL NOT WORK AND MAY
REQUIRE REPAIR.
3. Avoid exposing the synthesizer to direct sunlight or
very high humidity environments.
4. Clean the keys and plastic parts with Yamaha Key
Cleaner creme polish, or with amoistened soft cloth.
Never use abrasives, cleansers, waxes or solvents,
which may dull the keys or chemically attack the
finish.
5. Leave internal adjustments to qualified Yamaha
service personnel, if you open up the unit and reset
any trimmers, the unit may require acomplete re-
voicing by Yamaha.
6. The EXT IN jack is designed for audio, line-level
signals. Never connect it to an AC power line, or to
aspeaker-level output. Also, do not connect any
CS-80 output to the EXT IN jack, as this may cause
feedback and possible damage to your equipment.
7. The CS-80 weighs approximately 100kg
(220 lbs.). When setting it up or transporting it, at
least two people should do the lifting.
8. While the CS-80 is constructed with an integral case
of sturdy plywood and metal-reinforced corners, we
recommend the use of an additional travel case for
cartage, preferably built to ATA-300 specifications.
(See page 48.)
The CS-80 is easy to play. While it is ahigh-
technology musical instrument, you don't have to
know about electronics to understand how to use the
CS-80. We do recommend, however, that you read this
manual thoroughly, and periodically refer back to it as
you learn the instrument, if you're in ahurry, check
the Quick Setup Instructions on this page.
The Yamaha CS-80 is aunique 8-note polyphonic
synthesizer, one which places the entire realm of
musical expression at your fingertips. The CS-80 is a
true musical instrument, not merely a"special effects"
tool. The sounds are infinitely variable, and, because
the keyboard is both velocity and pressure sensitive,
you have true dynamic control over your music.
The CS-80 will give you an incredible variety of
electronic sounds, but it goes further than that. Having
aCS-80 is like having asymphony orchestra to choose
from. Largely due to touch sensitivity (keyboard
dynamics), Yamaha has overcome atraditional
challenge for synthesizers, namely, the difficulty
in creating the sound of an acoustic instrument. For
example, if you've ever tried to create a"violin" on
the keyboard of most synthesizers, you probably found
the result too "electronic." While you may have
achieved agood basic violin sound, when you played
it, there was something missing ...but what?
Ask agreat violinist to play the note "G" 8con-
secutive times (not an open string). Request that he
make them absolutely identical in pitch, timbre,
volume and every other possible variable. You'll
discover that he cannot do it ...fortunately. Much of
the charm of amusical performance is that it is not
"textbook perfect," and this is why your well-pro-
grammed synthesized violin did not sound "right" to
you. However, your CS-80 is another story.
Touch response makes all the difference. You can
set up a"violin" so that the way you press akey
changes the vibrato, timbre, pitch, volume, brilliance
... the whole essence of the sound. With this kind of
expressive capability you too may not exactly
duplicate 8consecutive notes. However, the sound
you do achieve will be much more realistic and musical
than has ever before been practical with an electronic
musical instrument.
The CS-80 is the first of awhole new generation of
performer-oriented electronic musical instruments.
Only Yamaha, the world's leading manufacturer of
fine musical instruments and high-quality sound equip-
ment, could have built it.

INDEX TO CONTROLS AND CONNECTIONS "ABLE OF CONTENTS
INSIDE
COVER
PHOTO r- PANEL LABEL OR FUNCTION SEE PAGE
[1] AC POWER switch 6,39 VCAS
[2] Main VOLUME 6, 38 [35]
[3] TONE SELECTORS 7,37 [36]
[4] MIX l-ll 7,37 [37]
[5] FEET l-ll 8,37 [38]
[6] DETUNE CH II 8,37 [39]
[7] Overall BRILLIANCE 8,38 [40]
[8] Overall RESONANCE 8, 38 [41]
[9] KEYBOARD CONTROL-
BRILLIANCE LOW &HIGH 9,38 Touch
[42]
[10] KEYBOARD CONTROL-
LEVEL LOW& HIGH 9,38 [43]
[44]
[45]
[11] SUB OSCILLATOR 8,37
[12] TOUCH RESPONSE 10,38 [46]
[13] SUSTAIN 11,39
[14] PORTAMENTO/GLISSANDO 12, 39 (Items
[15] TREMOLO/CHORUS 13, 39
[16] RING MODULATOR 13,37
[17] FOOT PEDAL SELECTOR 14, 39
[18] PITCH (tuning) 14,37
[19] Ribbon (glide) controller 14
(PROGRAMMABLE PANELS)
VCO Section
[20] Pulse Width Modulation SPEED 15,32
[21] PWM depth 15,32
122] PW duty cycle 14,32
[23] Square wave ON/OFF 14,32
[24] Sawtooth wave ON/OFF 15,32
[25] White NOISE 18, 32
VCF Section
[26] HPF filter cutoff 16, 17, 33
[27] RESh "Q" 16, 17, 33
[28] LPF filter cutoff 16, 17, 33
[29] RESl "Q" 16, 17 33
[30] 1L(Initial Level) 20-23, 33
[31] AL (Attack Level) 20-23, 33
[32] A(Attack Time) 20-23, 33
[33] D{Decay Time) 20-23, 34
[34] R(Release Time) 20-23, 34
ection VCF LEVEL
Sine Wave
A(Attack Time)
D(Decay Time)
S(Sustain Level)
R(Release Tinne)
VCA LEVEL
Response Section
INITIAL-TOUCH BRILLIANCE
INITIAL-TOUCH LEVEL
AFTER-TOUCH BRILLIANCE
AFTER-TOUCH LEVEL
MEMORY PANEL
(beneath Block Diagram)
Not Visible in Confer Photo)
HEADPHONE jack
EXTERNAL INPUT jack&
LEVEL control
OUTPUT jacks &HIGH/LOW
level switch
FOOT SWITCH PEDAL
FOOT CONTROLLER PEDAL
20, 35
5, 16, 20,
8, 19, 35
8, 19, 35
8, 19, 35
8, 19, 35
8, 35
23, 36
23, 36
23, 36
23, 36
15, 23, 36
35
3,4, 11, 12, 14
3,4
SECTION I: GENERAL INFORMATION &SETUP
How To Use This Manual Cover
Color Photo for Feature Identification Cover
and Nominal Control Settings
Quick Setup Instructions Cover
Important Information Cover
Introduction Cover
Leg Assembly 2
Connections 4
SECTION tl: DETAILED, NON-TECHNICAL
CONTROL DESCRIPTIONS (Except Programming)
General Discussion and Notes 6
Controls and Switches 6
SECTION III: DESCRIPTION OF PROGRAMMABLE
PANELS, MEMORY, HOW TO PROGRAM, &
SUGGESTED PATCHES
What the (Programmable) Panel Controls Do 15
Memories 23
How to Use Programming to Get aSound 24
Using the Progrannmable Panels to Duplicate 28
The Preset Patches
SECTION IV; TECHNICAL CONTROL
DESCRIPTIONS
Overall Picture 31
The Programmable Panels 31
Other Selectors &Sound Modifiers 37
SECTION V: UNDERSTANDING SYNTHESIZERS
General Information 40
How The Synthesizer Works 41
SECTION VI: APPENDIX
Where's The Sound? (Troubleshooting) 46
Tips on Recording 46
Tips on Live Performance 46
Tips on Auxiliary Signal Processing 47
Direct Box 47
Travel Case 48
Specifications 49
Blank Programming Diagrams 50

oo
LEG ASSEMBLY
1. Un^rp jnd Dpfltn the Ciirrviiifl tait If v** ^rf^str 1^
m^B- tN: C5-ffi bflfiXt VDuS^l il UfJ, ^OU nSfcd r>i:]l
Hny iuH^mowt tN caE-t^efs- hom me CMS -artd ins« c
2. Hold tKe Lift leg a^fi€OibJV S^ tt^ IWG IhumbiCr&Hrl
on its mounitafu] flange line up iMEh itH ihr^^^d
MSfirats under i^e CS^O, ^shD*n. Ti^i^n Eht
do not 1>9^ten ^GMii^lVi Swirl^ dH Upper It;^ hr^itx
M) it fcS. piraMel with me tpMEiim ^ClW Syiiti^ieiiJ^-
and kav? iti« lower le^ tH-^ee pi¥Aud dui d4 m^f
wav-
J. ftfiinjue ihe- tfitPntHCfi?w ff om ifie erwf of Tfie upf]«r
I«I9 bracf on ttH Hghi le^ ^^mbii*^ d^Kf s«i che
«TOW wdfl tempofiniy :WE SURE TO SAVE THE
THUWeSCnew. Fiiw slide the right upper \^
bf^Dc intfl thp end Off the S^fr uppef Icf brac^-.
TIwn uli^ ih* two im&uniing Harqe tfiumbecrews
DVCT thcv xpckctSi md li^t^n tN- icrQwv; pvtiallY^
4- Swing TfW ricjhl kywoT irtg liacfi rawr thr pprntiwh^rr
[h^ [WO up^i leg bi^Ci;^ JGin, isJLpnijig; She^ hi^iJcs
5. 5wqng theltfa lowver leg l^racx' «:vv^ fKf jufi^t^Qn of
Ihe Dtt^er leg braztcx^ ^xn keeping tti« hoi^ ilufncd,
6. IrDETt the EhLsraliicrEii' Ehrpu^ iti^ ^vw^ low^
tx^^Dci Sid l:J^&n it firmly into* Ifi^ Mpp^r trj^g?,
7. Ti^ceA Ihe foiM Ihkuvfib so-^w; t^t finnJy fi^Piine:
ihft leh ud li^E k-g flujtg^.
1

0. Flip u^ tfw latch on the pE^Kf Card Sttirlg^ &gn-
9, Cld^ thi^ CDrnp^rEmHit cxKyEffj roubng Eh^ C<>rd
thnough the- notched Dornn- sa thtcDvcfr i:k:i€^ AAI
pini;ii th^cQnd,
1OL Wi th one penon Jifti rn each end. lift tht wn[| mn
and stand* it on mle>p. Tbe leveling ijcrew^ ^n t^
froniof Bash le^iTiJV be -adluit^d X'O ^tewky th*
synifiesizKr, if moe&^afv.^
11. R&frwiv« ibC' Foot SmbIi bihI F«n Pfldsl Con-
Trdhr frofn ihe CBrrvtnQCBse and irfica ^n^m.
^beldii d^g synih^zjer. To- keep tfie cables oul ol
yCKjf wav. iliP- iHern imo thecllprs on th^ r^ght leg.
(Ai-b-Lflted in "'Cannecuont/' be -syie vdm piwg -^
E^^aeaMM i>nio me correct JKkE>; itie f^o^'r;
Ehr*e-circi^i phooe plug joti-to tht FOOT CON-
TROLLER iacU
iZTo keep th* AC^or-d out ol vov" **3Vh "IJp 't 'n**^
the dipt on the fc^ft lag- l!5«|i^*tii^ thi? pcKiwtr cord
Irom a^iiT^ c^bJ^ w^ iliiQVs agood idea siirrDs i1
avroJ^ hum-li
1^.il^fng4i^ tbccaxiEf^, Lsdat^h Ehr Cmcr, Q0tf\ Hh
Ddvcf »d lift it iff! ^± IhE f-hdl-TDund hii>^
disoipgc. ir you wish, rtimciri Ihifi ^Uiicftand
frcrin ihe- ci^er a^d ifis^T it f^ iht two slocted
rlnin§» aiop ihe synthesizer 4on i^ veni iHRB^I.
*CAUTION
Fof-ia^irty, Ibvc" HirrwHifK nslp ^du Iift rt.

CONNECTIONS
MOTE: 5sr: Section VI for inf«Drm5ti(Fi Qfi difWilboxc^
bfllancBiJ liin^^ eft,
M- IVnifflf &GrouftdHnj
F*1iq: thi^ pQMur^T c^wd JnEci 50 or eOHz AC QMtltl. ''
When using thfCS'Wiwith 4^c^ndaF-d ^'n^w
pnplificr, it's j^mnI !(*» to- [^1^ «hf AC eatiia^ fff
both tfw C^-80 ^ntf the guir^r ampliftef into the -5*711?
AC oMtkt IwM Of ttic -sanic AC p«ug mp, Hyckj l^w b
[dug rtrip, UK the- Brounded tvIM. Oo not tfpd&aiife*
^vun;! cporin^i^ion ^thifd pin Off itw AC pbg] on
Hthfir 4fi4- C^-30^ oi" ctie ^i^iiai- ^mplifiif .Gv coifineeiing
iht ACc^bJe^ of borh uilk i-d liw tanw- AC<>uileT ^r>d
th«n (i^nnwunq -i^e CS-3Q'-a Dulfhil 1^ IJT* ^iCdf drfip't
if]igt with iihielcl«€ll caW* ("btrtpUl CyiinecCiuny"!,
YOU jri^ni Ihat theGhaiiS«S>Di btmfl device^ will beat
fhv Simi ground fH>HmiJi^ av4idii«g M*^ poSAiblr-^D^k
tkizanl
|il4l ApplicsblE 4oT thrt imodd with llrw 2P-|du^|
OirtptPtJbdii
Thi LEFT and iRIOHT ^Milpytf-aic idenlitid cjccepi
irfia=n tfifl TREMOLO or CHORUS *^fecc it uted in
«*ii"rh «^ ih€¥ sl»i-nafi€fv Ghjn^ in le^tl inef t^ha^ tp-
iMflduct 3roii^y fpeakflrciffecL Th-e GENERAL oyt-
|Mit is jngnoniL^ Di LEFT and Ft|-GHT.
EMh pnk E^liDw impcdanWr "staiidard iip/ilet^
pn^Hlg i^k- LOW line- Iev^ Is nc^nnal. -^MB
iJl.S miJIivult^J. Mid HIGH line Ifvvl i! UB
f»
ASpwmim- fte^pae^ sI^mi^^ tt^^jxA^ti ftw ^^rmcf vifff^i^
The CS-gp-ogtpyci areidnbdiafioeidAfid wll clrri«
lEJwirnpedanct ^CWcshm) Of high imprtarKK inpulS,
«iItHr bai^rTiOed nr unb^l^nc^d: this irffi*yd?lTliXW-Sy
pilI3r-&AlpSj 3a(>e rccori:k?n^ ^nd man^ Olhg^ a^ldk^
deviOBSu It y^MM art! net siir^ abc^.tix the -^ri^i^npitV ^^
VOW eouipmeni, ii»t with the MIG H. LO^V 5wit^ at
LOW TO avad foi-coaTvc loflil*. Use srv high qihI iiy
piKsiwj-Tfrphorte plug pyt(h ^We Ciuiw caiil& lo^iev
fK€l the C3-30 E^ dt^'LindMd guiLir ampliiiia, ii
Ita^ impedai'i^it mi3i*;r iw*. as VMnaha's Pl^l TO a
^re^Tfl^ 10 an *mpiiii>firi'"£|K^fter iv^E-fifli eorif*teiniaitflP<i
PKh at itie Yainaha A411SH."*
To rthnamii^ hMm< pictyp in- wary lw>g tound
tys-iem cdbleir. use- ?n awHsorv ifantf^wmei- or line-
le*el diiecL boa cl<»t co Ih* CSrW and ihe*i ifun a
b»J4rc-<tt: line 42-<!kl]nduttcr shi^faM 3CLR nkiq tl^i-|"
Ig^thrMiiiHer.
Plug Iti? FOOT CONTRiOLIJER PEPAL mlo tf*
fOQT CGNT^aUtER JKk. Th^fJOifiTroJIer pl^if »
3-arcuit piininc; plug (tipAinq/slf^veh TTiR FOOT
SWITCH and FDDl CONTfipLLER plugs %hauid
newer be in5?r^ in f^ch fllher'f i^cks.
E^iA^i-E'L^i Inpirt^ael^
The EKte^fnal Input jadk is for sf^odl ^h
Otet^illalcr ^^IfeC-Q. Il alk^im fcir miCHdulation fil the
Umt, ci£Cillaior or JiinpliT^fep bv liifi^leni tm*^^. n^h
as ^H^inaEDrs^ fhydim hc^&i, aitKf etecwMyc: i^iru-
ni«iiu„ tm. The inpui i^^ tii^h impedanee, ^^ «wly mni
omriQ^ tfiff fscternii dewiw. Se^iiiiviiLY i^ a%jtt^ile
LMlh tht EXTERNAL LEVEL o&ntrci, bui ?¥i;n ai
mayimi,MF scn^iiyity tHc input twilt *i01 pfOnde a41-
ojfn^We tff«t with mk: level of guitar pichyp l«d
U9Wl^
You «n LBi? ^v»fifltv ^awBSorv *Mi«S beiwMh
ttM? C$ 8P oMtPut gfflid the ^ound ^v^tem inpui: rewrite,
w^o bcM€&, p*ia&E shifters, andso fonfi. Reflnerftbo-
c*iai ine CS-30 has bitili-iiictraiAirv fi€^pfo6wtt wdi-wah.
-QTieniQlo. MibfJiQ andcefuin phannci tntcu {SLiE
OSCILU^TOe 111)and TflEMDLO/CHOFEUS flSl -
The Speal«erVAiT!pJffi«r Syrtpin
ThtsDund of the" CS-BQ will fkpend to mIjng^ ^^l^p-^q:
tm Ehe afiipliifTeY ^nd^peaicef gysteffi; the wider the
r^^omt, Itie beiEfii. We ietcmr1%er^d uSe of Ehe- i«lf-
FHweri^ Yanriiha A41 1^H ipeakgr jt-y^iem, due ia in
m^, faac frequenci! re5p<wise. Hfl^^evef ^ihe CS30
rnanr be used with almogiany u^de^rani^ pfQfeiE.iiifui
£p«iRN/afnpllfHff isvsnHfn [or ia[» ineconlerl.
If yo4j uie several luevlMUfdls, tou may alsD'^iEh 10
use akfi'vtM^ard rriiAer. Inany carie. iI't agood idsa Id
cHooiB idKfie iiemcs caiefi^lKv. We pecornraend tfifl
Vtfnahi W-1 70. asijt-inpuri itereo ouipyL mii«4r wih
Y^poi^u PM-ITVi
VU meien and BASS aind TRE B-LE aqmli zaiion on
ew«Y inpML Thrs rniirer«?n meei. l«d aiiy amfriifief/
speaiter fnten*. Alre*natel-r. nw *wif-powwed mijuw
such as- die Yamaha EM-ISOl The Iteyb^f-d ouEpuis^
Vm^mim Tfi^ n^pv^nf frwi»i
indiidirtg die CS-30 outpur^. c^n 1^ red to ^mlam
input and ihe -output! can l» con/iecied direcUV lom
itMf &f liKakeii^such ^Y*iiihaS4n 5H's.

Mm AibfHit tfie A4115H
The Y^nghg A41 IPH ix 9(vi^vwdy ^cH^kn- tytm^
iHitli ^bvpltin 100 wact powifr amp. It prniA^C^
The- ^il&H ic^n b^-ch-iuin ^rpcltv Fr^^in |hc CS-90^
KPtpMb, Q^ Irgfn thtQuQHif oF a^M^IID gr umilai'
miXQf.In tfi^ -Eludi^^ th^ s^ouncl cjr\ bn Eaic^n direct
ir-Qffi tf^ C^'SQ^ -Qr Rscci^llcfit rnsLilt^ can br Qb:^ined
^pipping ^mio-opfionn nr-ar thr A41 I^JH. Dn ihe
ttSff^^ 1h* A41 I^H^L Jiigh tpnEiti'iiTy ^iid hi^ pmiwer
ou^puf gmcraw high *okimf- l^urt fr«^ ^aj^IM?
dlTICKtW.
Ir^yvi tfi« L^ft ?nd flbght QE£4ub qci tl^ C&$d t43 chk
M1t5H
inpul ofieach A41 15H. &rc iKa CS-80 oitftput HIGH/
LCMf Fwiisii ^K HIGK wt til* A4115H-t INPUT
UEVEt Twitch ta the "Wafn-" piuiti^jn. snd vE its
irVUT VOLUME a% iBquimi The spcflher's HF
LEVEL ccxiItdJ 3£|£ \ht vqimtm Inel of Ifie !hi|^
NOTEi It vbu «irT£h i^iif^ Tt^res A-41 1W^. <xwi m^
be fed try Hu Ge^>erai ou cpuL Tci fe^d mo^e Hun qi^
A-4n&H from ofw CSfiO oucpKjir "dwin" the
A^l T5Ht cc^tfwr; conneci aphofrt«-io-pJionfi ^Ue
frcTfn iht unuE^ inpiiE jack o^ ch^ Ml lSfl bei^iq IhI
bv Uie CS-BO ucn -an ini>ui pack on ihe rihSytE A4 1151^,
3fMl so fDrtfi.
AiilSWsonirQi A41 194i BAnli^ ^HHl
riDHi^pnDcm
Af^t^r^Q h[>iai:tphDfiie lack E-prcwicfed iMidef itbe k-e^-
bciaril an the- ri^hrE lide. ILhr any ^-ohrri ex highet
impiedaiKtstErm phonn. As arule^ hiTwrTerj
lyntheirass^iMiil best whe^ mDnllDrtid-with f^Ma^kerl
Gcttiiq 54iiiiid
When aidl cofwiettioii^ ?ni nadti^ ttiirn DftJ Ifw C&9P
and «l all (MMiroif at ncmin*! fXDipr iti m^in
VOLUME QOntrol {1 1^whicfi yt^u set mpinmum. Then
litDog and idiitfT itic CS-30 woiyme whii^ playing i
tihDfxIL Remffnbrr, ^m^ most mi^tiplchwi^illrtor
svntfitHzwSy theCS-W i^quirw abwt 1(3 1^ 3^0
minuiM to warm %t^ for Eull siabiUty.
A^IIWv^lr?],!

SECTIOM II -DETAILED. MONTECHNlCAL
,
CONTROL DESCRIPTION (Except Pro^smif ^] fr>
ThiT M^^ion pff^Hiit^ *tBil«l mfi«maii«* brt JChe
CS-SO"? T-Jidetip IflWfir siw*Khes *nd rcrtjrv *c^ficroh,
eigcpT 5+ie- P^^n^l and Mflmory wntr-ots^ wfirt#* art
tnatfd Hp^riDelv mSwticjn III, Wb haye ineluded
m^ny iii^ripins. to ilwtrate the effect of Ttse -coEmrof-s.,
^xJ Ipsitimulj^i: yipji- oh«i> jm^njiion, |f ^qu W]Puld
like nrmvf iiirtpcin;p0flfi ^bniiii S-vnthwijier? jfigflfieril:.
prfcr tn ^Clicxi V.
W^itMn th13-41^ annaI, or any manuial. lE- yvDuIri br
#ia(t if vcHJ underE-iand ifis; concepiC ^1 ihe ne-irufneni,
and ijeflefiHr 3<e fainiliar #ixh hovv iLivork^ yrxj will
teaN« to 'in* che CS-BOttith d^^civlTV and sPulL
Th^C€>8Q illowf vov to Ib»^ thii tour playMn§
5ivl& hw 0j mydi tg- As wiftti fh* "r-eaifsiii "iif asound
3? ^o« thuj inlierciii fCHjnd of ttit sv'^i^fls.izf*-^ I+you
|rivy 9good iwofdlng erf ii-claTinet now. bui Turn on
fit Speafee-r <^v duri ng tlie mi^ddle o^ •&i^ no™, fei
miflht scond M^ ?ptirg-Jy el&Ttfonic "Kiund becawie the
way t*» ti?nf wn:! vnsium? (tigmqe -duririHi ti*E ffiOW iP€
Basntial to- -drf ini rig tt^p d^ri net i;tiar«ter. iMuEJcil
icalism 0fim depends ofi lhe niLK.i^l i^onte^T as wnij,
^nce DtllE-r instrurrwfitSi i:?fi m^k or brinr^ OMt 3^^fl
frDund.
With 5V"ttif*ii^r5L thei^ond ">at^" ownfnonly
ikstirihcs Ihc con|roi !l!typ ^Qf any gfHii ESllild.
Hi5ior«lly, ihprp u^e^ to h€ p^iv^icai patcti iQDrd^ or
pc^ ttuc hpJ 50. l3»c?>nn*tted fof ead* nev^i sound
...spnie syiwtliPeaiJVs 5«tiil MW ^is sySBflm. Moywe^f
^
Ihe C&^ is Jttiircl-^^nt^'^t^ionr in^truBient, -amd many
dvanoB in ctaign Jlow 9AI p^^r^hn^ t«^ be (k)n«
infE-rndly, anrtquitkly. iMlh noH^ordl^ ro h-mdle. Sfilt
t^Ft csf fr^lition ^n^ for 1?ck ot» beTW^- femi. we
ieIIkt tff e^cii progi^n (ewii soipid) as apaDCh.
E]||il3nir|^iY ii@tei;
A. Th? C§-BO controls are ciHw eo*d. Diriferui
Dpipr tffWiit]! sui^ett d^f^ef«AI l¥lMd d1 luhGliDm^ M
fiJkiMw:
GREEN -cie^to-M Hlfr^^±iatacteffifltici
WHITE -p.ici»
GRiY--^dume
YELUPW -smaSn
BLACK Dth** fundi on&
B. l-n Eh is sectiesn •*€ hiwe in*eai«i conifoJ knct
Mterfi in piirenEhsw, ^Bwi^a^^' GtfOR for dl€ p^flMt
PdfCChg^ do noE ICriqfty' foJIgvv thccol^COdin{|-sc^NrfTi€.!i
C. AJI llid^ Dqnirol; «nd Egv^fi on tfie CS-30> niGW?
in a> fOiw^rd-lci-ba:kwc;3r4;l if r^TCt^^ rglilLvs tO the
pJ-iV^r. Hynyv^ver, htttic- r^itr^k.9fii viirpnged s^ th^l
miviinutfh e41-BCt occurs neaf^t the pla^f-r l^lcwEf daiHi}^
a^ QThCiff- ^w maT^innuni effect jrway from She piayn-
4levef IidI. TPiere-rbri^ in tive text of Dhn mamid^
-seTxingtame 5<MHIirflUl ^uggpiled by rt^ wdr4& "d^iHri"
or "upv" whicfi av-oieii ofinilLJii^M with Imaut" and
-soMndi P^odu€«ig anJfukfrfiS moiftlying tuneiiani.,
rt^NS^e area numb^i it^l 0a\t^ t^MiiME^ TIwk exampiis
are inreiid^d lO-atsiil yiliu mquiCfcly leaming haw mxh
COnrrol WrOrK.^. and to iHU&lr^Eg wH^IIhe ecrnlral cbiB
tOttig sound. Vou are enc^^ra^ Ei^ lr|f bur exa^plB^
arvd 10 aiso plav wiih orh^ s^iEiiigs. Lhd^is nihEnvoe
nmedp sec all oontroH ii itK ''nofinal'' or npmin^l
^ttingE^ s? ?hown by Ehe phc^iD^iVh imid£= ihc Irc^c
C^ntrpls ^Swh^hes
[Tl POWER SWITCH- TI1C pD«cf Umild br DM
In^rfl ID lo>3D TfiFnu1)a- biff ore ycHJ pl^ey TtU
symtwaiz*!'. vVh«ie ih.^ CS-30 is, 10&^ toiid s^afie,
a""ligrni up'- period illNDyvjmtErnal oomponenii to
Stib'liiJfle. »i* '«>immcin with motl muldpit-OSCJUalOff
syrtihesiz^. Ared li^t in th« ?ttit]i?h i^ ill^^miii^it^
12] VOLUME CONTROL ~T-- ^udiL&is ihc uoIlmh
(QUlpytIf^l ^lor ine eriur? i-vnV>^i^ei. Tllerc dre
iplsaoth^ gcMitnsISi on ihe CS-30 wiiich jHeti ihe
VOLUME. If the soynd i? too quit^ C^ii«k lO tK Svr*
the FOOT CONTROLLER pedal li i*1 lor mawrrtum
lc^M?l ^parallel to die floor! .Alio, chtck ifw r^-g^nd
HldH/LOW svwitlch: incming it Fr-cm Ujm ra HIGH
intre^i«s Ehe level sulnUnti^JLy {2m^\. BRILLIANCE
IT] tdn iiove amarked eflipcf on th^ vcivng of iOTTii^
i

f
C^mrwm\ IQr^
B^UlO^Arv^il AIJ
Etiirwul II DihLif
PffiTE: ttvwi I^lla Itarn, e«hlv rtM l4ti iWKC tHrttoM mM bv
[3J TONE SELECTORS -T\^t& are i^a f«w^
tH&mHiMirv-fVfiOrfifnfiwd i>atoh»^rK3 one p#icl-
progra^fflid (Mich. The pf«fit puchies let v'Ow cwne
TONE SELECTOR botiwiL Wtwn ih^s is inore than
liH^ pfli€f^ w^Tfi dnw same namfl/ttHV ^oynd sjmjiaf,
but ncKi pdsnticaJ. Vou ma^ i^leci of^E patch Errsm ^Kh
row ai t*it ^ime time Ivy li^tly p^es^iing tjhp <l^r?i;J
t^iJltDn^. ETwi^x^gundi in ttit s^im* row cnay n<^t Idc
^elfct^'umultanc-DLKJ'Y.)) The MIX control |4] then
sf& the n^l^live- amount ni %aund frnnu each raw. Fe^
nioi¥ Informflnon about th* projrimninbl'C PANELS
9fic£ MEMCl^Y. SOI! ^ti4?n III,
[Al HX I-II -the C&BDwilUimullMKOAsJv P^<^
dLme turn indcfEnidcfit icHjndx, I&11^ whchpmer yciu
pJay ^TM3Et. Ttee tpundi se fhI Ep the Mi K l-l
I
»4^tii4 tf^?? rri9.ti« g*o^flff(i^n u-F Sourt^ I*rt4 *Qund
II.
patch by EquiJung tfir TONE SELECTOR l^! butaqni
iTi r^rw LN^uv m^ve MIX l-^ II pnfl (ry all thi^ pnsfS'b
in mpw IL Thus f^r, you h^m h^rd -Dniir ofHi! |utch art
alime. Hpw^vfT, ofwy twri p^trh^. cine fr^m row Iinci
goc-fr^jm rigwIL mi^ bc nMxnd ^-SCtling MIX it^or
nwr Cfjntrr.
i*tor
<Jbc.
OUft
-O C##n^r-il
I
l>
T
T
JO R4tic

f)
[S| I-FEET4I -th|f$^ twci dclEfiCcd yidHS ^^-
fTifis tfii-p^tc^ ^1 Itics^piMid gi^rKruled hr^ chanrieli I
and 11ii4h«n ^p.vcn note ii pLayed la rfiDvablc '''cId'"]!.
Thq- term '""f off"' aikrived fiTDm itandard organ itop^^
SO th« iM^f:r tht niMTibrr^ Bhe lower ttic pitdlj 1i'
Tl^ ^Ibf^rx dp not -q^ier^U-irl betw^tf^ dei^niS. InSTfeBdl,
fic^ tuning Ls. xcpm^i^hHi wilh H^gfUtfau !plTCH
HmtnoJ MSii.
Th^ scprt illL^trai-«r wvtiai vc>u «ill h«3r St liie
wLQui lo^ita^ wt«n Lhi^ C^hcnvn t^^ iW^ i^e^boa'd i-s
e^tkskL 11 ^\ii tonSiirierwl HiUmai piKh, ihen Ig" i^
4mr oclare bdcrtV, S- 1/3' ri ft pwtgct fitlh up.. 4' i:^ on&
4etdv« ug», 2-2i^' i& c^jE of^aive piys. agcri^^ fiftfi up.
and 2' 4i cwo ofttaM^ up.
StlKI BRASS 1a2. »nd Wt I^EEt 1aT 1g wl
FEET II at 5-1.'^. Atyou play, m^P iht MIX LEvER
ffom I10 the ta^tSf SiHl (town to 11^ iHCeriirag cloMfy.
Then re^l MIX in ^t^i^^wtmr and mqvE FEET Iand II
tg- various, Mtfingf iiM|« |il«yirvg ^notfc Hs^kv t*i*l
yigu can conwft aIvIh ifif& a*icfnboii»^ irfc
l&l KTUNi CH II -fWhitei Thift Icvef raS^K or
low^t |H8 |:uicH ^cNnrwi il. tuC di!»tt noi^ff^CI
(^nnil I's- pitcJn. Thiq^ -w^wn 1lK Evwodl^infiEl^ -Brfr
^^ed, V^^U <tiJn -g^ a. dp-tuncd Effecl Ieit a'l^ci^ky-
UFik"^' oi^ncu ^^^p^ xEring Lduncb^ Etc Whe^ Ih^ kv€!r
J1 centfa^^. ^ii^nnd II is njned cicacdir iUs iht irtEAiT^I
llrtlwtflti^*FKTI^sli.d«"-
C)
io5:^:
^^^
gi^ '
M:t*=F=*°^O*Tf^l^
1III ill llllll III
c
III
1
ill llll ill llll
CD^I^GAPCDiEFIiABCOEFGABCDePE^ABCDEFGABC
£IDI
;^ia«i »kj£ rmnia v»u haa- hIvhb
^
If rs-a.T •' ^^^ r
[7| BH ILLIAPiC£ ]^:«tfri ^QRILLlAN CE sJk
you to iiicrn-.a5e- or dscrn^Mr IKk: aVI^furtl 6^ haTflon^k?
^QwertDfi^^) ^ar any xoun^ ivhfCh«^ pt434E 1^ pdftChMi
5tCtirig 1^ lever down £raE» Abi'i^Kr' ^iOUnd.
Sittirig ^«i:; li^v^ mp araduas £riClKr. finore tfiellow
hhphI. Thi; Ipi^r $fl«£t£ Tfw cniiffe kevti^ard. The
n<iniinil li^^ iK^lEidrt for ,dll pMtfi^ ACf^Kfed.
[SI RESONANCE -l^ed) ff ^SONAMCE Cfe^DK
UPtcinil fiwwi\ cffe^CK. Such M"-Ewang" ukI "niah.." Ths
B«iKt rft^ct uS FieSONAMCe depends mTt*e
BHILLIANCEsenir-tg.
Sri ^ESOt^AUCE fcH- noajitmufn 4dD^^I ind
wnfi pipJuaAlv mov« itH! QitlLLlANCE IcM^t Eo^^-d
y(^ wish Ehr ol^-fir hjffld. Cofllinue moviinij &f|l L-
LIANCE all ihc ^af tcf^ta^d vvfiile pl^vi^ &se^isi
ol noiEs. A>£pfeiE EtifS€xen^!!se< u&irY^ »i«ral dhffenMvt
|RKl palChes.
ISltfrt ixpeiim^iit wi|h s^venl Kmtrols- PI^V a
dwrd Vi4t«l SFIILL1ANCE ^nd RE$QlMA!1CE. Tiy
fnwing Otiq- fEET sdentDi to l^*" and leave ahe oth^
aiS"* ,,-04* mm^ il 4q> S-l/^' ...whaEevsr MfundS
q&o^ tP you. Readme R£S0riA9>dCE jind
BHILtlAriaE„
MuiiiiCi h^hiUi^
T
V«qUAfWaM iri llu "Rm^
pxmh wtiM IH^ IE rHMinaL
/1

MiliAftCf L£VEL
UMr HEH LOW
mm
LOW ft NIGH «t^rmn\ BRILLIANCE LOW^nd
&RILLIANICi HH3H allow YOU lo balince th* brit^c-
*»f4i acroM t^^ kBV'board range. There ii no abfupi
flange ^^r^ ont liwat't effacL -pridi and tih? oth
w
Ipf*'* ifffeGt 4»gi rr^, ilthwgh atran^i (wsn -owuri
f^ncwiiffV n«r (hf riiclcii- of ttic k^ylKwrrf In f^d,
tlir LPW^nd HiCH k^rs gp^rglr on asmonftti cum^
(^EE iilLi^r^'pn^ BFilLtiANCE IDW pr-pdixK ifi^f^
tUtCi p^uldly Snatt^ hjEtth^f bislpw Ehi;- rfuckllc: i?f
llK k^VbiUrid MS p1^i!!d. iMd^ C^iAv^rldy. BRIL-
LIANCE HIGH prCKlUG£s- nictft^lh^c-E i^dJudlv a&
piaved. Both lexers add t-o ifie fffteci of die "owirall
SRLLLJAM^ie^r [7|.
BriQli^w
thw- vaK umc and mcyring allnfH- 1^ rEdLxzi the ¥QlunK
in Eht ciDrrcspcxiding porlKxi clfhe- krprbciard.
Fla^ clanchord, s^tring, crgan;, iLBiiiY and piana
paEdifit. adjusling Ehe KiYBQAR DQOfyTHOl.
BRILLIANCE LOW Ipicr- Ngti« tfiflt ttii* I^Wf flH^^
QlflsCt tlFHQi^d tb? IOii^t liOlW. R*PC^ tN niiHi<*l
^^c^nplf. (hb lane T^iiftlr^ Hhc BRILLIANiCE HI^H
llhWCf.
Repie^l Ihf- i:-»jnipl« twiiD^ otgrri^, only t^ts timf-
^djuil LEVEL LOW jvMdthefi LEVEL HIGH. When
yrai hdve-Achiewd auti^fyuig haljTKCj!- of bri^h^nex^
2nd volume gi^rcus the kiy^hoarri, v^ry Itic ov^ralll
tcrulity with the m^in BRILLIAfdCE i^cpnrtrol. 9nd
the -CTv^^JllE lii^vfJ with Ch^ ni^in VOLUME po^rriolr
Tl^ typii=al UbpuaUc instniinen t: kl^pgd^r Mnd 1^4
brilJLant in k^iwcf re^tcrSp whilos quieter ^nijifi^p-
t^liiant in "uppcf rcpsters, ai ihc
Lnviicr
++-i-l
-—Urti-(1*ei*d-
i-UrivffKiH] -
jf*^^*^ a-
+4TT
[1aiKEY BOARD COI^TROL LEVEL-
LOW &HlGli —iGrsyJ ThesK iMrers Dpera^ in a
fnvin^ iimilar ta the ddpcent BRILLIANCE LdW
and HIGH cariErDl^. HCiwnH. rathitfl- t^h adjultin^
ilM bri^nes& tcM- du lower and uppifi p^:ciiDr[i ^itu
k€vb<xardl theH lev^i bBlJfK£ Ehe v<:?lunu lisw^l accoe^
-+++-+
[n]SUB OSCILLATO R31CTIOW -This twtion
tan to kfi«I lo ofiate eNeci^ i-uch a& vibrata w*'W^
tremolo and otfief^ thinxjjyi riKxiuiatiofTD^r the VCO^.
VCF and VCA,"^ T>if: FUNCTION ^idcr wt^O^the
type -of modulatioii [th^ wawefcxm) for "ifsfiationa in
sFif«t, and th& SPEED k^cr (tetermintia Iht^ tfujtkAl^-
tiofi r^it^, Tfi^ VCO.- VCF- and VCA If^vi^rs di:Ktermirw
ttiin ^npunt oi rnpdulJlign^ and n-izy be L&ed
individually gr inconnbtnaticmi; with the Icrv^ yp^
tJhene is nocffect^ and with il down, the depth o-f the
eFfcLE is majKimuTn. These ccfitrols may he used Ed
rTiodEy tttr s,gund nrf any nf Ihe r^idie:^^ whelher 0rt-
±$l gr 0^ ygur >(7wti scl^ign. and tfieir effe^Ei ^ply
najLially ^'•cpS tfic i^iiljre kcyb^grd ri^hge.
A, FUMCT10N CW«^:^ Lhw this switch to sckcc:
^aiine iM^t^ (foi- smooth, wp and down
modwlaftion),
fy^ aHWtOOth wiwt Witfi rg|Md twginning
and sl OW d»CW (f or adownwgTd 5™wp!!p
inf spfl«l tffiKt fWP^II
,
Cfcurii^ 1^ an inwfftpd iffiftoo# wawe wi |h fJow
beginnFiig qpiS rapid d5My (for an ufi
^wi-d t-iflftping Bffartt.
pIsquare -wave tf nr angul^, alternating
^ound, like aIrumpet trill or ar^iciy
pickjfid ^ir dI mdnikiliA Hiin^i.
NOlSE v^ile ncHse \ta bncalh or draiprlqLjfbd).
EXT ^vria<€v«r iin^l-cM^ signal kwpplifld
ta Ihe exMfrtfil mmi i^ick. will afleti Ehe
VOD. VOF and/or VCA Hi deis Ca D&E
befami); if noihir^ is connecu^d lo Hne
CKtemal inpui^ tt^h pdiinj^n may be us^d
as an "of^" ifiode for tfw uAioie tub
owiiator Hcnon.

(ft
10 B. SPEED (white) Affects the speed (rate) of the
sine, sawtooth and square waves, but has no
effect on noise or the external input. Set the
lever up for slowest speed and down for
fastest speed.
SUB OSClllATOB
FUNCTKW SPEED VCO VCf VCA
illTTTT -^^----
speed has no effect here
UXTTT =J^JU^JLT"^_^L
C. VCO (white) varies the pitch of any notes you
play by moduiating the Voltage Controlled
Oscillator with the FUNCTION-selected wave-
form. At slower speeds, the sound is that of a
vibrato. Faster speeds produce asound that
resembles ring modulation.
^^ SUB OStlLLArOR
FUNCTION SPtEO VCO VCf
TXTT
FUNCTION SPEED
^^+1TT
VIBRATO
=TRILL
VCF (green) modulates the Voltage Controlled
Filter, thereby varying the tonal character
(overtones) of any notes that are played. At
slower speeds, the sound is that of an automatic
wah-wah. Faster speeds, particularly when a
square or sawtooth wave is selected for the
FUNCTION, yield unusual effects.
E. VGA (grey) applies the modulation to the
Voltage Controlled Amplifier, varying the
volume of any notes that are played. At slower
speeds, the sound is that of atremolo. Faster
speeds produce beating or pulsing effects.
NOTE: Initially, the best way to hear the effect of the
Sub Oscillator is to choose aslow SPEED, pull the
VCO lever down for maximum modulation, and Then
select each FUNCTION waveform. Repeat the same
procedure for the VCF and VCA levers.
,SUB OSClLLArOft —
FUNCTim SRED VCO VCF
+TT1 =TREMOLO
[12] TOUCH RESPONSE SECTION -These levers
modify the sound according to how you play the key-
board (dynamic control). The three right-hand controls
are related to the Sub Oscillator Section [10] ,as
indicated. They also are pressure sensitive, as indicated
by the term ''After." The PITCHBEND tever is
independent of the Sub Oscillator, and is velocity
sensitive, as indicated by the term "Initial." "Initial"
means that the amount of effect is determined by how
fast and hard you initially strike the key. "After"
means that the amount of effect is determined by how
hard you press akey after it hits bottom.
A. PITCHBEND (white) causes the pitch to begin
below the note you play and to quickly slide up
to the proper pitch. The faster and harder you
strike the keys, the more the pitch bends. No
effect is heard with the lever up.
-TIXJCM fltSPONSE -
F1TCHKN0 SF^tO
IT
B. SPEED (white) increases the speed of any VCO,
VCF or VCA FUNCTION selected with the Sub
Oscillator.
NOTE: SPEED also interacts with the adjacent VCO
and VCF levers. SPEED has no effect if the Sub
Oscillator Function is set at EXT or NOISE, since they
have no set speed per se.
FUNCTtON SPfED
.TOUCH flESPWa -
PITCHflfNO SPIED VCO
TTTl -TiTT
Slow Tremolo with tight key pressure,
=increasingly faster Tremolo with
heavier pressure.
-sue osciLLArofl --TOUCH RESPONSf -
fUNCnON SPttD PTCHBENO SPEED
TTTT* T4-iT
No Vibrato with light key pressure,
=increasingly faster Vibrato with
heavier pressure.
C. VCO (white) varies the pitch of the sound for a
trill or vibrato on individual notes as you play.
SUB OSClLL^TOft
FUNCTION SWEO
TOUCW RESPONSE -
PTTCHMNO SPEED VCO
+TTT'TT^T=VIBRATO
-rOtO HESPONSf -
fUNCTlON S^ED HTCHBfNC £PtED
-- +TTT-TT1T-—
D. VCF (green) varies the overtones for adding a
change of brightness to individual notes as you
play.
tTXT =WAH WAH
For more "wah" add Resonance [8] .
Little or no pitch- Pitchbend occurs,
bend is heard.
FUNCTION SPteC VCO VCf 'JCi
\4\\ SftlLLiANCi BESONANCf -r[XjCh HfSPOt(SI
1PITCMMND SPtEO VtO VCf
TTTT-++1-TTT1
=WAH WAH

t
L13I SUSTAIN $ECTLC^M-ToggtFifr.foMi4;ontrd¥
.#lf^ liQpHV Igng the n^t-? f^miiins iil'^ ycyu let gaciE a
Iry. Tlw xusitajn can be jctivaled by hand or with >
Iw^ switch.
11
D.
ausTAJN Glider ly^iiowt .Ad^ujEtunQw lofi^ a
wKJtr iiaLairii, rromSHOlRT 1ifHI-IU:^t*nl< td LONG
51l£TAIh l-ll 4bl3ck) Tm) iv'pe^ of iiKiaiit Br€
aTaila»e M^iifi Hie CS-30. 1and II 4fiD ralatjion-
^ip i-o^hanneN I&U). Wich SieTftlH l,w;ii
iMrti 4ifLH;k d^e^ irMtepamitftlliv of jny -Qiher^
and ill hj/v? rh^ s^m* s^^iEt»in tlm«. In SUSTAIN
II modf,, ttit lait rhptR Drch^vd pJoycd carriBi
tfiS iLlSllJn; it jHjvfirii key^ an^ r^e^ted siiViiJ-
tintowty. thfY will 3dl ppry the sust^n. TTlr
F*XlT SWITCH PEDAL Stepping art lilia FOOT
S^VITCH PEDAL nims ON the su&C^il wn«n the
SUSTAIN FOOT^ITCHffi^ipicrisaliD
O^. The a*ni»jnt of suitjin i? ?^ wnlh lh*
SUSTAIN SLIDiR. JHo^ii^er- nipleBsing tf*«-
pedal llilli imiF&di*Mly ^id sny ag^t^iii. siHXf
or Iwi^ [Thi*. tout iwitd* m^fv i^^C? t» LJwd tg
eentl^ Pori^inflnt&/Gli?«ndo rfie^tJ.-si^ the
^^cywmq -qfimon, pariiflraph 14 C-)
SUSTAIN FOQT SWTCH A^IQMER -Wh^n
•^^viKh,.^lJ 1^1 ON., Fietfg i$ fM5 s-ufliin unLpi* th?
FOOT SWITCH PEDAL ii alio h^id ^^wn. If
if i:kj wrsn TO «UVaiW tNs fUit^in Wilh your hand,
Si^pl^ r^K^k -^m ALIGNER SWITCH bdtk. Thi±
UypmiK thfr FCJQT SWITCH PEDAL ^nd ifntro-
ducss Ehut ^uncHini «r sustain alr^eadysei Miiiti the-
SuSTAIfSI SLIDER.
LS^ SiMi^ift IMode
GB
^F?*^=== ^.1Tm—:^
i-*—^-3
3
-= lr-=-^ '. =_^_ .ii^=
Whai:
WKfei
NOTE: WiCh che FOOT SVViTCH imfiliispd^ the
ASSJGMEFi iwiich cJotI not hjnct»ors. sp HBtain i^
aliMrrsON. ItyMprftei^niHTouw?^ FPOtSWITOI
and yciLi wanr TO-mmi si*st#in Of^ gn^ Off, dp i^N
iMOviply the SLJSTAIIM SLLQER upand.dcjwn, ^iriiefl
in unwiftd ^TandJfdpJvcme p^ug in th^? rcar-pajiel iQtal
5wwfdn lacii lo Kiivaie =die AS^I^NER ^wiitch.
c—
!:3 biia IE
C-- -'-
IBBI
Haniortivi IEtHElifl-MflOfl raOC
Ih do^n.

f
12 [14] PORTAMENTO/GLISSAIMDO SECTION -
Together, four controls affect the transition between
successive notes or chords: the PORTAMENTO/
GLISSANDO (P/G) slider, the P/G FOOT SWITCH
ASSIGNER, the P/G SELECTOR SWITCH, and the
FOOT SWITCH. Portamento is asmooth, continuous
glide in pitch from the previously played note or chord
to the next Glissando is also achange in pitch from the
previously played note or chord to the next, but is a
stepped progression rather than acontinuous slide ...
like playing achromatic 1/2 step scale from one note
or chord to the next.
A. PORTAMENTO/GLISSANDO SLIDER (white)
Adjusts how long it takes to move from one note
to the next when Portamento or Glissando is ON.
Set at SHORT (up) there is no audible effect; at
LONG (down) the maximum effect is obtained.
With the lever at maximum LONG effect, it takes
about 10 seconds for the pitch to change from
the lowest to the highest note on the keyboard
(about 2seconds per octave).
B. P/G FOOT SWITCH ASSIGNER (black) When
switched to ON, the FOOT SWITCH controls
the portamento or glissando effect. If you wish
to activate the P/G effect with your hand, turn
off this switch; it then bypasses the FOOT
SWITCH and introduces the amount and type
of effect you set with the P/G SLIDER and
SELECTOR SWITCH,
NOTE: With the FOOT SWITCH unplugged, the
ASSIGNER switch does not function, so P/G is
always ON. If you prefer not to use aFOOT SWITCH
and you want to switch P/G ON and OFF, do it by
moving the P/G SLIDER up and down, or insert an
unwired standard phone plug in the rear-panel foot
switch jack to activate the ASSIGNER switch.
C. FOOT SWITCH PEDAL Stepping on the
FOOT SWITCH PEDAL turns ON the P/G effect
only when the P/G FOOT SWITCH ASSIGNER
is also ON. The amount of effect is set with the
P/G SLIDER. However, releasing the pedal will
immediately end the gradual transition and cause
the pitch to jump to the note BEING played.
(This FOOT SWITCH PEDAL may also be used
to control Sustain; see the previous section,
paragraph 13 C.)
D. P/G SELECTOR SWITCH (black) With the
switch rocked back. Portamento will be
activated if the appropriate P/G controls are
also ON. With the switch rocked forward,
Glissando will be activated instead.
JPOflUMENTD
BBBB
^ij.-r
n
IPOm-uwifno
BBBB
SUSTAM POnuCNT:!
-Portamento
-
Glissando-
,.,.„ -k -k
rOOT ff DAI
SELECTOR $UST«rN GUSSMIKI
n
IPOHTAMEimi [JWTAMENTD [nWrAMfMlD ;POHTAMtNTO
BBBB BBBB BBBB BBBB
ON OH 1GlISSAttOO MON 1&LiSSllNI» MON
SUSTM fOmMKMTC Sd$Ti)» IWT*M£H10 SUSTJUN IWTAMtNTO
IklSSAMOC SLiSSMOO CLJSSMIOO
^FfflJT _.FWT .fOCT
SWTCH SWTCH swm>
susTAN ntnumwrn
No portamento or glissando
regardless of foot switch
position
Long portamento regardless
of foot switch position {or
long glissando if P/G selec-
tor moved to "Glissando")
No portamento or glissando
regardless of foot switch
position
Long portamento (or
glissando) when foot
switch is down
D
EBEB Moderate sustain on all notes,
Glissando when foot switch is down

[151 TREMOLO..<aHOflLiSSEtTfcON -» F.,fe ODntrrfi
ac-iivaw and ^o^^ -a p^ias-ino-ivpe TREMOLO d^ the
CS-BOoutptfL CHORUS i^ aciu^lv aform ^f if»Emclo^
Ixn a*wv ficw one-. WK^ ei ct^f ?ffeet is «:d M*iedr
ihiTflf ilwn^ happen: (1 1ihe ^*oiume- iwe* -jiiet^nsieiv
riaritf vp ar^ down in me LEf Tand RIGHT o^Tpt^lB,
^2^ rh€- phaw of t^ Si^fia* i^i. The LEFT and RIGHT
oiitpw^i chB"^ xocreaw a"rxnary" speateer effect,
and I3li ovefsH CS-SO ooipiiT MolunhE <l&cr<&s€rs sli^ilv.
These eHecis may alto be heard in ute mono
4GENEFAL»oyi[hi.i.
A. OW.i^FF ^^!iack) This fMhe*- iwutch activates
Tt>fl TREMOLO wCHOflUBvS E*T Hv flw
adidceni rocfcer iswichesL If rt<Pih«r cHorus nor
iremofD is desifwlL tf*is swiicft sho^ild be OFF.
B. C^Of^US iU^k IThi{ ioc k£r s^i ccii pre»ts ttw
Tretfiolo/cbofus ciffiuii -ior b< vef^ slow effect
range (-see AEbelowK
C. TREUQI.0 ^t-lackJ Thii. rocker switch prewte
thfl iieiiiolo/chofliftcirwi^ lof amodifat€ lo
f.i'A rHf^t range ivc^ Si Ebeiowl.
D. SPEED iblsekJ Th^ control «Jpi*5t5 fifl spwd gff
JuldEi^wi for Chdi: iilhf^rux tyr tr«nL>1p Cthc:
JTMlian ix pva-bET withi treifnfila|. hMsx'i-
mum sixed itiat fu^l drathwise rot^im.
E. OErrH (U^kl Th^ -c^wu^ MKiu^is ih« <^Th
i»( rYiydul^Liifrij lJ>c- ar^lDurit oF e-MtfLL Mdi-imurn
eri^i lis ai loll dfichu^ie rr>uudn.
[16| fUMGliODULATdHSlCTIDN Htng nfeodul?
I^ari ii'^IM 11^ wlrEfL|ut;nci4;t, bothi highiM aid Ipwcf in
^itiCh Ehdn life iiDle-pl^yed^ tul doe:; nal alliiM- iIk
jMrtual nc^tt Ed be lieard. Thi-s ii aocEinfpl iiiied by
"b^tftiirg''' aujb cncillatDf la^imt wtuttvn- i^nput iipnal
il l^d Ed Ehe rihg rfiodul^Ear, thus producimg xum bikI
dtfei^ncti frKfuef^^^ Lltw input ircqutsricy plus the
Sub OSfillaibt Irti^Knev^hd tfw input frncpi^nir^ miraiE
Che SJidl D£^ltai£ir Ire^luoiey}. Thl^ input s^i^al ix th^n
Ck^nodbd ii^ Ih^ uuEPuE.. IcuMjngignly ttu; sum 4Jnd
dilftfiiCTVE itff Ehy iiipuiE and sub c^ciila:tE>r fr^cju^Hnd^.
co
B!
NdEilKt
oo o o
'Qmi Tw^rwiisbf Qn
ttl-^
oooo
-Lmt* &9ttl Sl^W -Ll44it ^V^
13
—tiflit —
oooo
E'
Ulka-I^Vlll
^.
—TWTlf —
HOW THE Rl*JG MOOULATOR WQRK^
I i
^-r
^ll^iAl^hilV
I
^^^M '
«-M. io- r"i na
TTTX XPULD nu Mjn IDMb

rue neCH^^ry -JO ufidierttMri how it xpunds. WH^n ih€
rtiipiTHMlulaqof's tyb-Q&oiirjtor i^i^E lo-a sIdw^EED,
tfw ifftcf is pUs-in^ itiai: marv le^j^^blir ^crcfWKilo. How-
5W1T, 3t tetWSiMB<*5 *^trjfig^ ^CM^giikt rir>giE-|g or imwi-
rmifK^ *t5r?*ianofl will bf heard. The MODULATION
iliptipiMwi pqF -^ff^t^ i? ramofiit wMn bnoie ^s played.
KidsQ CE thi? ^EED im\q^ the adjaown ATTACK
TlllE, DECAY TIME ^ni^ OEPT>l leMtt? ar$ acuMaD&d.:
Ihese lewra enaWn ^c^u tO-^it&miiticaliTr IIWkI up 4«id
Slaw ckvirn #k ring mpdulatc'^T wb- QKiM^co^ ^henf^fif
fou plav" anote, fnr 2'"'swCiQping'' -or "pift^iii^" gfie^t.
A_ hKFDULATIQCg. L£VER ^ey IAdiuso ih?
cicpth pf fl-ffwt from no efIflci: Hap Ito-
B. SPEED l^iVER Iwhile) Seis ^mDidylaTiofi
sfHfid wr^tfl. 51-DWfsi Epwd is otiiBirted w^ih
|ht li^Mer up^ fd^l^t with ^19 l^ii^r ^s^vmi.
CDEPTH l^r^vl Seti Et^ ^r1ta?ijrit t^ ^u^c^^tic
Speed* change crimed ^tfr* ATTACK £l
DECAY k'VL-ra. 1t>qp5h do« "Pi 'flffl' DO the
M^dunl Oih nirv^ rtlcicljljliigfi-? Willi Ihi; Nv^r ^
4f«if^iinyaD cfeuchj. the ATTACK &DECAY
TiyE kwrs do noDhing.
D. ATTACK &ttCAY TIME LEVEH^ W^i^k}
ATTACK Uin ItKi maximum SPEEQ ohtair^
^tJhp- ri^ mfldijlgifcif m^J*tS up from tfi0 bask
Site EDi^tli ng. DECAr wl^ 1^ lif^lji 43f tJ"«
Ittikci Inr ttie rate 1^ r^ttMn to |ht Sf ISPEED.
fffi'TE :Sr> linilii i^ ynj hoJif dc>iffi on^ Qf mo*? k^V^.
pldrying dddiliwidl nofes imII Jiq1 9^bqrp^ ^nnlh^ ring
rniKJuldEioti dELick. HawBm-, il v^pu 1^ go qI ^I k^fyii
lirSTj Ihd the-Tin^ nliidyl^taf will again atEack ipnd
d«flY Ml Ehe ^#xl rta«t DT^crd ynu pixy.
"»" ^*"' ^-^nHi SBH^t riirtg raiKiulaliE
TTTJ.J.
TTl-LX
^JF ^H*^^ B"^ ^^^^^ •» "^^ 1^ ii^^^iiar^iEj niBd minii 11^7%
^? Iff "——
T^J. 11'
1^ Id nwm7t,\rw¥UTWi nr^ ihnn l^^^
lai. p-aHud lircip in tpimd^
11111-
11 71 FOOT PEOAL SELECTOR BUTTCmS ^<5«:vl
TT^ FOOT PEDAL (Fdqt CtiniToBwJ mow hw iKi??ct to
pCTlgfmIwo ftiiiCI^JOrii. Wi^i^ the tXP tiulEtirt i£ dCtwl,
tlte FOOT PEDAL mm^ «an fine^niiiiHt pedil; Ejlitf»$
lilt gl^dal forwramd Iciwcra the M0^^|™|*. Ulrt^i"! ll>e EXP.
WAH buiian ii dmvrx ^nd yoiJ roc^ tlV FOOT PEDAL,
jc simuliafKQUSlv v^-i^ thc-voi'ume lflxp«i^sionl« an<f
ceaief aWBh-Viih.
11&3 PiTCI^ CWITROL -tSaackl Thii is ac«i
iDCfitriE: tfintnoi The Oul-fir riilg is jpoi^ne AdjiBEmeiTl
thil niii^ the- cntlr? I^Vb&ird up Of down in pitch.
Th^ fyll rvM)c- <0 adjtisenfKfii ia about ^isht bci^ft^ ^mI
tti? ring itcJet-pniced in the cftf^i&f Ttrf nofmaJ tuninfl^
The inn^ l^no^ i^ afiw pi-DSt adiu^Emer^'! ^itft aran|c
ijf alii54it 0'^ semi-t<)fte; n«nirtfll p£iSiiiQ<> is, oeriterwl
MOTE :To obtain tb? moil pf©CiSfr EUrtiftg Et^ otfier
inslrun>ffit¥:
^) SEtih^Misciwf [4] lo'^r.
bj Pres th^ -tilRC.AN 1"^' Pje**f [3]
.
cS Turn -oH Cir ^t 3T mirairin.jmi ill SufrOi&diatorr
Trpnfll^/lChorw. RfcragMonMitO*^. 9i»d Touch
Response efffictfc
[tat RIBSOM CX^NTROLUR -Thii -i 6vtf^w^E-
DMTrnd Etrip th3.t turw*^ the ^fnt'^'* B(eV'b*ar(3 u& thr
down in pitch, lit m^kt^^ no cUfterSflC* ^^^fi tOu lirtE
E^poEh tN? ribbon: y-o*j juit mohre up or dOMMn fifom iIue
rcfBoiEncppoinL Bith??f bv B^iltrnsaafin^ BlOilJ IfW
ribbon, gi by holding ci^e JTiiigtr iJi p-laoft a«d t-MJCft-
ing another Fiiq^ c-Jsitvtfh^rf- on fhe ribbon. LJse chiS-
fc>s €xi:7rA5ivti viiipra tcR-^ slring-b£ni;ling iflgciiii., ^ord
rnOfIU1atii>n^, f^i^llirl <w otfKT uihbu^ rttficti- Wh^
tht CSm 1^ i« SUSTAIN Ii^icmIe. Ihe riWion anly
chsngei The prich while yCMi ar*; tiiidingdgwn aksy.
In sySTAirj II mo^^ Ehe fiH>en will ais« el^^n- ttir
pitifii dyritfig the^o€iJ[iFi {alijEsr you let ^of TtH Miysl.
Eji|Krinr*ifit to«e i**mt happens wfien y<mi lei ^q <^
the fcey and then thf!- ribbon^ a^ 'P»Ce-¥^?rid.
NOTE: TI15 r?i^ ot lipwiifl piT»' approsi-
maltly onr OO:**? if you itan S^ 1I l-hie ribbon
and naoMC Zq tN: Fgr ri^t. The ra*i^ t>1 dewilvrtrd
pilch slide (s, much ^«wtflr: by rtankig om the nghi rf
the iibbm and moving lf> 1^ IjfL yoM CJfl mOte the
hFpNflE mle cdvi iJle kcybop-'d dOMVi 1^0 #Sijb-^lidio
fret»ffrf!*ty.
^WJkfwwmh
Pvf^^ ^TU- IkhN tHmwtf
ifiiieiiiniiiiT

SECTIOM III -DESCRIPTION OF PRCSGRAlWirt^^LE
PAN ELS, Al EMORV.HOW TO PR OGRAM *If
SUGGESTED PATCHES
This sccti^Mi iJ^jifei ttif ^vnrtion o^ tH« S^SO p^^
^!vnm^d& PANELS |?Q-4<^L .ff*^ how to fv^r^i
ycxjF qwm palEiirs, criR-^ifing ^i^^uff^;!? li^ef-iillv ^'trom
uir^tcti."' AlsadisELEsrcl v# thf UiUQFI Vppi^lf
Hlbl^ panels lli^E jiE u±ed Ear £lDrir'»g four at ygur ^^mti
prugr^nmciCl pfltcli^ for ir^iiKt recall it tlw DDUdi of
#bMttOn,
Thp PANELS If ryou wl^et in* mafefomir har-
Tnonic nnjciung, dT*i^ge5 mharHKimcSv voli^ne changiMr
and ba^o l(evt»ard Ovria'^'iit to pro^dm an inftniiE
rariftv of loufKfe. THg taine orciiits conTroted bv
lt*e5H PANELS aTE m-DBrniHIv c&nc^QllKl to o&TBan Th&
IwgsBt patches^: eac*^ TONE SELECTOR bunon tiriHJlv
fecial It afi Jniieffiallv-tTDred pdci^n ol PAMEL ^vu€i^.
Thgi, -with th« PAiiELSv [\s po^lible Tid imMluaUr
fivplicaK any <tf the ^8^*6^, ir>varv Ef^em sOigfi cJ v. ur
todep^rr dra^TfcGaliir for toibMv lifii^^ut50«fwls_ Tht
two in^n pan«i^. PANEL Iand PAMEL II. m%
idtfitiGat, Therefore, we eacpHa^n iytT one of itieim.
MQTE :To hq^ lAttit e*f«t thf PAN EL-MiwtrolE K*ffl
^yoM? rifld l^i? section, «t all GS-McontroH at tfieir
^i^fiin^ poptwis |p indkJitCd-on th^e inside frDOf
^) Sei dH MIX i-il l^evtT 14] ac L
bj Pr€ss dw PAJiE Lburton on- roi* Iaf me TONE
SELECTOR i^ccioJi [3].
c) Seiil^eRlLLlAhlCE le««ii [7] il m^nknyni
b^ighTntss- lupk*
W@ iiie PANEL iin tf^H^- examples Pecauie It ts
cteef T^^thennLj^ic iLjnd Ttian PANEL II, b^ce e^rtier
lo^ee as you f^ad tfiii. E^eraion.
|30-:S'5 TlwVCCS -
HAVtrOfli^: TheVCO. cr VoftagelHiDntTEKll&d
O^illalDT ^EtlbDA, trcdiES the C£-30's lour baiie
ifiunth. SQUi^RE WAVE, SAWfOOfH WAVE,
WHITE NOlSe and SINE WAVE. Turn OH die
iguare wave ^^ L^l and play anoie. Turn OFF ifw
iquaK HHVi^arHJ mm ON liu -saATOodn ^a^e k
|24J .Tyrn OFF iheia^NTOoih. and bfii>q yo the
NOISE sJide- [25] .Brintp*3wti in* NOISE ii«dei, and
brinf up tffee fine ^nrwie ^-slide* [56- ,Olstei!'^ tf^
<iffawic4 btiweetiih&s^s^Hjndf. (Tt^ &iF>e -iiave slider,,
fven ttioagh n\s paa of Tfie VCO elecwan^s^ is l«:atHl
in the VCA sectioii becaifia- puf« sine *flves have oo
hirmonics^ and wHjid ihcfifofei^QT U? chafigied by
VCF proCTfsing,!
#IHh;es.
[231 PULSE WIDTH Tbt^ !UqL^ry wAi^ \^\ had a
pprlii'utir is:yjiid Ihd' mighE U.*- dnCribed aL 'Tiolluw."^
HanigMf:^ ,ycxj ciiih vdfyIJk sciund dI ^!he S^udr^ ^vi1le
wi^ the^dpKEnt PW i^lider [22] .ThU ilnd^i a^ectS
Dfily tht sourtd tH me iQuif&^a¥*, and has no effect
o^ Ehe; SA^oodv, sii^ ^lye or norse.
Wih ttw square waw ON, play anote and wfry
sraduall'v pu^ the iW slider up to 9©%- This (^tigngps
the Piili^ WVidlh ^f tfie ?qtJ4rt u^vw^^^p uAufdi chpigia thp-
hifimonlii? f04 -3 nifprt '"^rusal''' ^qund. Mprw movE- the
RW ?! idp- d^iMii to lifKit 93aJn as yoiu DonEi nye- pi ayng
ip notf
.
Tiy mpving the PW si icier toc^ and f(Mlh -jafK
tQPP%l. dCHng ft fs-ter ^nri ffiM^ 3^ ymJ pl^f anOK^
II^BH
and ob&«Tve ihe p4^d£jn^lifce soimmI. You can have ihe
€S-9Di da ChL z^mc ahiing fcr you ^utrrtlaiCieMly. U^
itkead,i»^ni fnvT^ |2i| sid gfEiD \m\ zhtiai..
[7^ IPWM -IGr&ijn) &^li^l SPEED IWhit^J
PWU iTaniis. tfif- Pulv WidTh Mridulnti^^n. ^i thn-
™r jilirirf nt 7Sr^^ jand mc^tv thr PWM dider 121 1up
MiJsi
SHi«KllhlVj
Hdhk-
rLrLTLTLTL *—
-
ymi iwill hf^r mcFfccl Ihiia is IdcnCic^ tg dl^milly
ritowing fir PW^Ii^ifir iMqt ^td lorfh all ^he -w^y, bMl
vwTf slgwly. GnKluilly pi^i th? ^PEED $lid^r |2[>j
Ircm 5-LDW tDward FA5T^ and notion Hriiiat hapfp#f4j
pubc- wieltli nniMkilatiqn ^^^iDOjrs ffsrt^r #fKi f9s49f
,
Evcfwtu^^ly^ ypu wrilJ reach aspired ttipt Is twvim^ f3^1^
thai y-^u Dpuldpgs^y pdhievr; by m^^ing tti? FW
Icwr l>9dc and farth with yqur Kynd- At thr: point
w4»en Ehi= SPEED ol fflcxJulaEion ^pro^cfic^ ^dip
1iisqui:r>D^ i2Q times P^r iwond or fa^tJflH'l', 5
-scccindarv tpnc-will be h^rd.
Voii n^ad^ nol Mt&4 rn9ii:i mgm ^"Rpct, With "SPlEED
ata SLCW tsttingi, Hy mgnnq the I^Jli slidla tn its
nnifi po^tii^. This effect is like mcPMing the fW slider
Qfily p^rt w^y up. and theti back ilowrL Vou Cdrl alSdi
v^ry th^ lusic sx-Etihg fhhc PW siirdei'^ Eri^ ^etliflg it
^t niid piTBiti^^ uHicI itH>n ll!^ dilTeri^ni PWM and
SK£D ^EEings. I^getbiir, chi± Pw. PWM and ?EEO
$1i^ri arc nt^ af IPk luryt Hu* auhirrinCi KaltS1]pe
itrng. stMMMik.
A:.yDU Imt head, Ihe VCO produ^i dhil^rini
basic timbTE^ ^lones-l-, but il ii equally R^IMiriarti 1^ k
tc praducE- pilidh. ThefElort. whcfi yOu grfay various
no^Ks DTI Ihe- kryibdanL the VCO prddiAa diterani
piithes- The F^ET seiecEDf also Atltcii du VOO piidn,
^;^^ it did with the pr^^yzE E^^lG^hel.
k^vwig up«r>difiiwnfuav.
$iSB3l •Btl'IB
15
M*»ia «P •nj Jflwn l^rl wrv-

K\m [Ml m\
F9«r '"'^dmcri^k" K4 tfw prtdi at i\t* «*m y^ .veq
[2^341 VCF -TlfeeVqilt^C^lFOll^Filw
aecijon (VCFJ ln;s Bonv^ off if¥e tfeque«ciM i|«ftfattrf
b¥ i3^e VCO ts hH-iird anirB dUs 0^1 Q-therj; htftet ihe
All ihe i^mnds crqgtf?^ by tNa VCO, exagji
sine ^avfi, ii^g immtidijci?iy i^owraid bv the VCF
&eciirjfi. Of cht? basic sflundijrvailaiilfl froin iTw VOO,
MOlSE i^ Chif rKJiKi in h^rmonjci. Whfie nOfSfi is
acujdily AtoOlianation pf ^1 gu^a freqMHM]q4± .„.Jl
hifTfHriitS-ghiJ KincbfTMinl^ OCCUFJin^t ifl BCCrillinutujE^
rwi*m JMCtemL ThLB. nciia* mikrp an *;^^:elliff1f iciund
Willi VrfVidh 10 cfefTiprafr^l^ Hie t+f*ct5 d! Che VCF.
im L^f tSrwnJ Bring yp Che *lOl3££li£ter [J5]
mman mum i^l€\, ^n^ plav BflfV" fc^V- GfiAiallv nfVCw*
me LPF sJwterdown |HIGH to LOWfr. The LPF 1L^
Plaw FiHw3 cirt* the hi^ fr^qpjiEiiciit and aliowi I^m«t
fr^quenCvH l& bt h^rd: h^ncr: tlv t^rm low p^-S filCifr.
N^iice ho^ The s^kind btfCx^mn mcm^ "-duir' -as ^ou
rTVf3«e the slider do^wk
l2Si HPF -(Grc^nl Return the LPF slider lo HIGH,
dlLtf AllQWii1ll9 all ^^i^e rrequcncir?? tO cfit ihr^^^ ih^
VCF SWlion. Nop* grfldually mcw^ |ht HPF glider yp-
from LOW CO HIGH- tlic HPF <H^ P«9 Fi|^^^ tyti
jndi^Howf tibfhif fi-A4uertoB tg Ik h«int hfince The
term high (jast filled tiatiDe hL^w Ihj s^urvd bec<Wiei
'-^in" afi veil mm^ the didcr up. This UH-ful fivir^
iri ^rthfl-r synihtsazerL
Togruher, me H^f a^ LPF dic^n^rflai* -a
band^^ fiiiier; HUI iS^ iHIIv iwsqutnc'iin JtKiVe Ifie HPf
cutQ4"f and below die LPF cutoff jrn hiT^ri,
Thii lets you ^'fOilJuS"" ex Mmphgsirp af*ainrCrW
ranp-gi ii^gia-ncief^ fKrhap^aiily af^w hgrmT^Jcs
witbcul tht funOimeniai, mjwick ran^ gf frMpwiriQies,
defWMJihg pn horn yoy set Tti* HPf jnd LPF sJidflr^,
NOTE: Thank of dit HPF and LPF fJfcdfffSis apwr of
curiaii^fi chM l«t vdu "hstj" tht mufkJL Ceiuin seiiinqi
of rhealideri frht "cuminsT can '^iwr^sw" ifw iband-
pa5i "window" tp nothing! no ffequenC^H- can fkMf
IfirfM^ Chu PilH^ra- If yop srif adjUE-Tsng ih^e sliders
and Ttw gbund \^Qts iiw5V- rnow* H^*F lower and-w
LPF i=ii^ier io "DpBn" ch* tramteaEH ?o ^CMndcai
come thjough- L"Sm- iliuKlrgtio**? Of* next pdpe.l
Sringdown fhp MQI&i s*id*r ii*d Him wia
sa^A^ooiti vv^i^ [241 hurting with die HPF slider at
LOVi and -dUi^ UPF si ider di HIGH, ^adu4lly mow the
LPF slides up atfKl dc^i^. Then m^Tv^ ^hi HPF ^iidier up
and down. Vou are pColj^bly be^nning to grasp h^w
Ehc VCF-? TWO filretfl, ^F ^^ LPF. aftcct the sound,
TI*e: HPF arMt LPF alidfifs each iet c«e ci bwd
tuiic iilt?r^afKTfifiSM3> ihecUCOir PrBt^ueney. TIm
cEhisr li^ii; liltcr diaraa^ri^Eic fs RESONANCE. R^ihipfl-
Ehan EEpl^n r^^gnanc^ ac chiSfK^ini, il iS «^ii^ fa juKt
(fefftCTEt™* thfl ffiqcL (Furiiier exfriirT^iiais- cyT iriipr
dl^ff^flHEristics »Tit pns^entad io Secitdfli IVand Vot
Thi± frtonuai.^
[27 &2a IRES -SRedf Hi* Ptos Filwr RES&fiiirtiie
nnet with ih# RE^ tJider 1271 ,and Low fei filK:r
AE&DffijncejK ^t with ^¥^ ReS|^ ±|idtf |2$| .Mg^e
both diCM slidijfs up to HIGH for ff*aj(.i muin reMxiana^
tfIttl. and then gF^Hu^l^ niw» dM HPF and LPF
alidftrt h^k anfl ic^h^ one art time^ iit^ik playing ^
series gf nott^, Qlj^rrvc! Ttig T«anfli"'or "wah"' pici-
vidtd by Chp r^gnan^e. A"wsM-wa^"' pedd lets you
tki thes^mc thing with your fooc insiead Of ybur
ImgEn^
Th«rE aff^ xklitiignaJ sjid^ In die VCf Section
E3&-34] .bjt it mm! bt«4^@r lode<Tnintlf dlt iNeir
IhirF^otc if »» brrl Explaki whjr| the VCA Sk-Udo
dD&L