Yamaha JOGR JOGRR CS50 User manual

CS-50 &CS-60
POLYPHONIC
SYNTHESIZERS
INSTRUCTION MANUAL
YAMAHA

(I
HC./TO USE THIS MANUAL
Synthesizer controls referenced in the manual often
are followed by anumber in brackets, like this: the
VOLUME control [2| .The numbers refer to the call-
outs on the synthesizer front panel illustrations: the
CS 50 on the inside front cover, the CS-60 on the in-
side rear 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 conttol functions as outlined in
Section IV. Amore detailed and somewhat less techni-
cal explanation of these same controls 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 otherwise suggested by the
accompanying 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.
,

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QUICK SETUP INSTRUCTIONS (IMPORTANT INFORMATION <INTRODUCTION
1. Physically assemble the legs (see instructions on
page 2} or set the synthesizer atop a sturdy surface,
allowing space for air to circulate through the top
and bottom cooling vent panels.
2. Plug in the FOOT SWITCH (CS-60 only) and FOOT
PEDAL (CONTROLLER) at the rear panel; be sure
to insert the plugs in the proper jacks.
3. Using aguitar cord, connect the Rear-Panel Output
Jack to aprofessional, wide-range speaker/amplifier
unit, or to aguitar amp. (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 outlet.
5. Set the rear-panel HIGH/LOW switch to LOW, turn
ON the synthesizer 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 pressing down
different TONE SELECTOR buttons [3| .Adjust
BRILLIANCE (5] as you do this. See pages 26
and 31 for additional 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 (CS-60 only) and
the 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
Cleanei 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 the
synthesizer output to the EXT IN jack, as this may
cause feedback and possible damage to your
equipment.
7. While the synthesizer 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 50.)
The CS-50 and CS-60 are easy to play. While they
are high-technology musical instruments, you don't
have to know about electronics to understand how to
use them. We do recommend, however, that you read
this manual thoroughly, and periodically refer back to
it as you learn your instrument. If you're in ahurry,
check the Quick Setup instructions on this page.
The Yamaha CS-50 and CS-60 are unique poly*
phonic synthesizers which place The entire realm of
musical expression at your fingertips. The CS-50
enables you to play 4notes simultaneously; the CS-60,
8notes simultaneously. These synthesizers are true
musical instruments, not merely "special effects" tools.
The sounds are infinitely variable, and, because the key-
board is touch sensitive, you have increased dynamic
control over your music.
The CS-50 and 60 will give you an incredible variety
of electronic sounds, but they go further than that.
Having aCS-50 or CS-60 is like having a symphony
orchestra to choose from. Largely due to touch sensi-
tivity (keyboard dynamics), Yamaha has overcome a
traditional challenge for synthesizers, namely, the
difficulty in creating the sound of an acoustic instru-
ment. 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" 4 con-
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-60 (or CS-501 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 dupli-
cate 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-50 and CS-60 are among the first of awhole
new generation of performer-oriented electronic
musical instruments, including the simultaneous 2-voice/
8-note CS-80.
Only Yamaha, the world's leading manufacturer of
fine musical instruments and high-quality sound equip-
ment, could have buil! them.

INDEXTOCONTROLS& CONNECTIONS TABLE OF CONTENTS
INSIDE
COVER
PHOTO
HI
[2]
[3]
(4]
[5]
16)
(?)
PANEL LABEL OR FUNCTION SEE PAGE
AC POWER switch 8.41
Mam VOLUME 8,40
TONE SELECTORS 9,39
TRANSPOSITION 9,40
Overall BRILLIANCE 10,39
Overall RESONANCE 10, 39
KEYBOARD CONTROL 10, 40
BRILLIANCE LOW &HIGH
(8) SUB OSCILLATOR 10,39
(91 TOUCH RESPONSE 11.40
(101 SUSTAIN 12.41
(111 PORTAMENTO/GLISSANDO 14.41
[121 RING MODULATOR 15.39
(131 PITCH (liming) 16.39
[14] Ribbon (glide) controller 16
(PROGRAMMABLE PANELS)
VCO Section
(15) Pulse Width Modulation SPEED 17,35
(16) PWM depth 17,35
(171 PW duly cycle 17,35
118) Square wave ON/OFF 17.35
(19) Sawtooth wave ON/OFF 17.35
(20) White NOISE 17.35
VCF Section
(21) HPF filter cutoff 18, 19,36
(22) RESh"0" 18, 19. 36
(23) LPF filler cutoff 18, 19.36
(24) RES|_ "Q" 18, 19. 36
(25) IL (Initial Level) 22-25. 36
(26) AL (Attack Level* 22-25. 36
127) A(Attack Time) 22-25. 36
(28) D(Decay Timet 22-25. 37
(29) R(Release Time! 22-25. 37
VCA Section
130) VCF LEVEL 22.38
(31) Sine Wave 17, 18. 22.38
(32) A(Attack Timel 20. 21, 38
(331 D(Decay Time) 20. 21. 38
134] S(Sustain Level 120.21.38
^R(Release Time) 20.21,38
(36) VCA LEVEL 20.38
[371 MEMORY PANEL
(beneath Block Diagram) 17,25.38
fItems Not Visible in Cover Photo)
HEADPHONE jack 7
EXTERNAL INPUT jack &
LEVEL control 6
OUTPUT iack &HIGH/LOW
level switch 6
FOOT SWITCH PEDAL 5.6. 12-14
FOOT CONTROLLER PEDAL 3. 5.6
Cover
CS-50 Front Cover
CS-60 Rear Cover
Cover
Cover
Cover
CS-50 2
CS-60 4
6
SECTION I: GENERAL INFORMATION &SETUP
How To Use This Manual
Color Photo for Feature
Identification &Nominal Control
Settings
Quick Setup Instructions
Important Information
Introduction
Leg Assembly
Connections
SECTION II: DETAILED, NON-TECHNICAL
CONTROL DESCRIPTIONS
(Except Programming)
General Discussion &Notes 8
Controls &Switches 8
SECTION III: DESCRIPTION OF
PROGRAMMABLE PANELS. MEMORY,
HOW TO PROGRAM &SUGGESTED
PATCHES
What The (Programmable! Panel 17
Controls Do
Memory (CS-60) 25
How To Use Programming To Get 26
ASound
Using The Programmable Panels To 31
Duplicate The Preset Patches
SECTION IV: TECHNICAL CONTROL
DESCRIPTIONS
Overall Picture 34
The Programmable Panels 34
Other Selectors &Sound Modifiers 39
SECTION V: UNDERSTANDING
SYNTHESIZERS
General Information 42
How The Synthesize* Works 43
SECTION VI: APPENDIX
Where's The Sound? (Troubleshooting) 48
Tips On Recording 48
Tips On Live Performance 48
Tips On Auxiliary Signal Processing 49
Direct Box 49
Travel Case 50
Speciheations 51
Blank Programming Diagrams 52

CS-50 LEG ASSEMBLY <(.
(For CS-60 Leg Assembly Instructions, see page 4.)
1
.
Unlatch the top cover and open it most of the way
so the half-round hinges can be disengaged. Lift off
the cover and set it aside.
2. Loosen the two wing-screws wtiich secure the
retaining flap for the four legs, hinge the flap open,
and withdraw the legs.
NOTE: Two legs are longer, and two are shorter.
THE SHORTER LEGS ARE THE BACK LEGS.
3. Loosen the wing-screw on each of the two flaps
which secure the leg braces, and remove the braces.
Also, remove the thumbscrew from its mounting
bracket in the top cover.
NOTE: The two leg braces each have a rounded end
and aflattened end. One flattened end has around
hole and one has aslot; THE SLOT IDENTIF IES THE
RIGHT-HAND BRACE.
4. Tilt the synthesizer over so it rests on its back edge,
and screw the four legs into their recessed mounting
plates (long legs on the front edge, short legs on the
back edge). DO NOT TIGHTEN THE FRONT LEGS
AT THIS TIME.
5. Hold the left leg brace so the opening in its rounded
end can be slipped over the tip of the left front leg
(just above the foot). After positioning the brace
around the leg, slide it up about three inches, as
illustrated. Then position the other end of the brace
so that the hole is aligned with the recessed socket on
the bottom, back edge of the synthesizer.
NOTE: If the leg brace hole cannot be positioned in
alignment with the mounting socket, it will be
necessary to move the other end of the brace along
the leg. Tilt the brace outward to relieve the torque
on the leg, slide the brace up or down as appropriate,
and again align the mounting holes.
6. When the left brace is aligned above the mounting
socket, insert the thumbscrew through the hole in
the leg brace, and thread the screw into the socket.
DO NOT TIGHTEN THE THUMBSCREW AT
THIS TIME.
7. Attach the right leg brace to the tip of the right front
leg, and adjust its position along the leg so you can
move the flat, slotted end of the brace beneath the
thumbscrew and the flat end of the left brace.
8. Tighten the thumbscrew to secure the leg braces, and
then tighten the two front legs.
2.3
^H^l ^^^

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9. Flip up the latch on the power cord storage com-
partment (beneath the synthesizer), and remove the
power cord. Then close the compartment cover,
rooting the cord through the notched corner so the
cover does not pinch the cord.
10. Lift the unit up and stand it on its legs. The knurled
rings above the feet may be adjusted to steady the
unit, if necessary.
11. Remove the Foot Controller (Expression Pedal) from
its carrying bag and place it below the synthesizer. To
keep the cable out of your way, route it behind the
right leg brace. Plug the Pedal into the jack labeled
"Foot Controller."
12. To keep the AC cord out of your way, route it
behind the left leg brace. (Separating the power cord
from audio cables is always agood idea since it avoids
hum.)
13. If you wish, remove the music stand from the cover
and insert it in the two mounting holes along the
wood-grained back panel of the synthesizer.
NOTE: When storing the synthesizer legs in the top
cover, be sure that the longer legs are placed in the
two mounting block holes with the deeper recesses.
Also, when storing the leg brace thumbscrew in its
bracket, tighten it no more than 1turn after it
touches the case.
-4"
>
1
J
12

CS-60 LEG ASSEMBLY <f
1. Unzip the accessory carrying bag. and remove the legs,
leg braces. Foot Switch Pedal, and Foot Controller
(Expression Pedal).
2. Tilt the synthesizer over so it rests on its back edge,
and screw the trapped thumbscrews on the left teg's
mounting flange into the sockets on the CS-60's
bottom panel. Do the same with the right leg. Tighten
the screws enough to hold the legs in place, but do
not tighten securely at this time.
NOTE: The left and right legs are mirror-images of
one another. When attached to the CS-60. the knurled
leveling screws should be near the back of the unit,
and the thumbscrews on the mounting flanges should
face inward, toward each other, as illustrated.
3. Insert the trapped, knurled screw on the one teg brace
into the socket on the bottom, back edge nearest to
the left leg, and partially tighten the screw. Then
loosen the thumbscrew on the end of the left leg tube
afew turns, and slide the slotted end of the leg brace
over the thumbscrew threads. Tighten the thumb-
screws to secure both ends of the leg brace. Follow
this same procedure to install the other leg brace onto
the right leg.
NOTE: The two leg braces are interchangeable.
4. Tighten the thumbscrews on the leg mounting flanges.
5. Flip up the latch on the power cord storage com-
partment (on the synthesizer bottom panel), and
remove the power cord. Then close the compartment
cover, routing the cord through the notches corner so
the cover does not pinch the cord.
6. Lift the unit up and stand it on its legs. The knurled
leveling screws aT the rear of the legs (where the
braces attach) may be adjusted to steady the
unit, if necessary.

7. Place the Foot Switch and Foot Controller (Expres-
sion Pedal) below the synthesizer. To keep the cables
out of your way, slip them into the clips on the front
of the legs. (As stated in "Connections," be sure you
plug the two cables into the correct jacks; the
Expression Pedal's three-circuit phone plug goes to
the FOOT CONTROLLER jack.)
8. To keep the AC cord out of your way. route it behind
the leg braces. (Separating the power cord from audio
cables is always agood idea since it avoids hum.)
9. Unlatch the cover, open the cover and lift it off as
the half-round hinges disengage, tf you wish, remove
the music stand from the cover and insert it in the
two mounting sockets along the wood-grained back
panel of the synthesizer.

CONNECTIONS ((-
NOTE: See Section VI (or information on direct boxes,
balanced lines, etc.
AC Power &Grounding
Plug the power cord into 50 or 60Hz AC outlet."
When using the synthesizer with a standard guitar
amplifier, it's agood idea to plug the AC cables of both
the synthesizer and the guitar amplifier into the same
AC outlet box or the same AC plug strip. If you use a
plug strip, use the grounded type. Do not defeat the
ground connection (third pin on the AC plug) on either
the synthesizer or the guitar amplifier. By connecting the
AC cables of boTh units to the same AC outlet and then
connecting the synthesizer output to the guitar amp's
input with ashielded cable ("output connections"), you
insure that the chassis of both devices will be at the same
ground potential, avoiding any possible shock hazard,
(Not applicable for the model with the 2P-plug.)
Output Jack
The output is alow impedance, standard tip/sleeve
phone jack. LOW line level is nominal -20dB
(77.5 millivolts), and HIGH line level is OdB
(0.775V).
The output is unbalanced and will drive low-impedance
(600-ohm) or high impedance inputs, either balanced or
unbalanced; this includes mixers, guitar amps, tape
recorders, and many other audio devices. If you are not
sure about the sensitivity of your equipment, start with
the HIGH/LOW switch at LOW to avoid excessive levels.
Use any high quality phone-to-phone plug patch cable
(guitar cord) to connect the synthesizer to astandard
guitar amplifier, ahigh impedance mixer such as
Yamaha's PM-1 70 or directly to an amplifier/speaker
cs-r,Q
CS-60
'As >s the case with any electric or electronic instrument, the AC
power receptacle should be checked for correct voltage and
polarity. For operation with power mains that do not meet
these specifications, contact the Yamaha authorized dealer.
system combination such as the Yamaha A41 15H."
To minimize hum pickup in very long sound system
cables, use an accessory transformer or line-level direct
box close to the synthesizer and then run a balanced line
(2-conductor shielded XLR mic cable) to the mixer.
Foot Jacks
Plug the FOOT CONTROLLER (Expression Pedal)
into the FOOT CONTROLLER jack. The controller plug
is a3-circuit phone plug (tip/ring/sleeve). ON THE
CS-60, the FOOT SWITCH and FOOT CONTROLLER
plugs should never be inserted in each other's jacks. (The
CS-50 has only a FOOT CONTROLLER jack.)
External Input Jack
The External Input jack is for special Sub Oscillator
effects. It allows for modulation of the filter, oscillator
or amplifier by line-level sources, such as oscillators,
rhythm boxes, sequencers, other electronic instruments,
etc. The input is high impedance, so it will not overload
the external device. Sensitivity is adjustable with the
EXTERNAL LEVEL control, but even at maximum
sensitivity the input will not provide adiscernable effect
with mic-level or guitar pickup level signals.
Accessory Devices
You can use avariety of accessory devices between
the synthesizer output and the sound system input:
reverbs, echo boxes, phase shifters, and so forth.
Remember that the synthesizer has built-in circuitry
to produce wah-wah, tremolo, and vibrato effects (see
SUB OSCILLATOR [8]).
The Speaker/Amplifier System
The sound of the synthesizer will depend to alarge
degree on the amplifier and speaker system; the wider
the response, the better. We recommend use of the self-
powered Yamaha A4115H speaker system, due to its
Yamaha A41 15H Speakcr;Amplifier
"Set the INPUTLEVEL switch on the PM-170 or the A4115H
to the "OdBm"position (for nominal OdB sensitivity).
wide, flat frequency response. However, the synthesizer
may be used with almost any wide-range professional
speaker/amplifier system (or tape recorder).
If you use several keyboards, you may also wish to
use akeyboard mixer. In any case, it's agood idea to
choose these items carefully. We recommend the
Yamaha PM-1 70, asix-input stereo output mixer with
Yamaha PM-1 70 mixei
VU meters and BASS and TREBLE equalization on
every input. This mixer can then feed any amplifier/
speaker system. Alternately, use aself-powered mixer
such as the Yamaha EM-1 50. The keyboard outputs,
including the synthesizer output, can be fed to the mixer
input, and its outputs can be connected directly to a
pair of speakers such as Yamaha S41 \5H's.
Yamaha EM- 150 self-power«fi mixer

A4115H control panel
THE A4115H SELF-POWERED SPEAKER SYSTEM
The Yamaha A41 15H is atwo-way speaker system
with abuilt-in 100 watt power amp. It produces natural,
accurate sound and smooth, wide dispersion. The
A4115H can be driven directly from the synthesizer
output, or from the output of aPM-170 or similar mixer.
In the studio, the sound can be taken direct from the
synthesizer, or excellent results can be obtained by
placing amicrophone near the A41 15H. On the stage,
the A41 15H's high sensitivity and high power output
generate high volume levels free of audible distortion.
To use the A4115H, set the synthesizer output HIGH/
LOW switch at HIGH, set the A41l5H's INPUT LEVEL
switch to the "OdBm" position, and set its INPUT
VOLUME as required. The speaker's HF LEVEL control
sets the volume level of the high frequency horn in
relation to the low frequency woofer.
NOTE: If you wish to feed two or more A4l15H's from
one synthesizer's output, "chain" the A4115H's
together; connect aphone- to* phone cable from the
unused input jack of the A41 15H being fed by the
synthesizer to an input jack on the next A41 15H, and
so forth.
Headphones
Astereo headphone jack is provided under the key-
board on the right side. Use any 8-ohm or higher
impedance stereo phones. As arule, however, synthe-
sizers sound best when monitored with speakers rather
than phones.
Getting Sound
When all connections are made, turn ON the synthe-
sizer and set all controls at nominal except its main
VOLUME control [2) ,which you set minimum. Then
bring up the sound system volume to amoderate setting
and adjust the synthesizer volume while playing achord.
Remember, as with most multiple-oscillator synthesizers,
the CS-50 and CS-60 require about from 1to 30
minutes to warm up tot full stability.
A4 115H control panel

SECTION II -DETAILED, NON-TECHNICf
CONTROL DESCRIPTIONStExcept Programing) <.
This section presents detailed information on all the
synthesizer's sliders, levers, switches and rotary controls,
except the Panel and Memory controls, which are treated
separately in Section IV. We have included many dia-
grams to illustrate the effects of the controls, and to
stimulate your own imagination. If you would like more
information about synthesizers in general, refer to
Section V.
Within this manual, or any manual, it would be
impossible to completely describe the many sounds you
can achieve with your synthesizer. However, we feel
that if you understand the concept of the instrument,
and generally are familiar with how it works, you will be
able to use the CS-50 or CS-60 with creativity and skill.
The CS-50 and CS-60 allow you to learn that your
playing style has as much to do with the "realism" of a
sound as does the inherent sound of the synthesizer. If
you play agood recording of aclarinet note, but turn
on the speaker only during the middle of the note, it
might sound like apurely electronic sound because the
way the tone and volume change during the note are
essential to defining the clarinet character. Musical
realism often depends on the musical context as well,
since other instruments can mask or bring out a given
sound.
With synthesizers.the word "patch" commonly
describes the control setup for any given sound.
Historically, there used to be physical patch cords or
pegs that had to be connected for each new sound. . .
some synthesizers still use this system. However, the
CS-50 and CS-60 are third-generation instruments, and
many advances in design allow all patching to be done
internally, and quickly, with no cords to handle. Still.
out of tradition and for lack of abetter term, we refer
to each program (each sound) as a patch.
Explanatory Notes:
A. The synthesizer controls are color coded. Different
color knobs suggest different types of functions, as
follows:
GREEN =general filter characteristics
RED =filter resonance
WHITE pitch
GRAY- volume
YELLOW =sustain
BLACK =other functions
B. In this section, we have indicated control knob
colors in parentheses. (Button colors for the preset
patches do not strictly follow the color coding scheme.)
C. All slider controls and levers on the synthesizer
move in aforward-to-backward direction relative to the
player. However, some controls are arranged so that
maximum effect occurs nearest the player {lever down),
and others give maximum effect away from the player
(lever up). Therefore, in the text of this manual, settings
are sometimes suggested by the words "down" or "up,"
which avoids confusion with "max" and "min."
0. Interspersed among the discussions of the basic
sound producing and sound modifying functions, there
are anumber of patch examples. These examples are
intended to assist you in quickly learning how each
control works, and to iIlustrate what the control does
to the sound. You are encouraged to try our examples
and to also play with other settings. Unless otherwise
noted, set all controls at the "normal" or nominal
settings, as shown by the photographs inside the covers.
The CS-50 is inside the front cover and the CS-60 inside
the rear cover.
Controls &Switches
[1 1POWER SWITCH -The power should be ON
from 10 to 30 minutes before you play the synthesizer.
While the unit is 100% solid state, a"warm up" period
allows internal components to stabilize, as is common
with most multiple-oscillator synthesizers. Ared light
in the switch is illuminated when power is ON.
[2] VOLUME CONTROL -This adjusts the volume
(output level) for the entire synthesizer. There are also
other controls on the unit which affect the VOLUME.
If the sound is too quiet, check to be sure the
EXPRESSION pedal is set for maximum level (parallel
to the floor). Also, check the rear-panel HIGH/LOW
switch; moving it from LOW to HIGH increases the level
substantially (20dB). BRILLIANCE (5] can have a
marked effect on the volume of some preset patches.
OOO
•5r« n''-bobwi-S"

CS-60
[4] TRANSPOSITION -This set of 4pushbutton
selector switches are interlocked so that pushing one
button disengages the previous selection. When the
black NORMAL button is down, middle Con the key-
board produces apitch corresponding to true middle
C. When 1OCT UP is pressed down, the whole key-
board shifts up an octave. 1OCT DOWN shifts the key-
board down an octave, and 2OCT DOWN shifts it
down two octaves. Thus, instant transposition is as
easy as pressing abutton. (If two buttons are pressed
at the same time, only the button on the right will
have an effect. If no button is down, the synthesizer
will play as though the NORMAL button were down).
Fine tuning is accomplished with aseparate PITCH
control [13].
The score illustrates what you will hear at the
various TRANSPOSITION settings when the Cshown
on the keyboard is depressed. Select BRASS 1and 1
OCT DOWN. As you play, press 2OCT DOWN,
NORMAL and then 1OCT UP. Notice that you can
convert atuba into atrombone, etc.
[3] TONE SELECTORS -This set of 14 pushbutton
selector switches are interlocked so that pushing one
button disengages the previous selection. On the CS-50
there are 13 preset patches and the PANEL button
selects the programmable panel for whatever patch you
set up. The CS-60 has one less preset patch, substituting
amemory-programmed patch selection for one preset
button. The preset patches let you come very close to
playing the sounds indicated on the TONE SELECTOR
buttons. When there is more than one patch with the
same name, they sound similar, but not identical. (Two
sounds may not be selected simultaneously. If more
than one button is pressed, only the button farthest
to the right will have an effect.) For more information
about the programmable PANEL and the CS-60
MEMORY, see Section III,
i
.^e
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CDEFGABCDEFGABCOEFGABCDEFGABCDEFGABC
"Normal" CS-60 Keyboard Range (Transposition at Normal), Middle "C" equals 8' pipe on organ.
(CS-50 does not include shaded area of keyboard.)

r«
10
[5] BRILLIANCE -(Green) BRILLIANCE allows
you to increase or decrease the amount of harmonics
(overtones) for any sound, whether preset or patched.
Setting the lever down creates abrighter sound. Setting
the lever up produces amuted, more mellow sound.
This level affects the entire keyboard. The nominal
lever position for all patches is centered.
[6] RESONANCE -(Red) RESONANCE creates
special tonal effects, such as "twang" and "wah." The
exact effect of RESONANCE depends on the
BRILLIANCE [51 setting.
Set RESONANCE for maximum (up) and very
gradually move the BRILLIANCE lever toward you
with the other hand. Continue moving BRILLIANCE
all the way forward while playing a series of notes.
Repeat this exercise using several different preset
patches.
Now experiment with several controls. Play a
chord and set BRILLIANCE and RESONANCE. Try
different TRANSPOSITION settings, and readjust
RESONANCE and BRILLIANCE.
Colored area is all the
frequencies in the "Raw"
patch when lever at nominal.
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KEYBOARD COMROl
BRIUIANCE
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[7] KEYBOARD CONTROL BRILLIANCE-
LOW & HIGH- (CS-60 ONLY) -(Green) BRIL-
LIANCE LOW and BRILLIANCE HIGH allow you to
balance the brightness across the keyboard range. There
is no abrupt change wheie one lever's effect ends and
the other lever's effect begins, although atransition
occurs somewhere near the middle of the keyboard. In
fact, the LOW and HIGH levers operate on asmooth
curve (see illustration). BRILLIANCE LOW produces
more effect gradually as notes further below the middle
of the keyboard are played, and, conversely, BRIL-
LIANCE HIGH produces more effect gradually as notes
further above the middle of the keyboard are played.
Both levers add to the effect of the overall BRILLIANCE
lever [5]
.
Play Clavichord, string. Funky and Piano patches,
adjusting the KEYBOARD CONTROL BRILLIANCE
LOW lever. BE SURE TO PLAY ASCALE FROM
THE BOTTOM TO THE TOP OF THE KEYBOARD
AS YOU EXPERIMENT. Notice that this lever affects
only the lower portion of the keyboard, with more
effect toward the lowest notes. Repeat the musical
example, this time adjusting the BRILLIANCE HIGH
lever. The typical acoustic instrument is less brilliant in
the lower registers and more brilliant in the higher
registers, as shown.
Brightf J-X
-Unaffected
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Brighi
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CSbO
CS-60
[83 SUB OSCILLATOR SECTION -This section
can be used to create effects such as vibrato, wah-wah,
tremolo and others through modulation of the VCO,
VCF and VCA.' The FUNCTION slider selects the
type of modulation (the waveform) for variations in
effect, and the SPEED lever determines the modulation
rate. The VCO, VCF and VCA levers determine the
amount of modulation, and may be used individually or
in combinations. For the CS-50, with the lever down,
there is no effect, and with it up, the depth of the
effect is maximum. The CS-60 operates so effect is
maximum with levers down. These controls may be
used to modify the sound of any of the patches,
whether preset or of your own selection, and their
effects apply equally across the entire keyboard range.
A, FUNCTION (black) Use this switch to select:
A, asine wave (for smooth, up and down
modulation).
asawtooth wave with rapid beginning
's"and slow decay (for adownward sweep-
ing special effect sound).
'VCO, VCF and VCA refer to Voltage Controlled Oscillator.
Filter and Amplifier. These change the pitch, harmonic struc-
ture and level, respective//, as discussed further in Sections
III and V.

^an inverted sawtooth wave with slow
beginning and rapid decay (for an up-
ward sweeping effect).
n_ asquare wave {for angular, alternating
sound, like atrumpet trill or arapidly
picked pair of mandolin strings).
NOISE white noise (for breath or araspy sound).
EXT whatever line-level (OdBm) signal is applied
to the external input jack will affect the
VCO. VCF and/or VGA sliders (C. D&E
below); if nothing is connected to the
external input, this position may be used as
an "off" mode for the whole sub oscillator
section.
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.
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Speed has no effect here
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C. VCO (white) varies the pitch of any notes you
play by modulating the Voltage Controlled
Oscillator with the FUNCTION-selected wave-
form. At slower speeds, the sound is that of a
vibrato. Faster speeds produce aresonance that
resembles ring modulation.
T-LTT
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-VIBRATO
THILL
D. VCF (green) modulates the Voltage Controlled
Filter, thereby varying the tonal character (over
tones) of any notes that are played. At slower
speeds, the sound is that of an automatic wah-wah
(especially if RESONANCE [6] is used). Faster
speeds yield unusual effects, particularly when a
square or sawtooth wave is selected for the
FUNCTION.
11
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For mote "wah" add Resonance [G. .
E. VGA (gray) 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 VGA levers.
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TOUCH RESPONSE
U8 OSCILLATOR BRILLIANCE
VCO VCF
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,—TOUCH RESPONSE
VCO VCF BRILLIANCE LEVEL
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CS60
[9] TOUCH RESPONSE SECTION -These levers
modify the sound according to how you play the key-
board (dynamic control). The two left-hand controls
are related to the Sub Oscillator Section [8) ,as indi-
cated. The BRILLIANCE and LEVEL levers are in-
dependent of the Sub Oscillator. All levers produce
their designated effect only when you press hard on the
keyboard; the amount of effect is determined by how
hard you press akey after it hits bottom, and by how
far the Touch Response lever is pulled down.
A. VCO (white) varies the pitch of the sound up and
down for adding vibrato to agiven note or chord."
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'The rate vnd waveform of the effect variation is set by the
Sub Oscillator 18/. If its Function lever is set at EXT, there
will be no Touch Response effect unless an external input
signal is connected to the synthesizer.

f)
12 B. VCF (green) varies the audible overtones up and
down for adding brightness to agiven note or
chord (a wah-wah if RESONANCE |6] is down)."
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C. BRILLIANCE (green) raises the audible amount
of overtones in agiven note or chord in direct
proportion to how hard you press the keyboard.
D. LEVEL (gray) increases the volume of agiven
note or chord in direct proportion to how hard
you press the keyboard.
'The rate and waveform of the effect variation is set by the
Sub Oscillator 18].If its Function lever is set at EXT, ttttft
will be no Touch Response effect unless an entcrnal input
signal is connected to the synthesizer.
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CS-50
[10} SUSTAIN SECTION -Several controls affect
how long the note remains after you let go of akey. On
the CS-60, the sustain can be activated by hand or with
afoot switch; the CS-50 has hand actuation only.
A. SUSTAIN SLIDER (yellow) Adjusts how long a
note sustains, from SHORT (no sustain) to LONG
(about 10 seconds). In the CS-50, raising this
slider is the way you turn ON the sustain; the
CS-60 works the same way, but also has foot
switch capability (see C & Dbelow).
B. SUSTAIN III (black) Two types of sustain are
available from the synthesizer. Iand II. With
SUSTAIN I, each note struck dies independently
of any others, and all have the same sustain time.
In SUSTAIN 11mode, the last note or chord
played carries the sustain, if several keys are
released simultaneously, they will all carry the
sustain. The next chord or note played ends the
previous sustain.
CS-60
C. FOOT SWITCH PEDAL (CS-60 ONLY)
Stepping on this FOOT SWITCH PEDAL turns
ON the sustain when the SUSTAIN FOOT
SWITCH PEDAL assigner is also ON. The amount
of sustain is set with the SUSTAIN SLIDER. How-
ever, releasing the pedal will immediately end any
sustain, short or long. (This foot switch may also
be used to control Portamento/Glissando effects;
see the following section, paragraph 11 C.)
D. SUSTAIN FOOT SWITCH ASSIGNER (CS-60
ONLY) (black) When switched to ON, there is no
sustain unless the FOOT SWITCH PEDAL is also
held down. If you wish to activate the sustain
with your hand, simply rock the switch back.
This bypasses the FOOT SWITCH PEDAL and
introduces that amount of sustain already set
with the SUSTAIN SLIDER.
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Sustain II Mode
CS-50 CS60
CS-60ONLY
NOTE: With the FOOT SWITCH PEDAL unplugged.
Ihe ASSIGNER switch does not function, so sustain is
always ON. If you prefer not to use aFOOT SWITCH
PEDAL and you want to switch sustain ON and OFF,
do it by moving the SUSTAIN SLIDER up and down,
or insert an unwired standard phone plug in the rear-
panel foot switch jack to activate the ASSIGNER
switch.
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No sustain regardless
'.*( loot switch position. No sustain regardless
of foot switch position. Long sustain regardless
of foot switch position. Long sustain when fool
switch is down.

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14 [111 PORTAMENTO/GLISSANDO SECTION -
Several controls affect the transition between successive
notes or chords. 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
astepped progression rather than a continuous slide. .
.
like playing achromatic 112 step scale from one note or
chord to the next. On the CS-60, the Portamento or
Glissando effect can be activated by hand or with a
foot switch; the CS-50 has hand actuation only.
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 changed from
the lowest to the highest note on the keyboard
(about 2 seconds per octave). In the CS-50. raising
this slider is the way you turn ON the P/G effect;
the CS-60 works the same way, but also has foot
switch capability (see C&Dbelow).
B. 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.
C. FOOT SWITCH PEDAL (CS-60 ONLY)
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 IOC.)
D. P/G FOOT SWITCH ASSIGNED (CS-60 ONLY)
(black) When switched to ON, the FOOT
SWITCH PEDAL 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 PEDAL and
introduces the amount and type of effect you set
with the P/G SLIDER and SELECTOR SWITCH.
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No portamento oi glissando Long portamento regardless
regardless ot toot switch of foot switch position lor
position long glissando if P/G selec-
tor moved to "Glissando"}
No portamento or glissando Long portamento (or
regardless of foot switch glissandol when foot
position switch is down
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Moderate sustain on all notes,
Glissando when fool switch is down
CS-60 NOTE: With the FOOT SWITCH PEDAL un-
plugged, the P/G ASSIGNER SWITCH does not func-
tion, so P/G is always ON. If you prefer not to use a
FOOT SWITCH PEDAL 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.

[121 RING MODULATOR SECTION- Ring modula-
tion creates new frequencies, both higher and lower in
pitch than the note played, but does not allow the
actual note to be heard. This is accomplished by
"beating" asub oscillator against whatever input signal
is fed to the Ring Modulator, thus producing sum and
difference frequencies (the input frequency plus the
sub oscillator frequency and the input frequency minus
the sub oscillator frequency). The input signal is then
cancelled in the output, leaving only the sum and
difference of the input and sub oscillator frequencies.
Aknowledge of how the Ring Modulator works
is not necessary to understand how it sounds. When the
Ring Modulator's sub oscillator is set to aslow SPEED,
the eflect is pulsing that may resemble atremolo. How-
ever, at faster speeds astrange gong-like ringing or non-
musical dissonance will be heard. The MODULATION
(amount of effect) is constant when anote is played,
and so is the SPEED unless the adjacent ATTACK
TIME, DECAY TIME and DEPTH levers are activated;
these levers enable you to automatically speed up and
slow down the Ring Modulator's sub oscillator when-
ever you play anote, for a"swooping" or "pinging"
effect.
A. MODULATION LEVER (gray) Adjusts the
depth of effect from no effect (up! to maximum
effect (down).
B. SPEED LEVER (white) Sets the modulation
speed or rate. Slowest speed is obtained with the
lever up, fastest with the lever down.
C. ATTACK &DECAY TIME LEVERS (black)
ATTACK sets the maximum SPEED obtained as
the ring modulator moves from the basic SPEED
setting. DECAY sets the length of time it takes
for the rate to the set SPEED.
NOTE: So long as you hold down one or more keys,
playing additional notes will not generate another Ring
Modulator attack. However, if you let go of all keys
first, then the Ring Modulator will again attack and
decay on the next note or chord you play.
D. DEPTH (grey) Sets the amount of automatic
speed change created by the ATTACK &DECAY
levers. (Depth does not refer to the amount of
Ring Modulation.) With this lever up (minimum
depth), the ATTACK &DECAY TIME levers do
nothing.
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Steady ""9 modulation speed when
'a note is played and held down.
,Depth alone has no effect on speed.
Slow attack slowly increases speed
up to maximum and then fast
decay drops the speed quickly.
Fast attack starts modulation at
maximum speed and slow decay
causes gradual drop in speed.
Slow attack and decay cause
gradual rise and fall in
modulation speed
Minimum depth prevents attack
and decay from changing the
modulation speed.
15
HOW THE RING MODULATOR WORKS
Typical Hind ModuUtO' Inpul Iyo.c-1 Ring ModoUtu- Output
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113) PITCH CONTROL -(Black) This is aconcentric
control. The outer ring is acoarse adjustment that
tunes the entire keyboard up or down in pitch. The full
range of adjustment is about 1octave, and the ring is
detented in the center for normal tuning. The inner
knob is afine pitch adjustment with arange of about
one semi-tone (slightly less on the CS-50). Nominal
position for both knobs is centered.
NOTE: To obtain the most precise tuning to other
instruments:
a) Press the "FLUTE" Preset [3]
.
b) Turn off or set at minimum all Sub Oscillator,
Ring Modulator, and Touch Response effects.
[14] RIBBON CONTROLLER (CS-60 ONLY) -This
is avelvet-covered strip that tunes the entire keyboard
up or down in pitch. It makes no difference where you
first touch the ribbon; you just move up or down from
that reference point, either by sliding afinger along
the ribbon, or by holding one finger in place and touch-
ing another finger elsewhere on the ribbon. Use this
for expressive vibratos, string-bending effects, chord
modulations, whistles or other unusual effects. When
the CS-60 is in SUSTAIN Imode, the ribbon only
changes the pitch while you are holding down akey. In
SUSTAIN II mode, the ribbon will also change the
pitch during the sustain (after you let go of the keys).
Experiment to see what happens when you let go of
the key and then the ribbon, and vice-versa.
NOTE: The range of upward pitch slide is approximate-
ly 1octave if you start at the left of the ribbon and
move to the far right. The range of downward pitch
slide is much greater; by starting on the right of the
ribbon and moving to the left, you can move the high-
est note on the keyboard down to asub-audio
frequency.