Yamaha SY-2 User manual

GtllMIOVOUII
YAMAHA SYNTHESIZSR SY'2

Welcome to the musical world of Yamaha. We
at Yamaha appreciate your confidence in Yamaha
products, and we will do everything we can to
make sure your new purchase, the Yjamaha syn-
thesizer SY-2, provides alifetime of enjoyment.
The SY-2 is one of the world's newest and most
advanced musical instruments;. Its design provides
aunique combination of simplicity of operation
with nearly Mmitiess versatility. At the flip of a
lever, 26 realistic instrumental tones plus two
additional space age tones {"Funny"and "Drake")
are immediately aval lable. Real-time perform-
ances are easily duplicated and the confusion of
re-registration between musical selections is elimi-
nated.
The SY-2 synthesizer is not limited to these 28
voices. Each voice can be modified to produce
an almost infinite variety of tonal patterns.
Most of the terms you may have heard relating to
synthesizers-i.e./ envelope control, pitch bend,
touch response, resonance, portamento, etc.—are
available to you the performer. These will be
covered alittle later in detail.

Contents
Rage
Precautions 2
This is Your Yamaha Synthesizer SY-2 3
Connections 4
Keyboard 5
Tuning 5
Preset Tone Levers 6
Variable Effect Controls
Filter, Envelope 7
Vibrato, Pulse Width, Portamento 8
Tone Bend, Pitch Bend 9
Touch Controls 9
Foot Controls 10
Master Volume 10
Specifications 11
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Precautions
Ihe line voltage available at the AC wall out let may differ from one area to another. While models
BKpartfld to the US-A., Canadia, Europs, and Australia ana praset prior tD Bhipmantr you should check
the voltagd selector setting befora the unft It plugoed In. Thft voltage settltip available are —ItO, 130,
^30, and 240V. If tf» ihte vo^ge saleetor plug is propBiiy »c mslw sure tfie SY-2pow9r swftch h""cff".
The power cord rnay now be plugged in. When interconnecting the SY-? to acompanion unit {or any
other comparable inter-connecting of devices}, it is advisable thar the units be either "off^' or unplugged.
This precdudfls any chance of shock hazards or high level transient signals that can cause equipment
damaga*

This is Your Yamaha
Synthesizer SY-2
OTuning Control
9P'ortirnanto ContFol
OPulse Width Cdntrot
OVibhratD Cofitrols
OPitch BhkI Lwar
OPyjrtsrrvento LevST
Ojom B^mtl Levar
O^lc« WMth Lmr
6Vibrato lam
OEnvelope Levtr
^Filter Laver
#Prant Tone Levwx
®Side l/Sid» II Levief
'C^ Transpositioii Lewr^
9Touch GDitirol fjmrt
®Foot CoiUrQl Le¥«rs
10 TaiuKh Sensitivity Control
#PoDt SiKltivlty Control
Master Vabmt OquhoI
tnwiope Contrail
9Filter Oontroli
#TDns B4nd OHrtrda
#?oww Switch
#HighAJ3w Levef Swriti^
'9 Pin OutpuL Jsck
#Phont Output Jack
#Font ControMer J>dt

Connections
The Yamaha SY-2 synthesizer can be connected to an electronic organ, such as the Yamaha Electone,
or to almost any amplifier system. It can stand alone as a combo type unit with its four legs, or the legs
can be removed for placing the SY-2 on top of an organ, etc. „^
On the rear panel are two output jacks %^ {pin plug type and phone plug type), plus ai^lGH/LOW
level switch ®. In addition, the SY-2 is accompanied by an accessory connector cord which should be
used for connection.
To connect to amusic amplifier or other phone type input jack, plug the phone plug end of the cord
into the amplifier jack and the other (pin plug) end into the proper jack on the SY-2 rear panel.
To connect to an organ or hi-fi amplifier, reverse the plugs {use the pin plug for the amplifier/organ
input jack and the phone plug for the SY-2 end).
Once connections are made, experiment with the level switch to find the setting which best matches the
connected unit's input sensitivity.
NOTE: When connecting to aYamaha Electone, use the HIGH setting.
Output Level and Impedance
HIGH: O.SVrms /600 ohms LOW: SOmVrms /600 ohms
FOOT PEDAL JACK
To use the foot pedal (included) with the SY-2 synthesizer, refer to page 10.
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Keyboard
Yokif Yamaha synthesizer^s keyboard has 3? keys ranging
from Qto cs. The three transposition levers ^shift the
keyboard fmequenoy rarige up eEther on» or two octanns.
cr down one octav*^ tKat Ci- Ct, or 03- or C-ca.
HHjSi, your sv^vthesizer Km «lotal raw of tlx octeves
(actuaMy ^ven, since there are tvw ndnnal phxhes^ de-
pending on the preset selected)'.
When you depress two or more transposition levers at thE3
Same tirn^, you will hear only the one furthest to the
right on the paneL When no transposition lever is de-
prasied, thft keyboard range from clo ii heerd^ as if
tto "normal "transpotftiort lever wee degiresied.
Your Yemahft synthesizer Is designed to a>ijnd CNily one
note at atime; if you dqsress more than one key the
same time, you will ahvays hear the highest note.
Tuning
To tune your SY-2 to another iiTStru merit, wait about fifteen minutes after it is turned on. Then push
down the Flute/Clarinet preset tone lever, set tfw vibrato lever to the "control'' position and vibrato
depth oontFol to the "minifnum'' position to eliminate the vibrato. Turn the 'tuning oontrol" #at
the left of the Itevtward to the left {ftatl or right (^rp) until you obteln the right pttch; the pitch oin
be riM or lowand about 100 eeratt (one lamtioriel in retotioii to the standerd pitsch.

Preset Tone Levers
Your SY ?has 14 preset lone levers which, bv switch ir>g, actually create
2S different tones. When you depress one of the levers and push anote,
you hear the sound of the instrument identified bv nanw on tli» Iwbt
panaU depending on tfi« ppiitiwi of tho sids I/side Hfftver •.Few
ifwttnoe, when ttw Flut^Clarinet lew is depfreusd, you'll hear aClarinst
whfln the sitde IfU ievar is presMd down or eFliitw when the ii(l» 1/11
lever It in tha up poiltian.
Your Yamaha lytitheiiiflf le designed to crwta the sound of Ofilv one
instrumon at atime. If you depress more than one preset tone Cever at
the same rime, you hear only "the instrument selected by the Iwer furthest
to thR right on the panel. When no levfif&are depressed, naturally you
wlli hear no sound. The keyboaix) is designed to play Ofilv iKWe at
atime howewr; no special frngflrhiB technique is raquiried. When two
or more kevs «down, the hlghw key will Iww priority.
Variable Effect Controls
Your Yamaha synth^er har anumber of variable effect controls to
permit v^Li to add variations to the preset tones and to create anew
world of musical ex press loni. For convenience, aM the d'fc^cT variation
levers are arranged to the left of the paneL while the efkct controls are
arranged at the left and right of the keyboard. To tntroduoe them,
depren the corr^xinding effect lews. These effects cen be combined
in any combinatiofi. Alittle wcparimanutlon will open many -almosi
infinitH —poeslbllltiei to vov.

kmSt is "=~
FILTERS*
Simply stated, affK«r atten the harmonics containecf in anote to
change its colof or timbre. Each of the preset tones as adesign
feature the characteristic harmonic structure and nesanam points
that identify 3partktiter instrument
To understand the low pan and high fWtm, keep in mind th»
literal meaning of their names. The low pas filter, for example
passe$ only low frequencies, cutting oLhers. The lever raises or
tovi^rs the point abov« which this filter wlH not pass hefinonif^
In the oppo5ite way, the high pass filter will permit only high
frequencies above its set level to pass (cutting those below it).
Switch the filter to manuel control by putting the filter lever #
in the "control" position {downK You can now control the filter
characteristics (from lowpaas to htghpau; ^nd degree of resonance^
with the fihser frequency and nesonanoe ooiKtrols ^.
The closer the filter frequency cwitrols aiv to the high poiftion^
the morK harmonics arc alfowed to pass, resulting in avery bril-
liant sound. When you slide either or both frequency controls
irom ""low" to "hi^' while holding akey down, the sound you
hear changes from soft and muted to brrghl and crisp. |n the
rpeantime, the closer the resonance control is to the maKtmum
IMSition, the mors nasaF the lound becomes; emphasizing the fre-
qucncy just before cutoff. When you set the resonance control in
its center position, you can c/eate awah-wah effect by sliding the
frequency control back and forth.
NOTE: If the high filter is set to the "high" position, the
fundamental frequency of that tone may be cut and no
eound will occur.
ENVELOPE <C)€)
The term "envelope" may seem strange^ however, every sound
event h« an envelope. If you draw aheavy Ifne connecting the
peak^ of the sounds' waveform, you would have the event, or
"errvelope" waveform. Synthesizers employ separate envelope gen-
eretort with avarying number of controls to adjust the different
portions of the envelope waveshape. The Yamaha SY-2 preset
voices all have speciai preset envelope patterns, which sound as long
as the efwekJpe lever #is set to "preset" By placing the en-
velope lever in the control position, the preset envelope i-s cancelled
and the variable envelope control #are rww functional. When the
.attack time control is set to "ilow", along rvse tiim results. When
the release time control is set to "fong" the tone win continue to
soiind for quite some time after the key is released.
NOTE: When all four oontmla are set to their bottom poshlom
eperfectlv flat envelope ti cveeted -Le., no iound will
occur.
Lcm P*H Fiw FuMStfon
LOIN
High P1W9 Film- Funrtifn
LO'lV _^HIG"
Set UI : •--,r
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VIBRATO OO
The effect caJJed "vibrato" is a^amiJiar one to alrnost everyone involved in nnusic. The terin actually
indicotos «change in fraquencvr both above and bekiw the normal pitch of the not«. This charge is
quhA mrntl and is not to be confused with other effects. Control #cancels tha pntet vibmo included
in some of the preset voioes, Ue,, flute, trumpet, bow vtolln, oboe, etc., and enablei the performer to
adjust the rate (speE?d) and rfepth to their own taste. Controls arc for $peed (rotation mthe clock-
wise direction causes afaster vibrato rate) and for depth (rotatJon ir^ the clockwise direction increases
the amount of change tn pitchK
NOTE: The rarte of "wali-^^vah" irrcluded in toncfs of "funny" and '*waln gititfir" as apreset part of the voics,
tan be aits red using xho vibrato controls. Place the vibrato lever to ''control" position, set the
vibrato depth control {section QJto the minimum (counterclodcwisej position,. You can rtow
adjuit the vibrato speed control to obtain the desired rate of wah wrthout introducing «vibrato
effect.
PULSE WIDTH &0
The puJse width control is used to vary thtf ratio of pulse height to width. Asquare wave is one form
of pulsa. which in this case has arvtio of 50% height and 60% width —hence the natne squsre wave. The tone
quality of thii waw^iape a¥ary clarinet like. RoduciriQ the width of the pulse will alter the tons quality in
aslightly different manner than that performed by afiltBr, When the pulse width Is very narrow, the
resuhing tone will be briight and rather nasal.
!
PORTAMENTO
The term "Portamerrto" Is alatin musical notation used to indicate asoiind gliding continuously from
some selected note (frequency) to a second selectdb!e point, sounding all the intermediate frequencies. ^
This effect is designed to function bEivveer any two keys played in sequence, either higher or lower,
when the portamento levef is on. The time required for the pitch to shift froni the first note played
to the second (oacjilMor stew rata) Is cofitmlted by the poriBmento^ oontrol 9.Tu-ning the oontrol *^
''clockwise" increases the tline n^iulred for the pitch to r^ch the nofnnal pitch of the second key played.
Oonversely, oounterdockwlse rotation results in avery short period f^st slew rate).
I

TOME BENDO®
The tone bmd thstt changftt it» tirrhn in oonjunctbn wrth th» amtk time, intensity and dscay tima
coiiUulf^
By placing the tpna bend IWW #in the contra Iposftion, the wolilfl tuna bend aHinali •are now
functional. The attack time control adfusts the time it takes for arote to reach its inrtended sound after
the key is pressed. Tlie intensity control alters timbre by adjusting the extent to which anote changes
in tone. The decay time control adjusts the time it takes for anote to return to the normal sound.
mtCH BEND #
With the pitch b^nd kwr depresMd, anots will Im k>vMr bV Ibout TOO cants {one ssmitanfi} in pitch the
moment akey is depressed, then return to the normal pitch gradually. The pitch td which the note is
lowered and the time it takes fdr it to return to Its normal pitch are pr^i^
Touch Controls
Your Yamaha synthesizer is equipped with special touch controls that adjust the vUtiratO depth, WQh-wah
and volume in d'lC&fA proportion to the downvrafd pre^re on the keys.
There are three levers to the right of the paneh vibrato depth, wah-wah and volume 9.There is aJso a
ttiuitivitv control #at the right of the keyboeird that adjusts the overell effisct of the touch controls-
Whan the vibrato depth lew is on, and akey Is plsyed lightly, you hear almott no vibrio. When you
pms the k€y harder, the vlirato effect will increese. You can adjuft th« aensltlyttv of thit effact wfth the
snsitivity control.
All of the touch-sensitive effects can be used in combination with each oth^r. For exampLe, when the
vibrato depth arKl volume levers are on, asubtle change in firiger pressure on anote alters both ths vibrato
depth and the volume.
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Foot Controls
Afoot pi9dal Is Indudod wKh ths SY-2. To u» it, plug its cord into th» |acfc #on the mr ptnal.
The two leveri ^at the flxtreme ripht of thd panel oontrol ttia tvro fynctions of the foot pedal, Wh»n
the wah-wah lever is on awah-waK sound on be created by pushing tiie pedal down and letting it up.
When the volume lever is on the foot pedal works like th* expression pedal of an or^n; pre^ down to
increase the volume.
Both foot control operations can be used at the seme time. In additioii, the ttnsltivitv of the foot control
can b9 adjusted with the lansitivity control
Master Volume
The master volume control <£) adjusts ihe overall volume of your Yamaha synthesizer so yOu can achie;^
ibalance in volume Jii^etween your SY-2 ar>d other instruments.

Specifications
KEYBOARD 37 keys c~c3
PRESET TONE LEVERS
Side I
Flute
Trombone
Trumpet
Saxophone
Oboe
Bow Violin
Piano
Harpsichord
Contrabass
Tuba
Bass Guitar
Funny
Trumute
Double
Side n
Clarinet
Bassoon
French Horn
Bass Clarinet
English Horn
Pizzicato String
Guitar
Hawaiian Guitar
Pizzicato Bass
Sousaphone
Wah Guitar
Dralte
Growl
Reed
Side I/Side II Selector
FILTER CONTROLS
Preset/Control Selector
Low Pass Frequency
Low Pass Resonance
High Pass Frequency
High Pass Resonance
ENVELOPE CONTROLS
Preset/Control Selector
Attack Time
Decay Time
Sustain Level
Release Time
VIBRATO CONTROLS
Preset/Control Selector
Speed
Depth
TRANSPOSITION LEVERS
One Octave Down
Normal
One Octave Up
Two Octaves Up
TOUCH CONTROLS
Vibrato Depth (On/Off)
Wah-Wah (On/Off)
Volume (On/Off)
Sensitivity
FOOT CONTROLS
Wah-Wah (On/Off)
Volume (On/Off)
Sensitivity
TONE BEND CONTROLS
Preset/Control Selector
Attack Time
Intensity
Decay Time
PITCH BEND CONTROL
On/Off Selector
PORTAMENTO CONTROLS
On/Off Selector
Time
PULSE WIDTH CONTROLS
Preset/Control Selector
Width
OTHER CONTROLS
Tune
Master Volume
OTHER FITTINGS
Outputs
Phone Jack
Pin Jack
Level Switch (High/Low)
Foot Controller Jack
Power Switch
Pilot Lamp
Music Rest
CIRCUITRY
Solid State
Power Consumption; 20 Watts
Power Source: AC, 50/60Hz
DIMENSIONS
Width
Depth
Height
WEIGHT
FINISH
ATTACHMENT
90cm(35ya")
32cm(12y2")
17cm(6%") without legs
20cm(8") with case
21kg{46 lbs.)
Black Leatherette Siding
Foot Pedal
Specifications subject to change without notice.
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