EML Electrocomp 500 Bedienungsanleitung

TURN

IT

ON!

Set

the

500

on

a

flat

surface.

Unwrap

the

power

cord

and

plug

it

into

a

110

volt

outlet.

If

your

wall

socket

will

not

accept

this

plug,

use

a

universally

available

3

to

2

adapter.

Do

not

cut

the

third

prong

off

of

the

500

power

cord.

Turn

on

the

power

switch

located

near

the

fuse

holder

on

the

back

of

the

500.

(If

the

fuse

ever

blows,

only

replace

it

with

a

1/4

amp

SLO BLO

fuse.)

The

500

must

be

connected

to

a

sound

system

to

produce

a

sound.

Three

separate

outputs

are

available

for

connecting

the

500

to

different

sound

systems.

1.

Hi

Out.

This

output

is

used

in

connecting

the

500

to

stereo

amplifiers,

tape

recorders,

and

organs.

To

complete

this

connection,

take

the

phono

to

RCA

patch

cord.

Place

the

phono

end

into

the

plug

where

it

says

Hi

Out.

Take

the

RCA

end

and

plug

it

into

your

amplifier

where

it

says

Aux

or

Tape

Mon.

2.

Lo

Out.

This

output

is

used

for

connecting

the

500

to

guitar

type

amplifiers

and

other

electronic

music

amplifiers.

This

connection

is

made

by

taking

a

phono

to

phono

patch

cord.

Plug one end

into

the 500

where

the

Lo

Out

is.

Take

the

other

end and

plug

it

into

the

amplifier.

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3.

Phones.

This

output

is

for

monitoring

with

high

impedance headphones

(500

ohms

or

greater).

When

connecting

the

500

to

an

amplifier

be

sure

that

the

volume

slide

pot

on

the

500

is

all

the

way

down

and

the

volume

control

on

your

amplifier

is

all

the

way

off.

This

is

to

insure

the

safety

of

your

speakers.

The volume

of

the

Hi

and

Lo

Output

jacks

is

controlled

by

the

synthesizer's

output

Volume

slide

control.

The

output Volume

slider

does

not

vary

the

volume

when

monitoring

the

headphones.

This

permits

you

to

monitor

the

500

on

stage

without

having

the

sound

pass

through

your

amplification

system.

When

the

synthesizer

is

connected,

set

the

controls

as

shown

and

turn

up

your

amplifier

to

a

desired

level.

Depress

a

key

-

you

should

hear

a

sound.

If

you

don't,disconnect

the

500

from

the

amplifier

and

monitor

the

500

with

headphones.

If

you

hear

a

sound

in

the

headphones,

this

indicates

the

problem

is

with

your

amplifier.

If

you

still

don't

hear

a

sound,

check

and

see

if

your

controls

are

set

as

shown.

OUTPUTS

INPUTS

PHONES

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LECTROCOMP'

SYNTHESIZER

ELECTRONIC MUSIC

LABS..

INC.

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SOURCES

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OSC

1

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VOL

TUNE

MODIFIERS

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oh

Scan by Manual Manor

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EXPLORING

THE

500!

The first

thing

to do

is

to

look

over

the

panel.

Notice

there

are

three

sections:

Controllers,

Sources,

and

Modifiers.

The

Sources

section

is

where

pitches are

produced

and

varied.

There

are

three

sources

within

the

500.

Two

are

audio

oscil

lators

that

produce

pitched

sounds.

One

is

a

noise

source

for

producing

percussive,

sea,

wind,

and

thunder

effects.

This

section

also

provides

for

introducing

external

sources

through

the

synthesizer's

microphone

input.

Identify

the

sources

and

study

their

controls.

Of

the

seven

controls,

three

provide

for

selection,

three

control

volume,

and

one

controls

tuning.

After

being

mixed,

the

Sources

go

to

the

Modifiers.

The

Modifiers

have

the

ability

to

vary

the

timbre

and

loudness

of

the

sources.

The

Filter

changes

the

timbre

or

quality

of

the sound.

It

has

three

controls.

The

Tune

control

determines

the

brightness

of

the

sound.

The

Resonance

control

determines

the

amount

of em

phasis.

The

Mode

switch

determines

whether

the

high,

low

or

combination

frequencies

will

be

emphasized.

The

Modulator

takes

the

output

of

the

Filter

and

can

reshape

its

loudness

with

tremolo

or

change

its

timbre

by

ring

modulation,

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It has

two

controls.

The

slider

determines

the

amount

of modula

tion.

The

switch

permits

selection

of

the

modulation

source.

The

,final

modifier

is

the

Amplifier.

It

modifies

the

loudness

of

the

sound

in

partnership

with

the

Envelope

Generator.

The

Envelope

Generator

contains

4

controls.

The

Attack

slider

determines

how

long

it

takes

to

reach

maximum

loudness

after

depressing

a

key

(silence).

The

Decay

control

determines

how

long

it

takes

to

return

silence.

The

Sustain

control

determines

how

loud

the

sound

is

while

the

key

is

depressed

after

the

attack

and

decay

have

settled

out.

The

Volume

control

determines

the

maximum

volume

during

an

attack/decay/

sustain

cycle.

The

switch

determines

whether

an

envelope

occurs

once

for

each

key

depression

or

repeats

continuously.

(The

keyboard

"remembers"

the

last

key

depressed.)

The

path

taken

by

the

sound

from

the

Sources

through

the

Modifiers

is

called

the

audio

path.

It

is

blocked

below.

MODIFIER

VCF

ENVELOPE

MODULATOR

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Now

that

you

are

familiar

with

the

controls

in

the

audio

path,

we

will

go

through

them

in

detail.

The

Controller

section

acts

on

the

Audio

path

and

determines

what

kind

and

how

much

of

a

change

will

occur

in

the

audio

path.

It

is

necessary

to

use

one

of

the

Controllers

-

the

Keyboard.

This

is

necessary

because

the

Keyboard

tells

the

Oscillators

what

pitch

to

produce,

the

Filter

"where

to"

filter,

and

tells

the

Envelope

Generator

to

start

its

attack,

decay,

sustain

function.

OSCILLATORS.

The

Oscillators

produce

pitches

that

correspond

to

the

keys

on

the

Keyboard.

When

a

key

is

depressed,

it

sends out

a

voltage

which

goes

to

the

Oscillator.

The

Oscillator

reads

the

voltage

and

produces

the

corresponding

pitch

for

that

key

depressed.

This

ability

gives

the

synthesizer

Oscillators

a

special

name

-

Voltage

Controlled

Oscillators.

This

means

that

the

pitch

of the

Oscillator

will

respond

to

a

change

in

voltage

with

a

corresponding

change

in

pitch.

When

a

varying

voltage

is

applied

to

the

Voltage

Controlled

Oscil

lator,

a

varying

pitch

is

produced.

This

will

be

apparent

in

the

Controller

section

of

the

synthesizer.

The

500

contains

two

Voltage

Controlled

Oscillators

(VCO).

These

oscillators

produce

pitches

in

the

audio

range

-

that

is,

when

Scan by Manual Manor

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connected

to

speakers

they

cause

the

air

to

move

fast

enough

to

be

heard.

Both

Oscillators

have

volume

controls.

These

sliders

can

be

preset.

The

switches

located

below

them

permit

selection

of

the

preset volume

levels.

These

switches

also

permit

you

to

select

one

of

two

different

waveforms

-

either

square

| j

|

or

sawtooth

I

^v>

These

waveforms

sound

different

from

each

other

because

their

harmonic

structures

(timbres)

are

different.

Their

pitches

and

loudness

are

equal.

To

this

point,

you

have

been

listening

to

only

Oscillator

1.

Now

turn

on

Oscillator

2

to

its

square

wave.

The

Oscillators

produce

pitches

proportional

to

the

lowest

key

beinq

depressed.

Oscillator

2's

pitch

is

normally

different

from

Oscilla

tor

1.

This

is

because

Oscillator

2

has

a

separate

Tune

slider

located

its

Volume

slider.

This

control

permits

its

pitch

to

be

trans

posed

above

or

below

Oscillator

1.

You

should

hear

them

beating.

The

number

of

beats

tells

you

how

flat

or

sharp

they

are

tuned.

When

they

are

in

tune,

you

will

not

hear

any

beating.

(See

Phase

Locking

in

the

back

of

the

manual.)

Oscillator

2's

Tune

slider

allows

you

to

tune

these

oscillators

to

any musical

or

non-musical

interval.

Move

the

Tune

slider

slowly

while

depressing

a

key.

Experiment

with

the

two

Voltage

Controlled

Oscillators.

Select

different

wave

forms

for

the

two.

Notice

how

the

sound

changes.

Don't

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hesitate

to

mark

some

of

the

interesting

positions

of

the

Tune

slider

on

a

facsimile

sheet

for

future

reference.

THE

NOISE

SOURCE.

Turn

your

two

VCO's

off.

Turn

on

the

Noise

and

raise

its

Volume

slider.

Like

the

VCO's,

the

Noise

volume

can

be

preset

and

selected

with

the

switch

located

below

it.

When

a

key

is

depressed,

you

will

hear

a

constant

hissing.

This

is

called

Noise

-

it

is

like

listening

to

a

1000

oscillators

all

tuned

at

random.

It

is

used

for

creating

percussive,

wind,

sea

and

thunder

effects.

Achieving

these

effects

will

be

covered

in

the

Modifier

and

Controller

sections.

As

you

know,

sounds

that

don't

vary

are

not

usually

considered

musically

interesting.

Therefore,

the

major

part

of

your

synthe

sizer

-

the

Modifiers

and

Controllers

-

are

dedicated

to

producing

variations

in

the

sound.

The

Controllers

determine

the

amount

of

variation

that

occurs

in

the

pitch,

timbre

and/or

loudness.

The

variations

in

pitch

actually

occur

in

the

Oscillators.

The

variations

in

timbre

and

loudness

occur

in

the

Modifiers.

So far,

you

have

learned

about

the

Keyboard

and

Sources

(Oscilla

tors

and

Noise).

Now

we'll

go

to

the

in

the

audio

path

-

the

Filters.

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THE

FILTERS.

The

Filters

in

the

500

are

Voltage

Controlled

Filters

(VCF).

Their

job

is

to

permit

variations

in

timbre.

They

do

this

by

modifying

the

waveshapes

of

the

Sources,

particularly

the

Oscillators.

This

should

not

be

a

surprise.

You

are

already

aware

that

chang

ing

the

waveform

from

square

to

sawtooth

changes

the

timbre.

Simply,

different

waveshapes

produce

different

timbres.

Your

Filter

works

with

the

Source's

basic

timbre

and

has

an

ability

to

alter

these

basic

waveshapes

to

produce

different

timbres.

These

changes

can

be

of

two

varieties,

either

1)

manual

change

by

moving

a

switch

or

slider

or

2)

automatic

change

as

commanded

by

the

Controller

section.

This

is

identical

to

the

way

the

pitch

of

Oscillator

2

can

be

changed

-

manually

by

moving

its

Tune

slider

or

automatically

from

the

Controller

section.

The

Filter

contains

three

controls

for

manual

changes

in

timbre.

They

warrant

extensive

exploration

with

various

sources.

Begin

with

Oscillator

l's

sawtooth.

The

Filter's

Tune

slider

permits

you

to

brighten

or

dull

the

sound.

The

higher

it

goes,

the

brighter

the

sound.

Depress

a

key

and

move

this

control

up

and

down.

Repeat

this

3

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process

varying

the

speed

and

the

position

of

its

companion

control

-

the

Resonance

slider.

Often

when

the

Resonance

slider

is

moved

up,

it

is

necessary

to

increase

the

volume

of

the

selected

Source

because

the

Filter

has

eliminated

most

of

the

overtones

except

for

those

located

near

the

pitch

set

by

the

Filter's

Tune

slider.

Using

these

controls

you

should

be

able

to

produce

excellent

wah-wah

effects.

When

performing,

don't

hesitate

to

manually

effect

the

sound

with

these

controls

or

any

other,

even

after

you

are

familiar

with

automatic

control

of

the

synthesizer.

Experiment

freelywith

the

Filter.

One

thing

you

shouldn't

miss

is

to

set

the

Resonance

up

full.

Depress

a

key

and

slowly

move

the

Tune

slider

up

and

down.

You

are

hearing

the

individual

harmonics

of

this

basic

sawtooth

waveshape.

(Harmonics

will

be

covered

in

a

separate

technical

publication.)

Below

the

Resonance

control

is

a

switch

which

lets

you

select

any

of

the

synthesizer's

three

Filters.

Set

the

Filter's

Tune

and

Resonance controls

about

1/3

of

the

way

up.

Move

the

Filter's

mode

switch

between

its

three positions.

Try

this

with

other

settings

of

Tune

and

Resonance.

After

experimenting

with

the

Oscillators,

try

the

same

with

the

Noise

source.

Scan by Manual Manor

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TUNING

THE

EML

500

KEYBOARD

SYNTHESIZER

The

EML

500

synthesizer

should

be

turned

on

20

to

25

minutes

before

tuning

is

done. (Warm

up.)

1.

All

Controllers

must

be

off.

2.

Octave

switch

must

be

in

center

position

(0

octave).

3.

Oscillator

1 -

On.

Oscillator

2

-

Off.

4.

Depress

bottom

key

and

adjust

Bend

pot

for

correct

pitch

(87.3

Hz).

5.

Depress

top key

and

adjust

Scale

pot

for

correct

pitch

(1046.5

Hz).

This

completes

tuning

for

Oscillator

1.

Oscillator

2

tuning

should

be

done

with

Phase

Lock

Switch

in

Off

position.

Turn

on

Oscillators

1

and

2,

depress

the

top

key

and

adjust

Oscillator

2,

Tune

for

desired

interval

(unison,

third,

fourth,

fifth,

etc.).

EXPLANATION

OF

BEND

AND

SCALE

CONTROLS.

SCALE:

This

control

varies

the

interval

between

keys,

and

swivels

about

the

bottom

key.

It

is

used

for

tuning

purposes

only

and

should

not

be

used

as

a

"Bend11

while

playing.

BEND:

This

control

transposes

the

entire

keyboard

up

or

down

about

6

semitones

without

affecting

the

interval

between

keys.

It

is

used

for

tuning

and

may

also

be

used

to

nBend"

pitches

while

playing.

10

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EML Electrocomp 500 Bedienungsanleitung

Beliebte Synthesizer Handbücher anderer Marken