Yamaha CS-5 Bedienungsanleitung

Andere Handbücher für CS-5

5

Inhaltsverzeichnis

Andere Yamaha Synthesizer Handbücher

Yamaha

Yamaha MOTIF ES8 Einrichtungshandbuch

Yamaha

Yamaha S-80 Bedienungsanleitung

Yamaha

Yamaha DX100 Bedienungsanleitung

Yamaha

Yamaha MO6 Bedienungsanleitung

Yamaha

Yamaha B2000 Bedienungsanleitung

Yamaha

Yamaha PSR-S550 Bedienungsanleitung

Yamaha

Yamaha MOTIF XF6 Bedienungsanleitung

Yamaha

Yamaha CS2x Bedienungsanleitung

Yamaha

Yamaha DX11 Bedienungsanleitung

Yamaha

Yamaha S90 ES Bedienungsanleitung

Yamaha

Yamaha MOX8 Bedienungsanleitung

Yamaha

Yamaha YPT-270 Bedienungsanleitung

Yamaha

Yamaha YPP-45 Montageanleitung

Yamaha

Yamaha PF-1500 Bedienungsanleitung

Yamaha

Yamaha TX816 Handbuch

Yamaha

Yamaha DX5 Bedienungsanleitung

Yamaha

Yamaha CS-30 Bedienungsanleitung

Yamaha

Yamaha CS-15 Bedienungsanleitung

Yamaha

Yamaha LC3 Music lab Bedienungsanleitung

Yamaha

Yamaha DX100 Bedienungsanleitung

Yamaha

Yamaha B200 Bedienungsanleitung

Yamaha

Yamaha MODX7 Bedienungsanleitung

Yamaha

Yamaha P-80 Bedienungsanleitung

Yamaha

Yamaha JOGR JOGRR CS50 Bedienungsanleitung

Beliebte Synthesizer Handbücher anderer Marken

Kawai

Kawai MP7 Technisches Handbuch

Joranalogue

Joranalogue Contour 1 Bedienungsanleitung

Full Bucket Music

Full Bucket Music Mono/Fury Bedienungsanleitung

Kawai

Kawai PH50 Bedienungsanleitung

IK Multimedia

IK Multimedia UNO Synth PRO X Bedienungsanleitung

Behringer

Behringer DEEPMIND 12 Bedienungsanleitung

Roland

Roland Gaia SH-01 Bedienungsanleitung

Roland

Roland GR-30 Bedienungsanleitung

Gotharman

Gotharman Gotharman's anAmoNo-box Bedienungsanleitung

QuStream

QuStream HDFS-550 Bedienungsanleitung

Modal Electronics

Modal Electronics ARGON8 Bedienungsanleitung

Roland

Roland GS-500 Bedienungsanleitung

Octave

Octave Cat SRM Bedienungsanleitung

Dreadbox

Dreadbox Murmux Initiate Bedienungsanleitung

neutral labs

neutral labs ELMYRA 2 Bedienungsanleitung

Waldorf

Waldorf KYRA Bedienungsanleitung

Tubbutec

Tubbutec Juno-66 Bedienungsanleitung

EFM

EFM VCADSR - 3510 Bedienungsanleitung

YAMAHA

Synthesizer

CS-5

•OWNER’S

MANUAL

PROFILE

The

CS-5

synthesizer

is

ideal

for

a

wide

variety

of

applications.

It

can

serve

as

a

beginner’s

instrument,

and

it

can

equally

well

be

used

as

a

versatile

solo

keyboard.

This

block

controls

the

external

input

signal.

D

a

3

e

©©

This

block

consists

of

a

very

low

frequency

oscillator

to

modulate

the

VCO,

VCF,

and

VCA

blocks.

/SV

page^S^

Voltage

controlled

oscillator

block

to

control

the

pitch

and

generate

square

waves

and

sawtooth

waves

as

sound

sources.

page

©

■

Points

of

Attention

•

Installation

Avoid

places

subjected

to

direct

sunshine,

high

humidity,

or

extremely

dusty

locations.

Never

use

the

synthesizer

near

fire

or

heat-producing

objects,

such

as

on

top

of

a

power

amplifier.

•

Cleaning

When

cleaning

the

set,

do

not

wipe

the

panel

or

key¬

board

with

thinner

or

other

cleaning

liquids,

as

this

may

leave

stains

or

cause

discoloration.

Always

use

only

a

soft

and

dry

piece

of

cloth.

•

Connections

Connections

to

an

amplifier

or

other

equipment

must

be

made

appropriately

and

with

due

care,

as

wrong

connections

may

lead

to

damage

in

the

synthesizer

or

amplifier.

•

Volume

The

volume

level

should

always

be

set

with

care,

as

the

application

of

excessive

input

to

the

amplifier

may

cause

damage

to

the

amplifier

or

speakers.

Sliding

control

to

change

the

pitch

manually

during

performance.

page

©

r

VCO

V

COf

OS

PORTAV

•

l“ri

output

1

hi:,

tunilan

^leds

the

sound

sources

son

I

!u

I

ini

VLM-

unrl

inlaws

-

la

adjust

ihu

ICwelS,

VqltnyD

tOiUiQlled

lil!<

i

IjIdi

-

I

hi?

s.kr.k

prDdlrns

[he

I

min

mlm

hy

r

:i

i^rr

r-i

li

h

<i

ihe

IramiQnic

structure

of

line

sound

snurit

which

ill

111

III

k

1

,

1

.

IT

I

IT

i!

!iy

llli)

ripl

nil

frequency

of

1

he

filter

Conlcol

trDltagK

i"

!|n

,

ni'

Ijv

Urn

CUT

111

I

F

HEd

knob,

by

ihs

envelope

jet

in

|h*

EG

bFack.

etc.

a

f.n

ViMiiiii.

.

ismi

i.Hu..p||her

11

I

n.

Tikis

block

Cttnlioli

the

valumn

iiLiCnrdlilg

rg

Hw

eneolajw

sul

by

rim

EC

block

and

oilier

fntieri.

nope

Erty»kine

gnnRmTqr

in

(traduce

the

cur

™

ol

tampoul

change

in

the

soi/ntl

('Envelope':',

by

means;

oI

triyyai

siyeals

represent

I119

ike

QNyQFF

liming

of

me

keyboard.

Fowar

Mviin

B

m-hu.il

-

QIHTPDOH*

F<i

rru

-nJ

1

.

■

i

■

-m

n-

-<

1

AV.

r-.’l«|.

vj.'Adc

bAvriAuk

F|IB

'

■

Mlifci

*.IVfi

i

Mdu

■

:m-

e

J

—

m.m

mu

DK^HMt

Hl

5

r-‘k

I

irSl

ft-iMSi

l<«

YAMAHA

-|

OUipjr

*|

n

WHAT

IS

A

SYNTHESIZER

Unlike

other

musical

instruments,

the

synthesizer

has

no

fixed

sound

of

its

own.

Thus,

before

playing

it,

it

is

necessary

to

shape

the

sounds.

But

with

the

synthesizer

you

will

be

able

to

create,

with

your

own

hands

and

by

synthesizing

sounds,

a

new

type

of

sound

that

can

never

be

made

by

any

other

musical

instrument.

•

THE

THREE

ELEMENTS

OF

SOUND

How

does

a

synthesizer

make

sounds?

Before

explaining

the

principle

of

the

synthesizer,

let

us

consider

what

kind

of

properties

sound

has.

Sound

produced

by

musical

instruments

such

as

the

piano

or

the

guitar

has

a

certain

pitch,

according

to

the

key

or

string

used.

It

is

possible

to

change

the

pitch

by

changing

the

length

of

the

vibrating

portion

of

the

string.

In

this

case,

the

string’s

number

of

vibrations

per

second

also

changes.

The

slower

the

string

vibrates,

the

lower

the

pitch

becomes.

In

this

way,

it

is

possible

to

express

the

difference

in

pitch

by

the

number

of

vibrations

(frequency).

sound

Tr

-rUe

sound

Wl/WW

However,

between

the

sound

of

a

piano

and

that

of

a

guitar

there

is

a

difference

in

tone

even

when

both

sounds

are

of

the

same

pitch:

no

one

will

mis¬

take

the

sound

of

the

piano

for

that

of

the

guitar.

This

is

because

there

is

a

difference

in

the

way

the

strings

vibrate

(the

vibration

waveform

),

due

to

the

difference

in

the

arrangement

by

which

the

sounds

are

generated,

and

because

of

the

difference

in

the

shape

and

size

of

the

musical

instruments.

Furthermore,

even

when

both

the

pitch

and

tone

quality

are

the

same

there

can

be

a

difference

in

sound,

such

as

when

the

same

key

of

the

piano

is

hit

in

a

forcible

or

a

gentle

manner.

It

is

easy

to

discern

the

two

sounds

from

each

other

because

of

the

magnitude

(volume)

of

the

sound.

This

is

because

a

difference

will

be

produced

in

the

size

and

amplitude

of

the

string’s

vibrations,

due

to

the

intensity

with

which

it

has

been

struck.

In

this

way,

sounds

produced

by

musical

instru¬

ments

have

such

elements

as

pitch,

tone

and

volume,

whose

differences

add

to

the

sound’s

characteristics.

These

elements

are

referred

to

as

“the

three

elements

of

sound”,

which

may

also

be

considered

as

the

difference

in

frequency,

waveform

and

amplitude.

•

TEMPORAL

CHANGE

IN

SOUNDS

However,

the

elements

which

render

sounds

with

certain

characteristics

are

not

confined

to

these

three.

Taking

the

piano

for

example,

the

volume

will

reach

maximum

the

instant

the

key

is

hit,

then

will

decrease

gradually.

When

the

finger

is

released

from

the

keyboard,

the

sound

will

fade

out.

In

the

case

of

the

organ,

the

action

of

depressing

the

key

will

cause

the

volume

to

rise

to

a

certain

level,

which

will

be

retained

for

the

duration

the

keyboard

is

depressed.

The

sound

will

fade

away

when

the

finger

is

released

from

the

key.

In

such

musical

instruments

as

the

trumpet,

for

example,

the

harmonic

spectrum

changes

together

with

the

change

in

volume.

The

tone

changes

too,

along

with

the

passage

of

time.

Thus,

the

sounds

of

musical

instruments

undergo

delicate

changes

from

the

time

the

sound

is

generated

to

the

time

it

fades

away.

These

temporal

changes

are

known

as

an

“envelope.”

•

HARMONICS

What

must

we

do

in

order

to

produce

electrical

sounds

that

have

the

above

mentioned

three

elements

of

sound,

these

are

pitch,

tone

and

volume,

and

which

vary

with

time

(have

an

envelope)?

Before

going

into

the

matter,

let

us

view

sound

again

from

a

different

angle.

As

regards

the

vibration

waveforms

by

which

the

tone

is

determined,

it

is

known

that

any

given

wave¬

form

can

be

considered

as

consisting

of

a

certain

number

of

sine

waves.

In

other

words,

all

waveforms

can

be

produced

by

combining

a

large

number

of

sine

waves.

For

example,

let

us

overlap

over

a

single

sine

wave

waveforms

having

an

integral

multiple

number

of

vibrations,

such

as

2-fold,

3-fold,

and

so

on.

It

is

seen

that

the

waveform

will

gradually

come

to

resemble

a

sawtooth

waveform.

In

addition

to

this,

it

is

apparent

that

this

sawtooth

waveform

has

a

cycle

similar

to

that

of

the

sine

wave

that

has

been

used

as

the

basis.

The

sine

wave

with

the

basic

cycle

is

referred

to

as

the

fundamental

and

the

sine

waves

of

harmonic

overtones

as

the

harmonics.

In

the

case

of

musical

instruments,

the

way

in

which

harmonics

are

contained

in

sounds

will

depend

on

the

arrangement

by

which

sounds

are

generated.

When

we

discuss

the

difference

in

tones

(waveforms),

it

is

the

same

as

dis¬

cussing

what

kind

of

harmonics

the

sounds

contain.

Accordingly,

one

can

express

the

three

elements

of

sound

in

another

manner,

that

is,

as

1)

pitch,

2)

the

manner

in

which

harmonics

are

contained

(harmonic

structure)

and

3)

volume.

SAWTOOTH

WAVE

Fvndtxnicrifab

A

2f

3-f

4-f

Ampblute

^

_a.

.

3-1-

Harmon

fes

•

STRUCTURE

OF

THE

SYNTHESIZE?)

In

the

synthesizer,

sounds

are

synthesized

by

electronically

effecting

control

on

the

four

properties

of

sound

(the

three

elements

of

sound

plus

the

envelope),

dividing

it

into

4

blocks.

Control

of

pitch

is

effected

by

the

VCO.

that

of

harmonic

spectrum

by

the

VCF.

that

of

volume

by

the

VCA

and

that

of

envelope

by

the

EG

(envelope

generator).

The

following

describes

the

functions

of

each

block.

•

VCO

The

VCO

block

produces

sound

sources

of

fre¬

quencies

corresponding

to

the

intervals

of

the

key¬

board.

The

sound

source

waveforms

produced

1

by

the

VCO

are

sawtooth

waves

and

square

waves

that

include

many

harmonics

in

a

regular

manner.

These

waves

are

oscillated,

using

an

electronic

circuit.

•

VCF

The

VCF

block

determines

the

tone,

changing

the

harmonic

spectrum

of

the

sound

sources

by

cutting,

or

emphasizing,

certain

parts

of

the

harmonics

by

passing

the

sound

sources

through

filters.

The

boundary

between

the

portion

that

passes

through

the

filter

and

the

portion

that

is

cut

off

is

known

as

the

cut-off

frequency.

The

VCF

creates

the

charac¬

teristic

harmonic

spectrum,

by

varying

the

cut-off

frequency.

F

:

Funda-me/ifa)

In

addition

to

adjusting

the

cut-off

frequency

by

means

of

a

knob,

the

tone

is

caused

to

undergo

a

temporal

change

(from

the

time

the

sound

is

generated

to

the

time

it

ceases)

to

give

it

an

“enve¬

lope".

This

is

accomplished

by

effecting

control

on

the

filter’s

cut-off

frequencies

by

means

of

the

envelope

generator.

•

VCA

The

VCA

block

adds

an

“envelope”

to

the

volume.

The

process

starting

from

the

generation

of

the

sound

up

to

the

point

the

sound

gradually

fades

away

is

governed

by

the

envelope

generator's

ATTACK

TIME,

DECAY

TIME,

SUSTAIN

LEVEL,

RELEASE

TIME

(A.D.S.R.),

changing

the

amplification

degree

of

the

VCA

amplifier.

The

signals

from

the

VCO

reach

the

VCF

where

they

undergo

a

change

with

regard

to

their

harmonic

spectrum

by

being

passed

through

a

filter.

The

sig¬

nals,

now

containing

certain

tone

characteristics,

are

given

a

volume

“envelope”

at

the

VCA

and

then

fed

out.

In

this

way,

all

elements

of

the

properties

of

sound

are

controlled

electronically,

by

utilizing

the

three

elements

of

sound

and

the

“envelope.”

The

synthesizer

has,

in

addition

to

the

blocks

described

above,

other

blocks

such

as

the

LFO

which

permit

further

changes

in

the

sounds.

But

in

this

case

too,

the

job

is

performed

by

controlling

the

three

ele¬

ments

of

sound

and

the

envelope.

We

hope

that

the

points

described

in

this

section

may

be

helpful

to

understand

the

immense

possibili¬

ties

and

great

pleasure

awaiting

you

on

a

path

that

will

lead

you

into

a

new

world

of

music

using

a

totally

new

musical

instrument,

the

synthesizer.

CONNECTIONS

O

POWER

CORD

Connect

the

power

cord

plug

to

an

AC

outlet.

©OUTPUT

The

CS-5

cun

be

connected

to

all

kinds

of

ampli¬

fiers.

Use

connection

cords

with

plugs

matching

the

shape

of

the

input

terminal

of

the

amplifier

to

be

used.

The

following

input

terminals

are

to

be

used:

KEYBOARD

AMPLIFIER

.

.

.

.INPUT

TERMINAL

GUITAR

AMPLIFIER.LOW

INPUT

STEREO

AMPLIFIER.AUX

TERMINAL

ELECTRONIC

ORGAN.EXT

IN,

AUX

IN,

EXP

IN,

etc.

©CONTROL

VOLT

©TRIGGER

By

connecting

the

set

with

other

synthesizers,

such

as

CS-5,

CS-IO,

CS-15,

CS-30

etc.,

having

CONTROL

VOLT

(or

KEY

VOLT),

and

TRIGGER

terminals,

this

set

can

be

used

as

a

multi-system

synthesizer.

See

page

14

for

further

details.

©EXTERNAL

If

an

electric

guitar

or

the

like

is

connected

as

sound

source,

it

is

possible

to

give

its

sound

a

synthe¬

sizer

effect

by

the

control

blocks.

For

details

see

page

14.

HOW

TO

PRODUCE

SOUND

"Vr

;tit/iui

I

‘.US

I

r

f.-'ktincrf

m

Minting

■

tfic

timmi

JJdw,

Ptrthc

j

pt-nti,

thr

itwtu,

am!

mitches

in

i-nrit

item

in

umlmimd

their

function

wink-

iltietiinn

fa

tl

rr

cfunigm

in

tmunj

>

miHt

liatrt}

■

>mul

mAm

the

t.*yj

tfufm

«

.

j

'j

/j

rj,v

■

,

r-.j

r

ritewslttn

ihi-n-tififr

referred

ta

a.*

t\jji,.

i!ASIC

SETTINti

(

'i

i

■

Use

’-.y

it

is.

ii

#.*

11

|ipf|)

I'll

_>

\uiji

.

:

.

.

CONNECTIONS

on

ihc

pm'Luus

p::i($e.

T

isci

Ull:

wnUKisll*r

at

shown

in

Mil'

iLkissiatlun

;K

I

mi

lliu

'

11

Ihif-

lnl|i:wii

-.Iv-i

i;-.

I

PDWEn

SWITCH

WIhiii

puslird

ituwn,

Mil

1

j^iiiIil-,

KyvHdtcd

un

un<l

llie

irdk^to-i

ilhumiMi<^

*

Vllln'MIXHK

Is

■

■

•

Ihswi!

i

id

*A

util

h

Miovi!

I

knob

*

10

C

f

u

ly

rig

hi)

*

Sci

iiu-

VCF

blcttk

.is

folLfWrt;

HPFyGPF/CPF

switch

■

lpf

CUT

OFF

FRtO

Kurili

p

iH

tluilv

i

K|ti||

*

fi-.-t

llu-

Vi

a

HUH

k

j

toll

-n

■

5G

PFPTH

knob

-

ID

I

fully

.-ujhtj

*

Set

tin-

Llf

hij>ck

ik

1-oilL.iws

SUSTAIN

kFVEL

Vnoto

■

in

Mully

r.

SJ

hl|

Sft

Ulfl

oUwr

klli.lly.

UJksI

KWdlellGS

BE

|]kl

SS/aiei!

:

'"|mw.

Under

I

fill

uofidJlitMi

^>n

nd

|tpmdi.i»d

when

ihe

keyi

are

itopM-sicd,

i.

Tltb

complete

llic

bwlc

setting-

The

CS-5

panel

kyoui

follow*

ihr

fal

adk

dkg.

■

•

nil

ill

I

.

■

.

v.

in

ii

U.

.

■■

.•

■

.

in

.1

'

IS

^

iiiliL'si/.

i

uni

lluw

i

I

signuk

S

1^,1

1

flawing

""in

I

[

(.0

rijlhl

...

I

1

h

hi-

■

k

.11

III

•

11

.

11

|

I

sound

Is

irfl^ieiJ.

functions

KEYBOARD/VCO

ihr

kcy/nianf.

ItiiH-k

i

rrirUb.'t

i*j

ri'ji

t-ryi--

unJ,

rJIlc

i

-

J.'.vy.

i'K<

U

VOt-Tl

<

■■

’rt-.

tfKftiifjiif;

to

titt

piuh

and

Hit

TRtfKitiR

cvHtwt

signalrrt>n-\r>mHx

kFY-ON

t/nd

K£\

<?FFUmi/tfc

»

KEYBOARD

Thi

■

i

,i

in-

i

'|

i|i-

m|,

Vf

iiM

■

ii/i-i

>

11v

l"

i

mu

I

li

rcc-

i.-.Siivf%

ivilh

37

key

s

•

When

(wo

or

mere

K*yi

eit

urrtultinwwiiv

d«-

pfHSied.

prioriiy

u

qiven

to

rhe

key

pi

she

■■

n^'

Erlich.

*

The

sound

rarvqe

:o

be

co-erer

s^-n

changed

hv

H'-i

!

h

I;

r

I

twllch

i“-

thn

VT-i

i

n

ii-T

’

a

pitch

be

mo

Tfii

frilch

-j-i!

be

varied

up

jjij

down

wltlilfi

lItc

mi-.,

mi

i

i

,is

..

■■

i-v

diin

"

i

k

iin

rirni

IJLND

hiding

:arnl

yfj(T

Tr

d

frtovk

na

roitiigv

cWHOffai

uuMvW

Ktneratif'ft

mwHxHh

and

tift/ure

nwnci

ufiri

Ji

hi

■

>

u11

-

Ml<

i

am!

'.i

nun

w

..'i

i

■■

i/.tjl:

,'i

1

1

!?,

■

•

itm\

i

f

'.iTr

in'J

lhnu

■

hi'

hi

\

I'.VA-jrn'

n

1

4

TONE

[hi-

kj|nh

o.i|j(jvli

III.-

|iil,

■

li|rim.j

ii

luvvnr.l-.

''pllif''

JciLlGLldGS

plld,

jliJ

LU

i

!

i.i

■

:

il

!

,.h

:u-

"li

Li

III''

d^lAUM

plldt-

Tills

Is

SWj

In

linn?

Ihfl

HJrflllnfM/i-'i

Vl(t|,

'PilL-i

:ILi

11

|JI

I

n'll

I:

*

If

will

D*TOUl

10

mimrtm

plt*r

|tw

svnlhn^ir<i|

is

ON

iiiiIiI

I

he

pi

1

1

:

-

■

Lii

:

.

nr-

ns

.

>,::

j

1

1

1

.

■

i

-11

Thus,

rh»

ivi'ihwirnr

ibould

Iw

Ivrnnl

on

IS

m-r-utvs

dl-'oiu

Tuning,

s;

PEfT

I'li!’

kiybnnn]

omi

1

hh|.,v.-,

y-ith

,

1T

ki-j

s

[Up

H-'lll

1

1

.ll[>-

El,

I

:

■

L

i.A

U

fL'I-l

■

'

■

III

il-.

"llll'L

.1

hy

ll.L

HI

J

■

mil

i

.

i

in

il

I

s

i

T

n

l

cd

hslnw

fl

LFO

MOD

Th-.

fVoqufimfiles.

-.T

u^-LUuOnn

grnariited

in

lho

veil

,

m

Iw

IdUliAi

iho-IiiIaU'tI

wiLhln

u

vi'Uihri

umui;

hy

ihe

LFO

hkK.'k.

Tin

fu

rllicc

ihc

LPO

MOD

knerb

i"

tunM

I".iv:iilU

mt,

iM

dtdper

Uii

m&iiiitoHffli

ti

peonies,

■

?:

portamento

FOR

I

AMENT

1

h

to

nr

qiYqui

by

Wltldi

ifia

found

ui

■

ire

key

artoolhly

ch4fl$SI

JriW

(J»

ifii-'li

of

IhfllgHt

■

me

tlqnfijiuf

J.

The

Oil

III

ill

ipce-i

ii

iKljusliid

hy

ehii

knob,

Tht

furrheT

ii

b

tlifliefl

toward*

L.

i]ie

Ibflfrf

ll[r

ll-umlllLTrl

1

liI-L

I'm.,'Ml'.-"

FUNCTIONS

VCO./LF0

.

■

PiD'M

(PiiUd

Widllt

'-io>.1111111

>

■

i

■

■

'

■■

1

dii

-u

-.

il

l-

|it<

i'

xvi:iih

iif

"I:

Vl'O'f-

Hqu

□

.r<

j

[

i

-Lves

Ill

il

|

1

L‘?nI;l

Itfl

wjlll

(Mu-

SI'I

I

n

kiMili

|>|

I.hp

LPO.

When

the

knoh

Ik

lurnud

to

O,

symmcirleBl

limin'

■

..IT

.

r.-

|irikJucrd

I

In-

in

|l

.

■

turned

Inwards

10,

Lhc

i»rg>r

iNXUiiiw

liic

charge

in

pulse

wlJlh

*

I

1

1

M

il

i

i

lllu

"I|i

>

I

f

tin-

r'tVM,

1|

ll

i-in.-

■

,

,

■

y

to

turo

ih-e

T--

jsawtooth

wav?)

knot

I?

ant?

the

I

X

|

-NQIft

Ilf

ab

I

l!

..

VI

XI

n

1

11,,

-

\,||

V

Wt.

end

turn

ih*

l”L

(square

wawai

knoll

lowvrdi

irl

■

The

PWfiVl

follows

:i

'\.

I

sine

wavel,

itnardleis

of

■

"

VM,i.iih.|M-

viwlirh

....

the

LI

O

77

ie

LFQ

Sr

ft

very

hnr

frequency

QjctfktQr

block

to

[wcrfuce

periodic*}

inplfcft,

rneie’,

,m<i

i

/fiutw

hi

m

ated

by

fSi*

I

t

it,

Li

1-,

I

t

A

htneks

*

To

rent

Mil

the

sJfact

of

thr

Iff},

il

ii

necessary

c-.

n.irn

up

the

LiFO

VIOD

knobs

m

n«h

hlpc*

•

9'

SPIED

I

his

knob

aiijuits

Hie

mtiduktion

period

The

■

I

■■

I

■

I

I'.-

i

I|.|l

■

railS-T

II:

nil'll

:

I'M'

krlkl'

II

llJilsed

lywirds

f-

The

*djusifibl*:

runup

is

0.3

to

MjO

llz,

llv

V

II

ill

IN.il

lit

the

ifKH'd

-I

II1L

l«II

I

bOIIIILl

L

L

fifL-H

Lip

hu

produced.

I*

IFO

■

\

SlNI

WAVl

Gently

charging

s>imd

cl'fculs

can

he

nh-

nmiL’ii

...

ifi

I'rct

to

VtO.

"Vnih

ft

'

.nil!

"1

mi',.

I'

,-1

feels

In

Til

!

icmolo

el'rtma

to

Vt.'A.

r>

MftisuTi

nw,u

r

i

;

IntrimilLaeit

sudden

ch

Jis.ec

and

ilin*-

lIuiiul'

11

HAMPI

l

ini

i

III

?L

L>

Causes

irregular

changes.

S/M

sompEra

an

i"i..i,l

mine

i.'

Use

ImIj

.i.iiijiln.

noise

whves,

and

eiisl/iins

ihu

I

value

urn

it

iiholhui

snnpllim

is

11.1.ip,

linn

mmi,I

n,

in.

insularly

changing

modulation

signals

The

..i

11|iiiii.a

i-

i

lii'J

i

Ip

i

fi

iii.i.'lI

|t,

i

SCI

I

I)

knoh

.

S/H

Principle

huiw

SNjvat-arikl.

S/H

nijllnyl.

functions

MIXER/EXTERNAL

Du

fin

ivm

iTVJA

to

in-

tikJ

tn

iu#tki

^

■

!/»

n

irfhJ

iii'mO'

tin

ittfiui

/.

v.:--/1

■

r^ic

vn

iw

.

y

'!•

exTiVloiSE

When

eternal

siguuh-

n

tin

■■■

'

selected

bj

I

li

e

i

JcrftJniRSi

vwiu.ii

of

ihi

i

XfflflNAl

block

.nr

used

jt

i

Uc

sound

source.

iidiusi

I

heir

vokuma

wirh

llils

Kiimh

ii

:

Sjuvioq

th

turMh

Adjusts

I

hit

jwffftMth

wire

levels

SaWfoofll

i..

hiivw

huriiiuutet.

nf

duHUled

liilfpds,

which

suits

them

in

he

used

us

pseudo

■

sound

miiKvi

in

i

>

1111

11111

,

■

I

ii

v|

i

mi

i

ii.

ii

n

.nd

1

1

!•

like.

•IS

_

:

Square

wafca

1nlimi>

I

Iw

'.i.|li

.:.i

e

u-m

1

level!

ITie

puU-

width

nsuduialLon

uf

three

he

e^m

ii.

lied

lhe

I'Vv'M

Mlilh

w

in

thr

VC

O

i.

Squire

wx\)&$

hnve

hflitnemlft!

of

ihc

ii

si"..;

.

her

i

If

ll

-

v

in'

in

"in'

me

I

dik

trfT&cll

peciilisr

to

iJlc

synUtesiueir

can

be

otHnlnni:

*

In

the

MIXER

’ha

volun’^s

o+the

'osprctivft

wave-

liiiink

CHn

I3»

Milultvd

»nd*p*nd*ndy

unci

th*

dMFijreni

sound

KHirces

uvin

t:::

lieely

ml-Hed

S|jmc

|

r

u

m

u

I

MiwtuuLh

wuee

Fi

KU;*ACV

IF'

A'llIU

Mirln

<AI'

vSpuLirum

hi

Symmetrical

square

wave

F

"Ti

"vm

e

I

f

|

At.

pi

.1

iidp

(At

If

*

An-|illj.-udp

j

i

-

I

Fflriciu

■

I

LI

F

fllTlM

yVjt-

hX'ftjkyAL

lilt

i-k

i\

tm

input

fontraHing

ncciwrt

whttrj

pi-rmltf

using

ex

finytl

.dgmh

Vtcf

'i

v

pout

Wt

I

/

if.

'Mr

y'liittii

Mmt'rti

!

t

th

EXTWltSAi.

H'rmtml

>rn

(h

war

lunel.

r«

tht

;^<wi

SLiNfiirs

of

the

synthesizer.

*

hi

i

i

i.X

If

MPJAL

in

i

i

-.|

I

li

I

is

-

I

VI

n!i

«•

■

Ilf

14

U

litSISE

Wirh

tire

r

MAT

MSI

wili/h

....

=

vum

.

'JQISt

^ju

lie

Ji-

sen

s

I

he

sound

-fmiii..-.-

jy

ic

1

VI'.NOM

MiLih

In

.

Ml

MU,

h

in-

file

,

.i.-i,

wink

ii"

-e

indudhi

widely

dL.perset

e

ute/icle-.

■

ii,

in.,

firm

very

1

^

1st

very

I

i.T

11

in

well

uiled

js

sound

m

ine

to

mulule

such

ruifurui

sound-.

a

■

Mini

'

■

'...i

■

>

■

m

..ill

■

;i,

I!