Yamaha SK30 Owner's manual

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OWNERS MANUAL
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INTRODUCTION +: CONTENTS
Thank you very much for your purchase of the Yamaha SK30 Symphonic Ensemble. The
SK30 offers a versatile combination of organ, polyphonic synthesizer, solo synthesizer and
strings in one portable keyboard. With such features as keyboard touch response and split
keyboard modes, the SK30 provides a variety of sounds and the extensive flexibility that
previously required the use of several different keyboards. Thus the SK30 is a multi-function
instrument which will undoubtedly be of great value to both the professional and amateur
keyboardist.
We urge that you read the contents of this Owner's Manual carefully in order to make full
use of all the capabilities of the SK30.
CONTENTS
CONNECTIONS:
OPERATION:
POL Y-SYN TH/STRING
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SOLO SYNTHESIZER
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PRE-USE CAUTIONS
Be sure to read the following points carefully before operating your Symphonic Ensemble.
LOCATION your Symphonic Ensemble as this may cause discolora-
When setting up your Symphonic Ensemble, avoid tion or staining of the panel. Use a soft, dry cloth.
placing it in direct sunlight or close to a source of heat.
Also avoid locations subject to vibration, excessive
dust, cold or moisture. CONNECTION
Follow the “Connections” instructions given in this
manual carefully when setting up your Symphonic
POWER CORD
Ensemble. Connection errors could lead to serious
In order to prevent damage to or shorting of the power damage to the Symphonic Ensemble, amplifier and
cord, never remove the power plug from the wall
speakers,
socket by pulling on the power cord. Always grip the
power plug directly.
If you will not be using your Symphonic Ensemble for OTHER APPLIANCES
an extended period of time, be sure to unplug the Since your Symphonic Ensemble incorporates a
power cord. considerable amount of digital circuitry, it is advisable
to use it where it will not be influenced by electro-
magnetic radiation from appliances such as televisions,
CLEANING
radios, etc.
Do not use solvents such as benzine or thinner to clean
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SK30 FEATURES AND FUNCTIONS
The SK30 is composed of three basic sections: organ, poly-synth, and solo synthesizer. Additionally, the poly-synth
performs two roles---a fully variable polyphonic synthesizer and a preset string synthesizer. Each of these four sound sources
can be combined and mixed to any desired balance to create multi-instrument effects.
Keyboard Range and Functions
The SK30 keyboard offers 61 keys covering a full five
octave range (C, -- Cg). However, by using the split
keyboard or manual bass functions, specified sections of
the keyboard may be used to cover different ranges
according to musical requirements.
In the normal mode of operation, the organ and poly-
synth (strings) sections cover the entire five octave, full
keyboard range with up to 7-note polyphonic (simultane-
ous output) capability. In the split keyboard mode,
however, the organ and poly-synth (strings) sections are
divided to the left and right of the split marker (W ) near
the center of the keyboard with full 7-note polyphonic
capability for each section,
The range of the solo synthesizer section in the normal
mode of operation is from C4, to Cs (3 octaves). In the
bass mode either the optional pedal keyboard or the lower
19 keys of the manual keyboard are used, covering a range
of 1-1/2 octaves (C;---F, #). In either mode, solo synthe-
sizer output is single-note, high-note priority format.
Rear Panel
In addition to a MIXED (all sections) output, the SK30
rear panel offers independent output jacks for the organ,
poly-synth (strings) and solo synthesizer sections. Jacks
for optional foot controllers for MIXED VOLUME,
STRING VOLUME and POLY-SYNTH BRILLIANCE as
well as foot switch jacks for SUSTAIN and PORTA-
MENTO are also provided. In particular, the inclusion of a
PEDALS jack for connection to an optional bass foot
pedal unit affords greatly improved performance versatili-
ty.
Organ and Poly-Synth
The organ, poly-synth and strings sections all offer three
preset sounds, permitting one-touch selection of a number
of basic sounds in addition to the infinite variety of voices
which can be created with the manual controls. Tonal
variations, like percussion (for the organ section), bril-
liance and sustain can be applied to any of these preset
sounds. In addition, preset voices from one section can be
combined with manually-voiced sounds from another
section to achieve a very broad range of variations.
The basic difference between the organ and poly-synth
sections is the tonal color of the sound source. Organ
sounds are created by adding or subtracting harmonics
using the drawbar-type levers. The poly-synth sounds are
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created by passing a harmonic-rich signal through a
controllable filter which selectively removes certain
harmonics. Since this filter can be controlled directly by
the poly-synth envelope generator (ADSR), it is possible
to produce sounds which change in tonality as they are
played. This permits the production of a variety of voices
including brass-like sounds.
Solo Synthesizer
The solo synthesizer has a single voltage controlled oscil-
lator (VCO), and allows full control of pitch, waveform
shape, filter (VCF), volume (VCA), and envelope
generator (EG) functions. Also the keyboard after-touch
response gives the player the ability to add vibrato,
modulation and brilliance variations by depressing the
keys slightly harder. These features give virtually un-
limited variations in sound for a single-note (high-note
priority when playing more than one note) performance.
VCA
This makes the solo synthesizer section ideal for lead lines,
and is especially effective when played simultaneously
with the organ or string sections.
As we have seen, the SK30 organ, poly-synth, solo synthe-
sizer and strings sections each have their own particular
features and capabilities. This design makes the SK30 a
truly versatile multi-keyboard that, with thorough under-
standing and a little practice, permits the musician to
greatly expand the scope of his musical expression. In
order to fully understand these capabilities, it is advisable
to experiment with the controls of the SK30 as you go
through each section of this manual. Be sure to connect
your SK30 to a sound system with ample power and wide-
range speakers (such as Yamaha EM-150BII and S0410H
or S4115H speakers) so that the tonal characteristics of
the sounds you create may be fully appreciated.
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CONNECTIONS
BASIC SETUP
The SK30 does not incorporate a built-in power amplifier. For this reason, when sound output other than via headphones is
required, an external keyboard amplifier or power amplifier and speaker must be used.
MPower Supply Connection
Wall outlet
o
POWER VOLTAGE SELECTOR
E Amplifier Speaker Connection
QUTPUT BLOCK
Output level from all output block jacks is —10dBm/600
ohms. This level is ideal for direct input to any standard
keyboard amplifier.
@ MIXED OUTPUT
This output is primarily intended for use with a single-
channel (monaural) amplifier and speaker. This jack
provides output from the organ, poly-synth, strings and
solo synthesizer sections. Overall output level can be
controlled by the MASTER VOLUME control in the
OUTPUT block on the front panel.
(D POWER CORD
The power cord plug is inserted into an AC power socket
providing the standard line voltage for your area.
*VOLTAGE SELECTOR
Before turning the unit on, make sure that the
rear-panel voltage selector is properly set
according to the line voltage in your area.
US 8: CANADIAN GENERAL MODEL
MODELS
®,@,® INDIVIDUAL OUTPUTS
Independent organ, poly-synth (strings) and solo synthe-
sizer output jacks are provided for use with an external
mixer or multi-channel amplifier and speaker(s). The out-
put levels of these jacks are separately controlled by the
independent front-panel OUTPUT block volume levers,
but are not affected by the MASTER VOLUME control.
® HEADPHONE JACK
For connection to standard stereo headphones. Head-
phone jack output is the same combination of organ,
poly-synth, strings and solo synthesizer signals as the
mixed output jack.
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CONNECTIONS OPTION CONNECTORS AND ACCESSORIES
The versatility of the SK30 can be enhanced greatly through the use of various accessory connectors on the rear panel. Bass
pedals (BP2), foot controllers (FC-3A, FC-4), an external tone cabinet, and even another Yamaha synthesizer may be inter-
faced with the SK30 for an even more creative performance.
E Option Connections
@ KEY CODE OUTPUT
This multi-pin connector carries a digital code represent-
ing the notes played on the SK30 keyboard. Connection
to a Yamaha polyphonic keyboard equipped with a KEY
CODE INPUT will allow that keyboard to be “played”
from the SK30 keyboard.
BASS PEDAL CONNECTOR
The optional BP2 1-octave bass pedal unit attaches to this
connector.
(Q EXTERNAL TONECABINET CONNECTOR
An 11-pin connector and output switch for connection to
a Leslie rotating speaker unit (model #715, #815, etc.).
When connected to a Leslie speaker, the SK30 front panel
tremolo ON/OFF and speed switches directly activate the
appropriate Leslie functions.
For details refer to the Tremolo/Ensemble section in this
manual.
*Be sure to turn the EXT TONECABINET output
switch off when no Leslie speaker unit is attached.
FOOT CONTROLLER CONNECTIONS
(O MIXED VOLUME
An FC-3A foot controller unit plugged into this jack
controls the overall volume of the organ, poly-synth,
strings and solo synthesizer sections.
© STRING VOLUME
Permits independent foot volume control of the strings
section.
12 POLY-SYNTH BRILLIANCE
Permits foot control of poly-synth brilliance (tonal color).
FOOT SWITCH CONNECTIONS
(3 SUSTAIN
Connecting a foot switch to this jack permits foot
operated sustain ON/OFF switching.
* The function of the sustain foot switch is exactly the
same as the front-panel sustain switch D, &@ . When
using a foot switch for sustain control the front-panel
sustain switch should be set to ON. The length of
sustain is controlled by the front-panel sustain lever
O, Y.
(9 PORTAMENTO
Permits ON/OFF foot control of solo synthesizer
portamento. Portamento length is controlled by the front-
panel portamento lever @ . If the portamento lever is set
all the way to the “S” end of the scale, activating the foot
switch will produce no portamento effect.
(3, (OCONTROL VOLTAGE INPUT/OUTPUT
12,49 TRIGGER INPUT/OUTPUT
These connectors allow the SK30 solo synthesizer section
to be interfaced with any other Yamaha synthesizer so
that the peripheral synthesizer may be “played” from the
SK30 keyboard. In this way the performer can add any
number of extra oscillators and filters to the solo synthe-
sizer signal to create an even “fatter” solo sound in
conjunction with the organ, poly-synth and strings. For
details on use of the Control Voltage and Trigger interface
jacks, refer to the owner’s manual of the optional synthe-
sizer.
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For connection to a
peripheval synthesizer
Foot Controller
(FC-3A)
Leslie Speaker
Connector
OPERATION OUTPUT SECTION
Once all necessary connections have been made, double-check to be sure that no errors have been made. If a connection
error goes unnoticed and power to the SK30 is switched on, there is a possibility of damaging both the SK30 and its related
power amplifier, speakers, etc.
The following is a block-by-block description of the SK30 control functions. As you read through the manual, try the
controls as they are described with the SK30 MIXED output connected to an amplifier and speaker.
© POWER SWITCH
The SK30 power switch is located next to the power cord
on the rear panel. When the power switch is turned on,
the ORGAN 1, STRING 1 and POLY-SYNTH 1 preset
buttons will automatically be engaged and their respective
indicator lamps will light.
*Be sure the rear-panel voltage selector switch is
properly set for the line voltage in your area. Avoid
accidental alteration of the voltage selector switch
Voltage Selector
VOLTAGE SELL TON
setting. (General model)
ORGAN POLY-SYNTH .
CL | STRING | POLY-SYNTH Settings shown
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initiated when
power switched
CANCEL 1 2 3 MANUAL CANCEL 1 2 3 CANCEL 1 2 3 MANUAL ON
IM Output Block
In this condition (power switched on) the SK30 is ready to play using the preset organ, poly-synth and string sounds. The
level and balance of the preset sounds can be adjusted by the OUTPUT block controls. In order to use the solo synthesizer
section, however, an appropriate sound must be set using the solo synthesizer controls,
OUTPUT @ MASTER VOLUME CONTROL
Adjusts the volume of the mixed and headphone outputs.
N * Output to an external tone cabinet {Leslie speaker) is
В o also adjusted by the master volume control.
© O SOLO, ORGAN, STRINGS AND POLY-SYNTH
VOLUME CONTROLS
The volume of the solo synthesizer, organ, strings and
poly-synth sections are independently adjusted by these
! \ controls. They are particularly useful for creating the
| 0—f— Ч EE desired balanced between sections.
©
— Raising the volume levers increases the volume of the
— respective sections. With the appropriate, volume levers
raised, you can play the keyboard using any of the organ,
strings and/or poly-synth preset sounds.
If any of the preset group CANCEL buttons are pressed,
the sound from the respective section(s) will be cut off
© LINE OUT SWITCH regardless of the volume lever setting.
This switch turns output from the MIXED jack on or off. * By setting the solo synthesizer section controls to the
It has no effect on the individual or headphone outputs. basic setting given on the following page, you will be
able to use solo synthesizer sound as well as the
organ, strings and poly-synth preset sounds.
OPERATION PITCH
This block permits tuning of the individual SK30 sections.
PITCH
SOLO
- + — + — +
TUNE POLY-SYNTH TUNE
DETUNE
© TUNE O SOLO TUNE
Adjusts the overall pitch of the organ and poly-synth Adjusts the overall pitch of the solo synthesizer section.
(strings) sections. The TUNE control O has no effect on solo synthesizer
pitch.
*Sound output from the solo synthesizer section can
O POLY-SYNTH DETUNE be obtained by pressing the solo synthesizer
NORMAL MODE button and setting the section
For creating special harmonic effects, this knob is used to
controls as shown below.
offset the tuning of the poly-synth (strings) section.
* Poly-synth detune only functions when the poly-
synth MODE switch is in the II position.
Mode Switch
POLY-SYNTH
SLOW
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BUS TAIN ANGE FREQ NANCE
SOLO SYNTHESIZER BASIC SETTING
SOLO SYNTHESIZER
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OPERATION
DECAY
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SOLO ORGAN STRING POLY-
SYNTH
CANCEL 1 2 3 MANUAL —=
With the organ section, you can use the three preset tonalities or set up your own sound using the organ tone levers in the
MANUAL mode. Since the preset sounds are determined by internal circuitry simulating settings of the manual tone levers,
the organ section DECAY, SUSTAIN and BRILLIANCE controls can be used to add subtle tonal variation to the preset
sounds.
© ORGAN SELECTOR SWITCHES
These switches permit selection of the organ section tonal
color. ORGAN 1-3 are preset sounds, and the
MANUAL button permits tone variation using the manual
tone levers. Pressing the CANCEL button completely cuts
off output from the organ section.
© DECAY SWITCH
When the DECAY switch is turned on, the organ section
behaves like a percussion instrument. If a note on the
keyboard is pressed and held, the sound quickly reaches
maximum volume and then fades out (decays). If the
keyboard is released during the decay period, the sound is
instantly cut off.
The rate of decay is controlled by the lever ® adjacent to
DECAY AND SUSTAIN
the decay switch,
Pressing the decay switch a second time turns this func-
tion off.
@ SUSTAIN SWITCH
Turning the SUSTAIN switch on causes a note played on
the keyboard to fade out gradually after the key is
released. Length of sustain is controlled by the lever
adjacent to the sustain switch,
Pressing the sustain switch a second time turns this func-
tion off.
* If both the decay switch © and sustain switch ® are
turned on, a note played will gradually decay regard-
less of keyboard attack or release.
Decay Switch Only ON Sustain Switch Only ON Decay and Sustain Both ON
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ORGAN
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MANUAL Tone Levers
@ DECAY, SUSTAIN LEVER
This lever adjusts the length of decay and sustain when
the respective functions are used. If this lever is set toward
the “L” end of the scale, long, flowing decay or sustain
will result.
* If both decay and sustain functions are switched off,
the decay/sustain lever will have no effect on the
sound.
@ BRILLIANCE LEVER
Adjusts tone color. If the brilliance lever is set toward the
“+” end of the scale, a bright, crisp sound results, Setting
to the “—” end of the scale produces a softer sound.
* Normaliy, the brilliance control should be set to its
center (0, click stop) position. According to changes
in the mood of the music it can then be operated to
create an appropriately bright or soft atmosphere.
PERCUSSIVE LEVERS
® DECAY TIME CONTROL, € , O, ® 2ND, 3RD
AND 5TH HARMONIC CONTROLS
These controls adjust the tone color of the initial attack
of a note thereby permitting production of a variety of
percussive effects. The 2nd (second harmonic), 3rd (third
harmonic) and Sth (fifth harmonic) levers, when set
towards the “10” end of their scales, add the respective
harmonics in proportions determined by the setting of the
controls to the initial attack of notes played on the key-
board. The DECAY TIME control adjusts the length of
decay of the percussive attack.
*No percussive effect is produced if a key is pressed
while previously pressed keys are held.
ECAY n
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@ TONE LEVERS (16° 1°)
These levers become effective when the organ section is
set to the manual mode. Ordinarily, the sound of an
instrument is determined by the number and type of
harmonics that are produced with its fundamental tone.
The organ section, however, permits free selection and
proportioning of harmonics tones to build up the desired
tonal quality. The tone levers provide versatile control of
tones from as low as 16’ all the way up to 1°.
10
11
OPERATION POLY-SYNTH/ STRING
SLOW
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SOLO ORGAN ST RING POLY- |
SYNTH
CANCEL 1 2 3 CANCEL 1 2 3
Poly-synth operating modes include three preset sounds and manual sound control in which front-panel controls permit
adjustment of the sound envelope as well as the tonal color.
The strings section offers three preset sounds. Since the poly-synth and strings sounds are generated by the same source,
some of the poly-synth controls apply to strings as well.
® STRINGS SELECTOR SWITCHES
Provide a choice of three preset strings sounds. When the
power switch is initially turned on, the STRING 1 preset
sound is automatically activated. If the CANCEL switch is
pressed, output from the strings section is completely cut
off.
* If a foot controller is plugged into the STRING jack
of the rear panel FOOT CONT section, foot contro!
of strings volume is possible. This facilitates smooth
fade-in or fade-out of the string sound while playing.
® POLY-SYNTH SELECTOR SWITCHES
These switches provide selection of three preset poly-
synth sounds as well as a manual mode in which tone
color and envelope are determined by settings of the poly-
synth section controls. When the power switch is initially
turned on, the POLY-SYNTH 1 preset sound is auto-
matically activated. If the CANCEL switch is pressed,
output from the poly-synth section is completely cut off.
*If the strings and/or poly-synth cancel switches are
turned on { ® , ©) no sound output will be produced
even if their respective independent volume controls
are raised. This makes it convenient to cut off sound
from the strings or poly-synth sections without
affecting the settings of the volume controls.
@ SLOW ATTACK SWITCH
When this switch is turned on, the attack of notes played
on the keyboard is delayed.
*The SUSTAIN lever ¥B has no effect on the slow
attack function.
@,@ SUSTAIN SWITCH AND LEVER
Turning this switch on causes notes played to decay (fade
out) slowly once the keyboard is released.
Length of sustain is adjusted by the SUSTAIN lever.
5
\ Set by
SLOW ATTACK OFF t\ SUSTAIN
| lever
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/
SLOW ATTACK ON
Sound Level
SUSTAIN ON ——
SUSTAIN OFF ——
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— KEY ON * — KEY OFF
POLY-SYNTH/ STRING
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1 «EF oe] SEES sE EZ: sESI-
CUT OFF RE EG ATTACK DECAY SUSTAIN RELEASE
FREQ NA DEPTH TIME TIME LEVEL TIME
Y
Functions only in MANUAL mode
_
é BRILLIANCE LEVER
Adjusts tone color. This control functions for both poly-
synth and strings sounds. Set towards the “+” end of the
scale a bright, crisp sound results. Set towards the “—”
end of the scale a softer sound is produced.
@ MODE SWITCH
Selects the poly-synth tone generator. The poly-synth
(strings) section incorporates two tone generators, the
pitch of one of which can be offset in relation to the
other. In mode II both tone generators function. In this
mode the pitch of one of the tone generators can be
varied with the pitch block TUNE and DETUNE controls
to create varied harmonic effects. In mode I only the
TUNE control affects tone generator pitch, and no detune
effects can be created.
PITCH
SOLO
— o — © — o +
TUNE POLY-SYNTH TUNE
DETUNE
*The slow attack switch @ , sustain switch @ , sus-
tain lever @ | brilliance lever 8 and mode switch Y
all function for both poly-synth and strings sounds,
including poly-synth preset sounds.
All levers to the right of the poly-synth FEET lever @ are
operative in the poly-synth manual mode only. Even when
the poly-synth section is in the manual mode, no sound
will be produced if the controls are improperly set. To
begin with, set the controls to the positions shown in the
illustration to the left and turn the MANUAL switch on.
O FEET SWITCH
Selects tone generator pitch, waveform and filter charac-
teristics. In the 8’ position, the keyboard covers a five
octave range from C, to C,. In the 16’ position the sound
is one octave lower, and in the 4’ position the sound is
one octave higher.
C1 8 Feet 5 Octave сб
co “16 Feet 5 Octave a cs
c2 4 Feet 5 Octave © C7
* About Waveform
The tone generator produces either a sawtooth wave
( >.) or a square wave ( [L). The sawtooth wave-
form is most useful for producing string or brass
instrument type sounds, while the square wave is
ideally suited for producing the softer tones of
clarinets, etc.
Sawtooth Wave Square Wave
NNN TUL
Soft sounds such
as clarinet,
String instrument
type sounds.
@ CUTOFF FREQUENCY CONTROL
Controls the overall tonal color in the manual mode. As
the lever is moved from the “H” end of the scale to the
“L” end, more and more of the sound’s upper harmonics
are cut off producing a rounder, mellower sound. Set all
the way to the “L” end of the scale even the fundamental
tone is cut off and no sound is produced.
@ RESONANCE
Setting this lever to the “H” end of the scale produces a
peak in the frequency response in the area of the cutoff
frequency. This permits creation of a variety of sharp,
“contrasty” sounds.
12
POLY-SYNTH “STRING
HEnvelope Generator
All levers from the EG DEPTH control ® to the RELEASE TIME control € are used to adjust the tonal “shape” of the
sound from the time it is initiated to the time it fades out or cuts off. In order to experiment with the envelope generator
controls, set the cutoff frequency lever $ to approximately the center of its scale.
PD D BD ® @
|
| POLY-SYNTH
4n— — HE 1 H—
I вп — @| —
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3
{ —
p® 9 © ® A E @
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| BRILLI- MODE FEET CUT OFF RESO- EG ATTACK DECAY SUSTAIN RELEASE
SUSTAIN ANCE FREQ NANCE DEPTH TIME TIME LEVEL TIME
@ ENVELOPE GENERATOR DEPTH
Controls the amount of tonal change produced by the
four levers to its right. Setting to the “10” end of the
scale produces a greater variation in tonality. If all the
envelope generator levers are set to their minimum
positions, no tonal variation will be produced. Set all the
levers to their maximum positions and try out their effect
one by one,
O ATTACK TIME
Adjusts the time between keyboard attack and maximum
tonal change in the sound. The more this lever is set to the
“L” end of the scale the longer it takes for maximum
tonal change to occur.
*Check this out by setting the attack time lever
towards the “L” end of the scale and pressing a key.
€ DECAY TIME
Adjusts the time required for the sound to return to its
original tonality after maximum tonal change has been
reached as determined by the attack time control.
The more this lever is set towards the “L” end of the scale
the longer it takes for the sound to return to its initial
tonality.
* |f both attack time and decay time controls are set to
their maximum positions the decay sound is exactly
the reverse of the attack sound.
&@ SUSTAIN LEVEL
Determines the constant tonal color that continues after
the attack and decay functions have ended and the
depressed key(s) is held.
13
* The tone color determined by the sustain lever is the
same as if it were set to “0” and the adjustment made
using the cutoff frequency lever.
© RELEASE TIME
Adjusts the change in tone color that occurs after the
keyboard has been released.
* If after setting this lever to the “L” end of the scale
no tone variation is heard when the keyboard is
released, turn the sustain switch @ on and set the
sustain lever @ to the same position as the release
time lever.
Setting the controls described above produces an envelope
curve like the one shown below.
Say NIVLSNS
0 00
Tonal variation
en Г"
> | | | mL SUSTAIN
=> | [HE]
mo
A
KEY ON KEY OFF
*Once a key is pressed and the envelope initiated,
pressing other keys produces no envelope effect.
Further, if a number of pressed keys are released one
by one, the last key released initiates the release time
function.
OPERATION
VIBRATO. KEYBOARD SPLIT
The vibrato function permits addition of delay vibrato (the vibrato effect gradually appears after a key is pressed) to the
poly-synth and strings sounds.
€ DELAY
Adjusts the time between keyboard attack and the begin-
ning of the vibrato effect. The more this lever is set
toward the “L” end of the scale, the longer it takes for
the vibrato effect to begin.
6 SPEED
Determines the speed of the vibrato. Setting toward the
“F” end of the scale produces a faster vibrato effect.
DEPTH
Determines the strength of the vibrato effect.
BM Keyboard Split Block
® ® ®
The keyboard split function divides the organ and poly-synth (strings) sounds to the left and right of the keyboard on either
side of the split marker ( w ) permitting both sounds to be played with the left and right hands respectively. In the normal
mode of operation, the SK30 organ and poly-synth (strings) sections offer 7-note polyphonic capability. In the split key-
board mode, however, this capability is doubled providing 7-note polyphonic capability on the left and right keyboard
sections simultaneously.
0, KEYBOARD SPLIT SWITCH
Pressing the keyboard split switch € places the organ
sound on the right side of the split marker and the poly-
synth (strings) sound on the left side of the split marker.
Pressing keyboard split switch 6) produces the opposite
results. Pressing the switch a second time restores the
normal mode of operation.
*When the keyboard split function is used, solo
synthesizer output is limited to G; --- C, on the right
side of the split marker.
KEYBOARD SPLIT
D
KEYBOARD SPLIT
=e | =]
v У
POLY- ORGAN POLY-
SYNTH SYNTH
*The keyboard split function and manual bass func-
tion cannot be used simultaneously. If the manual
bass function is on, and the keyboard split function is
switched on, the manual bass function is automatical-
ly cancelled.
CETBOARO SPLIT
— = Mu
“| ^
vw hi
POLY ORGAN POLY-
BYNTH SYNTH
| Poly-Synth Section,
С 7-note polyphonic.
1 ``
“|. Organ Section,
Fox G3 7-note polyphonic. Ce
NC
14-note
=== ——
Gs Solo synthesizer range when using Ce
Keyboard split function,
14
15
OPERATION
SOLO SYNTHESIZER
| SOLO SYNTHESIZER
LEO PORTAMENTO GUIDE | VCO | ver
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S- s-FEZA- - — 64 — - - 0- | — 1-E9- or 5
TIME PTH FEET WAVE PW — — CUT OFF RESO- MODU-
SPEED РЕРТ FREQ NANCE LATION
OUTPUT BLOCK
oo] ® SOLO SYNTHESIZER
> fh À | MANUAL BASS MODE TOUCH |
I= a] E чт = = = = = = sn
SOLO ORGAN STRNG POLY-
SYNTH
BASS NORMAL VIBRATO BRILLI- MODU-
ANCE LATION
The solo synthesizer section uses variable control voltages in VCO, VCF and VCA circuitry to produce changes in pitch,
tone color and volume. In order to use the solo synthesizer section it is necessary to make appropriate settings of the
controls in each of its blocks. As a starting point, set the solo synthesizer controls to the positions shown above.
€) MODE SELECTOR SWITCHES
If the NORMAL mode is selected, the solo synthesizer can
be played on the upper C4 --- C4 keys (single note, high '
note priority). In order to use the optional bass pedal unit
(connected to the rear-panel PEDALS connector) select
the BASS mode. Selecting the MANUAL BASS mode
permits the solo synthesizer to be played on the lowest 19
keys of the keyboard (1-1/2-octave).
* About High Note Priority
The solo synthesizer provides single note, high note
priority output, This means that if a number of keys
are pressed simultaneously, only the highest key
pressed will be effective. Further if a key is held and a
higher key is subsequently pressed, the sound will
shift to that of the higher key. If, however, 7 keys are
being held, pressing a higher key will produce no shift
in sound.
*If the keyboard split function is switched on while
the solo synthesizer is being used in the normal mode,
solo synthesizer output is limited to the keys on the
right of the split marker.
€ MANUAL BASS
If the MANUAL BASS switch is pressed while the solo
synthesizer is operating in the bass mode, output will be
transferred to the lowest 19 keys of the manual keyboard
(equivalent to the C3 --- F4 # range in the normal mode).
Solo Synthesizer Mode Keyboard Ranges
У
NORMAL a |
ne ED TS PC
С, F2#|
ON | 1 |
+ BASS MOFA | 1 1
KEYBOARD | |
SPLIT бо
ad rr |
Sh | G3 Ce
o !
BASS ABLA Hato " MODE Bass + _
NAS pedal range = solo
ON | synthesizer Са C4
.
BASS "E pe | )
"ON" LE [TT |
+ по NORA I 1
MANUAL Manual Bass range = solo synthesizer C, -F4#
BASS (C, Ÿ F,#) (High-note priority)
“ON” or
Bass Pedal range = solo synthesizer Ci C4
* In the manual bass mode, only the solo synthesizer
sound can be produced on the lower 19 keys of the
keyboard. In this condition organ and/or poly-synth
(strings) will not function in the manual bass range.
SOLO SYNTHESIZER
d © © A E
VEA EG
v— L—M— .—N— 0 .—N—
E wooo B= | В
== == == = =
Y= S- ZZ 5. о--- — 5-Е =
EG ATTACK ~~ DECAY SUSTAIN RELEASE
, DEPTH TIME TIME LEVEL TIME
|
т
EB VCO( Voltage Controlled Oscillator)
In contrast to the organ section in which tonal color is
created by adding harmonic tones with the tone levers,
the synthesizer begins with a harmonic-rich waveform and
uses filters to remove certain harmonics to create tone
color variations.
The VCO is the synthesizer’s source of harmonic-rich
sound, utilizing control voltages from the keyboard to
determine its pitch (this control voltage is available at the
rear-panel CONT VOLT OUT jack).
Begin by setting the mode switch to normal.
m @ FEET SWITCH
Determines the pitch range of the solo synthesizer. The 8’
position provides the standard C4 to C, (C3 to F4 # in the
manual bass mode) range, 5-1/3’, a fifth higher, and 4
4’, one octave higher. Similarly 16”, 32” and 64” lower the
range by one octave each.
FEET Switch
5 ball INTI shu
E pee
. В LL ALL]
ca C6 C7
Lat ] 4'
F3 7 F6 °
Fr-—— 8
C2 C5
te— — 16
C1 C4
-- ~ 32
CO C3
f= ~ 64
WAVEFORM SELECTOR
Determines the waveform produced by the VCO. If the
WAVE lever is set in the (|< ) position, a sawtooth wave-
form is produced, and if set in the ( FL) position a square
wave is produced. Set to the center position a mixture of
both waveforms is output.
* At present, the waveform lever should be set in the
(PM) position. Press a key and move the WAVE lever
back and forth in order to become familiar with the
tonal variations it produces. Since the VCF and VCA
are not being used at the moment, the sound you
hear is that of the VCO only.
Waveforms Produced by
the WAVE Lever Square Wave
y |
Square Wave + Sawtooth Wave
@ PULSE WIDTH LEVER
Produces tonal variation by altering the pulse width of the
VCO square wave output. With this lever in the “0” (50%)
position the upper and lower halves of the square wave are
the same width. The more the setting is moved toward the
“10” (85%) end of the scale the greater the difference
between the widths of the upper and lower halves of the
waveform.
PW (Pulse Width)
=
| U1 [=
Duty Cycle
PW = Tox 100 (%) 50% Duty Cycle
¢® PULSE WIDTH MODULATION SWITCH
Permits modulation of square wave pulse width via the
LFO (Low Frequency Oscillator) or EG (Envelope
Generator). With this switch in the MANUAL position,
pulse width is affected only by the PW lever @ and is
otherwise constant. In the LFO position pulse width is
varied at a speed determined by the setting of the LFO
lever ® . In the EG mode pulse width is determined by
the envelope generated by the envelope generator.
Modulation depth in the LFO or EG modes is controlled
by the PW lever.
16
SOLO SYNTHESIZER
SOLO [SYNTHESIZER
LFO PORTAMENTO GUIDE VCO | VCF
|
FE LM +—M— 4—f—n—f—10—f— H-IE=- H—N— 0— BM — 10—fl—
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s-FE 3 sE -—U— e —Y—>-E=3- 0-F=- LU — 1-F9- 0 0-3
SPEED TME DEPTH FEET WAVE PW CUT OFF RESO- MODU- EG
FREQ NANCE LATION DEPTH
BW VCF (Voltage Controlled Filter)
The waveform produced by the VCO is sent to the VCF.
Appropriate adjustment of the VCF controls permits
removal of certain harmonics of the VCO waveform,
strengthening or “peaking” of certain harmonics, and
general control of tonal color.
@® CUTOFF FREQUENCY CONTROL
Determines the harmonics to be passed and those to be
cut off by the VCF. All harmonics below the cutoff fre-
quency are passed while those above the cutoff frequency
are cut off. Moving the CUT OFF FREQ lever toward the
“H” end of the scale allows more high harmonics to pass,
providing a brighter sound. Setting toward the “L” end of
the scale cuts off more high harmonics producing a softer
sound.
Cutoff Frequency
LP
ИМ =
|
Pass — fe — Cut
Fundamental
Harmonics
Fundamental
Harmonics
*The cutoff frequency control is one of the most
important controls in determining the tone quality of
the produced sound. Try moving it back and forth to
get used to the sound variations it produces. Then
before going on to the next section, set it to its center
position.
17
(P RESONANCE CONTROL
Produces a response peak in the area of the cutoff
frequency.
*Try out this control a few times then set it to its
center position.
@ MODULATION CONTROL
Permits variation of cutoff frequency via the LFO. The
more the MODULATION lever is set towards the “10”
end of the scale, the greater the degree of cutoff frequen-
cy variation.
* The speed of modulation is determined by the setting
of the LFO lever $ . Raise the MODULATION lever
and try out the operation of this function by varying
the setting of the LFO control, then set the
modulation control to “0” and go on to the next
section.
O EG DEPTH
Adjusts the amount of tonal variation between the initia-
tion and end of a note played, with the “shape” of varia-
tion determined by the EG controls.
*At present, only the EG sustain lever should be
raised. In this condition, as the EG DEPTH lever is set
towards the “10” end of the scale the VCF cutoff
frequency increases accordingly.
Following is a description of the VCA and EG func-
tions. For now, set the EG DEPTH control to “0”.
o]
SOLO SYNTHESIZER
HOLD
GATE
— EG
7
L —-
I
|111
NIETO
sE 3
ATTACK
TIME
— L
III
Lili
|
aL
|
LI 1100
SET o—l— se
DECAY SUSTAIN RELEASE
TIME LEVEL TIME
m
a
MVCA(Voltage Controlled Amplifier)
Generaliy, the volume, speed of attack and speed of decay
of a music instrument are constant. In a synthesizer,
however, these parameters can be freely controlled with
the EG (Envelope Generator).
The output from the VCF is sent to the VCA where the
volume (level) of the sound is varied by a control voltage
from the envelope generator. Appropriate setting of the
EG controls permits a wide range of time-based level
variation possibilities.
& VCA SWITCH
Selects the VCA control voltage. If set to the HOLD
position, the solo synthesizer sound is continuously
output whether a key is pressed or not. In the GATE
position, sound is produced at a constant level only when
a key is pressed. In the EG position, pressing a key causes
the level envelope to vary according to the settings of the
EG ADSR controls.
* At present the VCA switch should be set to EG and
the sustain lever should be set to “10”--sound is
produced when a key is pressed. This condition is the
same as if the VCA switch were set to GATE.
The following is a description of the envelope
generator.
HEG(Envelope Generator)
The envelope generator functions on the basis of key-
board ON/OFF trigger signals. The envelope generated by
this section can be used to control various sound para-
meters in accordance with the settings of the VCA and
VCO EG depth levers and the VCO block pulse width
modulation switch.
® ATTACK TIME
Determines the time between keyboard attack and
maximum envelope variation. The more the ATTACK
TIME control is set to wards the “L” end of the scale, the
longer it takes to reach maximum envelope variation after
a key is pressed.
€) DECAY TIME
Determines the time required for the envelope to fall to
sustain level, as set by the SUSTAIN LEVEL lever, after
maximum envelope variation has been reached. Setting
towards the “L” end of the scale produces a longer delay.
*1f the sustain level lever is set to maximum, decay
time variations are not effective.
@ SUSTAIN LEVEL
Determines the constant envelope level that continues
after the attack and decay functions have ended while a
key is held. Setting the SUSTAIN LEVEL lever toward
the “10” end of the scale produces a higher sustain level.
0 RELEASE TIME
Determines the time required for the envelope to fade out
after a key is released. The more the RELEASE TIME
lever is set towards the “L” end of the scale the longer it
takes for the envelope to fade out.
* The four EG controls are often called ADSR controls.
Spend some time becoming familiar with the opera-
tion of these controls.
According to the setting of the ADSR controls, an
envelope like the one shown below is produced.
ATTACK TME IDECAY TME
[= … prb a de]
| RELEASE TIME
|
|
|
|
|
“|
KEY ON KEY OFF
18
SOLO SYNTHESIZER
M Other Controls
LFO PORTAMENIU Give A окно оенн
L
—
LIL UNS
+ —
NIP
LILI
ЕЕ | À
SPEED TIME DEPTH FEET PAVE, PW ed
@® LFO (Low Frequency Oscillator)
This control permits variable-speed modulation of several
synthesizer sound parameters. Setting towards the “F”
end of the scale produces higher speed oscillation.
@ PORTAMENTO
Portamento is an effect that causes the sound to “slide”
from one note to the next. The PORTAMENTO lever
adjusts the speed of this slide. Set towards the “L” end of -
the scale a longer portamento is produced.
* The portamento effect can be turned on and off using
an optional foot switch connected to the rear-panel
PORTAMENTO jack. In this case the front-panel
PORTAMENTO lever should be set to |”.
® GLIDE DEPTH CONTROL
The glide function produces a pitch variation at the very
beginning of a note. In the center (click stop) position no
glide effect is produced. Setting to the “+” end of the
scale produces a glide from a higher tone, while setting to
the “—” end of the scale produces a glide from a lower
tone.
5 Glides from a higher tone
® Actual pitch of
a > key played
> “ y playe
|. < Seo
nn £0 - —
' a
| *
— E
A < Glides from a lower tone
a KEY ON
19
P PP 9
SOLO SYNTHESIZER
RACE TOUCH |
BASS NORMAL VIBRATO BRILLI- MODU-
ANCE LATION
TOUCH RESPONSE SELECTORS
This function permits the player to create variations in
tone color, etc., according to the pressure he places on the
keys. Turning these switches on makes the respective
functions controllable by keyboard pressure.
@® VIBRATO
Pressing firmly on a key introduces a vibrato effect.
Vibrato speed is determined by the LFO control.
@ BRILLIANCE
Pressing firmly on a key raises the VCF cutoff frequency
slightly producing a brighter sound.
@ MODULATION
Produces a “wah-wah” effect. The effect is the same as
raising the MODULATION lever slightly.
* Since the brilliance and modulation touch response
functions are coupled to the VCF block, the sound
obtained varies with the setting of the CUT OFF
FREQ @ and RESONANCE ®& controls.
If the cutoff frequency control is raised too high, the
effectiveness of the touch response functions is
reduced.
“MH
OPERATION
TREMOLO. ENSEMBLE
The tremolo and ensemble functions can be used to vary the sound of the organ and poly-synth (strings) sections. When the
SK30 is used without an external tone cabinet (Leslie speaker) the ensemble and tremolo functions cannot be used simulta-
neously (ensemble priority). The ensemble and tremolo effects are present at the rear-panel MIXED output only.
IM Tremolo
This block can be used to control the SK30 internal
tremolo circuitry or an external Leslie speaker. If an
external Leslie speaker is not being used, be sure to turn
the rear-panel EXT TONE CABINET switch off otherwise
the internal tremolo function will not be effective. If the
external tone cabinet switch is turned on, the SK30
tremolo control signals are sent directly and only to the
external speaker unit.
Turn “ON” when using an
(x) ON external Leslie speaker,
Internal tremolo does not
function in this mode.
OFF > Turn “OFF” when using
internal tremolo,
ORGAN
TREMOLO ENSEMBLE
с с
TREMOLO ENSEMBLE
SPEED SWITCH
Electronically varies the speed of the internal tremolo
function. If this switched is pressed, the indicator lamp
lights and the tremolo speed gradually increases, if this
switch is pressed while the indicator lamp is on the
tremolo speed gradually decreases.
*When the SK30 is connected to an external tone
cabinet the SPEED switch acts as a remote speed
control.
@ ORGAN, @ POLY-SYNTH TREMOLO SWITCHES
If these switches are pressed, the indicator lamps light and
the tremolo effect is introduced to the respective sections.
Pressing these switches a second time turns the effect off.
* Turning on the ensemble switches (Y and $ while
the tremolo effect is on causes the tremolo function
to be cancelled (ensemble priority).
*When the rear-panel EXT TONE CABINET switch is
on, the tremolo switches act as remóte ON/OFF
controls for an external Leslie speaker unit.
POLY -SYN TH
O
TREMOLD
SPEED
IM Ensemble
The ensemble function uses an electronic delay system to
produce a “doubled sound” effect.
@ ORGAN, ® POLY-SYNTH ENSEMBLE SWITCHES
If these switches are pressed, the indicator lamps light and
the ensemble effect is introduced to the respective
sections. Pressing these switches a second time turns the
ensemble function off.
* |f the ENSEMBLE switches ® and ® are turned on
while the tremolo function is on, the tremolo func-
tion is automatically cancelled.
Ensemble Priority
In this case, ensemble, not
tremolo, is applied to the organ
sound. If organ tremolo is
desired, the poly-synth
ENSEMBLE switch must be
—POLY- SYNTH turned OFF.
TREMOLO
SPEED
20
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SOUND MEMO
A = = = = = = = = = же некое к = = к к — — = == = = = — = = = = — E LC = = == == == = = = = = = = = = = = = = — =
mm om mm om mm "x mm Mm mA WE #2 = = = = = = — == Em жк = = тож чт то мк св = = = = = mm — = === = = = = = = = = =
= о = == = = = = = = = — жж нон = = wm = = с = = == = == = == = = = - = = - = = = = = < = = = = = = = =
=m rm SR Cr == эк ож оо = = = = = = = = — — нк ео еек == = == = = = = + = = = mom om om ——=-=-=-—- = = = = er ow ow AAA
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SPECIFICATIONS
KEYBOARD ......... 61 keys Cy ™ Cg B octaves
QUTPUT section
LINE OUT ......... ON, OFF: MIXED
EXT TONECABINET output OFF
Volume . ... . . e. . .. MASTER VOLUME
SOLO/ORGAN/STRING/
POL Y-SYNTH volume
- PITCH section . . ...... TUNE: 438 ~ 450Hz 20
POLY-SYNTH DETUNE: 4535 cents
SOLO TUNE: -500 +700 cents
SOLO SYNTHESIZER section {Single-note High-note priority}
LFO . ........... SPEED: 0.1 ~ 100Hz
PORTAMENTO ..... 3 sec. max. (C4 ~ Cg)
GLIDE . . ......... 70msec. max. (DEPTH +, —)
VCO block
FEET ........... 4° 5-1/3, 8°, 16’, 32’, 64”
WAVE . . ......... N>[Lmixable
PW ............. 50 ~ 85% LFO, MANUAL, EG
selectable
VCF block
CUT OFF FREQ . . . .. Variable range: 10 octaves
RESONANCE ...... Q: 0.5 - 10
MODULATION ..... 3 octaves/max.
EGDEPTH ........ 0 ~ 10 octaves
VCAÀ block ......... HOLD, GATE, EG selectable
EG (ENVELOPE GENERATOR)
ATTACK TIME ..... 0.003 ~~ 3 sec.
DECAY TIME ...... 0.03 ~ 30 sec.
SUSTAIN LEVEL .... 0-10
RELEASE TIME ...... 0.03 - 30sec,
TOUCH
VIBRATO . ........ +120 cents/8", A3
BRILLIANCE ...... +5 octaves/max.
MODULATION ..... 6 octaves/max,
MODE ........... NORMAL, BASS
MANUAL BASS
VIBRATO section (POLY-SYNTH & STRING)
DELAY . ......... 0~ 3.2 sec.
SPEED. .......... h~7Hz
DEPTH .......... +30 cents
ORGAN section
ORGAN selector . . .... CANCEL, ORGAN 1, ORGAN 2,
ORGAN 3, MANUAL
DECAY .......... OFF, ON
(0.03 — 1.6 sec.) | SUSTAIN
SUSTAIN . ........ OFF, ON Lever
(0.03 1.6 sec.) S™L
BRILLIANCE . .. . .. +7dB/5kHz (sine wave)
PERCUSSIVE ....... 2nd, 3rd, 5th Lever
DECAY TIME ...... 0.8 sec./max.
Tone Lever ......... 16‘, 8°, 5-1/3', 4°, 2-2/3',-2’, 1-3/5",
1-1/3°, 1”
POLY-SYNTH section
Strings selector . ...... CANCEL, STRING 1, STRING 2,
STRING 3
Poly-synth Selector , ... CANCEL, POLY-SYNTH 1, POLY-
SYNTH 2, POLY-SYNTH 3,
MANUAL
SLOW ATTACK ..... OFF: 3 msec. ON: 80msec.
SUSTAIN . ........ SUSTAIN switch: ON, OFF
SUSTAIN lever: 0.03 ™ 1.6 sec.
BRILLIANCE ...... +12dB/5kHz (sine wave)
MODE . .......... I: one tone generator
II: both tone generator
FEET ........... 4'N, 8'[L, BP8'N, 8'N, 16'TL, 16'I\
CUT OFF FREQ . . . .. 10 octaves
RESONANCE ...... Q: 0510
EGDEPTH ........ 10 octaves
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ATTACK TIME .....
DECAY TIME ......
SUSTAIN LEVEL ....
RELEASE TIME .....
0.003 ~~ 3 sec.
0.03 ~~ 30 sec.
0-10
0.03 - 30 sec.
TREMOLO/ENSEMBLE section (ENSEMBLE priority)
TREMOLO .........
SPEED...........
ENSEMBLE.........
KEYBOARD SPLIT section
KEYBOARD SPLIT . . ..
REAR PANEL
OUTPUT ..........
FOOT CONT ........
FOOTSW ..........
CONTROL VOLT .....
TRIGGER . . . .......
KEYCODE .. ......
PEDALS. . . .. ......
EXT TONECABINET . . .
USABLE TONES. . . . . ..
OTHERS
Power source ......,.
Power consumption
Dimensions (WxHxD} . . .
Weight . . ..........
Finish . ...........
Accessory ‚ . ., ......
Optional Accessories . . .
ORGAN, POLY-SYNTH switch
OFF: 0.64Hz, ON: 6.4Hz
ORGAN, POLY-SYNTH switch
POLY-SYNTH V ORGAN: ON,
OFF
ORGAN Y POLY-SYNTH: ON,
OFF
Split between F and G marked
MIXED: 6002, —10dBm
ORGAN, POLY-SYNTH, SOLO
Foot controller connection
MIXED VOLUME, STRING
VOLUME, POLY-SYNTH
BRILLIANCE
Foot switch connection
SUSTAIN (ORGAN, POLY-
SYNTH), PORTAMENTO (SOLO
SYNTHESIZER}
IN: 0.25 7 2V
OUT: 0.19 ~3V
IN: 16 ~8BV OFF, 0~ —15V ON
QUT: OFF {14 ~10V}, ON {1 OV)
TTL levet, Key code data output
Bass pedal connection
11 pins connector, ON/OFF switch
Connectable the LESLIE models
415, 715, 815 or equivalent
(2¢h-11 pin type)
BASS: OFF 7 notes
BASS: ON 7 notes + 1 note
KEYBOARD SPLIT: ON 7 notes +
7 notes
BASS, KEYBOARD SPLIT: ON
7 notes + 7 notes + 1 note
US and Canadian models
100V, 120V selectable 60Hz
General model
100, 120, 220 or 240V
selectable, 50/60Hz
US model 55W
| Canadian model 55W
General model 55W
1089 x 178 x 642mm
(42-3/4' x 7" x 25-1/4')
22 kg (48.5 Ibs)
Rosewoodgrain cabinet
FC-3A Foot controller
FC-4 Foot switch pedal
BP? Bass pedal
* Specifications subject to change without notice.
SERVICE
The SK30 SYMPHONIC ENSEMBLE is supported by Yamaha's worldwide network of
factory trained and qualified dealer service personnel. In the event of a problem, contact
your nearest Yamaha dealer.
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@ YAMAHA
NIPPON GAKKI CO, LTD. HAMAMATSU. JAPAN
de ge
EA
Der