Yamaha CS-10 Owner's manual

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SYNTHESIZER CS-10
We thank you very much for your purchase of our YAMAHA Synthesizer CS—10.
CS—10 is a synthesizer developed based on YAMAHA's superior technology and rich
experience cultivated over the years with YAMAHA Electone Organs and by giving
full play to latest IC technology.
( VCO | Y
, ~ e TUNE (Page 6) — _— |
EXTERNAL Used for adjusting intervals. MIXER ,
у N e Tuning is to be carried out after about - —
* TRIGGER LEVEL (page 12) 30 minutes have past, when the inter- e EXT/NOISE
я val have stabilized, following switch-on
Adjusts trigger level produced by of power . ;
EXTERNAL terminal input. | * Mi Sawtooth
e FEET (Page 8) wave.
e EXT/NOISE [pages 7, 12) Shifts over sound range of keyboard. e ML. : Square wave
A switch for effecting switchover e LFO MOD Е f
between EXTERNAL terminal Modulates VCO with LFO (low fre- Selects the sour |
input and noise. quency oscillator). | source, by adjust-
Q J e PW/PWM control (Page 8) ing the respective
Depending on how the PW/PWM switch levels and mixing
is positioned, functions as a PM, or them. (Page 7)
я = PWM control.
| LFO _ PW: By changing the pulse width of
the square wave, becomes a
®
SPEED (page 8) sound source other than that of
Adjusts the frequencies of LFO symmetrical square waves
(low frequency oscillator). PWM: Changes the pulse width periodi-
cally.
® PM/PWM switchover switch
Effects switchover between PW and
e \V/ N Sine/saw-tooth [Page 8)
Effects switchover between the
SHAPE
CONVERTER
u wave forms of the LFO. PWM
A \ | J ha _ «
f \ f
PORTAMENTO PITCH BEND |
Y `` В EXTERNAL veo a MIXER
Sets the shift time Permits pitch to be © —— conraocen | + FL
for "PORTAMENTO” changed by manual - , LE
effect. operation. | — |
168
(Page 11) 0 | WAVE
(Page 11) \
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FEET
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5 F 9
SPEED LFO MOD
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PW PWM
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PORTAMENTO | PITCH BEND )
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7
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VCF
HPF/BPF/LPF (Page 9)
Selects the filter type.
LFO MOD {Page 10)
Modulates VCF with LFQ.
CUT OFF FRO. (Page 9)
Makes the basic tone.
RESONANCE (Page 9)
Further emphasizes the tone produced by
the CUT OFF FRO.
INITIAL LEVEL
ATTACK LEVEL
ATTACK TIME (A)
DECAY TIME (D)
RELEASE TIME (R)
Produces the VCF envelope.
(Pages 9 and 10)
* TRIGGER (Page 10)
KBD: For ordinary keyboard playing
this KBD-side is to be used.
EXT. Used with external signals.
® Trigger Indicator
Trigger signals
used for controlling
EG-VCF and EG-VGA cause this indi-
cator to light up.
Г УСА )
/
e HOLD/EG (Page 10)
When set to HOLD, will cause
signals to pass the EG/VCA.
e LFO MOD (Page 11)
Moduiates VCF with LFO.
e ATTACK TIME ee DECAY
TIME . SUSTAIN LEVEL
* RELEASE TIME (Pages 108: 11)
Produces envelope for VCA.
NORMAL/TIME x 5 Ip 10) * NORMAL/TIMEx5 (Page 11)
X a e 1 E. rr
E ds the ti for “A” “D" and pa ‚x Increases the time of “A”,
xpands t time for to an “to nee (ipo .
5 p h © ti D’ and “R” to D times the
imes the normal time.
' t © time normal one.
J \ _
VCF YCA OUTPUT
== НРЕ VOLTAGE
— CONTROLLED == + CONTROLLED
FILTER LPF Si ] { AMPLIFIER o lo
HOLD } VOLUME
al i
: ]
7 NORMAL {ES EG-VCF | акт; EG-VCA NORMAL
men Pils Y Aa es
-0 1 H T 0 10
ore OFF Ra “RESONANCE RIGGER LFO MOD
10 $ L
ATTACK LEVEL o TIME DECAY TIME. RELEASE TIME ATTACK TIME DECAY TIME. SUSTAIN LEVEL RELEASE TIME
—
OUTPUT
=
e VOLUME
(Page 7)
This is a
control
for over-
all volume
adjust-
ment.
POWER
|
Fr
POWER
INDICATOR
POWER
- SWITCH
WHAT IS A SYNTHESIZER
Unlike other musical instruments, the synthesizer
has no fixed sound of its own. Thus, before playing it,
it 1s necessary to make the sounds. But with the synthe-
sizer you will be able to make, with your own hands
and by synthesizing sounds, a new type of sounds that
can never be made by any other muscial instrument.
THE THREE ELEMENTS OF SOUND
How does a synthesizer make sounds? Before ex-
plaining the arrangement of the synthesizer, let us
consider what kind of properties sound has.
Sound produced by such muscial instruments as the
piano and guitar has an interval and sound level, accord-
ing to the keyboard or chord used. It is possible to
change the intervals by changing the length of the
chord for the portion that is vibrating. In this case, the
chord’s number of vibrations per second also changes.
The chord will vibrate more slowly, the lower the
interval becomes. In this way, it is possible to express
the difference in intervals by the number of vibrations
(frequencies).
Interval
Bass sounds
и и
Treble sounds
WWW
However, between the sounds of a piano and a
guitar, there is a difference in tone even when both
sounds are of the same interval: no one will mistake
the tone of the piano from that of a guitar. This is
because there is a difference in the way the chords
vibrate (the vibration wave form), due to the
‘ difference in the arrangement by which the sounds
are made to generate, and because of the difference
in the shape and size of the musical instruments.
Tone difference ‚ ‚
æ— Tone difference is reflected in wave form.
Furthermore, even when both the interval and tone
quality are the same there is a difference in sound, as
when the same key of the piano is hit in a forcible
manner and a gentle manner, it would be 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 chord vibrations, due to the intensity with which
the chord has been struck.
In this way, sounds produced by musical instruments
have such elements as intervals, tone and volume,
whose differences render the sound with certain charac-
teristics. These elements are referred to as ‘the three
elements of sound’, which may be also considered as
being the difference in the frequencies, wave forms and
amplitude.
CHANGES WITH TIME 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 key-
board, the sound will fade out. In the case of the organ,
the action of depressing the keyboard will cause the
volume to rise to a certain level, which will be retained
for the duration the key is depressed. The sound will die
away when the fingenis released from the key,
Envelope Maximum volume _,, Envelope
(Such lines do not
really exist.)
KEY ON
Further, in such muscial instruments as the trumpet,
the harmonic spectrum changes together with the
change in volume. The tone changes too, along with
the passage of time.
Thus, such sounds as those of musical instruments
undergo delicate changes from the time the sound is
generated to the time it fades away. The mode in which
sound changes with time is known as “envelope”.
HARMONICS
What must we do in order to produce electrically
sounds that have the three elements of sound, that is,
the intervals, tone and volume, and which vary with
time (has an envelope). Before going into the matter,
let us view sound again from a different angle.
As regards the vibration wave forms by which the
tone is determined, it is known that any given wave
form can be measured by using the sine wave as a
measure. In other words, all wave forms can be
analyzed into a large number of sine waves. For ex-
ample, let us overlap, over a single sine wave, wave
forms having an integral multiple number of vibrations,
such as 2-fold, 3-fold, and so on. You will see that the
wave form will gradually come to resemble a saw-tooth-
like wave form. In addition to this, you will see that
this saw-tooth wave form has a cycle similar to that of
the sine wave that has been used as the basis. This sine
wave that has the basic cycle is referred to as the funda-
mental sound and the sine waves of harmonic over-
tones as the harmonics. In the case of musical instru-
ments, the way in which harmonics are contained in
sounds will depend on the arrangement by which sounds
are caused to generate. When we discuss the difference
in tones (wave forms), it is the same as discussing what
kind of harmonics the sounds contain.
Saw-tooth wave Wave form obtained by adding
harmonics of the 2nd ~ 10th to
fundamental wave.
Wave form obtained by adding
— the 2nd harmonics to funda-
mental wave. Dx
. Wave form obtained by adding
the 2ndand 3rd harmonics to
fundamental wave.
3rd harmonics
2nd harmonics
STRUCTURE OF SYNTHESIZER
In the synthesizer, sounds are synthesized by effect-
ing control on the four properties of sound (the three
elements of sound plus the envelope), dividing control
into 4 blocks.
Control of intervals 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 gene-
rator). The following describes the controls by each
block.
VCO
The VCO block produces a sound source of fre-
quencies corresponding to the intervals of the keyboard.
The sound source wave forms produced by the VCO
consists of such waves as saw-tooth waves and square
waves that include many harmonics in a regular manner.
These waves are oscillated, using an electrical circuit.
VCF
The VCF block makes the tone, by changing the
harmonic spectrum of the sound sources by cutting, or
emphasizing, a part 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 renders the harmonic spectrum with characteri-
stics, by varying the cut-off frequency.
Wave form variation “ Filter (LPF) Wave form changes.
NIN Nw AUN
Harmonic structure variation
т Disappears by
Г > parmonics ve | Level being cut off.
Level | | u» A, | ——
Fundamental Cut off frequency
In addition to adjusting the cut-off frequencies by
means of a knob, the tone is caused to undergo a change
with time (from the time the sounds generate to the
time they die away) to give it an “envelope”. This is
accomplished by effecting control on the filter’s cut-off
frequencies by means of the envelope generator.
VCA
The VCA block functions to give volume an envelope.
The mode of volume starting from the generation
(positive edge) of the sound, up to the point the sound
fades away leaving reverberations is produced by con-
trolling the envelope generator’s A.D. and S.R., which in
turn, controls the amplification degree of the VCA
amplifier.
VCF signals "Envelope generator VCA output
t—A——.0— «— Ry
The intervals oscillated by the VCO reach the VCF
where they undergo a change with regard to their
harmonic spectrum by being passed through a filter.
These signals rendered with certain tone characteristics
are given a volume envelope at the VCA and are fed out.
In this way, all elements of the properties of sound are
controlled electrically, by utilizing the three elements of
sound and the envelope. The synthesizer has, in addition
to the blocks described, other blocks such as the LFO
that renders delicate changes to the sounds. But in this
case, too, the job is performed by controlling the three
elements of sound and the envelope.
We hope that you have fully understood the points
described in this section in order to enjoy the immense
pleasure of opening a path that will lead you into a
new world of music using a new musical instrument,
the synthesizer.
©
CONNECTION
| Ï
KEY VOLT TRIGGER EXTERNAL
OUT OUT
IN IN
пола, pre BN 7 Sl 7 hs
nt Nn az iz
For connections of terminals 3 & 4,
refer to Page 12.
AC outlet
Connection cord
—— —
NM A
E Pin plug
RN To AUX
terminal
Stereo amplifier (MONO)
57-55 0000
| Phone plug
= to LOW INPUT
Pin Plug 7
To INPUT
\
0
y
e
QQ
©
©
(1) POWER CORD (3) КЕУ VOLT and 4 TRIGGER
Insert plug into AC outlet. By connecting a synthesizer having the same KEY
| VOLT and TRIGGER terminals as the YAMAHA
(2) OUTPUT (output terminal) synthesizers, it is possible to build a 2-system syn-
The CS-10 can be connected to any type of ampli- thesizer. For further details, see page 12.
fier. Use a cord whose one end has a plug that
matches the configuration of the input terminal of (4) EXTERNAL
the amplifier to be used. The amplifier's input ter- By connecting such instruments as an electric guitar
minal should be connected to such terminals as: as a sound source, the control block will function
Guitar amplifier ............. LOW INPUT to provide a synthesizer effect. For further details,
Stereo amplifier ............ AUX terminal see page 12.
Electone ........ EXT IN, AUX IN, EXP IN.
FUNCTIONS KEYBOARD/MIXER
The following describes the function of each section in compliance with the signal
flow. Actually turn and with the description of each item and confirm the change to
acquire proper knowledge of the functions.
(1) POWER (Power switch)
Depress POWER switch on this side. This will
cause the pilot lamp to light and the synthesizer to
be put into the operation mode.
(2) VOLUME
This is used to adjust the overall volume. Set the
control on the amplifier's side to an optimum posi-
tion.
© KEYBOARD
The CS-10 is a 3-octave monotone synthesizer
that has 37 keys.
e When 2, or more keys are pressed simultaneously,
priority will be given to the key of the higher
interval.
To produce actual sounds by depressing the
keys, the controls of the VCA and VCF blocks
should be positioned as shown in the drawing. : H LPF
VCF HPF/BPF/LPF switch —— LPF
YAMAHA
10
CUT OFF FREQ.— H (turned fully clockwise)
VCA HOLD/EG switch — EG
* When set to HOLD, the sound of the key
depressed immediately prior to this will be OS
produced, even when releasing the finger DC, Ne
CUT OFF FRO RESONANCE |
from the keyboard. ——
TRIGGER — KBD (M)
SUSTAIN —— 10 (turned fully clockwise)
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TIME ELEASE TIME
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ATTACK TIME DECAY TE
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SUSTAIN LEVEL +
MIXER
Select the wave form that will be used as the
sound source and adjust the input level for the
VCF block using the MIXER controls.
(4) EXT/NOISE: Adjusts signal level of NOISE, or
EXTERNAL terminal.
(6) © : Adjusts level of saw-tooth wave.
® [L: Adjusts level of square wave.
(7) NOISE
This is white noise which contains in an even
manner frequency components from the bass to
the treble range, and is best suited as sound effects
for wind, waves, train, etc. This noise can be
obtained by positioning the EXT/NOISE switch to
NOISE.
* EXTERNAL: Refer to page 12.
FUNCTIONS VCO/LFO
O
e)
TUNE (Intervai)
This control functions to adjust intervals. When
turned clockwise, the pitch will increase, and when
turned counterclockwise, the pitch will decrease.
This control is employed when tuning the synthe-
sizer to other musical instruments.
e Tuning is to be carried out after about 30 minutes
have past, when the interval have stabilized,
following switch-on of power.
FEET (Feet change switch)
This instrument covers 3 octaves by its 37 keys.
— And, by the use of this FEET switch, the sound
©
@
D
@
©
range that is covered may be shifted as shown in the
drawing.
PW/PWM (pulse width/pulse width modulation )
PW: Pulse width
With the changeover switch set to PW, turn con-
trol.
This will cause the pulse width to change, thereby,
causing the harmonic structure to change as well.
Thus, it can be used as a sound source that differs
from one of symmetric square waves.
PWM: Pulse width modulation
When the control is turned, with the changeover
switch set to PWM, it will cause the pulse width to
be modulated with the period set by the SPEED
control of LFO.
LFO MOD
This modulates the oscillation frequency of VCO
with the period of LFO, to render an effect resembl-
ing “vibrato”.
LEO MOD
FEET
PW PWM
UE
в
ИИ
¿FEET
4FEET
BFEET
16FEET
3CFEET
64FEET
PW: Pulse width
ET 1
MET té dera
At maximum change
—— 90% ——
Pulse width: 90%
PWM: Pulse width modulation At maximum change
Qi LD
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A LEO:
The LFO is a low frequency oscillator block that
functions to give a periodic vibration to intervals,
tone and volume with regard to the VCO, VCF and
VCA blocks.
SPEED
This is a control for adjusting the oscillation
frequency. The variable range is from 0.1 to 100
Hz. The frequency becomes higher, the farther the
control is turned clockwise. By varying the speed,
it is possible to produce effects of different sen-
sations.
v/ IN CHANGE SWITCH
By changing the wave forms of LFO, different
effects can be produced.
5%
75% | 95%
© 3
It changes in the order of
0-0-0-0-0
FUNCTIONS VCF
The tone is created by effecting control on the harmonic structure by passing the VCO signals
through a filter.
(1) HPF/BPF/LPF FILTER SWITCH
HPF: HIGH-PASS FILTER
Frequency components that are higher than the
cut off frequency set by means of CUT OFF FRQ
are passed through this filter. It is employed, for
example, when cutting the fundamental sound and
controlling the low frequency range.
BPF: BAND PASS FILTER
The intermediate frequency components between
the cut off frequencies are passed through this filter,
LPF: LOW-PASS FILTER
Frequency components lower than the cut off
frequency are passed through this filter. This is
a filter commonly used for synthesizers. FILTERS
LPF
(2) CUT OFF FRO (Cut off frequency)
Control the tone by adjusting the boundary
between the portion to be passed through the filter — — —
and that which is to be cut off. This changes the — Pass ass Pass
harmonic structure of the sound source.
The more this control is turned clockwise, the Тен fc)
higher the cut off frequency becomes.
* While in the LPF mode, if the CUT OFF FRQ
control is turned too far in the counterclockwise
direction, it may cause even the fundamental
sound to be cut off, resulting in no sound at all. Through resonance of the fc,
© RESONANCE the harmonics are emphasized
Turning of this RESONANCE control in the fc: Cut off frequency
clockwise direction will cause the harmonics in the
neighborhood of the cut off frequency to be empha-
sized, thereby giving even stronger characteristics to ,
the tone.
(@ EG-VCF (Envelope generator)
The change in tone, from the instant the key is
depressed to the point the sound fades out, is made
by this EG. This is achieved by varying the filter’s
cut off frequency with time.
INITIAL LEVEL (IL)
Set the harmonic structure for the point the sound | nT
starts when the key is depressed. The more the con-
trol is turned toward the “-5” side, sound will be
started from a further lower cut off frequency.
ATTACK LEVEL (AL)
The maximum level up to which the harmonics
structure is to be changed is set by this control.
The farther control is turned toward the “+5” side, it
will cause the harmonic structure to vary to a higher |
_—
rr
an [
a
LFO MOD
LEVEL ATTACK
KEY OFF
cut off frequency.
fc
KEY ON
— time
FUNCTIONS VCF/VCA
ATTACK TIME (A)
Sets the time it will take the harmonics structure
to vary from IL to AL.
DECAY TIME (D)
Sets the time it will take the harmonic structure
set at AL to settle down to the sustaining state set by
means of the CUT OFF FRO.
RELEASE TIME (RT)
Sets the time it will take from the instant the key
1s released to the time the harmonic structure returns
to its state of the starting of sound.
(5) NORMAL/TIME x 5
When positioned to “TIME x 5”, it will cause the
AT, DT and RT time to be increased to 5 times the
NORMAL one, thereby enabling changes over a
vaster range. |
6) LFO MOD
Enables an effect similar to “growl” gained by
modulating the cut off frequency of the VCF with
LFO’s period.
LE EE EE EE EE NE EE EE EE EEE EE EE EE EE EEE EE EE AU 22 à
(1) TRIGGER
Controls the start of the EG (envelope generator)
of the VCF and VCA. When the trigger is applied,
it will cause the trigger indicator to illuminate.
Set this to the KBD-side when using the keyboard,
and to the EXT-side when using external signals.
EXT (External signals)
Controls start of EG by the use of external input.
(See TRIGGER LEVEL.)
KBD-S (Single trigger)
After pressing a key, and then pressing the next
key before the sound fades out (slur touch), the кво: 5 KBD-M
second sound will be produced by the envelope PT fx
|
which, in turn, is produced by the trigger of the key
that has been pressed first.
t The interval will
change at the next .
KBD-M (Multi trigger)
In the slur touch, a new envelop will start to take key but the envelope
place by the trigger of the key that has been newly remains unchanged.
A envelope generated
depressed. by the first key
Ey
mld à
t A new envelope
starts generating by
the next key.
A envelope generated
by the first key
VCA
The signals sent out from the VCF will be given a timewise variation in volume b y means
of the VCA's envelope generator
(1) HOLD/EG (Hold switch) @ EG-VCA (Envelope generator)
By setting this switch to the HOLD side, the
interval of the key depressed immediately before
setting of switch will be continued to be fed out,
no matter where the EG control may be positioned
to. This switch offers convenience for tuning and
when sounds are to be produced for tentative pur-
poses. Setting to the EG side will permit gaining
of the volume variation set with the “A”, “D”,
“S” and “R” control.
Similar to the VCF, the volume from the instant
a sound is started up to the time it fades out is varied
with time by setting the “A”, “D”, “S” and “R”
controls. The envelope effect is gained by changing
the amplification degree of the amplifier with time.
ATTACK TIME (AT)
Sets the time for the period from the time the
key is depressed up to the time the sound reaches
maximum.
FUNCTIONS VCA/EFFECT
DECAY TIME (DT)
Sets the time for the period from the time of
maximum volume up to the time the volume settles
down to the sustaining state set by the SUSTAIN
LEVEL.
SUSTAIN LEVEL (SL)
Sets the SUSTAINING mode volume for the
period while the key is depressed.
* When the SUSTAIN level is maximum, DECAY
TIME will become irrelevant no matter where
the control may be positioned to.
RELEASE TIME (RT)
Sets the time for the period from releasing of key
up to fade-out of sound.
(3 NORMAL/TIME x 5
When positioned to “TIME x 5”, it will cause the
AT, DT and RT time to be increased to 5 times the
NORMAL one, thereby enabling changes over a vaster
range.
(4) LFO MOD
~~ Enables an effect similer to “tremoro” gained by
modulating the amplification degree of the VCA
with LFQ’s period.
D 19
LFO MOC
YAMAHA
LEVEL RELEASE
Neo?
Maximum
volume
VCA envelope
KEY ON KEY OFF
Output
EFFECT
(1) PORTAMENTO
As shown in the drawing, when one key is de-
pressed and then another key of another interval is
depressed in succession, the interval can be shifted
smoothly from the first interval to the next. The
interval shifting time will become longer, the more
the PORTAMENTO lever is set toward the “L”
side. |
@ PITCH BEND
The pitch may be changed continuously by.
manual operation by sliding the PITCH BEND lever
vertically. |
When not in operation, the PITCH BEND lever
should be positioned to the center click. The range
of variation is within *] octave. a
Ф
HOW TO USE EXTERNAL TERMINAL
By connecting such external signals as those of an
electric guitar and an electronic piano to the
EXTERNAL terminal provided on the rear panel, such
sound sources can be to added the VCF. At the same
time, as it is possible to detect these wave forms and use
them an trigger signals (equivalent to keyboard data
for KEY-ON and KEY-OFF) to effect control of the
start of the envelope generator (EG), it can be used
for synthesizing operations (can function as a guitar
synthesizer, etc.) by the use of external sound sources.
® |1 is also possible to control the keyboard by treat-
ing the external signals as a sound source, indepen-
dent of the VCO as in the case of NOISE.
* When a trigger is to be applied with the use of
external signals (when the EXT/KBD switch is set
to EXT), keyboard performance will not be
possible. -
(1) EXTERNAL (External input signal)
A terminal from which external signals such
as those of an electric guitar, electric piano, or the
like, is to be fed in.
O 0/-20 INPUT SENSITIVITY CHANGE SWITCH
O ........ Used for high level inputs such as an electric
guitar, electronic piano, etc.
—20 .... Used for low level inputs such as micro-
phones.
© EXT/NOISE (External input/noise)
The switch is to be set to the EXT side when
external signals are used as the sound source.
@ ©
EXTERNAL
e
BX TERNAL
=
TRIGGER LEVEL
NOISE
GENERATOR
(4) TRIGGER LEVEL
The most common way of setting is to set the
trigger switch (EXT/KBD) to EXT, and then to set
the TRIGGER LEVEL to the minimum level that
will cause the trigger indicator to be illuminated.
WHEN USING 2 SETS OF SYNTHESIZERS
With the KEY VOLT and TRIGGER terminals
provided on the rear panel, by transmitting the
keyboard data of this CS-10 to the control block of
another CS-10 (or another-type synthesizer provided
with similar terminals), it is possible to use this instru-
ment as a 2-system synthesizer.
(1) KEY VOLT
Keyboard data signals used for controlling the
intervals oscillated by VCO, or the like.
(© TRIGGER
Keyboard data that indicates the timing for
depressing the key (KEY-ON) and for releasing it
(KEY-OFF). It is used to effect control on the
envelope generator (EG) of the VCF and УСА.
* The drawing at right shows connections for key-
board performances using Synthesizer 1, and
effecting contro! with both Synthesizers 1 and 2.
® In carrying out connections, special care should
be taken not to make such errors as connecting
an OUT terminal to another OUT terminal as it
will become the cause of troubles.
137
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SEQUENCE OF OPERATION
BASIC SETTING
3 1
VOLUME
X
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TAMARA
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SETTING
1
2
Referring to “CONNECTION”, set the synthesizer.
Switch on the switches of the synthesizer as well
as of the amplifier and adjust the amplifier’s
VOLUME control to a best suited position.
Following switch-on of power, when about 30 min-
utes have past, carried out tuning.
SOUND MAKING
1
2
5
Prior to playing the synthesizer, you must start by
making your own original sounds.
Flowing from the left side of the control panel
toward the right, signals are controlled by means
of the respective controls.
When a key is depressed, a signal corresponding to the
keyboard’s interval will be produced at the VCO
block.
To allow the original oscillation signal to be fed out
as it is (without being given any “spicing” by the
VCF and VCA blocks), the controls of the VCF
and VCA blocks should be set as shown in the above
drawing.
VEO BLOCK/MIXER BLOCK
e Select the sound source that will be used as the
basic sound by means of the MIXER controls.
* When the key is depressed, sound will be pro-
duced.
* By the use of the FEET switch, determine the
keyboard interval range.
VCF block
e Sets up the basic harmonic structure. After
selecting the filter with the HPF, BPF, or LPF
8 Steps
ju
switch, the harmonic structure is produced by
using the CUT OFF FRQ and RESONANCE
controls.
e Next, a timewise variation is given to the har-
monic structure by the use of EG-VCF (INITIAL
LEVEL, ATTACK LEVEL, ATTACK TIME,
DECAY TIME AND RELEASE TIME).
6 VCA block
*e The volume for the period, from the start of the
sound up to the time it fades out, is given a time-
wise variation by the use of EG-VCA (ATTACK
TIME, DECAY TIME, SUSTAIN LEVEL and
RELEASE TIME).
7 LFO/EFFECT
e This functions to select the speed and wave form
for the LFO block. If necessary, the LFO MOD of
the VCO, VCF and VCA blocks are to be adjusted.
e Performance is rendered with variations by using
the levers for PORTAMENTO and PITCH BEND
effects.
5 through 7 constitute quite basic steps
for sound making. Actually, to make sounds that
will fit those of your image, it is necessary to carry
out repeated adjustments of the respective controls
until a sound that best fits your image is created..
By recording on the SOUND MEMO the positions of
the respective controls of the original sound created
in this manner, reproduction at any time will be
possible.
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BASIC SOUND MAKING OPERATIONS
To ensure proper setting of the controls of each block, it is not only necessary to have
a proper understanding of the function of each control, but it is also necessary to under-
stand how the controls are correlated.
The following describes the process of sound making while also describing the key
points.
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HOW TO SELECT THE SOUND SOURCE
The matter of whether it is better to use the saw-
tooth wave, or the square wave, as the sound source is
decided after actually listening to the two sounds and
comparing them. But in the case of making artificial
sounds of muscial instruments, excepting those of closed
wind instruments such as the clarinet, it is most common
to select saw-tooth waves having integral-multiple
harmonics.
On the other hand, when sounds distinctly charac-
teristic to the synthesizer (such as cosmos sounds)
are to be made, use of square waves proves to be more
effective. The sounds of saw-tooth waves and square
wave should be compared by actually listening to both
of them.
In order to do this, first set the controls in the
manner of the basic setting illustrated in Fig. 1, and
then switch the MIXER alternately over to “ IN 1”
and “ FL 2”, depressing the keyboard each time to
confirm the difference.
In this case, \. 1 is to be set to “0”, while FL 2 is
‘to be set to maximum. (Fig. 2)
VCF BLOCK
The more the harmonics of the saw-tooth wave, or
square wave, increases to a higher order, the smaller the
amplitude will become. Accordingly, the more the
harmonics are of a lower order, the the tone-determining
factor will become larger.
For example, when the cut off frequency is set to a
high level on the ‘“H”’ side with the filter set to LPF 1 |
no marked change will be observed in the tone even
when the cut off frequency is controlled by the EG, or
LFO. On the other hand, when the cut off frequency is
set so that cut off will take place even down to low-
order harmonics, the EG and LFO effects will become
marked. Confirm this by using the LFO MOD 2
First, with the CUT OFF FRQ 3 fully turned clock-
wise, slowly turn the LFO MOD 2 control. Then,
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position the CUT OFF FRQ 2 to the center and turn
the LFO MOD control in the same manner. You will
most probably see that the position at which the LFO's
modulated sound can be confirmed will differ vastly:
(Fig. 3) 2 3
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Now, restore the LFO 2 to its original position and
apply PWM by setting the PW/PWM 4 switch to PWM.
Turn control 5 to the center. You will see that a tone
differing from that of LFO MOD will be gained this way.
Next, turn RESONANCE fully clockwise to emphasize
the change in the tone. Now, let us control the EG,
using this tone.
To increase the change in tone, set IL 1 and AL 2
respectively to “ —5” and “+5” (Maximum).
In this state, no change will appear in the tone when
the key is depressed. Turn AT 3 and DT 4 fully clock-
wise. Depress a key. By listening, have you noticed that
the tone has changed in the same manner of EG’s curve
5?
Next, let us apply a change to the tone, following the
releasing of the key. Turn RT 6 fully clockwise. Have
you noticed that no RT 6 effect will be seen here? The
sound will disappear the instant the finger is released
from the keyboard. (Fig. 5)
VCA BLOCK
You have seen that the RT of VCF appears to be
somehow correlated to the VCA. The correlation of
the VCF's EG and VCA’s EG is not confined to the
RT alone.
Generally, in musical instruments, it takes a certain
time for the sound to reach its maximum level from
the time the sound is started to be heard, and at the
same time the tone at maximum volume will contain
harmonics of the highest order.
In this way, generally, tone variation and volume
variation agree with each other. So, as in the case of the
VCF, turn the AT | ,DT 2 and RT 3 of the VCA
fully clockwise. However, since SL 4 is at the
maximum level in this state, no matter how DT 2 is
adjusted, no effect will be produced. Thus, SL 4
should bé turned down to around the middle. (Fig. 6)
OUTPUT VOLUME
In the synthesizer, provided VOLUME 1 is held
at a constant level, the maximum value (peak level) of
amplitude will always be maintained constant. However,
in practice, due to the difference in the wave forms, the
volume will sound different to one’s ears. Thus, it is
necessary to make final adjustments of the VOLUME 1.
This completes the jobs required for sound making.
This is a special example of sound making introduced
to help the user understand the functions of each
controls. Thus, when you have fully understood the
functions of each block and each control, it is time
for you to make your challenge in creating your own
original sounds.
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LFO MOD RESONANCE
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Fig. 4
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INITIAL LEVEL ATTACK LEVEL ATTACK TIME DECAY TIME RELEASE TIME AUTRE TOM
Fig. 5
YAMAHA
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ATTACK TIME JECAY TIME SUSTAIN LEVEL RELEASE TIME
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Fig. 6
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VOLUME
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TROUBLE SHOOTING
| NO SOUND
#
Sounds that have
been set are not heard.
Y
During operation, sounds
have ceased to come out.
y
During performance, sounds have
suddently ceased to come out.
y
Y
Set to the basic
setting shown on page 13
Restore setting to the basic
setting shown on page 13.
!
Do sounds come out?
Y
Are the controls of the
amplifier normal?
у
Has the Synthesizer = Amplifier
— Speaker connections been
properly executed?
`› A A
\
y v Y
After thoroughly checking each item, if the situ-
ation still cannot be remedied, please refer the
matter to your nearest YAMAHA service shop.
Ÿ
Is there any disconnected power
cord, or connection cord of the
amplifier, or synthesizer?
OPERATES BUT NOT IN
A NORMAL MANNER,
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Faint sounds (Volume
will not increase).
Y
y
are not normal.
| Sounds come out but
Other controls do not work.
Y
Are the VOLUME controls of
the synthesizer and amplifier
properly set?
у
Are the amplifiers sensitivity and
output large enough?
y
y
If sounds have been normal at the
basic setting shown on page 13,
then the trouble is due to the
misoperation of controls.
y
As the controls of the EG are
correlated, setting is to be
carried out with the function
of each switch kept in mind.
we
After setting the IL and AL of
Y
Is setting of EG—VCA normal?
NN TN NN PP
the EG—VCF, a click will be
heard when AT and DT are “0”.
Y
When SL is “0”, only small
sounds will be heard if AT
and DT are too small.
т
A large change in volume is
observed at the position to
which CUT OFF FRQ
control is set.
\
y y y
Piease read the contents of the instruction
BOOK carefully to fully understand the
functions of the respective controls and
witches to ensure proper operation of them.
BLOCK DIAGRAM/SPECIFICATIONS
TRIGGER
3 o FEET TUNE PW/PWM CUT OFF FRQ. RESONANCE
o PWM
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BOARD PITCH BEND (603216 8° 4 2 Ls FILTER VOLUME
VCO VCA H—
PORTAMENTO + |
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SPEED “Len” LFO Mon # РММ ДРМ 7 LFO MOD 7 uso MOD
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out [| NOISE TIME TIME
KEY VOLT Lz on os
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TRIGGER «ap TRIGGER | |
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EXTERNAL | ' ANA?
“Leo” IL AL AT DT RT AT DT SL RT
SPECIFICATIONS \СА........... LFO MOD: AM 100 % at Max.
EG: AT ......... 1 msec. ™ 1 sec.
Keyboard ...... 37 keys, 3 octaves DT ........ 10 m sec. ™ 10 sec.
CONTROLS sL......... 0 710
VCO ........... FEET: 2',4', 8', 16', 32, 64’ RT ......... 10 m sec. - 10 sec.
TUNE: + 50 to —50 cents EG: TIME: NORMAL x5 ,
LFO MOD: +60 cents (Max.) VOLUME: 0 ~ Max.
— 60) cents TRIGGER SWITCHOVER ..........
PW: 50 ~ 90% EXT iii. TRIGGER ON WITH EXT IN
PWM: 75% 20% at Max. (LFQ SINE) KBD
PORTAMENTO: SHORT ~ LONG SINGLE: FOR KBD SLUR, Tae
4 sec. at LONG ON FOR ONLY BEGINNING.
PITCH BEND: + 1 oct. MULT: TRIGGER ON CONSTANTLY
—1 oct. СРО ............ 06442020080000000 verses +- SPEED: 0.1 Hz » 100 Hz
OUTPUT WAVE FORM: [x,|L WAVE FORM:
VCF ........... CUT OFF FRQ SWITCHOVER BETWEEN
RESONANCE: Q =10 at Max. | M, AND IS
LFO MOD 3 OCT EXT neccoooononenesoora paucesssenssoc este TRIGGER LEVEL: ON-OFF
EG: IL........... О ^- —5 SETTING OF TRIGGER
AL ......... O~+ 5H 0/-20: SWITCHOVER AT
AT ......... 1 msec. ™ 1 sec. 20 dB SENSITIVITY
DT ......... 10 m sec. - 10 sec. NOISE ...............ennsmescannenenes WHITE NOISE
RT......... 10 m sec. 10 sec. POWER SOURCE .................. 110, 130, 220 or 240V
EG TIME: NORMAL x 5 selectable 50/60Hz
OUTPUT: Changeover of POWER CONSUMPTION ....... 12 watts
LPT, BPF, HPF EXTERNAL APPEARANCE
DIMENSIONS: 710(W) x 290(D) x 155(H) (mm)
28({W) x 11-7/16 x 6-1/8 (in.)
WEIGHT: APPROX. 8 kg
(17.8 165)
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Please copy the drawing and use it as a memorandum for your “
@ YAMAHA
NIPPON GAKKI COL LTD HAMAMATSUGÂAPAN
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@®@ Printed in Javan 7.80