Yamaha | B-20R | Owner's Manual | Yamaha B-20R Owner's manual

Yamaha B-20R Owner's manual
 CONTENTS
| | | Page
e | - Introduction Coniccorencerecoreoaea ecc 2
- Here is your Yamaha Electone B-20R Le
Keyboards Per NS
. . e Tone ever NB
E ROE Preset voice selectOrS ...........00000.00.000000 600000 11.
Effect levers —.....eeerececoocorareecareo genes: 12
Effect controls ererbcaorecanioarereccea once 13
“Sound in motion ...........ereeeereccencceoeo .. 14
Auto rhythm section A .. 16
Other controls .............eeeereereeeees .. 16
— To fully enjoy your Electone . es... 17
A word about Yamaha's exclusive
Natural Sound speaker —..... ....19
Care of your En rente shee BY
Do not be alarmed if .........eeesescccorcacsos. 21
| Specifications of B-20R encccrconrricac rca aaron. 22
"Playing the Yamaha Electone ..............eeree...23 |
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© 1971 by NIPPON GAKKI CO, LTD. Be =
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. .—-
We of Yamaha wish to thank you for selecting the Electone B-20R. We feel
sure that you will realize many happy years of playing enjoyment with this
instrument. Please read this guidebook for more complete enjoyment of all
of the B-20R's special characteristics. We would suggest that you occasional-
ly re-read it from time to time as you progress.
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~ Generous voices & effects for any mood or music,
playing ease -and expression for every talent
In every way ‘the exciting Electone B-20R begs
to be compared. For playing ease, expressive
— possibilities and just plain fun it has plenty no
‘other type of musical instrument can offer. For
all-round tonal beauty and convenience features,
there's no organ in its class quite like it.
| | Ш Where else can you find seven different preset
voice combinations for instant variations of the
entire tonal balance within a single selection?
- What other home organ of this type provides
seven snappy programmed rhythm accompani-
ments for every type of music, popping per-
- eussive 4°, 2% and length controls, repeat speed?
Of course the B-20R features all those Yamaha
extras that have made the Electone a world-
- wide favorite. The Variable Tone Lever system
that lets even beginners reset new and old tonal
combinations with ease, yet provides continu:
ous-control setting for the advanced. The
unique Yamaha sound-in-motion tremolo, the
incredible Natural Sound speakers, now better
than ever and perfectly attuned to the human
ear. They're complemented by an all-new OCL
amplifier system in the B-20R.
There's years of built-in durability too, with
solid-state circuitry employing the world’s most
advanced IC and FET technology, and brilliant
furniture styling with a smart roli-top fallboard.
Any way you look at it—for precious moments
of musical solitude, happy hours with family
and friends or years of learning and expression
for young and old alike—the Electone B- -20R
offers so much more.
Here is your Yamaha Electone B-20R
Music Rest
Roli-top Faliboard
Upper Manual Tone Levers |
a. | (B Power Switch
Effect Levers Master Volume
Lower Manual Tone Levers | oo
Tremolo Speed
~~ Auto Rhythm Section Control _
`
~
Preset Voice Selectors 9 |
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Pedal Tone Lever (3) : :
f / ', 7
1j rod
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® Pilot Lamp
@ Tremolo Selectors ; |
Pedals ®
| @® Knee Lever
Lower Manual
Expression Pedal
Upper Manual © Q *pression a
© Effect Controls
a - © Wood 8’ В
| QHorn8 © o | | Master Volume
о | | @ Сео В’ A | ©
| @ Wood 4 |
® Cello 4" a |
; | ЕЕ. | @ Vibrato В
ЖЕ 1. ay @ Repeat Speed o N
3 | | | ® Percussive Length | a
ro 01 | — “D Percussive 4 | — Power Switch (8
| | ©) Percussive 2%" | | a |
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| | | & Bass 8° | | | 5 Reverb @
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® Pedal Sustain |
@ Preset Voice Selectors | | |
G Auto Rhythm Section | | | | Chorus @
Reverb Balance (23)
Tremolo O
NOTE : The circled numbers refer lo explanalory sections in the lex! to follow.
—f—
I Keyboards
— The Electone B-20R has THREE KEYBOARDS. Two of them are called "MANUALS” and the
| other is called “PEDALS". |
‘Upper Manual @ 44 Keys ‘3h octaves
Lower Manual ® 44 Keys 3% octaves
Pedals ® 13 Keys 1 octave
So, you can play the tune on the upper manual with your right hand, the chords on the lower
~ manual with your left hand, and the bass notes on the pedals with your left foot.
The keyboard has the same pattern of keys {two black keys and three black keys) repeated over
“and over. A note is a tone on the organ. Each note has a name. We use the first seven letters of
the alphabet: | a | |
ABCDEFG
— Same pattern Same pattern
Manual (1 Oclovel — 1 Oclovel
Sp.
"C” is always at the bottom of the group of two black keys.
Let's see how the letter name of the notes match the letters on the keys.
A | 2 3 4 5
6
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Pedals
В The pedal keyboard (pedals) is an. enlarged ‘manual keyboard for the foot containing one octave of
notes,
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Both ends of the pedals are “С.”
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The Compass of the Electone B-20R
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Piti a [Note] |
The pedal keyboard notation 1s one octave higher than
the actual notes as in the case of the conlrabass
‘Tone Levers E.
On the control panel to the left of the upper and lower manuals of the Electone are arrayed the
tone levers. They are divided into three groups:
(1) Upper Manual Tone Levers @: 8 voices
(2) Lower Manual Tone Levers Q: 5 voices
(3) Pedal Tone Levers O: 2 voices
Yamaha's Exclusive Tone Lever System
Each tone lever serves to impart a distinctive
tonal quality to each note played. However in-
-stead of the usual simple on-off action of other
systems, the Yamaha tone lever offers the
unique advantage of continuously variable con- s
This means that even the finest shadings
trol.
of volume control can be obtained from each
and every lever, surely an amazing advantage in
breadth of expression and ease of playing. For
quick changes, another aid to precision is pro-
vided: As the tone lever is pulled, two ‘click-
Stop’ positions are felt, where the lever catches
slightly. These indicate 1/3 and 2/3 of the
maximum setting attained when the lever is
~ fully depressed. |
This exclusive Yamaha tone lever system allows
the combination of these tones giving a virtually
limitless range of tone, with a full spectrum of
rich harmonics. The Electone B-20R is thus able
to satisfy even the most demanding professional
organist,
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max. volume)
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The most important point in developing good
tone registration is the early mastery of the tone
levers. Make it a practice to listen to good
music and build your “taste” for sounds so that
you can use the tone levers in combination.
Experiment in the creation of tone colors to
suit your own taste.
This use of the tone levers for volume control is |
also useful in adjusting the balance among the
three keyboards.
How does each Tone Lever sound?
Upper Manual Tone Levers O
Fiute 16 : © |
When this tone lever is used together with any 8" voice, a flute tone one octave lower will be added
to the fundamental 8’ tone (i.e., the note as played on the manual). This lower note will give added
harmonic breadth, and provide great depth to a selection of music.
Flute 8° : @ ©.
The flute is originally an’ ópen-pipe woodwind with a strong fundamental and relatively small
harmonic component.
Flute 4° :Q
It thus gives a simple yet darkened feeling to the mood of the music.
The sound of the flute one octave higher than 8’ tone. When this tone is added to the fundamental,
the sound becomes more vivid, and by lessening the 8° component or playing the 4’ alone, the range
can be extended one octave higher.
Flute 224": @
This gives a flute tone a fifth above the octave of the fundamental and the resulting richness of tonal
quality brings a new dimension to the interpretation.
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Brass 8° :@
Harmonics multiply and remultiply toward the upper registers to produce a rich, penetrating sound
that recalls the brilliant clarity of the brass instruments.
Oboe 8’ : @
‘This lever lessens the fundamental and enriches the harmonics to produce the plaintive, haunting
timbre characteristic of the double reed woodwinds. It is excellent in adding harmonic color to quiet
passages and, when combined with a string tone, produces an extremely clear but penetrating effect.
Sting 8’: @
~The wealth of harmonic color which can only be achieved by the higher stringed instruments,
String 4 :@
Sharp string voice one octave higher than String 8”.
. Lower Manual Tone Levers o
Wood 8' :B
This is a characteristic tone of the woodwind instrument. It is rather simple, but with a slightly
stronger harmonic component to produce a brighter tone than the Flute 8'.
Wood 4’ : |
~ An octave higher wood wind tone. Particularly suited to bringing out with clarity, melodic played on
the lower manual. Of course, it may also be used to broaden the range of the lower manual
Horn 8’ D
~ Overtones multiply to produce the rich, smooth texture of the horns.
Cello 8’: @
-Rich harmonics blend to produce the soft, mellow tone characteristic of the cello.
Cello 4’ : @®
Produces the cello voice an octave above the note as played:
Pedal Tone Levers ®
Bass 16’: D
With great penetrating power, this lever sounds the lowest reaches of the Electone.
Bass 8 : Q
By pitching the note an octave above the Bass 16' this lever allows a clearer penetration of bass sound,
. and thus permits melody to be played on the pedals.
Tone Lever Registration
Tone lever registration is given by numerical indications which show the click-stop position of each
lever, as illustrated below. The indications are in the order in which the levers appear on the control
panel, with hyphens separating harmonic groups.
FLUTE 16° FLUTE 8 BRASS 8 OBOE 8 STRING 8 FLUTE 4° STRING 4° FLUTE 2%
WA) — OO
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1 Harmonics
| = Tone levers are of some varieties: 8, 16" and 4’, each variety having a different pitch. The 8’ tone
levers are ‘’fundamentals‘’’, that is, they have the same pitch as the written note (see the Compass
Chart, page 7). The others, called ‘’harmonics’’, are pitched a certain interval above or below the
As an example of what this means when you play, let us see which note can be produced by using one
of the tone levers and pressing the key of middle C (ct). Pressing middle C and using the 4’ tone lever,
4 fundamental. Harmonics can be further subdivided into consonants, at octave intervals from the
"fundamental, and dissonants, separated by a third or a fifth from the fundamental.
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for example, will result in the same note as would be produced by pressing c2 (using the 8° tone lever,
i.e., its fundamental).
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It can thus be seen that the use of these har-
monic levers actually results in increasing the
Electone B-20R’s compass above and below that
which is indicated by the keys and pedals alone.
The use of the 16 lever, for example, will ex-
tend the manuals down a further octave to C,
(see dotted line above). Similarly the 2% lever
raises the tone one octave and a 5th but, in
- actual practice, the highest note on the B-20R is
cs. Thus Flute 2%’ voice is not obtainable from
effect as it may weaken its effectiveness.
keys above F in the highest octave. This is no
cause for alarm (see page 21).
The major use of the harmonic levers, however,
is to increase the richness of tone—they are the
spices that, when applied to the fundamental,
will make a rich and savory performance. Let
your ear be your guide to the creation of good
music. . Always remember not to overuse this
Use
it primarily only for special effect.
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| Preset Voice Selectors
| The Yamaha Tone Lever System affords an unlimited array of voice combinations; the full variety is
on instant call in the B-20R, complemented by an exciting built-in feature: seven preset voice selectors
@ on the control panel left of the lower manual.
Ï Selectors 1~4 provide a versatile choice of factory-set voice combinations, while 5~7 control upper,
3 A a -
lower manuals and pedal to permit preset switchover before or during a performance. All you have to
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E do is press the selector button to choose the tonal balance for any music or mood. A flick of the
Cancel button returns you to the main tone lever setting in an instant.
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«| Effect Levers :
Effect levers ® of the Electone B-20R provide a wide range |
of tonal effects which add to the breadth and variety of possible 0 a a
interpretations. These levers have the same operation as the om, cut effect)
tone levers and allow the organist to vary the depth of their
effects according to their stop positions, as illustrated.
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Upper Percussive : O. 0. ®
Changing the beginning of some or all notes can do wonders for
lively selections. This is where the B-20R really shines, thanks
to a variety of percussive effects that provide subtle but
important shading at the moment each note is heard.
The special popping 4’ and/or 2% percussive drive can be
~ smoothly blended into all upper tones with two variable levers
© and ©, and a Separate lever Ф regulates the length of decay |
for these effects.
When using percussive effects, use a staccato fingering. Each
I note should be played cleanly; slurred notes will diminish the
percussive effects. -
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Vibrato : ®
Vibrato is a scarecely- noticegble waving of the tone, You will
see violin and cello players uSe”it freely by an oscillating motion
of the left hand. It increases the emotional quality of the violin
tone. This vibrato lever produces the same vibrato effect. Use of
this lever will add a charming and lively air to the tone of your
Electone. |
Repeat Speed : ©
§ ~~ Everyone will enjoy the fun of the many thrilling and exciting
§ sounds that are possible with repeat percussion. Use of this lever
8 ‘chops up’, so to speak, notes played on the upper manual,
deriving a double-strummed effect similar in sound to the
mandolin. The lever gives a continuous. spectrum of speed
. adjustment. Е |
Pedal Sustain : @
This lever works with the 8' and 16’ bass voices to provide bass
pizzicato effects. Release the pedal—the sound lingers on for
precisely as long as you want, thanks to the continuous adjust-
ment.
Effect Co ntrols
Doo
BRILLIANCE @ MAN.BALANCE OD || — REVERB BALANCED REVERB@
Е. . ; ° . . .
Upper wo» Lower Upper ~___» Lower
manual — manual manual manual
siressed — siressed stressed stressed
Reverb : ® |
Reverberation is the quality that makes your playing sound
full and rich as if you were playing in a large auditorium or
hall. The use of this effect, therefore, allows you to attain
this grandeur at will, evoking the aura of professional per-
formance in your own living room. The control includes a
regulator so that the strength of the reverberatory effect
can be varied continuously softer or louder as the music
requires. For passage-by-passage, or even phrase-by-phrase
reverb control, the Knee Lever O should be operated with :
the right knee. (See page 16}
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- Reverb Balance : @
To balance the Reverb effect between the upper and lower manuals; when used to strengthen the
upper manual, it brings you an effect similar to SUSTAIN on more expensive models. |
Manual Balance : Y | |
Governs the relative strength of the upper and lower manuals. It is normally left in the center posi-
tion. But when it is desired to strengthen one manual, for example, when the upper manual plays a
‘melody and the lower its accompaniment, the knob can be turned (in this case to the right) to empha-
size the upper manual. Similarly, the control is turned to the left vhen strongly played accompani-
ment is required or when the melody is played on the lower manual and requires greater emphasis.
Brilliance : Y |
Stop-free adjustment lets you pinpoint the degree of overall clarity or softness according to your
mood and that of the music.
2 Mellow, throbbing harmony that sings from. every corner of your room or hall—that' s the unique
= - Yamaha Tremolo. A true moving sound source, the tremolo speaker itself actually spins for exciting
E - richness no mere moving baffle could equal.
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Tremolo Speed Control
+ The Tremolo selectors which accomplish this are
three tablets located to the right of the lower manual,
E Each has a simple ON-OFF type action which allows
quick operation while playing. |
| Tallor any of Tremolo or Chorus effect to an indi-
a vidual selection.
“ For extra-sensitive expressive possibilities use ‘the
I. Yamaha-only continuous Tremolo speed control O
E: to match any mood or selection.
- Voice . @ | |
This selector switches the Electone sound from the
main speaker to the tremolo speaker and vice versa.
Tremolo : @ |
— Turning on this selector turns the tremolo speaker at
seven revolutions per second producing Tremolo
effect.
; Chorus : @ | |
| This selector turns the tremolo speaker at one revolu-
— tion per second producing Chorus effect.
Producing the Tremolo Effect
@ Set the voice and tremolo selectors as shown in the
@ figure. Moving and natural pulsations of sound lend
‘greater depth, fuller meaning to serious passages and
add a touch of genius to pieces which have perhaps
lost some of their original freshness. This tremolo
effect is especially useful for rich, tremulant work.
Producing the Chorus Effect
Set the voice and chorus selectors as shown in the
figure. It provides the dignity and solemnity of
choral voices which is so effective in the performance
of sacred music or other works of slow tempo.
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I Auto Rhythm Section
§ Yamaha Electone model B-20R incorporate an auto rhythm section $. This section provides a
E. variety of rhythm accompaniments, from latin beats to today’s popular rock rhythms, at the simple
- push of a selector button.
In addition, the system employs th the exclusive Yamaha Synchro-start, which automatically begins the
rhythm accompaniment when the first lower manual or pedal note is struck. These features assure
extra versatility from a virtual built-in rhythm band.
- (©) Tempo Indicator Lamp © Synchro-Start
Tempo Control E Rhythm Start .
A) Volume Control | | | | (D Rhythm Selectors
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How to Use the Auto Rhythm Section
1) Push the rhythm selector D of your choice. To change rhythms just push another button; if no
rhythm is desired, push the Cancel button. - |
2) Press the Rhythm Start tablet (E) and the rhythm will immediately begin. Then use the Volume
(A) and Tempo (€) controls to regulate. The tempo indicator lamp © flashes the first beat of
every rhythm, |
| ) 3) Then, when ready to play, $ switch on the Rhythm Start tablet (E) and begin your selection after
the beat is fixed in your mind. Use the tempo indicator lamp as a guide. | |
4) For more advanced players, use the Synchro-start tablet © instead. This permits the selection to
begin first, providing a more impressive performance that can begin with a beat-free upper melody.
This Yamaha exclusive is the world's first of its kind, and will assure more professional -sounding
selections for any advanced player. | ВЕ
5) At the end of the selection, turn the Rhythm Start or Synchro start tablet off.
| Other Controls
\ .
Knee Lever : O
The metal lever folded horizontally under the keybed is the
Knee Lever. This lever, when pulled down for use, allows
control of Reverb effect in conjunction with Reverb Control
O. (See page 13.)
Reverb Control is used for maximum setting, while the Knee
Lever is operated with the right knee for passage-by-passage or -
even phrase-by-phrase reverb control precision during the per-
formance.
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Master Volume : (1)
The control detzrmines the maximum volume obtained from the Electone and can be varied as desired.
Expression Pedal : Q _ a a - > -
Expressive shading within each phrase, and accenting of individual notes can be achieved with this
pedal, within the overall range set by the Master Volume Control. A full explanation will appear on
page 27.
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The cabinet artistry of the B-20R
blends with even the most im- -
peccable decorator surroundings, |
especially when the roll-top fall-
board is down. Close it to pro-
tect the keyboard from dust and
scratches, keep out unauthorized
hands. |
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Headphone Jack
Plug a headphone set (optional accessory) into
the jack under the keyboard and you can play
with the volume as high as you like without
disturbing anyone, even in the middle of the
night. |
Recording “and Playback
You can record your Electone selections via the
headphone jack, then play 1 them back via Ext.
In. jack.
For recording, your tape recorder must be
equipped with a high impedance input jack, for
Electone headphone output signal is 40Vp-p
{output resistance 220 ohm).
When recording,
it must be remembered that the signal to the
Electone speaker will be cut off, so sound
monitoring must be done via the tape recorder
monitor system.
Playback by connecting the tape recorder output
jack to the Electone Ext. In. jack. In this case a
special phone type plug must be used.
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‘Besides many tone levers and effect controls through which almost infinite varieties of voice and ex-
. pression can be obtained, the Yamaha Electone B-20R offers you some extra special features to
. further enhance your playing pleasure. |
+
+ UE ings - a. ES -
—-17-
E plifier and Natural Sound speaker of the
E yourself on the Electone.
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External Input Jack
This jack is located at the lower lefthand corner
of the back of the Electone (See photo on page
17). It allows you to connect a tape recorder,
record player or radio directly, using the am-
Electone. Thus these external inputs will come
‘ to life under Natural Sound reproduction and
give you an opportunity to broaden your
musical experience.
Since their tones are not controlled by the
expression pedal, you can play a tape recording
or record of an orchestral concert and ‘sit in’
“Alternatively, you can record yourself playing a
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piano or the Ælectone, replay the tape, and be — | В a TT =
your own duet partner.
In addition, the ‘Mini Pops’, a rhythm cabinet
distributed by Yamaha, may be connected here
for even more advanced percussion effects.
Note:
1. Connect the EXT, IN Jack and the output jack of a tape recorder with shielding
Wiring Vinvl Tub wire. Use a spare plug inserted in the EXT, IN Jack.
пу’ tube 2. Volume setting for playback tends to differ with the make or model of tape
. recorder. |
<— 3. Adjust the volume of the Electone and the tape recorder to avoid distortion of
A 2 the sound quality.
Shielding Wire — 4. Make absolutely sure never to touch or otherwise interfere with the circuits or
= < a internal elements of the Electone.
| TIE EE A & à rs
. ; BE : i = Ш 7: ‚X | у
“A Word about Yamaha's Exclusive
‘Natural Sound Speaker
YAMAHA
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In this age of electronic marvels, we are accus-
tomed to speakers which offer ‘only X% distor-
tion" or ‘high fidelity throughout the range;
One almost gets the feeling that human percep-
tion is left out in the search for technical perfec-
tion. | |
And if you examine the ‘tonal characteristics
curve’ of a violin, or of a cello, or piano or
organ, you will realize that this is exactly what
has happened. The natural imperfections which
are the emotion and the power of live perform-
ance will obviously elude the scientists’ intent
on mathematical exactness and symmetry.
We at Yamaha believe that music must satisfy
the man, not the equation. This is why we have
built the Natural Sound speaker.
Here is a speaker which is not symmetrical. It
is not a cone, nor a horn nor any other conven-
tional shape.
It consists, in essence, of a dia-
phragm with a fixed edge, the whole surface of
“which vibrates according to the principle of
multi-dimensional flexion.
The shape is derived from that of the piano
“soundboard, and like the soundboard of any
other musical instrument, it is ‘imperfect’. Like
your ear and like everything else in nature, it
follows no pat formula, it obeys no regular rule.
It is not a Hi-Fi speaker, for what musician
wishes to be faithful to someone else's concept
of sound?
Surely the musician, as a creative artist, deserves
a sound system which is designed for the human
ear; designed for Nature; designed not for re
production but for creative musicanship. We
believe the Natural Sound speaker fulfills this
aim.
-19—
| Care of Your Electone
In general you should treat your Electone with the same care you would give any fine musical instru-
ment. However, the following points are suggested to assure optimum enjoyment.
1. Be sure to use your Electone only on the correct voltage. If it is necessary to change the voltage
of the Electone, please consult your Yamaha Electone service agent.
2. апу trouble develops, contact your Yamaha Electone service agent. In any case make absolute-
ly sure-never to touch or otherwise interfere with the circuits or the internal elements of the
Electone.
3. When you have finished playing, be sure to turn off the power switch.
4. In order to clean the plastic keys, tabs, etc., use a damp cloth. Never apply organic solvents such
as alcohol as it may result in damage to the plastic materials used. | No
E 5. Do not expose the Electone cabinet to the direct rays of the sun, as this may result in bleaching
of the finish of separation along the joints of the wood.
”
6. Be absolutely sure. never to strike of scratch the surface of the organ cabinet with a hard stuff.
7. 1t is also advisable to place ‘the Electone in such a way that it is not exposed to excessive humidity
or currents of heated air.
8. In opening and closing the fallboard, grasp the handle with both hands and slide the fallboard
gently in its groove. Never attempt to raise the fallboard directly upwards and do not place heavy
objects on it.
9. During a thunderstorm turn off the Electone power switch by all means. Unplug the unit. if
possible.
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Do not Be Alarmed If...
1. A note should sound the instant you turn on the switch. |
This merely indicates normal operation consequent to a flow of electricity in the main amplifier.
2. Only one note is produced even when two pedals are depressed simultaneously.
When the pedal sustain effect is used, notes overlap following notes. In order to achieve tonal clarity,
“the Electone is designed so that a note is electronically suppressed the instant the next note is s struck.
If two pedals are struck simultaneously, only the higher one sounds.
3. Flute 274 voice is not obtainable from keys above F in the highest octave.
This means that the highest note which the Electone B-20R can produce is cs. (See the Compass
chart on page 7.) | |
4. Neighboring objects resonate.
Since the Electone produces a continuous stream of sound, windows, china or other such objects may
be found to resonate. To prevent this, reduce the volume of the Electone or take steps to remove
resonance. |
5. Occasional unpleasant static. | |
In the majority of such cases, the cause can be traced to the turning on or off of refrigerators, wash-
ing machines, electric pumps or other household appliances. Electrical fault ina neighboring outdoor
neon sign may also be to blame.
When the cause is a home appliance, connect the Electone to an outlet as far as possible away from
the ‘offending appliance. This phenomenon, although perhaps annoying, poses no danger to the
Electone’s circuitry. |
If the cause is a fault in neon or fluorescnet lighting fixtures, the fault should be repaired. When the
‘cause is unknown, or in case of doubt, contact your Yamaha dealer.
6. The Electone reproduces radio or TV sound signals.
This kind of phenomenon can occur when there is a powerful radio or TV. transmitter, or an amateur
radio operator located in the vicinity. If this situation is distracting, contact your Yamaha dealer.
HOW TO SET UP THE BENCH
(1) Open the music container and toke out the four studs | © Bolt
and paris bag — Do ; | | Spring washer
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(2) Attach the four studs os follows.
- f т
2————— Spring washer
—21—
Speci ficatio n s of | B-20 R
"KEYBOARDS a
Upper Manual 44 keys f~c. (3%, octaves)
Lower Manual 44 keys F~c, (3% octaves)
Pedals . 13 keys C:~C (1 octave)
“E TONE LEVERS
Upper Manual Flute 16’
Flute 8
Brass 8
Oboe 8
String 8
Flute 4
String 4'
Flute 2%
Lower Manual Wood 8°
Horn 8
Cello 8
Wood 4°
Cello 4
Pedals Bass 16
Bass 8
PRESET VOICE SELECTORS
1~4 Upper Voices
. 5-7 General Voices
‚С Сапсе!
EFFECT LEVERS
Percussive Length (Upper)
Percussive 4’ (Upper)
Percussive 2%’ (Upper)
Vibrato
Repeat Speed (Upper)
Pedal Sustain
EFFECT CONTROLS
Brilliance
Reverb
Reverb Balance
Manual Balance
TREMOLO SELECTORS
Voice (Main/Tremolo)
Tremolo |
Chorus
AUTO RHYTHM SECTION
Rhythm Selectors
Swing Bossanova
Waltz - Rhumba
Slow Rock Beguine _
Jazz Rock Cancel
Rhythm Controls
Rhythm Start |
Synchro-Start =
Tempo
Volume
Tempo Indicator Lamp
OTHER CONTROLS
Master Volume
Expression Pedal
‘Knee Lever
Power Switch
- Pilot Lamp
OTHER FITTINGS
Headphone Jack
External Input Jack
Roll-top Fallboard
Music Rest
Matching Bench with
Music Storage Space
NATURAL SOUND SPEAKERS
Main: JA-5101 59 x 48cm (23% x 14%")
Tremolo: . JA-1701 16 x 23cm (6% x 9”)
— Electro-control 2-speed -
with continuous tremolo speed control
CIRCUITRY
Solid State (Incl. ICs and FETs)
Main Amplifier: OCL System
Output Power: 30 Watts
Power Consumption: 90 Watts
100/110/117/1 25/220/240V AC,
| 50/60Hz
DIMENSIONS
Width: 111em (437)
Depth: 56cm (22")
Height: 90cm (35")
WEIGHT 65kg (143 Ibs.)
FINISH В
American Walnut Grain
—22—
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| Posture
ry
1. Sit in the middle of the seat somewhat towards the front. The weight should be shifted slightly to
the right in order to allow the left leg greater freedom of movement.
2. The right hand generally fingers the upper manual (melody) and the left hand fingers the lower
manual (harmony) while; the pedals (rhythm) are played with the left foot. Check that you can
reach all the keys on the three. keyboard conveniently.
3. Relax the muscles of the left leg, and with
the knee joint loose, move the foot left
and right. Keeping the ankle loose, push
the pedals just short of the black pedals.
4. Relax. the right ankle and place the full
pedal. Check that you can push the pedal
down fully with comfort, and that you are
equally comfortable at all positions of the
Expression pedal.
[EUROPE FREI EE
length of the foot onto the Expression -
| Technique
How to Play the Manuals
Clench both fists and then relax extending the fingers naturally. This form allows the fingers to
move more quickly and easily, and is therefore applicable to all keyboard instruments,
Correct use of the fingers is essential to play a beautiful Electone music. The melody part should in
general be played with the organ legato touch.
to poise the finger in readiness above the key to be struch next.
In order to achieve the legato playing it is necessary
Many rules may be applied to the
correct fingering, but in any case 4 most economical and rationalized use of the fingers is desirable.
Legato
Ш
It is important to practice to achieve the organ touch
that will produce a smoothly continued legato with-
out distracting overlap.
. The melody part should in general be played legato. a
But in order to emphasize the legato it is necessary to
take “breaths” at the ends of phrases.
. Passages involving. duet harmony often require diffi-
cult modification of legato fingering. In this case
it will. be useful to practice these’ parts separately.
и
Staccato
1,
Note : The habit should be formed early of holding the hands cor-
Since the duration of the note can be regulated very
easily by the length of time the key is depressed, it is
possible to obtain a wide variation in staccato treat-
ment,
. Generally a rhythm accompaniment with the left
hand should be played staccato. A shorter staccato
: will generally be suited to rhythmical compositions
- while longer one to slow pieces. You should always
try to choose the precise length that fits the work
best.
rectly, and striking the keys to the bottom of their travel,
— 26 —
A
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Elactane
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plavad with TTT
a piano touch | — a —
Correc! ‘ :
Elactone |
legato
|
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. Pilgno staccato A N Е
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Electore | *
long staccato ! ; |
1 : |
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£:ctone |]
short staccato . ; !
; a |
* In order to play Legato and Staccato, the following techniques are often used and
should be learned.
. Exercise No.l Legato (normal fingering)
Right Hand ! 2 3 4 5 4 3 2 1 3 5 3 i
Left Hand 3 4 3 2 1 2 3 4 5 3 oa 5
Exercise No.2 Legato (finger substitution)
While depressing a key, you keep one key activated without stopping by quickly substi-
tuting the finger on the key with another finger. |
1 1 2 3 4 2 3 5432 5. 1 34 15.4 3 2 3
Exercise No.3 Legato (finger passing)
With one finger on a key, bring another finger over or under the first and depress the
next key.
Exercise No.4 Depressing the same key successively several times
When you strike the same key repeatedly, don’t remove your finger completely from the
key, but practice striking it repeatedly as soon as the sound stops.
Right Hand 1 | 2 ПЭ 4 6 | h2.3 a 2 1 |
Exercise No.5 Staccato
Right Hand 1 a 5 3 4 | 2 2
Left Hand 5 3 Ой 3 ой
— ‘
How to play the Pedals
1. Sitting always in the right and same position will enable
you to play the correct pedal notes without looking at the
pedals. .{See Posture’ on page 24).
2. The best approach to the pedals is to allow the lower leg to
swing freely from the knee.
3. Pedals should be struck with the light movement of ‘the
ankle,
Be careful not to beat them with unnatural movement of
your whole leg.
4, Do your best to achieve pedal playing without looking at
the pedals as soon as possible. |
5. Before commencing actual performance, it will. be very
effective to parctice rhythm and scale on the pedals. In pedal exercises, it will be helpful to give
slightly greater tone lever emphasis to the pedals.
6. Flat and light shoes are desirable. It is not good to play pedals with high-heel.
How to use the Expression Pedal
— The Expression Pedal controls the volume of the Electone during pp
performance within the overall range set by the Master Volume ВЕ UP
m
Control. It should be depressed gently for crescendo released 5 ny
gradually for diminuendo. Please be careful to use this pedal with — cee Af
discrection. The expresison should follow the natural course of . a y Jr
| . , Dem rescendo
the work, and should never be intrusive. © = + Gradually louder
о | - — Decrescendo |
=" (Diminuendo!
Gradually softer
In Phrasing
1. Natural phrasing usually indicates a soft entry to a passage and a subsequent softening at the end.
2. Variety of phrasing is attained with gradual, not sudden, movements of the Expression pedal.
~ 3. The melody requires a ‘songful’ expression which can best be judged by paying close attention to
the melodic line. a a
4. It is relatively easy to achieve a gradual crescendo, but the gentle release of the Expression pedal
in diminuendo requires more care.
Exercise No.6 ap
A are oi
CANE ath ta ad dE Ваий
Throughout a Composition, ;
1.
Each musical composition is composed of a
number of phrases. A phrase marked f
would be played somewhat more loudly; one
marked P more softly. It is important to
keep the overall balance in mind.
ist phrase. 2nd phrase 3rd phrase 4th phrase
P ==. —-|mP-- 1 mf f .
mp a
. The full range of the Expression pedal should
be used, but: not so excessively that it be-
comes intrusive or unnatural.
Note: ‘Unnatural sounds are the result of not using the right foot smoothly enough. Listen
closely as you progress to eliminate these undesirable distractions.
# 4,13
Accent: '*
1.
Ww N
‘them partially releasing it will add accent.
| | $
. If accent is used too freely, its effectiveness | IN
Suddenly depressing the Expression pedal and
Instontaneously loud ‘
will be diminished. | a a. J
. In the beginning, it is better to master the "Suddenly sofi
. The pedal should be released smartly. | a — ~~, |
nuances of phrasing before attempting accent.
1
Th
L
Note:
1.
It is easy to achieve the proper crescendo when depressing the pedal, but it has a tendency to
return too quickly unless this is prevented by careful use of the foot.
. Do not give in to the temptation to accent one beat in every bar.
. Crescendo passages should peak at the point where notation indicates.
. At first, it is necessary to give conscious attention to expression, but practice is not sufficient
until this aspect is entirely automatic and instinctive.
. Even the same composition may require differing expressive treatment depending o on the tempo at
which it is played.
Rhythmical works will be enhanced with a little accent. |
. Expressive treatment can be truly effective only when the organist has truly grasped the essence
of the composer's musical intention.
How to reset Levers, Controls and Selectors
When the notation calls for resetting the tone levers, effect elvers, effect controls, etc. midway
through a piece,. this should be accomplished with either hand as convenient, in such a way as not
to interrupt the melodic line.
Changes in tone lever settings may influence the relative volume of the upper and lower manuals.
This can be corrected using the Manual Balance Control.
| —98-
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