Yamaha SK50D Owner's manual

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INTRODUCTION : CONTENTS
Thank you very much for your purchase of the Yamaha SK50D Symphonic Ensemble.
Incorporating a new Yamaha-developed LSI and the latest digital electronic technology, the
SK50D offers a tremendous variety of functions and sound creation possibilities making it
ideal for live performance or studio applications. The SK50D features dual 6 1-key key boards
and a versatile combination of polyphonic organ, synthesizer and strings plus a solo synthe-
sizer section that offers a number of unique keyboard touch response effects. The SK50D
also accepts an optional bass pedal unit as well as several foot controllers and foot switches
that afford extensive sound control capability during performance.
The wide-ranging versatility and flexibility provided by this remarkable multi-function
instrument will undoubtediy be of great value to both the professional and amateur key-
boardist.
We urge you to read the contents of this Owner's Manual carefully in order to make full use
of all the capabilities of the SKSOD.
CONTENTS Page ===
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PRE-USE CAUTIONS . ......e..eeererrerenoe. 2
FEATURES AND FUNCTIONS . ................ 3
CONNECTIONS: BASICSETUP ............... 5
ОРТ1ЮМ$ .. 5... клике, 6
OPERATION: OUTPUT .................. 7
PITCH ......eooomvecrorer. 8
ORGAN .....ererecccroenas 9 :
POLYSYNTH/STRING . . . . ...... 11 | |
VIBRATO... ovine eens 13 j |
7 14
SOLO SYNTHESIZER .......... 15
TREMOLO/ENSEMBLE ,........ 20
BLOCK DIAGRAM ......rér_eeereoreorerere. 21
SOUND MEMO. .....e...eereoevorereear.. 22
SPECIFICATIONS >» a aa ae +6 25
SERVICE .....22 200122 21e ea a eee 26
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PRE-USE CAUTIONS
Be sure to read the following points carefully before operating your Symphonic Ensemble.
LOCATION
When setting up your Symphonic Ensemble, avoid
placing it in direct sunlight or close to a source of heat.
Also avoid locations subject to vibration, excessive
dust, cold or moisture.
POWER CORD
In order to prevent damage to or shorting of the power
cord, never remove the power plug from the wall
socket by pulling on the power cord. Always grip the
power plug directly.
If you will not be using your Symphonic Ensemble for
an extended period of time, be sure to unplug the
power cord.
CLEANING
Do not use solvents such as benzine or thinner to clean
STAND ASSEMBLY
your Symphonic Ensemble as this may cause discolora-
tion or staining of the panel. Use a soft, dry cloth.
CONNECTION
Follow the “Connections” instructions given in this
manual carefully when setting up your Symphonic
Ensemble. Connection errors could lead to serious
damage to the Symphonic Ensemble, amplifier and
speakers.
OTHER APPLIANCES
Since your Symphonic Ensemble incorporates a
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,
radios, etc.
Four legs and two braces are stored in the upper
section of the SKSOD case. These are attached to the
instrument in the following manner.
I. Remove the legs and braces from the upper section
of the SKSOD case, then securely close the case
while assembling the stand.
2. Stand the instrument on the rear panel of the case
and screw the legs into their sockets as shown in the
illustration below.
LIST
e Leg (4) e Foot controller (FC-3A)
® Brace (2) e Power cord
. Attach the braces to the rear legs as shown below.
Loosely attach the braces to the underside of the
SK50D with the screws (A) .
Loosen the lock rings ® on the rear legs and
insert the brace hooks © between the legs and
lock rings. Tighten the lock rings securely.
Finally, securely tighten the screws @) .
SK50D FEATURES AND FUNCTIONS
The SKSOD is basically composed of six sections: upper and lower organ, poly-synth, strings, bass and solo synthesizer.
Each of these sections can function as a completely independent instrument or they can be combined and mixed to any
desired degree of balance to create ensemble effects.
Keyboard Range and Functions
Both the upper and lower SK50D keyboards have 61 keys
covering a full five octave range (C; --- Cg). Sounds
available on the upper keyboard are upper organ, covering
the full five octave range, and solo synthesizer (normal
mode) spanning a three octave range from C5 --- Ce.
In the normal mode of operation the lower keyboard
offers lower organ, poly-synth and strings across its full
five octave range. In the Manual Bass mode, however, the
lowest 19 keys (C¡ --- F*,) are used for the bass or solo
synthesizer (bass mode) sounds. In this case the poly-
synth and strings sound are limited to the G, --- C, range.
Bass and solo synthesizer output is single-note, high-note
priority format. All other sections offer full 7-note poly-
phonic capability for the upper and lower keyboards,
respectively.
Rear Panel
In addition to a MIXED (all sections) output, the SK50D
rear panel offers independent outputs for each section for
connection to an external mixer or multi-amp system.
Optional foot controllers and foot switches can also be
connected providing convenient foot control of certain
sound parameters during performance. In particular, the
inclusion of a PEDALS jack for connection to an optional
bass foot pedal unit affords greatly improved performance
versatility.
Organ (Upper and Lower)
The upper and lower organ sections are played on the
upper and lower keyboards, respectively. The lower organ
section offers two preset sounds, while the upper organ
offers three. In addition to the preset sounds the tone
color of the upper organ section can be set manually using
drawbar-type tone levers. In addition to manually set
sounds the three upper organ preset sounds are affected
by settings of the DECAY, SUSTAIN and PERCUSSIVE
controls so it is possible to introduce volume and tone
color variation to the preset sounds during the period of a
note or chord. The lower organ preset sounds maintain
constant volume and tone color.
Poly-Synth and Strings
The organ and poly-synth (strings) sections each offer full
7-note polyphonic capability.
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
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.
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Bass
This section provides an independent set of tone genera-
tors and controls for a deep, rich organ bass sound.
Included are 16°, 8°, and 8’ “attack” stop levers, as well as
sustain and brilliance controls. The organ bass sound is
controlled from either the lower “manual bass” section of
the lower keyboard or the optional bass pedals.
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.
This makes the solo synthesizer section ideal for lead
lines, and is especially effective when played simultane-
ously with the organ or strings sections.
As we have seen, the SKSOD upper/lower organ, poly-
synth, solo synthesizer, bass and strings sections each have
their own particular features and capabilities. This design
makes the SKSOD a truly versatile multi-keyboard that,
with thorough understanding 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
SKSOD as you go through each section of this manual. Be
sure to connect your SK50D 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 SK50D 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.
HPower Supply Connection
VOLTAGE SELECTOR
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HB Amplifier / Speaker Connection
OUTPUT 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, solo
synthesizer and bass sections. Overall output level can be
controlled by the MASTER VOLUME control in the
OUTPUT block on the front panel.
M 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) solo synthesizer
and bass output jacks are provided for use with an
external mixer or multi-channel amplifier and speaker(s).
The output 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, solo synthesizer and bass signals as the
mixer output jack.
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CONNECTIONS
OPTION CONNECTORS AND ACCESSORIES
The versatility of the SK50D 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
interfaced with the SK50D for an even more creative performance.
Bl Option Connections
KEY CODE OUTPUT
This multi-pin connector carries a digital code represent-
ing the notes played on the SK50D keyboard. Connection
to a Yamaha polyphonic keyboard equipped with a KEY
CODE input will allow that keyboard to be “played”
from the SKSOD.
(9 BASS PEDAL CONNECTOR
The optional BP2 1-octave bass pedal unit attaches to this
connector.
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 SKSOD 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
ADMIXED 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.
(2 STRING VOLUME
Permits independent foot volume control of the strings
section,
(3 POL Y-SYNTH BRILLIANCE
Permits foot control of poly-synth brilliance (tonal color).
FOOT SWITCH CONNECTIONS
49 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 ) , Y. 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,
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(9 PORTAMENTO
Permits ON/OFF foot control of solo synthesizer porta-
mento. 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.
(8,017 CONTROL VOLTAGE INPUT/OUTPUT
(9,49 TRIGGER INPUT/OUTPUT
These connectors allow the SK50D solo synthesizer
section to be interfaced with any other Yamaha synthe-
sizer so that the peripheral synthesizer may be “played”
from the SK50D keyboard. In this way the performer can
add any number of extra oscillators and filters to the solo
synthesizer 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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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 SKS50D is switched on, there is a possibility of damaging both the SK50D and its
related power amplifier, speakers, etc.
The following is a block-by-block description of the SK50D control functions. As you read through the manual, try the
controls as they are described with the SK50D MIXED output connected to an amplifier and speaker.
© POWER SWITCH
The SKSOD power switch is located next to the power
cord on the rear panel. When the power switch is turned
on, the UPPER ORGAN 1, LOWER ORGAN 1,STRING 1
and POLY-SYNTH 1 preset buttons will automatically
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
setting. {General model)
Voltage Selector
will TAGE SELECTOR
ORGAN POLY-SYNTH / LOWER
LOWER , UPPER \ | STRING POLY-SYNTH |
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CANCEL 1 2 CANCEL 1 2 3 MANUAL CANCEL 1 2 3 CANCEL 1 2 3 MANUAL ON
OUTPUT BLOCK
In this condition (power switched on) the SK50D 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 to an external tone cabinet (Leslie speaker) is
OUTPUT also adjusted by the master volume control.
— 9
OFF O SOLO, ORGAN (UPPER & LOWER), STRING AND
POLY-SYNTH VOLUME CONTROLS
/ © The volume of the solo synthesizer, organ, strings and
poly-synth sections are independently adjusted by these
STERVOLUME * controls. They are particularly useful for creating the
T о desired balance between sections.
— Raising the volume levers increases the volume of the
Co i (a i a respective sections. With the appropriate, volume levers
+ “I= A= =i = raised, you can play the keyboard using any of the upper
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SoLo Lower re STANG pour. sounds. If any of the preset group CANCEL buttons are
pressed, the sound from the respective section(s) will be
cut off regardless of the volume lever setting.
@ LINE OUT SWITCH *By setting the solo synthesizer section controls to the
This switch turns output from the MIXED jack on or off. Basic Setting given on the following page, you will be
It has no effect on the individual or headphone outputs. able to use solo synthesizer sound as well as the
ogan, strings and poly-synth preset sounds.
© MASTER VOLUME CONTROL
Adjusts the volume of the mixed and headphone outputs.
OPERATION PITCH
This block permits tuning of the individual SK50D sections.
© 6
PITCH
SOLO
TUNE * POLY-SYNTH - TUNE -
DE TUNE
O TUNE O SOLO TUNE
Adjusts the overall pitch of the organ and poly-synth
(strings) sections.
O POLY-SYNTH DETUNE
For creating special harmonic effects, this knob is used to
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.
Adjusts the overall pitch of the solo synthesizer section.
The TUNE control @ has no effect on solo synthesizer
pitch.
*Sound output from the solo synthesizer section can
be obtained by pressing the solo synthesizer
NORMAL MODE button and setting the section
controls as shown below.
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The organ section is divided into upper organ, to be played on the upper keyboard, and lower organ, to be played on the
lower keyboard. Lower organ preset sounds are determined by the LOWER ORGAN selector switches, while upper organ
preset sounds and the upper organ manual mode are determined by the UPPER ORGAN selector switches. The tonal color
of the upper organ section can be freely adjusted using the tone levers when the MANUAL mode is selected.
Unlike the lower organ preset sounds, the upper organ preset sounds are affected by the settings of the DECAY, SUSTAIN
and BRILLIANCE controls.
MUpper Organ
Upper organ sounds are created by all controls in the
front-panel UPPER ORGAN block when the upper organ
manual mode is selected. All controls from the DECAY
switch to the PERCUSSIVE 5th lever also function for
upper organ preset sounds.
© ORGAN SELECTOR SWITCHES
These switches permit selection of the organ section tonal
color. ORGAN 1---3 are preset sounds, and the MANUAL
DECAY AND SUSTAIN
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.
Decay Switch Oniy ON Sustain Switch Only ON Decay and Sustain Both ON
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ORGAN
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Tone Levers
The rate of decay is controlled by the lever ® adjacent to
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
function off.
*If both the decay switch O and sustain switch @ are
turned on, a note played will gradually decay regard-
less of keyboard attack or release.
@ 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.
* Normally, 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, ®®@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 5th (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.
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O 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”.
BLower Organ
Lower organ sounds are determined by the two LOWER
ORGAN preset selector switches. When the SKSOD power
switch is initially turned on, the LOWER ORGAN 1
preset mode is automatically activated.
® LOWER ORGAN SELECTOR SWITCHES
These switches permit selection of the lower organ section
tonal color. LOWER ORGAN 1 and 2 are preset sounds,
while pressing the CANCEL button completely cuts off
output from the lower organ section.
10
11
OPERATION
POLY-SYNTH/ STRING
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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 STRINGS 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 STRINGS jack
of the rear panel FOOT CONT section, foot control
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 ( O, O) 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 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.
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SUSTAIN
SLOW ATTACK OFF
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POLY-SYNTH STRING
O 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
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.
*The slow attack switch, D , sustain switch €,
sustain lever & , brilliance lever @ and mode switch
@ а! 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.
D FEET SWITCH
Selects tone generator pitch, waveform and filter
characteristics. 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.
ENT Te mn
ПИ И
LLL LIL НН
an 8 Feet 5 Octave C6
со 16 Feet 5 Octave C5 |
ko ое +
C2 4 Feet 5 Octave pe
* About Waveform
The tone generator produces either a sawtooth wave
(N) or a square wave ( ML). 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
NNN TUL
Soft sounds such
as clarinet,
Square Wave
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.
All levers from the EG DEPTH control ® to the
RELEASE TIME control 6 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 Y to approximately the center of its scale.
O 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 posi-
tions, no tonal variation will be produced. Set all the
levers to their maximum positions and try out their effect
one by one.
ED ATTACK TIME
Adjusts the time between keyboard attack and maximum
tonal change in the sound. The more this lever is set to
“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.
12
POLY-SYNTH/ STRING & VIBRATO
& 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.
* If 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.
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.
* |f 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.
ENVELOPE GENERATOR
Envelope e en
| = HS
c
Le
® r@
©
=
=
E
о
H
5 г
SSL le SERN
=> EU
o
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.
VIBRATO BLOCK
© ® &
VIBRATO
POLY-$YNTH
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.
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.
*
OPERATION
BASS
37) 38) 39) © ® ®
MANUAL| BASS BASS
{4777 YAMAHA
SUSTAIN BRILL}- 16
ANCE
SYMPHONIC ENSEMBLE
The bass section can be played using either the lower-keyboard MANUAL BASS keys or an optional bass pedal unit (BP2).
Bass section output is single-note, high-note priority format. If the MANUAL BASS switch is pressed, the bass section can
be played using the lowest 19 keys (C, -—- F#,, 1-1/2 octaves) of the lower keyboard. The remaining lower keyboard (Со --
Cg) can be used for lower organ, and/or poly-synth (strings).
€ MANUAL BASS SWITCH
This switch should be turned on when the MANUAL
BASS section of the lower keyboard is to be used.
*If the optional bass pedal unit is connected to the
rear-panel PEDALS connector, the pedals can be
played whether the MANUAL BASS switch is turned
on or off. If the MANUAL BASS switch is turned on,
both the pedals and the lower-keyboard manual bass
section are operative, If, however, a pedal note and a
manual bass note are played simultaneously, the
highest bass note played will be output.
*If the solo synthesizer BASS mode is selected, both
the solo synthesizer bass and bass section sounds will
be output when either the bass pedals or manual bass
keys are played.
SOLO
BASS SYNTHESIZER
MANUAL AD: Py mont
Bass Pedals
only
RASS MOMMAL
Cf | ' E
Upper Keyboard
Ca Cs
Bass Pedals or
MANUAL, MAS woof. Manual Bass
C1 Te Fa #) 3 ©
°
HABS NOHMAL
ОБЕ ON High-Note Priority
MANLAL BASS ГО woe
== Bass Pedals or Manual
Bass (Lower Keyboard
RASS — NORMAL C1 7 Fa #) High-Note
cf if (| Priority
€ SUSTAIN LEVER
Although the bass section sound usually cuts off immedi-
ately a key is released, gradually diminishing bass volume
(sustain) can be added by setting the SUSTAIN lever
above its minimum (“S”) position. The more this lever is
set toward the “L” end of the scale, the longer the sustain,
€) BRILLIANCE LEVER
Adjusts tone color. Normally this lever should be set to its
center (0, click stop) position. Setting toward the “+” end
of the scale produces a bright, crisp sound. Setting toward
the “—” end of the scale produces a softer sound.
© ®,®16', 8", ATTACK 8' TONE LEVERS
These levers adjust bass tonality and volume. Since no
independent bass volume control is provided in the OUT-
PUT block, these levers are used to control bass tonality
as well as volume permitting setting up of optimum
balance between the bass and other sections. The
ATTACK 8’ lever affects tonal quality only at the very
beginning of each note creating a percussive accent,
*The sustain lever has no effect on the ATTACK 8’
effect. To create a bass guitar effect, add sustain to
the 16” and 8” sounds, then add the percussive string
effect using the ATTACK 8' lever.
*When not using the bass section, set all bass section
tone levers to their minimum positions (07).
Particularly when a bass pedal unit is used, the tone
levers are the only means of completely cutting off
the bass sound.
14
OPERATION
SOLO SYNTHESIZER
SOLO SYNTHESIF
LFO mo ENTO GUIDE | VCO | и
— — +—0— :—N—i—M— 0—M— H-E- H— MN -
RE EPS TE AT —H— — |
—Й— —-—- —Й- — —M— —M— ro —l— —H-
E Ep 8 [1-28 E
—— —й- —-- г —|— —|- ==
s-E=3- sEJ3- -—U— e = Le ——
SPEED TIME DEPTH FEET WAVE CUT OFF RESO!
FREQ NANCE
®
SOLO LOWER UPPER STRING POLY- SOLO SYNTHESIZER
ORGAN ORGAN SYNTH MANUAL BASS MODE TOUCH
OUTPUT BLOCK = BE р +
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 LE zor Mode LOWER UPPER
be played on the upper Cj -- C4 keys (single note, high
note priority). In order to use the optional bass pedal unit os — |
(connected to the rear-panel PEDALS connector) select NORMAL C1 Fa# |
the BASS mode. Selecting the MANUAL BASS mode ON" скоко | C3 3Octaves С,
permits the solo synthesizer to be played on the lowest 19 ec ns TRES | ! ’
keys of the keyboard ( 1-1 / 2-octaves). BASS, | Bass pedal range = solo vee
* About High Note Priority ocr ÓN OF | | 3 a
The solo synthesizer provides single note, high note wy ves CA | !
priority output. This means that if a number of keys PONT SEE “a
Р . Ch MN OFF
are prossod simuitaneously, only the highest key MA NUAL Manual Bass range = solo synthesizer Cs ~ Fg #
pressed will be effective. Further if a key is held and a BASS (Cy ~ Fo #) (High-note priority)
higher key is subsequently pressed, the sound will “ON” or
shift to that of the higher key. If, however, 7 keys are Bass Pedal range = solo synthesizer C3 ~ C4
being held, pressing a higher key will produce no shift
in sound. . |
BVCO (Voltage Controlled Osillator) x
6 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 --- F#4 range in the normal mode).
*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.
15
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.
SOLO SYNTHESIZER
ER
/CF УСА EG
Г. ?
10— ff} <= 10— B| — L—M— L— M— 104 1— E —
A= I Hon —E— —N— —E— ——
Е УЕ «ЗЕ ЗЕ ЧЕ ЗЕ
{| Rp ЕС — ДД — @— — В a
EJ ES sE E oo ES
— MODU- ATTACK DECAY SUSTAIN RELEASE
LATION DEPTH TIME TIME LEVEL TIME
O FEET SWITCH
Determines the pitch range of the solo synthesizer. The 8”
position provides the standard C3 to C4 (C3 to F#4 in the
bass mode) range, 5-1/3’, a fifth higher, and 4°, one octave
higher. Similarly 16’, 32° and 64’ lower the range by one
octave each.
FEET Switch
Ei MACHEN
a SET
TYPE Toi
Lilia! ата
C4 C6 7
Le | 4
[ F6
ca CE 15-1/3
| -
C2
| ~ 16’
C1 ca |
- ~ 32
CO C3
|-- =| 64
® WAVEFORM SELECTOR
Determines the waveform produced by the VCO. If the
WAVE lever is set in the ( 0.) position, a sawtooth wave-
form is produced, and if set in the ( ML) 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
{ I\\} 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
Se
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) vé it |7
T 2 Ig PT
W— 50%
1 UI ES
Duty Cycle
PW = 2x 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
9 ® ® P
SOLO SYNTHESIZER
VCO VCF
| [
— п —— о— | — H-E=4- H— MM — 0—MN— о—@ —
== =1= == —E — —B— FO — 1 -— —§— —§— —Q§— HOLD
Ea
— MN — —E E ea —— — E: —M— —M— —M—— —M— GATE
16 — № — Dan
{= 42557 T |= = = = = 12%
— HH — —H— —HE— 32—E— —— — — — E — — E — — Al —
s-E4- sE A- -—U— sa— + o — EF oF o-E_
SPEED TIME DEPTH FEET WAVE CUT OFF RESO- MODU- EG
FREQ NANCE LATION — DEPTH
BVCF(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
LPF
—
db
—
Pass — fc — 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
@ 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 modula-
tion control to “0” and go on to the next section.
MEG 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”.
SOLO SYNTHESIZER
| ï | |
—f— L 0-5 L— MN —
ATTACK DECAY SUSTAIN RELEASE
TIME TIME LEVEL TIME
mm
BVCA(Voltage Controlled Amplifier)
Generally, 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.
© УСА SWITCH
Selects the VCA control voltage. If set to the HOLD posi-
tion, 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 “107--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.
BEG(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.
é 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.
@ 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 'DECAY TME
- al
RELEASE TIME
fl
!
|
|
|
| |
| |
[
|
|
|
|
|
|
|
SUSTAIN LEVEL
|
\
|
|
|
|
|
|
|
|
|
|
|
|
|
}
K
1
KEY ON EY OFF
18
SOLO SYNTHESIZER
OTHER CONTROLS
O PORTAMENTO GUIDE veo
SPEED TIME DEPTH FEET WAVE PW
@ 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 “L”.
O 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.
© Glides from a higher tone
o Actual pitch of
Ss 7 key played
£ Seo
= 0 —
= —
a „
5
© и Glides from a lower tone
KEY ON
19
SOLO SYNTHESIZER
MODE TOUCH ]
К == = Ca =
VIBRATO BRILLI- MODU-
ANCE LATION
BASS NORMAL
TOUCH RESPONSE SELECTORS
This function permits the player to create variations in
tone color, etc., according to the pressure 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.
«=
OPERATION
TREMOLO, ENSEMBLE
The tremolo and ensemble functions can be used to vary the sound of the upper organ, lower organ and poly-synth (strings)
sections. The tremolo switches can be used to control either the internal electronic tremolo circuitry, or an external Leslie
rotating speaker unit. When an external tone cabinet is not used, however, the ensemble and tremolo functions cannot be
used simultaneously (ensemble priority). The ensemble and tremolo effects are present at the rear panel MIXED output
only.
E Tremolo
This block can be used to control the SKSOD 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 SKSOD
tremolo control signals are sent directly and only to the
external speaker unit.
Turn “ON” when using an
external Leslie speaker.
Internal tremolo does not
(%) ON
function in this made.
OFF > Turn “OFF” when using
internal tremolo.
@ 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 SK50D is connected to an external tone
cabinet the SPEED switch acts as a remote speed
control.
@ UPPER ORGAN, @LOWER 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 , Band Y
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 remote ON/OFF
controls for an external Leslie speaker unit.
Upper Keyboard Section
ORGAN
1
TREMOLO ENSEMBLE
— с
Lower Keyboard Section
ORGAN
TREMOLO ENSEMBLE
9 =
TREMOLO ENSEMBLE
POLY -SYNTH
=
®
TREMOLO
SPEED
HEnsemble
The ensemble function uses an electronic delay system to
produce a “doubled sound” effect.
@ UPPER ORGAN, @ LOWER 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.
*If the ENSEMBLE switches @ , @ and @ are turned
on while the tremolo function is on, the tremolo
function is automatically cancelled.
Ensemble Priority
M Upper Keyboard Section
ON
CAGAN
TREMDLO ENSEMBLE
|
H Lower Keyboard Section
ORGAN
PO
TREMOLO ENSEMBLE
In this case, the poly-synth
ENSEMBLE switch is ON so
ensemble, not tremolo, is
applied to the upper organ.
If upper organ tremolo is
e. desired, the poly-synth
L ON ENSEMBLE switch must be
= |-# turned OFF.
TREMOLO ENSEMBLE
POLY - SYNTH
TREMOLO
SPEED
20
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SOUND MEMO
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22
SOUND MEMO
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SOUND MEMO
25H52 = = > > EEE
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24
SPECIFICATIONS
KEYBOARD
UPPER KEYBOARD
LOWER KEYBOARD . .
OUTPUT section
LINE QUT
= Fv x ww Aw
PITCH section
. 61 keys C; ~ Cg 5 octaves
61 keys Cy ~ Cg B octaves
ON, OFF; MIXED
EXT TONECABINET output OFF
MASTER VOLUME
SPLIT volume:
SOLO/UPPER ORGAN/LOWER
ORGAN/STRING/POLY-SYNTH
TUNE: 438 - 450Hz —20
POLY-SYNTH DETUNE: 497 cents
SOLO TUNE: —500 +700 cents
SOLO SYNTHESIZER section (Single-note, High-note priority)
MODE . ...........
LFO ..... a.
GLIDE...........
FEET
VCF block
CUT OFF FREQ . . . ..
RESONANCE
MODULATION .....
EGDEPTH . .......
VCA block
NORMAL, BASS
{to lower keyboard C, + F4 #
by MANUAL BASS)
SPEED: 0.1 - 100Hz
3 sec max. (C3 ~ Cg}
70msec. max.
4’, 5-1/3, 8, 16’, 32°, 64"
N > , mixable
50 - 85%,
LFO, MANUAL, EG selectable
Variable range: 10 octaves
@ : 0.5 ^- 10
3 octaves/max.
0 ~~ 10 octaves
HOLD, GATE, EG selectable
EG (ENVELOPE GENERATOR)
ATTACK TIME
DECAY TIME . .....
SUSTAIN LEVEL . . ..
RELEASE TIME .....
TOUCH
VIBRATO... ......
BRILLIANCE
MODULATION
BASS section
MANUAL BASS ......
SUSTAIN . ........
BRILLIANCE ......
Tone Lever .........
0.003 ™ 3 sec.
0.03 ~ 30 sec.
0-10
0.03 ™ 30 sec.
+120 cents/8', Az
+5 octaves/max.
6 octaves/max.
OFF: Playable by BASS PEDAL
ON: Playable lower keyboard
Cy > Fo H and by BASS
PEDAL
2 sec, max.
+5dB/500Hz (Sine wave)
16', 8, ATTACK 8’
VIBRATO section (POLY-SYNTH & STRING)
DELAY . ..........
UPPER ORGAN section
ORGAN selector . ... ..
BRILLIANCE
PERCUSSIVE
DECAY TIME .... ..
Tone Lever .........
«x +#* 4" oe
LOWER ORGAN section
ORGAN selector .. . . ..
25
0~ 3.2 sec.
5~7Hz
+30 cents
CANCEL, ORGAN t, ORGAN 2
ORGAN 3, MANUAL
OFF, ON >
0.03 ~ 1.6 sec. SUSTAIN
OFF, ON > Se
0.03 ~ 1.6 sec.
+7dB/5kHz (Sine wave)
2nd, 3rd, 5th lever
0.8 sec./max.
16’, 8, 5-1/3", 4°, 2-2/3", 2°, 1-3/5’,
1-1/3, 1°
CANCEL, ORGAN 1, ORGAN 2
POLY-SYNTH section
STRINGS selector . . . , . CANCEL, STRING 1, STRING 2
STRING 3
CANCEL, POLY-SYNTH 1, POLY-
SYNTH 2, POLY-SYNTH 3,
POLY-SYNTH selector
MANUAL
SLOW ATTACK ..... OFF: 3msec. 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 generators
FEET ........... d'N, 81, BP8'N,8'N, 16", 16'N
CUTOFF FREQ . .. .. 10 octaves
RESONANCE ...... О: 0.5 ^- 10
EGDEPTH ........ 10 octaves
ATTACK TIME ..... 0.003 3 sec.
DECAY TIME ...... 0.03 ~ 30 sec,
SUSTAIN LEVEL .... 0-10
RELEASE TIME ,.... 0.03 ™~ 30 sec.
TREMOLO/ENSEMBLE section {ENSEMBLE priority)
TREMOLO ......... UPPER ORGAN, LOWER ORGAN
POLY-SYNTH switch
SPEED........... OFF: 0.64Hz, ON: 6.4Hz
ENSEMBLE. ... ..... UPPER ORGAN, LOWER ORGAN
POLY-SYN TH switch
REAR PANEL
OUTPUT . ....... . . MIXED: 600%, —10dBm
ORGAN, POLY-SYNTH, SOLO,
BASS
FOOT CONT ........ Foot controller connection
MIXED VOLUME, STRING
VOLUME, POLY-SYNTH
BRILLIANCE
FOOTSW.......... Foot switch connection
SUSTAIN (ORGAN, POLY-
SYNTH) PORTAMENTO (SOLO
SYNTHESIZER)
CONTROL VOLT .. ... IN: 0.25 ~~ 2\/
OUT: 0.19 ~3V
TRIGGER... ....... IN: 15 ~5V OFF, 0 ~ —15\ ОМ
QUT: OFF (14 ~ 10V]), ON (1 OV)
KEYCODE ......... TTL level, key code data output
PEDALS. .......... Bass Pedal connection
EXT TONECABINET . . . 11 pins connector, ON/OFF switch
connectable the Leslie models 415,
715, 815 or equivalent (2ch-11 pin
type)
USABLE TONES (depending on MODE of SOLO SYNTHESIZER
section)
UPPER KEYBOARD NORMAL: OFF 7 notes
NORMAL: ON 7 notes +1 notes
LOWER KEYBOARD . . BASS: OFF 7 notes
BASS: ON 7 notes +1 notes
OTHERS
Power source . ....... US and Canadian models
100V, 120V selectable 60Hz
General model
100, 120, 220 or 240V
selectable, 50/60Hz
US model 69IW
Canadian Model 60W
General model 60W
1128x237x642mm (without legs)
(44-3/8' x 9-3/8' x 25-1/4"}
Finish ....2 2222440 Rosewoodgrain cabinet
Accessory . . . ....... FC-3A Foot controller
Optional Accessories . . . . FC-4 Foot switch pedal
BP? Bass pedal
Power consumption
Dimensions (WxHxD) . . .
* Specifications subject to change without notice.
—— E A =
>
а
SERVICE
The SK50D 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.
26
= @® VAMAHR
NIPPON GAKKI CO, LTO. HAMAMATSU, JAPAN