Yamaha CS15D Owner's manual

Yamaha CS15D Owner's manual
YAMAHA
ES
DUAL CHANNEL SYNTHESIZER
OWNERS MANUAL
SYNTHESIZER CS15D
Thank you fof your parchase of the YAMAHA SYNTHESIZER C51 312,
Provided with a total of 29 preset tones divided into two channels, plus one manual-control
chanmel, the C5150 is particularly designed to provide improved real-time performing properties
while retainine its originality as a synthesiver.
Please read this Owner's Manual carefully to bring out the full potential of the C5150, making
use of its many features.
page ©)
A
OUTPUT /PITCH/MODULATION )
This lock aceomodolées controls With
functions able to determine all basic Ты
tions of the C5160,
This black is used for example 1a set the
basic pitch and io determing the volume, |
must be set prior to performing control ope:
rations and chacks,
= Points of attention
6 (Installation
Ayo platos subjected to direct sunlight, aq Buri.
dity, of dust. Mever use the synthesizer near fire or
hoatoroducins objects, (such né on the top of a
power amplifier], as it will cause cabinet deformation
® Claaning
When cleaning the set, do not ‘wipe the panel or
keyboard with inner or other cleaning liquids, as
this may cause stains and discoloration. Usa always a
sot and dry peice of glath,
* Connections
Connections to an amplifier or other equipment
must be made comectly and with due care, ás wrong
connections may lead to damaging the synthesizer
or amplifier, | PITCH/MODULA TION / SUSTAIN
* Volume | PORTAMENTO/BRILLIANCE
The volume level should be set with care. Applica This block is used during performances to 4
tions of excessive input may cause damage to the
offoct fina contral of soLINdi to give various
amplifier or speakers,
nuances to them. The controls are operated
| bw tha lett Band,
The block is effective both lar the voices
croatecd by the MANUAL block and for all
preset volces, As it serves 10 add final nu-
апп; to those volces selected by tho VOICE
SELECTOR so as to meet your Lasté, 11 may
be likened to apicos used in cooking
ran @, ®
INPUT / OUTPUT Terminals [Rear Panel)
LINE OUT
The synthesizer does not Incorporate a power amplify
ar. Therefora, when playing the synthesizer using speak-
ers, the output of tha synthesizer mul be connociod го
lifier sich as à keyboard amplifier.
¡poes ame § Ye
CONTENTS
CONNECTIONS , 005555054044 FE VEN
OPERATIONS ..... DAD Ti
CREATING SOUNDS 222 au a aan an anna 000
FOR FULL UTILI£ATION
SOUND MEMO
BLOCK DIAGRAM, . ...........
SPECIFICATIONS Lu tn
TAQUBLESHOOTING, 2111014 0 ea a ee eee ee
Page ©
Л |
CONTROL VOLT/TRIGGER | VOICE SELECTOR
These are input/output terminals used for exchanging This block is used for selecting the sounds to be
voltage data With añnolhor syatheslzür 1O determine the played by the 65150 CH the 20 presat voces, plus
sounds of the synthesizer, those created by manual operation, desired voices
Whan only ang synthosizar unit ls tó bo used, there i aro selected by the push buttons, Volume bal
ño need to use these terminals, ancing between Ch-1 and Ch-2 is also performed
ий a
am FEE Fi pr at this Block,
fier PL Eh -
pm
\ Page © -
~~ 1
MA ML AL
This block is used for creating original synthesizer voices, It con-
sists of thre blocks: the VCO Block, or ‘Voltage Contralled Cecil:
lator’ which produces signals that serve as sound sources; the WCF
black, or "Voltage Controlled Filter‘ which creates differant timbre
of sounds: the VCA block, or "Voltage Controlled Amplifier whieh
datarminas volume variations from tha point the volcs starts up to
the point at which | Taded away.
This block becomes operable only when "MANLJAL' of Chi-2 ls
selected by the VOICE SELECTOR,
e
CONNECTIONS
FUSE
In this diagram, the Cana- e À
dian model is used. Pow i
Wall outlet | |
Power cord
Mixer
When it is to be used in the
MIX mode, connections to the
power amplifier and speakers
should be made from “2/MIX”
“ooo ojolo
„66. 6/0100
ООО
О
PIDO oo».
To Power amp.
and Speakers.
Phones terminal
rm Hilti]
X
VINE CHUIT
AMI 1
! %
Pon
X
0.0 : Asregards the CONTROL
VOLT and TRIGGER terminals,
please refer to page 15.
When two channels are to be
used, connection should be
made to a mixer, or to two
power amplifiers.
Amplifier
AMARA LL. 11 112 с.
С TIO.
The synthesizer should be installed so that it is separated by
a sufficient distance from a radio, television set, or the like.
When played near such electrical equipment, it may become
the cause of erroneous operations, noise generation.
OQ POWER CORD
Insert the plug into an AC outlet. Power con-
sumption of the CS15D is 25W,
O LINE OUT 1, 2/MIX
These are output terminals used for connecting
the synthesizer to the amplifier, or other equipment.
17 feeds out the sounds of Ch-1, 2/MIX” feeds out
sounds produced from the mixing of Ch-1 and 2
when no jack is inserted into “1”; ¡t also feeds out
those sounds of Ch-2 alone when a jack is inserted
into 1”.
® When making connection to an amplifier, take
special protective measures with regard to the speak-
ers, such as, switching off the amplifiers power
switch, or by turning down its volume.
OQ CONTROL VOLTAGE/ OQ TRIGGER
These terminals are used for feeding in to, or out
from, another synthesizer such data as: (1) the volt-
age indicating the pitch of the keys that are being
played (CONTROL VOLTAGE); and, (2) voltage
data indicating the timing for playing and releasing
the key (TRIGGER).
By connecting them to another synthesizer,
contro! of multiplex systems can be effected from a
single keyboard. For further details, please refer to
Page 15.
e Connections should be made most carefully, as it
may lead to such serious troubles as damaging the
power amplifier, or speakers, when the connector
cord for connection to the amplifier is connected
to these terminals by mistake.
© PHONES
Phones jack is used for connecting the head-
phones. Mixed sounds of Ch-1 and Ch-2 will be fed
out,
— 4 —
OPERATIONS/ To Produce Sounds
On completion of connections, check them to confirm that no mistake has been made. Now, as we shall describe
the functions of the control for each block, operate them yourself while listening to the sounds to confirm the functions.
Turn on the POWER switch.
OQ POWER (Power switch)
The power switch is located at the back next to
the power cord. Flip this switch up. This will cause
power to turn on and the indicator on the upper
right side of the control panel to light up.
Indicator
Rear panel
7 YAMA
CES
DUAL CHANNEL SYNTI
Upper right side of
control panel
Power cord —
Preliminary Operations
In order to confirm that connections have been made
properly, you should now produce the sounds yourself.
In preparation for this, the block adjacent to the key-
board should be set as shown in the following drawing.
4
SUSTAIN MTCH MODULATION
WCF
0 “4 "e
5 1 ОСТАМЕ ЦР
A
PORTAMENTO| | BRILLIANCE
EE 1 — MM +
— — - a
OCTAVE DOWN
— Set to center.
Set to 0”.
The next step is to select a voice with the VOICE
SELECTOR. Let us, for sake of convenience, select
the voice at the left end. Set it as shown in the following
drawing. With this, preparations have been completed.
After selecting CLARINET and
WOOD WIND 1, fix MIX lever to
the center.
OUTPUT
O LINE OUT (Output switch)
Turn on the switch. This will cause connection
between the amplifier and the synthesizer.
This switch should be positioned “OFF” when,
OUTPUT
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VOLUME e Pee IU ;
oa ;
for example, you are creating sounds while using
the headphones.
OQ VOLUME (Volume control)
Turn up the volume. Now the synthesizer can be
played by working the keyboard. The volume of the
amplifier-side should be adjusted at the same time.
O KEYBOARD
The CS 15D covers three octaves with 37 keys.
® When 2 or more keys are depressed simultaneously,
priority will be given to the higher-pitched key so
that only its sound will be fed out. (Being a mono-
phonic synthesizer in which priority is given to the
higher tone.)
When the keyboard is played with the unit set in
this condition, the performance will be a dual-tone
(clarinet and WOOD WIND 1) performance.
e In the case that no sound comes out, check to see
whether connections are correct, whether the ampli-
fier has been operated in the correct manner, and
whether the amplifier and speakers are connected
properly.
e In the case sufficient volume cannot be obtained,
check the input terminal of the amplifier-side to see
that connection is proper.
® When audio speakers are used, excessivly high vol-
umes may cause the speakers to be damaged by
burning. Be sure to use the speakers within their
rated power capacity.
After confirming that the sound output is proper,
depress different buttons of the VOICE SELECTOR and
freely turn other controls as well as to familiarize your-
self with the functions. When proceeding to the next
step, restore the controls to the positions shown in the
above diagram,
— 5 —
OPERATIONS/ To Change Pitch
Such controls as TUNE/DETUNE/PITCH Bend Wheel are provided to change the pitch.
CRETE
PITCH #A0GDULATION; 3 VINCE GELECTOR
Determines the basic pitch.
“mamma gen
av o
— E
S
Cent
Used for changing the pitch
temporarily, chiefly during
performances.
OWEN EEE
1 8 7
CHANNEL 7
DETUNE
O TUNE an
This is a tuning control used for tuning the pitch NX
with that of another musical instrument when per-
forming joint performances. When tuning the pitches,
be sure to confirm that the PITCH Bend Wheel is
at the click-stop position.
e The tuning control is to be used with the mixing lever
of the VOICE SELECTOR slid to the upper side, and
after selecting the sounds of Ch-1.
e For the synthesizer, it takes about 15 minutes fol-
lowing power switch-on for the pitch to perfectly
stabilize. For this reason, tuning is to be performed
after more than 15 minuies have passed from the
time of power switch-on.
i
:
{
3
i
;
i
i
! :
OCTAVE DOWN |
i
@ PITCH (Pitch Bend)
The PITCH bend wheel is to be used when the
player wishes to change the pitch temporarily during
performances. Normally, it is set to the click-stop
position at the center. It is used, for example, to
@ DETUNE
This is a control used for tuning the pitches of
Ch-2 alone. It is possible to gain a chorus effect by
producing a slight deviation in the pitches of the two
channels, or to create a harmony effect by setting the
pitches apart by the third or fifth.
change the pitch according to the rhythm played by
the keyboard, and then is swiftly restored to the
former click-stop position during
sounds.
rests between
The range in which the pitch can be changed is
+ one octave.
HINT: DETUNE HINT: PITCH BEND
OCTAVE UP
— Third -
<
+ Third
2
ou !
> +Fifth
LL
—Fifth <
— +
CHANNEL 2
DETUNE
OCTAVE DOWN
When the pitch of Ch-1 is set so that it deviates from
the pitch of Ch-2 by the major third, or perfect fifth, the
sounds will be given an increased depth by the harmony
effects.
PITCH BEND is used, for example, to create
a pitch-changing effect at the point where the
tone starts in guitar choking, or in harmonica
performances. It is also used for slur perform-
ances: while depressing the key with the right
hand, the wheel is controlled with the left.
OPERATIONS/mobuLATION
The operation to give a periodical variation to the sounds is known as modulation. Modulation consists of 4 factors:
the speed of variation, method of variation, the object of variation, and the intensity of variation; each is set by indivi-
dual controls.
To confirm the effects of modulation, the 4 controls related to modulation are to be first set as illustrated in the
following drawing.
CUT PLIT PITCH MODULATION VOICE SELECTOR |
Determines the speed of modulation. |
* The mixing tever of the VOICE SELECTOR
_ ру | | | a | ans | should be positioned either to Ch-1, or to Ch-2.
Lx Cu | | | u | | | | | | | This is necessary to prevent “beat” from gener-
a x НН Le A i ating when a deviation occurs in the pitches of
a a FUNCTION Determines the method of variation. two sounds, “beat” being difficult to tell apart
| po NS (Set to” NY .) po from modulation.
т недо ET
Le “a т = © Determines the object of
So variation, (Set to “VCO”.) D FUNCTION
Ten = s | | | This is a switch that determines the mode in which
| | | | | | modulation varies. When this switch is positioned to
| - - 9 Determines the intensity “XL, natural variations will be obtained; such
{ E of variation. (Set to “0”.) musical effects including VIBRATO, GROWL and
| “, E TREMOLO described in @ . At other positions the
| | o ‘ ) | | | variations will be those inherent to the synthesizer.
| | | [LL : Change the switch over to this position and see
how the sounds change. As the form “ IL”
© MODULATION WHEEL indicates, rapid variation will be repeated.
This wheel functions to control the intensity of S/H: When positioned to ‘S/H’, irregular variation
modulation. The more the dented portion of the will be repeated.
wheel is turned upward, the more intense the modula- REPEAT: Unlike the other three functions, REPEAT
tion will become. is effected by controlling the modulation
The intensity of modulation can be controlled signal, which, in turn, controls the TRIGGER
as desired while playing the keyboard. signal that causes the EG to start up. Ac-
Lan Here, it is to be set to the position where the cordingly, it enables intermittent sounds of
strongest modulation will be applied. a period determined by the SPEED control
to be produced while the keyboard is being
© MODULATION Switch played. (Continued)
This is a switch used for selecting which block
of the three blocks (VCO, VCF, or VCA) modula- KEY ON KEY OFF
tion is to be applied. When the switch is positioned
to “VCO”, the oscillating frequency will periodically | |
change. Generally, it is used to create a VIBRATO TRIGGER
effect. |
When set to “VCF”, it will cause the tone to | |
|
|
vary periodically. This is used in general to create |
a GROWL, or WAH-WAH effect. When set to “VCA”, Envelope OZ
it will cause the volume to vary periodically. It is
general used to create a TREMOLO effect. Multi-trigger obtained with REPEAT
Change this switch over and confirm the condi-
tion in which the sound changes.
Envelope obtained with REPEAT
| 1
|
|
At the same time, it is possible to modulate the
VCO, VCF and VCA blocks with the S/H form using
the MODULATION SWITCH @® and MODULATION
WHEEL®.
e In the case of sounds which are slow to start up, the
volume may become markedly small, or no sound
at all may be heard when the SPEED control is set
at too fast a speed. This is due to the reason that
the sound fails to start up fully during the REPEAT
period.
NOTE: Principle of S/H
In reference to S/H, modulation is performed by an
electrical circuit (Sampling and Hold) that reads (sam-
ples) the value of the noise wave form at a certain
moment, and then holds this value until the next value
is sampled.
Basic principle of S/H
S/H output
r=
The period is determined with the
LFO SPEED control.
O SPEED
This is a control that determines the speed at
which modulation is to be changed.
By changing the speed, the way in which the
modulation effect appears will differ considerably.
Now, the functions of SUSTAIN, PORTAMENTO and
BRILLIANCE will be described. These controls are
unrelated to the other controls, each having indepen-
dent functions.
@ SUSTAIN
SUSTAIN
o
This control is used to control resonance during
the period from KEY-OFF to the point the sound
fades away. The preset tones of the VOICE SELEC-
TOR contain resonance that has been preset. It can
be freely controlled, however, to meet ones taste,
and according to the details of the number that is
being performed. When the control is positioned
to S”, resonance of a length equal either to the
preset tone or to the length set manually can be
created. The control should be normally set to “S”
when creating manual voices.
® PORTAMENTO
PORTAMENTO
d —L
PORTAMENTO denotes that effect in which the
pitch, starting from the previously played key, under-
goes a smooth variation until it reaches the pitch of
the next key to be played. Confirm this by sliding
the lever toward the L-side. Normally, it is positioned
to the S-side.
O BRILLIANCE
BRILLIANCE
This lever is used for controlling the tone. It works
upon the VCF, making the sound more brilliant and
harder the more the lever is moved toward the “+”
side, and softer, the more the lever is moved toward
the ‘’—’ side.
It is a convenient lever that can be used to alter
the preset tones to such that meets ones taste, and
to change the real-time tone so as to match it with
the movement and rhythm of the number that is
being played.
® When this lever is moved to the end of the ‘—” side,
the volume may drop markedly depending on the
preset tone, or sounds may cease to come out. This
is because the VCF has cut off even the foundamental
tone. In this case, the lever, if lowered while playing
the keyboard, can be used as a fader.
OPERATIONS/ voice SELECTOR
This block is used for selecting the preset voices, or the manual voices.
VOICE SELECTOR
TO
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VOICE SELECTOR buttons
When no button has been depressed, the tone at
the left end will be selected. In the condition where
2 or more buttons have been simultaneously depres-
sed, priority will be given to the voice at the right end
and that voice will be selected.
O MIX (Mixing lever)
This lever is used for selecting either Ch-1 or
Ch-2, or for balancing the volumes of the two chan-
nels.
MANUAL BLOCK/CREATES VOICES.
O MANUAL SELECTOR
When the MANUAL button of Ch-2 is depressed,
it permits voices created at the MANUAL block to
be selected.
The 29 preset tones, too, have as a rule been created in the same manner as voices created at the MANUAL block,
that is, by setting the controls of the MANUAL block. At the MANUAL block, various voices, including those being
preset, can be freely created by controlling the MANUAL block controls.
Largely divided, the MANUAL block can be grouped into three blocks: the VCO, VCF and VCA blocks. These
blocks correspond respectively to the three factors characterizing sounds, that is, pitch, tone and volume. The blocks
are prefixed with “VC” to indicate that the factors are voltage-controlled.
The VCO block, consisting of sawtooth waves ( Px ) and
square waves ( [IL ), is a block that functions to oscillate
sound sources that have a large number of harmonics
and noise corresponding to the pitch of the key. The
VCF is a block capable of freely changing the portion
of the harmonics to be removed and that to be left
(known as the cut-off frequency). Meanwhile, the VCA
block has the functions of giving a transient change
to the volume from the point the voice starts up to
the point it fades away.
VCO Biock
L
The following describes the functions of the controls
for each block. Set the CS15D in the manner shown In
the following drawing so that sounds will be produced
the moment the keys are depressed.
Other controls should be set to the positions shown
on Page 5, so that effects such as modulation will not
be created.
VCF Block
VOICE SELECTOR
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MANUAL
VCA Block
ATTACK CECAY SUSTAIN RELEASE ATTACK DECAY SUSTAIN RELEASE
TIME TIME LEVEL TIME TIME TIME LEVEL TIME
CREATING SOUNDS/ VCO---To Create Sound Sources
The VCO is the abbreviation for the Voltaged Con-
trolled Oscillator. By using the CONTROL VOLTAGES
(KEY VOLTAGE) that correspond to the pitches of
the keyboard, the block oscillates sound source signals
that have a large number of harmonics.
MANUAL
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FEFT WAVE MIXER
20
три
Ден
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NOISE MIXER“ Pv DE
O FEET
This switch functions to -change over the sound
range of the keyboard. The CS15D covers 3 octaves
with its 37 keys. However, by using the FEET switch,
which enables the sound range to be changed in
octaves, the total sound range can be enlarged to
cover 7 octaves.
|
|
| N
|
| |
JB FEET, À
|
32 FEET |
Confirm this by changing over the switch.
O WAVE MIXER
This control functions to mix square waves ( [ L }
with sawtooth waves ( P- ).
The square waves (Duty retio: 50%) consist of the
fundamental tone and a fixed rate of harmonics of an
oddnumber-folds of the fundamental tone. This har-
monics structure resembles that of closed brass in-
struments such as the clarinet.
Spectrum of symmetrical
square wave — Period —
098 + —
Amplitude -— - Time
— 10 7
og | Г
x Ш
Frequency (F) 3F БЕ 7F 9F IIF
A A A A A
Amplitude (A) 3 5 5 44%
On the other hand, the sawtooth waves ({ | )
consist of the fundamental tone and a fixed rate
of harmonics of an even-number-folds of the funda-
mental tone. Its harmonics structure resembles that
of general musical instruments such as string instru-
ments. Compared with the square wave ([L ), it
has a relatively large number of harmonics, and
the tone is hard.
Spectrum of
5
sawtooth wave
Amplitude
mm 1 Ú i
Period
Ld | | |||,
Frequency (F) Zr 3 4F OF
Amplitude (A) 5 $3 AA
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> D
o
The panel setting is adjusted so that the VCO's
output wave form will be sent out intact from the
synthesizer. Turn the control to confirm the features
of the sounds. Then, turn the control fully toward the
square wave ( [LL ) side.
OM PW (Pulse width)
This control is used for controlling the pulse
width of the square wave (TL ). When positioned
to “50%”, the pulse width will be equal for the upper
and lower sides, while the more it is turned toward
the 90%” side, the broader the pulse width will
be for the upper side. The more the pulse width is
broadened, the richer the harmonics will become,
creating a nasal tone. For the FAGOTTO tone and
cosmic voices, square waves ([L ) with broadened
pulse width are used.
@ NOISE MIXER
Noise is characterized by the fact that it has no
fundamental tone {and therefore, no pitch) and is
rich in frequency components over the frequency
range from low to high. As the control is turned
clockwise, the amount of mixed-in noise will increase.
When the control is turned as far as “10”, noise
alone will be fed out.
Noise is applied as a “breath” sound for wind
instruments, or as the sound source for such effects
as of a train and fireworks.
This covers the description of the VCO. Now, to
confirm the functions of the controls of the VCF
block, set the WAVE selector to “ ”, NOISE MIXER
to “0” and FEET to “4”. With this, let us proceed to
the next section.
—[
E]
CREATING SOUNDS/ VCF---To Create Tones
The VCF block is a voltage controlled filter that
functions to create different tones by cutting off a
part of the harmonics of the sound source signals sent
from the VCO, or to emphasize a part of the harmonics
by controling the Resonance frequency.
@ CUT OFF FREQ (Cut-off frequency)
This contro! is used to control the filter's cut-off
frequency.
Since the filter used for the CS15D is an LPF
(low-pass filter), harmonic components that are
lower than the cut-off frequency are permitted to
pass through, but those higher will be cut off.
Low-pass filter
L=+— fe ——H
fc © Cut-off frequency
In this case, the CUT OFF FREQ control is posi-
tioned to “H’ so that practically all of the harmonics
sent from the VCO will be permitted to pass through.
While playing the keyboard, gradually turn this control
toward the “L” direction. You will notice that the
tone becomes gradually softer. And when turned further
toward the “L” side, eventually no sound will be pro-
duced. This is because even the fundamental tone has
been cut off by the filter.
[Ur
When, for example, sawtooth waves are passed
through the Ш the waveform will becom
rounded and their corners
will disappear.
(Are cut off.)
| in
With the control positioned to about “4” (one
graduation closer to the “L” side with regard to the
center), please proceed to the next section.
0
| — но
“cor OFF FREQ. RESONANCE FG DEPTH
BD
PR
LUI
ATTACK e
TIME TIME | EVEL TIME
@ RESONANCE
This control functions to emphasize only those
harmonics in the vicinity of the cut-off frequency.
| RESONANCE
Filter: LP
UN
fc —
Emphasized
The waveform will becom jagged and the tone bright.
Here, this control is positioned to the “L” side.
While playing the keyboard, gradually turn this con-
trol toward the “H” direction. You will notice that
the tone has changed. It has become a little brighter,
but of a brightness that is different from that when
the CUT OFF FREQ control was turned fully toward
“H”.
Now set this control roughly to the center. You will
notice that this tone is roughly the same as that of
FLUTE preset into Ch-1. Shift the MIX lever to the “1”
side and confirm this.
CREATING SOUNDS/ VCF-EG---To Give the Tone a Temporal Variation
The way in which the sound of a musical instrument
rises and falls during the period from the point it starts
up to the point it disappears is not uniform but delicate-
ly changes in terms of pitch, tone and volume, The
envelope generator plays the role of creating this varia-
tion.
In the CS15D, this variation is divided into 4 modes.
An envelope, that is, the variation curve is produced by
controlling these 4 modes by means of a lever.
® The envelope generator is controlled by the trigger,
which is a signal indicating that a key is being depres-
sed.
@ EG DEPTH
This control operates in an inter-related manner to
the 4 levers provided on the lower side and the
envelope generator.
It controls the intensity with which the envelope
set at the envelope generator works on the VCF.
The envelope acts on the VCF's cut off frequency to
give a transient variation to the tone.
Now, with this control set tentatively at about the
middle (12 o'clock), proceed to the next item.
@ ATTACK TIME (Starting time)
This lever controls the time starting from when
the sound starts at KEY-ON, up to the point at
which the tone undergoes maximum variation.
(D DECAY TIME (Fall time)
This lever controls the time starting from max-
imum variation to the time the tone settles down to
a stable level controlled by "SUSTAIN",
@ SUSTAIN LEVEL
This lever is used for controlling the tone during
the period the sound is sustained stably when the
keyboard is being played, following completion of
ATTACK and DECAY variations.
d) RELEASE TIME
This lever controls the duration of tone variation
from the point the key is released to the point the
sound fades away.
Confirm the effects just described by sliding the 4
levers in various manners.
Envelope of VCF-EG
RELEASE
TIME
ATTACK + | “| DECAY Г
TIME | TIME |
|
- i i
VCF-EG "SUSTAIN!
_ LEVEL
TRIGGER
KEY ON KEY OFF
Now, let us produce an envelope resembling that
of FLUTE. As the degree of maximum variation is too
large, reset the EG DEPTH to the position around 9
o'clock. The FLUTE envelope is characterized by a
relatively longer ATTACK and by the fact that there
is little difference between the maximum variation
level and SUSTAIN LEVEL. You should be able to
obtain an envelope similar to that of FLUTE at the
setting shown below. However, the effect of RELEASE
TIME is still unclear,
D ©
L—@-- A 10 —M.— (— @ —
© ET —
T° — E
s—U— s—U—- o0—B— s—U—
ATTACK DECAY SUSTAIN RELEASE
TIME TIME LEVEL TIME
NOTE: When EG acts upon VCF
Cut-off frequency set with CUT OFF FREGQ control.
Envelope
The EG will cause a tempo-
—— ral variation to be given to
\ the filter's cut-off frequen-
\ cy, Thus, the tone, is caused
| \ to vary with time.
CREATING SOUNDS/ VCA---To Give the Volume an Envelope
The VCA, which is a voltage controlled amplifier, is
a block that functions to change, by means of the
envelope generator, the volume of a sound from the
point the sound starts at KEY-ON to the point it fades
away leaving a resonance.
As with the case of the YCF, the envelope produces
a change in the volume with the variation divided into
4 modes, ATTACK, DECAY, SUSTAIN and RELEASE.
D O D ©
PIEL
III
PIEL
III
ATTACK DECAY SUSTAIN RELEASE
TIME TIME LEVEL TIME
@ ATTACK TIME
This lever controls the time from the point the
sounds starts at KEY-ON up to the point it reaches
the maximum volume level.
E) DECAY TIME
This lever controls the time from the point of
maximum volume to the point the volume reaches
that of SUSTAIN level.
@ SUSTAIN LEVEL
This lever controls the volume of a sound sus-
tained at a stable level while the keyboard is being
played following completion of the sounds's ATTACK
and DECAY variations.
6) RELEASE TIME
This lever controls the length of resonance from
KEY-OFF up to the point at which the sound fades
away.
Envelope of VCA-EG
ATTACK DECAY RELEASE
TIME TIME TIME
7 Г
| SUSTAIN
y LEVEL
VCA output
Signals from VCF
>| VCA
Envelope curve of VCA
In reference to the VCA’s envelope, the SUSTAIN
lever alone is in the position of “107. With the VCF, we
have produced the FLUTE tone. When the channel is
changed over from “1” to “2” by means of the MIXER
of the VOICE SELECTOR, the difference will be
obvious. Control the envelope of the VCA slightly.
L—@ — - 10-—M— .— MM —
ps == j=
IT I Up Е
5 — SU o—0— a e
ATTACK DECAY SUSTAIN RELEASE
TIME TIME LEVEL TIME
The same setting as used for the VCF, as shown
above, should be satisfactory. Finish the tone to suit
your taste by further adjusting the VCF, and by apply-
ing a slight modulation.
Variations
Clarinet
MANUAL
VCF
! Hu
“CUT OF REL RESCATAR ES DEM L
EAS]
ATTACK RTE Ar SUR ER AFIT ASE
TIE FIRE VEL TRAE
Sounds resembling those of a clarinet can be
created by simply turning the FLUTE settings's
ВЕЕТ” to a and “WAVE MIXER" to 44 PL.
Fagotto
MANUAL
VCO
15 Bos .
3 3 © or o oF © ОЕ
FEET We YE MERA CVT RE FHI) FRE SLIM ANCE Fla DEPTH |
I € i "> | |
NOISE MIXide “в T I — —
ATTACK DECAY SUSTAIN RELEASE
ol | IME LEW |. TIME
FAGOTTO sounds are obtained by turning
“PW to "90%" from the CLARINET setting.
As the above settings are merely basic settings,
you should give the sounds a finish that suits
your taste through fine-adjustments of the VCF
and VCA performed while listening to the sounds.
FOR FULL UTILIZATION/ Operation:-- Summary
a Make use of the preset voices. m
The preset voices cover a large number of the sounds
of general musical instruments. Accordingly. the key
to making the best use of the CS15D is to use the
preset voices in a clever manner.
One way to make the best use of the preset voices is
to apply modulation in a way to match your taste.
This will result in rendering increased depth and
higher reality to the sounds.
e Example 1: Application of VIBRATO to sounds of
string and brass instruments
Application of a slight VIBRATO to such sounds as =
CLARINET, FLUTE, TROMBONE, TRUMPET,
CELLO and VIOLIN will give the sounds a higher 1.
reality. This is achieved by setting MODULATION
FUNCTION to A”, MODULATION SPEED to “6
(One scale more toward the “F”' side from the center)”
and the MODULATION switch to “VCO”, and then 2.
controlling the MODULATION wheel to match the
music being played.
® Example 2: Application of TREMOLO to XYLO-
PHONE 3.
For XYLOPHONE, multi-trigger performance is pos-
sible by setting FUNCTION to "REPEAT" and SPEED
to “6.5 (One and a half scale further toward the “FE”
side from the center)”. 4.
e Example 3: Application of WAH-WAH to COSMIC
sounds
To create unique sounds by giving the COSMIC
sounds a WAH-WAH effec, set FUNCTION to “NV, >
SPEED to “6” and the MODULATION switch to
“VCF”, and then apply a somewhat strong modu- e
lation by controlling the MODULATION wheel.
In this way, it is possible to change the atmosphere of
the preset voices by modulating them.
Another method that enables fuller use of the preset
voices is to use the BRILLIANCE lever effectively. The
BRILLIANCE lever is normally set to the center posi-
tion. However, the tone of the preset voices can be
changed considerably by controlling BRILLIANCE.
In addition to giving a more real finish to the preset
voices by the delicate control of tone, this also proves
to be effective for deliberately changing the tone to a
different one, thus giving an unlimited expression to
the 29 preset voices.
Render variety and depth to the sounds by mixing
them.
Variety can be given to performances by mixing the
dual voices of Ch-1 and Ch-2 and by letting them
flow to different lines.
In this case, it is also possible to create such effects
as a chorus effect by the use of DETUNE set to
UNISON (07 position), or to produce a string
effect, or a harmony effect by shifting the pitches
of the two voices apart by the third, or fifth.
You can create any sound freely by manual operation
(Summary of procedures)
Select the sound source.
First determine the wave form to be used as the
sound source, Then, determine the sound range ot the
desired sound by means of FEET.
Rough sound creating
Now, using the VCF, roughly produce the desired
tone. Compose the fundamental tone by using the
CUT OFF FREQ control.
Apply a transient variation.
Apply an envelope to the tone and volume. Key that
opens the way to higher-reality sounds lies in this
envelope application.
Finishing the sound
Fincly adjust the sound source; cut off frequency,
resonance, envelope, etc. to bring the sound to the
desired one.
. Give the sounds certain nuances with EFFECT.
To give the sounds a final finish, apply modulation,
etc.
Example 4: MANUAL COSMIC VOICE
An assortment of three COSMIC voices are provided
as preset voices. In this example, however, we have
created one that differs from the three that have been
preset. Here, the VCA's SUSTAIN lever is raised to
the highest position and the sounds are controlled by
the VCF’s envelope from the point of start-up to
fade-away. In other words, the cut-off frequency
during KEY-OFF is set to a tevel below the funda-
mental tone. But at KEY-ON, because of the VCF's
EG, it is raised to levels above the fundamental tone,
causing COSMIC sounds of a particular effect to be
created.
Example 4: Manual cosmic voice
\СА
ri e
L —$— E + I
— — EE не ——
| : Es «—0- ES
SUETAIN NELEASE ATTACK [1 САЛ SUSTAIN af FAT
NEL TINE TINE TIME LE“FL TIRM
FOR FULL UTILIZATION/ Using Two Synthesizers
Being provided with input/output terminals for
the voltage signals (CONTROL. VOLTAGE) that cor-
respond to the pitches of the keyboard. and signals
indicating that a key is being depressed (TRIGGER),
the CSI5D is capable of feeding out such data to
another synthesizer * having similar terminals, or of re-
ceiving data from another synthesizer. As a result, it
can control the VCO — VCF — VCA of a multiplex
system through a single keyboard.
* CS-10, CS-30, CS-30L (TRIGGER, KEY VOLTAGE)
CS-5, CS-15, CS-30 sequencer output (TRIGGER,
CONTROL VOLTAGE)
e CONTROL VOLTAGE AND TRIGGER can be fed
in and out independently.
@ CONTROL VOLTAGE
These terminals are used for feeding in, or out, the
CONTROL VOLTAGE that indicates the pitches of
the keyboard to, or from the CONTROL VOLTAGE
terminal, or KEY VOLTAGE terminal of another
synthesizer,
OUT
This is a terminal used for feeding out the CONTROL
VOLTAGE to another synthesizer.
This voltage has been controlled by the PORTA-
MENTO lever and PITCH bend wheel. However, it
does not contain such information as does TUNE,
DETUNE, or FEET.
IN 1/2
This is a terminal through which the CONTROL
VOLTAGE, or KEY VOLTAGE of another synthesizer
is fed in to Ch-1, or Ch-2.
@ TRIGGER
By being connected with the TRIGGER terminal
of another synthesizer, these terminals permit TR1G-
GER signals to be fed in, or out. The TRIGGER
signal has the function to start-up the envelope
generator.
OUT
A terminal used for feeding out TRIGGER to another
synthesizer.
® When REPEAT is selected by means of the FUNC-
TION switch of MODULATION, this terminal will
feed out multi-TRIGGER signals at the speed set by
the SPEED control.
IN 1/2
These terminals are used to feed in the TRIGGER of
another synthesizer unit for use as a TRIGGER to
control the EG of either Ch-1, or Ch-2.
® Special attention should be paid in connecting the
terminals, for troubles will be caused should the
CONTROL VOLTAGE terminal be connected to the
TRIGGER terminal by mistake.
® The following drawing shows a typical example of the
application of the CONTROL VOLTAGE and TRIG-
GER of Synthesizer 1 (CS15D) to Ch-1 of Synthe-
sizer 2. This arrangement enables simultaneous
control of a total of 3 channels, that is, Chs. 1 € 2
of Synthesizer 1 and Ch-1 of Synthesizer 2 through
the keyboard of Synthesizer 1. Furthermore, the
Ch-2-side of Synthesizer 2 can be operated in the
normal way through the keyboard of Synthesizer 2.
Synthesizer 1
TRIGGER \
CONTROL VOLTAGE À
"e JD ba 7 +
Pall Ir +
¿E a
o A or”
Synthesizer 2
The CH-2 of synthesizer 2 can be operated in
the normal way through the keyboard of synthe-
sizer 2.
CS15D SOUND MEMO
\ DA
¡SIMINAS TINNYHO TYNO
-
на! ind iO
ope
CINE NY
i
i
KON NN
CALLE
INYN ONNOS
BLOCK DIAGRAM/SPECIFICATIONS
BLOCK DIAGRAM
SPEED: 0.1 to 100Hz
FUNCTION: %, , ll ,S/H, REPEAT
CHANNEL 1
PT 1
|
—— | vco 1 VCF 1 VCA 1
| | Headphone
| | MOD. CONTROL | MOD MOD. PHONES
= | ve | Y OUTPUT /
—e u | TRIGGER TRISGER EG | MIXING VOLUME pre Amp, |
— 5 < | | LINE OUT
| ar — A > LINE OUT 1
———p > a 7
m > | | ‘ Не o NZ
a — | | A Mixing |
I mo. |
el E | PRESET MEMORY | yp] | :
== Eo Ia Т |
o se —-— — cH-2 * ;
=
Y
CHANNEL 2 LINE OUT 2
NEL «a — —
TRIGGER | |
— A VCO?2 Note)
| — | | —— ео Audio Signal
| MOD. OE | -—--— ----- Control Signal
NOISE | |
| TRE EG |
| |
LFO |--- MOD. | |
СЕН | |PRESET MEMORY 6 MANUAL CONTROLS| |
SPECIFICATIONS
KEYBOARD ...... 37 keys, c2 through с5 {3 octaves) МСА... ...... ATTACK TIME: 0.001 to 1 sec.
CONTROLS DECAY TIME: 0.01 to 10 sec.
PITCH........ TUNE: — 75 to +75 cents SUSTAIN LEVEL
CHANNEL 2 DETUNE: RELEASE TIME: 0.01 to 10 sec.
—750 to +850 cents JACKS
MODULATION (LFO): LINE CUT. ..... 1, 2/MIX (-9.5dBm)
CONTROL VOLT .IN 1/2 (0.125 to 4V)
OUT {0.125 to 4V)
SUSTAIN ...... S to L (6.5% 2 sec.) TRIGGER, ..... IN 1/2 (OFF: +15 to +3V)
PORTAMENTO. . .S to L (3.5 sec. max.) (ON: O to —15V)
BRILLIANCE OUT (OFF: +3V,ON: —7V)
PITCHWHEEL . . .OCTAVE UP/DOWN (£1200 cents} PHONES. ...... 8 ohms
MODULATION WHEEL: OTHERS
VCO/VCF/VCA POWER SOURCE. .U.S and CANADIAN models:
QUTPUT. ...... LINE QUT ON/OFF 120V,60Hz
VOLUME GENERAL model:110 to 130V or
VOICE SELECTOR (Preset voice) 220 to 240V selectable, 50/60Hz
MIX. . e... a... CHANNEL 1, CHANNEL 2: Balance POWER CONSUMPTION: 25 Watts
CHANNEL 1 ... CLARINET / OBOE / FLUTE / TUBA DIMENSIONS. . . .854 x 134.3 x 346mm
TROMBONE / HORN / TRUMPET (Wx Hx D) (33-5/8 x 5-1/4 x 13-5/8")
WOOD BASS /CELLO/ VIOLIN /CLAY WEIGHT. ...... 12kg 126.5 ibs.)
HARPSICHORD / XY LOPHONE FINISH. . ...... Semi-gloss black panels, rosewood-grain
COSMIC 1 / COSMIC 2 cabinet
CHANNEL 2 . .. WOOD WIND 1,2,3 / BRÂSS 1,2,3,4
STRING 1,2,3 / PERCUSSIVE 1,2,3
COSMIC 3 / MANUAL
MANUAL
VCO ......... FEET: 32 / 16 /8 /4" [2
WAVE MIXER: [| to Px
NOISE MIXER
PW: 50% to 90%
VCR aaa CUT OFF FREQ
RESONANCE: Q= 0.5 to 10
EG DEPTH
ATTACK TIME :0.001 to 1 sec.
DECAY TIME: 0.01 to 10 sec.
SUSTAIN LEVEL
RELEASE TIME: 0.01 to 10 sec,
Specifications subject to change without notice,
TROUBLESHOOTING
Sounds set at the MANUAL block do
not come out.
1
PRESET VOICES do not come out.
Sounds suddenly cease to come out
during a performance.
When the cut-off frequency has
become too low because of the settings
of the CUT OFF FREQ control and
BRILLIANCE lever, it will sometimes
cause even the fundamental tones to be
cut off. No sound will be heard as a
result.
1
Restore the setting to that shown on
page 9.
ЛОГ”
ав м
|
Are sounds heard?
|
Are the controls of the amplifier
normal?
|
Have the Amplifier--Speaker connec-
tions been properly made?
)
)
Depending on the position to which
the BRILLIANCE lever is set, no
sound wili be heard at times.
Is there any disconnected power cord
or connector cord of the amplifier or
synthesizer?
Restore the BRILLIANCE lever to the
“0” position,
Y
Are sounds heard?
Y
Is the MIX lever setting proper?
Is the LINE OUT switch set to “ON”?
y
ÓN O
Y
Faint
crease.)
Н the situation still cannot be remedied after each item has been
fully checked, please refer the matter to your nearest YAMAHA
service shop.
sounds (Volume will not re | Sounds come out but are not normal. | |
Other controls do not work.
1
|
Are the VOLUME controls of the syn-
thesizer and amplifier properly set?
Check the effect-creating controls such
as MODULATION and PORTAMENTOQ.,
During PRESET VOICE performances,
the MANUAL block controls will
becom inoperable.
(PRESET)
(MANUAL)
7
Is the VCA setting adequate?
)
The volume will change depending
upon the VCA envelope forms.
|
The volume will increase even when
adjusted with CUT OFF FREQ knob
(MANUAL) and BRILLIANCE lever,
If setting of AT and DT of VCF-EG
is small and EG DEPTH is set deep,
a click will be heard.
i
A click may also be heard when the
VOICE SELECTOR is switched over
while sounds are being produced.
Operate it again, after reading the Owner's Manual carefully. If the abnormal condition still
cannot be remedied, please refer the matter to the store where you have purchased the
synthesizer, or to the nearest YAMAHA service shop.
—— | 8 ——
—- @ YAMAHA
NIPPON GAKKI CO, LTU. HAMAMATSU, JAPAN
OMD-9| BWdB?!. BB. GR. — a TELS E
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