Roland SH-3 Electronic Keyboard User Manual

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Roland
Corporation
LFO-1 LFO-2
RATE
NOISE GENERATOR
LEVEL
WHITE/PINK
TO VCF/TOVCA
VCO
VIBRATO
8” CHORUS
WAVEFORM SELECTOR
5 OCTAVE COMBINATION
VCF
GROWL
ENVELOPE
SENS
CUTOFF FRE
RESONANCE
RATE DELAY TIME
VCA
TREMOLO
ENVELOPE
HOLD
OUT LEVEL
MODULATION
SAMPLER
MODE 25
LEVEL
SAMPLE TIME
ENVELOPE VCO MANUAL
CONTROL CONTROL KEYBOARD
ATTACK PITCH
DECAY | PORTAMENTO/OFF
SUSTAIN GLIDE |
RELEASE TRANSPOSE
—
. Introduction
2. Theory of the Synthesizer
3. Function of the SH-3
a) Keyboard
b) VCO (Voltage Controlled Oscillator)
c) VCF (Voltage Controlled Filter)
d) VCA (Voltage Controlled Amplifier)
4, Operation
. Tuning
6. Accessories (Optional)
Un
A synthesizer is not an organ. The basic
difference lies in the synthesizer’s ability to
freely modify sound envelopes, or, in other
words, radically alter the quality of musical
sounds.
The synthesizer can modify sound enve-
lope elements to change envelope charac-
teristics and thus modify volume and tone to
synthesize many sounds which are unlike any
which can be produced by conventional
instruments, in addition to sounds which are
exactly like those of conventional instru-
ments.
Thus, the Synthesizer has the inherent
capability of extending the range of musical
conception through production of unique
new sounds.
The Voice Generator, which generates
electronic signals that play an important role
in all electronic musical instruments, is
composed of the VCO “Voltage Controlled
Oscillator”, and its musical interval is con-
trolled by the voltage coming from the
keyboard switch. As the wave form of the
music sound produced by the VCO has many
harmonics, the desired tone is produced
through a VCF or “Voltage Controlled
Filter”.
The function of the Filter is also de-
pendent on the voltage. The signal through
the VCF is modified with regard to the
rising, falling or the maintaining of sound
oy the function of the VCA “Voltage
Controlled Amplifier".
Consequently, the VCO, VCF and VCA
are the crux of Synthesizer operation.
There are included various kinds of
voltage generators to modify these three *
circuits. For example, the LFO (Low Fre-
quency Oscillator) generates an electronic
oscillation lower than audio-frequency and >
supplies voltage to the VCO for Vibrato, to
the VCF for Growl, and to the VCA for
Tremolo functions. And a SAMPLER
incorporating a different LFO taps at regular
intervals the input voltage produced by the
first mentioned LFO or random voltage
produced by the Noise Generator and
supplies this voltage into the VCO to create
special sounds regardless of individual key-
board notes.
+
The Envelope, comprises elements Attack
(A), Decay (D), Sustain(S) and Release(R), as
shown in Figure 1 in general form, can be
varied according to operation control.
Two basic kinds of envelopes can be
produced, namely AR and ADSR. The
ADSR and AR are also called Envelope
Generators. Fig. 2 shows the mutual relation
among VCO, VCF, VCA, LFO, SAMPLER,
and ADSR. This is the general theory of
Synthesizer operation. Of course, besides the
abovementioned, there is other function —
namely, white-noise generator. Synthesizing
these functions in many ways creates even
more complicated and more unique sounds.
Fg. 1
FIg. 2
LFO
|
o
KEYBOARD [3 VCO f--m VCF |-зы VCA
Attack
Key Decay Key
ON OFF
| 1 | I 1
' | ! 1 !
| l La — Releasc——el
)
(Voltage) | | | |
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$ | I i
| | ! 1
| I !
| = 1
I 5 !
i “ |
a 1
———— (Time)
ADSR
——— Voltage
------# Signal
a) Keyboard
The keyboard employs F scale, 44 keys
and 3% octaves. It is possible, however, to
raise or lower notes by one octave via the
Transpose changeover switch to actually
extend the keyboard function to 68 keys
(9% octaves are possible by adjusting the
VCO).
Due to the employed “low-tone-take-
precedence’ system, when two or more keys
are depressed simultaneously, the lowest
tone only is produced. When a key is
depressed, a voltage which identifies the tone
of the key is supplied to the VCO and at
the same time, another fixed voltage is
supplied to the ADSR to form an envelope.
b) VCO (Voltage Controlled Oscillator)
The VCO of the SH-3 comprises volume
knobs and change-over switches as shown
in Fig. 3.
[Ц Symmetric Rectangular Wave .
Contains odd harmonics (3,5, 7,9...)
to produce. clarinet-like sounds.
NI Unsymmetrical Rectangular Wave ....
Contains many high-tone harmonics.
A_ Pulse Wave . . . Contains many
high-tone harmonics to produce string
sounds like a violin.
Each foot-volume knob (32’ to 2") is
equipped with an output-wave-form selector
to produce compound wave forms without
limitation.
Turning the 8 CHORUS dial clockwise
quickens the beat of chorus.
VIBRATO
4 3.6
3 7
2 8
1 9
. 10
8’ CHORUS
o VIBRATO
By shifting the VIBRATO knob, depth is
changed and normal vibrato can be modulated
by the ‘°° wave form. However, if it is
modulated by other wave forms, special
vibrato effects can be produced. Vibrato
speed can be changed by shifting the RATE
knob for LFO.
Pitch, Portamento and Glide of VCO can
be controlled by VCO MANUAL CONTROL.
(See Fig. 4).
co PITCH
The PITCH dial can vary the musical
Interval by perfect fifth.
o GLIDE
When pushing the GLIDE button while
playing, the musical interval drops, and as
soon as the button is released, the musical
interval is gradually restored.
This produces a Hawaiian guitar effect.
o PORTAMENTO
— The PORTAMENTO effect is obtained by
turning the PORTAMENTO dial. When using
PORTAMENTO effect, one note drifts to
the subsequent note. This changing speed is
adjusted by this dial.
When stopping PORTAMENTO tempo-
rarily, depress the “OFF” button.
c) VCF (Voltage Controlled Filter)
The VCF of the SH-3 controls Cut-off
Frequency and Resonance.
As shown in Figure 5, the Cut-off
Frequency control has the function of
cutting off the high frequency part of the
harmonics and plays an important role in
tone production.
Note that over-cutting of the harmonics
will cause elimination of the basic frequency,
and the sound will not be produced. The
Resonance control emphasizes the harmonics,
producing a peak slightly under the Cut-off
Frequency.
Since over-emphasizing the peak causes
oscillation of the other frequency for the key
depressed, it becomes an interruption in the
performance of melody except where special
effect is desired.
Fig. 4
Fig. 5
( N
ta 4 5.6
2 2 3 7
3 3 2 8
4 4 1 9
5 5 . 10
b PITCH + PORTAMENTO
M !
OD: O ©
TRANSPOSE -~ GLIDE OFF
au VCO MANUAL CONTROL 3
2 8
1 9
CUTOFF FREQ RESONANCE
VOLTAGE
CONTROLLED
\_ FILTER
o ENVELOPE
By setting the ENVELOPE switch to
ADSR, the envelope voltage produced by
slide volume knobs of ADSR is supplied to
the VCF to create very interesting effects.
By setting the switch to / 1 , the slow
attack voltage is supplied to the VCF. And
by setting to A_ , an effect similar to
WOW can be obtained.
All the envelope voltages are supplied to
the VCF via the SENS dial, thus ENVELOPE
is inoperative when the SENS dial is in “0”
position. |
o GROWL
Sliding the GROWL knob creates a kind
of phase modulation, and the VIBRATO
effect is obtained. This VIBRATO effect
differs from the VIBRATO effect added to
the VCO on nuance. The modulation speed
is controlled via the RATE volume knob of
the LFO.
d) VCA (Voltage Controlled Amplifier)
o ENVELOPE
- ADSR: When switched to ADSR,
envelope voltage produced by
ADSR slide knobs is supplied
to the VCA, thus volume can
be changed via ADSR curves.
SLOW ATTACK:
Switching to /~ Lbrings a slow
rising sound such as produced
by a violin or an accordion.
STACCATO:
Switching to AL causes a
Staccato-like sound (like the
sound of PIZZICATO playing
of a violin) regardless of key
depression time. Percussive
effect can be obtained via
the HOLD dial.
SUSTAIN: J1 An effect the same as
SUSTAIN alone in ADSR can
be obtained by switching tol 1, i.e., a sound
is produced as soon as the key is depressed
and suddenly stops by releasing the key.
c HOLD
The HOLD is a note memory device, and
the note for the key depressed is continued
until next key is depressed even though the
key is released.
o TREMOLO
The TREMOLO works to supply Tremolo
effect to the sound. When employing sine
wave (it is of the usual Tremolo, and for
saw-tooth wave (NM) it produces an effect
like the Tremolo playing of a Mandolin,
and use of symmetric rectangular wave (M)
produces a continual sound.
These waves all operate the VCA.
The speed of this Tremolo effect is
adjusted by the knob of the LFO.
o OUT LEVEL
This knob controls
instrument volume.
e) LFO-1 |
(Low Frequency Oscillator-1)
This oscillates saw-tooth wave to modu-
late the VCA and other circuits. Speed can
‘be changed via the RATE knob.
f) LFO-2
(Low Frequency Oscillator-2)
This oscillates rectangular and sine waves
and speed can be changed via the RATE
knob. Sliding the DELAY TIME knob
produces the delay effect when a key is
depressed for the preset frequency by the
RATE knob.
g) NOISE GENERATOR
The SH-3 comprises a Noise Generator.
Noises are classified into two kinds of
noises which are alternated via the Noise
Changer. They are the white noise audible as
“Shyaa’’ and the pink noise audible as “Zaa”.
As these noises emerge when depressing
the key, they may be used together with the
sound coming from the VCO.
The sound of a steam locomotive “SL”
and the sound of the wind or waves can
also be produced by using these noises alone.
When switched to “TO VCF”, noise mode
can be changed via the VCF, and when
switched to “TO VCA”, white or pink
noise can be directly produced at VCA.
Output can be adjusted by setting the
LEVEL dial.
h) SAMPLER
The Sampler incorporating a different
LFO taps at regular intervals the input
voltage produced by the LFO and supplies it
to the VCO to produce a series of sounds
differing from the sounds made by depressing
keys.
When the MODE is switched to RANDOM,
the voltage from the Noise Generator
produces random sounds. Mode wave forms
can be controlled via the Level knob. Thus,
via Mode switch, RATE of LFO, LEVEL
and SAMPLE TIME controls, many sound
variations can be produced.
i) PHONES LEVEL
The PHONES LEVEL control is used for
adjusting the volume of the headphones.
1) Connect the output jack to the input jack
of the amplifier with the connection cord
accessory.
2) Turn the power switches of SH-3 and the
amplifier to “ON”.
3) Raise the volume of amplifier properly.
Setting is thus complete.
Adjustment of the sound volume is to be
done via the volume knob.
Allow 5 minutes after setting the power
switch to ON, then set the Pitch Knob to
“0” position. Tune the Synthesizer to a
standard musical instrument by adjusting
the TUNING screw located on the left end
of the rear panel.
In this case, ascertain that the TRANPOSE
Is positioned at “M”.
(NOTE) In case a sudden temperature vari-
ation occurs or the Synthesizer is played
over an excessively long time, readjustment
of tuning may be required.
o Volume Control Pedal FV-1
OUTPUT
Connection Cord Connection Cord
AMP
OUTPUT
FV-1
a) Provides the same effect as obtained by
moving the OUT LEVEL knob (volume
adjustment). in the VCA segment.
b) Provides the same effect as obtained by
controlling VCF Cut-Off Frequency via
slide volume.
Connection Cord
VCF CONT
° ||
OUTPUT
FV-1
c) With use the pedal, Glide-Effect can be
varied.
+
Experiment with unique sounds at will.
Some examples are shown in attached sheets.
VCO CONT Connection Cord
© keep a record of your favorite sound control.
|| OUTPUT
FV-1
44 Keys (F scale) | Others
Note can be raised or lowered by one octave via Transpose Envelope Control ...... a LL LL LL 11100 4
swith. Attach Time/Decay Time/Sustain Level/Release Time
VCO Assembly (Voltage Controlled Oscillator) Low Frequency Oscillator 1 Rate . .................... 1
5 Octave Combination (32°, 16°, 8°, 4°, 21) 111111111110 5 Low Frequency Oscillator 2 Rate... .................. . 1
Waveform Selector .............. ..esecreraredon, 5 Low Frequency Oscillator 2 Delay Time Control ......... 1
Moduration Waveform Selector (N\ /FU 7) 110000 00 1 Noise Generator Level Control ..... .................. 1
Moduration Depth Control (VIBRATO).........Ñ... oe... 1 White/Pink Noise Changer... ............ uu... 1
Pitch Control ......... aaa adeeco, 1 Noise Input Selector. ......... a eaenen ao, 1
Glide Switch ......111111111 1111110 raro, 1 Phones Level Control .......... ranma 1
Portamento Time (PORTAMENTO).............'..... 1 Tuning (on rear Panel). ................. 0.0.0... 1
Portamento OFF Switch (OFF). ............ e... 1 OUTPUT Jack ................................... 1
Transpose Changeover Switch (L/M/H) anaconda eee 1 OUTPUT VOLTAGE CHANGEOVER SWITCH (LM). l
8’ Chorus Speed Control/OFF (8 CHORUS) ............ 1 PHONES Jack ............. o.oo oo ill, 1
Sampler Jack for VCO CONTROL . ... oi i 1
Sampled Waveform Selector (MODE — OFF/M/M /N/ Jack for VCF CONTROL ........................... 1
RANDOM) «ov oie eee ee 1 Voltage Changer (for changing AC voltage). ............. 1
Sampling Time (SAMPLE TIME) ................. .. Power Source AC 100, 117, 220, 250V 50/60Hz |
Sampling Level Control (LEVEL) .................. 1 Power Consumption 8VA | |
VCF Assembly (Voltage Controlled Filter) Dimensions W; 1005mm (40.2”) ;
+ Filter Resonance Control РВ; 320mm (12.8")
CUTOFF FREQ. «cv iii ee ee ee eee LL LL 1 H; 150mm ( 6.0")
RESONANCE ..... i, ee 1 Weight (Net) 14.5 Kg (32 Lbs.)
Moduration Waveform Selector (N/M /a) .............. 1 Accessories Music Rack
Moduration Depth Control (GROWL). ................. 1 Conection Cord
Envelope Selector (ADSR/A/ALY ov oe oe eee i. 1 (2.5m with Pin-Plug Adaptor)
Envelope Sensitibity Control (SENS) .................. 1 *Accessories (optional) |
VCA Assembly (Voltage Control Amplifier) Volume Control Pedal F V-1 |
Moduration Waveform Selector (M/U/A) 1 (for controlling Sound Volume, VCO '
Moduration Depth Control (TREMOLO) ............... 1 GLIDE effect or VCF CUTOFF- |
Envelope Selector ADSRY AM nadar enoaranoaea 1 FREQUENCY)
Hold Control...........reremoaaraneneneananea 1 |
*Specifications subject to change without notice.
I