Yamaha CS-5 Owner's Manual

YAMAHA
Synthesizer
Sl
®OWNER'S MANUAL
PROFILE
The CS-5 synthesizer is ideal for a wide variety
of applications. It can serve as a beginner's
instrument, and it can equally well be used asa
versatile solo keyboard.
This block controls
the external input
signal.
(9 © Voltage controlled oscillator
page block to control the pitch and
generate square waves and
sawtooth waves as sound
This block consists of sources. ÓN
a very low frequency —
oscillator to modulate
the VCO, VCF, and
VCA blocks. O 8,
page page
Sliding
control >
to change
the pitch Г EXTERNAL Г VCO
Г Г 0
= Points of Attention manually — o
during , _ + os
e Installation | | | | performance. TRIGGER LEVEL TURE
Avoid places subjected to direct sunshine, high NOISE La | —
humidity, or extremely dusty locations. Never use the © GENERATOR 64 ÓN
| | co
synthesizer near fire or heat-producing objects, such page - —
as on top of a power amplifier. | - FO FEET
e Cleaning ¢
When cleaning the set, do not wipe the panel or key- ; | Ш , ws
hoard with thinner or other cleaning liquids, as this SPEED LEO MOD PORTAN
may leave stains or cause discoloration. Always use
only a soft and dry piece of cloth,
PITCH BEND
e Connections
Connections to an amplifier or other equipment must
be made appropriately and with due care, as wrong
connections may lead to damage in the synthesizer
or amplifier.
e Volume
The volume leve! should always be set with care, as
the application of excessive input to the amplifier
may cause damage to the amplifier or speakers.
This section
selects
thé sourd
ВОРОВ Sam |
10 the Y CF
dre sorves
o adjust
ho lovels,
ра (©
Voltage controlled Tilter block. This black
produces the tone calor by controlling
Ji GE LIT
the harmonic structure of 1he sound source M controlleit amplifier block
which in tim is povernad by the cot-ofl This block controle the volume
frequency of the filter. Control voltages according to the envelope sal by
are green by the GUT OFF FREQ knob, by tha EG black and other factors
the envelope set in the EG block ete.
..D PA
Power
Envelope generator to produce the curve of tamporal change in the sound (‘envelope’), switch
by means ol trigeer signals representing the ON/OFF timing of the keyboard.
B®
| YAMAHA
BEAT Fi
WHAT IS A SYNTHESIZER
magnitude (volume) of the sound. This is because a
difference will be produced in the size and amplitude
of the string's vibrations, due to the intensity with
which it has been struck.
In this way, sounds produced by musical instru-
ments have such elements as pitch, tone and volume,
whose differences add to the sound’s characteristics.
These clements are referred to as “the threc clements
Unlike other musical instruments, the synthesizer has
no fixed sound of its own. Thus, before playing it, it is
necessary to shape the sounds, But with the synthesizer
you will be able to create, with your own hands and by
synthesizing sounds, a new type of sound that can never
be made by any other musical instrument.
e THE THREE ELEMENTS OF SOUND
How does a synthesizer make sounds? Before
explaining the principle of the synthesizer, let us
consider what kind of properties sound has.
Sound produced by musical instruments such as
the piano or the guitar has a certain pitch, according
to the key or string used. It is possible to change the
pitch by changing the length of the vibrating portion
of the string. In this case, the strings number of
vibrations per second also changes. The slower the
string vibrates, the lower the pitch becomes, In this
way, it is possible to express the difference in pitch
by the number of vibrations (frequency).
PITCHES
Bass sound
TN IT
Treble sound
However, between the sound of a piano and that
of a guitar there is a difference in tone even when
both sounds are of the same pitch: no one will mis-
take the sound of the piano for that of the guitar.
This is because there is a difference in the way the
strings vibrate (the vibration waveform ), due to the
difference in the arrangement by which the sounds
are generated, and because of the difference in the
shape and size of the musical instruments.
Difference mn tones means
{he difference in waveforms.
Furthermore, even when both the pitch and tone
quality are the same there can be a difference in
sound, such as when the same key of the piano is hit
in a forcible or a gentle manner. It is casy to discern
the two sounds from each other because of the
Of sound”, which may also be considered as the
difference in frequency, waveform and amplitude.
TEMPORAL CHANGE IN SOUNDS
However, the elements which render sounds with
certain characteristics are not confined to these
three. Taking the piano for example, the volume will
reach maximum the instant the key is hit, then will
decrease gradually. When the finger is released from
the keyboard, the sound will fade out. In the case of
the organ, the action of depressing the key will cause
the volume to rise to a certain level, which will be
retained for the duration the keyboard is depressed.
The sound will fade away when the finger is released
trom the key.
Peak level -—, En velope
KEY ON |
SEY OFF
In such musical instruments as the trumpet, for
example, the harmonic spectrum changes together
with the change in volume. The tone changes too,
along with the passage of time.
Thus, the sounds of musical instruments undergo
delicate changes from the time the sound is generated
to the time it fades away. These temporal changes are
known as an “envelope.”
HARMONICS
What must we do in order to produce electrical
sounds that have the above mentioned three elements
of sound, these are pitch, tone and volume, and which
vary with time (have an envelope)? Before going into
the matter, let us view sound again from a different
angle.
As regards the vibration waveforms by which the
tone is determined, it is known that any given wave-
form can be considered as consisting of a certain
number of sine waves. In other words, all waveforms
can be produced by combining a large number of
sine waves. For example, let us overlap over a single
sine wave waveforms having an integral multiple
number of vibrations, such as 2-fold, 3-fold, and so
on. It is seen that the waveform will gradually come
to resemble a sawtooth waveform. In addition to this,
it is apparent that this sawtooth waveform has a
cycle similar to that of the sine wave that has been
used as the basis. The sine wave with the basic cycle is
referred to as the fundamental and the sine waves of
harmonic overtones as the harmonics. In the case of
musical instruments, the way in which harmonics are
contained in sounds will depend on the arrangement
by which sounds are generated. When we discuss the
difference in tones (waveforms), it is the same as dis-
cussing what kind of harmonics the sounds contain.
Accordingly, one can express the three elements of
sound in another manner, that is, as 1) pitch. 2) the
manner in which harmonics are contained (harmonic
structure) and 3) volume,
SAWTOOTH WAVE
NN |
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amplio + AM £ 4
Tude : A A ÁS
2 3 + Harmonics
e STRUCTURE OF THE SYNTHESIZER
In the synthesizer, sounds are synthesized by
electronically effecting control on the four properties
of sound (the three elements of sound plus the
envelope), dividing it into 4 blocks.
Control of pitch is effected by the VCO. that of
harmonic spectrum by the VCF, that of volume by
the VCA and that of envelope by the EG (envelope
generator). The following describes the functions of
each block.
VCO
The VCO block produces sound sources of fre-
quencies corresponding to the intervals of the key-
board. The sound source waveforms produced by the
VCO are sawtooth waves and square waves that
include many harmonics in a regular manner. These
waves are oscillated, using an electronic circuit.
VCF
The VCF block determines the tone, changing the
harmonic spectrum of the sound sources by cutting,
or emphasizing, certain parts of the harmonics by
passing the sound sources through filters. The
boundary between the portion that passes through
the filter and the portion that is cut off is known as
the cut-off frequency. The VCF creates the charac-
teristic harmonic spectrum, by varying the cut-off
frequency.
C
Charge of hormones
т
hange of waveform
2%
>| Cutoff
|
Hel
- > harmonies + “harmonies
г Fundamental
In addition to adjusting the cut-off frequency by
means ol a knob, the tone is caused to undergo a
temporal change (from the time the sound is
generated to the time it ceases) to give it an “enve-
lope”. This is accomplished by effecting control on
the filters cut-off frequencies by means of the
envelope generator,
VCA
The VCA block adds an “envelope” to the volume.
The process starting from the generation of the sound
up to the point the sound gradually fades away is
governed by the envelope generators ATTACK TIME,
DECAY TIME, SUSTAIN LEVEL, RELEASE TIME
(A.D.S.R.), changing the amplification degree of the
VCA amplifier.
VCA and Envelope
Signal From VC E
VCA Output
Envelope A,
+ Ry
The signals from the VCO reach the VCF where
they undergo a change with regard to their harmonic
spectrum by being passed through a filter. The sig-
nals, now containing certain tone characteristics, are
given a volume “envelope” at the VCA and then fed
out. In this way, all elements of the properties of
sound are controlled electronically, by utilizing the
three elements of sound and the “envelope.” The
synthesizer has, in addition to the blocks described
above, other blocks such as the LFO which permit
further changes in the sounds. But in this case too,
the job is performed by controlling the three ele-
ments of sound and the envelope.
We hope that the points described in this section
may be helpful to understand the immense possibili-
ties and great pleasure awaiting you on a path that
will lead you into a new world of music using a
totally new musical instrument, the synthesizer.
CONNECTIONS
| | В |
OUTPUT 7 CONTROL VOLT TRIGGER EXTERNAL
IN OUT IN
FTN FN
“и Ng
OUT
© ©
©)
©
For details of terminals @ and @
see page 14.
PHONE PLUG
to INPUT terminal.
to AUX IN В ——— >a
terminal + ==
| Ta il y
pl
A4115H
Q POWER CORD © CONTROL VOLT @ TRIGGER
Connect the power cord plug to an AC outlet. By connecting the set with other synthesizers,
such as CS-5, CS-10, CS-15, CS-30 eic., having
O OUTPUT CONTROL VOLT (or KEY VOLT), and TRIGGER
The CS-5 can be connected to all kinds of ampli- terminals, this set can be used as a multi-system
fiers. Use connection cords with plugs matching the synthesizer. See page 14 tor further details.
shape of the input terminal of the amplifier to be
used. The following input terminals are to be used: EXTERNAL
KEYBOARD AMPLIFIER . .. INPUT TERMINAL If an electric guitar or the like is connected as
GUITAR AMPLIFIER ....... LOW INPUT sound source, it is possible to give its sound a synthe-
STEREO AMPLIFIER . AUX TERMINAL sizer effect by the control blocks. For details see page
ELECTRONIC ORGAN... ... EXT IN, AUX IN, 14.
EXP IN, etc.
©
~
HOW TO PRODUCE SOUND
Bach section will he explained according to the signa flow. Pease operate the knobs and
switches (т each Нет fo understand their finetion while lsteting to the changes iv sound.
to intmediviely obrabr sod wien the keys are degreased, 11 18 necessary бо ser the synthesizer
(hereafter referred to as basic setrine)
Sol Li MIXER blogk ae fellows:
BASIC BETTING -
sawtooth wave) Knob + 10 (fully right)
!. Connect he aynihesizor properly by referring to E RAE ib
CONNECTIONS on the prev
pad a MS CUT OFF FREQ knob == H {fully right)
A. Set the synthesizer as shown in the iNustration ® Sod the VOA BLOCK as follows:
according ro Me follewing steps. EG DEPTH knob = 10 {fully right)
A E Set the EG black as follows;
1) POWER SWITCH SUSTAIN LEVEL knob == 10 (fully right]
Set the other knobd and switches as illustrated
below, Under this condition sound lé produced when
the keys are depressed,
When pushed down, the syithesszer is switched on
and ihc indicator Muminales,
—
— НН.
Г
3, This complete the basic setting, The C5-5 panel layoui follows he block diagram
(circuit diagram), showing actual operation of the
synthesizer and flow of signals. Signals Nowding from
left to right are controlled in cach blogk and thus the
sound ls created,
FUNCTIONS KEYBOARD/VCO
The keyloard hock consists of the kephboard, the velrage (CONTROL VOLT) corresponding
to the pitch and the TRIGGER conrrol signal representing the KE Y-ON and KE Y-O0FF timing.
7 KEYBOARD
The C55 is 0 monophonle synthesizer covering
lhree octavos with 37 keys
* When two of more Keyl dre sémultancously te
pressed, priority is given to the key of the higher
igh,
® The sound rame to be covered can be changed hy
tha FEET switch In the VCO block,
@ PITCH BEND
The pitch can be varied up and down within the
range of 1 ogtave ны ку Мн The PETCH
BEND sliding control.
a
a
Z—
—
al I |
| |
hf MA рае
The FCO block ira voltage controlled oscillator generaring sawtooth and gguare waves wich
become Me scvimd sonrees acoording eo the conrad signals fran the Keyboard Book,
@ TUNE
This Knob adjusts the pitch, Turning il towards
“plus” Increuses phtcls and turning UI towards minis”
decreasos plich. This ds used to tune Meg synthesisér
witls oder Instruments,
& |twill take about 15 minutes after the synthesizer
is switched ON until the pitch becomes stabilized,
Thus, the synthesizer should be turned on 16
minutes Defers Tung,
(№) FEET
The keybonrd covers 3 octaves with 37 Keys, The
МНН range lu № covered can he Пей by Iie
FEET switch as illustrated below,
FEET Controls
СИРАНО Г
1
=
JE
LE 0
ETT 3 PRIN
d LFO MOD
The Frequencies of oscillation generated in the
УСО can be Tuether modulated within a certain range
by the LFO block. The further the LEO MOD knob
le med towards 10, me deeper the modulation
hécomes,
7 PORTAMENTO
POR TAMENTO ls an olfect hay which the sound of
one Key smoothly changes into the pitch of the next
ne depressed, The shifting speed is adjusted by this
knob, The further it is taped towards L, the longer
the transition Wink becomes.
FUNCTIONS vco/LFO
HW PWM (Pulse Width Modulation)
Modulates the pulse width of the VCO's (square)
waves al oo pericial ser with the SPEED kiob in the
LFO. When the knob ds med to ©, symmetrical
square waves are produced. The further 1 de turned
lowards 10, the larger becomes the change in pulse
whieh
® lc confirm the afloat af the FAM, 11 la moceisary
to tum the >. {savdooth wave) knob 4% amd the
EXT/NOISE knob (11) in the MIXER block fully
kit, and turn thé TL (square warel kmob towards
10
® The PWM follows a ©, [sine wavel, regardless of
th wav lar svlieh poasltian in the LPO,
Sire wave of
LED paris
PWM: Pube width modulation
In PHY TO (ment,
||
i
! pue vida chance
| 50 ta BON.
Fe LÉO 18 8 very don frequency ascilleror black to produce periodical cduvrers in pitcf, fonte,
werd voliing ay created hy me VOL VOR and VOA Blocks,
# To confirm the effect of the ЦРО, № is necessary 19 turn up the LFO MOD knobs in sach
Block,
(№ 10
E | [3 — | e
|| fre
= | | 7 | ; | 7 {
Sd ao lt
P wis : TT — |
@) SPEED
This knob adjusts the modulation period. The
speed becomes Master the Голик бе Кита be turned
lowards
F. The adjustable range is 0.3 to 100 Hz,
By changing the speed diferent sound effects can
He produced,
18 LFO
hu
SINE WAVE
Gently changing sound effects can he ob.
tained.
Vibraro elTect to VICO,
“Woah Wah™ und "Growl" effects to VCF
Iremolo effect to VU A
SAWTOOTH WA YE
Intermittant sudden change and dow
change
ain wip
m —
y ==]
| Lh 1
Ti
ar 8
si SAMPLE AND HOLD
Causes irregular changes. S/H samples an
mutant valve of the drregularly changing
noise waves, aid sustains that value unl
unciher sampling is mode, thus prodiing
irregularly changing modulation signals. The
suplina pericia la determined ly me SPEED
knob (9),
SH Principle
Чен sj OUTRE Б/Н аш.
" iy I My 1
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FUNCTIONS MIXER/EXTERNAL
E"
The AXIS block бест mie varnvefora 10 Le Meco di sound sources avr mee Ae Tr
bevel fer the VOF block,
10 EXT/NOISE
When external signals or nose elected by the
EXTNOISE ewiteh of the EXTERNAL blüok dre
used as the seul source, adsl (heir eolime «with
ils Kwak
JE PM : Bawlooth wave
Adjusts the sawtooth wave levels. Sawtooth
waves lnvo harmonige of фона integers,
witich suits them dir be used as pæudéo sound
émireés for Imilating melminvents Amd Lie
like.
d8 MF Square wave
Adljusts Mio mare wave levels The pulse
width modulation of these waves Gin be cons
Hrelled by (he PWM Knob № п ое МСО
Mick, Square waves have harmonics of the
NEXT ride mumber, WTI hey are modulated,
an clfect peculiar to the Symileesizer can be
GANE,
® |n the MIXER the volumes of the respective waye-
forme can ba adjusted independently and the
different sound sources can be freely mixed.
Spectrum of smvtoath wave
I
a rara NN Tire |
| sine]
Frecisency [Fic 5 4 #Fél
Ami Hin 4a) 5 1 AÑ
Spectrum ol symmetrical - Period 5
sQUare MATE
||
| Frimudancy IF} is ju rr qi i
Ample (A) $ A MAA
The EXTERNAL block & an input controlling section which permis HH external signals
sich ax from gn eleerrie guitar conmecied to fre
sources of He synthesizer.
EXTERNAL ferminal on the rear parres, de Me sevi
E Por ie EXTERNAL sgrols anal TRIGGER LEVEL kEnnb soe page 14.
14 NOISE
With tlie EXT/NOISE switch est to NOISE,
NOISE car be chosen as the sound source by the
EXTINOISE Knob fn le MIXER block, The nals 1s
white noise including widely dispersed (requencles
anging from very how to vary Bgl, 10 is well suited
as sound source to imitáte such natural sounds as
wind, waves, Gral ántinada, ele,
1
ia ——z | Æ |
[us | Eu | 7
| Me [3 Ka ый A | lA
FUNCTIONS VCF
Fhe FCF (raitage comironed Miér! black cmariges Mie harmonic SCHE N ervegtes Me tone
colmaron by filtering the sowed оное Даа selected in the MIXER hinck,
1% HPF/BPF/LPF
HPE + Migh-pass lier
Freguencies higher than the cor-nií freguency
set by the CUT OFF FREQ knob (18 pass.
PE Bund pas (leer
Frequencies lying between the cut-off reguen-
cy st by the CUT OFF FREQ knob pis
[he CUT OFF FRED knob ls used to vary the
width of the Band of frecuenciós bel passed
Nan marrow Lo wide,
LEI Low pass Tlie
Frequencies lower than the cut-ofl frequency
sel by the CUT OFF FREQ Knob pass, This [s
the type of Miér generally used in synthesizers.
a When the CUT OFF FREQ knals is turned fully
ta L in the LPF position, all Irequencies are cul
off with no sound being produced,
® When the CUT OFF FREQ knob ls wirned fully
to H in the HPF or BPF position, 1he voluma will
become small since only harmonics in the high
range are passed through.
#6 CUT OFF FREQ
Phe boundary frequency Between (he rungs being
passed by the filter and the range to be cut is called
tse cut-ofl frequency, The harmonies of the sound
source signals are partially cui by adpsting the cait-
of frequency lo influence the tone coloration, Tum:
ma the knob towards H will cause the cutoff fire:
queney 10 become lilgher,
1 RESONANCE
If the RESONANCE Knob is turned towards H,
tie Marmunies be the nelghborhood of the cait-alf
lrequency are emphasized, and the tones are more
a [uibqel
10 LEO MOD
Fermits the change of the tones periodically by
mimbre the cules mreguoney of the VCF ai à
period given by the LFO. The modulation will be
LEN TL ETE He more the Kiob le dowanla 10,
1 EC DEPTH
Controls me depth of the envelope that is to be
applied to me YCF by the BG (Envelope Generation
block. Depth increases when the knob is lured to-
wards 140),
” IB
Kinds of filters
HPF
Le
LPF
—— — — a — —сн —
ii Рам. =L HEE m
Cutoff Frequency
LEFF
Paga = re = Сы!
lo: Fundamentas Te: Cutail Freguesoy
Hesonanee
Е ЦУП ВЫ ко)
fabs H
Has: L
|
A Fo: fundamental
D
FUNCTIONS VCA/EG
a
#0 EG DEPTH
a
Fe VEA (tale conte angler) Beek. effects charges br viokime of Hv signals coring
from me FEF
INITIAL LEVEL
Adjusts the volume level (initial level) of the YCA
chill when Keys are not depressed, When the Kil
Loser do O, the volume is determined only by lie
viblues of the EG DEPTH and EG block Knobs
Adjugls he depth of the envelope set by the EG
block applied do the YOA block. Adjustments of BG
DEPTH control the amplitude of the VCA output.
® The VOA output volume 64 the turn ef true avale
set by the INITIAL LEVEL knob (20 and the EG
Ams
—.
|
DEPTH knob 21
LFO MOD
Modulates the УСА úl a peri sel hy Mer LEO
and produces a tremolalike effect (FO wire: simo
wave), Modulation becomes deeper as the Knob is
fumed towards 10
The EG block cremés an envelope curve witch
submits the sound to temporal change in the four
modes of ATTACK TIME, DECAY TIME, SUSTAIN
LEVEL, and RELEASE TIME,
Initial level
Toa) Ciegos Leal
Ouwipul level when no
keya ard doprassad,
И
i
Inirial Level
i
Trigger Signal |
Уве ЕС в сотой by the KEY-ON/KE OFF signaly from the Eevboard and louds temporal
chamo fo (vt fone produced Mr Ha VCR aired thie voli in the РСА,
® This block can be triggered by the extarnal signals connected to the EXTERNAL terminal
an tha roa panel, For datailé 6 page 14,
® To confirm the operations of the EG block, it is necessary 10 use the EG DEPTH knobs
in tha VCF and VCÁ blocks Turn the INITIAL LEVEL knob 20 in the YEA block som:
pletely to O.
28 ATTACK TIME
Adjusts the time from the moment when keys are
dppressadd mill maximum change, lt controls the
с К characteristics al Uwe beginning of sound faro
@ DECAY TIME
Ad]uars the Lime Troms (he maximum ¿Mame IMEI
the stable condition sel with the SUSTAIN LEVEL
Kal 25) hi relched. Tarmina the Knob towards L
Causes slower decay.
®
duction, Tuming the knob towards L causes slowes
attack.
= TEE
e
NFL ie Sa fra CET E = tail ña |
; E —_ ial — — —l
LE
FUNCTIONS EG
# SUSTAIN LEVEL en nen Куты
Adjusts ithe stable sound level that will persist USTAÍ LEVEL
UNI Keys are releused after changes by ATTACK
TIME and DECAY TIME have been completed. Four sas of
Turning the knob towards 10 causes the SUSTAIN (id bruler
LEVEL to become higher,
- em wd = Вен
I 1
7 RELEASE TIME ATTACK TIME + DECAY TIME | RELEASE TIME
Adjusts the tne From the release of keys until the |
sound completely Fades away, Turning the knob to- ET [EF
wards |, causes the Lime to become longer
® When EG is applied to VCF
[he envelope applied 10 the VCF controls the
When EG applied to VCF
VCF cul-oiff frequency and changes the harmonic LPE ——
structure of the sound source from the МСО, he 1 Had ptdr
The cut-off frequency is determined by the (2) tone changes in time
CUT OFF FREQ Enob in the VCF block, the KEY y \
VOLTAGE from the keyboard, eto, bul if a wave
form (control voltage) like an envelope rom the EG : a A
block is applied, the culo frequency will also
change like the envelope curve. For example, in ee
case of LPF {low-pass Niter), It hecomes dhe Highest
ut the peak ol the envelope curve and passes more
harmonies of a higher range.
la Mis way, le envelupe come con change the
waveform (ome) passing the VCF
* When EG is applied to VCA
As shown In Lhe IMustralor du the right. che
volume can be controlled according ro the envelope
| When EG applied ta УСА
CA YE Signal from VCE,
| I МПИ > || ШУ,
vo
I i | |
—— — der
The volume le controliée] like
tha Ed) shaped by the srvelope
voltage,
bom SEEN EEE
HOW TO USE EXTERNAL TERMINALS
Sobngd sources sudh dd an elecirie guitar, elect
piano ele con be connected Loa Me EXTERNAL termi-
ils on the fear poñel, The algnals can then te fod
through the svnthidsizer from the YOF black on, and
they can oler he used as nigger stgnals contradling the
start of the EG Coorresponding to KEY-ON, KEY-OFF
rm the keyboard), Thus, spevition of the synthesis
hy external sound sources is possible.
1) EXTERNAL
Terminal to ¢onnect exer slgnuly, such aa (rom
an electric guitar or electric plano
2 EXT/NOISE
When ex termal signals pre used as The poumd saree,
this switch must be set to EXT.
5) TRIGGER LEVEL
Adljurais the level uf the exigmal signal tó petierale
trigger signals for the EG (equivalent iv KEY-ON,
KEY-ORE from the Keyboard), Sensitivily becomes
higher when the knob is turned towards 10
a The trigger ls always controlinch by this knob,
regardless of the position of 1hé EXT/NOISE
with. 2).
® External signalá can be used a4 The sound source
alone without any triggór function, This knob
Must be set to О and adjustment 5 made only
by the EXT/NOISE switch (2) and the EXT/
NOISE knob in the MIXER block.
Using Two Synthesizers
The keyboard dota of the CS-5 can be sent to the
control block of another US-5 synthesizer (or another
synthesizer having similar terminals) by using the
CONTROL VOLT and TRIGGER terminals on the
rear panel. This permits the building up of a double
svnthestzer system,
(1) CONTROL VOLT
Keyboard data signal controlling the pitch, cie
being generutecl by the СО,
(2) TRIGGER
Keyboard dala representing the KEY-ON and
KEY OFF timing, for contra) of the EL {envelopes
generator
® Tha ilustrarion on the right shows an example
in which the keyboard of SYNTHESIZER 1 is
being played ond SYNTHESIZEN 2 № baing cor
trolled.
® An careful nal 10 make wor connections [eh
as OUT 16 OUT), as thes may cause damage fo the
abri LE,
Fr EXTERNAL =,
| 1
IN
SYNTHESIZER 1
EMT FOL оо
i
our
OPERATING SEQUENCES
BASIC SETTING
| | lp
=
Ё | © | | En А A
—
——
—— Is
=.
Sotiing
Al Set the synthesizer up according to CONNECTIONS
page 6,
2 Turn on the switches of the synthesizer and amplifies
stid wel lee volume 01 the amplifier oo suitable
position.
SOUND CREATING
With thee synthesizer you can «lefermime youn iwi
original sound even before staring actual perio.
CTH
2! Signals are Towing from left to right and can he cos
Hralled by the respecióve kmobs or the panel,
3 Sound signals corresponding to the Intervals of (he
keys gre generated by Hee YCO) block when keys are
depressed. Set the knobs of the VCF and МСА
Mocks 64 shown above sa ia Uwe oseillatbing algrals
af basic sounds can be produced (without being En:
Nuence:d by the VOI and YCA blacks),
4] VCO block/MIXER block
® Selects the sound sources tor the basic sound
wily the MIXER viklume
® [eprezang the Keys will produce sound.
® Ringe of the kevbourd te determined by Tito
FEET switch,
|) VCF luck
® Produces the basic harmonic structure (tome),
You selec the filter charuéteristiés with (lié
HPF. BFF, LPF switch, and determine (he
harmenie structure Further wlii the CUT OFF
FREQ) and RESONANCE knobs.
A
[4]
10
| YAMAHA
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7 + с
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x
Нее
яя
EG block
E Produces temporal changes rev thie star( ul
the sound being penermied to its fading away.
There are ATTACK TIME, DECAY TIME,
SUSTAIN LEVEL, and RELEASE TIME.
VCA block
« Control temporal changes in volume will che
BEG DEPTH and INITIAL LEVEL knobs,
VCF block
® Produces temporal change br tome cedorailoa
with tlic FG DEPTH kno.
LFO/EFFECT
® Selects the SPEED and wave forms of (he L FO
luck, Ales serves lo adios (he LO MOD wl
He YCO, YCFP, ani YCA, IF needed.
* Permils varialions durlne perfomance with tve
PFORTAMENTO knob and PITCH BEND slide
Earnie
The steps from [8] 10 197 are he basic procedure te
create sound, To achieve your ideal ound. it is neces
ary La update the respec ive Kiiibs repeatedly while
confirming the results by car. The original sans
hue created can be reproduced al any time IF the
position of cach knob is registered in dre SOUND
MENO
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BLOCK DIAGRAM/SPECIFICATIONS
BLOCK DIAGRAM
RESONANCE
— | + ) A 0 OFEET #_
— A BEND y [
= VCO + wc Ша VCF or — VCA OUTPUT
— | ‚ LPI a ШИ
° лан Cy TRIG LY EXT y см
KEYBOARD см } ov Ñosef 1
Яго MOD Zou VOD Lec DEPTH MOD 2EG DEPTH
PORTAMENTO Ne FO _ - DT Re BF. INITIAL
CONTROL VOLT _ 4 LEVEL |
OUT
№ '
TUNE
ET -
IN
№ | À À
TRIGGER
OUT I NOISE +
Y
EG
IN № TRIG.
EXTERNAL | A A: ATTACK TIME
| EXTERNAL — > D: DECAY TIME
IN | L S: SUSTAIN LEVEL
# TRIG . AD SR R:RELEASE TIME
TRIGGER
LEVEL
SPECIFICATIONS
KEYBOARD . . .37 keys, 3 octaves TERMINALS
CONTROLS EAL = itivity: —35dB (Min.)
EXTERNAL. . TRIGGER LEVEL Control: “=== ensitivity: nm
| TRIGGER OUT
Min. —35dBm IV (ON
Function Switch: EXT/NOISE RISGER IN 3V (OFF) to 7V (ON)
LFO ...... SPEED Control: 0.3 to 100Hz +15V — 13V (OFF) to OV
Waveform Selector: "v/ ™ / S/H a 10V (ON) 9
VCO.......FEET Switch: 2', 4', 8", 16’, 32’, 64’ _
TUNE Control: —200 to +200 cents CONTROL VOLT OUT
LFO MOD Control: 22222. 125MmV to 4V
CONTROL VOLTIN
—200 to +200 cents 125mV to 4V
mV to
PWM Control: 50% to 90% Troe
PORTAMENTO: Max. 3.5 sec. OUTPUT. .. .—22dBm/600 ohms
MIXER ..... EXT/NOISE Control OTHERS
I. : Sawtooth wave control POWER SOURCE... . .. U.S. and Canadian models -
[ L: Square wave control 120 V 60 Hz
VCF....... CUT OFF FREQ Control General models
RESONANCE Control 110, 130, 220 or 240
LFO MOD Control: +3 octaves V selectable,
EG DEPTH: +10 octaves 50/60 Hz
Filter Selector: HPF/BPF/LPF POWER CONSUMPTION 8 watts
VCA....... LFO MOD Control: AM modulation, DIMENSIONS ....... 641 x 290 x 157 mm
max. 90% (W x D x H) (25-1/4 x 11-3/8 x 6-1/8"")
INITIAL LEVEL Control WEIGHT ........... 7 kg (15.4 Ibs)
EG DEPTH Control ST 2..2... к... Semi-gloss black
EG. ...... ATTACK TIME: 0.007 to 7 sec.
DECAY TIME: 0.018 to 18 sec.
SUSTAIN LEVEL: 0 to 10 V Specifications subject to change without notice.
RELEASE TIME: 0.018 to 18 sec.
PITCH BEND +1 octave
TROUBLESHOOTING
| NO SOUND
{
Г
Sounds that have
been set are not heard,
During operation, sounds
have ceased to come out.
|
|
x
During performance,
sounds have ceased to come out,
Set to the basic
setting shown on Page 7.
y
If the CUT OFF FREQ knob is turned
to L direction to far when the filter
switch is set to LPF, no sound
sometimes comes out.
|
Is there any disconnected power
or connection cord of the
amplifier or synthesizer?
( ls sound heard?
|
Are the controls of the’
Restore setting to the
basic setting shown on Page 7.
amplifier normal?
\
RE ££
Has the Synthesizer—Amolifier
—Speaker connection been
properly made?
After thoroughly checking each item, if the situ-
ation still cannot be remedied, please refer the
matter to your nearest YAMAHA service shop.
OPERATES BUT NOT IN
A NORMAL MANNER.
{
Г
Faint sounds {Volume
will not increase.)
Sounds come out but are
not normal,
x
Other knobs do not work.
y
|
|
Are the VOLUME controls of
the synthesizer and amplifier
properly set?
|
If sounds have been normal at the
basic setting shown on Page 7,
then the trouble is due to the
misoperation of knobs,
As the knobs of the EG are
correlated, setting is to be
made with the function
of each switch kept in mind.
Are the ampiifier's sensitivity and
|
output large enough?
!
Settings of the INITIAL LEVEL
control will alter the VCA envelope
characteristics
the EG block and the VCA normal?
|
If ATTACK TIME and DECAY
TIME are too short when the
SUSTAIN LEVEL is 0, faint
sounds are heard.
|
Volume depends upon position
of the CUT OFF FREQ knob.
os the setting of the EG LEVELs и
After thoroughly checking each em, 1 the
situation still cannot be remedied, please refer
the matter to your nearest YAMAHA service
shop.
LL
~~ (3) YAMAHA
MIPPOR GAKE| CO, LTO. HAMARMA TSW JAPAN
[ÖMG. 18] I i == E Printad da1anán