Korg ARP ODYSSEY FS Owner's Manual
Below you will find brief information for synthesizer Odyssey. The Odyssey is an analog synthesizer that allows you to shape every aspect of a sound, from the attack and decay to the harmonic structure. It is equipped with controls that will let you precisely shape each and every parameter of the sound you are creating. It has a two-voice, 37-note keyboard with a nine-octave range. The Odyssey is compatible, and can be interfaced with all other ARP synthesizers. The Odyssey has a variety of features to help you create unique sounds, such as the VCO, VCF, VCA, and noise generator. These features can be combined together using the Odyssey's patch switches to create a wide range of effects.
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Introduction Welcome to the ARP Odyssey, the ultimate musical trip. The ARP Odyssey brings poly phonic electronic music to the performing artist—rock, pop, soul, jazz, or avant-garde. It includes such state-of-the-art firsts as phase-locked oscillators, digital ring modulator, sample & hold circuits, and most of the functions of a complete studio synthesizer. With its ease of operation and high reliability, your ARP Odyssey can produce an enormous variety of sounds in live performance. Everything from thunder and lightning to gong, fuzz guitar, and feedback distortion is at your fingertips with the Odyssey's slider controls and patch switches. The Odyssey's foot pedal and foot switch add to your expressive control. Its two-voice, 37-note keyboard has a nine-octave range. The Odyssey is compatible, and can be interfaced with all other ARP synthesizers. And, of course, the famous ARP filters and oscillators give you drift-free accuracy for professional-quality recordings. Odyssey Owner's Manual THE ARP ODYSSEY Contents Getting Started... ......22 2220410 a 0 0 8 4 414000 4 Experiment 4. The VCF. ............... 22 External Amplifier and Speaker . . .......... 5 Controllers. .......ocoeooaearorooaaenacoaoo 28 What Kind of Amp Works Best. ............9 Keyboardand Pedals . . ................ 29 Let's Begin. .......o.oocecenrevocorerraone ena. 6 ADSR and AR Envelope Generator. ........ 30 How your Odyssey Works. . .............. 7 Sample and Hold. . . . ...... EE 33 Sound SOULCES . . vv viv ie tte eee 10 Low Frequency Oscillators . . ............ 36 Experiment 1. Listening to Waveforms . ..... 11 PitchBend Control . .................. 36 Experiment 2. Pulse Width Modulation . .. . .. 14 External AudioInput. . ................ 37 Experiment 3. Phase Synchronization. ...... 15 Interface Jacks . . .................... 37 Experiment 4. Noise ................... 7 Panel Control Description Chart. ....... 39, 40 Experiment 5. Frequency Modulation. ..... .. 7 Hints on Using Your Odyssey ................. 41 Modifiers. RR 8 4140 0 19 Instant Odyssey ......2 020 10 44 2 444 201040 0 42 Experiment 1. Ring Modulation........... 20 Patches. ......ooeereorecoccoaanarnoono 43-54 Experiment 2. The VCA. . .............. 21 Specifications. . ........ tite. 55, 56 Experiment 3. The High-Pass Filter. ........ 22 Give Your Odyssey a Little Brother ....... Back Cover Copyright 1976 by ARP Instruments, Inc. 320 Needham Street Newton, Massachusetts 02164 Second Edition First Printing . . . March, 1976 Getting Started The Odyssey belongs to the class of Variable synthesizers. A variable synthesizer, as opposed to a Preset synthesizer, allows you to shape every aspect of a sound, from the attack and decay to the harmonic structure. Your Odyssey is equipped with controls that will let you precisely shape each and every parameter of the sound you are creating. Synthesizers create sounds electronically in much the same fashion that any natural sound is created acoustically. There are definite elements of sound which, when put together in different combinations, will precisely reproduce anything from a clarinet to a jackhammer. The Odyssey is a musical instrument comprised of a number of different electronic circuits; each one is designed to control an element of sound. This manual is an operational guide for the Odyssey, but it should also give you a working knowledge of electronic music functions. Checklist: e Fill out your warranty card and send it in. e Save the carton (It can be used to protect your Odyssey until you get a carrying case). e Place the Odyssey on a suitable playing surface (Don't worry about ventilation; it won't get hot). EXTERNAL AMPLIFIER AND SPEAKER The Odyssey, like all electronic musical instruments, is designed to be connected to an amplifier and loudspeaker system. This external equipment (amplifier and loudspeaker) may be a guitar amplifier, P.A. system, an electronic organ, recording console, or even a high fidelity or stereo system. Two outputs are provided on the rear panel of the synthesizer—a phono jack labeled “Low’’ and a smaller phono jack labeled ‘“High.”’” Use the outputs in the following manner: e If you are planning to plug your synthesizer into a guitar amplifier, use the synthesizer's “Low” output. A standard guitar cord can be used for this connection. e If you're using the synthesizer with an organ or a hi-fi amplifier, use the output marked “High.” An input jack is already available on most organ models. In the event your organ is lacking this input, it will only take a serviceman a few moments to install one. Ask him to wire the jacks so the volume of the synthesizer can be controlled by the expression pedal of the organ. WHAT KIND OF AMP WORKS BEST? The whole idea of a synthesizer is to give you the . capability to shape and control every aspect of a musical sound using the synthesizer's controls. Therefore the ideal amplification system for synthesizers should introduce as little distortion or coloration as possible. For this reason, P.A. systems usually produce the cleanest sound with synthesizers. Likewise a bass guitar amplifier is probably the worst kind of amplification for synthesizers because bass guitar amps usually have poor high frequency response. Some lead guitar amps also have a lot of distortion and coloration. If you play your synthesizer through such an amp, your sounds will tend to be characteristic of the amplifier rather than the synthesizer. Sometimes, however, the combination of the synthesizer and an amplifier with a great deal of its own coloration will produce just the sound you might be looking for. Also, don’t be afraid to use accessory devices, such as phasers, fuzz-wow pedals, equalizers and so forth with your Odyssey. You can get interesting results. The Odyssey can also be used as an accessory device for other electronic musical instruments through use of the external audio input jack. Let s Begin By now your curiosity is probably beginning to exert itself, and you may wish to start playing immediately. In this case, simply turn to page 39, read the brief descrip- tion of the control functions, and then set up any of the patches starting on page 43. While these patches provide some basic ideas of the vast potential that lies within the Odyssey, you'll ultimately discover an ever greater number of new and exciting sounds and effects on your own. If you prefer to systematically examine each control of your Odyssey before playing, continue on to the information which follows. HOW YOUR ODYSSEY WORKS Generally speaking, all the electronic circuits in your Odyssey perform one of three basic functions: 1. Signal sources: the “raw’’ tones or noise which will ultimately be shaped into musical sounds. 2. Signal Modifiers: the ‘“raw’’ sounds are passed through signal modifiers where the timbre (or tone quality) is changed to produce the desired sound, and 3. Controllers: devices which determine the operating characteristics of the signal sources and the signal modifiers. For instance, the keyboard is a controller which produces a voltage to tell the oscillator what pitch to create. Similarly, the ADSR envelope generator creates an attack and decay signal that controls the Voltage Controlled Filter (VCF) so that the final musical sound has an attack and decay. All mechanical instruments work in a similar way. A violin, for instance, has a vibrating string which would be a signal source. The vibrating string corresponds to the oscillator in your Odyssey. 'The vibrations from the string are transmitted to the body of the violin which modifies the sound of these vibrations. 'The body of the violin is actually a mechanical filter and corresponds to the Voltage Controlled Filter (VCF) on the Odyssey. It is the characteristic resonances of the body that give the violin its distinctive tone quality. The fingerboard, like the keyboard on your Odyssey, determines the pitch of the sound. The movement of the bow, like the ADSR Envelope Generator, determines the attack and decay characteristics of the sound. Interconnecting the various functions shown in Figure A is known as creating a “patch.”” The block diagram illustrated in Figure A is, of course, a violin patch. Similarly, it is possible to diagram any patch that you may play on the Odyssey. Actually, this visual representation of a patch permits you to better understand what functions of the synthesizer are being employed and how each function contributes to the finished sound. BOW DRAWN ACROSS STRING CAUSING VIBRATIONS (Signal Source) FINGERS CONTROL PITCH BY PRESSING THE STRING AGAINST THE FINGERBOARD OSCILLATOR WAVEFORMS AND NOISE (Signal Source) KEYBOARD CONTROLS PITCH FINGERS BACK AND FORTH BODY OF THE VIOLIN ACTS AS A FILTER/ RESONATOR (Modifier) DRAWING BOW ACROSS THE STRINGS SHAPES ATTACK AND DECAY (Controller) VOLTAGE CONTROLLED FILTER (Modifier) ADSR ENVELOPE GENERATOR (Controller) VOLTAGE CONTROLLED OSCILLATORS VOLTAGE CONTROLLED FILTER HIGH PASS FILTER VOLTAGE CONTROLLED AMPLIFIER NOISE GENERATOR AUDIO MIXER SAMPLE AND HOLD MIXER SAMPLE AND HOLD LOW FREQUENCY OSCILLATOR ADSR AND AR ENVELOPE GENERATORS TRIGGER FIGURE B. The figure above is a block diagram of all the functions and internal connections in your Odyssey. As we proceed with our discussion on the Odyssey's functions, you will be able to see exactly how the different functions interact. The Voltage Controlled Oscillator on your Odyssey produces electrical waveforms (saw-tooth, pulse, and square waves) which are used to create a wide range of sound timbres. If a signal generated by an oscillator has the same waveform as a sound created by a traditional instrument, both will sound the same. Different waveforms have different sounds. Your Odyssey is capable of creating six basic waveforms, plus noise: Square wave; clarinet-like J LI LI LIL Sawtooth wave; full, brassy Sound Sources Pulse wave; bright, nasal Jt J It Modulated pulse wave; chorus-like, rich Л И МИ ХИ Various phase-synced waveforms; bright, rich IAE Sine wave; pure, whistle-like EXPERIMENT 1. LISTENING TO WAVEFORMS 1. Hook up your ODYSSEY to a speaker and amplifier as described on page 3. For the time being, set all tone controls on your amplifier for ‘‘flat’’ response. 2. Set all the controls on your ODYSSEY to match the positions shown in Figure C. Double check the settings before proceeding. 4 rés 1 | ome AO me В Ка GENERATOR - COARSE FINE KYBO COARSE FINE SYNC LFO VCF VCF CUTOFF VCA E i. OFF FREQ || FREQ RESONANCE FREQ GAIN | ATTACK RELEASE x 20 He | U A | H z = sur кое PINK Fi KYBO ом LOW Tray с" 200 FREQUENCY 2 OSCILLATOR 2 на | 2° | 2 № MIN ee OUTPUT VOLTAGE VOLTAGE jo EE N CONTROLLED CONTROLLED |” S/H SAMPLE, AUDIO A o en canes Rie IXER и MIXER T4 «ПЫЛ EA FM M HOLD FILTER FILTER | | AMPLIFIER ADSR /— T có | [РУКЕ WIDTH 4 | | [~ PULSE WIDTH — | | OUTPUT | | | PE | ENVELOPE GENERATOR PORTAMENTO WIOTH MOD LAG y ATTACK DECAY SUSTAIN RELEASE TRANSPOSE 2 OCTAVES MIN MAX 2 OCTAVES 50% MIN LS pm —— LS em — = 1 Ly LLL oa || pas Vas LFO LFO S/H LFO vco-1 NOISE LEO NOISE VCO-1 vco.2 KYBD S/H ADSR AR KYBD KYBD ven | FLAT SHARP и AZ A AN гор I ñ и i il Е , Mm LX GATE Ml a LFO В A | ju Ё a) vES-2 — KYAD RING VCO-1 —vCO-2 ше AR и A AUTO REPEAT nn A | МЕР A A Pu Sun Tre моо Mm MN E Xx SN REPEAT | REPEAT nn PITCH BEND OR nr PEDAL PEDAL Ч А. A py Q FIGURE C 11. 12. FIGURE D. FREQUENCY CCARSE FINE AUDIO KYBD VOLTAGE CONTROLLED OSCILLATOR вы РР ro JUN 1 L rm | LFO S/H a DS A > > | ss IDTH | LFO i SA > „ The controls on your ODYSSEY are now set so that you will be able to hear the different ‘‘raw’’ waveforms from the ODYSSEY'S VOLTAGE CONTROLLED OSCILLATOR (VCO) whenever you play the keyboard. Locate the three slide controls under the AUDIO MIXER (white, green, and blue). Raise the blue slider under the AUDIO MIXER and play a few notes on the keyboard. The sound you are hearing is the raw, unprocessed sawtooth wave. The pitch of this tone can be varied manually through use of the COARSE and FINE tuning sliders. These sliders are located in the part of the panel marked VOLTAGE CONTROLLED OSCILLATOR 1 (Figure D). Hold a note down and push each of these sliders through its range. The COARSE slider allows tuning through a good part of the audio spectrum, while the FINE tuning slider allows a range of about one octave. When you are tuning the voltage controlled oscillators, either to one another or to another musical instrument, you will first tune the COARSE slider to the approximate range, and then use the FINE slider to find the pitch exactly. The slide switch next to the tuning sliders lowers the frequency of VCO 1 by a factor of about one hundred when this switch is placed in its L.F. position. This is far below the range of human hearing; consequently you will not hear any continuous tone but only a more or less rapid series of clicks. The rate of this low frequency signal is not controlled by the keyboard, but can be varied by adjusting the tuning sliders. Return the tuning sliders to the center of their range, and set the slide switch back to the audio range. Now change the slide switch under the blue slider of the AUDIO MIXER to the bottom position. Again, play the keyboard and you will now be hearing the sound of a raw unprocessed square wave. Notice how the square wave, especially at low pitches, has a hollow, clarinet-like sound. The square wave on your ODYSSEY can be turned into another waveform called a PULSE WAVE by raising the blue slider labelled PULSE WIDTH located under the VOLTAGE CONTROLLED OSCILLATOR 1 box. Raise this slider to the halfway mark and again play on the keyboard. Notice how the pulse wave sounds brighter, more nasal, than the square wave. 9. An even narrower pulse wave can be created by raising the PULSE WIDTH slider all the way to the MIN marking. This waveform is very buzzy and thin. At the MIN marking, the top part of the pulse waveform is only about five percent of the total waveform. A square wave, as its symbol implies, has a top part of its waveform that is exactly fifty percent of the total waveform. SQUARE WAVE (50%) JL] | PULSE WAVE (25%) || NARROW PULSE WAVE (5%) FIGURE E. 13. 14. EXPERIMENT 2. PULSE WIDTH MODULATION Lower the PULSE WIDTH control slowly thereby gradually increasing the width of the pulse wave until it becomes a square wave again with the PULSE WIDTH slider all the way down. If you move the PULSE WIDTH control up and down while holding down a low note, you will hear that the changing pulse width creates a kind of chorus-like effect. The faster you move the PULSE WIDTH control, the more pronounced the effect. By changing or “modulating” the pulse width while you play, you are creating another waveform called the “MODULATED PULSE WAVE.” The ODYSSEY has special PULSE WIDTH MODULATION controls that facilitate the generation of the modulated pulse waveform. Bring the blue PULSE WIDTH control all the way down, and raise the pink LFO PULSE WIDTH MOD control all the way up. Play the keyboard and you will hear a sound which is similar to the effect you created when you moved the pulse width control by hand in step 2. If you lower the pink LFO PULSE WIDTH MOD slider, the effect will diminish and finally disappear. Notice that the pink LFO FREQ control to the right of the Low Frequency Oscillator box changes the speed of the chorus-like sound. Experiment with different combinations of settings of the blue PULSE WIDTH control, the pink LFO PULSE WIDTH MOD control, and the pink LFO FREQ control. FIGURE F, VOLTAGE CONTROLLED OSCILLATOR t= NN 1 te PI LFO I | ceo | f © SCOR 5 X ? SS | | FREQ PULSE WIDTH 20 Fon MOD a He Low FREQUENCY OSCILLATOR r Tn o EXPERIMENT 3. PHASE SYNCHRONIZATION f \ FIGURE G 1. Now look at the part of the panel marked VOLTAGE conne re eme CONTROLLED OSCILLATOR 2. VOLTACE i | | STEPS. CONTROLLED OSCILLATOR 2 is exactly like VCO on 1 except for two things: = e VCO 2 does not have a low-frequency operating range. VOLTAGE CONTROLLED OSCILLATOR |» m1 2 e VCO 2 can be SYNCHRONIZED to | pe NN PULSE WIDTH VCO 1. В Lower the blue slider under the AUDIO MIXER box and raise the green slider. Now play the keyboard. You are now listening to VCO 2. SZ 1 2. VCO 2 can be switched between sawtooth wave and й E й square wave the same as VCO 1, and the frequency of a A Ah VCO 2, when it is not phase-synchronized, can be pee В varied in the same manner. VCO 2 also has pulse width modulation like VCO 1. Try the experiments that were done above on VCO 1 with VCO 2, 3. Phase-synchronization of the two oscillators is accomplished by the switch at the top right of VCO 2 labelled SYNC OFF/ON. 16. veo! > | NOT PHASE-SYNCHRONIZED ree > PHASE-SYNCHRONIZED > > NN FIGURE H. AUDIO MIXER se STEP 4. He — He — NOISE VCD-1 < O Le) > Cu J SCY RING VCO-1 MOD JUL FIGURE L Na FIGURE J. Г. NOISE — GENERATOR WHITE PINK When this switch is on, the audio signal from VCO 2 is forced to conform to the frequency of VCO 1. This is done by causing the waveform of VCO 2 to begin again, or restart whenever VCO 1 begins another waveform. This is shown for sawtooth waves in Figure H, and the same principle applies to square and pulse waveforms as well. It 1s for this reason that the harmonic sound of VCO 2 will vary as the COARSE and FINE frequency sliders for VCO 2 are changed, even though the basic frequency of the waveform does not change (it remains the same as VCO 1). You can hear this effect in its raw form by setting VCO 1 to some relatively low audio frequency (near the 100 Hz mark) and slowly moving the coarse tuning control of VCO 2 through its entire tuning range from bottom to top after turning the PHASE- SYNCHRONIZATION Switch of VCO 2 on. Experiment also with changing the frequency of VCO 1 while leaving VCO 2 in about the middle of its range. Some of the patches make use of this spectacular sound, unique to the ODYSSEY. At this point, too, with the SYN SWITCH off, you should practice tuning VCO 1 and VCO 2 to various musical intervals by opening both the second and third sliders under the audio mixer. EXPERIMENT 4. NOISE Lower the blue and green sliders under the AUDIO MIXER box and raise the white slider. Play a few notes on the keyboard and listen to the sound. You are hearing what is known as WHITE NOISE. This noise contains all frequencies in the audio spectrum in equal amounts, and is harmonically identical to the noise you hear between stations on the FM radio band. There is a noise generator switch located in the upper left hand corner of the ODYSSEY. Change the position of this switch to PINK and again play a few notes on the keyboard. Whereas WHITE NOISE contains equal amplitudes of each frequency, PINK NOISE contains equal energy of each frequency. Physically, this means that the higher frequencies are present at lower volumes than the lower frequencies. PINK NOISE is the most musically useful kind of noise because it sounds balanced to the ear, neither too high and hissy, nor too low and rumbling. You will see later how to use the other functions on the ODYSSEY to turn noise into a wide range of exciting sounds. EXPERIMENT 5. FREQUENCY MODULATION The pitch of the Voltage Controlled Oscillator (VCO) on your Joumae Lens ODYSSEY is controlled by the en ~ nn keyboard. You know this from the pause wo, previous experiments and you can also see that the keyboard is connected to the VCO on the block diagram, page 9. As you will now experience, you can also change the | вы 7 pitch or frequency of the VCO by == bringing in “control voltages”” from Pl other devices on the ODYSSEY. В д yo \ 1. To begin experimenting with Frequency Modulation, again FIGURE K. set the controls exactly as shown in Figure C. 2. Raise the blue VCO 1 slider under the AUDIO MIXER. You will now hear the sawtooth wave again when you play the keyboard. 3. Hold down a note on the keyboard and slowly raise the pink LFO control next to the TRANSPOSE 17. 18. SWITCH. Notice that a slow vibrato is introduced that becomes deeper as you raise this control. With this LFO control up about 1/4, adjust the LFO FREQ control and observe how the vibrato rate can be changed from very slow to very fast. About 3/4 should provide a pleasing vibrato rate. Change the first slide switch from LFO VD" to LFO Lr . Instead of a smooth vibrato, the LFO- LIL produces a trill. Notice that as you raise this slider, the bottom note of the trill stays the same and the top note moves depending on the setting of the slider. Try tuning the trill for different intervals, like a fifth, octaves, etc. If you increase the LFO SPEED control, the trill can become a useful musical timbre, especially when the trill is tuned to simple intervals, like octaves. When you have finished experimenting with trills, bring the LFO FM slider back down. Now raise the white slider under the S/H Mixer box. While holding down a note on the keyboard, slowly raise the yellow S/H control under the VCO. Notice that this control causes pitch of the VCO to jump around in a completely random manner. The higher 10. 11. you raise the yellow S/H slider, the wider the pitch variations. At least one S/H Mixer slider must be raised in order for the yellow S/H control to be activated. Bring the yellow S/H slider back down, and lower the white S/H Mixer slider. Now set the slide switch under the yellow knob to the ADSR position, and then raise the yellow slider. Notice how the pitch rises. Leave this control set so that you have raised the pitch about an octave. Now bring up all the way the four red ADSR ENVELOPE GENERATOR CONTROLS (located in the lower right hand corner of the panel). Again play on the keyboard. You will hear the pitch of the sound rise and fall each time you hit a key. The settings of the ADSR controls will determine the speed of the pitch change. You will learn more about these controls when you get to the section on “Controllers.” Modifiers Modifiers are electronic devices that can process a signal and change its sound. Consequently a modifier must have an input and an output. À tone control on a hi-fi set is a simple modifier since it changes the nature of the sound signal that passes through its circuitry. The ARP ODYSSEY contains four modifiers, the Voltage Controlled Filter (VCF), the Voltage Controlled Amplifier (VCA), the High Pass Filter (HPF), and the Ring Modulator. Any signal that is introduced into the AUDIO MIXER, i.e., Noise, VCO or VCO must pass through the VCF, HPF and the VCA before reaching the output of the ODYSSEY. EXPERIMENT 1. RING MODULATION Lower the blue and green sliders under the AUDIO the pulse width settings for each one. MIXER BOX, and raise the white slider again. Change the Experiment with these. Note in particular that position of the slide switch under the white slider from sounds from the RING MODULATOR do not Noise to RING MOD. Make sure that the PHASE SYNC necessarily have any standard musical pitch in switch for VCO 2 is off. Play a few notes on the keyboard relation to the pitch of either oscillator. (Unless and listen to the RING MODULATOR. While you are they are synchronized by the SYNC switch on listening to it you should think of the block diagram VCO 2; try that). shown in Figure L. The RING MODULATOR has no controls of its own. It produces, from the pulse outputs of ® The overtones of the RING MODULATOR VCO 1 and VCO 2, a single complex output signal which signal will not necessarily conform to the contains all the sums and differences of the two oscillator standard harmonic series. They may be frequencies. This means that: extremely complex, like those of a bell, chimes, gongs, and other metallic or percussive sounds. e The raw sound produced from the ring All of these, in fact, can be simulated by modulator depends entirely on the tuning of further modifications of a suitable ring modu- VCO 1 and VCO 2; and to a lesser extent on lator signal. Some of the patches illustrate this. OUTPUT SUL VCO 2 > RING = SOTO 155 > E — Вт я » MODULATOR FILTER FILTER AMPLIFIER VCO 1 Ir FIGURE L. EXPERIMENT 2. THE VCA 1. Set the controls on your = \ FIGURE M. ODYSSEY to match the settings in Figure C. This time, raise the white NOISE slider under the AUDIO MIXER. As before, when STEP 3. you hit a note on the keyboard, you will hear the ST noise sound. VCA GAIN VOLTAGE =! CONTROLLED AMPLIFIER 2. While holding down a note on the keyboard, gradually lower the red ADSR slider under the VCA. Notice that this slider acts like a volume control. Bring this control all the way down and the sound will completely disappear. STEP 2, | eee 3. With this ADSR control all the way down, slowly raise the black VCA GAIN control, Notice how this control also acts like a volume control. The difference between the operation of the ADSR slider and the VCA GAIN control is obvious. The ADSR control depends on playing the keyboard. The VCA GAIN control has nothing to do with the keyboard. The VCA GAIN control allows a certain amount of signal to pass through the VCA at all times. Bringing up the red ADSR control will let the signal pass through only when the keyboard is used. Actually, to be more specific, the ADSR slider lets the voltage produced by the ADSR ENVELOPE GENERATOR to “open” the VCA and let signal pass through. The settings of the ADSR ENVELOPE GENERATOR controls will determine the speed with which the VCA opens and closes. Experiment with the four ADSR ENVELOPE CENERATOR controls to observe this effect. 21. 22. EXPERIMENT 3. THE HIGH PASS FILTER The HIGH PASS FILTER (HPF) is another signal modifier. It attenuates frequencies below the setting of its HPF cutoff frequency slider. It is useful in eliminating “Boominess”” from low bass notes, and in simulating certain instrumental sounds. The HPF is not voltage controlled. Try moving the HPF control slowly over its range while holding down a low note on the keyboard. FIGUREN [Г EXPERIMENT 4. THE VCF The Voltage Controlled Filter (VCF) is the most important modifier on any synthesizer. The VCF is responsible for taking the raw signals from the VCO, Ring Modulator, and the Noise Generator and shaping them into useful musical sounds. The VCF in your ODYSSEY is technically called a ‘‘low pass filter.”” Low-pass means that the filter will pass all audio frequencies below a certain point (called the ‘‘cut- off point’’) and will filter out all frequencies above this point. 1. Set the controls on your ODYSSEY according to Figure O. In this setting, the sawtooth wave from the VCO is entering the VCF through the AUDIO MIXER. Also, the VCA GAIN control is raised so that any signal passing through the VCF will be heard. 2. Play a note in the middle of the keyboard. You don’t have to hold it down. Slowly raise the VCF FREQ control and listen to the effect. Notice how the sound gets brighter and louder as you raise this control. It does so because you are raising the cut-off frequency of the filter, thereby letting more and more high frequencies pass through. Г Y Y Y Y Y В АЯ FREQUENCY FREQUENCY [ ENVELOPE 1 AUDIO HPF GENERATOR Cl F CUTOFF re NOISE == GENERATOR - COARSE FINE куво COARSE FINE SYNC LFO VCF ve VCA FREQ À FREQ RESONANCE FREQ GAIN E ATTACK RELEASE WHITE 2 i ом | = A > (M г TT E PINK Kap ou Low Tra off 200 FREQUENCY OSCILLATOR x Mr OUTPUT ES En Fu 5 \_ A A A J FIGURE O. 3. Slowly lower the VCF FREQ control. The highs will and close the VCF by raising and lowering the VCF fade and finally the whole signal will be filtered out. FREQ control. 4. Lower the blue VCO 1 slider under the AUDIO 5. Notice how the noise can be made to sound like surf MIXER and raise the white NOISE slider. Again open by opening and closing the filter slowly. Raise the VOLTAGE |... VOLTAGE RE een CONTROLLED [™ am || sae; AUDIO | | COWIROLLED I=| PASS I CONTROLLER R IXER H MIXER OSCILLATO > nn oseiLLaToR > UL м OLD FILTER ENTER AMPLIENER [Г ADSA I= ! ENVELOPE CenEmiros | [PULSE WIDTH - — PULSE WIDTH— OUTPUT PORTAMENTO WIDTI MOD WIDTH MOD LAG | ATTACK DECAY SUSTAIN RELEASE TRANSPOSE = 2 MS MIN awe MAX 2 DETAVES sn 50% in bs РМ — — | FM — = | 1 LA Rd Le na - ra LFO SH LFO LFO S/H LFO LEO NOISE VCO-1 vco-2 KYBO S/H ADSR AR | veo creo | [rs 1 | В I u a | I n В и A a a u a a LFO ADSA A 8 р ADSR -1 YCO-2 KYBD RING YCO-1 VCO-2 H м AR ADSR L AUTO REPEAT I~ LP | MIXER A JUL JUL TRIG MOD SL UL MIXER I JS. || REPEAT | REPEAT un PITCH BEND OR В E D. PEDAL 3 В Ns 23. N FIGURE P. RESONANCE slider about half way up and try the same experiment. Notice how the noise now takes on or ver a whistling quality. This pitch-like whistling is caused we TY) by the resonance of the filter. Resonance emphasizes | STEP 5, a narrow band of frequencies just at the filter cutoff frequency. The more resonance you add, the more emphasis, and consequently the more pitched the sound becomes. ween | [7 amen | 6. Lower the noise slider and listen again to the VCO | Ce sawtooth wave. Again move the VCF FREQ control up and down slowly with different settings of the RESONANCE control. Notice that when the resonance is between the 1/2 and 3/4 marks you can actually hear the individual harmonics of the sound as you slowly sweep the VCF FREQ up and down. STEP 4, es — == — DIE — < La o - < ol O № 1 | N If you leave the RESONANCE control about half NOISE < o о [<] ” > т » 9 a = Ci ) >) I way up, and sweep the VCF FREQ up and down, you ou can create a “wow”' type of sound. Leave the VCF FREQ control all the way down and raise the red ADSR slider under the VCF all the way up. When you hit a key on the keyboard, the ADSR ENVELOPE GENERATOR produces a signal which 5 8 10. will open and close the VCF automatically, producing a “wow’’ sound. Experimentation with the setting of the ADSR slider will show the similiarities between the response of this control and the response of the ADSR slider under the VCA. Lower the RESONANCE slider and experiment with the different settings of the ADSR slider under the VCF. Try changing the settings of the four ADSR ENVELOPE GENERATOR controls. Lower the ADSR control again, and set the VCF FREQ control about half way up. Now, set the switch under the yellow slider to LFO and raise the yellow LFO / 7” slider under the VCF. Notice the tremolo effect that is created. Lower the LFO slider and increase the LFO SPEED until you achieve a good tremolo sound. Lower the LFO slider, and raise the black slider labeled KYBD CV S/H under the VCF. Normally this slider will allow you to control the VCF from the keyboard. VCF VCF FREQ RESONANCE 6 SELF 1 KHz STEP 9, =| CONTROLLED + | VOLTAGE FILTER NOISE RING MOD FIGURE Q. 25. FIGURE R. ” 11, Let's try controlling the VCF with the keyboard. Set the controls on the panel as above. Now when ver ves you play on the keyboard, the pitch of the filtered Tra tm noise will follow the note played on the keyboard. If you lower the black KYBD slider under the VCF, the keyboard will have no effect on the pitch. U SIEB ML. 12. Raise the yellow slider all the way up again, and raise VOLTAGE the white slider under the S/H Mixer box. Play the MIXER E | keyboard. Notice the random changes in the filter CE frequency. 13, Plug the pedal into the appropriate jack on the back of your ODYSSEY. When the pedal is plugged in, the S/H Mixer is disconnected from the VCF. Set the switch under the black slider to the Pedal position. The PEDAL can now be used to open and close the VCF. The range of the pedal will be determined by the setting of the black slider under the VCF. |-- «=== — |= — | «=== | «=== NOISE 5 o 5 © я 8 2 = 5 > Cs — Oi [Im Em: — < ol © » RING vco- MOD > SC: 25) 5 5 EE 14. The VCF can also function as an oscillator. Raise the 15. yellow slider under the VCF all the way. All three sliders under the AUDIO MIXER should be down, Turn the RESONANCE all the way up and tune the resulting tone with the VCF FREQ control. Set the switch under the black slider back to the KBD position. You can now hear a pure sine wave generated by the filter. 4 FIGURES, VCF VCF FREQ RESONANCE 16 SELF KHz osc | 16 Hz AUDIO | | vourace MIXER CONTROLLED f+ FILTER STEP 15, NOISE vco-1 vco- ” o oS © > x » © © 2 RING vco-1 MOD JUL сие E SN qu J: 27. Controllers are devices on the synthesizer which are used to create electrical signals which in turn control modifiers and sources on the synthesizer. For instance, the most obvious controller on the ODYSSEY is the keyboard. The keyboard produces a voltage which controls the VCO and can control the VCF. Other controllers on the ODYSSEY are the sample and hold, ADSR ENVELOPE GENERATOR, HPF, LFO, PITCH BEND CONTROL, and FOOTPEDAL. By this time you have had an opportunity to experiment with each of these controllers, so let’s Just review the functions of each of the controllers. Controllers KEYBOARD AND PEDALS: The KEYBOARD produces two CONTROL VOLTAGES. These voltages are the same if none or one key is depressed on the keyboard. (If no keys are depressed on the keyboard, the control voltages correspond to the last key played.) If two or more notes are depressed, the first control voltage corresponds to the lowest key depressed, and the second control voltage corresponds to the highest depressed. The first control voltage is always connected to VCO 1, unless VCO 1 is set to the L.F. mode, in which case the keyboard is disconnected from VCO 1. The second control voltage is always connected to VCO 2. When VCO 2 has SYNC switched on, the keyboard is still connected to VCO 2, although in this case it does not directly control its frequency, but rather its harmonic content, as do the tuning sliders for VCO 2 in this case. (Try it.) The first keyboard control voltage can also be connected to the VCF by raising the appropriate slider under the VCF. This was investigated during the experiments with the VCF. It is important to know that the ODYSSEY has a built-in memory, which holds the last note played on the keyboard. This keeps the pitch information around during the RELEASE cycle of the AR and ADSR envelope generators, as we shall see. The keyboard on the ODYSSEY has several controls associated with it. These include the PORTAMENTO slider and PORTAMENTO SWITCH. The TRANSPOSE SWITCH will shift the pitch of the keyboard up or down exactly two octaves. The PITCH BEND control will be discussed in a separate section. PORTAMENTO is a ‘sliding effect.”” Set up your ODYSSEY as shown in Figure M. Raise the ADSR control under the VCF. As you play on the keyboard, hold down the PORTAMENTO pedal, raise the PORTAMENTO slider and listen to the resulting effect. The foot switch supplied with your ODYSSEY is used to turn on the PORTAMENTO. Thus you can set the PORTAMENTO slider for a certain glide speed and then turn it on and off with the foot switch. When the foot pedal is plugged into the back of your ODYSSEY, VCO 2 and the VCF can be controlled by it. (The signal from the S/H Mixer is automatically disconnected by inserting the foot pedal jack as explained earlier.) Several of the patches make use of the foot pedal for wah-wah and other effects. 29. 30. ADSR AND AR ENVELOPE GENERATOR: Each time a note is pressed on the keyboard, the keyboard generates a ‘‘trigger’’ signal that initiates an attack from the ADSR. A complete cycle of the ENVELOPE GENERATOR looks like this: “A” ATTACK “D"” DECAY | | “S” SUSTAIN IM LEVEL “R” RELEASE «<——— KEY DEPRESSED KEY RELEASED —» When a key is depressed, the output of the ADSR rises at a speed determined by the setting of the “ATTACK"’ control. This attack is represented above by the letter “A,” When the attack has reached its peak, it automatically turns around and begins heading down again at a rate controlled by the ‘“DECAY”' control. This part of the cycle is represented as the letter ‘‘“D.’’ The Output of the ADSR ENVELOPE GENERATOR will eventually reach the Sustain Level “S’’ and stay there until the keyboard is released. Upon release of the key, the output of the ADSR will drop back down to zero at a rate determined by the setting of the Release Control. This release portion of the cycle is represented by the letter “R.” The AR envelope generator is just like the ADSR generator except that there is no decay, so that the sustain level is the maximum level. This gives the same effect as the ADSR generator with the ‘“Decay’’ control at minimum and the “Sustain”' control at maximum. A complete cycle looks like this: “A” ATTACK “R” RELEASE —— KEY DEPRESSED KEY RELEASED — — — > fr f 4 Y \ Y [ EavéoRe 1 Nes | comme OO momo = GENERATOR GENERATOR - COARSE FINE KYSO COARSE FINE SYNC LEO VCF VCF CUTOFF VCA WHITE o“ OFF FREQ FREQ RESONANCE FREQ GAIN ATTACK RELEASE 2 KHz 2 2e SELF 20 He 4 U KHz { Hx osc PI LP: NK KYBD ом LOW г OFF 200 FREQUENCY A OSCILLATOR Nu | 1 | 2 6 MIN a —Ú——— OUTPUT VOLTAGE |, 4 VOLTAGE pen NN R IXE MIXER т лы A — Ut MIXER HOLD FILTER FILTER| | AMPLIFIER 7 ADSR /— ENVELOPE GENERATOR | LSE WIDTH PULSE WIDTH | | OUTPUT | PE | PORTAMENTO hg MOD a | | nora won | LAG ATTACK DECAY SUSTAIN RELEASE TRANSPOSE 2 ARS мы МАХ 2 pm 50% Ва LS em L— eu — - a LL ad 1 1 1 1 1 À | oon м — E LFO 8/H LEO LFO S/H LFO VCO-1 NOISE N E VCO-1 УСО-2 КУВО S/H ADSR AR [veo ceo | [ven |! | В " | N | a n 0 и I I n " в ‘ | = LFO ADSR Al " ! В a) vCO-2 YBD VCO-1 VCO-2 7H LFO AR ADSR , AUTO REPEAT SU A A MIXER A Lx | лы un JUL SUL MIXER AA TO Lx. J REPEAT | REPEAT nn PITCH BEND OR OR nro PEDAL PEDAL |) Ne X \ AL J \ FIGURE T. With your ODYSSEY controls set as in Figure T, depress any key on the keyboard. Raise the attack slider on the AR generator a little way and depress a key again. Continue to do this, each time raising the attack control a little more until it is all the way up. Then move it down again and repeat the whole procedure using the release slider. Now experiment with VCA control by the ADSR generator; move the selector switch under the VCA 32. FIGURE U. VOLTAGE CONTROLLED FILTER (7 _AOSR Da = ENVELOPE GENERATOR ATTACK DECAY SUSTAIN RELEASE | уе | ни] om wm) mo | GATE REPEAT GATE AUTO REPEAT REPEAT | REPEAT Jun un. Na J FIGURE V. control attenuator down and try various settings of the four ADSR controls. By closing the VCF freq slider and opening the third attenuator under the VCF all the way as in Figure U, you can give yourself a similar introduction to ADSR and AR control of the VCF. Experiment too with various combinations of the VCF freq and control attenuator settings, and with various mixes (by means of the input attenuators to the audio mixer) of signals from VCO 1 and VCO 2. Up to now you have been triggering the envelope generators only from the keyboard. By means of the three switches at the bottom right of Figure V, you can also trigger the envelope generators with the LFO. Move all three switches down and set the other controls of your ODYSSEY for AR or ADSR control of the VCF or VCA as in Figure V. Now try different settings of the LFO freq slider from low to high. With the first switch down and the second switch up, a series of events will be produced (triggered) by the LFO, but only when a key is depressed. This is useful in simulating banjo-picking and strumming. SAMPLE AND HOLD The sample and hold mixer (S/H mixer) selects and combines signals to be fed to the sample and hold circuit. These signals can also be routed to control VCO 2 and the VCF. Under each of these two functions is a switch labeled ‘‘S/H mixer or pedal.’’ When the foot pedal is plugged into the Odyssey, the lower position of these switches selects control by the pedal; if the foot pedal is disconnected from the back of the Odyssey, the same switch position selects control by the output of the S/H mixer. The sample and hold circuit is a controller; it is used only to control VCO 1, VCO 2, and/or the VCF. In order to hear what it does listen first to VCO 2 as you have done before and then experiment with the controls indicated in Figure W. By ‘‘sampling’’ at a given instant the signal voltage from the S/H mixer, the sample and hold circuit produces a series of voltage levels. If these in turn are used to control a VCO, the result is a series of pitches. The switch under the sample and hold circuit selects either the LFO or the keyboard as a triggering source. If the keyboard is selected (Figure X), then a new sample will be taken every time you press a key. Using this with the S/H going into the FREQUENCY COARSE FINE SYNC VOLTAGE be INN CONTROLLED OSCILLATOR |e 1. 2 PULSE WIDTH | | Mom мо | LOW FREQUENCY OSCILLATOR LFO FREQ ES Fr S/H SAMPLE/ MIXER HOLD Hess — == — я 5 © = = © a m SCIE 32 55 a 1 OUTPUT LAG FIGURE W. 33. SAWTOOTH INPUT RANDOM NOISE INPUT S/H SAMPLE / MIXER HOLD Y |1 | UNA na | OUTPUT | | | | N LAG w = q i | м | Ï | | | ! i ! I COMMAND PULSE L ill | PT | - COMMAND PULSE! | I] 1 1 I | | | N OUTPUT II | | | RANDOM OUTPUT TYTN RES A | GEN Musical effect. Musical effect. == femme vas ve = js — =. — — Em === == = — — fa — — — — — me — — o ВН = TT pe an | — YCO-1 VCO-2 KYBD f ) | nn SUL TRIG A | } Ne J e = pe e — FIGURE X. VCF can give you random timbres on each note. If the sample and hold circuit will tend to be a repeating pattern LFO is selected, then new samples will be taken at regular also. It may be an extremely complex one, or it may be intervals corresponding to the frequency setting of the extremely simple. For an example of a simple one, switch LFO. VCO 1 sawtooth into the S/H mixer. Use the sample and В ‚ hold output to control VCO 2 and listen to VCO 2 When the signal sampled is primarily noise, the output through the audio mixer, Set the LFO freq to about voltage levels will be random and so of course will be the halfway up, and the VCO 1 freq at about 2 Hz. You pitches produced from УСО 2; but if the signals being should hear a descending ‘‘staircase’’ of pitches, like a sampled are regular and periodic (any combination of the scale passage or an arpeggio (Figure Y). Speed up VCO 1 VCO 1 and VCO 2 signals), then the output from the freq and hear the repeating patterns. FREQUENCY AUDIO COARSE FINE KY8D ON 20 { LF. KYBD 200 y, OFF VOLTAGE CONTROLLED OSCILLATOR |= nn 1 p= A | | Г PULSE WIDTH 1 > | | LFO S/H LFO LFO ADSR H nn SS SA FREQUENCY de t : U VOLTAGE CONTROLLED | НР. COARSE FINE SYNC OFF OSCILLATOR {+ nr LFO FREQ 20 Hz Low FREQUENCY ú OSCILLATOR 2 Re S/H SAMPLE/ MIXER HOLD [=== — | «===> | $ £ = 2 m 5 o & © + | su : o 5 S Ne SAMPLE/ HOLD } OUTPUT LA sf 33 ® © FIGURE Y. The output lag slider (Figure Z) ‘smoothes out’’ sudden changes of voltage from the sample and hold circuit. With the same patch you have been listening to, move the slider slowly from “min” to “max” and back again. FIGURE Z. 35. 36. LOW FREQUENCY OSCILLATOR The LFO on your ODYSSEY, as you have already seen, is used to create voltages which produce vibrato, trill, tremolo, and other effects when these voltages are applied to the VCO or VCF. The LFO produces both a sinewave ‘output and a square wave output. The sinewave output is used to create vibrato and tremolo effects and the square wave is used to create trills. The LFO is also hooked up to the ADSR ENVELOPE GENERATOR, via the REPEAT SWITCHES. PITCH BEND CONTROL The Pitch Bend knob is a live performance control for bending notes. It also extends the tuning range up to an extra octave beyond normal. This control permits you to realistically ‘‘bend’’ pitches in order to recreate the kinds of effects and create sounds that are not imitative of traditional instruments. When recreating the effect of the pitch bend of traditional instruments, however, limit the pitch deviation to approximately one half-step. This is the most useful and common effect employed by guitarists, including those who work with rock groups. Notice that the normal position for the pitch bend knob is in the center of a ‘‘dead zone'’ where turning the knob slightly either way results in little or no pitch change. This feature lets you “feel” the normal position while playing, without having to look at the panel. By taking advantage of the fact that the range of this now is exactly up or down an octave, you can use the PITCH BEND CONTROL as an auxiliary TRANSPOSE switch, or you can use it as a guitar “string pull” effect with a hard stop when the instrument is exactly in tune by turning the switch all the way to the left and playing an octave higher. This is very similar to a “Tremolo Bar” on a guitar, although on both instruments actual change is in frequency. EXTERNAL AUDIO INPUT On the back of your ODYSSEY you will see a jack labeled “EXTERNAL AUDIO INPUT.” This jack is used to bring an external signal, such as the output of an organ, electric piano, other synthesizers, etc., into the Audio Mixer and VCF in your ODYSSEY. The EXTERNAL AUDIO INPUT has a fixed sensitivity. The sensitivity is adequate for use with most electronic instruments. However, some very low level signals, like dynamic microphones and low level guitar pickups, may have to be preamplified before entering the ODYSSEY. Many guitar amplifiers have a separate preamp output that can be used for this purpose. Once an external signal has been brought into the ODYSSEY, it can be processed through the VCF. The footpedal is especially useful in processing external signals since the VCF can be made to perform like a wah-wah pedal, with adjustable range and resonance. At the same time you are processing an external signal, you can also add in signals from the VCO's and noise generator, so it is possible to create a rich and complex texture by combining both the external signal and a signal generated by the ODYSSEY VCO's or NOISE GENERATOR, and then filtering the combined signal with the VCF. INTERFACE JACKS Your ODYSSEY is one member of a whole family of ARP synthesizers and synthesizer accessories. As such, it is equipped with input and output jacks that allow your ODYSSEY to control other ARP synthesizers or to be controlled by other ARPs. For instance, you can use two ODYSSEYs together and play both of them from one keyboard. Or you can hook up your ODYSSEY to control an AXXE, LITTLE BROTHER, or 2600 model. Similarly, if you already own a 2600 or String Ensemble, you can remotely slave your ODYSSEY to the 2600’s keyboard. The possibilities created by the ARP INTERFACE JACKS are endless. If you wish to hook up two ODYSSEYs in a master-slave relationship where one is controlled by the other's keyboard, simply connect the jacks labeled “¿CV OUT," “CV IN,’ “GATE IN,” and “TRIG IN” jacks on the Slave, If you wish to slave more than one ODYSSEY from another, the second slave ODYSSEY is hooked up to the first slave in the same way that the first is hooked up to the master, i.e., CV, GATE, and TRIG OUT to CV, GATE, and TRIG IN. See diagram on the following page. Generally the Audio Outputs of Little Brothers are connected to the input of some other unit. 37. 38. Both Slaves will be controlled by Master's keyboard Master will control both Slaves / Slave 2 To Amp Slave 1 \ Master N | Odyssey little brother (| / T5 rá “Y” adapters ООО AUD. OUT > AUD. IN Odyssey \\\ Odyssey — Y TRIG IN «—— TRIG ours GATE IN+— GATE OUT CV IN +—— CV OUT “Y” adapters INTERFACE JACKS PANEL CONTROL DESCRIPTION CHART Noise Generator: The The Voltage Controlled Oscillators produce pitched tones. The pitch of the oscillators is controlled by noise generator produces the slide tuning controls, the keyboard, the Pitch Bend knob, and other controllers. White and pink noise f Y | Y | Y N The Low Frequency which is used in creating | Oscillator (LFO) is a unpitched effects ise = Noise — FREQUENCY umo FREQUENCY controller; its output thunder, surf and wind. re comer МЕ commer EG mea | signal is used to create Portamento: The OI H “Il H o = vibrato, tremolo, repeat Portamento allows you PINK 200 sino ON LOW and other effects. 2 Hr 200 FREQUENCY 2 + to glide from one note to mie - the next. This control >| | a determines the speed of ; © - the glide. The VOLTAGE VOLTAGE The Sample and Hold portamento pedal turns основ i oscILATOR + mixen |—| now. circuit E controller. It this effect on and off. 2 ; > | aa | pude mn | | ma is used to create a Pitch Bend: 'This control PORT TRANEPOSE LAG random or regular series bends notes up to one e at of tones or accents. octave sharp or flat. The == bu center ‘‘dead zone” — о facilitates tuning. In 2 ocraves addition to extending the - UY YU „У, tuning range of the y | | synthesizer up and down [eur AZ I SM uo | vo em wo fico Nose wo O an extra octave, the Pitch A O - H q H H Bend control permits you AOS e Абв | vea veda ED to bend individual notes, PITCH BERD u Je J simulating the “pitch A LAN bend” techniques used Pulse Width Modulation gives the pulse wave a ‘“phase- by many guitarists. shifting” quality. PANEL CONTROL DESCRIPTION CHART The High-Pass is used to remove the low frequencies of a sound. The Voltage Controlled Filter is / Y \ the heart of the synthesizer, It is used to create individual FE эре F VCF CUTOFF ‚МСА GENERATOR characteristics for each sound you FREQ RESONANCE FREQ GAIN | ATTACK RELEASE The Envelope Generator is used ke. The VCF f i sn [ros wd make, « © Cb can also tunetion to program the attack and decay as an oscillator. of sounds N ounds. The Audio Mixer governs the - - oureur The Voltage Controlled Amplifier volume of the oscillator and noise | (VCA) governs the volume of the signals going into the filter. amo {| contnouLæ [+] Pass Hconmouen synthesizer’s output. m FILTER FILTER AMPLIFIER gh ADSR | | | Te GENERATOR | 111111 dle a NOISE YCO-1 VCO-2 KYBD S/H ADSR AR [veo eve | BD [veo The Ring Modulator inter- Г H В ' В n H ial В modulates VCO 1 and VCO 2. Ô 4 kh oa Hl A A > mo nn nn MIXER AN I. I~ nEPEAr REPEAT « PEDAL E 1 The VCF can be controlled by the KYBD or S/H. The Repeat switch: The Repeat Switch has three modes: KYBD footpedal overrides the S/H when it is plugged in. GATE, Auto Repeat, and KYBD REPEAT. Hints on Using Your Odyssey. You may tend at first to think of the control sliders on the Odyssey as something like stop tabs on an electronic organ. That is, you may be tempted to set them in a certain way and then “play” the Odyssey only from the keyboard. Try to overcome this temptation. Use the sliders in performance. Learn to change the sounds you are producing while you are producing them. The patches given in this manual are very basic. Do not hesitate to search for improvements and variations on your own. In many cases a slight change in the position of a single control slider or attenuator can make a large difference in the sounds you are producing. Resist the temptation to merely open as many sliders as possible, as far as possible. 41. 42. If you just have to start here: INSTANT ODYSSEY Set up the sound shown on page 19 (opposite). Play a two-part piece on the keyboard. If you hear two voices with pedal control, turn the page and try more sounds. If what you hear is nothing like two voices with pedal control, or if you don't hear anything, check the following things: 1). 2). 3). 4). 5). 6). 7). Is the “sync off/on’’ switch turned off? (top of Oscillator 2). If it's on, you'll hear only one voice even though you press down two keys. Is the “audio kbd on/LF kbd off" switch turned on? (top of Oscillator 1). If it’s off, your first tone source (VCO 1) will be way below what your ear can hear. Is the “HPF cutoff’’ slider all the way down? (top of High Pass Filter). If it's up, you are cutting off your sound by eliminating all but the very highest overtones. Is the “VCA gain” slider down? (top of Voltage Controlled Amplifier). If it’s up, you’ll hear sound all the time, even when you take your hand off the keyboard. Are the “attack, decay, sustain, release” sliders raised partway? (under ADSR Envelope Generator). If they're all down, the attack & decay of your note will make only a tiny blip. Is the Odyssey connected to the right amplification system? (back of instrument). The “low level’’ output on the back is for a standard musical instrument amp; the “high level'" output is for a tape recorder, stereo amplifier, or electronic organ, Is the Odyssey plugged in? Turned on? NOTE: All sliders not illustrated should be all the way down. Switches not illustrated do not affect the sound output in either position. ; 7 A ; ; RB a : \ J rr N — NOISE — FREQUENCY AUS FREQUENCY apr ! ENVELOPE ] : R GENERATOR COARSE FINE KYeD COARSE FINE po LFO VCF VCF CUTOFF VCA GEN 68 WHITE ом FREQ FREQ RESONANCE FREQ GAIN ATTACK RELEASE H Zone a. » se SELF 18 tes Mhz osc a PINK LF xvso LOW OFF FREQUENCY 2 OSCILLATOR 2 AT Min 16 sr Hy На — OUT VOLTAGE VOLTAGE | pe RS NE ESCNLATOA Em ыы SAMPLES AUDIO CONTROLLEO le] PRES la] GONTADILES OSCILLATOR OSGILATOR MIXER HOLD MIXER Г” ; mo = = nn FILTER FILTER] | AMPLIFIER - ADSR О /—_ LE | [ENVELOPE GENERATOR + Г LSE wom a wo ATTACK DECAY SUSTAIN RELEASE Г. РШЕЗЕ wore 3 | PORTAMENTO ee, Cr = ADSR S/H ADSR AR КУВО KYBD - o о < 6 © PITCH BEND MAX TRANSPOSE 2 OCTAVES ue 2 OCTAVES DOWN MIN ow] LFO © S/H LF В nn SA © OO MIXER OR PEDAL A TE у с о ГУ! GATE REPEAT A AUTO REPEAT | REPEAT nn a ed 5 A | USE PEDAL N_ OPTIONAL VIBRATO 0 Tune VCO 1 and VCO 2 to unison by holding down any key. 1. 2-Voice with Pedal Filter Control 1s 44. an Y Y Y Y Y NOISE —y FREQUENCY AUDIO FREQUENCY не Г Ему оРЕ" 7 GENERATOR COARSE FINE xveo COARSE FINE SYNC tro ver VCF CUTOFF УСА WHITE Le он OFF FREQ || FREQ RESONANCE FREQ GAIN || ATTACK RELEASE H wy d < M 5 = mu | ose a PINK LF 20 KYBO ON LOW ra or i. FREQUENCY а OSCILLATOR * на | 20 | 2 1. MIN 1 4 L ма x ма Mz —_— OUTPUT VOLTAGE VOLTAGE pr DIN NN CONTROLLED CONTROLLED |” 5/H SAMPLE / AUDIO TAGE Hew с OUTRE о OSCILLATOR r~ OSCILLATOR |— MIXER HOLD MIXER B Peu FILTER AMPLIFIER 1 2 — 2088 A —— ' r PULSE ips 3 | | PULSE WIDTH — | | OUTPUT | | | | N, | ENVELOPE GENERATOR PORTAMENTO “о WIDTH MOD LAG ATTACK DECAY SUSTAIN RELEASE MAX TRANSPOSE a 2 OCTAVES мм MAX ue 2 OCTAVES DOWN so% cou MIN ADSR АВ — LFO SH LFO VCO-1 NOISE LFO NOISE VCO-1 vco.2 KYBD S/H ADSR AR KYBO КУВО 1 | a j A À ; H В A A H H Ц d A y H H LFO ADSR A ADSR В В | KYBD RING YCO-1 v 5 LFO AR ADSR 1 AUTO REPEAT nn SA I vs A A sur JUL TRIG MOD JUL Mn MIXER AN I Im [| REPEAT | REPEAT nn PITCH BEND OR nr « PEDAL PEDAL Co. rma — USE PEDAL Single voice with pedal control. Phase-Synchronized Oscillator и TIMBRE ADJUSTMENT 4 Y В a Y Y Г АВ (go 7 NOISE FREQUENCY ATE FREQUENCY pr ria I GENERATOR COARSE FINE куво COARSE FINE SYNC LFO vCF VCF CUTOFF УСА WHITE o OFF FREQ FREQ RESONANCE FREQ GAIN || ATTACK RELEASE zu 7 = 1. SELF 18 2005 { кн: } “e pra osc кив PINK F ON xveo LOW 200 y OFF 200 FREQUENCY а OSCILLATOR Pm | 20 | 2 18 Min 18 - ма or Hy Hz OUTPUT VOLTAGE VOLTAGE e NI NAS ILLATOR MIXER MIXER osc > sn oscil aTon Le ul XE HOLD FILTER AMPLIFIER | - — — ADSR L—_ | | 7 PULSE WIDTH —) | | [PULSE WIDTH— | | OUTPUT | | | | Q — | ENVELOPE GENERATOR PORTAMENTO WIDTH MOD WIDTH MO0 LAG ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX — 2 OCTAVES MIN wn MAX [6 | | | | | | 30% 59% мн N MIN - — Mm — ем =) | 1 | В 1 | 1 1 [fm ADBR AR = LFO S/H LFO LFO SH LFO VCO-1 NOISE LFO NOISE VCO-1 vCO.2 KYBD S/H ADSR AR KYBD XY80 KYBD FLAT SHARP a! Г NN rN GEN TRIG Г а Г " 0 GATE REPEAT a \ LFO ADSA Ñ ADSR ADEA YCO.1 VCD.2 KYBD RING VCO-1 vCO-2 SH LFO AR ADSR L AUTO REPEAT nn I~ I~ MIXER AA sn En nn TAIG MOD UL NA MIXER AN m HL À REPEAT | REPEAT nn PITCH BEND OR OR JUL PEDAL « PEDAL u X A A >» A Ns OPTIONAL VIBRATO Timbre changes slightly with each note. 3. Guitar- Leslie 45. — VIBRATO SPEED rr Y Y Y Y Y” N nose || rec o FREQUENCY м ! EnvELOPE” | GENERATOR COARSE FINE xveo COARSE FINE SYNC tro ver VCF CUTOFF VCA WHITE dos ом OFF FREQ || FREQ RESONANCE FREQ GAIN || ATTACK RELEASE H > - SM MW : a tae E pi Е. ve neo ом Low Pu OFF 200 FREQUENCY 2 . OSCILLATOR 2 Hz | 20 | a К, MIN Ma - Hr er a z EEE ео OUTPUT VOLTAGE |... VOLTAGE a NAS CONTROLLED CONTROLLED S/H SAMPLE / AUDIO CONTROLE 5 hen cone OSCILLATOR wixeR [| HOLD MIXER Г” ; En A e JUL © FILTER FILTER] | AMPLIFIER 7 [— ADSR Dx — ru WIRTH 7 | | [~ PULSE WIDTH — | | OUTPUT | | | | E — | ENVELOPE GENERATOR PORTAMENTO wiD WIOYH MOD LAG ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX < = 2 OCTAVES mi MAX uP 2 OCTAVES DOWN son 20 MIN À {| — FM — _ ADSR Г АВ 7 S'H LFO VCO-1 NOISE LFO NOISE VCO-1 vco2 KYBD S/H ADSR AR KYBD KYBO КУВО FLAT SHARP i i 1 AN Ny GEN TRI Г ñ H и Im GATE REPEAT GATE В ADSR В vCO-1 YCO.2 KYBD RING VCO-1 vco-2 SH LFO AR и t AUTO REPEAT AA E SS AA sur nn TRIG MOD JUL nn MIXER AN Sm I REPEAT | REPEAT un PITCH BEND OR JUL « PEDAL PEDAL a. A 5 A (—— VIBRATO Single voice « 4. Trumpet 7” SLIGHTLY OUT OF UNISON f \ Y ) 4 Y Y N Горе | г NOISE FREQUENCY AUDIO FREQUENCY or ENEE GENERATOR COARSE — FINE кхе COARSE FINE SYNC LFO ver VCF CUTOFF УСА WRITE ом OFF FREQ [| FREQ RESONANCE FREQ GAIN || ATTACK RELEASE poi 2 = 1 SELF 18 26 Ня 4 hE | He XM osc KHz PINK LF ON куво Low 200 ha OFF 200 FREQUENCY À OSCILLATOR E в |} x su" OUTPUT VOLTAGE VOLTAGE pu PS A CONTROLLED CONTROLLED [ 7 S/H SAMPLE / AUDIO COMTE 5 come OSCILLATOR |» R MIXER HOLD MIXER ; Tun E Fo JUL FILTER AMPLIFIER I — Г ADSR /^—__ ———) | | [ PULSE WIDTH ~ | | p PULSE WIDTH— | | OUTPUT | | | | Ny — | ENVELOPE GENERATOR PORTAMENTO WIDTH MOD WIOTK MOD LAG ATTACK DECAY SUSTAIN HELEASE TRANSPOSE MAX = 2 OCTAVES MIN MIN MAX up 05 | | | | | | | | | | sos son ww MIN — em — — em — | | | 1 | 1 | | ADSR ] AR 7 LFO S/H LFO LFO SCH LFO VCO-1 NOISE LEO NOISE | МСО: VCO-2 KYBD S/H ADSR AR KYBD KYBD KYBD FLAT SHARP В Г / В AN a GEN fl Г и ñ РЁ " I GATE REPEAT a LFO ADSR H ADSH В vEO-1 a) KYBD RING VCO-1 vCO-7 SH LFO AR и L AUTO REPEAT An SS I. [| MIXER A A~ Й ль ло TARIG MOD JUL JUL MIXER AN I Lx MN REPEAT | REPEAT nn PITCH BEND OR oR nn PEDAL PEDAL X A AL J A , 5. Trumpet Chorus 7” SLIGHTLY OUT OF UNISON TN fo a f Y DA Y FAL rs] NOISE —— FREQUENCY AUDIO FREQUENCY HPF CENCrATON GENERATOR COARSE FINE xveb COARSE FINE SYNC LFO ver CUTOFF VCA WHITE on OFF FREQ FREQ RESONANCE FRE GAIN || ATTACK RELEASE Tu ? » 1. SELF 16 20 Hr } Hz | ме км: osc [CT PINK LF. ON KYBD LOW . 200 ya OFF 200 FREQUENCY 2 OSCILLATOR PL | 20 | a 16 MIN 1. й Hz se Hy Mz OUTPUT VOLTAGE VOLTAGE bt SIT > R MIXER OSCILLATOR He un OsCHLATOR nn MIXE HOLD FILTER EILTERT | AMPLIEIER J “Ir ADSR [~~ _ — |] | | y PULSE WIDTH + | | [~ PULSE WIDTH — | | OUTPUT | | | | Ny — | ENVELOPE GENERATOR PORTAMENTO WIDTH moD MOD LAG ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX = 2 OCTAVES MIN MIN MAX uP В | | | | | | | | | | | DOWN 50% son com MIN . LE em 2 es —— | | 1 1 | 1 | 1 ADSR paf LFO S/H LFO LFO sh LFO VCO-1 NOISE LFO NOISE VCO-1 VCO2 KYBD S/H ADSR AR KYBD KYBO KYBO | a al H - H В В H H I a A Ñ N A H a LFO ADSR A ADSR В veD-1 ve0-2 KYBD RING VCO-1 vCO-2 SH ui AR ADSR ] AUTO REPEAT nn I~ ^^. pMXER A A But nn TRIG MOD JUL NL MIXER AN m Am | rereaT | REPEAT nn PITCH BEND OR OR JUL PEDAL N PEDAL Le A A — AL Use external reverb. Play separate detached notes. « ©. String Chorus \ Wu 7” BRILLIANCE p REPEAT | REPEAT Jue | 7 [ rr | ENVELOPE NOISE FREQUENCY AUBIS FREQUENCY GENERATOR Га Ja} GENERATOR COARSE FINE куво COARSE FINE SYNC VCF VCF VCA WHITE ом OFF FREQ RESONANCE GAIN ATTACK RELEASE 2 ина ze 1) SELF 20 Hz Khz } rie Ne dsc PINK LF ON ` KYBO 200 OFF 200 2 ME 70 | 20 | 18 MIN - 8 a Hy OUTPUT VOLTAGE VOLTAGE | [e AN VOLTAGE CONTROLLED CONTROLLED | AUDIO CONTAOLLED MIXER OSCILLATOR He FUN OSGILATOR Le nn AMPLIFIER LÉ [——— ADSR A — ENVELOPE GENERATOR r PULSE WIDTH m] PULSE WIDTH — . PORTAMENTO WIDTH MOD WIDTH MOD ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX . ВЕ 2 OCTAVES MIN MIN ue В | | | | | | DOWN 30% 59% MIN В в — em — | = ADSR ый Г АВ 7 LFO S/H LFO SH Lro NOISE vCO-1 vco.2 AR КУВО куво KYBO FLAT SHARP В AN Г я il GATE REPEAT H (РО В ADSR В RING vco-1 YCO-2 ADSR t AUTO REPEAT La MIXER A An MOD JUL MA un PITCH BEND OR « = Single voice. 7. Flute 49. 50. au Y Y Y Y Y” AR SUN 7 NOISE FREQUENCY AUDIO FREQUENCY = EE 1 GENERATOR COARSE FINE куво COARSE FINE SYNC LFO VCF VCF CUTOFF УСА WHITE Lu ou OFF FREQ FREQ RESONANCE FREQ GAIN || ATTACK RELEASE “= - = + : ЕТ, 2 PINK LF ON ктво LOW wa OFF 200 FREQUENCY 2 OSCILLATOR % ма | 20 | 2 16 MIN 16 - ма tez ГГ Mz OUTPUT VOLTAGE | _ кл VOLTAGE ic priya сонтокыео |" Bh | SEE Apia CONTROLLED [=| FAR |lcesmsasi es SCILLATOR MIXER MIXER Г" o , [= An 9568 ATOR > JUL KE Hoch FILTER FILTER] | AMPLIFIER ! a Luar 7 PULSE WIDTH + p PULSE WIDTH — OUTPUT PORTAMENTO WIDTH MOD WIDTH MOD LAG ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX - 2 OCTAVES MIN MM MAX ue |. ти 2 OCTAVES 50% 50% E MIN ADSR AR „т | Г 1 "7 LFO S/H LFO LEO SH LFO VCO-1 NOISE LFO NOISE VCO-1 vco2 KYBD S/H ADSR AR KYBD KYBD KYBD FLAT SHARP À Г 0 AN yy GEN TRI Г H i E § G REPEAT GATE LF ADSR H ADSR ADSA vCd-1 vc0-.2 KYBD RING vCO-1 VCO-2 SH LFO AR ADSR т AUTO REPEAT nn I~ ~~ J] MIXER A A rut nn TRIG MOD JUL JUL MIXER AV LE Lx À REPEAT | REPEAT nn PITCH BEND OR OR JUL « PEDAL Ш PEDAL J А. A J A Use PITCH BEND to “bend” notes. 8. Electric Bass 7” TREMOLO SPEED Мок `` Ш rc \ Г Y ` r Y Y [ ENVELOPE | NOISE FREQUENCY AUDIO FREQUENCY неё En GENERATOR COARSE FINE куво COARSE FINE SYNC LFO VCF CUTOFF УСА WHITE OFF FREQ FREQ AESONÁNOE FREQ GAIN || ATTACK RELEASE 2 2 » 18 SELF 16 0 Mx KHz | "a Xia osc Ma PINK ON sep LOW 200 FREQUENCY = OSCILLATOR 20 | 2 + MIN 18 Ry se Hp Hz _ OUTPUT VOLTAGE VOLTAGE pe IT NN OSINLATOR CONTE | a TANGLE! AUDIO SOMNENALLES CONTROLLED TOR XER H MIXER OSCILLATOR {= MN PSC EATOR Le ut M OLD FILTER AMPLIFIER 1 1 ——— г. pulse wot 1 | ~ PULSE WIDTH — | | OUTPUT | | | | be | | EELORE GENERATOR | PORTAMENTO WIO TH MOD LAG ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX À = . 2 OCTAVES MN MAX up = | | 1 2 OCTAVES . DOWN son om MIN + U Mm — Ве: РД === == [4058 — AR — ms | [= AR = LFO LFO SH LFO vco-1 NOISE LEO NOISE — VCO-1 vco-2 KYBD S/H ADSR AR [veo кино | KYBD FLAY SHARP D ‘ Г NA Nes GEN TRIG Г y ul 0 A g GATE — REPEAT a LFO ADSR " ADSA . В vCR-2 KYBD RING VCO-1 VCO-2 SH LFO AR ADSR t AUTO REPEAT nn SA Sax | MIXER LA sa sun nn TARIG MOD JUL SUL MIXER AN Im Mm { repeat | REPEAT nn PITCH BEND OR OR nro « PEDAL Ш PEDAL A A _J Set VCF RESONANCE at self-oscillating point; tune VCF FREQUENCY to a fifth above the VCOs. 9. Screamo Organo 51. Pa REPETITION RATE PERCUSSION > NOTE: Keyboard will ‘‘tune’” metallic sounds and add off-beat accents. fo Y Y Y в 4 Y Га 7 NOISE FREQUENCY AUDIO FREQUENCY apr ER GENERATOR COARSE FINE xveo COARSE FINE SYNC tro ver CF CUTOFF УСА WHITE o OFF FREQ FREQ RESONANCE FREQ GAIN || ATTACK RELEASE Tore 2 2e 1. SELF 18 | ve t “ur Ka osc «Hz * В ом Low 7 ма FF 200 FREQUENCY 2 OSCILLATOR Pra | 20 | a $ MIN 16 а x —————— OUTPUT VOLTAGE VOLTAGE NY NAS CONTROLLED |” CONTROLLED S/H SAMPLE / AUDIO VOLTAGE men с VOLTAGE > OSCILLATOR |= nn OSCILLATOR L+ su MIXER HOLD MIXER > a FILTER| | AMPLIFIER 1 2 Г ADSR | | г. PULSE отн 7 | | [~ PULSE WIDTH — | N | ENVELOPE GENERATOR | PORTAMENTO WIDTH моо ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX E 2 OCTAVES mi «+ 2 OCTAVES DOWN son MIN | - 1 | N | 1 1 | | ADSR — AR — woo Г. ] LFO S/H LEO SH LFO KYBD S/H ADSR AR кино | KYBO FLAT SHARP Ц о AN H В 010 REPEAT GATE LFO ADSR В Г ADSR В SH LFO AR ADSR L AUTO REPEAT nn LA a MIXER AA A MIXER AV У I REPEAT | REPEAT nn PITCH BEND R OR JUL « Un В PEDAL “METALLIC” SOUNDS » 10. Sample 6 Hold Percussion @ Y Y r Y Y N ГМ ` | NOISE FREQUENCY AUDIO FREQUENCY oe aos GENERATOR COARSE FINE куво COARSE FINE SYNC LFO ver VCF CUTOFF УСА WHITE on FREQ [| FREQ RESONANCE FREQ GAIN || ATTACK RELEASE HY a 2 1. SELF 16 a 4 Khz 4 Hz кн: osc “He PINK LF N ve on Low ne, OFF 200 FREQUENCY A OSCILLATOR E ñ 4 U" e | ~~ OUTPUT VOLTAGE VOLTAGE prev NSF sa CONTROLLED CONTROLLED | S/H SAMPLE / AUDIO CONE 5 come OSCILLATOR R MIXER HOLD MIXER y | e ut FILTER AMPLIFIER ! UL ENVELOPE Ei Г PULSE WIDTH + ~ PULSE WIDTH — OUTPUT PORTAMENTO WIDTH MOD WIDTH MOD LAG ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX — 2 OCTAVES MIN MIN MAX ue В | | | | | | | | | DOWN sos sen oe MIN — m — | Mm — | | | | | Г ADSR —] Г АВ 7 LFO S/H LFO ко SH LFO À vcoi — NOISE LEO NOISE VCO-1 VCO2 KYBD S/H ADSR AR KYBD KYBO KYBD | N H - H "E f H H y I i В | а H LFO ADSR A ADSA В В. KYBD RING YCO-1 vCO2 SH LFO AR ADSR L AUTO REPEAT nn I~ a MIXER AA A sur JUL TRIG MOD JUL JUL MIXER AN yan“ Sf § REPEAT | REPEAT mn PITCH BEND OR on SUL PEDAL PEDAL e A A J A , Tune VCO 1 one octave lower than VCO 2. 11. Heavy Led Y Y Y Y Y” Faas ee 1 NOISE FREQUENCY AUDIO FREQUENCY apr TS I GENERATOR COARSE FINE xveo COARSE FINE SYNC LFO ver VCF CUTOFF VCA WHITE ом FREQ FREQ RESONANCE FREQ GAIN ATTACK RELEASE uu 2 » ie SELF 18 20 M2 y KHz } ez кк: osc KHz PINK F. ON LOW KXYBO 200 y OFF 200 FREQUENCY OSCILLATOR Rm | 20 | 2 18 MIN 16 ма * Hy Mz OUTPUT VOLTAGE |... VOLTAGE NN DACALATON conmoLLED |” SM || sae AUDIO consenuen sd rage bjecimmouen ILLATOR R MIXER Г” ate e 9 Tn e ~~ nun SEE HOLD FILTER FILTER| | AMPLIFIER ! ENVELOBE es [ PULSE WIDTH + [~ PULSE WIDTH — OUTPUT PORTAMENTO WIDTH MOD WIDTK MOD LAG ATTACK DECAY SUSTAIN RELEASE TRANSPOSE MAX E 2 OCTAVES MIN MIN MAX bi | | | | | | | | | | | | DOWN 50% 5% м MIN = LE em pm — | | 1 | | | 1 | [— ADSR— AR] LFO S/H LFO LFO s'H LFO vco-1 NOISE LFO NOISE VCO-1 vco.2 KYBD S/H ADSR AR KYBD КУВО KYBD FLAT SHARP В 0 р nN NN GEN Ñ Е В H n Ñ " REPEAT GATE LFO ADSR H ADSR В vEd.1 vCB.2 KVBD RING VCO-1 vC0-2 SH LFO AR ADSA L AUTO REPEAT nn I~ I~ MER A AN UL nn TAG MOD JUL MA MIXER AV LX Lx |] REPEAT | REPEAT mn PITCH BEND OR OR nn В PEDAL PEDAL . A. A y А. Tune VCOs 1 & 2 to different frequencies for different metallic timbres. . 12. Gong/Chime Specifications NOISE GENERATOR Noise spectrum types: White and Pink TRANSPOSE Positions: Down 2 octaves, normal, up 2 octaves PITCH BEND Frequency shift: About + 1 oct. (exactly +1 octave on Odyssey-II) PORTAMENTO Maximum speed: About .01 msec./oct. Minimum speed: About 1.5 seconds/oct. VOLTAGE CONTROLLED OSCILLATORS Waveforms: Sawtooth, Square, Pulse, Dynamic Pulse Frequency range: VCO 1 in low freq. mode, .2 Hz, to 20 Hz.; VCO 1 and VCO 2 (audio range) 20 Hz. to 20 KHz. Warm up drift: 1/30 semitone from turn on max. Pulse width: 50% to 5% Pulse width modulation: ADSR, +45%; LFO,+15% Voltage controlled response: 1 V/oct. Maximum frequency shifts: LFO sine wave, +1/2 oct.; LFO square wave, +1.5 oct.; ADSR +9 oct.; S/H +2 oct. Note: VCO 1 is low note priority; VCO 2 is high note priority VOLTAGE CONTROLLED FILTER Type: Low pass Frequency range: 16 Hz. to 16 KHz. Maximum usable Q: 30 Resonance 1/2 to self oscillate Voltage controlled response: 1V/oct. VOLTAGE CONTROLLED AMPLIFIER Dynamic Range: 80dB. 55. RING MODULATOR Type: Digital Input signals: VCO 1 and VCO 2 square waves SAMPLE AND HOLD Command sources: Keyboard or LFO trigger Sampled signals: VCO 1 square wave and sawtooth wave, VCO 2 square wave and pink noise ADSR ENVELOPE GENERATOR Attack time: 5 msec. to 5 seconds Decay time: 10 msec. to 8 seconds Sustain level: 0 to 100% of peak Release time: 15 mesec. to 10 sec. 56. AR ENVELOPE GENERATOR ’ Attack time: 5 msec. to 5 seconds Release time: 10 msec. to 8 seconds AUDIO OUTPUTS High level: 2.5 V PP max.; 100K impedance Low level: .25 V PP max.; 10K impedance INTERFACE JACKS Keyboard CV IN/OUT: 1 V/oct. Gate OUT: +10 V, key down; 0 V all keys up Gate IN: +8 V minimum Trigger OUT: +10 V pulse on key depression, 10 microsec. duration Trigger IN: +8 V pulse min., 10 microsec duration minimum External Audio Input: 500 millivolts for full output ">

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Key features
- Analog synthesizer
- Two-voice, 37-note keyboard
- Nine-octave range
- Voltage Controlled Oscillator (VCO)
- Voltage Controlled Filter (VCF)
- Voltage Controlled Amplifier (VCA)
- Noise generator
- Patch switches