Panasonic SX5000R User manual

 National
ELECTRONIC ORGAN
National
Operating Instructions
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MODEL SX-5000R
Before operating this set, please read these instructions completely
THE NATIONAL ELECTRONIC ORGAN
OPERATING INSTRUCTIONS
We are sure that you will get many years of pleasure from your new National Electronic Organ.
This organ is a unique musical instrument designed for performance of the simplest and the most
complicated music, and can be easily played by anyone, from the beginner to the most competent
musician.
Read this booklet carefully for the proper use of your National Electronic Organ.
CONTENTS
INTRODUCTION TO THE ELECTRONIC ORGAN oe 2
NAMES OF PARTS Le ie eee ee Eee eee ee ae tres 3
NAMES OF CONTROLS ee ee eee Re ee SR eee 4
MAIN FEATURES es OS 6
KEYBOARDS & COMPASS CHART ees 7
TONE TABS rre eririer ear cer eee AR IRA v.... 8
PRE-SET SOUND LL. LL ALL ALAN AAA AAA AAA acero ee ee ee es 9
EFFECT TABS ......... ee re rin ire rie eee A AE eee eee 12
EFFECT LEVERS nenes a 15
AUTOMATIC RHYTHM CONT ROLLS ee eee 16
AUTO-PLAY-CHORD CONTROLS e... 0000 reee Dee ee ee ea 18
OTHER CONT ROL SS oo ee Dies 20
SOME TYPICAL REGISTRATIONS eee 22
MAINTENANCE & SPECIFICATIONS eK ER 24
INTRODUCTION TO THE ELECTRONIC ORGAN
You will understand the detailed operation of these controls by reading the following pages, but first
arrange these controls as shown on this page with reference to the next page. With such an arrangement,
your Electronic Organ will readily produce musical sounds. | |
If you have any knowledge of music and can perhaps play the piano or the electronic organ even
moderately well, you will immediately be able to play the National Electronic Organ in its simplest form.
Even if you have no musical knowledge, you will become a good player after referring to the following
pages which explain, step by step, how to play the Electronic Organ with its special musical effect.
1. Power Switch á Volume Control
This is turned to the right (clockwise) and set with the pointer upright.
2. Lower Manual Tone Tabs
The tab marked FLUTE 8' is depressed at the bottom.
3. Deley Tabs........................ These are not depressed.
4. Multi-Tremolo Tabs
The tab marked ON is depressed at the bottom.
5. Electronic Chorus Tab........................ This is not depressed. -
6. Vibrato Tab........................ This is not depressed.
7. Pre-Set Sound Tabs........................ These are not depressed.
8. Percussive Tone Tabs........................ These are not depressed.
9. Upper Manual Tone Tabs
The tab marked FLUTE 8’ is depressed at the bottom.
10. Pedal Attack Tab....... EU aa. This is not depressed.
11. Pedal Sustain Tabs........................ The tab marked ON is depressed at the bottom.
12. Pedal Tone Tabs........................ The tab marked BASS 8' is depressed at the bottom.
13. Pedal Volume Knob `
This is turned to the right (clockwise) and set with the pointer upright.
14. Manual Balance Lever........................ This is set to the center point.
15. Reverberation Select Lever........................ This is set to the center point.
16. Reverberation Lever........................ This is set to the ‘3rd’' position.
17. Brilliance Lever........................ This is set to the center point.
18. Automatic Rhythm Start Switches........................ These are left as they are.
19. Automatic Rhythm Section........................ These are left as they are.
20. Auto-Play-Chord Buttons........................ These are left as they are.
21. Glide Control Switch........................ This is left as it is.
22. Expression Pedal........................ This is depressed forward with the toe of the right foot.
NAMES OF PARTS
1. POWER SWITCH & VOLUME CONTROL 15. REVERBERATION SELECT LEVER
2. LOWER MANUAL TONE TABS 16. REVERBERATION LEVER
3. DELAY TABS 17. BRILLIANCE LEVER
4. MULTI-TREMOLO TABS 18. AUTOMATIC RHYTHM START SWITCHES
5. ELECTRONIC CHORUS TAB 19. AUTOMATIC RHYTHM SECTION
6. VIBRATO TAB 20. AUTO-PLAY-CHORD BUTTONS
7. PRE-SET SOUND TABS 21. GLIDE CONTROL SWITCH
8. PERCUSSIVE TONE TABS (inside the expression pedal)
9. UPPER MANUAL TONE TABS 22. EXPRESSION PEDAL
t 10. - PEDAL ATTACK TAB 23. OUTPUT TERMINAL (under the keyboard)
11. PEDAL SUSTAIN TABS 24. HEADPHONE JACK (under the keyboard)
12. PEDAL TONE TABS 25. MICROPHONE TERMINAL
13. PEDAL VOLUME KNOB (under the keyboard)
14. MANUAL BALANCE LEVER 26. INPUT TERMINAL (under the keyboard)
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29
NAMES OF CONTROLS
FLUTE 8’
CLARINET 16’
) , au FLUTE 16
PEDAL ATTACK ——
Pedal Effect Tabs PEDAL SUSTAIN SHORT-LONG —
L PEDAL SUSTAIN ON-OFF
Pedal Tone Tabs J BASS 8
| BASS 16' —
PEDAL VOLUME -
—— Effect Levers
a REVERB...
BRILLIANCE
REVERB. SELECT
\ MANUAL BALANCE
Aa E
FLUTE 4
Upper Manual Tone Tabs < STRING 8'
OBOE 8
DIAPASON 8
MANDOLIN —
TIBIA 22'
FLUTE 22'
TIBIA 4
1... TOUCH START SWITCH
—..— TEMPO LAMP
TOUCH SWITCH ON-OFF
FINE TEMPO
|__—— SYNCHRONOUS START
X
>
Automatic Rhythm
Controls
PERCUSSIVE TONE 4'
PERCUSSIVE TONE 22’
PERCUSSIVE NORMAL-FULL
— PERCUSSIVE SHORT-LONG
PIANO
HARPSICHORD
VIBRAPHONE j
|
|
Г
|
Upper Manual Effect Tabs
Pre-Set Sound Tabs
VIBRATO
zz ITITIT
——————— CHORUS
— ————— MULTI-TREMOLO ON-OFF
--—- ——- MULTI-TREMOLO LIGHT-HEAVY
MULTI-TREMOLO SLOW-FAST
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Automatic Rhythm
Controls
> Effect Tabs
————— DELAY ON-OFF
r ——— - DELAY NORMAL-SLOW 7
--- —-—FLUTE 8'
—-—. _—… DIAPASON, 8'
---HORN 8' > Lower Manual
| _- _ FLUTE 4' Tone Tabs
: ——~——-—TIBIA 4'
|
POWER SWITCH &
VOLUME CONTROL
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TEMPO —— = LOWER ON-OFF |
PEDAL ON-OFF Auto-Play-
RHYTHM BALANCE — + | - Chord
RHYTHM SELECTORS — — —-—— PEDAL 1/1.5 /
RHYTHM VOLUME —— —- —
MAIN FEATURES
Pre-Set Sound
These are simple-to-operate tablets for producing the tones of a piano, harpsichord or vibraphone,
separately or mixed, by means of the upper keyboard.
Normally, it is difficult to produce these tones by setting up a combination of sounds through the
standard tone tablets. Pre-set tablets are designed to permit the production of soothingly reverberated
piano tone, transparent and delicate harprsichord tone and trembling and reverberated vibraphone
sound. They are ideal even for the beginner.
When one or more of the pre-set tablets are pressed in, all of the standard tablet sounds are cancell-
ed from operation on the upper keyboard, but they become operative as soon as the pre-set tablets are.
released. Pre-set and standard sounds can therefore be alternatingly used for contrasting instrumentals,
giving versitile and creative performances.
Auto-Play-Chord
The Auto-Play-Chord is a new function which makes the rhythm accompaniment by the left hand
and left foot much easier and automatic. This elementary step in playing has been considered very dif-
ficult. The organist can play the melody on the upper manual and the rhythm accompaniment can be
automatically played with a selected rhythm, such as Rumba or Rock, by simply pressing the accompany-
ing chord, which corresponds to that melody, on the lower manual and the pedal keyboard. If the organist.
becomes very proficient, he can have automatic play using only the lower manual or only the pedal key-
board. :
Regarding the pedal keyboard, the bass accompaniment of only the sound from the depressed key
can be automatically played or the sound from the depressed key and its 5-th tone above (for example,
the tone G for the sound C) can be automatically played without moving your foot.
7
Electronic Multi-Tremolo Effect
Due to the “Multi-Tremolo” effect, sounds have a tremolo effect plus spread three-dimensionally,
making the sound very rich. Tremolo is ordinarily created by rotating a baffle before the speaker: ‘‘Muiti-
Tremolo" is, however, a new electronic method developed by National and has more clear and beautiful
sounds than a conventional tremolo. Because a motor is not used, no noise is produced and the reliability
is higher. This ""Multi-Tremolo'’' can change the depth and speed of sound with one touch. There is also
n “Electronic Chorus” effect in addition to the “Multi-Tremolo" effect. This effect creates a rotational
effect in slower sounds and is very useful for church music and special effects for light music.
Delay Effect
The delay effect is that effect created when some other effect is applied after pressing the keys. This
delay effect can be used for the Multi-Tremolo, and the Vibrato effects, permitting the creation of an effect
as fine and delicate as that of the stringed instruments. And, because National has created the Multi-
Tremolo electronically, the delay effect can now be applied to the tremolo effect for the first time in the
world, thus greatly enlarging the possible playing spectrum.
KEYBOARDS & COMPASS CHART
/
Keyboards
There are three keyboards—UPPER MANUAL, LOWER MANUAL and PEDAL KEYBOARD.
The UPPER MANUAL keys are depressed (with the right fingers) mainly for melodies; the LOWER
MANUAL keys (with the left fingers) mainly for accompaniments; and the PEDAL keys (with the toe of the
left foot) mainly for basses.
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RANGE
UPPER MANUAL Extends from c to €; 49 keys, 4 octaves |;
(medium to high-pitched tones) |
LOWER MANUAL Extends from C to ¢: 49 keys, 4 octaves
(low to medium-pitched tones) |
PEDAL KEYBOARD Extends from Ctoc: 13 keys, 1 octave
(bass tones)
TOUCH
Unlike the piano, the touch on the Electronic Organ keys does not change the volume or quality of
sounds produced. You do not need to change your touch nor to learn a difficult finger technique, you may
play the keys with a minimum of pressure.
Compass Chart
UPPER
MANUAL
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LOWER
MANUAL
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СЕТЕ А | В | с
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84 played one octave higher than written.
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84 bassa played one octave lower than written.
PEDAL
KEYBOARD
TONE TABS
;
The tone tabs produce individual sounds when depressed at the bottom and stop the sounds when
depressed at the top.
Upper Manual Tone Tabs
The Upper Manual provides two 16' tones, four 8' tones, two 4' tones, two 22' tones and one special
effect tone. Their combinations produce many other beautiful tone colors.
` | CLARINET DIAPASON STRING TIBIA TIBIA
16 8’ 8 4 5
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| |
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FLUTE FLUTE MANDOLIN
8 4 25
FLUTE 16
The FLUTE 16" tone has the simplest harmonics, and its tone quality is soft and mellow, like an orches- o
tral flute, and is suitable for playing melodies. Its pitch is lower by one octave than written on a music score.
CLARINET 16° `
The CLARINET 16' tone has a smooth and hollow tone quality, like an orchestral clarinet, and is es-
pecially suitable for playing melodies. Its pitch is lower by one octave than written on a music score.
FLUTE &
The FLUTE 8 tone is the same quality as that of the Flute 16’ tone, but its tone pitch is the same as
written on a music score.
DIAPASON 8'
The DIAPASON 8’ tone has the foundation tone quality found in no other instrument than a pipe organ
and has a special personality in tone color. It is slightly heavy and dull, rather than brilliant in tone quality,
and is suitable for playing chords. It has the same pitch as written.
OBOE 8’
The OBOE 8' tone has a strong personality, characterized by heavy upper harmonics, and its tone
quality is rather reedy and more brilliant than any other tone. It has the same pitch as written.
STRING 8
The STRING 8' tone is a rather bright tone, like an orchestral violin, its tone quality is characterized
by especially intense upper harmonics, and is suitable for playing melodies and chords. It has the same
pitch as written.
FLUTE 4°
The FLUTE 4' tone is the same quality as that of the Flute 16’ tone, but its tone pitch is higher by one
octave than written.
TIBIA 4°
The TIBIA 4’ tone is the sound of woodwind instruments, soft, but still shghtly harder than that of the
flute. Its tone pitch is higher by one octave than written.
FLUTE 2%
The FLUTE 22’ tone is the same quality as that of the Flute 8 tone, but its tone pitch is higher by a
twelfth than written. This Flute 23" tone is used combined with the fundamental tone, sounding simultaneous-
ly when a single key is depressed.
TIBIA 23
The TIBIA 23" tone is similar to that of the Tibia 4, but the former is a fifth hihger than the latter. By
adding this to the fundamental tone, rich and steady sounds can be obtained.
MANDOLIN
The MANDOLIN tone is a repeated percussive tone, like a mandolin, and has a brighter tone quality.
It is suitable for playing melodies, and it can be used as special effects in tone color.
Pre-Set Sound
These are simple-to-operate tablets for producing the tones
of a piano, harpsichord or vibraphone, separately or mixed, by
means of the upper keyboard.
Normally, it is difficult to produce these tones by setting up a
combination of sounds through the standard tone tablets. Pre-set
tablets are designed to permit the production of soothingly re-
verberated piano tone, transparent and delicate harpsichord
tone and trembling and reverberated vibraphone tone. They are
ideal even for the beginner.
When one or more of the pre-set tablets are pressed in, all of
the standard tablet sounds are cancelled from operation on the PIANO HARPSI-| VIBRA-
upper keyboard, but they become operative as soon as the pre-set CHORD | PHONE
tablets are released. Pre-set and standard sounds can theretore
be alternatingly used for contrasting instrumentals, giving versitile
; и
and creative performances. PRE-SET SOUND
10
PIANO
This tablet produces a tone similar to that of an electric piano. When a key is held down for a long
moment, the sound volume decreases; when the key is lifted, the reverberated sound is immedi-
ately cut off.
HARPSICHORD
The subtle tones of the harpsichord, highly popular during the 17th and 18th centuries, can be produced
when this tablet is pressed in.
. VIBRAPHONE
When the vibraphone tablet is pressed in, a trembling tone rises then dies down to give the effect of
an echo. When the key is lifted, the trembling sound is immediately cut off.
Lower Manual Tone Tabs
BASS 8 | FLUTE 8 HORN 8’ TIBIA 4
' |
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BASS 16 DIAPASON 8' FLUTE 4'
PEDAL LOWER
The Lower Manual provides three 8' tones and two 4' tones. Theire combinations produce many other
beautiful tones.
FLUTE 8’
The FLUTE 8’ tone is round, soft and mellow, and is the same quality as that of the Flute 8" tone of the
upper manual, It is suitable for playing melodies.
DIAPASON 8
The DIAPASON 8' tone is slightly heavy and dull, and is the same quality as that of the Diapason 8
tone of the upper manual. It is suitable for playing chords.
HORN 8
The HORN 8' tone is a solo tone having a particular personality of harmonics, and is suitable for
playing melodies. This tone can be compared to the Oboe 8' tone of the upper manual.
FLUTE 4
The FLUTE 4' tone is the same quality as that of the Flute 16' tone, but its tone pitch is higher by one
octave than written.
TIBIA 4
The TIBIA 4' tone is the sound of woodwind instruments, soft, but still slightly harder than that of the
flute. Its tone pitch is higher by one octave than written.
Pedal Keyboard Tone Tabs
The Pedal Keyboard provides one 16' tone and one 8' tone. Theire combination produces other rich
tone for bass sounds.
BASS 16’
The BASS 16° tone is the lowest pitch tone obtained by the organ, and produces a deep and rich bass
tone. Its pitch is lower by one octave than written.
BASS 8
The BASS 8' tone has the foundation of characteristics of the flute tone and the richness of the string
tone. it is a round, mellow and heavy tone which is suitable for playing bass solo or accompaniment.
it has the same pitch as written.
These tone color tabs of the upper manual, lower manual and pedal keyboard can be used either
separately or in any combination. The sound comes more fully as you use more tone tabs. By combining
the various tone tabs, you can obtain infinite variations of tone color.
12
Each of the effect tabs gives various tonal effects to the music when depressed at the bottom and stop
the sounds when depressed at the top.
NOR-
SHORT VIBR- | cHo- LIGHT | SLOW
4 92 MAL ON
FULL | LONG HEAVY! FAST
—
X©— PERCUSSIVE TONE — — MULTI-TREMOLO
Electronic Multi-Tremolo Tabs
The three Multi-Tremolo tabs give a new tremolo effect and change the depth and speed of tremolo.
MULTI-TREMOLO ON-OFF
The MULTI-TREMOLO ON-OFF tab gives tremolo to the music when depressed at the bottom, and
eliminates it when depressed at the top. The other two tabs (Light-Heavy 6 Slow-Fast) can change the
degree of tremolo. When you adjust the degree of tremolo to suit the tune to be played, you can produce
or eliminate the tremolo effect instantly by operating the Multi-Tremolo On-Off tab even while playing.
MULTI-TREMOLO LIGHT-HEAVY
The MULTI-TREMOLO LIGHT-HEAVY tab can change the depth of tremolo by making tremolo heavier
(when depressed at the bottom) or lighter (when depressed at the top). .
Note that Multi-Tremolo Light-Heavy & Slow-Fast tabs operate only when the Multi-Tremolo On-Off
tab is in the On position.
MULTI-TREMOLO SLOW-FAST |
The MULTI-TREMOLO SLOW-FAST tab can change the speed of tremolo by making tremolo faster
(when depressed at the bottom) or slower (when derpessed at the top). |
Electronic Chorus Tab
The CHORUS tab provides a slower rotational effect for the music when depressed at the bottom.
But if you use it together with the Multi-Tremolo tab, the chorus effect is eliminated automatically.
Vibrato Tab
The VIBRATO tab gives vibrato to the music when depressed at the bottom, and eliminates it when
depressed at the top. When you want to change the degree of vibrato speed, use the Slow-Fast tab of the
Multi-Tremolo.
13
Percussive Tone Tabs
The Percussive Tone is the effect, when the upper manual keys are pressed, the sounds gradually
diminish. It is generally used with the fundamental tone tabs. It is particularly effective to obtain strikingly
clear beginning sounds, or a performance which is very clear and crisp. The strength and speed of diminish-
ment can be varied.
PERCUSSIVE TONE 4°
When the bottom of the tab 1s depressed, a percussive tone which is 4° (one octave higher than the
music score) is added to the upper manual. If this effect is not to be used, the top of the tab should be
depressed to turn it off.
`
PERCUSSIVE TONE 27°
When the bottom of the tab is depressed, a percussive tone which is 2%’ is added to the upper manual.
This tab can, of course, be used with the Percussive Tone 4'.
PERCUSSIVE TONE NORMAL -FULL
This tab is tor varying the strength of the percussive tone. The bottom of the tab can be depressed to
obtain a strong tone, “FULL”, and a weaker tone can be obtained by depressing the top of the tab,
“NORMAL”. Neither this tab nor the Percussive Short-Long tab described next will operate unless either
the Percussive Tone 4' or Percussive Tone 2°; is depressed.
PERCUSSIVE TONE SHORT-LONG
The bottom of this tab can be depressed to obtain a prolonged decreasing percussive tone, "LONG",
and the top can be depressed to obtain a shorter decreasing percussive tone, “SHORT”. Note that the
percussive tone is obtained while the key is depressed, and disappears when released, even while de-
creasing...... a feature very convenient when playing in legato because it is applied only to the beginning
sound.
¡Delay Tabs
The delay effect means that a certain effect begins slightly
after the keys are pressed. This delay can be used for the Vibrato
and the Multi-Tremolo effects, permitting the creation of an effect
as fine and delicate as that of the stringed instruments. Note that
this delay effect is applied every time the key is released. When
playing in legato, there is no delay and there is no change made.
DELAY ON-OFF
When the DELAY ON-OFF tab is depressed at the bottom, the
Vibrato or the Multi-Tremolo effect is applied slightly after the key
is pressed. Note that this delay effect is applied only when the NORMAL
original effect (Vibrato or Multi-Tremolo) tablet is set to the on ON
position.
SLOW
DELAY
14
DELAY NORMAL-SLOW
The DELAY NORMAL-SLOW tab can change the length of the delay time. By depressing the tab at the
bottom or at the top, you can obtain slow or normal delay effect. This tab is not operate unless the Delay
On-Off tab is depressed.
Pedal Sustain Tabs
PEDAL SUSTAIN ON-OFF
The PEDAL SUSTAIN ON-OFF tab gives the pedal sustain
effect to the pedal tones. The pedal sustain effect means that a
bass tones produced by the pedal keyboard decays gradually
after the depressed pedal is released. When this tab is on, you
can obtain the pedal sustain effect.
PEDAL SUSTAIN SHORT-LONG SHORT
The PEDAL SUSTAIN SHORT-LONG tab can change the ON AT ATTACK
duration of the sustained bass tones. By depressing the tab at LONG e
the bottom or at the top, you can obtain long or short pedal
PEDAL SUSTAIN `
sustain effect.
Pedal Attack Tab
The Pedal Attack effect applies a stong accent to the pedal tone just at the moment the pedal is press-
ed, giving an effect of the pizzicato of the contrabass. The bottom of this tab may be pressed to set it to the
ON position, in order to apply an accent to the pedal tone and to obtain clear sounds.
15
EFFECT LEVERS
/
e LL
SOFT BRIGHT OFF ~~ 3rd LOWER UPPER LOWER UPPER
1st 2nd
BRILLIANCE REVERB. REVERB. SELECT MANUAL BALANCE
(The Left Side of the Upper Manual)
Manual Balance Lever
The MANUAL BALANCE lever can control the volume balance between the Upper Manual and the
Lower Manual at the discretion of the player. When this lever is set to the center point, the volume of both
manuals becomes nearly equal. The lever set to the UPPER position causes the volume of the Upper
Manual to exceed that of the Lower Manual, and vice versa with the lever set to the LOWER position.
Reverberation Lever
The REVERBERATION lever can change the length of the reverberation effect, giving a spacious-
ness and warmth to the music from OFF to 3rd degree. By changing the degree of the reverberation
effect, you can bring various special effects to the music.
Reverberation Select Lever
The REVERBERATION SELECT lever can select the reverberation ratio of the Upper Manual tones
and the Lower Manual tones. When you set this lever to the center point, the reverberation length of both
manuals becomes equal. When this lever is turned to the Upper position, the reverberation of the Upper
Manual tones exceeds that of the Lower Manual tones, and vice versa.
Brilliance Lever |
The BRILLIANCE lever is similar to the brilliance knob or the tone control knob on a good high fidelity
amplifier system. It can control the upper harmonics of tones from SOFT to BRIGHT and its normal posi-
tion is the center point. When turned to the BRIGHT position, the brilliance of tones of the manual key-
boards is emphasized, and when turned to the SOFT position, the brilliance is reduced completely. This
lever is particularly effective in making the String tone, the Oboe tone and the 4' tones more britiiant.
Pedal Volume Knob
The PEDAL VOLUME knob can control the volume of the sounds
of the Pedal Keyboard from Min. to Max. degree. Set the Pedal Volume ° 7
knob to its proper position to balance the sound volume of the Pedal - -
Keyboard with that of the U nd L M als.
ybo Wi a e Upper a ower Manuals MIN. MAX.
PEDAL VOLUME
16
AUTOMATIC RHYTHM CONTROLS
/
The automatic rhythm section has three rhythm control knobs, eight rhythm selector buttons, two
rhythm start switches, one tempo lamp and touch start switch.
Rock Fox Trot Rumba Bossa Nova
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Siow Rock Swing Cha-Cha Waltz
Rhythm Volume Tempo
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Rhythm Selection Buttons
This rhythm section has eight rhythm selectors. They are Rock, Slow Rock, Fox Trot, Swing, Rumba,
Cha-Cha, Bossa Nova and Waltz. Select your favorite and push the corresponding button.
This button switch turns on the rhythm when you push it. These are interlocking switches, so that
when you push a rhythm selection, the previous rhythm turns off automatically.
If you push two or more rhythm selection buttons at the same time, a complex and interesting rhythm
can be created.
Rhythm Volume Knob
When the RHYTHM VOLUME knob is turned to the right (clockwise), the volume of the rhythm increases
gradually. Adjust the volume of the rhythm according to the volume of the keyboard sounds.
It should be noted with caution that the main volume and expression pedal of the organ have some
influence on the volume of the rhythm.
Rhythm Balance Knob
If the knob is turned clockwise, the percussion instrument sound of the cymbals and the maracas
becomes gradually louder, while the sound of the other percussion instruments becomes lower. lf the
knob is turned counterclockwise, the sound of the claves, the cowbell and the drums become louder and
the sound of the cymbals and the maracas becomes fower. Thus, set it to the desired position. Also, if this
knob is turned clockwise or counterclockwise until it stops, it can be used as a cancel effect, and in this
way various rhythms can be created.
Tempo Control Knob
If you turn the TEMPO CONTROL knob clockwise, the tempo of the rhythm increases. The tempo of
the rhythm should be adjusted according to the music you play. |
The Tempo Lamp in the touch start switch is designed to illuminate on the first beat.
Therefore, you can easily adjust the tempo by watching the tempo lamp. If the synchronous start switch
is turned to the on position, the tempo lamp indicates a beat interval even though the rhythm has not yet
started. It is, therefore, possible to adjust the beat without emitting the percussion instrument sounds.
17
Fine Tempo Lever
AUTOMATIC
RHYTHM START \
After pre-setting the tempo with the tempo control,
this lever permits further and finer adjustment quickly.
You can speed up a pre-established slow tempo by moving
the lever to the right. When moved to the left, the tempo
SYNCHRO
START
TOUCH SW
ON
TEMPO LAMP
|
will become slower. However, no effect will occur if the
tempo control is set at its maximum speed and the
fine tempo control is moved to the FAST position or vice
1
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1
1
nm
versa. SLOW | FAST
- ` FINE TEMPO
TOUCH SW.
Rhythm Start Switches
There are two starting methods for rhythm as shown below. In both cases, the rhythm begins with the
first beat.
TOUCH SWITCH ON-OFF BUTTON
This button is to prevent mistaken operation of the Touch Start Switch, located on the right side of this
button. When not using the rhythm, it should be set to the OFF position (upper position). When so set, the
rhythm cannot be started even if the Touch Start switch is accidentally touched. To use the rhythm, press
this button (lower position) and then use the touch start switch. The touch start switch can, however, be
used to stop the rhythm no matter to which position this button (ON or OFF)) is set.
SYNCHRONOUS START BUTTON
If the SYNCHRONOUS START button is pushed beforehand (in the condition where the button is de-
pressed), the rhythm will start when either the lower manual or the pedal keyboard is played. In this manner,
it is very convenient. Using the Touch Start switch, you can stop the rhythm,
If the performance is conducted without using the synchronous start button, this button should be press-
ed again to set it to the "OFF" position (in the condition where the button is not depressed). The rhythm
will be turned off by pushing this button during performance.
TOUCH START SWITCH
This TOUCH START switch is especially convenient because on-off control of the rhythm can be
quickly accomplished by simply gently touching it (when the Touch Switch button is set to the ON position).
Note that, even when the Synchronous Start button is ON, that this Touch Start switch can be used to control
on-off operation.
‘When using the touch start switch, be sure to touch the inside of the switch, part [A] and the outside,
part [B], at the same time. Part [A] and [B] are designed to be touched simultaneously and, if only one part
is touched, the start switch will not operate. Therefore, care should be exercised.
Ur SE pr
E
18
AUTO-PLAY-CHORD CONTROLS
The Auto-Play-Chord is a new function which makes the rhythm accompaniment by the left hand and
left foot much easier and automatic. This elementary step in playing has been considered very difficult.
The organist can play the melody on the upper manual and the rhythm accompaniment can be automatical-
ly played with a selected rhythm, such as Rumba or Rock, by simply pressing the accompanying chord,
which corresponds to that melody, on the lower manual and the pedal keyboard. Accordingly, even those
who are just beginners can easily play the melody with the right hand while playing the accompaniment.
Because this Auto-Play-Chord is connected to the automatic rhythm, if one of the rhythm selection
buttons is not pushed, the automatic accompaniment will not be obtained. In another words, only when
the automatic rhythm is operating does the Auto-Play-Chord function. When you don't require the percus-.
sive instrument tones of the automatic rhythm, turn the “Rhythm Volume” knob completely counterclock-
wise (Min.) and only the lower manual and pedal tones will play the rhythm. Control the speed with the
“Tempo” knob. The starting function of the Auto-Play-Chord is the same as that of the automatic rhythm.
Also, with this Auto-Play-Chord, automatic accompaniment using only the lower manual, only the
pedal keyboard, or using both the lower manual and the pedal can be obtained. Accordingly, it is very
convenient when practicing the lower manual and the pedal keyboard.
A I
115 ON
| | |
PEDAL LOWER
|
AUTO PLAY CHORD
Auto-Play-Chord Lower On-Off Button
By simply pushing this button to the ON position (lower position) and depressing the chord, which
corresponds to the playing melody, with the lower manual, accompaniment by the lower manual at the
selected rhythm can be automatically obtained.
When not using, please be sure to push this button again to set it to the OFF position (upper position).
Auto-Play-Chord Pedal On-Off Button
Push this button to the ON position (lower position), push the root tone among the chord, which is
played on the lower manual (C, if the chord is C, E, and G), at the pedal keyboard, and the bass sound at
the selected rhythm will be automatically obtained. If using together with the Auto-Play-Chord of the lower
manual, the rhythm accompaniment may be played by simply pressing the lower manual and the pedal
keyboard. Thus, you are able to play very easily.
When not using this button, be sure to set it to the OFF position (upper position).
19
Auto-Play-Chord Pedal 1/1 - 5 Button
Automatically rhythm accompanying bass sound is accomplished by only the pressing pedal key tone
when this button is set to the "1" position (upper position). If this button is set to the “1-5” position (lower
position), the pressing pedal key tone and its fifth tone (G tone when the C key is pressed) will create a
rhythm automatically without moving the foot.
Also, this effect is applicable to “Fox Trot", “Rumba”, “Cha-Cha” and “Waltz”. It is not applicable
to other rhythms because it is not suitable.
.When you select the Rumba rhythm with the Auto-Play-Chord, the sound from the lower manual and
pedal are as follows:
Lower Manual Sound
Pedal Sound
The accompaniment is repeated according to the following rhythm pattern, when another rhythm 1s
selected, by the same method.
[Rock] [Slow Rock] [Fox Trot]
3 3
e 1: .. 42 led,
ETA © A Aa
[Swing] [Cha-Cha] [Waltz]
= hn
e
[Bossa Nova]
20
OTHER CONTROLS
/
Power Switch & Volume Control
The POWER SWITCH & VOLUME CONTROL is set to the maximum level of the organ when the Ex-
pression Pedal is used. If the Expression Pedal is not used, the Volume Control should be adjusted to the
desired level. After playing the organ, the Volume Control is turned counterclockwise to a position at which
the power is switched off.
Glide Control Switch | |
Glide Control Switch
The GLIDE CONTROL SWITCH is on the left of the ex- Right Foot
pression pedal. (Refer to the figure at the right.) This switch
is operated by the toe of the right foot. If this switch is
pushed to the left, the sound glides down approximately
one-half of a tone. When the switch is no longer operated,
the sound will return to the original tone by portamento.
Expression Pedal
Expression Pedal
-
The EXPRESSION PEDAL is operated with the right foot. It changes the volume of the electronic organ
to create musical expression. Pressing forward with your toe increases the volume, pressing back with
your heel decreases it. .
Headphone Jack
The HEADPHONE JACK is under the right side of the keyboard. Headphones (optional) are plugged
into the Headphone Jack, and the amplifier is automatically switched off. Thus you may practice in a room
where people are talking without disturbing others. Use stereo headphones, not monaural headphohes.
In this case, you can hear the Multi-Tremolo effect through the headphones.
21
LINE OUT
© ©
MAIN SIDE
| MIC. | AUX.
| |
© O
-
OFF MAX OFF MAX
(Under the Left Side of the Keyboard) (Under the Right Side of the Keyboard)
— =; o as сир SERA «шине
Output Terminals (MAIN, SIDE) . LINE OUT .
The OUTPUT TERMINALS are under the right side of the keyboard. These can be connected with an
external stereo amplifier or stereo tape recorder when you use this Electronic Organ in a large hall or to
record the music of this organ without outside noises.
Connect the MAIN and SIDE output terminals of the organ to the RIGHT and LEFT input terminals of
the external stereo amplifier or stereo tape recorder. Because the “Multi-Tremolo"' effect is produced
electronically by a 2-channel stereo system, beautiful “"Mulit-Tremolo™ effects can be produced for per-
formance in a large hall by using only an external stereo amplifier (output level 360mV 600 ).
Input Terminal (AUX
The INPUT TERMINAL can be connected with a tape recorder or a electric guitar, etc., for the purpose
of reproducing their sounds. It is located under the left side of the Keyboard. (input level 25mV, 20К ©) )
The INPUT VOLUME CONTROL sets the level of the input signal. Note that this volume control can
not change the volume of the Electronic Organ.
Microphone Terminal (MIC. .
The performer can, by connecting a microphone (separate purchase) to this jack, accompany his
own performance vocally or act as master of ceremonies, etc. The microphone used should be a dynamic
microphone (uni-directional). (input level of 5mV, 20K ©) )
The MICROPHONE VOLUME CONTROL sets the level of the microphone volume. When this knob is
turned to the right (clockwise), the volume of the microphone increases.
22
SOME TYPICAL REGISTRATIONS
/
Here are some examples of registrations which will help you find out effective tones of your perform-
ance. These registrations are only typical ones. You will be able to find many variations referring these
examples.
›
Violin
ZIGIKUNFERWIEISEN
Lento 5
Upper: STRING 8' Chorus o @, ©) e | SF rr 1
Vibrato (PY ;
Lower: FLUTE 8 Delay On-Normal vr | > 9 if Wf Hi A
Cover: FLUTE | raat | af Es Fe
0, 8 TE
HE ; Pht ; | j |) A]
English Horn| Q
TIE ORIENTAL,
| Andantino
Upper: FLUTE 2% Multi-Tremolo On-Light-Slow " é : |
OBOE 8' | A ETA mo
Lower: HORN 8' IQ |
Pedal: BASS 16’, BASS 8 à UE 3:
SUSTAIN On-Short - HOY 68) >
OA HP 48 нора AA
or Tone
rgan one]
SIHLIENT NIGHT
Amante
Upper: FLUTE 16', FLUTE 8' | 68 I | J 74
FLUTE 4°, FLUTE 23’ DO ` | =
Lower: FLUTE 8, DIAPASON 8’ Ру»; Le: :
FLUTE 4’ y e В | -
Pedal: BASS 16', BASS 8' 0 (A) 3 P '
НО 2 IE d | | I | a
23
Light Music Tone |
Upper: FLUTE 16° Percussive 23'-Normai- |
Short, Chorus. =
Lower: FLUTE 8' DIAPASON 8' EVE |
Pedal: BASS 8' у
SUSTAIN On-Short y
®,
Light Music Tone 2
Upper: FLUTE 8" Multi-Tremolo On-Heavy- |
Slow и
Lower: FLUTE 8' Percussive 2%'-Normal-Short
FLUTE 4° A
Pedal: BASS 8' “EVE y
SUSTAIN On-Short y
ATTACK "
@ French Horn
Upper: y
Lower: HORN eu y
Pedal: BASS 8' |
Cello
Upper: FLUTE 8' Vibrato y
Chorus 4 y
Lower: DIAPASON 8' ev. !
Pedal: BASS 8' |
SUSTAIN On-Long
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Brightly
No Chad La ‘ Fr 5
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24
MAINTENANCE & SPECIFICATIONS
Maintenance
. Be sure to turn the switch off after playing;
. Because the keys are plastic, do not use thinner, benzine or other petro-chemicals, but polish them
with a dry, soft cloth. |
. Never attempt to touch the inner parts of the unit. For service or repairs, contact the store where purchas-
ed. When replacing a fuse, be sure it is the correct rating.
. The National Electronic Organ creates sounds with IC's and transistors, so tuning is entirely unencessary.
Specifications
Keyboards:
Tones:
Effects:
Automatic Rhythm:
Auto-Play-Chord:
Others:
Output:
Speakers:
L.S.1.:
IC's:
Transistors:
Diodes:
Power Requirement:
Cabinet:
Dimensions:
Net Weight:
Upper Manual 49 keys с-ё (4 octaves)
Lower Manual 49 keys C-C (4 octaves)
Pedal Keyboard 13 keys C-c (1 octave)
Upper Manual
Flute 16", Clarinet 16’, Flute 8, Diapason 8' Oboe 8', String 8', Flute 4, Tibia 4,
Flute 23', Tibia 23”, Mandolin
Pre-Set Sound
Piano, Harpsichord, Vibraphone
Lower Manual
Flute 8’, Diapason 8', Horn 8’, Flute 4’, Tibia 4
Pedal |
Bass 16', Bass 8,
Multi-Tremolo (On-Off, Light-Heavy, Slow-Fast), Chorus, Vibrato, Percussive Tone
(4', 22’, Normal-Full, Short-Long), Delay (On-Off, Normal-Slow), Pedal Sustain (On-
Off, Short-Long), Pedal Attack, Manual Balance, Reverberation, Reverberation
Select, Brilliance, Pedal Volume, Glide Control,
Rhythm Selectors
Rock, Siow Rock, Fox Trot, Swing, Rumba, Cha-Cha, Bossa Nova, Waltz,
Rhythm Volume, Rhythm Balance, Tempo, Fine Tempo, Synchronous Start, Touch
Start, Touch Switch On-Off, Tempo Lamp.
Auto-Play-Chord Lower, Auto-Play-Chord Pedal, Auto-Play-Chord Pedal 1/15
Power Switch & Volume Control, Expression Pedal, Headphone Jack, Input Terminal
(with Volume), Microphone Terminal (with Volume), Output Terminals, Pilot Lamp
50W (Peak power)
30em (12'')x 1, 20cm (8°) x 1, 8m (3x1
1
15
240
170
60W AC 100/120/220/240V 50-60 Hz
Simulated Rosewood
115em(45.3'') [W] x 95em(37.4”) [H] x 65cm(25.6"") [D]
82 kg. (180 Ibs.)
Specifications subject to change without notice
@ 1974 MATSUSHITA ELECTRIC INDUSTRIAL CO., LTD.
pu MATSUSHITA ELECTRIC
CALE MATSUSHITA ELECTRIC TRADING СО, СТР.
P O. Box 288. Central Osaka, Japan
F 0574-0
Printed in Japan
SQFG2001-1