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YAMAHA CS-80 manual

1. 1 s ee R ee E a E o aes ae a Tal ar a ee ta Ein a me ET R A le E be Sears E Lac NaN sreo orrn u sl a fie arse ey yor vo 4001 Pega SuStam PORTAMENTO son a mn ES ES io on o ser ser sn t so o so 2 gt s SELECTOR Gu SSANDO j sto owe om NOISE aise r RsS A a e r WCF LEVEL o s a L maa uw aa LE 1 PORTAMENTO A 3 q vea i i As y ES lt o mm m o me mwas e A elf a EE i al p iw 1 E e CEA ES 1 2 aay A ee pee qe Y on w E Gussanoo Saa E y ales 2 Biz Ea PON ES PE FUN SUSTAM PORTAMENTO Gui saw a gt a om on im on sar o so o vor o o foot smo ram E mE ps mse ms i a a y y ver uw o s r uw muwa uwm ma LA STO mo DeTUME cwn mG MooULATOR sa osou ate ana oo Toe sacro o LUN SOME TO MESPONSE KEYBOARD coma use E gt ora n A mowo smio wo ve wa ES aapa ogar ot SEO MORAN unon SED wea i rr 4 wj e S y es TER gt mw Soe AT om om a mw ua as S ES E lt o gt gt a a ja O L i DERRE TERS rt a pal Fs ke Pos nos fa PSA JET E Sali Ez O PA Al aes smeo xn j 2 al 3 ey eee be sor son Foor moa SUSTAM PORTAMENTO son a ES gt gt a gt vere gt se oo o SELECTOR USANDO sato wm mn a ses e us mS i u a o vere t um LO PORTAMENTO 7 f a a Yo See y
2. as lt eS t om o a o H EN J 5 E Al E E 5 E a e Sa SS AS als o aa SE aa rl cd 1 apa E Y pe H E lo ee afi 22 l se ASA RIES pull Bl H ME Es E ls Y AE ESA ea x aes yy om on 1 Ssampe x or i E A a e ela EE AA nia he ees HE SUSTA PORTAMENTO f GarsSaNOO ES as a ES o pS o se ye 3 eo s 2 sor o foot i sme au gt sos us ES x a A a va uve 3 s CN mua u MUA e STO are orm Ou amc woo ATOR Sub asen aroe ea TOE SELECTOR m m eso TO roma Eagan CONTRO vou 5 ACHACA FCA OFT SPTED MODULATION suc SAD AE ya mowo so E o ee vue ia Gi Gad Ss dd iG ce ed ee T A a E m eee PA e me rom 5 TA a a ag 5 pS gt on o om om er abe E a mr aaa ured SAS SS 3 a ps al Po OM pa al al 1 aa S e HA A E E a a ee a Sy ere le ES E AS FIA A ai e Y ee ae aes ERE wan SPEED ert ad En sa REA DESEE E PAUSE Peer fa A 4 E hes aS IE SS Z so son E og PEDAL SUSTAIN PORTAMENTO a on o es a e em m o sn ant A son a SE
3. the presets Foot Switch amp Foot Controller The Foot Switch is just that an ON OFF switch which is housed in an assembly designed for foot actuation The switch can be used to activate the portamento glissando effect and or the sustain depending on the setting of front panel assignment switches When the Foot Switch is not plugged into the synthesizer the jack automatically closes the circuit so the unit acts as though the Foot Switch were pressed down The Foot Controller contains more complex circuitry including a light and a photosensor As the pedal is rocked back and forth an aperture varies the amount of light reaching the photosensor In turn the sensor varies ts resistance and hence varies the voltage output from the circuit Depending on the setting of the front panel FOOT PEDAL SELECTOR buttons the voltage from the Foot Controller is applied to either the VCA in EXP mode or to the VCA and the VCF in EXP WAH mode The Foot Switch has a standard tip sleeve phone plug whereas the Foot Controller because it contains more circuitry requires a stereo tip ring sleeve phone plug Tremolo Chorus The tremolo chorus effect varies the volume of the output signal and also introduces a phase shift Together these effects simulate a rotating speaker when used with a stereo sound system The volume change is produced by feeding a sub oscillator output to a pair of VCASs Selecting the CHORUS effect sets a sub osci
4. and VOLUME control settings 5 Use a preset patch rather than a memory or panel programmed patch and play in the middle of the keyboard 6 If you hear nothing check the setting of the BRILLIANCE control 7 If sound dies only at the upper and or lower extremes of the keyboard center the KEYBOARD CONTROL levers 7 Check to be sure the FEET selector sliders 5 are set at a detented position and not in between settings 8 If the sound goes away only with a panel or memory programmed patch check the following a A basic waveform or noise level must be turned ON in the VCO section 23 24 25 and VCF level in the VCA section 35 must be up or sine wave 36 in the VCA section must be up b If the LPF slider 28 is set at the same height or below the HPF 26 slider it may be necessary to raise LPF or lower HPF 26 c VCA LEVEL 41 must be up d Some envelope must be up Sustain 39 and or Decay 38 If along Attack Time is used 37 then you may have to hold a key for a second or more before you begin to hear the sound TIPS ON RECORDING In any recording situation the levels are extremely important The CS 80 has very low inherent noise high output capability and hence a large usable dynamic range If you use a lot of expression and touch sensitivity to create very wide playing dynamics the recording engineer will be forced to use compression and or limiting to avoid severe distortion on the tap
5. control 22 applies a de control voltage to the WSC circuit which sets the basic pulse width duty cycle of the square wave at any point between 50 and 90 The PWM control 21 applies an AC control voltage to the same point in the WSC wave shape converter circuit thereby varying modu lating the pulse width That PWM signal is created by a sub oscillator and the SPEED 20 of pulse width modulation is actually changed by adjusting the frequency of the PWM sub oscillator The sub oscillators in the RING MODULATOR and TREMOLO CHORUS sections function similarly to the main SUB OSCILLATOR and the PWM sub oscillators described above Changing the amount of AC voltage applied varies the depth of the effect and changing the frequency of the sub oscillator varies the speed of the effect Envelope Generators An envelope generator is a circuit which produces a single carefully defined waveform a one shot voltage pattern when the generator is stimulated by a pulse trigger impulse from the keyboard The envelope itself is a changing de voltage which rises from zero no voltage to some maximum point and eventually falls back to zero in a pattern which is varied by using the envelope generator s controls No sound goes through the envelope generator itself Instead the envelope generator s output is fed to the control input of a VCF or a VCA There are actually 16 envelope generators for the VCF s and another 16 for the VCA
6. it is said to be wide open because the fundamental note and all its harmonics are above the cutoff point and will pass through the filter As the HPF cutoff point is raised the fundamental is blocked then the lower harmonics and eventually all harmonics so the filter is said to be closed down A VCF is a voltage controlled filter It can be an HPF or an LPF In fact the CS 80 s VCF s actually consist of two filter sections each an HPF and an LPF as described above Thus the CS 80 has 16 VCF s 32 filter sections one for each of the 16 main VCO s The cutoffs can be changed automatically by the Filter envelope IL AL A D R or manually by moving a filter slider HPF or LPF When you play a note on the CS 80 the sound generated by a VCO goes through the HPF section of the VCF then through the LPF section of the VCF The VCF cutoff frequencies track the note played moving up in frequency as you move up the keyboard so that the tonal spectrum of the notes remains con sistent Recall that the LPF is wide open when its cut off point is high yet the HPF is wide open when its cutoff point is low Together the HPF and LPF sections of the VCF may be considered to be a bandpass filter because a defined band of frequencies is allowed to pass between the two filter cutoff points As the HPF cutoff point is raised and or the LPF cutoff point is lowered the width of the bandpass is decreased until there is no b
7. maximum to change oscillator frequency from the lowest to the highest note on the keyboard Ring Modulator Simultaneous sine wave ring modulation of all outputs Variable SPEED depth of MODULATION Envelope Generator for varying the speed of the Ring Modulator has variable ATTACK TIME DECAY TIME and DEPTH of speed change Sub Oscillator Functions Sine wave sawtooth wave inverted sawtooth square wave white noise or an external input can be used to modulate any combination of the following VCO VCF VCA Modulation is applied equally to both voices and all notes played SPEED frequency range is adjustable from 0 7Hz to 60Hz Velocity Sensitive Touch Response N T AL effects Individual channel programming controls increase the LEVEL volume and or BRILLIANCE filter cutoff frequencies as keys are pressed faster control to increase the amount of PITCHBEND oscillator pitch change for any voices being played Pressure Sensitive Touch Response AF TER effects Individual channel programming controls increase the LEVEL volume and or BRILLIANCE filter cutoff frequencies as keys are pressed down harder controls to increase the sub oscillator SPEED frequency the amount of sub oscillator modulation of the VCO or the amount of sub oscillator modulation of the VCF for any voices being played External Input Characteristics Unbalanced standard 1 4 phone jack 50 kohm actual impedance for low or high im
8. might occur after multiple sound on sound transfers Head bumps a very common tape machine characteristic produce irregular low frequency response that would be emphasized more by a bass track than by a mid range track The following suggestions apply to all orchestration whether you are playing with a large band over dubbing one synthesizer on multiple tracks of a tape machine or not using any synthesizer at all There is sometimes a trade off between clarity of voices and richness of sound often because too much music is being played in one frequency band To avoid com petition between voices try to make a sound full and complete as possible but keep it within a given frequency range The secret to a richer sounding orchestration is to use a variety of waveforms counter lines envelopes and sub oscillator frequencies for the different voices try not to layer many voices that are nearly identical This principle of distinct voices and frequency bands is useful but it does not mean that frequencies should never be duplicated by two or more voices it is only a guide line If two sounds are played in the same register a slight detuning of one sound can make the mix more dense TIPS ON LIVE PERFORMANCE When rehearsing try to set up a logical progression of patches logical in that a given patch is changed slightly to achieve the next sound You never need to start from scratch because you can start with a p
9. overdrive It is possible to set the HIGH LOW switch to LOW and to switch OUT the direct box pad This does present a much lower impedance to the direct box transformer causingsome transient distortion While the resulting sound will be brighter and less accurate there is no harm if you like it ALWAYS USE THE PAD WHEN YOU CONNECT A SPEAKER LEVEL OUTPUT TO THE DIRECT BOX tSet for minimum hum and noise If in doubt leave IN TRAVEL CASE The CS 80 is built into a durable plywood case with a removable cover which is suitable for light duty traveling such as in a station wagon or van For heavy cartage i e commercial trucking or air freight we recommend you use an additional travel case If you buy a custom built case it should meet ATA 300 specifications ATA Air Transport Authority The case should be lined with 3 inch thick foam on all sides 3 4 plywood or its equivalent is recommended for adequate strength Consult the specifications for inside case dimensions SPECIFICATIONS Keyboard 61 Keys C through C 5 octaves Transposition FEET selector for each channel Nominal 8 setting range from 1 octave below nominal 16 to 2 octaves above 2 Available Fundamental Frequency Range Harmonics higher than these specified frequencies may be present although not specified 32Hz to 8kHz from 16 and lowest note on keyboard to 2 and highest note on the keyboard PITCH controls center
10. 40 SECTION V UNDERSTANDING SYNTHESIZERS This section first deals with several basic conceptual questions about synthesizers While we have distilled the information as much as possible some topics have philosophical or complex origins that do not lend them selves to simple explanations The balance of the section provides an overview of how the CS 80 operates much of which can also apply to other synthesizers What is a Synthesizer A synthesizer is an audio processor that has a built in sound generator oscillator and that alters the envelope of the sound with voltage controlled circuitry Synthesizers can produce familiar sounds and serve as musical instruments or they can create many unique sounds and effects of their own The synthesizer oper ates by creating each basic element of sound and then providing you with separate controls for each element You don t have to use all the many controls on the synthesizer to create a complete sound In fact often only a handful of the available controls need be used depending on the sound you wish to achieve The Difference Between Synthesizers amp Electric Organs An electric organ offers a wide variety of preset sounds at the touch of a finger Synthesizers usually offer no presets or very few of them instead pro viding an infinite variety of adjustable sounds The CS 50 CS 60 and CS 80 offer many presets and infinitely adjustable sounds as well Organs utilize dif
11. LECTOR GLUSSAMOO MOSE Lad RES 1d eS LS a i J a YEE LEVEL A s a LEVEL LIADO uwa me ua 1 e PORTAMNTO ee a lt Pe a aa Ta a Cl i Tce Cm dad MS wae imuna comes le z zl cle ole l h J 1 ls pe TI H an fig See a E Al ld SIS a ee om a e Qi _ 3 zle m p p on om 1 assawoo A lll iz a Seo a al 3 6 Se Se ak a SuSTAJM PORTAMENTO T oy AE a a a ia a ll GLISSANDO sow o se om a 2 wo s se ns s se a o 5 _ oor SPEED Pr PR n NOISE Lad RES iai FES k a A D WCF LEVEL A D s R L SRR ANCE ua DI LLAME uve ATK DETUNE CHI RING MODU ATOR r SUE OSCILLATOR MX PRRLLIANCE RESONANCE TOUCH RESPONSE KEYBOARD CONTROL IR ATTACK oca OPH SHED MOR ATON memos so vwo o ovaa 1 mowo seo wo ve maa uw e tae the es _ rs owe a ea EN es i ag a bed E as shat eri ai vos 4 A i 3 A YY 1 oma ao A TER ome om o pa y gt a wT e ae a e lt lt gt e on om EaP MEA A A OA AE AE al baie Se o Ls Pat AEN Wad Meenas lec Li ae popes O Ala SoS i E he e Se rajo dal SiS a SS oS lo SIS 1 pe 4 s N Sa ae U a 2 er Ais Soe a E A a et oa A A A ea oe ee ee tapi wane SEO 11413 E PC OA 3 hae a oe ty os o ya ny ee oe din an ae ls ri so se FOOT MOA SUSTA PORTAMENTO so 7 e m m E on oo on of sm e 3 o SELECTOR GUS
12. R SU OSCILA TOR E OME SELECTOR ML RACE MESONANCE oo TOUCH RESPONSE y KEYBOARD CONTI ATTACK DECAY O OFFT SPEED MOOUANON FUNCTION SPEED 00 at v a t MTOE SMEO O ver maua wW T Sey E e IO PP TT oe gt EEEE YAMAHA NIPPON GAKKI CO LTO HAMAMATSU JAPAN LOM 209 78710 3 Printed in Japan
13. RESPONSE section is diagrammed as being part of the VCF and VCA sections since it actually effects both of these functions A more complete block diagram of the full synthesizer is shown below Like the simplified block diagram audio signal flows from left to right However unlike the simplified block diagram vertical and horizontal lines do not distinguish control and audio signals audio signals are still shown by the colored lines and control signals are shown by the black lines i NITIAL AFTER BA AB PB TOUCH SUB VCO VCi RESPONSE Programmable Panel Block Diagram YCF NOISE SPEED A Attack Time AL Attack Level AMP Amplifier D Decay Time EG Envelope Generator EXT IN External Input HPF High Pass Filter IL Initial Level LPF Low Pass Filter PW Pulse Width R Release Time S Sustain Level TUNE Pitch Controls AL E j BRL ANCE LEVE a KEYBOARD CONTROL ow SUB seten OSCILLATOR PANEL CONTROL a TONE SELECTOR Overall Synthesizer Block Diagram veh MALA DORA INITIAL AFTER BAKLIANCE TOUCH RESPONSE LEVEL INITIAL AFTER LEVEL TOUCH RESPONSE AFTER After Touch Response Pressure INITIAL Initial Touc
14. SAMDO Sreto owe Pw NOISE Ll nd es a 0 VCE LEVEL x s t PORT AME NTO ud gt m H wens h Il 1 ASA a pa pr la AA nsl ot E on on E Gussamoo El A Sc E lia E as lee hai APS lr ey eS i SUSTAIN PORTAMENTO GLISSANDO so ED Cal Gal on e Kad san sn sar o O FOOT SPEC rhm ow a NOISE PESA us mes x a O o a CF LEVEL STO MIH DE TUME CHT RG MODUL ATR E a SUB OSCALATOR TIPER rE MESONANCE gt attac ocat EPIA SMEO OOM ATION mmo sao wo we ova 1 via a E ae a 1 e ez 1 oe ad a o gt Ta Zum E as o gt a v om om sor son I Foot DAS SUSTAM PORTAMENTO so ee w om on oo se sen 2er a sor vor san 1 SELECTOR GLISSANDO Sto owe mw 7 malt e s A a vc LEVEL y A D uw romano i n ve o lt o aar ie Te somo m m e _ oo a ums m b ES da ee ma bl HR ee Legal Mea i AA MESE NACI sara 1 De dr PAS HA l f ee ee Ee ees ee a 1 me sao Es ES bee i sass hla e E Sea SS E SE ASE a eS Sle Sle sustan romano GLISSANDO sm xa m 2 Da on o se a o sn san a o so sow sm a CT sto PaM em Pi ka NOISE e RES ms K A a D a YC EVEL o Ril LeveL LAL uva No mo DETUME CHI MEG IDO ATO
15. andpass no sound Thus we can speak of the VCF as being a bandpass filter even though no such label appears on the panels If either of the two filter sec tions is completely closed down then it will block all sound and the position of the other filter section makes no difference because you won t hear anything The HPF and LPF filters each have a resonance slider These controls only have an effect if their corresponding HPF or LPF slider is partially closed As the resonance of a given filter is increased a narrow range of frequencies is boosted increased in level the frequencies centered just at the cutoff point because the cutoff point is resonating Resonance has no effect when a filter is wide open because the cutoff point is well beyond the limit of the fundamental or overtones so the boost falls in an area where no signal is present However as a filter is closed down the effect of resonance becomes more notice able resonance will tend to emphasize a given har monic or the fundamental depending on the filter cutoff HPF or LPF setting Resonance also causes additional phase shift which can be heard if the filter cutoff point is changed while a note is being played Amplifiers An amplifier is a device that increases the volume or the power of a signal Some amplifiers especially VCA s also can be used to decrease the power or volume When an amplifier decreases the volume to inaudibility it is turning the
16. ator Sub Oscillators A sub oscillator generates AC voltages which are used to modify existing audio signals The CS 80 has an overall SUB OSCILLATOR 11 and several other sub oscillators For example the PULSE WIDTH MODULATION PWM available on the panels and memory is produced by sub oscillators The TREMOLO CHORUS effect also includes a sub oscillator as does the RING MODULATOR To understand how a sub oscillator is used one should recognize that AC and dc control voltages are often mixed summed for combined functions For example the VCA s level volume control input is fed by several sources of AC and de voltages The level can be varied up and down for a tremolo effect by applying an AC control voltage which is produced by the SUB OSCILLATOR section 11 The depth of the tremolo effect would be adjusted by applying more or less of the AC voltage produced by the sub oscillator to the VCA The speed of the effect would be adjusted by changing the sub oscillator s frequency The average volume around which the tremolo is centered is adjusted by changing the de contro voltage using the LEVEL slider 41 Pulse width refers to the amount of time a square wave is OFF and is also known as duty cycle A perfectly symmetrical square wave would have a 50 duty cycle OFF as much as ON and a narrow pulse width square wave might have a 90 duty cycle which sounds the same as a 10 duty cycle ON 10 of the time The PW
17. chieved by a digital circuit which interprets the position of each note played on the keyboard and produces a pro portional amount of dc voltage With the HIGH levers the higher the note the higher the voltage With the LOW levers the lower the note the higher the voltage If a BRILLIANCE lever is engaged the extra voltage is added to the VCF raising the cutoff point for a more brilliant sound If a LEVEL lever is engaged the extra voltage is added to the VCA increasing the volume of the note BRILLANCE and LEVEL are decreased by reversing the polarity of the keyboard control voltage Portamento Glissando The glissando effect is produced by a digital circuit which looks at the last note played and at the note being played Instead of allowing the voltage fed to the VCO to jump instantly to the voltage called for by the note being played the glissando circuit gradually moves the voltage from that of the previous note to the currently played note A digital circuit causes the voltage to increase or decrease in quantized increments that correspond to half step increments a chromatic scale The portamento effect is actually produced by the same circuit that produces the glissando except that an additional circuit element is added This element integrates the steps of voltage smoothing the transi tion from one note to the next Thus the change is continuous rather than stepped Ribbon Controller The ribbon contr
18. converter WSC to form square waves or sine waves as desired The WSC s are considered to be part of the VCOS Noise Generator A noise generator is like an oscillator that is con stantly and rapidly changing its frequency and its waveform so that the output appears to be a random mixture of all sounds simultaneously White noise is a type of noise that has equal level on the average across the full audio spectrum The noise generator is not voltage controlled but is included in the VCO section of the programmable panels because it introduces noise at the same point in the circuit as the VCO s just before the filters Filters A filter is a circuit that allows some frequencies to pass through it but eliminates other frequencies In the CS 80 there are two types of audio filters high pass HPF and low pass LPF Many synthesizers have only a low pass filter A low pass filter blocks all audio signals above its cutoff frequency cutoff point When the LPF cutoff point is set at a high frequency it is said to be wide open because the fundamental note and all its harmonics overtones are below the cutoff point and will pass through the filter As the LPF cutoff point is lowered more and more of the harmonics and then the fundamental are eliminated and the filter is said to be closed down A high pass filter blocks all audio signals below its cutoff frequency When the HPF cutoff point is set at a low frequency
19. d control functions are detailed below While voltages are discussed it is not really necessary to understand how voltages work when you move the controls and knobs you are adjusting voltages inside the synthesizer Audio Signals amp Control Voltages Electric currents that flow through synthesizers can be thought of in two categories audio signals and control voltages The audio signals constitute the actual sound as it is generated modified and ultimately fed to the output The control voltages themselves are never heard but are instead used to adjust the circuits which process the audio Audio signals are alternating currents AC with fre quencies in the audible range which as you probably know covers about 10 octaves from 20 cycles per second Hz to 20 000 cycles per second Hz Audio signal voltages vary at different points in the synthe sizer but they average about 0 775 volts at the output when the rear panel HIGH LOW switch is at HIGH position OdBm into 600 ohms Control voltages are usually 10 volts or less and may be de direct current or AC alternating current AC control voltages vary in frequency from very low sub audio frequencies 1 2Hz up to the audio fre quency range as high as 500Hz or more The effect produced by a voltage controlled circuit will vary in proportion to the control voltage applied For example a VCA voltage controlled amplifier will cause the audio signal to be higher in
20. e and ultimately on the record If you want to have the recorded sound be very similar to what you play in the studio then you can hold back your playing dynamics so that less compression and limiting are needed You might also reduce the amount of Initial Level or After Level touch sensitivity in your programmed patches The synthesizer output is capable of driving low impedance studio console or tape machine inputs but it is unbalanced Where long cable runs are required it may be a good idea to use a balancing transformer or direct box at the synthesizer output since this will help to reduce susceptibility to hum noise and radio frequency interference The LOW HIGH switch should be set at HIGH and the VOLUME control at 12 o clock or higher whenever possible so that signal levels between the synthesizer and recording equipment are as high as possible In most cases the level can then be turned down attenuated at the console input As you know with overdubbing the first track recorded is the one against which the rest of the music is played Therefore make it clean and rhythmically precise For large multi track machines you might use a click track metronome or a rhythm line with a pair of bass and piano tracks On the other hand with 4 track machines it is usually better to start with a rhythm sound that is as close to the midrange as possible This avoids excess high frequency loss or low frequency irregularities that
21. ed and ribbon controller not in use OHz to 11kHz approx using the PITCH controls and ribbon controller to extend the lowest and highest key board pitches Pitch Tuning Range COARSE TUNE approximately 1 octave 500 cents to 700 cents FINE TUNE approximately 1 semi tone 30 cents DETUNE CH II channel Il may be offset in pitch from channel by approximately 1 semi tone Simultaneous Notes Up to 8 notes may be played simultaneously However since each note played can cause separate voices to be generated by the two channels up to 16 notes actually may be heard at once Simultaneous Voices Two independent voices may be generated one on channel and one on channel Il a MIX control assigns either voice or any blend of the two to additional synthesizer circuitry and ultimately to the outputs Total Number of Voices Each channel is provided with 11 different preset patches two memory programmable patches and one panel programmable patch Preset Patches Preset Tones STRING 1 2 3 amp 4 BRASS 1 2 amp 3 FLUTE ELECTRIC PIANO BASS CLAVICHORD 1 amp 2 HARPSICHORD 1 amp 2 ORGAN 1 amp 2 GUITAR 1 amp 2 FUNKY 1 2 3 amp 4 Envelope Generator Time Ranges VCF EG amp VCA EG Attack Time 1 millisecond min 1 second max Decay Time 10 milliseconds fmin 10 seconds max Release Time 10 milliseconds min 10 seconds max Glissando Portamento Time Range 10 seconds
22. en Hollywood CA is included in this manual for the benefit of the synthesizer user and does not represent an endorsement by Yamaha of the specific products mentioned This direct box also works well with electric guitars maintaining good high frequency response because the pickup is not loaded The JE DB D transformer is available directly from Jensen Transformers 1617 North Fuller Avenue Hollywood CA 90046 PAD IN OUT SWITCH INSULATED BUSHING JENSEN JE DB D SWITCHCRAFT N 111 FROM SYNTHESIZER aa ARE AIKA aa ORG EEO AN A y 15KQ t i 0 i BRN 22uf 22ut la cet R 25V 25V TO INSTRUMENT AMP rtd XLR 3 11C K ese ear GING ryt RED e2 TO JACKS i 2 022uf i 1 MIXER 1 1 i i 22K0 OUTPUT a oo J JACK FILTER 1 SWITCH BLK i Direct Box q SWITCH Schematic BOX 48 Direct Box Use Chart PAD GROUND FILTER 1 Between any of the three IN IN OUT OUT CS 80 outputs and a mixer line input 2 Between any of the three IN IN OUT OUT CS 80 outputs and the input of an instrument amplifier while also feeding a mixer line input 3 Between the speaker output IN IN OUT IN OUT of an instrument amplifier and a mixer line input We recommend setting the CS 80 output HIGH LOW switch to HIGH and using the direct box pad to reduce the signal level This protects the transformer from saturation and the mixer input from
23. ferent means to generate sound than do synthesizers Because of this most organs are polyphonic meaning that you can play many notes simultaneously whereas most conventional synthesizers allow you to play only one note at a time The CS Synthesizers however incorporate additional circuitry that allows you to play several notes at a time 4 on the CS 50 and 8 on the CS 60 and CS 80 Why Use a Synthesizer Many of the sounds that can be created with a synthesizer would be either impossible or highly impractical to create with acoustic instruments Also the synthesizer can give you common acoustical sounds with much greater convenience than would otherwise be possible For instance you can adjust the controls to stretch a common instrument like gradually transforming a piccolo to a Bass flute or even to a 20 long flute if there were such a thing Similarly the synthesizer allows instant or gradual transitions from the sound of one instrument to another The Elements of a Synthesizer One section the VCO establishes the pitch or frequency of the note as well as the basic tone timbre Another section the VCF shapes the tone or emphasizes portions of it Another section the VCA affects the loudness of the notes Either the VCF the VCA or both may be used to turn on and turn off the sound in a controlled pattern forming the notes as you play the keyboard The control that forms the notes is provided b
24. h Response Velocity LFO Low Frequency Oscillator M1 M8 Main Sound Generating Circuit Boards MOD Modulation or Modulated Signal PWM Pulse Width Modulation PWM OSC Pulse Width Modulation Sub Oscillator RESH High Pass Filter Resonance RES Low Pass Filter Resonance VCA Voltage Controlled Amplifier VCF Voltage Controlled Filter VCO Voltage Controlled Oscillator WSC Wave Shape Converter Part of VCO FOOT SW FOOT CONTROLLER MCD vOu OUT 41 42 Oscillators An oscillator is a circuit that produces AC voltage generating voltages which go up and down in level according to some regular defined pattern waveform and at some defined rate frequency There are many types of oscillators some for very low frequencies and others for audio frequencies Oscillators that operate in the audio frequency range are generally used as sources of sound The VCO is a voltage controtled oscillator The CS 80 has sixteen main VCO s one VCO for each of 8 notes times the two voices Any main VCO is capable of producing all the notes but only one note at a time When you play the keyboard special digital circuitry assigns different control voltages to the available VCO s so that the desired notes are produced Wave Shape Converters The CS 80 main VCO s produce sawtooth waves These waves may be used unaltered as the sound source but they can also be processed by the wave shape
25. ions The CS 80 keyboard has a proprietary patented technique for switching a note ON when you strike a key plus a secondary system for adding effects by pressing harder after the key hits bottom Velocity Sensitivity At the rear of each key there is a single pole double throw leaf switch When you begin to press down a key the first set of switch contacts open Then as the key nearly hits bottom the second set of switch contacts close The closing of the second set of contacts activates the key coder key assigner and subsequent circuits to generate the note However the time interval between the opening of the first contact pair and the closing of the second contact pair is used by another circuit to produce a control signal The Key Timing Circuit utilizes sophisticated logic 44 that converts the time interval between switch contact opening and closing into a brief output voltage pulse The faster a key is pressed down the shorter the time of switch contact action and the higher the voltage level of the pulse The key timing circuit pulse is used to create various initial touch sensitivity velocity sensitive effects depending on how the presets pro gramming and TOUCH RESPONSE sections are set PITCHBEND 12 is an initial touch sensitivity effect whereby the timing circuit pulse is reversed in polarity and applied to the VCO Thus the frequency of the VCO is initially forced lower by the negative voltage pulse f
26. llator to its very slow speed range about 1 2 to 5Hz whereas TREMOLO sets the same sub oscillator to a faster speed range about 5 to 20Hz the exact speed is set with the SPEED control The phase shift is produced by using an analog delay line changing the delay in a regular fashion with a clocking circuit and mixing delayed and non delayed audio together The amount of tremolo or chorus effect is set with the DEPTH control 45 46 SECTION VI APPENDIX WHERE S THE SOUND A Brief Troubleshooting Guide Many times the unit will be connected and basically adjusted properly yet there may not be sound The difficulty can be caused by a playing technique that is inappropriate for a given patch it can sometimes be cured by a change in playing style or by minor adjust ment of one or two control settings 1 Be sure all equipment is plugged in and the POWER is ON and all controls are set a nominal as shown by the inside cover illustration 2 Play one or more notes and continue to play notes holding the key s down for a few seconds rather than playing staccato 3 Check the sound system to verify it is properly connected turned on and working If the rear panel HIGH LOW switch is at LOW try the HIGH position if that doesn t help switch HIGH LOW back to LOW It may be necessary to check the sound system with a sound source other than the CS 80 or use headphones to check the CS 80 4 Check the EXPression pedal
27. next due to normal component tolerances the 8 notes will not be identical This is how the CS 80 produces such natural sound rather than a mechanical too perfect sound D to A Converters The note generating circuits each have a D to A Converter digital to analog which changes the digital code for a note into a corresponding de voltage That dc voltage level is fed to the VCO which reacts to set the pitch frequency of the note The voltage is also fed to the VCF which reacts by moving the HPF and LPF filter cutoff frequencies so they maintain the desired relationship to the frequency of the note so they track Trigger Output The instant a key is depressed the keyboard produces a trigger output in addition to the digital word The trigger is a brief voltage pulse that occurs once and it is routed to two envelope generators the filter EG in the VCF section and the amplitude EG in the VCA section The amplitude EG reacts to the trigger and generates a one shot waveform to shape the volume of the note according to the preset or programmed A D S R characteristics The filter EG reacts to the trigger and produces a one shot waveform which changes the tone of the note if the IL AL A D R controls are appropriately programmed or if VCF envelope is part of the preset patch Touch Sensitivity To understand how the touch sensitivity works it is necessary to understand the method by which the keyboard itself funct
28. ntrol adds more or less voltage to bias the VCO control inputs thus raising or lowering the frequency produced when a given key is depressed The pitch control feeds both channels an equal amount of voltage The coarse pitch control merely produces a greater range of voltage variation than the fine pitch control The Detune CH II control really does the same thing as the fine pitch control but it is connected only to channel Il Thus only the pitch of channel changes r Ring Modulator A Ring Modulator blends two signals together in a special way beating a sub oscillator against whatever input signal is fed to the modulator input The output does not contain the input signal frequency or frequencies but it does contain what are known as sum and difference frequencies Sum and difference simply means that the sub oscillator frequency is added to the input frequency and is also subtracted from the input frequency Actually the mathematics that describe the modulation are somewhat more complex because two times the sub oscillator fre quency is subtracted from and added to the input three times the sub oscillator frequency etc The effect may resemble ringing although the term ring modulator is believed to be derived from the configuration of the diodes which comprise such modulators they are wired in a circle The sub oscillator frequency is set with the SPEED lever and the amount of sub oscillator v
29. oller is a felt strip beneath which is located a flat resistive pad and a conductive cord When you press down on the felt the cord contacts the pad and establishes a given resistance Voltage passes through the pad and the cord the value varying in proportion to where the strip is pressed down The actual voltage produced when the ribbon is first pressed down is not important it serves only as a reference point The output from the ribbon circuit then be comes proportional to the difference between the reference point and any other point touched on the ribbon A comparator circuit looks at the change in voltage and produces a positive dc output when the second point touched on the ribbon is to the right of the reference point A negative de output is produced when the second point is to the left of the reference point The further away the second point from the reference point the higher the voltage output positive or negative No voltage output is produced if only one point is touched It is necessary to move a finger along the ribbon or to hold one finger in a given point and then touch another finger elsewhere on the ribbon in order to achieve an effect The voltage output from the ribbon controller is fed to the main VCO s thus changing the pitch of any note or notes being played a positive voltage would raise the pitch and a negative voltage would lower the pitch Pitch Control amp Detune CH ff Control The pitch co
30. oltage fed to the ring modulator is set with the MODULATION lever An envelope generator is provided for the sub oscillator and may be used to change the speed when a note is played The ATTACK TIME lever and DECAY TIME lever respectively speed up and slow down the effect from whatever speed is set with the SPEED lever to some higher value and back to the set speed The amount of change in speed the amount of envelope voltage fed to the sub oscillator is set with the DEPTH lever Panels Memories amp Preset Patches The main programmable panels provide a means for the player to adjust the many VCO VCF and VCA characteristics as well as touch response characteristics that together comprise a basic patch or sound The memories are miniaturized versions of the program ming panels and are used in exactly the same way The preset patches PRESET TONES were all derived from actual settings of the main programmable panels Once a given patch was derived the resistance value or switch position of each panel control was measured A fixed component of the same value was then built into the instrument creating a kind of internal memory that is recalled whenever the corresponding preset patch is selected You can always duplicate a preset patch by using the programmable panels as is suggested by some of the patch charts included in this manual You may wish to do so and to then vary one or more controls to obtain variations from
31. ons Many of the sounds you might wish to achieve with an outboard effects device can actually be achieved with controls and circuits that are built into the synthesizer For example tremolo vibrato and wah wah can all be obtained using the sub oscillator Where practical use the built in capability of the synthesizer since the sound will be going through fewer circuits and will therefore have the lowest noise and best frequency response Many patches are greatly enhanced by auxiliary signal processing The realism of acoustic instru ment patches can be very much heightened by using reverb The synthesizer s External input can afford some interesting effects To obtain strange vocal effects plug in a source of a very pure high frequency sound such as a 10kHz or higher sine wave oscillator Then engage the VCF filter on the sub oscillator and add alot of Resonance 8 and or 27 amp 29 The External input is not made for use with guitars or microphones and even if a preamplified guitar or mic is used the results could be disappointing Some preamplified electric instrument outputs will produce interesting results when connected to the External input The purer the sine wave fed to the external input the better sounding the result will be t DIRECT BOX A direct box is a type of adapter In some cases rather than connect the CS 80 directly to a mixer one could connect the synthesizer to an instr
32. ontrol via the expression pedal Thus the playing level can change quite dramatically depending on what voices you have programmed and how you play Therefore be sure to check levels for a specific patch ahead of time so that when you come on stage to play the first notes they are at the right volume level lf one of your programmed patches doesn t work and you suspect some control s was accidentally moved don t panic just go to a preset while you check the panel levers and switches TIPS ON AUXILIARY SIGNAL PROCESSING Phasers echo boxes reverbs digital delay lines parametric equalizers fuzz boxes wah wah pedals graphic equalizers etc are all auxiliary signal processing devices that may be used with a synthesizer The synthesizer output is higher in level than most electric guitar pickups but it can still be plugged into many guitar type pedals and boxes if the HIGH LOW switch is at LOW and the Volume control is set at a moderate level On the other hand it may be better to use an external attenu ation pad to match the level of the synthesizer out put to a high sensitivity low level effects device Signal processing equipment made to interface with studio equipment can usually be driven directly from the synthesizer output with the HIGH LOW switch in HIGH position In all cases it is a good idea to check the level sensitivity specifications for the auxiliary signal processing unit against the synthesizer specificati
33. pedance sources Nominal sensitivity 10 millivolts rms 30mV peak to peak with EXT IN level at maximum i e 10mV rms sine wave external input would produce the same amount of sub oscillator modulation as the maximum from the built in sub oscillator Output Characteristics Same for LEFT RIGHT or GENERAL mono out HIGH range OdBm 0 775 volts rms or LOW range 20dBm 77 5 millivolts rms nominal output when playing four notes all volume or level controls at maximum Unbalanced standard 1 4 phone jacks Actual 600 ohm output source impedance Will drive low impedance or high impedance loads Headphone Output 250 millivolts rms nominal Unbalanced Tip Ring Sleeve 1 4 phone jack for stereo headphones 8 ohm or higher impedance Located on bottom panel Circuitry All solid state keyboard and note assigning circuitry is digital all audio circuitry is analog with voltage controlled oscillators amplifiers filters and envelope generators AC Power AC 50 or 60Hz 180 watts Power cord stores in covered compartment beneath synthesizer Finish Black leatherette with metal reinforced corners walnut veneered side panels Dimensions In Case 120 5 cm wide x 30 4 cm high x 70 2 cm deep 47 1 2 x 12 x 27 5 8 not including leg accessory bag Assembled 120 5 cm wide x 96 5 cm high x 70 2 cm deep 47 1 2 x 38 x 27 5 8 Keyboard Height 84 2 cm 33 1 8 Weight 100 kg 220 5 Ibs including all
34. re set patch and adjust the sub oscillator touch sensitivity ring modulator etc to modify that sound Ina live performance you can then quickly get another sound by selecting a different preset or by readjusting one or more of the modifying circuits Two different approaches can be taken with regard to use of programmed patches In one instance you may wish to program a unique and different sound on each panel and memory These would essentially add to the variety of existing preset patches However you may instead wish to pre program two or more very similar patches patches that differ only slightly but in areas where control settings are critical Then the different sounds can be pushbutton selected without concern about instantly getting sliders and levers just right The preset patches make it easy to get different sounds quickly and with excellent repeatability How ever a very wide range of variation can be achieved within any given preset by merely changing the Brightness lever 7 Use of the keyboard control section the sustain foot switch the Feet selectors and various sub oscillator functions will add even more possibilities to each preset Therefore instead of switching from preset to preset it is often more interesting and exciting to explore the full scope available within a single preset patch Yamaha polyphonic synthesizers enable you to get a very wide range of keyboard dynamics plus further dynamic c
35. rom the Key Timer Circuit and then comes up to the note s designated frequency as the pulse dies out The INITIAL LEVEL lever 43 in the program ming panel applies the key timing pulse to the VCA thus increasing the volume of the note for the duration of the pulse The faster you strike a key the higher the voltage pulse and the higher the volume This effect is programmed into some of the preset patches Similarly the INITIAL BRILLIANCE lever 42 applies the key timing pulse to the VCF thus raising the cutoff frequency of both filters This increases the amount of high frequencies which can pass through the VCF by an amount proportional to the voltage of the timing pulse and only for the duration of the pulse Pressure Sensitivity A sensor beneath the front of each key is used for the AFTER pressure sensitive effects The harder you press a key after it first touches bottom the higher the voltage allowed to get through a variable pad in the key s sensor Various effects are produced by the voltage depending on how the presets pro gramming and TOUCH RESPONSE sections are set the keyboard s after voltage is applied to the control input of the appropriate voltage controlled circuits Keyboard Control The keyboard control HIGH and LOW levers affect the upper and lower portions of the keyboard separately with increasing effect toward the ends of the keyboard This is done for LEVEL and for BRILLIANCE The effect is actually a
36. s Envelope generators EG which control VCF s are known as filter envelope generators In the CS 80 the filter EG s are unique envelope generators having 5 sliders Initial Level IL Attack Level AL Attack Time A Decay Time D and Release Time R These sliders all change the shape of the envelope which in turn creates changes in HPF and LPF filter cutoff points each time a note is played When all the filter EG sliders are set at minimum there is no output from the EG hence no change in filter characteristics Envelope generators which control the VCA s are known as amplitude envelope generators In the CS 80 the amplitude EG s have 4 sliders Attack Time A Decay Time D Sustain Level S and Release Time R These sliders change the shape of the envelope which in turn creates changes in the volume amplitude of the sound when you play a note When all amplitude EG sliders are set at minimum there is only a very brief pulse of output voltage from the EG hence only a brief blip of sound can be heard Conventional synthesizers sometimes have simplified EG s with only Attack Time A and Release Time R sliders the same A R effect can be achieved on the CS 80 by setting the VCA Decay Time D and Sustain Level S sliders at maximum and using only the A and R stiders The Keyboard amp Related Circuits General As suggested in the preceeding paragraphs each channel of the CS 80 ha
37. s eight sets of note generating circuit components each set consisting of a VCO WSC VCF and VCA and two EG s When you move any one of the panel programming controls it actually affects all 8 sets of note generating components on the corresponding channel While there is 8 note simultaneous capability there are 61 keys on the keyboard Thus there has to be a way of assigning the keys you play to those 8 different note generating circuits This is the function of the Key Coder and Key Assigner circuits The Key Coder amp Key Assigner The key coder and key assigner are digital circuits a sort of micro computer The key coder produces a digital word that describes the note or notes played The key assigner looks to see which if any of the note generating circuits is available and at the same time it continuously monitors the key coder to see which notes are being played The assigner then feeds the digital word for each note to one of the note generating circuits If a ninth key is depressed while 8 other keys are already being played the assigner cannot do anything with that additional information so no new note will be heard until one of the first 8 keys is released If you play only one key and play it 8 times in succession the key assigner will successively feed the 43 word for that note to each of the 8 note generating circuits Since each circuit s VCO VCF and VCA will differ slightly from the
38. sound OFF conversely when an amplifier increases the volume to audibility it is turning the sound ON Most of the amplifiers in the CS 80 are VCA s voltage controlled amplifiers and they generally operate at medium line levels Thus external power amplifiers such as a PA system or guitar amplifier head are required to boost the power sufficiently to drive loudspeakers VCA s offer several advantages for synthesizers in addition to their ability to attenuate lower the volume as well as increase it With conventional type amplifiers audio signals must be routed through com plex paths and it may be necessary to have a separate amplifier to achieve each effect volume control tremolo note definition by an envelope and so forth With a VCA on the other hand numerous control voltages can be mixed together and fed to one amplifier producing all the desired effects with a minimum of amplifiers Thus VCA s enable the circuitry to be simplified while reducing the potential for noise and distortion There are two VCA s for each of the 16 main VCO VCF sound sources These VCA s are used to define notes to turn them on vary their volume and turn them off as each note is played this is done by a control signal from the amplitude envelope gen erator as described in subsequent text The VCA s will also vary the volume in a regularly modulated fashion when they are provided with an AC control signal from the sub oscill
39. standard accessories Standard Accessories Detachable hard cover Transparent music rest stores in hard cover Detachable casters Foot Controller expression or expression wah pedal Foot Switch Pedal sustain and or portamento ON OFF Viny carrying bag for legs pedal controller and casters Yamaha Key Cleaner Creme A 120 5 cm 96 5 em Specifications subject to change without notice 49 These blank patch diagrams are provided for voll onvenience Copies may be made of page 51 and filled in according to your own requirements We suggest using a bright colored felt tipped pen 50 as shown in the example below om z Mw i ENP wan en sor 1001 moai SUSTA PONTAMENIC SELECTOR GUSSAMOO E PORTAMENTO i a E 4 i cms jome l z OL K LLOW es o om Li GLISSANDO SUSTA PORTAMENTO GAISSANOO E TRINGS STO Deru Cw gt NING MOULTON gt sue osano M ome ance SOANCE muo asro gt Kivaa cma m E mer gt OP e a mowo sn uve Lee aage w DPTO SO Moo ATO PCIA see woo v u e ow a 7 TITT ee a TTI ma ALTER om r Tew Zuan s e Bn lt sn o ow o
40. ument amp The direct box would then be used to interface the instrument amplifier s speaker output guitar amp P A amp etc with the mic or line level mixer input thus including the amplifier s reverb tremolo brightness and other effects in the mix Another application for a direct box is to achieve grounding isolation between an unbalanced line level output and a balanced mic or line level input The CS 80 output has a low source impedance so that it will drive a low impedance 600 ohm or high impedance input without adapters The CS 80 output is unbalanced meaning that the signal which flows through a single conductor shielded cable is grounded on one side the shield and ungrounded on the other side the center conductor This arrangement is per fectly suitable for cables of up to 3 m 10 in length When a longer distance separates the CS 80 output from the mixer input it is desirable to use a balanced line rather than an unbalanced line for better rejection of potential hum noise and interference In a balanced line the cable shield is grounded but carries no audio signal two center conductors neither of which is grounded carry the signal Provided the mixer input is balanced transformer isolated a balanced line will be obtained by connecting a direct box at the CS 80 output If two or more CS 80 outputs are connected to one mixer it is a good idea to use a direct box on each output so that the ground to all b
41. usly mov ing a Volume control up and down if you had the fingers free to do it However you could not possibly move that volume control fast enough or smoothly enough by hand to produce secondary tones Thus voltage controlled circuits enable you to do things that could not be readily accomplished with purely manually controlled circuits Amplifiers VCA s are not the only voltage con trolled circuits in a synthesizer filters and oscillators may also be voltage controlled In all instances the amount of change in the sound is proportional to the voltage applied to the control circuit The same sine wave voltage from the Sub Oscillator that created tremolo in the VCA when applied to the control in put of a VCF would create wah wah or when applied to a VCO would create vibrato It is not at all important for a player to understand about voltages and control circuits to program and play the CS 80 When you set the controls and levers so the sound is right you are probably adjusting control voltages HOW THE SYNTHESIZER WORKS The synthesizer consists of sound producing and sound modifying circuits all related by a number of signal paths and control circuits Oscillators and Noise Generators produce the raw ingredients for sounds Wave Shape Converters Filters Amplifiers a Ring Modulator a Tremolo and sub oscillators further modify the sound the audio signals These circuits plus the distinction between audio an
42. ut one of the inputs can be interrupted without breaking the signal path This avoids so called ground loops multiple grounding circuits between the mixer and the synthesizer that might otherwise introduce hum The direct box illustrated can be used in three ways 47 as indicated below and its three switches should be set as required The ground switch breaks the ground shield connection in the XLR output and should be set for minimum hum The Pad drops the signal level so that high level outputs do not overdrive lower level mixer inputs The Filter which only works when the Pad is switched IN simulates the high frequency roll off of a typical guitar amp s speaker Since clipping distortion in a guitar amp often creates high frequency harmonics the filter switch by lowering high frequency response also cuts distortion Assemble the unit in a small metal mini box and keep the phone jacks isolated from the chassis of the box Also keep the box away from the chassis of the instrument amplifier or any other grounded object If you chose a transformer other than the JE DB D it should have similar characteristics an impedance ratio of 20k ohms primary to 150 ohms secondary dual faraday shields very low capacitance on the primary winding and full audio spectrum response A commercial direct box may be purchased or a qualified technician can build one from the schematic diagram shown here The design courtesy of Deane Jens
43. volume when the control voltage is higher in level If a steady de control voltage is applied to the VCA the volume of sound coming out of the VCA will increase by a proportionate amount and will remain at that level If an AC control voltage is applied to the same VCA then the volume will vary up and down corresponding to the variations of the AC voltage this is AM or amplitude modulation When a dc voltage is applied to a VCO voltage controlled oscillator the oscillator increases its frequency When an AC control voltage is applied to a VCO the frequency varies up and down producing an effect known as vibrato or FM frequency modula tion Similarly when AC or dc voltages are applied to VCF s voltage controlled filters the filter character istics change the cutoff points move up or down Refer to the programming block diagram on this page which represents the functions of one of the program mable panels This is the same diagram appearing on the memory panel cover and is often helpful as a reminder of how the panel functions are related to one another A key to the block diagram symbols is shown below the diagram Audio signal paths run from left to right as shown by the horizontal lines that join the blocks colored lines All vertical lines that point to the blocks represent control voltage paths The block diagram is divided into three sections which correspond to the VCO VCF and VCA sections of the panel the TOUCH
44. y Envelope Generators EG one for the VCA and one for the VCF The synthesizer also houses many other functions to modify the basic sounds for a variety of effects Yamaha CS series synthesizers because they are polyphonic are actually equipped with several VCO s VCF s VCA s and EG s 16 sets on the CS 80 for creating each of the 8 notes times 2 voices that can be played simultaneously Why Voltage Controlled Circuits are used in Synthesizers amp How They Work You can set up voltage controlled circuits to make changes automatically Suppose you have a sub oscillator that produces a continuously changing voltage AC such as the slow sine wave from the CS 80 s Sub Oscillator If you apply that voltage to the control input of a Voltage Controlled Amplifier the sound passing through that amplifier will go up and down in level creating a tremolo effect This is exactly what happens when you move down the VCA lever in the Sub OscillatorSection At this point you are listening to one sound source that is being modulated or controlled by something else a sine wave If you increase the SPEED of the Sub Oscillator the rapid changes in control voltage will make the sound level change so fast that beating occurs producing secondary tones You can also adjust a voltage controlled circuit manually if you wish just like any conventionally controlled circuit For example you might achieve the same slow speed tremolo effect by continuo

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