Kawai T-5 Manuel utilisateur

Autres manuels pour T-5

1

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Kawai

Electronic

Organs

INSTRUCTION

T-5

Kawai

Musical

Instrument

Manufacturing

Co.,

Ltd.

ISSUED:

MAY

1976

‘Upper

drawbars

Music

rock

Lower

drawbars:

ý

tone

t

:

pper

tone

tabs:

‘Wow

tabs

Lower

tone

tabs

Pilot

light

Power

switch

Solo

manual

keyboard

nthesizer

controls

ercussion

button

Upper

manual

keyboard

Lower

manual

keyboard

Expression

pedal

Pedal

keyboard

KEYBOARDS

Upper

Manual:

61

keys

Lower

Manual:

61

keys

Pedals:

25

keys

Solo

Manual:

37

keys

(for

synthesizer)

PRESET

TOUCH

SWITCH

Preset

touch

switch

Four

preset

touch

switches

are

provided

on

the

left-hand

side

panel

for

both

the

upper

and

lower

manual

keyboards.

Keep

in

mind

the

function

of

these:

preset

touch

switches,

as

they

are

very

important

in

playing

the

organ.

The

touch

switch

operates

at

a

touch

of

the

finger

tips.

The

switch

is

lighted

when

engaged.

UPPER

PRESET

SWITCH

[E]

>

Pressing

this

switch

turns

on

the

manual

voices

on

the

upper

manual

tabs.

Press

this

switch

when

using

the

upper

manual

tone

tabs.

D|:

Pressing

this

switch

turns

on

the

upper

drawbars

and

Percussion

voices.

Press

this

switch

when

using

the

upper

manual

drawbars

and

percussion.

Pressing

this

switch

turns

on

the

preset

tibia

chorus.

Ey

H

Pressing

on

this

switch

turns

on

the

preset

reed

chorus.

LOWER

PRESET

SWITCH

L|:

Pressing

this

switch

turns

on

the

voices

controlled

by

the

lower

tabs,

drawbars.

Pressing

this

switch

turns

on

the

lower

drawbars.

Pressing

this

switch

turns

on

preset

tibia

chorus.

z3)

H)

[Sl

Pressing

this

switch

turns

on

preset

reed

chorus.

Note:

When

the

main

switch

is

on,

the

preset

touch

switches,

upper

and

lower

O,

also

are

on.

UPPER

TONE

LEVERS

(TABS)

Upper

tone

tabs

The

organ

is

provided

with

15

upper

tone

levers,

Put

on

the

upper

preset

switch

[E]

when

using

any

of

the

levers

(tabs).

The

voices

obtained

by

using

the

upper

tone

levers

are

divided

into

tibia

tones

and

orchestra!

tones.

TIBIA

16’,

8’,

5—1/3',

4’,

2-2/3’,

2’,

1-3/5’,

1-1/3’,

1"

ORCHESTRAL

Violin

8’

Clarinet

8

Trumpet

8

Oboe

8’

Kinura

8’

String

g

The

following

effect

levers

can

vary

the

orchestral

tones.

Orchestra

Accent:

With

this

tab

depressed,

orchestral

tones

can

be

increased

in

volume

and

accentuated.

Orchestra

Sustain:

With

this

tab

depressed,

a

sustain

effect

is

given

to

orchestral

tones.

The

sustain

time

is

predetermined

and

invariable.

The

effects

available

for

these

percussion

voices

are

as

follows:

Drawbar

Cancel:

When

this

tablet

is

on,

only

the

percussion

voices

are

produced

with

the

drawbar

tones

canceled.

This

effect

works

only

on

the

upper

key-

board.

Sustain:

With

this

tablet

on,

the

percussion

voices

other

than

the

vibraphone,

glockenspiel

and

chime

are

produced

with

sustain

effect.

The

vibraphone,

glockenspiel

and

chime

voices

are

sustained

irrespective

of

the

position

of

the

sustain

tablet.

‘Upper

to

Lower:

When

this

tablet

is

on,

percussion

voices

are

available

with

the

lower

keyboard

through

The

tones

are

of

the

tibia

range.

the

effect

of

the

coupler.

In

this

case,

while

the

lower

Drawbar:

16’,

8’,

5-1/3",

4’,

2-2/3,

2’,

1-3/5",

preset

switches

may

be

set

in

any

position,

the

upper

1-1/3,

v

preset

switch

must

be

turned

on.

Repeat

Speed:

The

tones

of

the

banjo,

mandolin

and

marimba

are

repeat

percussion

voices.

The

repeating

rate

can

be

adjusted

by

this

repeat

speed

knob.

The

repeat

percussion

uses

a

synchro

repeat

system

that

begins

the

moment

a

key

is

depressed.

UPPER

DRAWBARS

Nine

upper

drawbars

ranging

from

16’

to

1’

are

provided

to

enable

an

infinite

number

of

sounds

to

be

produced.

Set

the

upper

preset

switch

ID)

to

use

any

of

the

upper

drawbars.

UPPER

PERCUSSIONS

Upper

percussion

tabs

LOWER

TONE

LEVERS

ower

tone

tabs

Three

tones

can

be

obtained

by

using

the

lower

tone

levers.

The

levers

may

be

used

together

with

the

drawbars.

When

using

them,

put

on

the

lower

preset

switch

E).

The

tones

—

cello

8’,

clarinet

8‘

and

horn

8’

—

belong

to

the

orchestral

tone

group,

for

which

the

following

effect

lever

is

provided:

Orchestra

Accent:

This

increases

the

volume

of

the

orchestral

tones

and

accents

them.

The

upper

percussion

tablets

are

located

on

the

left

side

of

the

center

row.

The

musical

instrument

tones

indicated

on

the

various

tablets

can

be

obtained

by

pressing

the

tablet

of

the

particular

sound

or

sound

combination

desired.

These

percussion

voices

are

arranged

to

be

used

with

the

drawbars,

and

so

the

upper

preset

switch

should

be

on

when

using

percussion

voices.

Eight

percussion

voices

are

available,

as

given

below:

Piano

Banjo

Harpsichord

LOWER

DRAWBARS

Glockenspiel

Mandolin

There

are

nine

lower

drawbars,

ranging

from

16’

to

1’.

Marimba

The

lower

preset

switch

D:

should

be

put

on

when

any

Vibraphone

drawbars

are

used.

These

drawbars

may

be

used

together

Chimes

with

the

orchestral

tones

by

putting

on

the

lower

preset

switch

5O.

PEDAL

DRAWBARS

The

pedal

drawbars

are

used

to

set

the

pedal

tones,

offering

the

following

five

tones:

Tibia

16°

Tibia

8’

String

16’

String

8’

Bass

guitar*

*

The

bass

guitar

tone

is

a

percussive

sound.

PEDAL

EFFECT

The

pedal

effect

tablets

are

used

to

give

a

sustain

effect

to

the

pedal

tones.

The

sustain

length

can

be

selected

by

the

following

tablets:

Sustain:

A

short

sustain

effect

can

be

obtained

by

pressing

this

tablet.

Sustain

Long:

A

medium-length

sustain

effect

can

be

obtained

by

pressing

this

tablet.

*

With

these

two

tablets

on

at

the

same

time,

a

tong

sustaining

effect

can

be

obtained.

In

other

words,

the

organ

affords

the

choice

of

three

sustain

effects.

EFFECT

ATTACK

Despite

the

title,

“Attack”,

this

effect

has

sound

in

itself.

This

attack

sound

varies

in

strength

and

length

and

can

be

played

with

other

tones

(tone

levers

and

drawbars)

to

lend

a

fast

positive

attack

to

the

upper

manual.

Drawbar

Attack:

When

this

lever

is

on,

a

fast

attack

is

obtained

with

the

upper

preset

switch

D):

put

on.

This

is

used

along

with

the

drawbar.

With

this

lever

in

the

off

position,

an

attack

sound

is

obtained

when

the

upper

preset

switch

O}

is

put

on.

Attack

Forte:

A

strong

attack

sound

can

be

obtained

by

pressing

this

lever.

Decay

Long:

With

this

lever

on,

the

attack

sound

slowing

diminishes.

Attack

4’:

Pressing

this

lever

provides

a

4’

or

second

harmonic

attack

sound.

Attack

2—2/3':

Pressing

this

lever

provides

a

2—2/3’

or

third

harmonic

attack

sound.

Note:

Attack

sounds

are

available

in

two

kinds,

4’

and

2-2/3’.

Both

levers

should

be

turned

off

when

the

attack

effects

are

not

required.

The

attack

sounds

belong

to

the

tibia

group.

The

attack

sounds

can

be

used

when

the

upper

preset

switch

or

L

is

on.

wow

In

this

electronic

organ,

“wow”

effect

is

provided

in

combination

with

the

expression

pedal.

The

“wow”

effect

changes

as

the

pedal

is

depressed,

and

“wow”

sound

can

be

obtained

only

by

putting

on

the

“wow”'

lever.

l

Upper

Orchestra

Wow:

With

this

lever

put

on,

“wow”

sounds

can

be

obtained

for

notes

of

the

upper

keyboard.

Lower

Orchestra

Wow:

With

this

lever

put

on,

the

lower

keyboard

notes

will

be

played

with

a

“wow”

effect.

REVERB

Several

degrees

of

reverb

are

abailable.

Reverb

i:

A

slight

reverb

effect

can

be

obtained

with

this

tablet.

Reverb

II:

A

deep

reverb

effect

can

be

obtained

with

this

tablet.

Note:

A

deeper

reverb

effect

is

provided

when

the

tablets

|

and

Il

are

put

on

at

the

same

time.

Thus,

three

kinds

of

reverb

effects

can

be

obtained.

LESLIE

This

electronic

organ

is

designed

exclusively

to

go

with

the

Leslie

Model

710

tone

cabinet.

Two

tone

cabinets

are

normally

required.

The

organ

is

built

to

produce

the

tibia

tones

from

the

rotary

(Leslie)

channel

and

the

other

tones

(orchestral

tones)

from

the

stationary

channel.

Slow:

A

slowly

rotating

Leslie

effect

(chorus)

can

be

obtained

with

this

lever

on.

Fast:

A

fast

rotating

Leslie

effect

(tremolo)

can

be

obtained

with

this

lever

on.

Leslie

Orchestra

Chorus:

When

this

lever

is

put

on, not

only

the

tibia

tones

but

also

the

orchestral

tones

are

played

with

Leslie

effects.

Orchestra

Ensemble:

A

string

ensembie

effect

can

be

obtained

by

using

this

lever.

This

effect

is

useful

only

for

the

orchestral

tones.

Note:

The

Leslie

orchestra

chorus

and

orchestra

ensem-

ble

effects

act

on

the

tones

produced

by

the

tone

levers.

The

preset

switch

[J

should

be

turned

on

when

using

the

above

effect.

Leslie

controls

SOLO

MANUAL

The

solo

manual

keyboard

is

to

be

used

solely

for

tones.

The

synthetic

tones

are

monophonic

fone

note

at

a

producing

the

tones

of

the

built-in

synthesizer.

The

time,

and

the

highest

tone

sounds

when

two

or

more

keys

synthesizer

affords

synthesized

tones

as

well

as

14

preset

are

fingered

simultaneously.

Synthesizer

preset

tones

;

y

P

Synthesizer

controls

Page

oh

Solo

manual

PRESET

TONES

Violin

Saxophone

Tuba

Trombone

Trumpet

Horn

Clarinet

Flute

Guitar

Electric

bass

Whistle

Voice

Shakuhachi

Shamisen

SYNTHETIC

TONES

A

variety

of

tone

can

be

synthesized,

for

which

a

group

of

controllers

are

provided.

Controller

The

controllers

are

divided

into

two

groups:

one

group

provides

control

over

the

entire

synthesizer

(preset

tones

and

synthetic

tone)

and

the

other

controls

only

the

synthetic

tones

*

Controller

for

entire

synthesizer

è

Wow:

It

gives

a

“wow”

effect

to

the

synthesizer

tones,

Its

effect

can

be

varied

by

depressing

the

expression

pedal

in

various

degrees.

è

Glow:

This

produces

an

effect

like

the

flatted

attack

in

playing

a

flute.

The

effect

can

be

delayed.

®

Sustain:

This

keeps

sound

going

even

after

the

key

is

released.

However,

this

effect

differs

a

little

from

the

manual

and

pedal

keyboard

sustain

keys.

The

attenua-

tion

curve

is

determined

by

the

envelope

of

the

loudness

control.

Use

of

the

control

with

the

electric

bass

and

guitar

makes

performance

very

authentic.

®

Reverb

Volume:

This

controller

is

used

to

give

reverb

effect

to

the

synthesizer

tones.

Turn

it

clockwise

for

greater

reverberation

and

counterclockwise

for

less

reverberation.

Reverberation

is

off

when

the

contro!

is

turned

to

the

left-most

position.

®

Solo

Volume:

This

provides

control

of

the

synthesizer

volume

(solo

keyboard).

Sound

increases

as

it is

turned

clockwise.

@

Tuner

Block:

The

controls

related

to

the

pitch

of

the

solo

keyboard

are

gathered

in

this

block.

Slope:

This

is

used

to

determine

the

scale

between

octaves.

It

permits

1

octave

(12

keys)

to

be

tuned

with

the

standard

scale

or

to

be

converted

into

a

detuned

scale,

Tune:

This

is

provided

to

change

the

pitch

of

the

entire

solo

keyboard,

The

pitch

can

be

tuned

higher

or

lower

with

this

knob,

Glide:

This

is

used

to

determine

the

glide

time

of

a

portamento.

Turning

the

knob

clockwise

increases

the

glide

time

(time

required

for

frequency

shifting

from

one

note

to

the

next).

The

glide

time

is

reduced

to

zero

for

normal

playing

when

the

knob

is

turned

fully

counterclockwise,

Such

instruments

as

trombone

will

give

an

even

better

performance

if

played

with

a

touch

of

glide.

*

Controller

for

synthesizer

(synthetic

tones)

only

The

controllers

described

below

should

be

used

with

the

preset

switch

of

the

solo

keyboard

set

to

the

synthe-

sizer.

@

Range:

This

is

a

six-position

rotary

switch

to

determine

the

footage

of

the

solo

keyboard

(4’,

8’,

16‘,

32").

Set

the

switch

to

the

desired

footage.

Noise:

With

the

rotary

switch

set

to

this

position,

the

tone

becomes

a

white

noise,

which

may

be

utilized

to

produce

the

sound

of

wind

or

waves,

OFF:

The

tone

sources

are

canceled

when

the

switch

is

in

this

position.

This

position

is

used

when

the

oscillation

sound

of

the

VCF

(filter

control)

described

later

is

used

as

a

sound

source,

for

example

to

create

special

effects

requiring

unstable

pitch.

©

Filter

Control

Block:

The

controllers

related

to

the

tones

of

the

synthesizer

are

grouped

in

this

part.

The

tone

of

a

musical

instrument

rarely

retains

a

constant

sound

from

the

beginning

to

the

end

of

its

sounding;

it

usually

fluctuates

irregularly.

This

filter

control

block

changes

the

tone

colors

after

notes

have

started

to

sound

(keys

have

been

pressed).

Low

Pass:

This

determines

the

passing

frequency

of

the

filter.

Sound

becomes

harder

as

the

knob

is

turned

clockwise

and

softer

as

it

moves

counterclockwise.

This

is

sometimes

called

a

cutoff.

Emphasis:

This

produces

a

resonant

point with

the

frequency

determined

by

the

low

pass

and

decides

the

degree

of

emphasizing

harmonics.

This

is

also

Known

as

a

peak.

The

peak

lowers

and

the

harmonics

decrease

as

the

knob

is

turned

counterclockwise,

and

the

peak

grows

stronger

when

the

knob

is

turned

clockwise.

Oscillation

is

caused

by

intensifying

the

peak,

and

an

oscillation

tone

determined

by

the

balance

of

the

low

pass

and

emphasis

settings

is

obtained

regardless

of

tones.

This

can

be

applied

to

the

creation

of

special

effect

sounds.

Attack

[

J

->

_-7

]:

This

is

used

to

set

the

rise

of

a

tone.

The

rise

of

a

tone

refers

to

its

change

from

a

soft

sound

to

a

hard

sound.

The

tone

color

changes

increasingly

slowly

as

the

knob

is

turned

clockwise,

while

its

change

quickens

as

it

is

turned

counterclock-

wise.

Orchestral

tones

will

be

more

authentic

effective

when

played

with

a

slow

attack.

Decay

[L

>

NL

H:

Contrary

to

the

attack

knob,

this

determines

the

fall

of

a

tone.

The

tone

turns

into

decay

after

its

rise

time

set

by

the

attack

knob.

The

decay

grows

slower

as

the

knob

is

turned

clockwise

and

faster

as

it

is

turned

counterclockwise.

Sustain

[

J\——

]:

The

sustain

knob

is

used

to

make

the

tone

remain

constant

after

its

decay

has

started.

The

remaining

volume

increases

as

the

knob

is

turned

further

clockwise,

and

the

tone

at

the

end

of

the

attack

is

maintained

regardless

of

the

decay

setting

when

it

is

turned

fully

clockwise.

The

tone

changes

according

to

the

decay

determined

by

the

decay

knob

when

it

is

turned

fully

counterclockwise.

The

slow

attack

tones

of

a

reed

organ

and

an

accordion

can

be

created

by

turning

this

knob

fully

clockwise.

Level:

This

knob

controls

the

intensity

of

the

varia-

tions

set

by

the

attack,

decay

and

sustain

knobs,

thereby

deciding

to

what

degree

these

effects

should

be

applied

to

the

tone.

Variations

in

sound

can

be

obtained

by

turning

the

knob

clockwise,

and

it

becomes

less

varied

by

turning

counterclockwise.

With

the

knob

turned

fully

counterclockwise,

a

tone

deter-

mined

by

the

low

pass

and

emphasis

settings

is

obtained,

one

which

is

free

from

the

attack,

decay

and

sustain

effects.

Loudness

Control

Block:

The

controls

related

to

the

volume

of

the

synthesizer

are

arranged

in

this

area.

Elements

of

sound

are

not

always

uniform

from

beginning

to

end,

and

the

characteristics

of

various

instruments

and

tones

are

consistent

with

the

manner

in

which

sounds

increase

and

diminish.

Attack[

J

>

—~_

J:

This

determines

the

attack

of

a

sound

by

changing

the

volume

after

a

key

has

been

depressed.

Turning

the

knob

counterclockwise

causes

a

quicker

rise.

The

sound

of

such

instruments

as

a

piano,

etc.

should

be

palyed

with

the

knob

turned

fully

counterclockwise

so

that

they

rise

the

fastest.

Turning

the

knob

clockwise

results

in

a

slower

attack,

which

is

effective

for

creating

the

tones

of

a

wind

instrument

and

strings.

Decay

[

L

>

\—

]:

This

determines

the

attenu-

ation

of

sound.

Turn

the

knob

to

the

right

for

slower

decay,

which

is

effective

for

creating

the

decay

sounds

of

a

guitar

and

piano.

Turn

the

knob

to

the

left

for

faster

decay.

This

helps

authenticate

the

sounds

of

the

wind

instruments,

such

as

a

tuba,

French

horn,

etc.

Sustain

[

JA

]:

Though

the

title

is

the

same

as

those

of

the

upper

manual

and

pedal

keyboards,

the

effect

differs

from them

slightly.

This

is

used

to

define

how

long

the

tone

lasts

after

the

decay,

as

in

the

filter

control.

The

remaining

sound

increases

and

the

decay

effect

lessens

as

the

knob

is

turned

clockwise.

The

knob

should

be

turned

fully

clockwise

when

the

continuous

sounds

of

an

electronic

organ

are

required.

The

remaining

sound

lessens

as

the

knob

is

turned

counterclockwise.

Turn

the

knob

counterclockwise

to

use

the

damping

curve

of

decaying

sounds

like

those

of

a

piano,

Vibrato

Block:

The

controllers

related

to

the

fre-

quency

modulation

of

the

synthesizer

are

grouped

in

this

area.

In

short,

vibrato

effects

are

produced

by

these

controls.

Unlike

the

electronic

organ,

a

variety

of

vibrato

effects

can

be

obtained.

Depth:

This

control

defines

the

depth

of

vibrato.

Tur

the

knob

to

the

right

for

deeper

vibrato

and

to

the

lef

for

less

vibrato.

No

vibrato

is

produced

when

the

kno

is

turned

to

the

far

left.

While

the

electronic

orga

usually

provides

vibrato

as

deep

as

20

cents,

th

synthesizer

can

afford

extremely

deep

vibrato,

exceec

ing

1

octave.

Speed:

This

determines

the

frequency

of

vibrato.

Th

knob

should

be

turned

clockwise

for

faster

speed

ant

counterclockwise

for

slower

speed.

Unlike

the

electro

nic

organ,

the

synthesizer

offers

a

wide

range

of

speet

changes.

Wave

form:

The

electronic

organ

employs

a

sine

wav

as

the

modulated

wave

for

vibrato,

and

the

synthesize

uses

various

wave

forms.

This

wave

form

controller

ha:

a

four-position

switch,

thereby

enabling

selective

use

©

four

wave

forms

to

suit

the

music.

Saw

tooth

wave

[

AANA

]:

The

frequency

repeat:

gradual

rises

and

abrupt

drops,

resulting

in

a

serratec

wave

form.

Square

wave

[

TUUL

]:

This

changes

as

if

twc

frequencies

were

repeated

alternately.

An

interesting

effect

can

be

created

by

selecting

this

difference

skillfully,

Sine

Wave

[7\“\“

]:

The

frequency

changes

as

mildly

as

that

of

the

electronic

organ.

Delay

Vibrato

[——~w_

]:

This

is

the

sine

wave

vibrato

provided

with

delay

effect.

This

is

effective

for

creating

the

sounds

of

the

string

and

wind

instruments.

RHYTHMER

RHYTHM

Ballad

Waltz

Mambo

Tango

Cha-Cha

Bossa

Noval

|

March

Bossa

Nova

II

Rhumba

Samba

Beguine

Shuffle

Swing

Bolero

Rock

Variation

1

—

4

Swing

Variation

1

—

4

Swing

2

—

4

Beat

Select

RHYTHM

CONTROL

Rhythm

Start:

A

rhythm

is

produced

by

using

this

tablet.

Rhythm

Break:

With

this

tab

turned

on,

rhythm

is

interlocked

with

the

pedal

and

lower

manual

key-

boards.

The

first

rhythm

beat

starts

at

the

same

time

that

a

key

or

pedal

is

depressed,

and

it

stops

when

a

depressed

key

is

released.

Intro:

With

this

tablet

turned

on,

an

introduction

is

provided

before

the

rhythm

starts.

When

using

the

tablet,

it

should

be

put

on

before

the

“rhythm

start”

tablet

is

set.

Note:

Of

the

above

three

tablets,

the

“rhythm

start”

tablet

has

first

priority;

therefore,

the

other

two

tablets

will

remain

inoperative

if

the

“rhythm

start”

tablet

is

turned

on

first.

As

already

stated,

the

“intro”

tablet

should

be

set

before

the

“rhythm

start”

tablet

is

put

on

or

rhythm

with

an

introduction

will

not

sound.

When

using

the

“break”

tablet,

the

tablet

alone

should

be

turned

on.

INTRO

SYNCHRO

Rhythm

controls

Rhythm

Volume:

This

controls

the

volume

of

the

rhythmer.

The

volume

increases

as

the

knob

is

turned

to

the

right

and

decreases

as

it

is

turned

to

the

left.

Tempo:

This

knob

is

used

to

adjust

the

rhythm

tempo.

The

tempo

quickens

as

the

knob

turned

to

the

right

and

slows

down

as

it is

turned

to

the

left.

Tone:

The

rhythm

tone

quality

can

be

adjusted

by

this

slide

control.

The

drum

tones

become

stronger

when

the

lever

is

pulled

toward

the

player,

and

the

cymbals

tone

becomes

stronger

when

the

lever

is

pushed

in

farther.

A

balanced

tone

will

result

with

the

lever

set

at

the

midway

point.

Bass

Drum

Volume

Low

Conga

Volume

High

Conga

Volume

Claves

Volume

Cabasa

Volume

Guiro

Volume

As

the

above

slide

controls

are

pulled

toward

the

player,

the

respective

tones

are

stressed

more.

They

weaken

as

the

controls

are

pushed

in

farther,

and

no

tones

will

be

produced

if

set

to

the

innermost

position,

allowing

free

control

of

each

instruments

volume.

These

controls

should

be

set

in

the

middle

position

for

normal

playing

conditions.

TEMPO

LAMP

With

the

rhythmer

turned

on,

this

lamp

flashes

with

the

first

beats,

enabling

visual

recognition

of

the

rhythm.

Rhythm

percussion

volume

Rhythm

select

switches

HAND

PERCUSSION

BUTTON

The

effect

sounds

of

the

respective

indicators

can

be

obtained

by

pushing

these

buttons.

Each

volume

can

be

adjusted

by

the

rhythm

volume

knob.

This

electronic

organ

has

the

following

four

percussion

buttons:

Tap

Roll

Drum

High

Conga

Siren

SYNCHRO

PERCUSSION

The

synchro

percussion

produces

the

percussion

sounds

in

conjunction

with

the

pedal

keyboard

and

lower

manaul

keyboard,

Synchro

Percussion:

This

tablet

is

used

to

turn

on

and

off

the

synchro

percussion.

The

synchro

percussion

will

not

operate

unless

the

tablet

is

on.

10

Pedal

Keyboard

Pedal

Brush

Pedal

Cymbal

Pedal

Claves

With

these

tablets

on,

the

respective

sounds

are

produced

in

conjunction

with

the

pedal

keyboard,

Lower

Manual

Keyboard

Lower

Snare

Drum

Lower

Brush

Lower

Conga

With

these

tablets

on,

the

respective

sounds

are

produced

in

conjunction

with

the

lower

manual

keyboard.

AUTO

ARPEGGIO

The

auto

arpeggio

is

the

function

by

which

a

splendid

arpeggio

performance

can

be

obtained

automatically

in

the

tones

of

depressed

keys

simply

by

holding

down

the

keys

played

on

the

lower

keyboard.

Auto

arpeggio:

Used

to

turn

on

and

off

the

auto

arpeggio

function.

Note

that

auto

arpeggio

will

not

be

played

when

the

tablet

is

not

set

to

the

ON

position

even

if

some

of

the

arpeggio

voice

tablets

and

pattern

buttons

are

turned

on.

Voice

The

tones

of

the

piano,

harpsichord

and

harp

are

predetermined

exclusively

for

the

auto

arpeggio.

Use

them

as

desired.

However,

note

that

auto

arpeggio

will

not

sound

if

any

of

these voice

tablets

is

not

set

to

the

ON

position.

Pattern

Three

auto

arpeggio

patterns

are

available

as

described

below

and

may

be

used

as

desired.

Up:

With

this

button

pushed,

an

arpeggio

rises

from

a

low

key

to

a

high

key.

The

arpeggio

stops

when

the

hand

is

released

from

the

keyboard

and

starts

again

with

the

first

low

key

when

lower

manual

keys

are

depressed

once

more,

Up-Down:

Pushing

this

button

produces

an

arpeggio

which

rises

from

a

low

key

to

a

high

key

and

returns

to

the

low.

Repeat:

With

this

button

pushed,

an

arpeggio

repeat-

edly

sounds

from

a

low

key

to

a

high

key

and

vice

versa

until

the

lower

manual

keys

are

released.

Note:

The

auto

arpeggio

operates

only

while

the

lower

manual

key

is

being

depressed,

and

comes

to

a

stop

when

the

hand

is

released.

It

starts

from

the

first

bass

of

the

keys

played

when

depressed

again.

Control

Rate:

Arpeggio

speed

is

adjusted

by

turning

this

knob.

The

speed

increases

and

decreases

respectively

when

the

knob

is

turned

clockwise

and

counterclockwise.

Arpeggio

Balance:

The

knob

controls

the

arpeggio

volume.

The

volume

increases

and

decreases

respec-

tively

with

the

clockwise

and

counterclockwise

turning

of

the

knob.