Yamaha CS-5 Manuel utilisateur

Autres manuels pour CS-5

5

Table des matières

Autres manuels Yamaha Synthétiseur

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Yamaha

Yamaha 9000 Pro Manuel utilisateur

Yamaha

Yamaha PSR-S650 Manuel utilisateur

Yamaha

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Yamaha

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Yamaha

Yamaha S90 XS Editor VST S70 XS Editor VST Manuel utilisateur

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Yamaha CP11 Manuel utilisateur

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Yamaha P-65 Manuel utilisateur

Yamaha

Yamaha CE25 Manuel utilisateur

Yamaha

Yamaha PSR-S970 Manuel utilisateur

Yamaha

Yamaha CP-20 Manuel utilisateur

Yamaha

Yamaha VL-1 Manuel utilisateur

Yamaha

Yamaha CS15D Manuel utilisateur

Yamaha

Yamaha PORTATONE PSR-OR700 Manuel d'utilisation et d'entretien

Yamaha

Yamaha P-120 Manuel utilisateur

Yamaha

Yamaha Electone Stagea ELS-01 Manuel utilisateur

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Yamaha Loopfactory DX200 Manuel utilisateur

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Yamaha MM6 Manuel utilisateur

Yamaha

Yamaha MOTIF ES8 Guide de configuration

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Manuels Synthétiseur populaires d'autres marques

Kawai

Kawai MP7 Manuel technique

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Joranalogue Contour 1 Manuel utilisateur

Full Bucket Music

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Kawai PH50 Manuel utilisateur

IK Multimedia

IK Multimedia UNO Synth PRO X Manuel utilisateur

Behringer

Behringer DEEPMIND 12 Manuel utilisateur

Roland

Roland Gaia SH-01 Manuel utilisateur

Roland

Roland GR-30 Manuel utilisateur

Gotharman

Gotharman Gotharman's anAmoNo-box Manuel utilisateur

QuStream

QuStream HDFS-550 Manuel utilisateur

Modal Electronics

Modal Electronics ARGON8 Manuel utilisateur

Roland

Roland GS-500 Manuel utilisateur

Octave

Octave Cat SRM Manuel utilisateur

Dreadbox

Dreadbox Murmux Initiate Manuel utilisateur

neutral labs

neutral labs ELMYRA 2 Manuel utilisateur

Waldorf

Waldorf KYRA Manuel utilisateur

Tubbutec

Tubbutec Juno-66 Manuel utilisateur

EFM

EFM VCADSR - 3510 Manuel utilisateur

YAMAHA

Synthesizer

CS-5

•OWNER’S

MANUAL

PROFILE

The

CS-5

synthesizer

is

ideal

for

a

wide

variety

of

applications.

It

can

serve

as

a

beginner’s

instrument,

and

it

can

equally

well

be

used

as

a

versatile

solo

keyboard.

This

block

controls

the

external

input

signal.

D

a

3

e

©©

This

block

consists

of

a

very

low

frequency

oscillator

to

modulate

the

VCO,

VCF,

and

VCA

blocks.

/SV

page^S^

Voltage

controlled

oscillator

block

to

control

the

pitch

and

generate

square

waves

and

sawtooth

waves

as

sound

sources.

page

©

■

Points

of

Attention

•

Installation

Avoid

places

subjected

to

direct

sunshine,

high

humidity,

or

extremely

dusty

locations.

Never

use

the

synthesizer

near

fire

or

heat-producing

objects,

such

as

on

top

of

a

power

amplifier.

•

Cleaning

When

cleaning

the

set,

do

not

wipe

the

panel

or

key¬

board

with

thinner

or

other

cleaning

liquids,

as

this

may

leave

stains

or

cause

discoloration.

Always

use

only

a

soft

and

dry

piece

of

cloth.

•

Connections

Connections

to

an

amplifier

or

other

equipment

must

be

made

appropriately

and

with

due

care,

as

wrong

connections

may

lead

to

damage

in

the

synthesizer

or

amplifier.

•

Volume

The

volume

level

should

always

be

set

with

care,

as

the

application

of

excessive

input

to

the

amplifier

may

cause

damage

to

the

amplifier

or

speakers.

Sliding

control

to

change

the

pitch

manually

during

performance.

page

©

r

VCO

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n

WHAT

IS

A

SYNTHESIZER

Unlike

other

musical

instruments,

the

synthesizer

has

no

fixed

sound

of

its

own.

Thus,

before

playing

it,

it

is

necessary

to

shape

the

sounds.

But

with

the

synthesizer

you

will

be

able

to

create,

with

your

own

hands

and

by

synthesizing

sounds,

a

new

type

of

sound

that

can

never

be

made

by

any

other

musical

instrument.

•

THE

THREE

ELEMENTS

OF

SOUND

How

does

a

synthesizer

make

sounds?

Before

explaining

the

principle

of

the

synthesizer,

let

us

consider

what

kind

of

properties

sound

has.

Sound

produced

by

musical

instruments

such

as

the

piano

or

the

guitar

has

a

certain

pitch,

according

to

the

key

or

string

used.

It

is

possible

to

change

the

pitch

by

changing

the

length

of

the

vibrating

portion

of

the

string.

In

this

case,

the

string’s

number

of

vibrations

per

second

also

changes.

The

slower

the

string

vibrates,

the

lower

the

pitch

becomes.

In

this

way,

it

is

possible

to

express

the

difference

in

pitch

by

the

number

of

vibrations

(frequency).

sound

Tr

-rUe

sound

Wl/WW

However,

between

the

sound

of

a

piano

and

that

of

a

guitar

there

is

a

difference

in

tone

even

when

both

sounds

are

of

the

same

pitch:

no

one

will

mis¬

take

the

sound

of

the

piano

for

that

of

the

guitar.

This

is

because

there

is

a

difference

in

the

way

the

strings

vibrate

(the

vibration

waveform

),

due

to

the

difference

in

the

arrangement

by

which

the

sounds

are

generated,

and

because

of

the

difference

in

the

shape

and

size

of

the

musical

instruments.

Furthermore,

even

when

both

the

pitch

and

tone

quality

are

the

same

there

can

be

a

difference

in

sound,

such

as

when

the

same

key

of

the

piano

is

hit

in

a

forcible

or

a

gentle

manner.

It

is

easy

to

discern

the

two

sounds

from

each

other

because

of

the

magnitude

(volume)

of

the

sound.

This

is

because

a

difference

will

be

produced

in

the

size

and

amplitude

of

the

string’s

vibrations,

due

to

the

intensity

with

which

it

has

been

struck.

In

this

way,

sounds

produced

by

musical

instru¬

ments

have

such

elements

as

pitch,

tone

and

volume,

whose

differences

add

to

the

sound’s

characteristics.

These

elements

are

referred

to

as

“the

three

elements

of

sound”,

which

may

also

be

considered

as

the

difference

in

frequency,

waveform

and

amplitude.

•

TEMPORAL

CHANGE

IN

SOUNDS

However,

the

elements

which

render

sounds

with

certain

characteristics

are

not

confined

to

these

three.

Taking

the

piano

for

example,

the

volume

will

reach

maximum

the

instant

the

key

is

hit,

then

will

decrease

gradually.

When

the

finger

is

released

from

the

keyboard,

the

sound

will

fade

out.

In

the

case

of

the

organ,

the

action

of

depressing

the

key

will

cause

the

volume

to

rise

to

a

certain

level,

which

will

be

retained

for

the

duration

the

keyboard

is

depressed.

The

sound

will

fade

away

when

the

finger

is

released

from

the

key.

In

such

musical

instruments

as

the

trumpet,

for

example,

the

harmonic

spectrum

changes

together

with

the

change

in

volume.

The

tone

changes

too,

along

with

the

passage

of

time.

Thus,

the

sounds

of

musical

instruments

undergo

delicate

changes

from

the

time

the

sound

is

generated

to

the

time

it

fades

away.

These

temporal

changes

are

known

as

an

“envelope.”

•

HARMONICS

What

must

we

do

in

order

to

produce

electrical

sounds

that

have

the

above

mentioned

three

elements

of

sound,

these

are

pitch,

tone

and

volume,

and

which

vary

with

time

(have

an

envelope)?

Before

going

into

the

matter,

let

us

view

sound

again

from

a

different

angle.

As

regards

the

vibration

waveforms

by

which

the

tone

is

determined,

it

is

known

that

any

given

wave¬

form

can

be

considered

as

consisting

of

a

certain

number

of

sine

waves.

In

other

words,

all

waveforms

can

be

produced

by

combining

a

large

number

of

sine

waves.

For

example,

let

us

overlap

over

a

single

sine

wave

waveforms

having

an

integral

multiple

number

of

vibrations,

such

as

2-fold,

3-fold,

and

so

on.

It

is

seen

that

the

waveform

will

gradually

come

to

resemble

a

sawtooth

waveform.

In

addition

to

this,

it

is

apparent

that

this

sawtooth

waveform

has

a

cycle

similar

to

that

of

the

sine

wave

that

has

been

used

as

the

basis.

The

sine

wave

with

the

basic

cycle

is

referred

to

as

the

fundamental

and

the

sine

waves

of

harmonic

overtones

as

the

harmonics.

In

the

case

of

musical

instruments,

the

way

in

which

harmonics

are

contained

in

sounds

will

depend

on

the

arrangement

by

which

sounds

are

generated.

When

we

discuss

the

difference

in

tones

(waveforms),

it

is

the

same

as

dis¬

cussing

what

kind

of

harmonics

the

sounds

contain.

Accordingly,

one

can

express

the

three

elements

of

sound

in

another

manner,

that

is,

as

1)

pitch,

2)

the

manner

in

which

harmonics

are

contained

(harmonic

structure)

and

3)

volume.

SAWTOOTH

WAVE

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3-1-

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fes

•

STRUCTURE

OF

THE

SYNTHESIZE?)

In

the

synthesizer,

sounds

are

synthesized

by

electronically

effecting

control

on

the

four

properties

of

sound

(the

three

elements

of

sound

plus

the

envelope),

dividing

it

into

4

blocks.

Control

of

pitch

is

effected

by

the

VCO.

that

of

harmonic

spectrum

by

the

VCF.

that

of

volume

by

the

VCA

and

that

of

envelope

by

the

EG

(envelope

generator).

The

following

describes

the

functions

of

each

block.

•

VCO

The

VCO

block

produces

sound

sources

of

fre¬

quencies

corresponding

to

the

intervals

of

the

key¬

board.

The

sound

source

waveforms

produced

1

by

the

VCO

are

sawtooth

waves

and

square

waves

that

include

many

harmonics

in

a

regular

manner.

These

waves

are

oscillated,

using

an

electronic

circuit.

•

VCF

The

VCF

block

determines

the

tone,

changing

the

harmonic

spectrum

of

the

sound

sources

by

cutting,

or

emphasizing,

certain

parts

of

the

harmonics

by

passing

the

sound

sources

through

filters.

The

boundary

between

the

portion

that

passes

through

the

filter

and

the

portion

that

is

cut

off

is

known

as

the

cut-off

frequency.

The

VCF

creates

the

charac¬

teristic

harmonic

spectrum,

by

varying

the

cut-off

frequency.

F

:

Funda-me/ifa)

In

addition

to

adjusting

the

cut-off

frequency

by

means

of

a

knob,

the

tone

is

caused

to

undergo

a

temporal

change

(from

the

time

the

sound

is

generated

to

the

time

it

ceases)

to

give

it

an

“enve¬

lope".

This

is

accomplished

by

effecting

control

on

the

filter’s

cut-off

frequencies

by

means

of

the

envelope

generator.

•

VCA

The

VCA

block

adds

an

“envelope”

to

the

volume.

The

process

starting

from

the

generation

of

the

sound

up

to

the

point

the

sound

gradually

fades

away

is

governed

by

the

envelope

generator's

ATTACK

TIME,

DECAY

TIME,

SUSTAIN

LEVEL,

RELEASE

TIME

(A.D.S.R.),

changing

the

amplification

degree

of

the

VCA

amplifier.

The

signals

from

the

VCO

reach

the

VCF

where

they

undergo

a

change

with

regard

to

their

harmonic

spectrum

by

being

passed

through

a

filter.

The

sig¬

nals,

now

containing

certain

tone

characteristics,

are

given

a

volume

“envelope”

at

the

VCA

and

then

fed

out.

In

this

way,

all

elements

of

the

properties

of

sound

are

controlled

electronically,

by

utilizing

the

three

elements

of

sound

and

the

“envelope.”

The

synthesizer

has,

in

addition

to

the

blocks

described

above,

other

blocks

such

as

the

LFO

which

permit

further

changes

in

the

sounds.

But

in

this

case

too,

the

job

is

performed

by

controlling

the

three

ele¬

ments

of

sound

and

the

envelope.

We

hope

that

the

points

described

in

this

section

may

be

helpful

to

understand

the

immense

possibili¬

ties

and

great

pleasure

awaiting

you

on

a

path

that

will

lead

you

into

a

new

world

of

music

using

a

totally

new

musical

instrument,

the

synthesizer.

CONNECTIONS

O

POWER

CORD

Connect

the

power

cord

plug

to

an

AC

outlet.

©OUTPUT

The

CS-5

cun

be

connected

to

all

kinds

of

ampli¬

fiers.

Use

connection

cords

with

plugs

matching

the

shape

of

the

input

terminal

of

the

amplifier

to

be

used.

The

following

input

terminals

are

to

be

used:

KEYBOARD

AMPLIFIER

.

.

.

.INPUT

TERMINAL

GUITAR

AMPLIFIER.LOW

INPUT

STEREO

AMPLIFIER.AUX

TERMINAL

ELECTRONIC

ORGAN.EXT

IN,

AUX

IN,

EXP

IN,

etc.

©CONTROL

VOLT

©TRIGGER

By

connecting

the

set

with

other

synthesizers,

such

as

CS-5,

CS-IO,

CS-15,

CS-30

etc.,

having

CONTROL

VOLT

(or

KEY

VOLT),

and

TRIGGER

terminals,

this

set

can

be

used

as

a

multi-system

synthesizer.

See

page

14

for

further

details.

©EXTERNAL

If

an

electric

guitar

or

the

like

is

connected

as

sound

source,

it

is

possible

to

give

its

sound

a

synthe¬

sizer

effect

by

the

control

blocks.

For

details

see

page

14.

HOW

TO

PRODUCE

SOUND

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