Roland SH-3 Manual de usuario

Pi MRDUWDSYNTHESIZER SH-3

INSTRUCTION MANI IAI

Corporation

SH-3

LFO-1 LFO-2 MODULATION WAVEFORM SELECTOR PHONES LEVEL

GROWL

ENVELOPE

SENS

CUTOFF FREQ

RESONANCE

TREMOLO

ENVELOPE

HOLD

OUT LEVEL

ATTACK

DECAY

SUSTAIN

RELEASE

PITCH

PORTAMENTO/OFF

GLIDE

TRANSPOSE

Contents

Introduction

2. Theory of the Synthesizer

3. Function of the SH-3

a) Keyboard

b) VCO (Voltage Controlled Oscillator)

c) VCF (Voltage Controlled Filter)

d) VCA (Voltage Controlled Amplifier)

4. Operation

5. Tuning

6. Accessories (Optional)

1. Introduction 2. Theory of the Synthesizer

Asynthesizer is not an organ. The basic

difference lies in the synthesizer's ability to

freely modify sound envelopes, or, in other

words, radically alter the quality of musical

sounds.

The synthesizer can modify sound enve-

lope elements to change envelope charac-

teristics and thus modify volume and tone to

synthesize many sounds which are unlike any

which can be produced by conventional

instruments, in addition to sounds which are

exactly like those of conventional instru-

ments.

Thus, the Synthesizer has the inherent

capability of extending the range of musical

conception through production of unique

new sounds.

The Voice Generator, which generates

electronic signals that play an important role

in all electronic musical instruments, is

composed of the VCO "Voltage Controlled

Oscillator", and its musical interval is con-

trolled by the voltage coming from the

keyboard switch. As the wave form of the

music sound produced by the VCO has many

harmonics, the desired tone is produced

through aVCF or "Voltage Controlled

Filter".

The function of the Filter is also de-

pendent on the voltage. The signal through

the VCF is modified with regard to the

rising, falling or the maintaining of sound

by the function of the VCA "Voltage

Controlled Amplifier".

Consequently, the VCO, VCF and VCA

are the crux of Synthesizer operation.

There are included various kinds of

voltage generators to modify these three

circuits. For example, the LFO (Low Fre-

quency Oscillator) generates an electronic

oscillation lower than audio-frequency and

supplies voltage to the VCO for Vibrato, to

the VCF for Growl, and to the VCA for

Tremolo functions. And aSAMPLER

incorporating adifferent LFO taps at regular

intervals the input voltage produced by the

first mentioned LFO or random voltage

produced by the Noise Generator and

supplies this voltage into the VCO to create

special sounds regardless of individual key-

board notes.

The Envelope, comprises elements Attack

(A), Decay(D), Sustain(S) and Release(R), as

shown in Figure 1in general form, can be

varied according to operation control.

Two basic kinds of envelopes can be

produced, namely AR and ADSR. The

ADSR and AR are also called Envelope

Generators. Fig. 2shows the mutual relation

among VCO, VCF, VCA, LFO, SAMPLER,

and ADSR. This is the general theory of

Synthesizer operation. Of course, besides the

abovementioned, there is other function —

namely, white-noise generator. Synthesizing

these functions in many ways creates even

more complicated and more unique sounds.

Fig.1 Fig. 2

-^ (Time)

LFO "

SAMPLER VIBRATO GROWL TREMOLO

'"V

KEYBOARD -» VCO —»VCF —» VCA

OUT

Voltage

Signal

3. Function of the SH-3 VCO

a) Keyboard

The keyboard employs Fscale, 44 keys

and 31

/2 octaves. It is possible, however, to

raise or lower notes by one octave via the

Transpose changeover switch to actually

extend the keyboard function to 68 keys

(9 1

/2 octaves are possible by adjusting the

VCO).

Due to the employed "low-tone-take-

precedence" system, when two or more keys

are depressed simultaneously, the lowest

tone only is produced. When akey is

depressed, avoltage which identifies the tone

of the key is supplied to the VCO and at

the same time, another fixed voltage is

supplied to the ADSR to form an envelope.

b) VCO (Voltage Controlled Oscillator)

The VCO of the SH-3 comprises volume

knobs and change-over switches as shown

in Fig. 3.

ITJ Symmetric Rectangular Wave ...

Contains odd harmonics (3, 5, 7, 9...)

to produce. clarinet-like sounds.

Unsymmetrical Rectangular Wave ....

Contains many high-tone harmonics.

Pulse Wave . . .Contains many

high-tone harmonics to produce string

sounds like aviolin.

Each foot-volume knob (32' to 2') is

equipped with an output-wave-form selector

to produce compound wave forms without

limitation.

Turning the 8' CHORUS dial clockwise

quickens the beat of chorus.

n_i

Fig. 3a

L1————rm

=E I--I

32' 16' 8' 4' 2'

<> -

|10

—4

mmaBS| Eg B

ImphiB:

mEBa eb IbbI

Voltage

Controlled

Oscillator J

VCF

oVIBRATO

By shifting the VIBRATO knob, depth is

changed and normal vibrato can be modulated

by the (</Vwave form. However, if it is

modulated by other wave forms, special

vibrato effects can be produced. Vibrato

speed can be changed by shifting the RATE

knob for LFO.

Pitch, Portamento and Glide of VCO can

be controlled by VCO MANUAL CONTROL.

(See Fig. 4).

oPITCH

The PITCH dial can vary the musical

interval by perfect fifth.

oGLIDE

When pushing the GLIDE button while

playing, the musical interval drops, and as

soon as the button is released, the musical

interval is gradually restored.

This produces aHawaiian guitar effect.

oPORTAMENTO

The PORTAMENTO effect is obtained by

turning the PORTAMENTO dial. When using

PORTAMENTO effect, one note drifts to

the subsequent note. This changing speed is

adjusted by this dial.

When stopping PORTAMENTO tempo-

rarily, depress the "OFF" button.

c) VCF (Voltage Controlled Filter)

The VCF of the SH-3 controls Cut-off

Frequency and Resonance.

As shown in Figure 5, the Cut-off

Frequency control has the function of

cutting off the high frequency part of the

harmonics and plays an important role in

tone production.

Note that over-cutting of the harmonics

will cause elimination of the basic frequency,

and the sound will not be produced. The

Resonance control emphasizes the harmonics,

producing apeak slightly under the Cut-off

Frequency.

Since over-emphasizing the peak causes

oscillation of the other frequency for the key

depressed, it becomes an interruption in the

performance of melody except where special

effect is desired.

Fig. 4""

b PITCH it

PORTAMENTO

L(3D" OO

TRANSPOSE" GLIDE OFF

VCO MANUAL CONTROL

Fig. 5

SENS

HIGH MAX

cutoff freq resonance

Voltage

Controlled

Filter 6

VGA

oENVELOPE

By setting the ENVELOPE switch to

ADSR, the envelope voltage produced by

slide volume knobs of ADSR is supplied to

the VCF to create very interesting effects.

By setting the switch to jT\ ,the slow

attack voltage is supplied to the VCF. And

by setting toA_ ,an effect similar to

WOW can be obtained.

All the envelope voltages are supplied to

the VCF via the SENS dial, thus ENVELOPE

is inoperative when the SENS dial is in "O"

position.

oGROWL

Sliding the GROWL knob creates akind

of phase modulation, and the VIBRATO

effect is obtained. This VIBRATO effect

differs from the VIBRATO effect added to

the VCO on nuance. The modulation speed

is controlled via the RATE volume knob of

the LFO.

d) VCA (Voltage Controlled Amplifier)

oENVELOPE

ADSR: When switched to ADSR,

envelope voltage produced by

ADSR slide knobs is supplied

to the VCA, thus volume can

be changed via ADSR curves.

SLOW ATTACK:

Switching to _TT brings aslow

rising sound such as produced

by aviolin or an accordion.

STACCATO:

Switching to A_ causes a

Staccato-like sound (like the

sound of PIZZICATO playing

of aviolin) regardless of key

depression time. Percussive

effect can be obtained via

the HOLD dial.

SUSTAIN: J~l An effect the same as

SUSTAIN alone in ADSR can

be obtained by switching to_TT, i.e., asound

is produced as soon as the key is depressed

and suddenly stops by releasing the key.

cHOLD

The HOLD is anote memory device, and

the note for the key depressed is continued

until next key is depressed even though the

key is released.

oTREMOLO

The TREMOLO works to supply Tremolo

effect to the sound. When employing sine

wave ('"nj) it is of the usual Tremolo, and for

saw-tooth wave (KK) it produces an effect

like the Tremolo playing of aMandolin,

and use of symmetric rectangular wave (ELI)

produces acontinual sound.

These waves all operate the VCA.

The speed of this Tremolo effect is

adjusted by the knob of the LFO.

LFO NOISE

oOUT LEVEL

This knob controls instrument volume.

e) LFO-1

(Low Frequency Oscillator-1 )

This oscillates saw-tooth wave to modu-

late the VCA and other circuits. Speed can

be changed via the RATE knob.

f) LFO-2

(Low Frequency Oscillator-2)

This oscillates rectangular and sine waves

and speed can be changed via the RATE

knob. Sliding the DELAY TIME knob

produces the delay effect when akey is

depressed for the preset frequency by the

RATE knob.

g) NOISE GENERATOR

The SH-3 comprises aNoise Generator.

Noises are classified into two kinds of

noises which are alternated via the Noise

Changer. They are the white noise audible as

"Shyaa"and the pink noise audible as "Zaa".

As these noises emerge when depressing

the key, they may be used together with the

sound coming from the VCO.

The sound of asteam locomotive "SL"

and the sound of the wind or waves can

also be produced by using these noises alone.

When switched to "TO VCF", noise mode

can be changed via the VCF, and when

switched to "TO VCA", white or pink

noise can be directly produced at VCA.

Output can be adjusted by setting the

LEVEL dial.

SAMPLER 4. Operation 5. Tuning

h) SAMPLER

The Sampler, incorporating adifferent

LFO taps at regular intervals the input

voltage produced by the LFO and supplies it

to the VCO to produce aseries of sounds

differing from the sounds made by depressing

keys.

When the MODE is switched to RANDOM,

the voltage from the Noise Generator

produces random sounds. Mode wave forms

can be controlled via the Level knob. Thus,

via Mode switch, RATE of LFO, LEVEL

and SAMPLE TIME controls, many sound

variations can be produced.

i) PHONES LEVEL

The PHONES LEVEL control is used for

adjusting the volume of the headphones.

)

Connect the output jack to the input jack

of the amplifier with the connection cord

accessory.

2) Turn the power switches of SH-3 and the

amplifier to "ON".

3) Raise the volume of amplifier properly.

Setting is thus complete.

Adjustment of the sound volume is to be

done via the volume knob.

Allow 5minutes after setting the power

switch to ON, then set the Pitch Knob to

"O" position. Tune the Synthesizer to a

standard musical instrument by adjusting

the TUNING screw located on the left end

of the rear panel.

In this case, ascertain that the TRANPOSE

is positioned at "M".

(NOTE) In case asudden temperature vari-

ation occurs or the Synthesizer is played

over an excessively long time, readjustment

of tuning may be required.

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