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THE SYNTHESIZER

To make the first approach with the synthesizer

philosophy the best way is to compare it with a
This fact is new and exci ng! It may seem difficult
conven onal instrument. Let us take for example
but it’s not really. All you have to do is to follow
an electronic organ: the pitch of sounds, their
the instruc ons whit small amount of care and
range, the number of tabs, all this is provided by
you will receive much sa sfac on which
the manufacturer, and cannot be modified by the
overcomes by far the difficulty! There are 15 PRE-
player. The freedom of the organist is limited
SETS present in the SYNTEX which automa cally
only to mixing in different ways, the ingredients
allow for the func oning of the synthesizer in
which have already been supplied by the
such a way as to furnish these effects
manufacturer of the organ. With the synthesizer
predisposed. Using the PRESETS you may choose
things are very different. Its possibili es are
the voices of the synthesizer as you choose the
prac cally unlimited! The player is free to choose
tabs of an electronic organ and this is very useful
the pitch of notes. to reconstruct the sounds of
to start of with. Later on, it will come
tradi onal instruments, and to invent new
spontaneously to you to exploit all the freedom
sounds.., The oily limit is your own imagina on.
which a synthesizer allows.
In designing the synthesizer the technical staff
must face a very important problem: to prepare Our brief notes on the use of the synthesizer are
and locate the various func ons of the unit in divided into the following paragraphs:
such a way as to make it clearer and easier for
the user. To sum up, we may say that while using 1. The Theory of Synthesizers
a conven onal instrument the user is only playing 2. Preliminary Opera ons
sounds arranged beforehand, using a synthesizer
one must « construct » the acous c material with 3. Use of Pre-Sets
which he is going to build up o, musical 4. Variants in the voices of the Pre-Sets
performance.
5. Free Research in Sounds

6. Sound Charts

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 1 which are of great importance, we shall see them one by one.
THE THEORY OF SYNTHESIZERS The synthesizer is
composed of three distinct groups of circuits: Generators,
Modulators, Controls.
GENERATORS These are circuits which produce electric
signals, which are successively translated into sounds. The
SYNTEX has three generators: OSCILLATOR 1 - (OSC. 1)
which can furnish contemporarily four frequencies at a
distance of an octave: 32' - 16' - 8' - 4' from the lowest to the
highest pitch. The level of each one is regulated separately
from the others by means of a slide potentiometer. By
modifying the PITCH all four frequencies are moved without
modifying their octave ratio. The total range of the PITCH is
about one tone, or plus or minus a semi-tone in respect to the
A - 440 Hz.
OSCILLATOR 2 - (OSC. 2) This is similar to Oscillator 1 the
only difference is in the frequencies which are one octave
higher and therefore are indicated by 16' - 8' - 4' - 2'. Oscillator
2 has a TUNE control which is used for lowering its frequency
so that it may be brought in unison with oscillator 1. The total
range of tuning of the TUNE control is therefore made up of an
entire octave. This allows for the playing of oscillator 2 at all
possible intervals in respect to Oscillator 1, fcr example:
unison, third, fourth, fifth, octave, carrying cut special effects
such as a duet of wind instruments, the double string of a
guitar, of the double key of a piano. By tuning Oscillator 2 at
the fifth note you will enrich very much the harmonic contents
of Oscillator 1 (i.e. 22/, feet which is present in all organs of a
certain class). The oscillators used in synthesizers are
indicated by the initials VCO (voltage controlled oscillator).
This means that their frequency (pitch of sounds) changes
according to the voltages by which they are driven. In most
cases, the control voltages are furnished by the keyboard.
NOISE
This generates a signal which contains all the audible
frequencies denominated <noise>
The SYNTEX is equipped with a volume regulator and a
waveform switch W/P. In the position W a white noise is
obtained and in the position P a pink noise is obtained which is
richer in low pitched frequencies.
MODULATORS
An oscillator generates a wave form which is rich in harmonics
but musically not personalized; it is necessary to <filter > this
wave to obtain the colours of the musical timbres.
THE FILTER
Cuts a certain <band> of frequencies, passing others without
attenuation. Cut-off frequency is the point in which the filter
starts to cut. The filter in the Syntex has 2 slide controls. Fr -
Regulates the point in cutting. Bringing it forwards, more high
frequency components are allowed to pass and the timbre
becomes harsher. - Emphasizes a group of frequencies
around the cut-off frequency which has been fixed by the
previous control. We shall see other rotative controls later. The
filter is also controlled in voltage and is indicated by the initials
VCF (voltage controlled filter). But it is not sufficient to filter the
sounds so as to obtain the tones. An oscillator continuously
sends out frequencies therefore you must have a control for
stopping them so that the frequencies can reach the ear and
be heard only in the moment needed! VCA - (voltage
controlled amplifier) This amplifier which is controlled in
voltage, allows the sounds to pass by pressing a key and
permits the regulation of attack and decay of every single note.
The chain of circuits work in the following way: VCO-VCF-VCA
- VCO generates the sounds - VCF manipulates the tones
VCA controls the attack, decay, and volume.
CONTROLS This third group is made up of different kinds of
circuits
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KEYBOARD
Controls the oscillators and determines the frequency. The
keyboard can stress the sounds corresponding to each key or
can pass from one sound to another glissando. GLIDE By
depressing the button ON in the
GLIDE section this effect is ready for use.
SPEED If this control is completely turned towards the right
hand side the glissato is practically excluded. By turning the
speed control towards the left hand side the glissato becomes
much slower. It goes without saying that the glissato is effected
on a ascending scale as on a descending scale.
ADSR The electric signals generated by this circuit are used to
construct the different types of percussion. There are four slide
controls:
A - Attack, regulates the speed of the attack in the notes.
D - Decay, controls the decay time.
S - Sustain, fixes the level of sound during the time in which a
key is depressed.
R - Release, regulates the time of fading out of the notes after
a key has been released.
These controls are located in the area marked by the word
<ENVELOPE> The previous four events described, are called
« envelope ». Envelope is represented clearly in small graphs
written over the controls. The stretch underlined heavily
represents the part of the envelope controlled by single
commands. The ADSR is connected to the VCA and the VCF.
VCA - The shape. of the Envelope is used in the VCA for
modifying the volume. For example if A is at zero the attack will
be percussive.
VCF - The ADSR applied to the filter produces variations in the
timbre. In fact the filter moves following the envelope: the more
the envelope rises the more the timbre is incisive. Between
ADSR - VCA and ADSR - VCF are placed regulators indicating
the Amount. They are used to limit the quantity of signals
which pass from ADSR to control VCA and VCF. We shall see
the use of this in the following instructions.
OSCILLATOR 3
This oscillator does not produce sounds, but produces control
signals which are applied to VCA, VCF, and to Oscillator 1 and
2 through the amount controls. Oscillator 3 has two controls:
one rotative control for the frequency, and one wave switch for
choosing the waveform. (triangular or square as indicated on
the panel). By applying the control signal of Oscillator 3 to VCA
the TREMOLO is obtained. By applying the control signal to
VCF the WHA-WHA is obtained. By applying the control signal
of Oscillator 3 to the other 2 oscillators you obtain the
VIBRATO. All this is done with the wave switch in the position
if instead the wave is square other effects are obtained, as we
shall see later on. In the space indicated by Oscillator 3 there
are present also some push button controls which are named
MODU-LATION. These are used to convey the control signals
to the controlled circuits. We have already said that the
quantity of controls depends on the AMOUNT which is located
on the panel in the area of the controlled circuits. In this same
area of controlled circuits you will find pilot lights which flash on
at intervals when the respective circuit is under control. The
frequency cf the flashing follows the frequency of oscillator 3.
RANDOM MUSIC
This is an original device which « improvises creating casual
sequencies of sound. The pitch and the succession of sounds
are absolutely free, whereas their timbre is selected by the
executor. The speed of this succession of sounds may be
regulated by the frequency of Oscillator 3.
PRESETS
This has 15 push buttons which have been automatically
arranged for the various functions of the synthesizer for
obtaining some prefixed timbres. The freedom of the
synthesizer is therefore lost but in return this way to play the
instrument is very easy and this is good to begin with.
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PRELIMINARY OPERATIONS
ARRANGEMENT OF APPARATUS
The elegance in line, the modest size, and the particular form
of the feet rests, allow you to arrange your Syntex comfortably
on top of an electronic portable, or home organ. The SYNTEX
is equipped with its own music rest, there-fore the music rest
could be suppressed from the organ to make it easier to
support the synthesizer. Naturally the SYNTEX could be
arranged on other types of support, such as on top of a piano.
There are no problems of weight which could create trouble.
On request the Syntex can be furnished complete with legs
which are easily disassembled and which are fixed to the sides
with the appropriate knobs. The inclination of the instrument is
therefore easy to regulate. The SYNTEX is manufactured in
two versions: 220/240 V AC 50/60 Hz and 110/120 V AC 50/60
Hz. However, every model can be converted from 220 V to 110
V or viceversa by changing the small bridges which can be
found inside the instrument. It is advisable to have these
eventual changes made by the service department where your
Syntex was bought.
CONNECTION TO AN AMPLIFIER
Connect the output which is on the back panel and which is
marked with the word (c low level » to the input of the amplifier
which you own. To obtain good initial results the tone control of
the amplifier must be moved to half way so that a linear reply
may be received, At the beginning the volume of the amplifier
must also be at halfway. Successively, the controls of the
amplifier must be turned so that better results may be
obtained.
CONNECTION TO A WELSON
ELECTRONIC ORGAN
Connect the output which is placed on the back panel and
marked with the word (< High level >> to the input which is
placed on the back panel of the organ. All Welson Organs are
predisposed to accept the Syntex which can be connected
without any problems also to other types of organs.
ARRANGEMENT OF CONTROLS
Before starting arrange all control points as follows: Slide
Controls - all at zero (moved towards player). Rotative
Controls - in OFF position (the buttons must be protruding and
all pilot lights must be closed) Now prepare the controls as
follows: The first controls to regulate are situated below the
key-board on the right hand side of the instrument, in the
square marked by the initials VGA.
Volume - must be turned towards the right for about 1/3 of the
way.
ADSR AMOUNT - Turn completely to the right, Now turn on
the instrument by depressing the button ON which is placed on
the above panel in the left hand corner. The ignition of the pilot
light which is built into the switch will advise you that the
instrument is now ready for use.
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TUNING
We have already said at the beginning that the player is free to
choose the range of sounds, but evidently these sounds must
be tuned with the other instruments which accompany the
synthesizer (electronic organ, piano or other instruments).
Therefore we have to proceed with the « tuning » of the
synthesizer before starting to play. Here is the procedure:
TUNING FIRST OSCILLATOR
PITCH - (rotative control in the area marked OSC. 1) Turn the
knob toward the right until you have positioned the indicator on
the (( red » point which you will find is at half way.
PRESET ON - Depress this button and control that the built-in
red light is on.
FLUTE - Depress the first preset on the left hand side.
When the controls are arranged in this manner, depress the A
key in the lowest octave. (first A on the left). Con-temporarily
you must depress the central A key of the piano or the
electronic organ with which you wish to << tune>> your
synthesizer.
Listening to the two notes together you will hear pulsations
called << beats>> to eliminate these you must slowly turn the
command « pitch » until you have completely eliminated these
beats. In this condition you will hear only one static sound
which means that the two instruments are completely in
unison. At this point you have tuned only one source of sound
in the synthesizer: the oscillator 1. But we have two origins of
sound which is two oscillators, both to be tuned perfectly.
TUNING SECOND OSCILLATOR
After having tuned Oscillator 1 with the accompaniment
instrument, proceed as follows:
TUNE - (rotative control in the area signed OSC. 2) Turn
completely towards the right hand side.
PRESET ON - This must remain depressed as when tuning
OSC. 1.
ACCORDION - Depress the eighth pre-set from the left.
Now you must depress one key, let's say the usual A, and
listen to the sound produced by the synthesizer only, without
comparing any more to external sources.
It may be that you will hear two sounds between which there
are beats.
You must slowly turn the TUNE control until you have obtained
a dry sound without beats! In this condition also the two
oscillators in the Synthesizer are in harmony and both are
tuned to the accompaniment instrument. The tuning of the
SYNTEX. is exceptionally stable, thanks to one special and
exclusive type of oscillator. We underline the fact that it is
sufficient to tune up only one key, the A as we have seen in
the previous examples, to obtain an .'entire instrument
perfectly tuned without any possibility of errors, In fact a digital
code controls all frequencies which are produced by the single
keys with unquestionable precision. (Patent WEBO
ELECTRONICS CO).
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USE OF PRE-SETS
We have already said that the Pre-sets are like the tabs on an
electronic organ, it is sufficient to depress a button and you
obtain from the instrument the voice selected. In the case of
the Syntex particular attention must be made to the following
manoeuvres.
I. - PRE-SETS ON
This is a push-button which includes or excludes all of the Pre-
sets. When this is depressed you will see a red light which
means that the Pre-set is now working. Natu-rally, if you have
depressed only one of the 15 Pre-sets, but the Pre-set ON is
excluded (light off) then no sounds will be produced.
Therefore to use the Pre-sets two operations are necessary:
A) Depress the desired Pre-set,
B) Depress PRESET ON.
If you wish to pass from one Pre-set to another it is enough to
depress the second preset desired, without interfering with the
PRE-SET ON. If you wish to exclude the pre-sets so as to
create some tones (which we will see later on) it is sufficient to
exclude the Pre-set ON.
II. - NORMAL AND SPECIAL PRE-SETS
For convenience of show, the pre-sets have been divided into
two categories. The following are normal presets: FLUTE,
TROMBONE, HORN, OBOE, BASS CLARINET, JAW HARP,
WHA-WHA, XYLO, BASS GUITAR, SPINET.
To use them all you have to do is to depress the push-button
of the effect desired. Try it, it's easy! Attention must be paid
only to the volumes. It may be that the Synthesizer is too high
(or too low) in respect to the organ. Turn the VOLUME which is
placed on the front panel low down on the right hand side in
the area marked VCA.
If you are using an amplifier you can also turn the volume on
this to balance the sounds of the synthesizer with those
produced by the accompaniment instruments. The following
are special pre-sets: ACCORDION, STRINGS, SPACE FUZZ,
MUSICAL SAW. To obtain the best results from these Pre-sets
you must complete some supplementary regulations, which
are very simple, and which we shall describe for each one.
GENERAL VOLUME REGULATION
It may happen that when using different Pre-sets the level of
sounds produced by the, Synthesizer will change, so much
that they will clot respond to the needs of the player. • This is
due to the type of amplifier used and to the positioning of the
tone controls. If such inconveniences occur, then turn the
volume control which is placed in the area marked VCA on the
right hand side of the front panel below the keyboard.
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ACCORDION
Beth the oscillators are used by this Pre-set and they must
beat lightly (battenti means two equal notes not perfectly
tuned between each other).
Let's go back to Chapter 2, titled TUNING SECOND OSCIL-
LATOR, Having carried out the manoeuvres described, the two
oscillators are perfectly tuned between them. To use the Pre-
sets ACCORDION and STRINGS correctly we must remove
this perfect Tuning. Play the usual A and you will hear the two
oscillators perfectly tuned. (without beats). Now intervene on
the TUNE control placed in the area marked OSC. 2. Lightly
move this control towards the left immediately you will hear the
two sounds <, beating >> and you will have the sensation of a
sound moving. This is characteristic of the effect of a <
musette » accordion. Naturally the quality of the result must be
controlled by your car, so that is can be adapted to your
satisfaction.
STRINGS
All the same operations used for the ACCORDION must be
repeated. Much care must be taken in controlling the result by
ear, as this is the best way to obtain from a Synthesizer that
which one wants.
SPACE
All the operations listed for using the Pre-sets ACCORDION
and STRINGS must again be repeated. The completeness in
tuning between the two oscillators can be made freely. In fact
in the case of the SPACE effect it is no longer necessary to
obtain a light beating between the two oscillators, instead you
can look for connections at different intervals even discordant.
Every type of interval will give as a result a completely different
sonorous effect, which allows the player to choose the
preferred one.
MUSICAL SAW
There are two operations necessary to extract the maxi-mum
profit from this effect: Regulation of frequency of Oscillator 3
and regulation of speed of GLIDE. OSCILLATOR 3 This can
be found in Chapter 4, and it will become clear, the way in
which one must intervene so as to vary the vibrato ».
GLIDE The speed of the GLIDE is very important for adapting
the sonority of the Pre-set to the type of music being played.
The GLIDE is inserted automatically by depressing the Pre-set
MUSICAL SAW even if you do not see the green light which
goes on in the GLIDE button. The speed can be varied by
turning the control SPEED placed in the area marked GLIDE.
 4 Now to regulate the depth of the a vibrato » you must turn the
VARIANTS IN THE VOICES
OF THE PRE-SETS
All the given tones together with the Pre-sets can be modified
by using OSCILLATOR 3; in this way the palette of timbric
colours furnished by the Pre-sets, already very immense,
becomes endlessly dilated! Now we shall see some examples.
First of all the operations described beforehand must be
carried out to be able to use any of the Pre-sets, then the
following should be done:
TROMBONE
Let us listen to the tone furnished by this Pre-set and then we
shall decide to modify it by adding a « vibrato », we should
OSCILLATOR 3
Position the wave length selector (first to the left) triangular
wave Depress the push button of OSC. 1 in the MODULATION
group. In the area of OSC. 1 a flashing red light will go on
which indicates the frequency of OSCILLATOR 3 to be
transformed for the listener, in frequency of the « vibrato ».
FREQUENCY OSC. 3
Turn the control until you have obtained about six lamp flashes
to the minute second. Now depress the key and listen. Pay
attention to the control VIBRATO AMOUNT in the square
OSC. 1. If this control is completely turned towards the left you
will not obtain VIBRATO. Turning it gradually towards the right
the profoundness of the vibrato will continue to increase until
grotesque effects are reached. Now play the TROMBONE with
the a vibrato ». The speed of the « vibrato » is controlled by
modifying the position of the FREQUENCY knob of OSC. 3,
and this speed is indicated in the pulsing of the red light in the
area OSC. 1. The profoundness of the « vibrato » is controlled
instead by turning the knoo VIBRATO AMOUNT, always in the
area of OSC. 1.
ANOTHER TYPE OF VIBRATO
FOR THE TROMBONE
This time we obtain a particular type of « vibrato » which works
on the filter. The procedure is the same as the previous one,
the only thing which changes is that you must depress the VCF
selector in the MODULATION section of OSC. 3 and you will
see a red light going on in the area VCF.
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OSC. 3 AMOUNT control which is also situated in the VCF
area. In this case the result will be a variation in tone, instead
of frequency. Naturally the two types of a vibrato » can be
used con-temporarily, it is sufficient to depress the two
selectors OSC. 1 and VCF of the MODULATION group in the
OSC. 3 area.
STRINGS & VIBRATO
We have seen that this Pre-set uses the two oscillators. We
can obtain the « vibrato » on either one, by depressing the two
selectors OSC. 1 and OSC. 2 and we shall see respectively
the two lights go on in the areas of OSC. 1 and OSC. 2. The
frequency of the « vibrato » will be the same for both the
oscillators as it is controlled by the control FRE-QUENCY of
OSC. 3. The depth of the « vibrato » could instead be different
for each one of the two oscillators as they can be con-trolled
separately from the two VIBRATO AMOUNT of OSC. 1 and
OSC. 2. These are only some examples and we could
continue endlessly. Now that you have learnt to use the
SYNTEX it will be your imagination which will guide you.
OUTER SPACE SOUNDS
The a <<vibrato>> can be used to obtain sonorous effects of
this type by applying the FLUTE pre-set, increasing greatly the
VIBRATO AMOUNT to OSC. 1 and regulating the
FREQUENCY of OSC. 3 in such a way as to obtain 6/8
pulsations of the lamp to the minute second.
DISTORTED SOUNDS
Turn the frequency control of OSC. 3 practically completely
towards the right, (the pulsations of the lamp will be very quick,
difficult even to see) by increasing the VIBRATO AMOUNT we
will have sounds even more di-stored.
The research in this direction of sonorous effects is unlimited.
Now that you are completely masters of the system, you may
try by yourselves to add some different types of controls to all
the Pre-sets.
We will leave you with the satisfaction of discovering on your
own this immense and exciting new world of sounds!
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FREE RESEARCH IN SOUNDS
By now you must know all of your Syntex and it is now time to
use it as one must use a real synthesizer: inventing sounds
time and time again, following step by step the boldest
proposals of your fantasy. Previously, we did a theory on
synthesizers, but now once again we are giving you a
summary for your guidance: Three groups of circuits:
generation, modulation, controls. By working on these groups
you can control the sound parameters, the height (frequency)
is controlled by acting on the oscillators, the tone is controlled
acting on the filter. Attack and decay are controlled by the
ADSR (envelope) which controls the VCF filter and the VCA
amplifier.
IMPORTANT!
CAUTION: TO OBTAIN INSTRUMENT: INITIAL SOUND
FROM YOUR
1. The ADSR amount in the VCA Section must be turned to
maximum
2. Volume in the VCA Section must be turned halfway
3. The Fr Slide potentiometer in the VCF Section must be (at
least) on number 2.
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4. At least 1 of the 8 footages must be inserted
5. The sustain slide potentiometer in the Envelope Section
must be at halfway.
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SOUND CHARTS
From these you can see how the different circuits of the Syntex
are used to obtain the acoustic results which you may listen to:
This procedure, more than any other ulterior explanation, will
help you to take up confidence in your instrument. When you
have tried to reconstruct some sounds proposed in the
SOUND CHARTS you can construct your own sounds and we
have prepared some BLANK SOUND CHARTS where you can
register the positions of the single controls which have
permitted you to obtain the sonorous results desired. You have
no need for our best wishes, the preference which you
accorded to the SYNTEX in choosing it, its extreme versatility
and your own imagination are the best introduction to your
fascinating and new adventure in the marvellous world of
sounds.
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