Charts 1 ^
In the following
pages you will find a number of diagrams that may be useful to refer to when synthesizing
sounds. These are just examples of how to use the synthesizer. There are always
other ways of obtaining the same, or similar, effects. Because most amplifiers
and PA systems will add their own response characteristics to the final reproduced
sound, you should feel free to make any adjustments that you think are necessary.
When you come up with your own original settings, it may be
helpful to write them down in the blank charts
at the end of this section.
Trumpet 1 | Trumpet 2 | Clarinet | Oboe | Flute | Violin 1 | Violin 2 | Contrabass |
| Electric Bass | Xylophone | Tympani | Cow Bell | Human Voice
Harmonics | Drum Synthesizer
| Drum Synthesizer
2 | Storm | Breaking Waves |
Chimes | Shooting Star | Dog | Cat | Galloping Horse
| Chirping Bird
Outer Space | Automatic
S/H Performance | Laser Gun | Machine Gun |
Police Car Siren | Dive Bombing | Slow Attack Guitar
| Guitar Picking
Tremolo | Synthesizer
Stereo Ping Pong
Blank Patch Chart
This shows a common way of connecting the MS-10. The
MS-10 and MS-50 signals are mixed in the ADD AMP. The setting here gives the expand
effect (refer to previous explanation) by connecting one of the EG-1 output signals
to the FcM input of the VCF section. MG modulation of the MVCA is controlled by
EG-2 to produce delayed vibrato. Pink noise modulates the VCO to imitate the irregular
characteristics of a trumpet player's breath control.
Here, pink noise is first passed through the integrator to obtain a more realistic
effect. Also the setting has been changed so that vibrato speed increases with
VCO pulse width is adjusted to reproduce the tone color of a woodwind instrument.
The MG triangle wave via VCA produces delayed vibrato controlled by EG-2.
Pulse width modulation is the key to the realistic oboe sound produced. EG-2,
MG and VCA modules are used for delayed vibrato.
A realistic delayed vibrato effect is created by using EG-2 to control the VCA
and modulate the MG frequency.
Violin 1  ^
This setting is designed to produce a sound that closely corresponds with the
actual effects produced when a violin is played. First of all, vibrato becomes
more intense with higher notes. To achieve this, the KBD and VS signals are mixed
in the ADD AMP and applied to one of the RM inputs. The other RM input comes from
EG-2 and MG, via the VCA, to obtain delayed vibrato. Also, violin tone color changes
in proportion to pitch. This is obtained by using KBD CV to modulate the cut-off
frequency of the VCF.
Violin 2  ^
This setting is designed to reproduce the differences in tone color between the
sound produced during upward and downward bowing. Here the EG-2 (instead of the
usual EG-1) is used to control volume.
The KBD TRIG OUT signal (from the keyboard connected to the MS-50) goes to both
EG-2 TRIG IN and the Divider input. The Divider / 2 output signal triggers EG-1,
so that an envelope signal is generated once for every two trigger signals from
the keyboard. In other words, every other note you play will be controlled by
this additional envelope signal so that pitch and tone color change during the
To minimize changes in tone color between higher and lower notes, the KBD CV is
patched to vary the VCF fc. Play the keys to imitate drawing a bow across strings.
Try adding portamento to the KBD CV.
The EG-1 OUT (2) controls vibrational changes in the strings by means of PWM and
fcM. For a choking effect, patch the control wheel output (on the MS-10 and MS-20)
to the VCO FREQ input for FM (frequency modulation).
Electric Bass  ^
With this setting, pressing the trigger switch creates pitch bends. Adjust the
VCO FM to determine the amount of bending that occurs. When using the MS-20, it
is more convenient to use the keyboard momentary switch instead of the TRIG SW.
When you play a key, the note is repeated automatically. Control the speed of
the repeat effect by adjusting the MG FREQ.
Pink noise is used for frequency modulation (FM) of a triangle wave, and this
signal is mixed with white noise in the ADD AMP to produce a tone color without
any clear pitch.
Cow Bell  ^
The VCO triangle wave and self-oscillation from the VCF are patched into the
Ring Modulator to produce a metallic sound. VS output voltage controls pitch
and ADD AMP settings can be adjusted to vary the final tone color.
Human Voice  ^
VCF fc is varied by pink noise via sample-and-hold when a key is played. EG-2
bends the pitch to give a more natural effect. You can get male or female voices
depending on the VCO scale setting.
| ^ |
MS-50 index |
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