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Set
it
IT
ON!
the
500
into a 110
on a flat
volt
surface.
outlet.
Unwrap
If
your
the
wall
socket
power
cord
will
and
plug
not
accept
this
cut
Turn
back
a
The
Three
to
plug,
the
third
on
the
of
the
1/4
amp
500
must
separate
different
1.
Hi
to
To
use a universally
prong
power
500.
SLO BLO
be
sound
Out.
stereo
complete
off
of
switch
(If
the
fuse.)
connected
outputs
This
are
systems.
output
amplifiers,
this
available 3 to 2 adapter.
the
500
located
fuse
to a sound
connection,
ever
available
is
tape
power
near
blows,
used
recorders,
cord.
the
fuse
only
system
for
in
take
to
connecting
connecting
the
Do
not
holder
replace
produce a sound.
and
phono
on
the
it
with
the
500
the
500
organs.
to
RCA
2.
patch
it
into
Lo
to
cord.
says
Hi
your
Out.
This
guitar
amplifiers.
to
phono
the
the
patch
Lo
Out
amplifier.
Place
Out.
amplifier
output
type
This
is.
the
Take
the
where
is
amplifiers
connection
cord.
Take
Plug one end
the
phono
used
end
RCA
pin
it
says
for
and
other
is
other
into
connecting
the
end
and
Aux
or
plug
plug
Tape
electronic
made
end and
by
taking a phono
into
the 500
plug
where
it
Mon.
the
500
music
where
it
into
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Phones.
This
output
is
for
monitoring
with
high
impedance headphones
When
control.
monitoring
When
connecting
slide
on
safety
jacks
on
system.
pot
your
amplifier
of
is
controlled
stage
without
the
synthesizer
on
the
your
The
output Volume
the
(500
the
500
to
an
amplifier
500
is
all
the
is
all
the
way
speakers.
by
The volume
the
synthesizer's
slider
headphones.
having
is
This
the
sound
connected,
ohms
or
be
way
down
off.
and
This
of
the
output
does
permits
pass
set
not
you
through
the
greater).
sure
the
is
to
Hi
and
that
the
volume
insure
Lo
Output
Volume
vary
controls
the
to
monitor
your
amplification
as
volume
volume
control
the
slide
the
shown
when
500
and
you
the
a
your
if
OUTPUTS
PHONES
turn
up
your
should
amplifier
sound
hear a sound.
and
in
the
amplifier.
your
controls
VOLTAGE
SUSTi
amplifier
monitor
headphones,
If
you
are
set
INPUTS
SCOUtNCtt
MIC
OCTAVE
to a desired
If
you
the
500
this
still
as
IN
don't
shown.
MIC
VOL
level.
don't,disconnect
with
indicates
headphones.
the
hear a sound,
Depress a key
the
500
from
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you
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THE
500!
The first
are
three
The
Sources
There
lators
for
producing
This
through
section
Identify
controls,
and
one
thing
sections:
section
are
three
that
produce
percussive,
also
the
synthesizer's
the
sources
three
controls
to do
sources
provide
tuning.
is
to
Controllers,
is
where
within
pitched
sea,
provides
and
for
microphone
study
for
look
over
pitches are
the
sounds.
wind,
introducing
their
selection,
the
panel.
Sources,
500.
One
and
and
produced
Two
is a noise
thunder
external
input.
controls.
three
Notice
Modifiers.
and
are
audio
source
effects.
there
varied.
oscil
sources
Of
the
seven
control
volume,
After
The
of
The
three
the
phasis.
combination
The
its
being
Modifiers
the
Filter
mixed,
have
sources.
changes
controls.
sound.
The
The
Mode
Resonance
frequencies
Modulator
loudness
takes
with
The
the
Sources
the
ability
the
timbre
Tune
or
control
control
switch
the
tremolo
determines
will
be
output
or
change
go
to
the
Modifiers.
to
vary
quality
determines
determines
the
timbre
of
the sound.
the
the
whether
the
emphasized.
of
the
Filter
its
timbre
and
by
and
loudness
It
has
brightness
amount
high,
can
low
reshape
ring
modulation,
of
of em
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two
controls.
The
slider
determines
the
amount
of modula
tion.
The
of
Envelope
The
loudness
determines
The
key
Volume
sustain
The
switch
,final
the
Attack
modifier
sound
Generator
slider
after
how
Sustain
is
depressed
control
control
cycle.
in
permits
is
partnership
contains 4 controls.
determines
depressing
long
determines
it
determines
after
selection
the
Amplifier.
with
how
a
key
(silence).
takes
the
to
return
how
attack
the
maximum
the
long
loud
and
of
the
modulation
It
modifies
Envelope
it
takes
Generator.
The
silence.
the
sound
decay
volume
have
during
source.
the
loudness
to
reach
Decay
settled
control
is
while
an
attack/decay/
The
maximum
the
out.
The
The
switch
depression
last
key
The
path
is
called
determines
or
repeats
depressed.)
taken
the
audio
by
MODIFIER
whether
an
envelope
continuously.
the
sound
path.
from
It
is
the
blocked
VCF
occurs
(The
Sources
keyboard
below.
once
through
ENVELOPE
for
each
"remembers"
the
Modifiers
key
the
MODULATOR
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that
you
we
will
The
kind
is
is
to
go
Controller
and
how
necessary
necessary
produce,
are
familiar
through
them
section
much
because
the
of a change
to
use
Filter
one
the
with
in
acts
of
Keyboard
"where
the
detail.
on
the
will
the
Controllers
to"
controls
Audio
occur
tells
filter,
in
path
in
the
-
the
Oscillators
and
the
audio
and
determines
audio
the
Keyboard.
tells
the
path,
what
path.
what
It
This
pitch
Envelope
Generator
OSCILLATORS.
The
Oscillators
Keyboard.
When a key
Oscillator.
corresponding
This
ability
Voltage
Oscillator
change
to
start
produce
is
depressed,
The
Oscillator
pitch
gives
Controlled
will
in
pitch.
respond
its
attack,
pitches
it
for
that
the
synthesizer
Oscillators.
to a change
decay,
that
sends out a voltage
reads
key
the
depressed.
Oscillators a special
This
in
sustain
correspond
voltage
means
voltage
function.
to
the
which
and
produces
that
the
with a corresponding
keys
goes
pitch
on
to
the
name
of the
the
the
-
When a varying
lator, a varying
Controller
The
500
contains
oscillators
voltage
pitch
section
of
two
produce
pitches
is
applied
is
produced.
the
synthesizer.
Voltage
Controlled
in
the
to
the
This
Oscillators
audio
Voltage
will
Controlled
be
apparent
(VCO).
range -that
is,
Oscil
in
the
These
when
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to
be
can
be
of
the
to
speakers
heard.
preset.
preset volume
Both
Oscillators
The
they
cause
have
switches
levels.
located
the
air
volume
below
to
move
controls.
them
fast
permit
enough
These
sliders
selection
These
waveforms
These
harmonic
loudness
To
turn
The
depressed.
tor
next
switches
waveforms
also
-
either
sound
structures
are
equal.
this
point,
on
Oscillator 2 to
Oscillators
1.
This
to
its
you
produce
Oscillator
is
because
Volume
permit
square
(timbres)
have
slider.
you
to
select
| j
different
been
its
pitches
2's
pitch
Oscillator 2 has a separate
|
or
from
are
different.
listening
square
This
wave.
proportional
is
normally
control
one
of
two
sawtooth
each
other
I
^v>
because
Their
to
only
permits
Oscillator
to
the
different
its
different
their
pitches
lowest
Tune
pitch
and
1.
key
from
Oscilla
slider
to
Now
beinq
located
be
trans
posed
You
or
beating.
Oscillator
any musical
Move
with
forms
above
should
sharp
hear
they
(See
2's
the
Tune
the
two
for
the
or
below
are
Phase
Tune
or
non-musical
slider
Voltage
two.
Oscillator
them
beating.
tuned.
Locking
slider
slowly
Controlled
Notice
1.
The
number
When
they
in
allows
interval.
while
are
the
back
you
to
depressing
Oscillators.
how
the
sound
of
beats
in
tune,
of
the
tune
a
these
tells
you
manual.)
key.
Select
changes.
Don't
you
how
flat
will
oscillators
not
hear
any
to
Experiment
different
wave
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to
mark
some
of
the
interesting
positions
of
the
Tune
slider
THE
Turn
slider.
selected
When a key
is
tuned
and
the
As
on a facsimile
NOISE
your
called
SOURCE.
two
Like
with
Noise -it
at
random.
thunder
Modifier
you
know,
sheet
VCO's
the
the
is
depressed,
off.
VCO's,
switch
is
It
is
effects.
and
Controller
sounds
Achieving
that
for
future
Turn
on
the
Noise
located
you
like
used
below
will
listening
for
creating
these
sections.
don't
vary
reference.
the
Noise
volume
hear a constant
and
raise
can
be
preset
it.
hissing.
to a 1000
oscillators
percussive,
effects
are
not
will
usually
be
considered
its
Volume
and
This
all
wind,
covered
sea
in
musically
sizer -the
variations
The
Controllers
the
pitch,
The
variations
variations
So far,
tors
and
the
Filters.
interesting.
Modifiers
in
the
timbre
in
in
timbre
you
have
Noise).
Therefore,
and
Controllers
sound.
determine
and/or
pitch
and
learned
Now
the
amount
loudness.
actually
loudness
about
we'll
go
the
major
-
of
variation
occur
in
occur
the
Keyboard
to
the
next
part
are
dedicated
the
Oscillators.
in
the
Modifiers.
and
Sources
step
in
of
your
to
that
occurs
(Oscilla
the
audio
synthe
producing
in
The
path
-
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THE
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FILTERS.
The
Filters
in
the
500
are
Voltage
Controlled
Filters
(VCF).
Their
modifying
Oscillators.
This
ing
Simply,
Filter
to
These
by
by
job
is
to
permit
the
waveshapes
should
the
not
be a surprise.
waveform
different
works
alter
changes
with
these
basic
can
moving a switch
the
Controller
variations
of
the
from
square
waveshapes
the
Source's
waveshapes
be
of
two
or
slider
section.
to
produce
basic
varieties,
or
in
timbre.
Sources,
You
are
sawtooth
particularly
already
changes
different
timbre
to
produce
different
either
2)
automatic
They
do
aware
the
timbre.
timbres.
and
has
an
timbres.
1)
manual
change
as
this
by
the
that
chang
Your
ability
change
commanded
This
changed -manually
from
The
They
with
The
sound.
Depress a key
is
identical
the
Controller
Filter
warrant
Oscillator
Filter's
contains
extensive
l's
Tune
The
higher
and
to
the
by
section.
three
sawtooth.
slider
it
move
way
the
pitch
moving
exploration
goes,
this
its
Tune
controls
permits
the
control
for
with
you
brighter
up
to
of
Oscillator 2 can
slider
manual
various
brighten
and
or
changes
the
sound.
down.
automatically
sources.
or
Repeat
in
timbre.
Begin
dull
the
this
be
3
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varying
the
speed
and
the
position
of
its
companion
control -the
Often
to
has
near
Using
wah-wah
When
with
with
when
increase
eliminated
the
these
performing,
these
automatic
the
the
pitch
controls
effects.
controls
Resonance
Resonance
volume
most
set
by
don't
control
slider.
slider
of
the
of
the
overtones
the
Filter's
you
should
hesitate
or
any
other,
of
the
is
moved
selected
Tune
be
able
to
manually
even
synthesizer.
up,
it
Source
except
slider.
to
after
because
for
produce
effect
you
is
those
are
necessary
the
Filter
located
excellent
the
sound
familiar
Experiment
miss
is
move
the
harmonics
covered
Below
any
and
mode
settings
After
Noise
the
of
Resonance controls
switch
experimenting
source.
freelywith
to
set
the
Resonance
Tune
in
the
of
slider
of
this
basic
a
separate
Resonance
control
synthesizer's
between
Tune
its
and
with
the
Filter.
up
up
and
down.
sawtooth
technical
is
a
three
about
Filters.
1/3
three positions.
Resonance.
the
Oscillators,
One
thing
full.
Depress
You
are
waveshape.
publication.)
switch
which
Set
of
the
way
Try
try
you
shouldn't
a
key
and
slowly
hearing
(Harmonics
lets
the
up.
this
the
the
individual
will
you
select
Filter's
Move
with
same
Tune
the
Filter's
other
with
be
the
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TUNING
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The
THE
EML
500
EML
500
KEYBOARD
synthesizer
should
SYNTHESIZER
be
turned
on
20
to
25
minutes
before
tuning
This
with
the
fourth,
EXPLANATION
is
done. (Warm
1.
All
Controllers
2.
Octave
3.
Oscillator
Oscillator 2 -
4.
Depress
5.
Depress
completes
Phase
top
Lock
key
fifth,
switch
tuning
Switch
and
adjust
etc.).
OF
BEND
up.)
must
must
1 -
On.
Off.
bottom
top key
key
and
for
Oscillator
in
Off
Oscillator
AND
SCALE
be
off.
be
in
center
and
adjust
adjust
Bend
Scale
1.
position.
2,
Tune
CONTROLS.
position
pot
pot
Oscillator
Turn
for
(0
octave).
for
correct
for
correct
2
tuning
on
Oscillators
desired
interval
pitch
pitch
(1046.5
should
1
and
(unison,
(87.3
2,
Hz).
Hz).
be
done
depress
third,
SCALE:
This
about
and
BEND:
This
6
is
while
control
the
should
control
semitones
used
for
playing.
varies
bottom
not
be
transposes
without
tuning
10
the
interval
key.
used
It
is
used
as a "Bend11
the
entire
affecting
and
may
also
between
for
tuning
while
keyboard
the
interval
be
used
keys,
and
swivels
purposes
playing.
up
or
down
between
to
nBend"
keys.
pitches
only
about
It
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FEATURES
For
the
patches
descirbed
to
this
point,
the
Phase
Lock switch
located
under
located
position
PHASE
The
of
permits
intervals.
A
It
is
OSC
2's
under
(1).
LOCK
SWITCH
addition
the
MODULATOR,
switch
is a three
off.
of
perfect
for
selecting
This
Tune
control
the
Filter's
Phase
tuning
position
permits
Lock
enables
of
Phase
switch.
you
can
be
in
Tune
more
the
to
control
to
the
500
realistic
two
audio
Lock
adjust
is
In
any
position;
should
musically
guitar
oscillators
located
its
lowermost
the
two
audio
under
the
Tracking
be
in
the
uppermost
expands
and
OSC
position,
oscillators
the
piano
to
synthesis,
traditional
2's
Tune
Phase
switch
effectiveness
and
musical
control.
Lock
to
slow
beating.
PL 1 or
position
Experiment with
should
to
during
Other
OSC 2 while
using
oscillator".
the
middle
is a "strong1
moving
find
various
interesting
OSC 1 as a source
it
particularly
musical
this
experimentation).
effects
using
the
Move
position
permits
"weak"
lock.
OSC
2's
Tune
easy
intervals.
can
be
500's MODULATOR.
oscillator
the
OSC
2's
control
to
adjust
(Both
achieved
and
Tune
control
locking.
with
the
OSC 1 and
by
Experiment with
OSC 2 as
Phase
two
OSC 2 should
using Phase
"the
to
acheive
PL 2 or
Lock.
audio
the
You
oscillators
be
on
Lock
on
the
MODULATOR,
modulating
different
uppermost
effects.
11
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FILTER
Scan by Manual Manor
http://www.markglinsky.com/ManualManual.html
TRACK
SWITCH
Musically
synthesis
switch
FILTER
In
it's
resulting
In
its
but
rather
controls
at
its
Experiment
the
addition
of
some
located
to
under
track
the
lowermost
in
constant
upper
maximum,
position
behaves
on
an
amplifier.
this
with
patches
of
variable
instrumental
the
FILTER
keyboaro
position
timbre
(0),
like a fixed
three
(1),
across
the
If
the
is a useful
provided
FILTER
sounds.
TUNE
different
the
FILTER
the
FILTER
filter similar
Resonance
position
on
the
tracking
This
CONTROL
is
ways.
follows
keyboard.
does
not
control
for
some
proceeding
permits
accomplished
which
the
move
to
with
the
is
instrumental
pages. (Since
more
permits
KEYBOARD
the
bass
and
not
set
realistic
with
the
exactly
KEYBOARD,
treble
"up"
sounds.
a
the
FILTER
the
patches).
In
Repeat
in
does
not
FILTER'S
the
middle
your
this
TUNE
position
previous
position.
track
the
keyboard
CONTROL
may
(.5),
the
in
be
necessary
FILTER
experimentation
12
this
position,
for
proper
partially
with
the
FILTER
adjustment
voicing
tracks
the
tracking
of
KEYBOARD.
switch
of
these