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yamaha cs 15 service manualPlease do not offer the downloaded file for sell only use it for personal usage. Looking for other manual? For this no need registration. May be help you to repair. You could suffer a fatal electrical shock. Instead, contact your nearest service center. Note! To open downloaded files you need acrobat reader or similar pdf reader program. In addition, Also some files are djvu so you need djvu viewer to open them. These free programs can be found on this page: needed progs If you use opera you have to disable opera turbo function to download file. If you cannot download this file, try it with CHROME or FIREFOX browser. Translate this page: Relevant INSTRUMENT forum topics: YAMAHA PSR220 szintetizator Yamaha MDX-793 kislemez de milyen? Sziasztok. Kaptam ezt a keszuleket hogy nezzem at, rakjam rendbe es utana eladas. A gondom az hogy ez kislemezes iro stb, es ami nekem es azt hiszem nalunk forgalomba van kislemez az 80mm. Ebbe pedig az nagy, azaz lemertem es 75mm a nyilasa. Ha valakinek lenne kolcsonbe, megkoszonnem. Termeszetesen a postat allom.You can write in English language into the forum (not only in Hungarian). Learn more The tech guy (I'm grateful for him) cleaned it, set almost everything up, but he said that the presets' volume level is changing from preset to preset. Truly, as always, appreciate your help. CS-15D Demonstration. - YouTube DEC 10th 2011 UPDATE: So I emailed YAMAHA JAPAN, and asked for help.We are very sorry that we can't provide you a service manual of CS-15D. It's confidential material in YAMAHA. And CS-15D is very old product and we Don't have the spare parts. So it is very difficult that we repair it. It may be a small thing to fix, but I need the service manual to fix it.:( Appreciate any input!Contact Yamaha in your country, maybe they can provide you with a copy. WTYour best bet would see who is selling one and buy it. MikeI would try contacting that user on YouTube.UPDATE: So I emailed YAMAHA JAPAN, and asked for help.http://ghefoot.com/fckeditor_userfiles/ditch-witch-1220-trencher-manual.xml
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We are very sorry that we can't provide you a service manual of CS-15D. It may be a small thing to fix, but I need the service manual to fix it.:( Appreciate any input!YouTube user rga24yt specifically mentioned he had a copy of the service manual. Again, I would try contacting him.YouTube user rga24yt specifically mentioned he had a copy of the service manual. Again, I would try contacting him. I really appreciate it!A good tech should have basic knowledge of analog synth circuits and likely component failures (tantalum caps, Yamaha IGxxxx chips, 70s CMOS 4xxx chips) and not need a service manual for everything.A good tech should have basic knowledge of analog synth circuits and likely component failures (tantalum caps, Yamaha IGxxxx chips, 70s CMOS 4xxx chips) and not need a service manual for everything. He fixed all the problems, now the only (important) thing is that the presets volume level in uneven. He wasn't sure about fixing the organ part.I grabbed this service manual from this page yamaha cs15d schematics service manual I'm attaching it as well to keep it spread around the netHe fixed all the problems, now the only (important) thing is that the presets volume level in uneven. He wasn't sure about fixing the organ part.I have a CS15D where the presets are all different levels and am not sure whyI don't know if any of these resistors is devoted to control the overall level of the preset,and anyhow,being it a fixed resistor,it couldn't have drifted that much. I think that the only correct way to make even volume across presets would be to carefully calibrate each synth section(vco,vcf,vca,adsr's) as described in the service manual. This would give you the sound of each preset almost exactly as it was designed by Yamaha engineers some thirty years ago.anyhow I'll check with the schematics as I get back good next week.They all have different problems, and I've started trouble shooting the CS15d. CS15d is working fine, except no working ch1.http://westcoastcutting.ca/userfiles/ditch-witch-1030-parts-manual.xml That is, the voice that only has preset selections, no manual mode. Actually, if I crank the volume I can hear a faint signal at the output, and pressing different presets alters this weak signal like it should, it also stays consistent (no volume change) untill I press another key. Pitch is correct. So I'm thinking this must be a problem with the VCA triggering. But when scoping the VCF (IC21) output it's way weaker on ch1 compared to ch2 (IC27). It seems the signal gets lost at this point in the circuit, because VCO1 is outputing fine, with a strong signal all the way to Audio In at IC21 Anyone got an idea where to continue scoping or what parts to try swapping out.Went over to the VCA and found a weak trigger input (pin29) on IC23. So problem was originating from the VCA EG. Replacing IC34 fixed it. Cool little synth, can actually make good use of the ch1 presets mixed in with the manual ch2.Was using it in the States before. Replaced it with same type.5 Amp 250V, also the two inside fuses have been replaced. What else would make the fuse to keep failing?It could be the electricity. If not, i have no idea. Nice tone, crazy fast LFO and amazing filter.Memorials, RIPs and Obituaries Grove Park, Maidenhead, Berkshire SL6 3LW.Hosted by Nimbus Hosting. Don't know what to do or where to go. Ask in here. I need to tune this beast-I can't imagine it's too hard, but a manual would be useful. Also, the second oscillator mixer section is much louder than oscillator one when turned up all the way, does anyone know what might be going on here? Not sure if that'll do it, on mine they don't seem to do a whole lot tho so maybe mine needs tuneing too. I know from opening mine up last time that we don't need to take all the screws off the sides to open the hood, just the top couple I think if you want to check whats under it. As for why one Osc may be louder than the other, perhaps look at their routings, it takes a little to figure out if your new at it, see they are being routed difrently to the EGs or VCAs with difrent settings or something like that maybe. Sorry I don't have a service manual or know where to find one for it, hopefully someone here will know where to get it. I tried opening it up just now, but was prevented from getting it open very far due to either the power cord or something. I'm reluctant to force anything if it doesn't want to move.The controls are mounted to that and to the circuit board beneath. The panel hinges along the top of the rear so the cable shouldn't get in the way.The VCO2 get out of tune from the first to the last key. It needs to be calibrated. Service manual would be helpfull too. The controls are mounted to that and to the circuit board beneath. The panel hinges along the top of the rear so the cable shouldn't get in the way.But surely someone out there's got a copy?! Looked for free sites but none came up. Looked for free sites but none came up. I might email those dudes at bluesynths or something. Tuning should be easy, but I'm very reluctant to start touching anything else after my little debacle with the polysix! Looked for free sites but none came up. You can actually download the user manual for free from bluesynths.com. But these are both the user manuals not the service manuals. EDIT: Whoops, I didn't even see that 1234 already posted the service manual link. Thanks 1234, I was looking for that as well. The CS-15's got style. Built like a tank with a lot of niceEach of the two VCOs has You can rout VCO 1 to both VCFs and the. VCFs to any of the envelopes positive or negative voltage. The VCFs. They are the key Other nice features are The ADSRs aren't as fast as the CS-10 but they are ok. A nice feature is the It has been used by Astral Projection, Somatic Responses, Moog Cookbook, The Human League, and Vince Clarke.http://intrasservices.com/images/compaq-evo-n600c-manual-free-download.pdf I always thought it was s-trigger.Controlled by either or both ADSRs. Built like a tank with a lot of nice knobs and best of all, not one but two of those funny sounding multimode filters. The best things about it are the flexibility of the VCFs and the routings to the filters and envelopes. You can rout VCO 1 to both VCFs and the VCFs to any of the envelopes positive or negative voltage. They are the key to the nice sound of the Yamaha CS family. The paypal account must match the shipping address. No third party bidding services. The person who bids, pays, recieves, and leaves feedback must This item is sold as is but it is sold as a fully functional, excellent condition synth. Similar To CS10 Alice in Wonderland. Report this Document Download now Save Save Cs 15 Yamahaservicemanual-En For Later 0 ratings 0 found this document useful (0 votes) 4 views 51 pages Cs 15 Yamahaservicemanual-En Uploaded by ba3jar Description: CS 15 YAMAHA Service Manual - EN Full description Save Save Cs 15 Yamahaservicemanual-En For Later 0 0 found this document useful, Mark this document as useful 0 0 found this document not useful, Mark this document as not useful Embed Share Print Download now Jump to Page You are on page 1 of 51 Search inside document Cancel anytime. 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Howard McWilliam The Devilish Duke Maddison Michaels In a Holidaze Christina Lauren Footer Menu Back To Top About About Scribd Press Our blog Join our team. Browse Books Site Directory Site Language: English Change Language English Change Language Quick navigation Home Books Audiobooks Documents, active Collapse section Rate Useful 0 0 found this document useful, Mark this document as useful Not useful 0 0 found this document not useful, Mark this document as not useful Collapse section Share Share on Facebook, opens a new window Facebook Share on Twitter, opens a new window Twitter Share on LinkedIn, opens a new window LinkedIn Copy Link to clipboard Copy Link Share with Email, opens mail client Email. Yamaha CS-10 Owner's Manual The Yamaha CS-10 patch chart book is a scanned 23 page PDF file. Yamaha CS-10, CS-15 and CS-30 Synthesizer Patch Charts Yamaha CS-10 Service Manual. As a musical instrument that lets you create exciting new sounds and express yourself freely, the synthesizer has been at the cutting edge of electronic music making ever since it first arrived on the scene. What's more, the technologies perfected in order to make this instrument a reality are now being put to use in all kinds of audio-related devices, and we can rightly say that the synth truly embodies the evolution of modern music. This famous instrument was much loved by owners such as Stevie Wonder and Keith Emmerson. Let's consider the piano as an example: the tone produced when a key is played includes complex harmonics generated by the physical striking of the string. As the sound sustains, however, it gradually comes to resemble a wave with less harmonic content—such as a sine wave. This specific sonic variation over time is the most distinctive characteristic that allows us to identify the sound of the piano. Yamaha realized that the development of technologies capable of recreating these changes in a sound would be critical if electronic instruments were ever to produce the natural-sounding voices of acoustic instruments. In reality, Yamaha's history of synthesizer development actually began with this variation of sound over time and our quest to make the Electone produce more interesting sounds. If the keyboard had 40 keys, the instrument would have 40 oscillators, with each pair operating in much the same way as a switch and buzzer. The decision to use new circuits capable of modifying sound over time as described above would thus have meant providing one for each and every key on the keyboard. Given the state of technology at the time, however, this would have made the design extremely expensive and resulted in an instrument that was unfeasibly large. If, for example, an instrument had eight control circuits, it could generate up to eight polyphonic tones—that is, eight different notes at the same time. But if it also had 36 keys in a three octave configuration, this new technology would need to know which of the circuits to trigger in response to the playing of a particular key. Our solution was to introduce a device that could assign circuits to keys efficiently, based on the order in which they were played, the total number of keys currently being held down, and other related factors. Back in the early seventies, when tone generators still relied on analog technology, digital circuitry was already being put to use in these key assigners. As such, their adoption was an important milestone in the introduction of digital technology in the analog-synth era. Based on cluster voltage control, this instrument could be regarded as the predecessor of the Electone GX-1. Although it looked just like an Electone, the GX-707 was actually an eight-note polyphonic synthesizer—more specifically, the upper and lower keyboards supported eight-note polyphony, while the solo and pedal keyboards were both monophonic. With a console weighing in excess of 300 kg and a separate board required for editing tones, it was not well suited for sale to the general public, and to this day is still considered a niche instrument. Yet the GX-707 did possess extremely expressive tone generators, technology which Yamaha elected to use in a separate solo-part keyboard product for use with existing Electones. Thus was born the SY-1 monophonic synthesizer, which became Yamaha's first synth upon its release in 1974. Given that analog synthesizers have typically evolved from monophonic to polyphonic, this reverse pattern—namely, moving from poly to mono—is further evidence of Yamaha's unique way of thinking. However, we can clearly see that the SY-1 control panel lacks the knobs provided on modular synths such as the Moog and Minimoog for configuring the ADSR stages of amplitude and filter envelopes. Instead, a pair of sliders labeled Attack and Sustain are used to adjust the amplitude envelope, and a feature known as Attack Bend allows the pitch and filter envelopes at the beginning of the note to be adjusted in a unique way. Today, we take it for granted that synthesizer presets can be easily recalled, but Yamaha's inclusion of this functionality in its very first analog synthesizer was highly innovative. Prior to the introduction of the SY-1, electronic organs had typically been equipped with a volume or expression pedal that the musician could use to modulate the sound for greater expression while playing. Yamaha had, however, been working on a range of different prototypes with the aim of modulating tone based instead on how hard the keys were played. Ultimately, we perfected a technology that measured the strength of playing by detecting how long it took for keys to be fully pressed down, and it was this system that we debuted in the SY-1. This integration of state-of-the-art technology paved the way for huge weight reductions and vastly improved portability. Consider, for example, the GX-1 and the CS-80—the top-of-the-line CS synth: while these two instruments certainly differed in terms of design and mode of use, the GX-1 weighed in at over 300 kg and had a price tag of seven million yen, but the CS-80 was only 82 kg and cost just 1.28 million yen, meaning that the individual musician could both afford it and move it around. These days, we think nothing of storing our original sounds in an instrument's memory in much the same way as saving a file on a PC. Back in the seventies, however, neither RAM nor ROM yet existed, so an extremely analog approach was employed to store sounds. The following illustration shows part of a page from the CS-60 service manual, which was used by technicians when repairing the instrument. This section, titled (Tone Preset 1) Circuit, contains instrument names, resistance values, and a circuit diagram. The synthesizer's levers were connected to variable resistors—that is, circuit elements that can limit current and voltage. As shown, however, fixed resistance values corresponding to specific positions of these levers are built into this circuit.As such, Yamaha was already at that time employing a sound storage method not unlike analog-type ROM cartridges. The CS-80, meanwhile, possessed functionality that allowed instantaneous switching between four original sounds. Specifically, it had four complete sets of memory elements, with one memory element from each set corresponding to a specific instrument controller. Each of the four sets could thus be used to store all of the controller positions for a user-created sound. IL and AL refer to Initial Level and Attack Level, respectively, and these envelope generators used a slightly different approach to that of the standard ADSR type. In an ADSR envelope, the value corresponding to the very start of the attack stage is the base value, zero. When we apply the envelope produced by such a generator to a filter, the tone at the start of the sound is determined by the current cutoff-frequency setting; however, the tones at the peak of the attack and while the note is being held are defined by this cutoff-frequency setting in combination with the envelope generator depth and the sustain-level value. Because these tones are thus the result of multiple settings, adjusting the way in which a sound changed over time could become quite confusing. In contrast, when applying an envelope with Initial Level and Attack Level settings, the filter's cutoff frequency determines the tone produced while the note is being held, and the IL and AL controllers can set the tones at the start and peak of the attack stage independently. This approach provides a much higher degree of freedom, especially when trying to recreate natural-sounding tones. As a unique Yamaha feature, the IL-AL type envelope generator further demonstrates the commitment of our developers to high-quality sound creation. Given that these functions remain extremely popular in modern synths, the fact that Yamaha devised and implemented them four decades ago underscores the technical excellence of our synthesizer development team. Thanks in part to rapid advancements in electronic circuit integration and the resultant lower prices, the CS-5, which we introduced to the market in 1978, weighed only 7 kg and cost just 62,000 yen. For example, the wheel-type pitch bend and modulation controllers of the CS-15D have become distinctive features of our instruments and are still utilized in the very latest MOTIF XF models. In 1979 we released the CS-20M, switching to digital technology for storing sounds. The CS-70M introduced in 1981 was very similar to modern instruments in terms of functionality: in particular, it offered an auto-tune function that solved the perennial tuning problems encountered in analog synthesizers, and also featured a built-in sequencer realized using a dedicated microprocessor. Capable of running on batteries and equipped with a mini keyboard, a built-in speaker, and shoulder-strap pins among other features, it ushered in new era in terms of both sound synthesis and mode of use. Battery-powered, and equipped with pitch bending and modulation wheels at the top left of the instrument body, this synthesizer allowed keyboard players to move around on stage in a similar manner to guitarists. The CS01 offered breath control capability, and came with a gray body as standard, with white, black, and maroon color schemes also available (in Japan). Chick Corea was one artist to use the CS01 on stage. Notable examples are research into FM synthesis, which would go on to become extremely popular in the eighties, and the hybrid Pulse Analog Synthesis System (PASS), which combined digital and analog technologies and was adopted for use in Electone tone generators in 1977. Recordings of the sounds produced by these prototype technologies show that, in particular, the analog synthesis approach used in the SY-1 had actually been perfected to a commercially viable level. In this regard, it is remarkable how quickly the Yamaha developers of the time identified so many highly promising new technologies and immediately put them to use. One particularly challenging problem was how to make these new instruments as expressive as their acoustic counterparts. As we have seen, changes in tone and volume over time were identified as critical in this regard, prompting continuous, round-the-clock research and development in the pursuit of better and better sounds to satisfy this need. The pulse width modulation will not be affected. The advantage of the first version is, that you do not have to remove the frontpanel pcb.Remove the washers and the metal frame (again the switches have slightly larger washers than the potentiometers. See the the image of the pcb below Same with the metal frame on the left row of potentiometers. Take care that the red and black wire from the LED peek out from the metalframe. In many aspects it can be considered as a single voice of the CS-80. But to be honest: in the original some important features are missing to reach the big brother. But nevertheless this is one of the more astonishing synths in my collection. I did a few modifications, which you my find in the links below.If you connect cables to both inputs, the voices can be controlled separately. Like, if I have a patch with two oscillators and the other one is detuned for a nice, fat sound, what I will hear from sequencing from the A4 is only one oscillator, meaning the patch is destroyed? Like, if I have a patch with two oscillators and the other one is detuned for a nice, fat sound, what I will hear from sequencing from the A4 is only one oscillator, meaning the patch is destroyed? And it should also have some mods for CV input of the VCFs, so I would like to do something similar with my A4. And it should also have some mods for CV input of the VCFs, so I would like to do something similar with my A4. So it will be some time, unfortunately! Really helpful. Am i missing something in the set up? Thanks!! I couldn’t find a solid answer to this before I got my A4 so I figured I’d save someone else the headache. You can sequence it with a sq-1 but it won’t go down to the lower 2 octaves. This took just a little bit of tuning on the A4 but it seems to be pretty solid across the whole range.Besides that, do you know what I am missing configuring the AK. Why do I hear AK oscillator when CV track is selected. All was going well, until.... this morning, the CS15 has a strange problem with VCF1, high pass works on half the keys, band pass sort of oddly, and low pass works on the reverse set of keys.Can anyone confirm this is the reason.Sorry you had to deal with that. That sucks. I'll dig up the CS15 docs and have a look. Meanwhile try to think of OTHER things that might have happened between the time all was working well and now. Sometimes it's easy to get fixed on a thing, and miss what else was going on. Like did you notice anything strange during the session. Was there bad weather in your area overnight. ANYthing else that could be the reason. How long since you've used the CS15 with that input. CV-Gate from the 960 into the CS15's jacks for same. Sorry if this reads poorly, I'm not meaning to imply anything. Have learned that often the thing I think it is,turns out not to be the thing. So am sharing that. ------ Had a quick look -before posting- at a page mangled PDF service notes for the CS15. To help me help you, can you verify exactly which patchcords went where. On quick glance it seems you'd have to blow an IC on the way to the filter -which would also affect the VCO- before the VCF itself would be hit. But I'd lkike to be sure of what you did and what you're seeing now. Since this may end up being more about a CS15 than the boog55, might want to copy your post to a new thread so we don't clutter this one with Yamaha talk. Seems the filter may still be still working. At least partly. Key tracking is obviously not in effect. Sounds For a donation it was worth a quick buck for a straightened out PDF. Lol. going through this old stuff reminds me of my days scrounging usenet for.sale listings for old Cray and SGI cast offs. That will read better.:-) I shall clean them up, inspect the 40 year old jacks and report back (i understand that the jacks also act as switches when a jack is pushed in, but i do not think this is the cause, surely it would affect all the keys.... I have today removed the board where the filter stuff and envelopes are, CPA i think it is called, i inspected the components, nothing odd to see, all very clean for a 1977 synth. So a basic inspection doesn't show anything obvious. Post back in a minute after some cleaning... I did not root cause this point. I hoped SYNTHBARON was onto something as he has looked at the schematics too, but sadly not.A diode would just fail, a capacitor would get freaky, or just fail. A tranny just wouldn't be able to make it's mind up, and then i am back to the IC Chip, which i don't understand,so i just put it down to that.I am pretty sure that happened. Working on that premise both you guys seem to agree that IC00156 is not going to handle it.... If i ever see one i will grab it and get it a socket for it. What i would like to do is compare VCF1 chip against VCF2 chip, its a CS15 afterall, it has 2 synths in it,that way i could i just compare values.Am I understanding correctly that both VCOs are working correctly for all keys. That the ONLY problem at this point -discernable from operating the synth- is VCF1, and only its response to the bottom keys. Here's why I'm asking. The Opamp -IC8- that sits between the input that saw too much voltage also feeds the VCO. If it's bad, them VCO2 and VCF2 would also be bad. TP 17 is the detuned CV output of this OPA TP16 is its input. You should be able to change the voltage at TP17 by turning the Detune knob. You can find all this in the the schematic of CPA-8 in the service manual. The detune control is fed by KV3 which if you look up above the VCO1 chip you see that both it and the VCO1 chip are getting the jack normaled CV synthbaron mentioned (from JK-8) The IC 8 OPA detune adjusted voltage exits the board as KV4 From there it goes DIRECTLY -as KV1 to the VCF chip on the filter bd B. And KV-4 feeds directly into VCF2's chip. Since your VCF2 is working correctly we have a narrowing to the fault hypothesis. Can't say the same for the VCO1 and VCF1 chips. They would've seen the full over-voltage directly into their pins. Really poor design IMO, but it was a long time ago and knowledge and expectations were different, so I'll try not to judge too harshly. What you need to do is use the TPs to see where the signal-s drop out. I'll keep looking but I don't really see any other explanation as simple or probable as this. But I'll take my own advice given to you earlier and keep an open mind. And suggest you do the same. Get a meter on the test points, and let us know what you find. Work the CV path first, and then the audio. EDIT: On CPA, TP22 is VCO1 output. This should be normal VCO audio. Service manual showsthe expected levels, but you should be able to read it. On CPB, TP5 is VCF CV in. It should reflect whatever voltage is present on the tip of J7 Since the key voltage for VCO1 and VCF1 is a straight shot, keep in mind that ANYTHING on that 'net' could pull it down, or affect it. A bad cap could be your problem, rather than the chips. There's a couple on this Key Voltage net. A net is all the things directly connected together at one theoretical point.