Introduction

Welcome to the ARP Odyssey, the ultimate musical trip. With its ease of operation and high reliability, your ARP
The ARP Odyssey brings polyphonic electronic music to Odyssey can produce an enormous variety of sounds in
the performing artist-rock, pop, soul, jazz, or live performance. Everything from thunder and lightning
avant-garde. It includes such state-of-the-art firsts as to gong, fuzz guitar, and feedback distortion is at your
phase-locked oscillators, digital ring modulator, sample & fingertips with the Odyssey's slider controls and patch
hold circuits, and most of the functions of a complete switches. The Odyssey's foot pedal and foot switch add to
studio synthesizer. your expressive control. Its two-voice, 37-note keyboard
has a nine-octave range. The Odyssey is compatible, and
can be interfaced with all other ARP synthesizers. And, of
course, the famous ARP filters and oscillators give you
drift-free accuracy for professional-quality recordings.
 THE ARP ODYSSEY

2.
Contents
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Experiment 4. The VCF . . . . . . . . . . . . . . .. 22
External Amplifier and Speaker . . . . . . . . . . . . 5 Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
What Kind of Amp Works Best . . . . . . . . . . . . . 5 Keyboard and Pedals . . . . . . . . . . . . . . .... 29
Let's Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 ADSR and AR Envelope Generator ......... 30
How your Odyssey Works . . . . . . . . . . . . . . . . 7 Sample and Hold . . . . . . . . . . . . . . . . . . . . . 33
Sound Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Low Frequency Oscillators . . . . . . . . . . . . . . 36
Experiment 1. Listening to Waveforms ...... 11 Pitch Bend Control . . . . . . . . . . . . . ...... 36
Experiment 2. Pulse Width Modulation ...... 14 External Audio Input . . . . . . . . . . . . . . . . . . 37
Experiment 3. Phase Synchronization ....... 15 Interface Jacks . . . . . . . . . . . . . . . ....... 37
Experiment 4. Noise . . . . . . . . . . . . . . . . . . . 7 Panel Control Description Chart. ....... 39, 40
Experiment 5. Frequency Modulation ........ 7 Hints on Using Your Odyssey . . . . . . . . . . . . . . . . . 41
Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Instant Odyssey . . . . . . . . . . . . . . . . . ......... 42
Experiment 1. Ring Modulation . . . . . . . . . . . 20 Patches . . . . . . . . . . . . . . . . . . . . . . . . ...... 43-54
Experiment 2. The VCA . . . . . . . . . . . . . . . . 21 Specifications . . . . . . . . . . . . . . . . . . . . . . . . . 55, 56
Experiment 3. The High-Pass Filter ......... 22 · Give Your Odyssey a Little Brother . . . . ... Back Cover

Copyright 1976 by ARP Instruments, Inc.

320 Needham Street
Newton, Massachusetts 02164
Second Edition
First Printing ... March, 1976 3.
The Odyssey belongs to the class of Variable synthesizers.
A variable synthesizer, as opposed to a Preset synthesizer,
allows you to shape every aspect of a sound, from the
attack and decay to the harmonic structure. Your
Odyssey is equipped with controls that will let you
precisely shape each and every parameter of the sound
you are creating.

Synthesizers create sounds electronically in much the

same fashion that any natural sound is created
acoustically. There are definite elements of sound which,
when put together in different combinations, will
precisely reproduce anything from a clarinet to a
jackhammer. The Odyssey is a musical instrument
comprised of a number of different electronic circuits;
each one is designed to control an element of sound.

This manual is an operational guide for the Odyssey,

but it should also give you a working knowledge of
electronic music functions.

Checklist:

• Fill out your warranty card and send it in.

• Save the carton (It can be used to protect your Odyssey
until you get a carrying case).
• Place the Odyssey on a suitable playing surface (Don•~
worry about ventilation; it won't get hot).
EXTERNAL AMPLIFIER AND SPEAKER WHAT KIND OF AMP WORKS BEST?

The Odyssey, like all electronic musical instruments, The whole idea of a synthesizer is to give you the
is designed to be connected to an amplifier and capability to shape and control every aspect of a musical
loudspeaker system. This external equipment (amplifier sound using the synthesizer's controls. Therefore the ideal
and loudspeaker) may be a guitar amplifier, P.A. system, amplification system for synthesizers should introduce as
an electronic organ, recording console, or even a high little distortion or coloration as possible. For this reason,
fidelity or stereo system. Two outputs are provided on the P.A. systems usually produce the cleanest sound with
rear panel of the synthesizer-a phone jai:::k labeled "Low" synthesizers. Likewise a bass guitar amplifier is probably
and a smaller phone jack labeled "High." Use the outputs the worst kind of amplification for synthesizers because
in the following manner: bass guitar amps usually have poor high frequency
response. Some lead guitar amps also have a lot of
• If you are planning to plug your synthesizer distortion and coloration. If you play your synthesizer
into a guitar amplifier, use the synthesizer's through such an amp, your sounds will tend to be
"Low" output. A standard guitar cord can be characteristic of the amplifier rather than the synthesizer.
used for this connection. Sometimes, however, the combination of the synthesizer
and an amplifier with a great deal of its own coloration
• If you're using the synthesizer with an organ or will produce just the sound you might be looking for.
a hi-fi amplifier, use the output marked "High."
An input jack is already available on most organ Also, don't be afraid to use accessory devices, such as
models. In the event your organ is lacking this phasers, fuzz-wow pedals, equalizers and so forth with
input, it will only take a serviceman a few your Odyssey. You can get interesting results. The
moments to install one. Ask him to wire the Odyssey can also be used as an accessory device for other
jacks so the volume of the synthesizer can be electronic musical instruments through use of the external
controlled by the expression pedal of the organ. audio input jack.

5.
 By now your curiosity is probably beginning to exert Odyssey, you'll ultimately discover an ever greater
itself, and you may wish to start playing immediately. number of new and exciting sounds and effects on your
In this case, simply turn to page 39, read the brief descrip- own.
tion of the control functions, and then set up any of the
patches starting on page 43. While these patches provide If you prefer to systematically examine each control of
some basic ideas of the vast potential that lies within the your Odyssey before playing, continue on to the
information which follows .
6.
HOW YOUR ODYSSEY WORKS

Generally speaking, all the electronic circuits in your the sound of these vibrations. The body of the violin is
Odyssey perform one of three basic functions: actually a mechanical filter and corresponds to the
Voltage Controlled Filter (VCF) on the Odyssey. It is the
1. Signal sources: the "raw" tones or noise which will characteristic resonances of the body that give the violin
ultimately be shaped into musical sounds. its distinctive tone quality. The fingerboard, like the
keyboard on your Odyssey, determines the pitch of the
2. Signal Modifiers: the "raw" sounds are passed through sound. The movement of the bow, like the ADSR
signal modifiers where the timbre (or tone quality) is Envelope Generator, determines the attack and decay
changed to produce the desired sound, and characteristics of the sound.

3. Controllers: devices which determine the operating Interconnecting the various functions shown in Figure A
characteristics of the signal sources and the signal is known as creating a "patch." The block diagram
modifiers. For instance, the keyboard is a controller illustrated in Figure A is, of course, a violin patch.
which produces a voltage to tell the oscillator what Similarly, it is possible to diagram any patch that you may
pitch to create. Similarly, the ADSR envelope play on the Odyssey. Actually, this visual representation
generator creates an attack and decay signal that of a patch permits you to better understand what
controls the Voltage Controlled Filter (VCF) so that functions of the synthesizer are being employed and how
the final musical sound has an attack and decay. each function contributes to the finished sound.

All mechanical instruments work in a similar way. A

violin, for instance, has a vibrating string which would be
a signal source. The vibrating string corresponds to the
oscillator in your Odyssey. The vibrations from the string
are transmitted to the body of the violin which modifies
7.
 FIGURE A. BOW DRAWN BODY OF THE
ACROSS STRING VIOLIN ACTS OUTPUT
CAUSING AS A FILTER/ I--+- VIOLIN
VIBRATIONS RESONATOR SOUND
VIOLIN (Signal Source) (Modifier)

+
I I I
FINGERS MOVING DRAWING BOW
CONTROL PITCH FINGERS BACK ACROSS THE
BY PRESSING AND FORTH STRINGS SHAPES
THE STRING PRODUCES ATTACK AND
AGAINST THE VIBRATO DECAY
FINGERBOARD (Controller) (Controller)

OSCILLATOR
VOLTAGE
OUTPUT
CONTROLLED
WAVEFORMS i----. VIOLIN
FILTER
AND NOISE SOUND
(Modifier)
AXXE (Signal Source)

t t
I I I
KEYBOARD LFO ADSR
PRODUCES ENVELOPE
CONTROLS
VIBRATO GENERATOR
PITCH
(Controller) (Controller)

8.
 NOISE
-1 ~
VOLTAGE
CONTROLLED
AUDIO
.. VOLTAGE
CONTROLLED . HIGH
PASS
-
VOLTAGE
CONTROLLED

u
GENERATOR MIXER
OSCILLATORS FILTER FILTER AMPLIFIER

' j' ' RING ' '

- - ,_ MOD
---- -

.
~

.
SAMPLE SAMPLE LOW
i--.,
.____
AND HOLD - - - - AND - FREQUENCY
MIXER HOLD OSCILLATOR
- ADSR AND AR
'
PEDAL ENVELOPE

I
I
[I 11- TRIGGER
GENERATORS

•
t
FIGURE B..
The figure above is a block diagram of all the functions
and internal connections in your Odyssey. As we proceed
with our discussion on the Odyssey's functions, you will
be able to see exactly how the different functions
interact. 9.
The Voltage Controlled Oscillator on your Odyssey Pulse wave; bright, nasal
produces electrical waveforms (saw-tooth, pulse, and
square waves) which are used to create a wide range of
sound timbres. If a signal generated by an oscillator has Modulated pulse wave; chorus-like, rich
the same waveform as a sound created by a traditional
instrument, both will sound the same.
Sine wave; pure, whistle-like
Different waveforms have different sounds. Your Odyssey
is capable of creating six basic waveforms, plus noise:
Various phase-synced waveforms; bright, rich
Sawtooth wave; full, brassy

Square wave; clarinet-like

EXPERIMENT 1. LISTENING TO WAVEFORMS

1. Hook up your ODYSSEY to a speaker and amplifier 2. Set all the controls on your ODYSSEY to match the
as described on page 3. For the time being, set all positions shown in Figure C. Double check the
tone controls on your amplifier for "flat" response. settings before proceeding.

r::vGe7
LFO VCF VCF c:Ji~ VCA GENERATOR

'.i [I ] JIi
PORTAMENTO

[ !.
PITCH BENO

FIGURE C 11.
 FIGURED. 3. The controls on your ODYSSEY are now set so that
you will be able to hear the different "raw"
waveforms from the ODYSSEY'S VOLTAGE
e
CC:il.flSE FINE

CONTROLLED OSCILLATOR (VCO) whenever you

,:::~I
play the keyboard. Locate the three slide controls
i~o Hz

~ under the AUDIO MIXER (white, green, and blue) ..

~"' I
4. Raise the blue slider under the AUDIO MIXER and
VOLTAGE play a few notes on the keyboard. The sound you are
CONTROLLED
OSCILLATOR
1
JU1 hearing is the raw, unprocessed sawtooth wave.

5. The pitch of this tone can be varied manually through

use of the COARSE and FINE tuning sliders. These
sliders are located in the part of the panel marked
VOLTAGE CONTROLLED OSCILLATOR 1
(Figure D~

!LFO
.fUl
~
AOS.i
~
Hold a note down and push each of these sliders
through its range. The COARSE slider allows tuning
through a good part of the audio spectrum, while the
FINE tuning slider allows a range of about one
octave. When you are tuning the voltage controlled
oscillators, either to one another or to another
musical instrument, you will first tune the COARSE
slider to the approximate range, and then use the
FINE slider to find the pitch exactly.
12.
6. The slide switch next to the tuning sliders lowers the 9. An even narrower pulse wave can be created by
frequency of VCO 1 by a factor of about one raising the PULSE WIDTH slider all the way to the
hundred when this switch is placed in its L.F. MIN marking. This waveform is very buzzy and thin.
position. This is far below the range of human At the MIN marking, the top part of the pulse
hearing; consequently you will not hear any waveform is only about five percent of the total
continuous tone but only a more or less rapid series waveform. A square wave, as its symbol implies, has
of clicks. The rate of this low frequency signal is not a top part of its waveform that is exactly fifty
controlled by the keyboard, but can be varied by percent of the total waveform.
adjusting the tuning sliders.

7. Return the tuning sliders to the center of their range,

and set the slide switch back to the audio range.
Now change the slide switch under the blue slider of SQUARE WAVE (50%)
L
the AUDIO MIXER to the bottom position. Again,
play the keyboard and you will now be hearing the
sound of a raw unprocessed square wave. Notice how
PULSE WAVE (25%)
the square wave, especially at low pitches, has a
hollow, clarinet-like sound.

8. The square wave on your ODYSSEY can be turned NARROW PULSE WAVE (5%)
into another waveform called a PULSE WAVE by
raising the blue slider labelled PULSE WIDTH located
FIGURE E.
under the VOLTAGE CONTROLLED OSCILLATOR
1 box. Raise this slider to the halfway mark and again
play on the keyboard. Notice how the pulse wave
sounds brighter, more nasal, than the square wave.
13.
 EXPERIMENT 2. PULSE WIDTH MODULATION

1. Lower the PULSE WIDTH control slowly thereby Notice that the pink LFO FREQ control to the right
gradually increasing the width of the pulse wave of the Low Frequency Oscillator box changes the
until it becomes a square wave again with the PULSE speed of the chorus-like sound.
WIDTH slider all the way down.
4. Experiment with different combinations of settings
2. If you move the PULSE WIDTH control up and down of the blue PULSE WIDTH control, the pink LFO
while holding down a low note, you will hear that the PULSE WIDTH MOD control, and the pink LFO
changing pulse width creates a kind of chorus-like FREQ control.
effect. The faster you move the PULSE WIDTH
control, the more pronounced the effect. By changing FIGURE F.
or "modulating" the pulse width while you play,
you are creating another waveform called the
"MODULATED PULSE WAVE." ....
U'O

3. The ODYSSEY has special PULSE WIDTH

MODULATION controls that facilitate the generation
of the modulated pulse waveform. Bring the blue
PULSE WIDTH control all the way down, and raise
:It
the pink LFO PULSE WIDTH MOD control all the
way up. Play the keyboard and you will hear a sound
which is similar to the effect you created when you
moved the pulse width control by hand in step 2.
If you lower the pink LFO PULSE WIDTH MOD
slider, the effect will diminish and finally disappear.
14.
 FIGURE G

~.
EXPERIMENT 3. PHASE SYNCHRONIZATION

1. Now look at the part of the panel marked VOLT AGE SYNC

CONTROLLED OSCILLATOR 2. VOLTAGE STEP 3.

CONTROLLED OSCILLATOR 2 is exactly like VCO
1 except for two things:

• VCO 2 does not have a low-frequency

operating range. VOLTAGE
CONTROLLED
OSCILLATOR .n.n.

• VCO 2 can be SYNCHRONIZED to '

vco 1.
Lower the blue slider under the AUDIO MIXER box
and raise the green slider. Now play the keyboard.
You are now listening to VCO 2.

2. VCO 2 can be switched between sawtooth wave and

square wave the same as VCO 1, and the frequency of
VCO 2, when it is not phase-synchronized, can be
varied in the same manner. VCO 2 also has pulse
width modulation like VCO L Try the experiments
that were done above on VCO 1 with VCO 2.

3. Phase-synchronization of the two oscillators is

accomplished by the switch at the top right of VCO 2
labelled SYNC OFF/ON. 15.
 When this switch is on, the audio signal from VCO 2
is forced to conform to the frequency of VCO 1. This
is done by causing the waveform of VCO 2 to begin
again, or restart whenever VCO 1 begins another
waveform. This is shown for sawtooth waves in
Figure H, and the same principle applies to square
and pulse waveforms as well.

It is for this reason that the harmonic sound of

VCO 2 will vary as the COARSE and FINE frequency
sliders for VCO 2 are changed, even though the basic
frequency of the waveform does not change (it
PHASE-SYNCHRONIZED
remains the same as VCO 1 ).
FIGURE H.
You can hear this effect in its raw form by setting
VCO 1 to some relatively low audio frequency (near
AUDIO
the 100 Hz mark) and slowly moving the coarse
MIXER
tuning control of VCO 2 through its entire tuning
'GE~fk~~o-;-,
range from bottom to top after turning the PHASE-
I
+O SYNCHRONIZATION Switch of VCO 2 on.

~ ~I~
STEP 4.
Experiment also with changing the frequency of
VCO 1 while leaving VCO 2 in about the middle of
its range. Some of the patches make use of this
FIGURE J. spectacular sound, unique to the ODYSSEY.
J_ J_ J_
! 4. At this point, too , with the SYN SWITCH off, you
NOISE VC0-1 VC0•2

~ = should practice tuning VCO 1 and VCO 2 to various

""' ,,.._, .~,
MOO .f"l.IL .n.n.. musical intervals by opening both the second and
16. FIGURE I. third sliders under the audio mixer.
EXPERIMENT 4. NOISE EXPERIMENT 5. FREQUENCY MODULATION

1. Lower the blue and green sliders under the AUDIO The pitch of the Voltage Controlled
MIXER box and raise the white slider. Play a few
notes on the keyboard and listen to the sound. You
Oscillator (VCO) on your
ODYSSEY is controlled by the
IVOLTAGE
CONTROLLED
OSCIU.ATOA
1
,..,,._,,.

.nn

are hearing what is known as WHITE NOISE. This keyboard. You know this from the
noise contains all frequencies in the audio spectrum previous experiments and you can
in equal amounts, and is harmonically identical to the also see that the keyboard is
noise you hear between stations on the FM radio connected to the VCO on the block
band. diagram, page 9. As you will now
experience, you can also change the
2. There is a noise generator switch located in the upper pitch or frequency of the VCO by
left hand corner of the ODYSSEY. Change the bringing in ''control voltages'' from
position of this switch to PINK and again play a few other devices on the ODYSSEY.
notes on the keyboard. Whereas WHITE NOISE
contains equal amplitudes of each frequency, PINK 1. To begin experimenting with
NOISE contains equal energy of each frequency. Frequency Modulation, again FIGURE K.
Physically, this means that the higher frequencies are set the controls exactly as
present at lower volumes than the lower frequencies. shown in Figure C.
PINK NOISE is the most musically useful kind of
noise because it sounds balanced to the ear, neither 2. Raise the blue VCO 1 slider under the AUDIO
too high and hissy, nor too low and rumbling. You MIXER.
will see later how to use the other functions on the You will now hear the sawtooth wave again when
ODYSSEY to turn noise into a wide range of exciting you play the keyboard.
sounds.
3. Hold down a note on the keyboard and slowly raise
the pink LFO control next to the TRANSPOSE
17.
 SWITCH. Notice that a slow vibrato is introduced you raise the yellow S/H slider, the wider the pitch
that becomes deeper as you raise this control. variations. At least one S/H Mixer slider must be
raised in order for the yellow S/H control to be
4. With this LFO control up about 1/4, adjust the LFO activated.
FREQ control and observe how the vibrato rate can
be changed from very slow to very fast. About 3/4 8. Bring the yellow S/H slider back down, and lower the
should provide a pleasing vibrato rate. white S/H Mixer slider.

5. Change the first slide switch from LFO J"'v" to 9. Now set the slide switch under the yellow knob to
LFO n n . Instead of a smooth vibrato, the the ADSR position, and then raise the yellow slider.
LFO n n produces a trill. Notice that as you raise Notice how the pitch rises. Leave this control set so
this slider, the bottom note of the trill stays the same that you have raised the pitch about an octave.
and the top note moves depending on the setting of
the slider. Try tuning the trill for different intervals, 10. Now bring up all the way the four red ADSR
like a fifth, octaves, etc. If you increase the LFO ENVELOPE GENERATOR CONTROLS (located in
SPEED control, the trill can become a useful musical the lower right hand corner of the panel).
timbre, especially when the trill is tuned to simple
intervals, like octaves. 11. Again play on the keyboard. You will hear the pitch
of the sound rise and fall each time you hit a key.
6. When you have finished experimenting with trills, The settings of the ADSR controls will determine the
bring the LFO FM slider back down. speed of the pitch change. You will learn more about
these controls when you get to the section on
7. Now raise the white slider under the S/H Mixer box. Controllers.''
11

While holding down a note on the keyboard, slowly

raise the yellow S/H control under the VCO. Notice
that this control causes pitch of the VCO to jump
around in a completely random manner. The higher
18.
Modifiers are electronic devices that can process a signal The ARP ODYSSEY contains four modifiers, the Voltage
and change its sound. Consequently a modifier must have Controlled Filter (VCF), the Voltage Controlled
an input and an output. A tone control on a hi-fi set is a Amplifier (VCA), the High Pass Filter (HPF), and the
simple modifier since it changes the nature of the sound Ring Modulator. Any signal that is introduced into the
signal that passes through its circuitry. AUDIO MIXER, i.e., Noise, VCO or VCO must pass
through the VCF, HPF and the VCA before reaching the
output of the ODYSSEY.
19.
 EXPERIMENT 1. RING MODULATION

Lower the blue and green sliders under the AUDIO the pulse width settings for each one.
MIXER BOX, and raise the white slider again. Change the Experiment with these. Note in particular that
position of the slide switch under the white slider from sounds from the RING MODULATOR do not
Noise to RING MOD. Make sure that the PHASE SYNC necessarily have any standard musical pitch in
switch for VCO 2 is off. Play a few notes on the keyboard relation to the pitch of either oscillator. (Unless
and listen to the RING MODULATOR. While you are they are synchronized by the SYNC switch on
listening to it you should think of the block diagram VCO 2; try that).
shown in Figure L. The RING MODULATOR has no
controls of its own. It produces, from the pulse outputs of • The overtones of the RING MODULATOR
VCO 1 and VCO 2, a single complex output signal which signal will not necessarily conform to the
contains all the sums and differences of the two oscillator standard harmonic series. They may be
frequencies. This means that: extremely complex, like those of a bell, chimes,
gongs, and other metallic or percussive sounds.
• The raw sound produced from the ring All of these, in fact, can be simulated by
modulator depends entirely on the tuning of further modifications of a suitable ring modu-
VCO 1 and VCO 2; and to a lesser extent on lator signal. Some of the patches illustrate this.

OUTPUT

VCO2
nn
t
I RING
VOLTAGE
CONTROLLED
HIGH
PASS -
VOLTAGE
CONTROLLED
MODULATOR FILTER FILTER AMPLIFIER
-
vco 1 I
nn
20. FIGURE L.
EXPERIMENT 2. THE VCA

1. Set the controls on your FIGUREM. the black VCA GAIN control. Notice how this
ODYSSEY to match the control also acts like a volume control. The difference

l
settings in Figure C. This .,.,.
fCA. between the operation of the ADSR slider and the VCA
time, raise the white NOISE GAIN control is obvious. The ADSR control depends on

J
slider under the AUDIO playing the keyboard. The VCA GAIN control has
MIXER. As before, when STIP3 nothing to do with the keyboard. The VCA GAIN control
you hit a note on the allows a certain amount of signal to pass through the VCA
keyboard, you will hear the at all times. Bringing up the red ADSR control will let the
noise sound. signal pass through only when the keyboard is used.

l
2. While holding down a note Actually, to be more specific, the ADSR slider lets the
on the keyboard, gradually t voltage produced by the ADSR ENVELOPE

~
lower the red ADSR slider GENERATOR to "open" the VCA and let signal pass
under the VCA. Notice that STIP2. through. The settings of the ADSR ENVELOPE
this slider acts like a volume GENERATOR controls will determine the speed with
control. Bring this control which the VCA opens and closes. Experiment with the
all the way down and the
sound will completely
. l
J_
,,_
four ADSR ENVELOPE GENERATOR controls to
observe this effect.
disappear. ....~
.I'--..

3. With this ADSR control all

the way down, slowly raise

21.
 EXPERIMENT 3. THE HIGH PASS FILTER EXPERIMENT 4. THE VCF

The HIGH PASS FILTER (HPF} is another signal The Voltage Controlled Filter (VCF) is the most
modifier. It attenuates frequencies below the setting of its important modifier on any synthesizer. The VCF is
HPF cutoff frequency slider. It is useful in eliminating responsible for taking the raw signals from the VCO, Ring
"Boominess" from low bass notes, and in simulating Modulator, and the Noise Generator and shaping them
certain instrumental sounds. The HPF is not voltage into useful musical sounds.
controlled. Try moving the HPF control slowly over its
range while holding down a low note on the keyboard. The VCF in your ODYSSEY is technically called a "low
pass filter." Low-pass means that the filter will pass all
audio frequencies below a certain point (called the "cut-
FIGUREN. off point") and will filter out all frequencies above this
point.
""
1. Set the controls on your ODYSSEY according to

tl Figure 0. In this setting, the sawtooth wave from the

VCO is entering the VCF through the AUDIO
MIXER. Also, the VCA GAIN control is raised so
that any signal passing through the VCF will be
heard.

2. Play a note in the middle of the keyboard . You don't

have to hold it down. Slowly raise the VCF FREQ
control and listen to the effect. Notice how the sound
gets brighter and louder as you raise this control. It
does so because you are raising the cut-off frequency
of the filter, thereby letting more and more high
22. frequencies pass through.
 'GE=f~~\ofi7 COARSI! FINE COARSE
"~ SVNC
FREQ
'-'O YCF YCF
FRl.0 RESONANCE

~ ~
r[
,. ,~

.~ ~
u•

i :i:-~.

·:• I
L...-.

"'

VOLTAGE
I
o,
LOW

]l
AUDIO VOLTAGE
CONTROLLED
MIXER CONTROLLED
OSCILLATOR JVL FILTER
2

n·.
PORTA.MENTO
TRANSPOSE
2 ocr,wEs
"'

il "'" 2 OCTAVES
DOWN

PITCH BENO

FIGURE 0.

3. Slowly lower the VCF FREQ control. The highs will and close the VCF by raising and lowering the VCF
fade and finally the whole signal will be filtered out. FREQ control.

4. Lower the blue VCO 1 slider under the AUDIO 5. Notice how the noise can be made to sound like surf
MIXER and raise the white NOISE slider. Again open by opening and closing the filter slowly. Raise the 23.
 FIGURE P. RESONANCE slider about half way up and try the
same experiment. Notice how the noise now takes on
a whistling quality. This pitch-like whistling is caused
by the resonance of the filter. Resonance emphasizes
STEP 5. a narrow band of frequencies just at the filter cutoff
frequency. The more resonance you add, the more
emphasis, and consequently the more pitched the
sound becomes.
VOLTAGE
CONTROLLED
FILTER 6. Lower the noise slider and listen again to the VCO
sawtooth wave. Again move the VCF FREQ control
up and down slowly with different settings of the
RESONANCE control. Notice that when the
STEP 4. resonance is between the 1/2 and 3/4 marks you can
actually hear the individual harmonics of the sound as
you slowly sweep the VCF FREQ up and down.

7. ff you leave the RESONANCE control about half

way up, and sweep the VCF FREQ up and down, you
can create a "wow" type of sound. Leave the VCF
FREQ control all the way down and raise the red
ADSR slider under the VCF all the way up. When
you hit a key on the keyboard, the ADSR
ENVELOPE GENERATOR produces a signal which

24.
 will open and close the VCF automatically, producing FIGUREQ.
a "wow" sound. Experimentation with the setting of
the ADSR slider will show the similiarities between
-
~
the response of this control and the response of the .~~~ ,:"~;::½:~
~,
ADSR slider under the VCA.

8. Lower the RESONANCE slider and experiment with 1• MIN

STEP 9.
the different settings of the ADSR slider under the
VCF. Try changing the settings of the four ADSR VOLTAGE

ENVELOPE GENERATOR controls. CONTROLLED

FILTER

9. Lower the ADSR control again, and set the VCF

FREQ control about half way up. Now, set the
switch under the yellow slider to LFO and raise the
yellow LFO .../'J"' slider under the VCF. Notice the
tremolo effect that is created. Lower the LFO slider
and increase the LFO SPEED until you achieve a
good tremolo sound.

10. Lower the LFO slider, and raise the black slider
labeled KYBD CV S/H under the VCF. Normally
this slider will allow you to control the VCF from the
keyboard.

25.
 FIGURER. 11. Let's try controlling the VCF with the keyboard.
Set the controls on the panel as above. Now when
you play on the keyboard, the pitch of the filtered

~
~'i~ ,:ESO~•:"':.
- OK noise will follow the note played on the keyboard.
If you lower the black KYBD slider under the VCF,
the keyboard will have no effect on the pitch.
1t IIIIN
~ STEP 11.
12. Raise the yellow slider all the way up again, and raise
VOLTAGE
the white slider under the S/H Mixer box. Play the
CONTROLLED
FILTER keyboard. Notice the random changes in the filter
frequency.

13. Plug the pedal into the appropriate jack on the back
of your ODYSSEY. When the pedal is plugged in,
the S/H Mixer is disconnected from the VCF. Set the
switch under the black slider to the Pedal position.
The PEDAL can now be used to open and close the
VCF. The range of the pedal will be determined by
the setting of the black slider under the VCF.

26.
14. The VCF can also function as an oscillator. Raise the FIGURES.
yellow slider under the VCF all the way.

15. All three sliders under the AUDIO MIXER should be

down. Turn the RESONANCE all the way up and
tune the resulting tone with the VCF FREQ control.
Set the switch under the black slider back to the KBD
position. You can now hear a pure sine wave
generated by the filter. VOLTAGE
AUDIO
MIXER CONTROlLED
FILTER
STEP 15.
! ~l_.._,

[[[~[[
J_ J_ J_ J_ J_ J_
i
a .a iP.. ~"" e
"°'"

MOD
VC0-1
.nn.
~

J1.fL l!Jll.R

PEDAL
/Vv
~

r,_,.

27.
Controllers are devices on the synthesizer which are used
to create electrical signals which in turn control modifiers
and sources on the synthesizer. For instance, the most
obvious controller on the ODYSSEY is the keyboard. The
keyboard produces a voltage which controls the VCO and
can control the VCF. Other controllers on the ODYSSEY
are the sample and hold, ADSR ENVELOPE
GENERATOR, HPF, LFO, PITCH BEND CONTROL,
and FOOTPEDAL.

By this time you have had an opportunity to experiment

with each of these controllers, so let's just review the
functions of each of the controllers.
KEYBOARD AND PEDALS:

The KEYBOARD produces two CONTROL VOLTAGES. keyboard. This keeps the pitch information around during
These voltages are the same if none or one key is the RELEASE cycle of the AR and ADSR envelope
depressed on the keyboard. (If no keys are depressed on generators, as we shall see.
the keyboard, the control voltages correspond to the last
key played.) If two or more notes are depressed, the first The keyboard on the ODYSSEY has several controls
control voltage corresponds to the lowest key depressed, associated with it. These include the PORTAMENTO
and the second control voltage corresponds to the highest slider and PORTAMENTO SWITCH. The TRANSPOSE
depressed. SWITCH will shift the pitch of the keyboard up or down
exactly two octaves. The PITCH BEND control will be
The first control voltage is always connected to VCO 1; discussed in a separate section.
unless VCO 1 is set to the L.F.. mode, in which case the PORTAMENTO is a "sliding effect." Set up your
keyboard is disconnected from VCO 1. The second ODYSSEY as, shown in Figure M. Raise the ADSR control
control voltage is always_ connected to VCO 2. When under the VCF. As you play on the keyboard, hold down
VCO 2 has SYNC switched on, the keyboard is still the PORTAMENTO pedal, raise the PORTAMENTO
connected to VCO 2, although in this case it does not slider and listen to the resulting effect. The foot switch
directly control its frequency, but rather its harmonic supplied with your ODYSSEY is used to turn on the
content, as do the tuning sliders for VCO 2 in this case. PORTAMENTO. Thus you can set the PORTAMENTO
(Try it.) slider for a certain glide speed and then turn it on and off
with the foot switch.
The first keyboard control voltage can also be connected
to the VCF by raising the appropriate slider under the When the foot pedal is plugged into the back of your
VCF; This was investigated during the experiments with ODYSSEY, VCO 2 and the VCF can be controlled by it.
the VCF. (The signal from the S/H Mixer is automatically
disconnected by inserting the foot pedal jack as explained
It is important to know that the ODYSSEY has a built-in earlier.) Several of the patches make use of the foot pedal
memory, which holds the last note played on the for wah-wah and other effects. 29.
 ADSR AND AR ENVELOPE GENERATOR:

Each time a note is pressed on the keyboard, the Output of the ADSR ENVELOPE GENERATOR will
keyboard generates a "trigger" signal that initiates an eventually reach the Sustain Level "S'' and stay there
attack from the ADSR. A complete cycle of the until the keyboard is released. Upon release of the key,
ENVELOPE GENERATOR looks like this: the output of the ADSR will drop back down to zero at a
rate determined by the setting of the Release Control.
This release portion of the cycle is represented by the
letter "R."

The AR envelope generator is just like the ADSR

generator except that there is no decay, so that the sustain
level is the maximum level. This gives the same effect as
the ADSR generator with the "Decay" control at

J---
minimum and the "Sustain'' control at maximum. A
complete cycle looks like this:
KEY DEPRESSED
KEY RELEASED----.

When a key is depressed, the output of the ADSR rises at

a speed determined by the setting of the ''ATTACK''
control. This attack is represented above by the letter
"A." When the attack has reached its peak, it
,..,._ _ KEY DEPRESSED
automatically turns around and begins heading down
KEY RELEASED---~
again at a rate controlled by the "DECAY" control: This
30. part of the cycle is represented as the letter "D." The
 r-::vQ7

] i"l"" I
GENERATOR
~o ""

[! ~ ~J
COARII! FINI! COARSE FINE SYNC YCF VCF CUTOFF
FREQ FREQ AISONANCI! FRIO GAIN ATTACK A, .. ,

~
"l ~
K,., o•c K~

OH
LOW

.
1t MIN
.It

OUTPUT

VOLTAGE
AUDIO
CONTROLLED
MIXER
FILTER

n. .
PORTAMENTO
TRANSPOSE
2 O~TPAVE.'!',

il "
PITCH BENO

FIGURE T.

With your ODYSSEY controls set as in Figure T, depress again and repeat the whole procedure using the release
any key on the keyboard. Raise the attack slider on the slider.
AR generator a little way and depress a key again.
Continue to do this, each time raising the attack control Now experiment with VCA control by the ADSR
a little more until it is all the way up. Then move it down generator; move the selector switch under the VCA 31.
 FIGURE U. VOLTAGE control attenuator down and try various settings of the
CONTROLLED
FILTER four ADSR controls.

By closing the VCF freq slider and opening the third

attenuator under the VCF all the way as in Figure U,
you can give yourself a similar introduction to ADSR and
AR control of the VCF. Experiment too with various
combinations of the VCF freq and control attenuator
settings, and with various mixes (by means of the input
attenuators to the audio mixer) of signals from VCO 1
and VCO 2.
FIGURE V.
Up to now you have been triggering the envelope
generators only from the keyboard. By means of the three
switches at the bottom right of Figure V, you can also
trigger the envelope generators with the LFO. Move all
three switches down and set the other controls of your
ODYSSEY for AR or ADSR control of the VCF or VCA
as in Figure V. Now try different settings of the LFO freq
slider from low to high. With the first switch down and
the second switch up, a series of events will be produced
(triggered) by the LFO, but only when a key is depressed.
This is useful in simulating banjo-picking and strumming.

32.
SAMPLE AND HOLD FIGURE W.

The sample and hold mixer (S/H mixer) selects and

FqfQUENCV
COARSE FINE
...
.,..c ....
I.FO

[[ ~
combines signals to be fed to the sample and hold circuit.
These signals can also be routed to control VCO 2 and the
VCF. Under each of these two functions is a switch
labeled ''S/H mixer or pedal.'' When the foot pedal is
plugged into the Odyssey, the lower position of these
ON
LOW

]
switches selects control by the pedal; if the foot pedal is VOLTAGE
CONTROLLED
,..,
disconnected from the back of the Odyssey, the same OSCILLATOR
2
.n.n_

switch position selects control by the output of the S/H

mixer.

The sample and hold circuit is a controller; it is used only

to control VCO 1, VCO 2, and/or the VCF. In order to
hear what it does listen first to VCO 2 as you have done
before and then experiment with the controls indicated in
Figure W.

By "sampling" at a given instant the signal voltage from

B~e
~R ..t-,._ ./'-,..._ J'\J'L .nn. TIIIG

""'"
the S/H mixer, the sample and hold circuit produces a
series of voltage levels. If these in turn are used to control
a VCO, the result is a series of pitches. The switch under
the sample and hold circuit selects either the LFO or the
keyboard as a triggering source. If the keyboard is selected
(Figure X}, then a new sample will be taken every time
you press a key. Using this with the S/H going into the 33.
 SAWTOOTH INPUT RANDOM NOISE INPUT

I I I
I
I
I I I
I
I I

l ~ ~l
I I I I I I I I I I 1 I I I I I I I I I
COMMAND PULSE1 1 1 I I I COMMAND PULSE I I I I I I

1111111 11 1111111111
I

r
1 I I I I

J_ J_ J_ HJjd
g
a
VC0-1 NOISE

,,, I Musical effect. Musical effect.

.Q.
l~J J f JJ J J f J JI l~J J J r J J J J J FI
rn•
.I\.I1.. I'\J'1. Tfl1G

FIGURE X.

VCF can give you random timbres on each note. If the sample and hold circuit will tend to be a repeating pattern
LFO is selected, then new samples will be taken at regular also. It may be an extremely complex one, or it may be
intervals corresponding to the frequency setting of the extremely simple. For an example of a simple one, switch
LFO. VCO 1 sawtooth into the S/H mixer. Use the sample and
hold output to control VCO 2 and listen to VCO 2
When the signal sampled is primarily noise, the output through the audio mixer. Set the LFO freq to about
voltage levels will be random and so of course will be the halfway up, and the VCO 1 freq at about 2 Hz. You
pitches produced from VCO 2; but if the signals being should hear a descending "staircase" of pitches, like a
sampled are regular and periodic (any combination of the scale passage or an arpeggio (Figure Y) . Speed up VCO 1
VCO 1 and VCO 2 signals), then the output from the freq and hear the repeating patterns.

34.
 FIGURE Z.

LOW

:i J J_

a
VOLTAGE VOLTAGE ~
CONTROLLED
N-.t
CONTROUED
"o
O'lCILU.TOA .n.n OSCILLATOR .n.n..
1 2

EB]
.I'-.... -~E1l
'"""
..t-.... ./'-... ..n.n, .11.IL TIIIG

FIGURE Y.

The output lag slider (Figure Z) "smoothes out" sudden

changes of voltage from the sample and hold circuit. With
the same patch you have been listening to, move the slider
slowly from "min" to "max" and back again.

35.
 LOW FREQUENCY OSCILLATOR PITCH BEND CONTROL

The LFO on your ODYSSEY, as you have already seen, The Pitch Bend knob is a live performance control for
is used to create voltages which produce vibrato, trill, bending notes. It also extends the tuning range up to an
tremolo, and other effects when these voltages are applied extra octave beyond normal. This control permits you to
to the VCO or VCF. The LFO produces both a sinewave realistically "bend" pitches in order to recreate the kinds
output and a square wave output. The sinewave output is of effects and create sounds that are not imitative of
used to create vibrato and tremolo effects and the square traditional instruments.
wave is used to create trills. The LFO is also hooked up to
the ADSR ENVELOPE GENERATOR, via the REPEAT When recreating the effect of the pitch bend of traditional
SWITCHES. instruments, however, limit the pitch deviation to
approximately one half-step. This is the most useful and
common effect employed by guitarists, including those
who work with rock groups. Notice that the normal
position for the pitch bend knob is in the center of a
"dead zone" where turning the knob slightly either way
results in little or no pitch change. This feature lets you
"feel" the normal position while playing, without having
to look at the panel.

By taking advantage of the fact that the range of this now

is exactly up or down an octave, you can use the PITCH
BEND CONTROL as an auxiliary TRANSPOSE switch, or
you can use it as a guitar "string pull" effect with a hard
stop when the instrument is exactly in tune by turning the
switch all the way to the left and playing an octave higher.
This is very similar to a "Tremolo Bar" on a guitar, although
36. on both instruments actual change is in frequency.
EXTERNAL AUDIO INPUT INTERFACE JACKS

On the back of your ODYSSEY you will see a jack labeled Your ODYSSEY is one member of a whole family of ARP
''EXTERNAL AUDIO INPUT.'' This jack is used to bring synthesizers and synthesizer accessories. As such, it is
an external signal, such as the output of an organ, electric equipped with input and output jacks that allow your
piano, other synthesizers, etc., into the Audio Mixer and ODYSSEY to control other ARP synthesizers or to be
VCF in your ODYSSEY. The EXTERNAL AUDIO controlled by other ARPs. For instance, you can use two
INPUT has a fixed sensitivity. The sensitivity is adequate ODYSSEYs together and play both of them from one
for use with most electronic instruments. However, some keyboard. Or you can hook up your ODYSSEY to control
very low level signals, like dynamic microphones and an AXXE, LITTLE BROTHER, or 2600 model. Similarly,
low level guitar pickups, may have to be preamplified if you already own a 2600 or String Ensemble, you can
before entering the ODYSSEY. Many guitar amplifiers remotely slave your ODYSSEY to the 2600's keyboard.
have a separate preamp output that can be used for this The possibilities created by the ARP INTERFACE JACKS
purpose. are endless.

Once an external signal has been brought into the If you wish to hook up two ODYSSEYs in a master-slave
ODYSSEY, it can be processed through the VCF. The relationship where one is controlled by the other's
footpedal is especially useful in processing external signals keyboard, simply connect the jacks labeled "CV OUT,"
since the VCF can be made to perform like a wah-wah "CV IN," "GATE IN," and "TRIG IN" jacks on the
pedal, with adjustable range and resonance. Slave.
At the same time you are processing an external signal, If you wish to slave more than one ODYSSEY from
you can also add in signals from the VCO's and noise another, the second slave ODYSSEY is hooked up to the
generator, so it is possible to create a rich and complex first slave in the same way that the first is hooked up to
texture by combining both the external signal and a signal the master, i.e., CV, GATE, and TRIG OUT to CV,
generated by the ODYSSEY VCO's or NOISE GATE, and TRIG IN. See diagram on the following page.
GENERATOR, and then filtering the combined signal Generally the Audio Outputs of Little Brothers are
with the VCF. connected to the input of some other unit. 37.
 Both Slaves will be controlled Master will control
by Master's keyboard both Slaves

"Y" adapters "Y" adapters

INTERFACE JACKS

38.
PANEL CONTROL DESCRIPTION CHART
Noise Generator: The The Voltage Controlled Oscillators produce pitched tones. The pitch of the oscillators is controlled by
noise generator produces the slide tuning controls, the keyboard, the Pitch Bend knob, and other controllers.
white and pink noise The Low Frequency
which is used in creating Oscillator (LFO) is a
unpitched effects like controller; its output
thunder, surf and wind. signal is used to create
Portamento : The vibra to , tremolo , repeat
·-
Portamento allows you and other effects.
~OUENCY
~ LOW

to glide from one note to LL.ATOR

the next. This control

determines the speed of
the glide. The
portamento pedal turns
this effect on and off.
[
VOLTAGE
CONTROLLED
O'K:'\LATOR .nrt
VOLT AG£
CONTROLLED
OSCIL LAT:
2
f =
n n..
The Sample and Hold
circuit is a controller . It
is used to create a
Pitch Bend: This control
n. .
PORTAMENTO
TRANSPOSE
1 t r.:!SL -1:!: 1 f f r ~ WN)TI47 random or regular series

~ ~ ~] ~ ~ ~] ~ ~ ]
bends notes up to one
2 OCHI.YH
of tones or accents.
"'
octave sharp or flat. The
§
center "dead zone"
facilitates tuning. In
addition to extending the
tuning range of the
ll . . J OCTAVES
DO. .

L.::..fM.J 1- L_,__ =-.J l. L 1 1

synthesizer up and down
an extra octave, the Pitch
Bend control permits you
to bend individual notes,
PtTCH BEND
B.a n.e.E
...... I''- -011 ..,........._
as~afi
.I'" --.. JVl. Jl.J1...

simulating the "pitch

bend" techniques used Pulse Width Modulation gives the pulse wave a "phase-
by many guitarists. shifting" quality.
39.
 PANEL CONTROL DESCRIPTION CHART

The High-Pass is used to remove the low frequencies of a sound.

The Voltage Controlled Filter is

the heart of the synthesizer. It is
used to create individual
I-Pf'
r::VQ7
Gl!NEAATOR
characteristics for each sound you
make. The VCF can also function
-~•-.·.~."~""'~_;, •.::.::•~~~• to program theG-enera-tor
•""'"'~....,"'' m~""" "'~'""'---+--The-Enve-lope attack andis-used
decay
as an oscillator.
of sounds.

The Audio Mixer governs the The Voltage Controlled Amplifier

volume of the oscillator and noise
VOLTAGE (VCA) governs the volume of the
signals going into the filter. AOOIO
\l'OLTAQE
CONTAOlLED cONTRou•o synthesizer's output.
Allf't.lf&EA 11 • --------.f-..;.______....;;_______
MIXER
FILTfR

I "'t____,

J_ ,
[[[~[[ [[~[~
J_ J_ J_ J_ J_ J_
8 E 8 B8 E E''~
,. , "" . ""', '°.. , , .. 7
...,. •gco, ;::-,• , ~ """

Jl
ft,_
The Ring Modulator inter-
modulates VCO 1 and VCO 2.
--------------•==~z-~ ~~~ JUl

The VCF can be controlled by the KYBD or S/H. The Repeat Switch: The Repeat Switch has three modes: KYBD
footpedal overrides the S/H when it is plugged in. GATE, Auto Repeat, and KYBD REPEAT,
40.
1. You may tend at first to think of the control sliders
on the Odyssey as something like stop tabs on an
electronic organ. That is, you may be tempted to set
them in a certain way and then "play'' the Odyssey
only from the keyboard. Try to overcome this
temptation. Use the sliders in performance. Learn to
change the sounds you are producing while you are
producing them.

2. The patches given in this manual are very basic. Do

not hesitate to search for improvements and
variations on your own. In many cases a slight change
in the position of a single control slider or attenuator
can make a large difference in the sounds you are
producing.

3. Resist the temptation to merely open as many sliders

as possible, as far as possible.

41.
 If you just have to start here:
INST ANT ODYSSEY
Set up the sound shown on page 19 (opposite).
Play a two-part piece on the keyboard.
If you hear two voices with pedal control, turn the page and try more sounds.
If what you hear is nothing like two voices with pedal control, or if you don't hear anything, check the following things:
1). Is the "sync off/on" switch turned off? (top of Oscillator 2).
If it's on, you'll hear only one voice even though you press down two keys.
2). Is the "audio kbd on/LF kbd off" switch turned on? (top of Oscillator 1).
If it's off, your first tone source (VCO 1) will be way below what your ear can hear.
3). Is the "HPF cutoff" slider all the way down? (top of High Pass Filter).
If it's up, you are cutting off your sound by eliminating all but the very highest overtones.
4). Is the "VCA gain" slider down? (top of Voltage Controlled Amplifier).
If it's up, you'll hear sound all the time, even when you take your hand off the keyboard.
5). Are the "attack, decay, sustain, release" sliders raised partway? (under ADSR Envelope Generator).
If they're all down, the attack & decay of your note will make only a tiny blip.
6). Is the Odyssey connected to the right amplification system? (back of instrument).
The "low level" output on the back is for a standard musical instrument amp;
the "high level" output is for a tape recorder, stereo amplifier, or electronic organ.
7). Is the Odyssey plugged in? Turned on?

42.
 NOTE: All sliders not illustrated should be all the way down.
Switches not illustrated do not affect the sound output in either position.

Hl>F
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GENERATOR

-~ ffi•;~ ,'."~
~"i'•~
,_
~=-::..
• .., <>SC
..'~
•~•
~;',;' iz~ '"~"' "'~""'

....
~.
11 ....
~.
•

PORT~AMEN~T•~ TRANSPOSE.
2 OCT AV[~

"'

~
~ O\,;l,Of~
DOWN

""

OPTIONAL VIBRATO USE PEDAL

Tune VCO 1
and VCO 2 to unison by
holding down any key.

1. 2-Voice with Pedal Filter Control 43.

 'G•~~\o-7 ,o: :;.:;,~
::,
1-:'...
I
o,,
"~M:~ ,~,_,1 •;
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GENERATOR

•ij""'" 'ij'""'
~~ I ~ I ...
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...
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OU,-U<

Single voice with pedal control.

44. 2. Phase-Synchronized Oscillator

 r-.,~~\o,1 ,i
0
::;,~;,•i~Ij
~,.
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o,>
,,,M:~
:"
ij
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-~

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GENERATOR

m~"' "'~""'

~-· I ,: I ~ ~! ""' ~! -
OUl"UT

PITCH BENO

OPTIONAL VIBRATO

Timbre changes slightly with each note.

3. Guitar-Leslie 45.
 __.--VIBRATO SPEED

'n•~~\o.--, ,~o:: ;,~;,~[~I

~,..
l on
•~M:: ~
.,,.1
~
! .;:,ooi ,:"i~~:.
...

,.'i~
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. 'i~ ~
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i
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oumn

VOLT AGE
CONTROLLEO
~ VOL TAG£
CONTAOLLED
,.,._.

OSCILU.TOA .n..n OSCILLATOR n.n..

1 '

1 I PULSE WIDTH
r...,o,. 7 I I PULSE WIOTH
7
I I == I 1 I I t L I r-;;VE~g:: G ~ T ~

[[[] i[[] i i ] [ [ ~ i i
.OD •..,o,h - UG "'--. -----., ATTACK DEt:AV !.USTAIN AfLEAS~

~ ,.~ J ~,.--=-_J j_ j_ j_ 1 j_ j_ j_ j_ j_ j_
]~ ~ ~
j_ • 0••-, ,'"7
lFO

tr
s,H LFO

i
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uro VC0-1 NOISE LFO HOISi!

tT~8
vco., IICO•t l(Y!O S/H AOSII Ml i,,veo 1t¥ao KYBO

B~ ~ i- .Q ~ Q, g :::i ~ ~ w· § ~ i -~~:~:. .g.

I-- ~•m"'n" om

PEDA4.
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OPTIONAL VIBRATO

Single voice

46. 4. Trumpet
 SLIGHTLY OUT OF UNISON

PORTAMENTO

~
"" rnANSPOS,
1 OCU~fS

"'

~
1 0.:1..,vn,
POW'-

""

PITCH BEND

Two voice

5. Trumpet Chorus 47.

 SLIGHTLY OUT OF UNISON

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GENERATOR

~ ::.·. ;:;;~ .:-·~~=-::"

- .,., 01(;
. ',~",;~~
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.·~ '""' "'~""'
~

~ ~~ "'" !!
--
PORT~AME:A~ TRANSPOSE
2 OCTA~ ~'>

"'
~
1 O~l,.Vf$
OOWH

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PITCH Bl:ND

Use external reverb.

Play separate detached notes.

48. 6. String Chorus

 BRILLIANCE

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o: :;.~:•~::./ I "~•: HPf
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~
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Single voice.

7. Flute 49.
 r:;-;

GE~
8
NOISE ;-;-l

TOR
FIUEQUENCY

,~o'"'.::; '['"',

~...
s
AUDIO

0..
,o~": ""',

:"
'! ...~~:NCY
l.FO

:! ~~••
VCF

mo::•~
YCF

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c::r"'l,,r:

,i.:~
'"''
YCA

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r::vC7
GENERATOR

m~m "~'u"

OSCIL.UTOfl "'

~"• I :: I .:. :.! "'" ~: OUT~

I ~Eti:; G~;;;-1
ATTAC:I( OECAY SUSTAIN HEll:ASl

··~
PITCH BEND

Use PITCH BEND to "bend" notes.

50. 8. Electric Bass

 TREMOLO SPEED

1::..,-Q-7

'"'~a\o-.--, ~ '! HPf GENERA TOR

:! [I J Jli'
,~o:::;,~;,·~
:, .. .~..:~ '~'"'t
~.. ,,,, :'

~-· I . :: I

'30RTAMENTO

~
"" TRANSPOSE.
2 O~fp,li~[S

~
1 O<:l,li~E~
MIN l.10Wi'i

Set VCF RESONANCE at self-oscillating point;

tune VCF FREQUENCY to a fifth above the VCOs.

9. Screomo Organo 51.

 REPETITION RATE

,::vQ7
r;;E~f~~\o-;-,

"i ,~o'"';:::; ~"~!

:;-...
!
AUDIO

OH
co~.,:~
:-
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-

~
Kt<, OIC •"•
HPf'

,.'~r,~ ~J;,:,
GENERATOR

•ij"''" 'ij"'m

~-• I ~ I ~ !~ ..... !:
ournrr

VOLTAGE
CONTROLLEO
~ VOLTAGE
CONTROLLED
~
AUDIO
VOLTAGE
OSCILLATOR .f\J\ OSCILLATOR nn.. MIXER

1' I rPULsE w10TH 7

W'IOfH .00
-1·~' , rPvu11E
..on,
w1orH 7
-
I -I =""'
I.AG
I 1 I I l~ L----.. I r-;;vetg;; G ~ T ~
ATTACK OECAY :!iUSTAIN NUEASl

-
ij
FM~
iij] ij ~ ~] ~J_ ~FM~ J_ J_ J_
] ij ij ~ !ij ~ ~ ~ ~
1 J_ J_ J_ J_ J_ 1 J_ AOSR-,
1 AR7

5Q .,,.~
~~
~~ '°''~
.Q Q
~~~
fi.0, ii8
J..L ,Q., ""
i ij~B-BP. ~§
""' ,co., , ., bl ..
~ffI. =.=.~_:_=.,
'°" •~o
.[\J\
........
PERCUSSION "METALLIC" SOUNDS

NOTE: Keyboard will "tune" metallic sounds and add off-beat accents.

5_2. 10. Sample & Hold Percussion

 r,-

o,: 8
N01SE :::-7

TOR
Ffl£QU£NCY AUDIO

c~o•";,.~ '~"'\ ~ co~~:~ '~'"'\ '!

~... OH ';.';"

~"· I :.: I
....

PORTAMENTO

~
"" TRANSPOSE
~ ocrans
OP

~
1 OC1A~O,
POW'-
""

Tune VCO 1 one octave lower than VCO 2.

11. Heavy Led 53.

 r::vQ7
!
r::; NOISE :-:7 l'f'lt.QIJl!NCY AUDIO
lirf GENERATOR

GE~6TOR ,~
o•";.-:::~"··, ~ ,~o..:;, ~""', ~ ::io ~~~ ,:"i°"":.~:"
- .... 01'
,.'~
,."'~~
~ ...
="~ "~'"' "~""'
';'" o•• :' ..:

~- I :: I ~ :.: . ,. ~:
OU,""

PITCH BEND

Tune VCOs 1 & 2 to different frequencies for different metallic timbres.

54. 12. Gong/Chime

Specifications
NOISE GENERATOR Pulse width: 50% to 5%
Noise spectrum types: White and Pink Pulse width modulation: ADSR, +45%; LFO,+ 15%
Voltage controlled response: 1 V/oct.
TRANSPOSE Maximum frequency shifts: LFO sine wave, + 1/2
Positions: Down 2 octaves, normal, up 2 octaves oct.; LFO square wave, +1.5 oct.; ADSR
+9 Oct.; S/H +2 Oct.
PITCH BEND Note: VCO 1 is low note priority; VCO 2 is high
Frequency shift: About + 1 oct. (exactly +l note priority
octave on Odyssey-II)
VOLTAGE CONTROLLED FILTER
PORTAMENTO Type: Low pass
Maximum speed: About .01 msec./oct. Frequency range: 16 Hz. to 16 KHz.
Minimum speed: About 1.5 seconds/oct. Maximum usable Q: 30
Resonance 1/2 to self oscillate
VOLTAGE CONTROLLED OSCILLATORS Voltage controlled response: 1 V/oct.
Waveforms: Sawtooth, Square, Pulse, Dynamic
Pulse VOLTAGE CONTROLLED AMPLIFIER
Frequency range: VCO 1 in low freq. mode, .2 Hz. Dynamic Range: 80dB.
to 20 Hz.; VCO 1 and VCO 2 (audio range)
20 Hz. to 20 KHz.
Warm up drift: 1/30 semitone from turn on max.

55.
 RING MODULATOR AR ENVELOPE GENERATOR
Type: Digital Attack time: 5 msec. to 5 seconds
Input signals: VCO 1 and VCO 2 square waves Release time: 10 msec. to 8 seconds

SAMPLE AND HOLD AUDIO OUTPUTS

Command sources: Keyboard or LFO trigger High level: 2.5 V PP max.; lO0K impedance
Sampled signals: VCO 1 square wave and sawtooth Low level: .25 V PP max.; l0K impedance
wave, VCO 2 square wave and pink noise
INTERFACE JACKS
ADSR ENVELOPE GENERATOR Keyboard CV IN/OUT: 1 V/oct.
Attack time: 5 msec. to 5 seconds Gate OUT: +10 V, key down; 0 Vall keys up
Decay time: 10 msec. to 8 seconds Gate IN: +8 V minimum
Sustain level: 0 to 100% of peak Trigger OUT: + 10 V pulse on key depression,
Release time: 15 mesec. to 10 sec. 10 microsec. duration
Trigger IN: +8 V pulse min., 10 microsec duration
minimum
External Audio Input: 500 millivolts for full
output

56.