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一. 产品特性：工作电压： DC 12V开锁电流：≤1000mA静态电流：≤60mA储存容量： 1088标准用户最大读卡距离： 15-20厘米RF卡类型： H4100卡工作温度： -40℃～70℃(工业级)工作湿度： 10%～90%尺寸： 117×117×21mm二. 安装说明：卸下固定面板与底板的十字螺丝,取下底板,使用随机配备的胶塞和螺钉将底板安装在欲控制出入口的入口侧墙壁,注意上下方向。
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三.编程设置方法：初始编程密码为1234561.进入编程状态:按* => 输入编程密码 =>按#2 功能设置(需在编程状态下)(A) 修改编程密码按0 => 按# => 输入新编程密码 => 按#注:密码为1-6 位任意数字(B) 设置开门时间按1 => 按 # => X X => 按#注:XX 为1-99 单位为秒出厂设置为3 秒(C) 设置开门模式按2 => 按# 进入设置方式一：模式一，输入正确密码开门。
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按2 => 按#注：出厂设置为模式二(D) 快速录入用户卡:按3 => 按# => 读有效卡可以在5分钟内，连续录入用户卡，按* 退出(E) 设置、修改用户开门密码按4 => 按# =>方式一：输入用户编码 => 按# => 输入用户开门密码 => 按#方式二：=> 读有效卡=> 输入用户开门密码 => 按#读有效卡后，绿灯黄灯闪烁，可连续刷卡设定注: 1.用户编号为1-1088不可重复,按*取消输入，返回到编程状态2.刷卡+密码开门的用户必须刷卡后输入密码3.读有效卡后绿、黄灯齐闪烁，表示可以连续读卡修改或设定密码，按* 退出。
MatriarchPatching with Intention Vol. 1Get started with patching techniques and exploredeeper synthesis concepts with stereo filtermovement and 2-operator FM synthesis.Patching with IntentionThere are many ways to approach patching a synthesizer like Matriarch. There’s no “wrong” way to do it, and randomly patching inputs to outputs can lead to wonderful, unexpected results.Other times, however, you may want to patch with some intention. Perhaps you have an electric piano sound in mind that you would like Matriarch to approximate. Or an idea may strike you while falling asleep: I wonder what would happen if I patched the envelope generator to the delay time...This guide will help you better understand how to patch Matriarch and help you discover why you might want to patch it a certain way.Initialized PatchBefore getting started, match your Matriarch to the initialized patch settings above. Each section builds upon the last, so explore them in sequential order for the best results. You can find the full patch diagrams for all patches discussed in this guide in the accompanying PDF patchbook.First StepsMatriarch is an extremely powerful and flexible synthesizer composed of many different modules based on Bob Moog’s original designs. Its semi-modular nature means that, while it is full of patch points, there are many patch connections already made for you under the hood.Let’s begin by designing a sound that does not require patching. First, startby matching your Matriarch parameter settings to the initialized patch diagrammed on the previous page. Play some notes and some chords to get an idea for how this initialized patch sounds.This patch results in a nice, clear sound, but let’s get a bit of movement going. A common way of doing that is to generate some extra movement in the filter. When we press a key the FILTER ENVELOPEwill open the filter by an amount set by the ENVELOPE AMT knob in the FILTERS section.Layering a MODULATION OSCILLATOR will add a bit of vibrato-like texture toour sound. This is such a common sound design technique that we don’t have to physically patch anything to achieve it. Turn up the CUTOFF AMT knob in the MODULATION section and then raisethe MOD wheel to apply the modulation oscillator to the filter cutoff. You should hear the filter opening and closing based on the settings in the MODULATION section.Now, let’s try and achieve this same result through patching. Through this exercise we’ll learn how to use the all-important utilities section of Matriarch and get a better handle on how to use modulation and patching to greatly expand Matriarch’s sound palette.Before we begin, turn the CUTOFF AMT knob back down and return the MOD wheel to zero.MAKE THIS CONNECTIONWe want to take the MODULATION oscillator and have it move the FILTER up and down. Our first impulse might be to simply take the WAVE OUT of the MODULATION section and patch it directly to the filter’s CUTOFF 1 IN.While that certainly gets the filter moving, it doesn’t allow us to control the amount of modulation applied. With this direct patching, the modulation oscillator swings the filter all the way open and all the way closed.MAKE THIS CONNECTIONLet’s explore a way to apply more subtle modulation. In order to have control over the depth of modulation, we can use an attenuator.Note: Any of the attenuators on Matriarch can be used for this.The ATTENUATOR takes the signal applied to its input—in this case a sine wave oscillating between -5 volts and +5 volts—and decreases it. With the attenuator knobat noon, the signal is decreased to zero, effectively silencing it. Moving the attenuator knob clockwise a little bit will raise the signal to oscillate between –1 volt and +1 volt (for example). Moving it fully clockwise will pass the original signal through with no attenuation: -5 volts to +5 volts.Now we can use the ATTENUATOR knob to control the depth of modulation. Movingthe knob clockwise will increase the modulation depth, and moving it counter-clockwise towards noon will decrease the modulation depth. Moving it further counter-clockwise will invert the modulation, but more on that in a second.At this point, we’ve successfully replicated the cutoff modulation that is hardwired via the CUTTOFF AMT knob and MOD WHEEL through patching! Let’s use this as a starting point for further patch exploration..Inverting Attenuators and Stereo MovementMatriarch features a stereo filter, which is really two filters layered on top of each other and routed separately to the left and right channels.Patching the modulation oscillator to the CUTOFF 1 IN (like we did in the previous section) moves both filters up and down, since the CUTOFF 1 IN is normalled tothe CUTOFF 2 IN. This means that a voltage patched to CUTOFF 1 IN will also be patched to CUTOFF 2 IN unless there is something else patched to CUTOFF2 IN, so we have the same signal fromthe MODULATION section moving both FILTER 1 and FILTER 2 simultaneously.As it stands right now, we don’t really have a stereo signal: both FILTER 1 and FILTER 2 move up when the modulation oscillator goes up and they move down when it goes down. Let’s now explore how to add stereo-depth and movement through patching.MAKE THIS CONNECTIONBy using more utilities, we can easily patch this stereo movement. Patchthe modulation WAVE OUT to an ATTENUATOR input as before. This attenuator will be the knob that controls the modulation depth. Next, let’s take the ATTENUATOR output and route it just above to a MULT input. It doesn’t matter which of the four jacks in the MULT we use, but let’s use the top left jack.The MULT takes a signal and allows usto send it to multiple destinations. Since we have a signal patched into one ofthe jacks, all of the remaining jacks now contain copies of that signal.Next, patch one of the MULT outputs to CUTOFF 1 IN as before. This just replicates the patch as we had it before.The fun begins when we take another MULT output and route it to a different attenuator. By turning this second attenuator completely counter-clockwise we invert whatever signal is patched into it. This means that when the modulation oscillator goes up, the signal out of this inverted attenuator will go down and vice versa.Patch another one of the MULT outputs to a new ATTENUATOR input. Now, patchthe output of this new ATTENUATOR to the CUTOFF 2 IN. Make sure that this second attenuator’s knob is turned fully counter-clockwise.The first attenuator acts as an attenuator for both left and right motion, since the attenuated version then goes down to the second attenuator which completely inverts whatever signal is coming in. If you move the second attenuator knob completely clockwise, we return to mono with both filters moving in sync. Moving the second attenuator knob back to fully counter-clockwise returns us to stereo space with the filters moving in opposition directions.With this patch, we’ve taken a pretty typical subtractive synth effect—an LFO moving the filter up and down—and created a much deeper stereo version using just a handful of patch cables and a few utility modules. While utilities like mults and attenuators don’t exactly stand out as being the most exciting parts of a modular synthesizer, this exercise shows just how important they can be in creating more interesting and exciting patches.Extended Keyboard Techniques: VelocityOn Matriarch’s back panel are CV outputs for keyboard velocity and aftertouch: how hard the keys are pressed and the amount of pressure applied to a key after it’s held down, respectively. These two aspects of Matriarch’s keyboard are not routed to anything by default and require patching to use.Let’s expand the patch we’ve been working with and layer on some performance controls. First, we’ll use the keyboard velocity to control the depth of stereo filter modulation. The harder we press a key, the wider the filter movement will be.MAKE THIS CONNECTIONWe can achieve this by simply patching the KB VEL OUT (on the rear panel) to the CV IN of the first attenuator which controls our modulation depth.PATCH TO REAR PANELKB VEL OUTMatriarch is a hands-on performance instrument that combines the power and flexibility of a modular synthesizer like Moog’s vintage modular systems with the playable functionality of a Minimoog.Let’s now explore how patching can be used to enhance creative playability.Turn the first (upper) attenuator knob to noon. The KB VEL OUT sends a voltage from0 to 5 volts depending on how hard the keyboard keys are pressed. With the attenuator knob at noon, a low voltage from KB VEL OUT caused by pressing the keys very softly will raise the attenuator knob slightly – resulting in very subtle filter movement. Pressing the keys harder will send a higher voltage out of KB VEL OUT, subsequently opening the attenuator more and generating wider filter movement.Take a moment to pause here and just play the keyboard – listening to how your keyboard playing opens and closes the modulation. With some thoughtful patching we’ve taken our initialized patch—a nice, but rather standard synthesizer sound—and created a synthesizer that responds to our touch to generate some interesting stereo movement.Let’s take it a step further with aftertouch. While the keyboard velocity controls the depth of modulation, we can patch aftertouch to control the rate of modulation.MAKE THIS CONNECTIONPatch the KB AT OUT (on the rear panel) to the MODULATION section’s RATE IN .Move the RATE knob down to around 9 o’clock to set a slow modulation rate for this patch. The KB AT OUT will send a higher voltage as you apply aftertouch (pressure to the keys once they’re held down), and will speed up the modulation rate the more aftertouch you apply. With the keyboard velocity still adjusting the depth of modulation, play around with this patch and explore all of the interesting ways you can control stereo movement.Up to this point we’ve had a single goal in mind: stereo filter motion.. Currently, all of our patching is related to how those filters move, and how we can control that movement. But remember, Matriarch is an open-ended synthesizer capable of an astoundingly wide array of sounds. All of these techniques can apply to modulating delay times, oscillator pitches, or sequencer movement just like we’ve used them to modulate the filter.Extended Keyboard Techniques: AftertouchPATCH TO REAR PANELKB VEL OUTPATCH TO REAR PANELATMAKE THIS CONNECTIONKeeping the patch as we have it, let’s now use aftertouch to modulate the delay. Take the KB AT OUT and patch it to the TIME 1 IN of the STEREO DELAY.Increase the MIX knob in the STEREO DELAY section to noon and add a bit of feedback with the FEEDBACK knob. Play around, and you’ll notice that now as you apply aftertouch you lengthen the delay time—resulting in some wonderfully wobbly sounds.MAKE THIS CONNECTIONWe still have an attenuator handy, which we can use to invert the aftertouch voltage if we like. Patch KB AT OUT to the remaining ATTENUATOR input, set the ATTENUATOR knob counter-clockwise to invert the incoming voltage, and patch the output to TIME1 IN in the STEREO DELAY. This will make it so that applying aftertouch shortens the delay time rather than lengthens it.In fact, with this attenuator we have control of both the range of modulation for aftertouch and its direction—such is the power of the inverting attenuators of Matriarch!Switch PARAPHONY to 1 for now whilewe build our first 2-operator FM voice.Given how harmonically rich FMsynthesis is, sine waves are often used. We potentially have three sine waveoscillators at our disposal: the modulation oscillator and both filters self-resonating. Triangle waves work well, and using the oscillator bank makes things cleaner and more flexible. So, let’s now switch all four OSCILLATORS to triangle waves.2-Operator Analog FM SynthesisFM synthesis sits next to subtractive analog synthesis as one of the majorsynthesis methods available today. While FM exploded in the 1980s by harnessing the power of digital technology available at the time, the core concept of FM synthesis—frequency modulation—has been possible all the way back to thevintage Moog systems of the 1960s. With Matriarch we can create deep and flexible FM patches for a world of sounds not typically available on analog subtractive synthesizers.Let’s return to the initialized patch from the beginning of this guide as a starting point. We’re going to use the oscillator bank as our source of carrier and modulation oscillators, allowing us to turn Matriarch into a 2-operator FM synth with two voices.Now that we have a handle on how to use attenuators and mults to deepen our patches, let’s realize a different goal: FM synthesis.MAKE THIS CONNECTIONFor one FM voice our goal is to use Oscillator 2 to Frequency Modulate (or FM) Oscillator 1. A crude way of doing this would be to patch Oscillator 2’s WAVE OUT output to Oscillator 1’s PITCH IN input.Turn down all channels in the mixer except for OSCILLATOR 1 and press a note. Compare how the sound changesas you press the key, removing the patch connection and then repatching. You’ll notice that with Oscillator 2 patched to the PITCH IN the tone is way too lowand pretty flabby. This has to do with the PITCH IN input having an exponential response, which works well for pitch and keyboard information, but not as wellwhen doing FM synthesis.MAKE THIS CONNECTIONInstead try patching Oscillator 2 WAVE OUT output to Oscillator 1’s LIN FM IN input.You’ll notice now a very bright tone–one full of overtones. By changing the value of the OCTAVE switch of Oscillator 2you change the relationship between the carrier (Oscillator 1) and the modulator (Oscillator 2) and thus change the color of the sound. This might be too bright of a tone, however, and you’ll want to adjust the FM depth. Just as before, it is time to use an attenuator.Patch Oscillator 2’s WAVE OUT output to an ATTENUATOR input and the ATTENUATOR output to Oscillator 1’s LIN FM IN input.Now you can use the attenuator to dial in the depth of frequency modulation. You can even invert Oscillator 2 by moving the ATTENUATOR knob counterclockwise past noon, but in the case of this patch it doesn’t make much of a difference.A major feature of FM synths is dynamic depth FM synthesis—where the depthof modulation will vary over time—usually controlled by an envelope. Matriarch’s attenuators easily let us achieve this since their CV inputs make them voltage controlled amplifiers! We will take the amplitude envelope and use that to control the depth of FM.We could patch the ENV OUT directly to the CV IN of our attenuator, but by runningthe envelope itself through its own attenuator we can have even more control over the depth of FM.The first attenuator sets the starting FM depth and the second sets the max FM depth. With the first attenuator at zero (noon) and the second all the way up we get tonesthat start with no FM, grow to full FM over the course of the envelope, and return back to no FM. With the first attenuator at maximum and the second all the way counter-clockwise (inverting the envelope) we get the opposite: tones that start with full FM, reduce to no FM at the height of the envelope, and grow back to full FM as the envelope decays. By playing with these two attenuators, the amplitude envelope parameters, and Oscillator 2’s octave and detuning, we have an incredibly wide range of metallic, bright, clangorous, and buzzy sounds that change over time—perfect for feeding Matriarch’s stereo filter and delay.Even better, we can make this a two-voice FM synth by setting up a similar patch with Oscillators 3+4. Turn up OSCILLATOR 3 in the mixer, patch Oscillator 4 to Oscillator 3’s LIN FM IN via our remaining attenuator, and mult the attenuated amplitude envelopeto both FM depth attenuators. Switch PARAPHONY to 2 now—this will enable us to use Oscillators 1+2 for our first FM voice and Oscillators 3+4 for our second. Below is a full patch diagram for our two-voice 2-operator FM synthesizer:Further ExplorationNow that you have built some intuition for how Matriarch’s patch points can be used to expand your tonal palette, feel free to start exploringand experimenting on your own. We’ve only just scratched the surface, and with some patch cables and your imagination Matriarch truly comes alive. We’ve included a supplementary patch book, outlining some of the patches in this guide and some alternate versions of them to play around with. Remember, though: there is no wrong way to patch Matriarch. Let your ears be your guide.Register your Matriarch at to receive additional Matriarch updates and assets straight to your inbox.。
CTK900CK1ACk707A-CK-002A安全注意事项Ck-1感谢您选购卡西欧电子乐器。
•在使用本乐器之前，请注意详细阅读本说明书。
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标志为确保您安全正确地使用本乐器，防止对用户和他人造成伤害以及对财物造成损害，本说明书及乐器上标有一系列安全标志。
各种标志及其含义如下：707A-CK-003A安全注意事项Ck-2707A-CK-004ACk-3安全注意事项*支架为另选件。
707A-CK-005A简介Ck-4感谢您选购本卡西欧乐器。
本电子琴具备如下特点及功能。
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混合音电风琴音色可使用电子琴上的九个拉杆进行控制。
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闪光储存器还能保存最多200 个SMF 格式音乐文件以便随时播放。
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第一部分系统综述介绍S imlex 4100/4120是单个微机为基础，运用最新的安全技术的防火报警控制设备，该系统设备已通过美国U.L.认证,具有省电和自动巡监功能,并且可防止交流电源停电，并自动记录且显示该状态。
根据用户的选择,本设备可控制1270个点。
这个基本的系统包括一个主机板，现场接线端子，80个字符的LCD显示，电源和机箱。
根据不同要求，可配置各类卡或组件。
4100/4120系统单机最大可监控1270点。
4100主机和4120主机的区别在于是否有网卡，是否是网络的一台主机。
当主机不在网络中时为4100，当主机在网络中时称4120。
4100/4120主机的指采用了最新最快的微机处理器。
组态数据存在于可电擦除的FLACK EPROM中，使用现场修改组态数据更加简单。
主机板上更有备有电池的RAM 以保存重要的历史数据，哪怕完全将主机关闭。
4100/4120系统中采用的是开关电源，此电源提供24VDC 8安培的容量给负载设备和系统运行，提供4安培电流给蓄电池充电。
另外，此电源通过机内通开线路和主机板直接通讯，向主机板报告系统电压、当前电流和充电情况等30多个参数。
当系统存在不正常情况时，本机发出声音指示，并通过LCD显示出具体位置和电容。
4100/4120的面板上LCD显示器可显示出本系统的情况。
这个LCD显示器能显示出各种提示，通过菜单方式来指导用户按照程序操作以排除非正常状态。
本系统可完全现场编程组态，并且用户可按照建筑的实际情况和当地的规范要求进行变化。
系统操作描述4100/4120操作面板，后称面板，如下图所示：●绿色“PowerＯＮ”发光二极管（后称ＬＥＤ）指示交流电供电正常。
●其它ＬＥＤ不亮。
●ＬＣＤ上字符显示如下，表示系统处于正常状态。
如果面板上的报警发光二极管二类报警发光二极管,监视发光二极管或故障发光二极管闪光,并且有声音报警就说明有不正常的情况出现,ＬＣＤ显示可提供有关探测点的状况(报警, 二类报警监视和故障)。
使用说明书R杭州爱尔科电子有限公司注意事项在使用中请随时遵守下述注意事项，这样可以避免对使用者本人或他人可能造成的伤害，以及对此电子琴或其它外部设备可能造成的损坏。
注意事项如下，但不仅限于此。
★不要打开电子琴壳和试图分解其中的部分，也不要对内部作任何变动，如果使用中出现功能异常，请立即停止使用并交由合格的维修人员检修。
★请使用指定的电源适配器。
使用错误的适配器会导致琴的损坏。
★不要将电源适配器或交流电源线靠近热源（如暖气或散热器）。
不要过度弯折电线，不要在电线上放置重物、缠绕其它物品，以免损坏电线。
★不要将电子琴的插头在多用插座上使用，以免引起插座过热。
在长时间不用或打雷时，要将电源关闭并将适配器或电源插头拔下，拔电源插头时，要握住插头拔，不要直接拉电线。
★不要将电子琴置于多灰尘、震动、低温或高温的环境中（如阳光直射处、暖气旁或阳光下的汽车里）以免损坏外观及损坏内部元件。
★不要将电子琴置于不平稳的地方，以免跌落造成损坏。
不要坐在电子琴上或在电子琴上放重物。
★避免该电子琴遭受雨淋或受潮。
不要在电子琴上放置盛有液体的容器，以免液体流入琴内，损坏内部元件。
★清洁电子琴前请先拔出电源插头，不要用湿手插拔电源插头，定期检查插头并清除其表面的污垢。
★清洁电子琴琴体时，请用干燥柔软的布擦拭。
不要使用油漆涂料、有机溶剂或化学浸渍布擦拭琴体，不要把乙烯塑料制品置于琴体上，以免使面板或键盘褪色。
★不要长时间把电子琴的音量开到最大或感觉不适的程度来演奏，以免造成听力下降。
必须由成年人拆开包装后使用，避免婴儿或儿童产生窒息的危险，请拆卸后将此塑料包装袋妥善保存或丢弃。
内含小物件不适合三岁以下的儿童使用。
.本产品技术规格如有变动，恕不另行通知。
.本说明书如有对产品功能描述不详细或文字印刷错误，敬请用户谅解。
在使用前请仔细阅读此注意事项目 录一、面板控制和外接端孔 1.面板控制 2.外接端口二、演奏前的准备1.使用交直流电源适配器2.使用电池3.耳机的使用4.连接放大器或音响三、基本操作方法1122222 2.主音量调节 3.音色选择 4.双音色二自动节奏() 1.节奏的选择 2.插入 3.同步 4.速度5.伴奏音量6.节拍器三自动低音和弦() 1.单指和弦 2.多指和弦 3.和弦关闭 4.延音功能 5.颤音功能 6.双键盘 7.移调功能四、录音功能五、编程功能六、智能教学功能 1.示范曲 2.教学功能附录一、音色表附录二、节奏表附录三、示范曲附录四、面板打击乐表附录五、故障与排除 1.开启电源3 (一)基本演奏方法333333344444445555556666678991011 5.演奏打击乐器3附录六、技术规格附录七、电路原理图12一、面板控制和外接端孔1.面板控制：1．电源开关2．教学1键 3．教学2键4．节拍器键5．启动/停止键/插入/同步键6．示范曲/节奏/音色键7．数码显示窗口8．数字区选择/+、-选择键9．单指和弦/多指和弦/和弦关闭10．延音/颤音/双键盘11．主音量+/-键/伴奏音量+/-键12．四种面板打击乐13．录音键14．播放键15．编程键16．四种面板打击乐17．速度+/-键18．移调+/-键19.双音色20．自动和弦键盘21．喇叭22．歌谱架插入口2.外接端口：23．左右声道音频24．耳机输出25．DC12V1二、演奏前的准备1.使用交直流电源适配器：请使用本电子琴配套的专用交直流电源适配器，或输出电压为12V ，输出电流大于1A ，插头中心为正极的电源适配器。
