[Melody plays on a stylophone.]

G'day. You'll probably find this hard to believe, but the tune you're listening to right now is being played by a twelve year old. Fifteen minutes before this recording was made, she'd never laid eyes on the 350S. In fact, she had never played a musical instrument before in her life. Now, whether or not you are musicall minded, I promise you that by the time you reach the end of this rеcord – you will be playing this tune exactly as you arе hearing it now, with this orchestral accompaniment. And that's only the start. On side 2, we have orchestral accompaniments for five equally beautiful tunes – and you'll be playing them in no time at all. And then, you'll go on to accompany your own records and tapes, and introduce a completely new dimension to your musical enjoyment. All you have to do is to follow my instructions carefully, and you'll be playing to a standard you would never have believed possible before starting this record. So – ready? Here we go then.

The first thing you must remember is: always keep your keyboard and stylus tips clean. And you do this by simply polishing them with metal polish, just like you would clean silver or brass. Do this, say, once a week. And this'll keep your 350S in prime condition. And then, every time before you play, just give the keyboard a rub with a dry cloth. This'll get rid of any invisible finger marks or humidity that might dull the sound of the instrument.

So, now you turn to page 2 of your instruction manual. And you'll see a drawing of your 350S. Got it? Good. Now, look at the switches marked 5, 6, 7, 8, 9, 10, 11, 12, and 14. They are, in fact, the black serrated switches on your actual instrument. Now, these are all three way switches. And the positions you put these switches in determines the effects and the sounds that you're gonna get when you play. Now, I want you to get used to the feel of these switches by pressing them into the various positions, and then returning them to the neutral or the 'flat' position when you've finished. Spend a minute or so on this little exercise. And then go onto the next track for your further instructions...

[Putting on a voice like a British army corporal:] Okay! Mucking about with switches – beeegin! Push 'em down now. Don't be afraid of them, you dozy lot! Uh-two-three-four. Hup-hup, hiddle-aye-up! Hruhmp-huhmp, harrattaty-tump...

One of the first things to do with any musical instrument is to tune it up. And the 350S is no exception. Between switches 12 and 14 on the drawing, you'll see a white section marked 13. Have a look at it on your 350S. You'll see that it's a tuning wheel. Now, this wheel tunes the whole keyboard of the instrument up or down, to enable you to get into pitch with another instrument. Or with your records, or your tapes. Now, have a listen – but don't play anything for a moment.

[Tone plays – A note.]

The sound that you're hearing now is the tuning signal. Now, I'm going to tune my 350S into this signal. And this is how I do it: I play note number 8... [Another tone plays over the first.] ...On my 350S. [Second tone slides up in pitch, to meet the first on the A note.] And I turn my tuning wheel until both notes are exactly the same. That's it! Got it. Beautifully in tune. You hear how that's done?

Now it's your turn, right? Switch on. You do that by pressing switch number 14 in either direction. Towards you or away from you, doesn't matter which as long as it's not in the flat position. Okay, now that's switched on... Now you press switch number 10 towards you – in the 'brass' position. And also press switch number 5 towards you, in the 'photo – vibrato' position. Just to the left of switch number 5 is the volume control, marked number 18 on the drawing. D'you see that? Good. Turn this to about halfway for now, and you can adjust it later to suit yourself. Next, remove stylus number one (that's the one on the right), by pressing down on the word 'push'. Got it? Okay. Now, with a good firm pressure – it's, uh, sort of, it's a bit heavier than you would use when you were writing... You play key number 8 on your keyboard, and hold it there. I'm assuming, of course, that you've put the batteries in. Otherwise, you might not get anything, will ya? Hah. Oh dear, well that's obvious, isn't it?

Right, stop for a minute. Now, I'm gonna play my number 8. And when I do, I want you to turn your tuning wheel and tune it into my number 8. Until we are both playing exactly the same note. Take your time... In fact, you can take as long as you like. Because I'm going off for a cup of tea. Haha! And when you are sure that we're in tune – bung me onto the next track. Alright?

[Putting on corporal voice, as above:] Tuning your number 8 to my number 8 – beeegin!

[Continuous single tone plays in a locked groove (another A note), until the user changes the record onto the next track.]

You know, one of the most important things about playing a musical instrument – any musical instrument – is expression. The string player expresses the mood of the music by vibrating his fingers on the strings. And by giving stronger pressure to the bow, or softer pressure to the bow. And the keyboard player gives expression to what he's playing, by the varying force with which he strikes the notes. And further varies the expression by the loud and soft pedals of the piano. The wind instrumentalist vibrates his lips, and also varies the volume of the note by the amount of air he blows into his instrument. With any conventional instrument – it's going to take time, study, and months and months of practice. But don't get worried. Haha. That doesn't mean you. You see, I'm gonna teach you to express yourself on the 350S with just three simple exercises...
For this, I first ask you to look at your drawing again. And we'll concern ourselves this time with number 4, and number five, and number 18. 4 is the 'photo control', that's that little square window. And 5 is the main effects switch. And 18, of course, is the volume control. Have a listen, but don't play anything yet.

[An ascending, and then descending, C major scale plays.]

Now, what I was doing there was playing up the scale of the keyboard, from number 3 to number 10 and back again to number 3 – without taking the stylus off the keyboard. That is, just sliding the stylus up – keeping a firm pressure on the stylus – sliding it up to 10 and back to three. While I was doing that, I used my free hand to cover and uncover that little square window. That's the photo control. Uh, photo control just means that it's a light sensitive meter. And the less light you let in – the louder the note becomes. You have a try now, okay? Volume control – that's it, number 18, remember – is at full. Turn that 'round 'til it's full on. Number 11 switch in the woodwind position. Number 8 in the fast vibrato position – that's switched away from you. The free hand poised over the photo control. And away you go. First of all, on number 3.

Now, you've got your stylus pressed firmly on number 3. Slowly cover the window with your palm. Hold it there, then move your hand away. Slide the stylus onto number 4. Paaaalm covering. Slowly down. And slowly up. That's it. 5, same again. 6... 7... 8 - see it's easy, huh? 9... 10... Now, back again. I'll go a little bit faster. 10, back to 9. Hand up and away. 8, hand down and up again. 7... 6... 5... 4... 3...

That's good, isn't it? Hah! Well, there you go. That's about the most difficult exercise you're gonna have to do. So I'm gonna take off again now, and leave you while you practice this for ten minutes, or so. Try all sorts of speeds with it, and wobble your hand about, and try and get different effects. Okay, when you've had enough of that, come back to the next track – and we'll have a touch of the wah-wahs. Hehe. See you soon...

Oh, you're back with me. That's good. Good! You've mastered that bit. That's good... Now, this next exercise you've only got to alter three switches. First, turn your volume control down to about halfway. And put switch number 5 in the 'wah-wah' position. That's away from you. Put switch number 11 back to neutral (that's completely flat). And press switch number 10 into the brass position. Now all you have to do is repeat the same exercise as the previous one. But the expression you give is completely different. Listen first.

[C major scale plays, ascending and then descending, with a conspicuous wah-wah effect applied to each note.]

Oh! By the way, the more light you let into the photo control for this particular effect, the more pronounced will the wah-wah sound be. Okay. Off you go then. Starting on number 3. Away you go... 3 - haha, that's good, isn't it? 4... 5... 6... 7... 8... 9... 10... And you can, you can get all sorts of effects. Just-just try mucking about, and fooling around with the way you move your hand away and towards the photo control. Let's do it back again from 10... 9... 8... 7... 6... 5... 4... 3... Well, that's enough - stop.

The third exercise on expression enables you to express the mood in the same manner as the string player. But with the same ease as the two previous exercises. So, put switch number 5 in the photo-vibrato position. And you'll get this sound, by repeating the previous two exercises. Listen – but don't play anything for a second.

[C major scale plays, descending.]

That's good, isn't it? That completes the expression exercises. But I'd like you to practice these exercises for at least, oh, fifteen minutes before you move onto the next track. See how many different sorts of sounds you can get.

Let's experiment with the voice switches. The voice switches are those four switches marked 'woodwind' along the top, and 'brass' and 'string' along the bottom. You see them? Good, good. For reference purposes, in the instruction manual these four switches are numbered 9, 10, 11, and 12, in big numbers. See that in your instruction manual? But you've found them now. Okay? So we can forget about those reference numbers. Look once again at the voice switches on your instrument, if you will. And you will see that they're numbered 16, 8, 4, and 2. Now, these are technically referred to as 'footage stops'. So, for example – if I said "press the 16 foot woodwind", do you get it? You would push the left-hand switch of these four away from you. Understood? So the woodwind is, uh, are the ones right along the top. And the 16 foot is the one marked 16, so you would press that down. So, that's the 16 foot woodwind. The next one's the 8 foot woodwind, then the 4 foot woodwind, and so on.

Let's try a bit then! First, back to neutral (that's completely flat). Now, what shall we get you to do? Umm, push the 4 foot woodwind. Push it down, away from you. Good, got it! Good... That's good. Add now, a two foot string. That's the one on the right of the four, see. You push that towards you, where it's marked 'string' on the bottom. Good... Add a fast vibrato. Have you got that one? Haha. Now, get your volume control at the maximum. Now, you slide your right hand stylus very firmly, from note to note as I call them. Use a good firm pressure – and then you won't get that, uh, sort of a break-up on it. Okay, here we go then. We're starting with number 10. Starting now...
10... 9... 10... 9... 10... 9... (Very good so far.) 8... 7... 8... 7... 8... 7... 8... 7 and a half... Haha! That caught you, didn't it? You see, the half numbers refer to the sharps and flats. They're the notes along the top of the keyboard. They're like the black notes on the piano, okay? Now, whenever I call a half note – you always go up, and to the right of the number. So, for example: if I said 6 and a half and you had your stylus on the 6, you would slide it up, to the right slightly from the 6. See that? To the little 6 and a half piece. Alright?

So, what shall we have a go at? Let's... Let's try, Spanish Eyes. You know the tune Spanish Eyes? We're gonna start on number 2. Oh, and one thing. Every number I mention, when we go from the previous number to the next number, slide your stylus along. Slide it firmly – but slide it quite strongly onto the next number. Don't lift it off and place it onto the next one, because then you get a broken up sound. Slide it on, and then you get a nice smooth sound. Okay, we're gonna start on number 2. You ready? Go!

2... 3... 4... 2... 3... 4... 5... 6 and a half... 7... 8... 9... 10... He-hey! That's good, isn't it? You wanna try that again? Good – we're starting on 2. Here we go. [Clears throat.] Ready?

2... 3... 4... 2... 3... 4... 5... 6 and a half... 7... 8... 9... 10... Good. You've got it! Right, now be careful because there'll be quite a few of those half notes slipped in on side 2. So, just keep your wits about you. And don't forget, once again – I can't say it enough times, because it's very important. When you're moving your stylus from one number to another number, slide it. Because it sounds so much nicer.

Now, remember what I said when we started? I promised that I would have you playing along with an orchestral accompaniment, by the time you reached the end of the record. Well, this is the time. Haha! Exciting, isn't it? Get ready – and do exactly the same as you've just done. Wait for the word "go". And... Here we go!

[Some other voice takes the role of introduction and number calling on this section:] Starting on number 10... Go!

10... 9...
10... 9... 10... 9... 8... 7... 8...
7... 8... 7... 8... 10... 9...
10... 9... 10... 9... 8... 7... 8...
7... 8... 7... 8... 10... 9...
10... 9... 10... 9... 8... 7... 11...
10... 11... 10... 11... 10... 11... 12...
11... 10... 11... 9... 10... 11... 10... 9... 10... 9... 8...
10... 9... 8... 9... 7... 10... Stop.

Well, what about that then? That was a piece of cake, wasn't it? Now, on the next track we've got the same tune... But this time, no numbers. So, turn to page ten of your manual, and read the numbers as you play. And when you do, try and memorize them - so that you can play them without looking. I guarantee you you'll do it in about an hour. It's fantastic fun! And before you know where you are, you'll be playing along with all your favorite records. How? By listening to the tune and then playing it. And by writing down the numbers. Practice – until you get up to speed... And then play along!

Oh, just before I go... Listen to some of the remarkable effects that you'll be able to get when you're playing – after just a few days of practice. All you have to do is just experiment with some of the voice and effects switches. When you've got a few minutes, have a go. And see if you can work out the switch settings that we used to create these sounds. I'll just say goodbye for now. Have fun, eh? Bye.
[Melodies come in and out in different tones. This includes eleven sound clips overall of fewer than twenty seconds each, including parts of well known folk, classical, and jazz tunes. This carries on to the end of side 1.]