Controls = Supe Accessony a ourrut Cowrots = cue vowuwe Level. &-TuNe conrRous Sowecrions 089, PANEL Soxrro. CowrnoL (ooh ED BN REAN PANEL) (lockTeDON Ream paver) REYBoaRO — NoouLATION coabann snc = IwoicaTor EourmoLs crave Supe, sustan tant Tass Fass Before proceeding with Operation and Adjustment of your unit,refer to page 14 for Connection Instructions, LEVEL ADJUST This rotary control (located on the back of the unit)sets the overall output level, or volume, of the unit. Smaller changes in volume may be made with the VOLUME control on the Slide Control Panel. TUNE This rotary control located on the back of the unit) provides a range of tuning which extends more than one-half octave. This flexibility can be used to tune your MOOG SATELLITE to other instruments, transpose to different keys, or even provide a glissando effect. POWER AND INDICATOR LIGHT An ON-OFF power switch is conveniently located on the front panel, with a red light which indicates when the power is ON. OCTAVES With neither tab depressed, your MOOG SATELLITE will play in its highest pitch level. Depress tab ‘1’, and whatever you play on the keyboard will be one octave lower. Raise tab “1” and depress tab ‘"2", and the keyboard pitch level is lowered another octave. Depress both tabs and the pitch level is lowered still a third octave, Because of the electronic tailoring of the sounds to the requirements of each pitch level, you will find that the effectiveness of every sound seems to change magically as you change from octave to octave. Try all sound effects in all four pitch levels. SUSTAIN This ‘‘Quick-Set’’ tab allows the sound of a note to “‘linger’’ after the key is released. It pro- vides interesting variations to the special voice settings described in this Manual.Quick-Set Voice Tabs é eure straws voices With the unit connected and power ON, a sound can be heard when a note on the keyboard is struck, even though no voices are selected and all slide controls are set at "0" (except for the VOLUME control), The controls described herein will add and subtract from that sound in a multitude of combinations available for your exploration — shape it, change its attack and release, raise it, or lower it. We suggest that you play a phrase or two with each of the twelve “QUICK-SET” VOICE TABS conveniently located on the front of the unit. Try each with all the slide controls set at ‘O"’ (except for VOLUME). Exact setting of slide controls for any particular effect will depend, not only on your musical taste, but also on your complete electronic reproduction system including amplifiers, speakers and other components. NOTE: If more than one “QUICK-SET” Voice Tabs are depressed at the same time the sound will be that controlled by the Voice tab farthest to the left, MUTE BRASS This voice is a new version of the wah-wah effect. The sound approximates a double-acting wah-wah, or “‘oo0-wah-ooo.” It starts with an emphasis on the ““lows’’, moves to the “‘highs’’ and returns. Each time a key is depressed the “ooo-wah-o00" sound is pro- duced, Try it in each octave. OPEN BRASS The sounds of a trumpet, trombone, or tuba can be approximated by selecting this tab, and varying it with other controls. Characteristic of this voice (and some of the other “‘Quick-Set’’ voices) is a built-in timbre change which is faster in the upper octaves and is automatically slower in the lower octaves — much as the attack of a tuba differs from that of a trumpet. This attention to the authentic details of the attack in different octaves is a unique feature of the Satellite, Try it in each octave setting, THIN REED This voice provides a sound similar to that of a double reed. In the top octave the sound is oboe-like. In the lower octaves, the sound of a bassoon is approximated. You will note a slight timbre change in the onset of the tone and a slow attack. HOLLOW REED The hollow reed sound and the soft attack of the traditional clarinet and bass clarinet are character- istic of this voice — an excellent voice in all octave registers. FULL REED This full bodied reed sound is unique to the Satellite. It combines some of the qualities of a double reed wind instrument with those of a pipe organ with a little saxophone added, In the lowest registers, it is an excellent reproduction of the sound of the sarrusophone, a wind instrument popular in bands of the early 1900's. BRIGHT REED This voice approximates that of a saxophone, With adjustment of other controls you will be able to vary the sound through the characteristics of alto and tenor, baritone, and even bass saxophone. BOW STRING This gentle voice with its slow attack can be made to simulate violin, viola, cello, and even some of the sounds of the bass violin. PLUCK STRING This sqund is quite percussive with a lingering decay. It is most useful for creating guitar-like or harpsichord-type effects, including that of a folk guitar. STRIKE STRING In the upper registers this voice is that of an electronic piano. In the lower registers it provides an interesting sound similar to that of an electric bass guitar. PICK STRING Banjo type sounds are provided with the hollow sound characteristic of this voice, In the lower registers it can simulate the plucked sound of the string bass, or bass violin. BELL. In the upper octaves a fine bell sound is provided by this voice. In the lower octaves, the huge sound of a large carillon can be reproduced. LUNAR This versatile voice perhaps is most characteris- tic of the Moog sounds. It provides, in its various adjustments, a wide variety of timbre changes with which you can produce many popular electronic “"Moog"’ sound effects. It is most effective when used with SUSTAIN,Modulation P ‘The four function tabs labeled MODULATION on the front of the unit provide a selection of modulation types, The two MODULATION slide controls on the slide control pane! adjust the RATE and DEPTH of modulation. VIB (VIBRATO) This tab provides a frequency-modulation vibrato similar to the type used in electronic organs. However, the wide range of effects offered by the two slide controls extends the capability of this effect far beyond vibrato and into the realm of the synthesizer. When the VIB tab is depressed, the basic frequency of a note is varied (or “wiggled’’) to a degree deter- mined by the DEPTH control and at a rate determined by the RATE control. RATE The rate of modulation may be varied from approx- imately one second at ‘0’ to a rate so fast that at "10" the sound becomes a buzz, However, even at extreme settings, the basic character of the ““QUICK- SET" voices is still apparent. For instance, MUTE BRASS, with VIB plus RATE at 10 becomes a BUZZ-WAH type of effect. With slower settings it is easy to obtain the effect of trills between notes, regardless of the voice selected, DEPTH This control adjusts the degree or intensity of modulation, For vibrato (VIB), increasing DEPTH Corresponds to greater frequency variation. This frequency variation may be adjusted from less than one-half step (on the scale) to more than one octave. For tremulant (TREM), increasing DEPTH corresponds to greater timbre variation. : This flexibility, combined with the RATE control, makes possible synthesis of such effects as “‘out of tune"’ strings, huge bells whose clanging sounds interfere with each other, quarter tone scales, trumpet “'shake"’ effects, and a myriad of others. ‘TREM (TREMULANT) This tab provides modulation of the harmonic content of the tone. The harmonic content, or timbre, is varied at a rate determined by the RATE control and with an intensity determined by the DEPTH control. NOTE: VIB and TREM can be used together. REP (REPEAT) The repeat tab affects only those “QUICK: SET” voices which have built-in timbre changes. The timbre change associated with a specific voice will be repeated over and over again at a speed controlled by the RATE slide control, This is easily demonstrated by depressing MUTE BRASS, REP, OCTAVE 1 and 2, and setting RATE at 0. Play a sustained tone, then slowly move the slide control to 10 and return, while sustaining the tone. NOTE: The DEPTH slide control has no effect on the REP function, parut This control provides @ most versatile tool in achieving the distinctive sounds associated with the MOOG synthesizer. It affects the type of modu- lation obtained by two of the other MODULATION functions, VIBRATO and TREMULANT, When this tab is in the up position, 4Wwwrut VIB and TREM are with a square-wave pattern. The variation of frequency (VIB), or variation of timbres (TREM), will be very abrupt and choppy, with discon- tinuities, With VIB, for instance, a definitive variation in frequency can be obtained, like a trill, When $V TUIt is depressed, a sine wave type of modulation is obtained which provides a smooth variation of timbre or frequency — almost a glissando. The difference between the two effects is easily discernible in the following characteristically MOOG- type settings. Depress 4W1TUt , MUTE BRASS, OCTAVE 2, VIB, set RATE at 3, and DEPTH at 6. Depress any key on the keyboard and listen to the smooth variation in frequency as you keep your finger on the key. Then raise the tab marked #WVTUst and observe the abrupt variation in frequency. Repeat the above steps with TREM instead of VIB, and then combine the two.Slide Control Panel - FILTER CONTROLS ‘Once a “‘Quick-Set’’ tab voice selection is made, further refinement and adjustment of that voice may be made by using the three slide controls labeled FILTER. CONTOUR This controls the speed of the timbre change associated with the onset of the voice, and/or the timbre change associated with the release of that voice. The wide range of this control can provide both slow settings (useful for simulation of bass violin or tuba effects) and fast timbre change settings (which can provide wild chirping effects). COLOR This acts as a brightness control, but it has such a wide range that it can have major effect on the basic sound itself. Your choice may lie anywhere between adding in all of the high harmonics you wish, or eliminating them EMPHASIS This contro! adds a resonance frequency area to the spectrum of the tone. At 0", spectrum of the “‘Quick-Set”” sound is unchanged. ‘As the control is pushed forward, the intensity of the sound within a pre-selected resonance area is increased. At maxi- mum, there is a well defined narrow sharp peak in the spectrum of the tone. FILTER CONTROLS SUMMARY Remember, the “‘Quick-Set” tabs establish an overall range of sound and the three Filter slide controls give you a wide selection and control within the limitations of that range. Try this: 1. Depress OPEN BRASS tab, and set the slide controls at “0”. Play a few notes on the keyboard, 3. Play again with various settings of the COLOR slide pot. The range of sound will be from that of a very dull trumpet to a very brassy one.~ 4. Now do the same" with the EMPHASIS control. The sound will range through cornet, trumpet, and flugethorn characteristics. 5. Repeat with various settings of the CONTOUR control. It will show the wide range of contoured timbres in the onset of the tones. ADDITIONAL CONTROLS MODULATION CONTROLS See discussion under MODULATION on page 5. GLIDE This is one of the most interesting of the Moog effects. Depress the GLIDE tab and set the GLIDE slide control at 6, Play any note on the keyboard, Release this note and quickly play a second note some distance away. The sound automatically glissandos from the first note to the second. The setting of the slide control determines the speed of the glissando, (10 is slow — 1 is fast), Try a melody of detached notes and notice the succession of glide attacks. VOLUME The VOLUME slide control provides finger-tip adjustment of fine gradations of the Satellite output. Major changes in sound level are obtained by means of the rotary knob on the back of the unit.Moog Satellite Schematic DiagramWiring Diagrams SATELLITE P.C. BD. ASSEMBLYHow to Order Service Parts Service parts are stocked only at our Customer Service Department in Sepulveda, California. Please order all your requirements from: THOMAS ORGAN COMPANY CUSTOMER SERVICE DEPARTMENT 8345 HAYVENHURST AVENUE SEPULVEDA, CALIFORNIA 91343 ‘A. Use your own order form, letter, or postcard. B, Place your order on our Customer Service Department Electronic Secretary in the evening (dial Area Code 213, telephone number 893-4416) or — — C, In case of extreme rush, call the Customer Service Department during the day at Area Code 213, telephone number 894-7161 and ask for extension 356 or 357. Parts List SATELLITE P.C. BOARD ASSEMBLY SATELLITE CONTROL P.C, BOARD ASSEMBLY screwari PAR SCHEMATIC BART CSCATION NUMBER DESCRIPTION TGGaTION” NUMBER DESCRIPTION c2.ca 185217-9 220uF, 25V (Electro) c1,c2 1852179 220uF, 28V, (Electro) & 1e-s21¢3 Tour, 20V (Tantalum) 51152,09,04 86-8048:3 Broder Silicon (Power Gis.c25 1852183 2:2uF, 50V (Electro) nao) at 1es2163 2abuF, Sav ielecro) os 86.5048-3 Diode, Stlicon( Signal Bt teu 12 B6-50843 Biase Silteon Signal ina ta8) ins} 7,Ra,R0 24-5960-0 100K, Bot Slide, (Linear) R1,R47,R98,_ oa) 100k Gen R10,R12. 24s62-0 san, ree sae fea THOs.R130,8174) 24.6940-3 100K Ohm, Trim Pot five i Pot Slide, (Cosh ‘R190 1 80-5008-0 Transformer, Power me 24-6235-3 $00 Ohm, Trim Pot Ter,ice 1950168 Inergrated Creeut, Rio 2453983 20K Ohm, Trim Pot (oan. 741) ie, 24:5357-3 10K Om Trim Pot or 86-5148-2 Transits, NEN (203808) Rinne 2483123 100 Ob Trim Pot 35-80000-0 Satellite Control, Pc ns Basses 2 Meg" Ohm, Trim Pot Bc. Assy. figo,aige «3480508 2K Glin, Trim or feo 3epa98-3 TK onm: Trim Pot MISCELLANEOUS CABINET PARTS LIST fon? Gt-t00201-2 10k Ohm, 1/4We 1% Film 1i5097-0 Panel, Roar Controls fs 61a4ga012 83K Onn, 1/4 1% Film 420513-0 Overlay. Slider Panel Riga19,n6@ —61-1609012 160K Ofm, 1/4, 1% Film 40:8138-0 Overlay, Front Controls He B}astool2 est Ohm 14M. 1%. Film Swi thru SW21 89.59EF9 — Switchy with GuickeTab fas B1aI501-8 49. Ohm, 1eHW, 1% Elm 83000 Lamp, Blot with Clip m0 SLA7sI012 174K Ohms 174, 1% Film 24-5386-1 Housing, 24Pin Femle at 62 6i-511201-2 51.1K Ohm, 1/4W: 1% Film a 45:8022-1 Sockets Pin (Accessory) mis Bk-so0dt TK Ohms 3% Yomp. Compe 2 45:0008-1 Jacks Prone fer 1380208. Inerqrotod Creat ri 4550763 Jack, RCA:Phono ‘Woltege fog. 725) wt 4550241 Jack. Phone (Shorting Type) ic2,tca.ics, fase 24.5362-0 OC Ohm, Pot Rotary (Lovell IBIGSter, Srso1e-6 intergrated Circuit, fost Za sast0 TOOK Orn, Pot Rotary (fone fe! cls 1C21, (OP-Amp, 741) 52-5220-0 Knob, Rotary (Push-on) £2:5001-0 Knob, stide Pot 1, C10 C12, 77-5130-0 Standoff, P.C. Bd, Mounting lerdicieicts,}19.6019-6 Intergrated Circuit, 43-5390-0 Foot. Rubber rerrcts (OF-Amp, A308) 4858810 Foot, Adjustable ISHVIEI3,1C20" 1350156 Imergrated Erruity 2350170 Cord, Acc: Power 1 qaeuiaal paiensietar aurey' ‘$G-3821) 22-5023-0 Strain Relief 3 Aosister Manne 1 Cable, essa 8851002 Transiotors (ENP T1899) Feeoeet dant git Arcessor ee 04,08,07, 628268-1 Key Natural (ivory) Oiearaat4, 62-8269-1 Key Natural (Wary! Grsar7‘ez8, }e6-5149.2 Transistor, (PNP 2N3906) SE SHOT Key Natural (ory 026,027,031, “ie or 62-8272-1 'E' Key Natural (Ivory) 34,035,030, : 934,038,038, pares Key Natural Ivory) 628271 “6 Key Natural (Ivory) er. aae.ae0 : G47,088, 080, Seaze1 End Rey Natural ivory) Ste cia.dar. one ae 03t-028°008, }86-5148-2 Transistor, (NPN 23904) Sgaziet A” hoy Nau! act a Os Oars 62.8278-1 Key Natural (Black) 038,039,040, o et el Oe 933,038,040, SBSr81 5” Key Netra (lack 62-8280-1“E" Rey Netural (Black) G20.032.041, Yas gray2 Tyngite. FT, N-cHAN Seamaty | “F Key nat (lock y ’ 62-8282-1 “G" Key Natural (Black) 22023 acstse2 Hitecor (FT, N-CHAN 45-5049.0 Conn ctor, 12-Pin Male 82.8283:1 Sharp Black ‘alk 11-5847-0 ~ Channel, Natural 45.5083-5 Teele, 1c, 4-Pin Socket [E288 © Ghamet, Nenu 4e500¢8 Terminal’ IC. t-Pin Socket auc o rchewels aes 4550222 Sockets IC, 8-Fin Circular 25 Sone Deane Guide 77-8129, Spacer, 1G; Socket, T-Line 2032019 Sorina. Koy 35-38990-0 Satellite, P.C. Bd. Assy. 7052020 Spring, ContactMoog Satellite Block Diagram a & He 8, BgAccessory and Connections : For operation the Satellite Synthesizer unit should be placed on a horizontal surface in a location which will not interfere with its operation, NOTE: Avoid placement in close proximity to electronic circuitry, as on the top of some electronic organs, because excessive hum may result, LO-LEVEL OUTPUT (30 millivolts RMS), Phone Jack HI-LEVEL OUTPUT (1 volt RMS), RCA Phono Jack designed for use with Guitar Amplifier, P.A. Systems, designed for use with Electronic Organs. ("“Y"’ Adapter ete, and Accessory extension cable are included with your unit). SATBLLITE REAR PANEL cae ee = Connection Instructions ‘SINGLE CHANNEL ORGANS (MONAURAL) Disconnect the RCA Phono plug from Amplifier Input Jack and insert the “Y"’ Adapter plug into the Amplifier Input Jack. Connect Accessory extension cable plug into “Y" Adapter socket and insert the plug on the other end of the extension cable into the HI-LEVEL OUTPUT jack on your Satellite unit. Connect the organ plug (pre- viously removed) into the other "*Y"" Adapter socket. DUAL CHANNEL ORGANS (STEREO) Disconnect the RCA Phono plug from the Right or Main Channel Amplifier Input Jack and insert “‘Y"* Adapter plug into Right or Main Channel Input Jack, Connect the Accessory extension cable plug into the ““Y" Adapter socket and insert the plug on the other end of the extension cable into HI-LEVEL OUTPUT jack on your Satellite unit. Connect the Right or Main Channel plug (previously removed) into the other ““Y'” Adapter socket. NOTE: Do not connect the Satellite Synthesizer into Leslie or Left Channel Input. FILTER CONTROL INPUT This jack is provided for the control of the Timbre with a Moog Pedal controller. ACCESSORY SOCKET Permits the attachment of a Foot Pedal to control several Synthesizer features. (Consult your dealer for avail- ability of Moog Accessories). o—Care of Your Moog Satellite Your new MOOG SATELLITE Synthesizer is carefully designed to give you maximum pleasure and satisfaction with a minimum of care. Following these tips on the care of your Synthesizer will help keep it “’showroom new" '» LOCATION ‘As with any electronic instrument, avoid placement in direct or prolonged sunlight. Normal variation of temperature will not affect the tuning or electronic circuitry of the synthesizer, Starage location should be chosen to avoid placement in front of hot air registers, or beside an outside doorway in winter, as these elements may affect the finish of the cabinet. © CABINET Quality hardwoods are used in your MOOG SATELLITE. Therefore, a minimum amount of care will insure you of having a piece of furniture that will retain its beauty. An occasional dusting with a soft, dry cloth should remove both fingerprints and dulling film, To clean the keys a soft cloth dampened in a mild soap solution should remove even the most persistent stains. Under no circumstances should solvents or cleaning fluids be used to clean keys or cabinet. ‘© POWER REQUIREMENTS This instrument must be operated from a standard 120 V.A.C. 60 Hz power outlet. Normal line voltage variation will not affect its operation, Power requirements of this unit are very low. Ail Solid State circuits are operated at a very low voltage and component life is therefore extended. © SAFETY Your MOOG SATELLITE Synthesizer has been designed for maximum safety in its operation and trouble free performance, However, repair or service of electronic products should be done by qualified personnel familiar with the hazards relating to electricity and electronic circuitry. The risk of repair or service must not be assumed by the customer. Your dealer will provide a competent, experienced service technician for that purpose. Please contact your dealer, if your unit needs repair or service. ‘« CONCLUSION ‘And now as you play . . . . Let us offer you our best wishes for a happy and rewarding experience with your new MOOG SATELLITE Synthesizer. We know it will bring you great pleasure and creative satisfaction. SUoowodonananoonponaADADNONORAAADOOAAnAADHAARANHHNEAANGAnGARGANAAHEOCAMANOD HCHO ONADOAnAHHEACHODONDANONNANGOD RZ Warranty ALL COMPONENTS ~ ONE YEAR FROM DATE OF ORIGINAL SALE. CABINETRY ~ 90 DAYS FROM DATE OF ORIGINAL SALE. We warrant your Moog Satellite Synthesizer to be free of defects in material or workmanship. We agree to remedy any such defect by repairing or replacing at our option with a new or equal part in exchange through an authorized dealer or service technician. This does not apply to any instrument subjected to misuse, neglect, accident or acts of God or improper servicing performed by other than an authorized dealer or service technician which in any way affects the reliability of or detracts from the performance of this product. This warranty does not cover labor or transportation costs for the instrument or any part thereof OOCOOCONGO For your protection and future reference, please keep this warranty along with your bill of sale. THOMAS ORGAN CO. CHICAGO, ILL. 60648 8 SOOOGOONONIDGOROOOOOROODOODOODDIOOOODDOHODOCOETAHAGAOAAGODODDDAOGOTEHAOCCOEAADUCONONDGC EGAN AOUCONIDONT ONDigqcee ‘ MUSIC INC. nl Academy Street (P.O. Box 131) ot * are ‘Withamsville, N.Y. 14221 © phone (716) 633-22) ‘ September 20, 1972 i SATELLITE SYNTHESIZER CIRCUIT. DESCRIPTION & GENERAL TEST PROCEDURE CINCUIY FEATURES saa ‘he sound producing chain of.theSatellite Syiithesizer consists of an oscillator that produces both sawtooth and rectangular waveforpis, a band’pass filter, a low pass filter, ‘anc a varizble gai amplifier. All four of these cirtuits in the sound producing chain are voltage controlled. The. remainder of-the circuitry “is devoted to producing appropriate control voitages. ‘he keyboard circuit produces one pitch centrol vo. tage whcse magnitude depends on which key is depressed, and a trigger voltage which is on whenever any of the keys is de- pressed. ‘he modulating oscillator produces triangular and Square waveforms for modulating the osciYlafor and the filters. @wo contour generators produce voltages that rise’ and then fall each time a key is depressed. One of thpse sweeps one of the filters, while the other sweeps the amplifier. A resistor matrix Getermines the average values of the voltage-controlled para- meters. The power supply delivers + 18 volts unreguiated, and +9 volts regulated. we The resistor matrix has fifteer input columns and twelve output rows. A colum is on when + 9 volts is applied to it, and it is grounded when it is off. The two left-most columns are connected to the "two octave" and "one octave" switches késpectively. They shorten the contour times and raise the filter frequencies when they are on, The remaining columns ‘are the quickset voices. Only one of these is on at a time, The rows are fed to low impedance points in the circuitry. “Of the twelve matrix output rows, eight supply control currents for continuously variable parameters, while the remaining four supply switching current to determine circuit states... He DESCRIPTION OF CIRCUITRY ON Li . f fhe large cixcuit board which mounts underneath the key- board contains most-of the Satellite circuitry. All connections Ss to tais board are made through two Molex connectors. Looking co: at the board from the component side with the connectors along the top edge, the left hand connector is designated "A" and the right hand Connector is designated "B". The pins are . numbered from 1 to 24 starting with the left hand pin on each ‘connector. Drawing 08-005 is a schematic diagram of this boar. The designations used in the discussion of the circuitry are yhose shown on drawing 08-005. } eet oie ; igne positive ‘power supply regulate “consists Of rch and Sts ane ” sociated components. This circuitry is completely 3 » aventional. It wil] deliver 55 or 60 milliamperes before the pirage developed across current sense resistor R2 limits the current. Sie gestive regulated supply circuit consists of IC2, Ql, and associated components. This circuit simply adjusts its outrut to be the negative of the regulated +9. No current Limiting, other than that supplied by R8, is provided. The keyboard circuit consists of IC3, IC4, IC5, IC6,. IC7, Ic9, ICl0, and related circuitry. The keyboard itself contains a string of thirty-six 100 ohm resistors. The string is connected between A5 and AS. The current through the resistor string is regulated by IC7 so that the drop across R79 and R80 “is exactly 4.5 volts. R79 is set so that the voltage at A6 is exactly -4.5 volts. fhe voltage at the keyboard buss is fed to voltage follower Ic4., Because of resistor R53, the keyboard buss voltage rises to 7 volts or so when no key is depressed. The output of voltage follower IC4 i, ign fed to comparator IC5. The output of ICS svings. from +7°to “16 volts whenever the input goes above +4.8 volts. Q5 and Q6 comprise a monostable multivibrator that produces a, pulse of approximately 20 milliseconds duration (Fig. 1). When the output of IC5 swings positive, a positive spike is fed through C7 and CR7 to the base of 96, initiating a 20 millisecond pulse. R63, R73, and R72 are proportioned so that Q7 conducts only when the output of IC5 is positive and the output of the monostable (the collector of Q5) is negative. That is, Q7 begins to conduct approximately 0 milliseconds after a key is ‘depressed, and stops conducting as soon as all keys are released. When Q7 conducts, Q8 is turned on, and the voltage at its collector goes from 0 to +9. When this happens, C13 discharges through R61, producing a ramp voltage at the base of Q4 that decreases from +9. to -0.6 in approximately 20 milliseconds (Fig. 2). “Q4 is an emitter follower that supplies a current through R62 and Q3 to turn on IC10. IC10 and Q51 and associated circuitry comprise a satple-hold circuit. When the current ramp is fed to pin 5 of ICi0, the voltage at the source of Q51 rapidly approaches that at the output of IC4. As soon as the base of 04 drops below 0:8 volts, the bias current being fed to IC10 through Q3 drops to zero, and the voltage at the source of Q51 remains constant. As long as the output of IC5 remains positive (that is, as tong ‘as any key is depressed,) a very small trickle bias current of approximately 50 nanoamperes flows through R59 so that ICl0 is capable of supplying a small current to C5 to keep its voltage constant. As soon as all keys are released, the output of IC5 goes negative and ICl0 is virtually completely shut off. ‘Thus, when only one key at a time is depressed, the voltage at the source of Q51 begins to approach the new key voltage approximately 10 milliseconds after the key is depressed, and is brought to. 3 be equal to the new key voltage well before the ramp current turning IC10 goes to zero. As long as a key is depressed, the correct voltage at the source of 051 is maintained by the small trickle current going through R59. When the key is released, the trigger output at the collector of Q8 drops to zero, and thesample-h 14 circuit no longer samples the keyboard voltage. me 30 millisecond delay supplied by Q5 and Q6 is necessary to bypass _ wkhe effect of contact bounce during key depressicn. + Ic6 becomes important when two keys are depressed. Any abrupt change in voltage at the output of IC4 is fed through R56 6% and c10 to the input of IC6. Cll filters out spikes shorter than } millisecond or so that are associated with contact bounce or spurious interference. The resulting rounced pulse is amplified by 1¢6 (fig. 3), lihen the output of ICG gces positive, CR9 con- ducts and also fires 06. Therefore, a 90 millisecond positive going pulse is produced at the collector of Q5 whenever the key- board buss voltage changes. ihile this’ 70 millisecond pulse is on, the trigger voltage at the collector of 98 goes to zero. This recharges C13 and also resets the contour generators which will be described latex. Thus, when a key is held down and a higher key is depressed, the sample-hold circuit again samples and the trigger is rest. The same happens when that higher key is release¢.. However, if the higher key is held and the lower key is released, nothing will happen since the keyboard buss voltage remains constant. When all keys are released, CR9 conducts ard a {0 millisecond pulse appears at the collector of Q5. However, the output of IC5 coes negative, so that when the collector of Q5 again goes negative, Q@ is not reset. Ic3 is a voltage follower. Its output is the voltage of the last key to be depressed. The variable resistor that controls the glide rate is connected between A7 and A24. The time constant of this resistor and C4 determines the glide rate. IC9 and Q2-are another voltage follower. The difference between this voltage follower and IC3 is only in the amount of input current required. IC9 is biased at a low current level so that input “eurrent does not result in a pitch error when the glide rate potentionster is at its maximum resistance. The voltage at the emitter Q2 is the voltage which determines the pitch of the audio oscillator. It is also fed to the filters and contour generators so that as the keyboard voltage goes up the filter frequency also goes up and the contour time constants decrease. IC8 is an overational adder. It adds the pitch, the. one- octave transpose voltage, a tuning voltage from the fine tuning potentioneter on the rear panel, a modulating voltage, and the voltage 2rom the external accessory socket. R14 is a temperature- compensating feed-back resistor. The summation constant increases with a temperature coefficient of approximately 3400 parts per “million. ‘he relationship between R14 and the input resistors is such that the output of IC8 decreases approximately 20 milli- volts for each, octave increase in frequency. “he audio sawtooth waveform is generated by charging C38 from one of the transistors in IC11, then rapidly discharging it through (45. The current which charges C38 is determined by the voltage difference between pins 2 and 4 of ICll. The ratio of currer.ts through these two transistors in ICll is proportionalto she voltage difference between their bases. The current from pin 1 of ICll id kept constant via a feedback network. The voltage at pin 1 is compared with the voltage at the junction of R28 and a R29. Any voltage difference generates an error signal which changes the total current to the transistor pair in ICll. When ‘two octave" switch is WY) R30 conducts and Q49 is saturated. effectively places the series combination of R20 and R21 in varallel with R19. The voltage at pin 1 of ICJl is then deti:xi ined by the curreat which flows through the parallel ., res .si.ors R19 and R20-21. When the “two octave" switch is~tb, R30 does not conduct, 049 is open, and R20-21 are out of the circuit. Thus the current from pin 1 of ICll is one quarter as iach when (}49 is open as it is when it is saturated and, for the same voltage difference between.the bases, the current from pin 5 is also one quarter as much. : whe lower end of C38 is applied to low-current voltage fol .over IC12-046. ‘The voltage at the’ emitter of 046 is fed to Schiitt trigger 043-44. The Schmitt trigger has hich hysteresis. Whe:i the voltage descends to the point wheze the Schmitt trigger fires, 045 is turned on and C38 is rapidly discharged. The Schriit trigger begins to shut off when the discharge is about 2/3 complete. Because of the stcrage time of Q44 and Q45, C38 is fully discharged before Q45 is completely off. The sawtooth wave developed at the emitter of 046 (Fig. 4) is «wpplied through R41 to the base of Q47 and throuch R43 to the col.ector of 048. Q47 is a high gain amplifier. The width of the rectangular wave that appears at its coliector depends on *the bias current supplied through R45 from the output of ICl3. The ccntrol current which is fed to the input of C13 from the res stor matrix determines the output voltage of IC13. thon the control current is zero, 047 remains saturated throughout the entire sawtooth cycle. Q48 also remains shut off, and the volzace across R120 is the undistorted sawtooth. As the con:rol current increases, the voltage at the output of IC13 goes'regative. When'it is about -1 volt, the current through R113 is enough to completely saturate 048 and effectively short out the saytooth waves. When it is about -3 volts, 047 begins to corduct on part of the sawtooth cycle and a narrow rectangular waveform appears at its collector. When the voltage at the out- * put of IC13 is about -9 volts, the clipping of 047 is symmetrical and a squaxe wave appears at its collector. Thus, the vaveform at the junction of R119 and R120 is first a sawtooth when the conurol current into IC13 is zero, then changes to a narrow rectangular, then to a broad rectangular, and finally to a square wave as the control current is increased. ‘his waveform is fed to the bandpass filter. The bandpass filter consists of IC15, IC16, and IC17, and their associated components. The input signal is fed to IC15 and IC’S6. IC16 and IC17 are identical integrators which are effict/vely connected in series. If it were not for IC15, the integrator network would produce two poles which would be niar to the imaginary axis. The presence of IC15 moves there poles to the left. Thus, the gains of IC16 and IC17 determine the center frequency of the filter, and the gain of{C15 determin2s the bandvidth (Q). “These gains are set by the - jbias currents which are fed from transistor paixs 039-40 and (937-32 resocczively. ‘These transistor pairs amy be compared directly to tae transistor pair in IC11 which determines the frequency of oscillation. The main difference is that relatively coastant currents are fed to these transistor pairs throuch R133 and R129. A precise, wide range relationship between outout current and base-to-base voltage is not required of these transistor pairs. COnly reasonable repeatability and the rough 2pproximation of exponential characteristics are needed. idth is determined by the voltage difference Q37 and Q3. The voltage at the base of the bandwidth control currents flowing through 18.5 mv doubles the bandwidth. There are two sources of Ba: idth control current: Row #8 of the resistor matrix, and the EMPHASIS potentiometer voltage applied to R121. The Center Frequency is determined by the voltage Gifference setween the bases of Q39 and 040. ‘The voltage at the base of Q40 is the result of the center frequency control currents flowing through R134. An increase of 18.5 mv doubles the certer frequency.. These currents come from Row $7 of the resistor matrix, the COLOR potentiometer voltage applied to F193, the 3X’ L jack voltage applied to R184, the modulation voltage applied to R181, the filter contour voltage applied to R116, and the keyboard pitch voltage applied through R179 and R180. The current from row #4 of the resistor matrix determines shether or not Q25 conducts. When 025 conducts, it is satura and shorts out the keyboard voltage which is routed to control the center frequency. . “The bandy between the ba: Q37 is the rest R128. an increase o: R130 and R132 are offset adjustments for setting correct’ values of bandwidth and center frequency respectively. They compensate for transistor offset voltages, resistor variations, and gain variations of IC15, IC16, and IC17. The output of the bandpass filter is taken from the source of.Q41 and applied across the bases of the bottom transistor pair of IC19. This transistor pair and the two immediately above it consitute a low pass filter whose cutoff frequency is proporsional to the standing current. This current is in turn determined by the voltage difference between pin 13 of IC19 and the base of Q33. The voltage at the base of 033 is the result of cutoff frequency currents flowing through R151. These currents come from row #9 of the resistor matrix, the COLOR * potentio: r voltage applied to R186, the EXTERNAL jack voltage applied to R185, the modulation voltage applied to R187, and the filter contour voltage applied through R117. The setting of R139 Getermines the calibration current through R140. An increase of approx mately 18.5 millivolts at the base of Q33 results in a one octave increase in the cutoff frequency of the low pass filter. :The transistor pair to the right of the low pass filter contrcls tie amplitude of the audio waveform by variable trans- onductanc2, The current which determines this transconductance is in turr determined by the voltage of pin 12 of 1C20, and the resistance between pin 13 and ground. The voltage applied to “pin 12 is che amplitude contour voltage, and the resistor. from’ B19 to. grcind is the 100k volume control potentiometer. 122 is a differer:ial amplifier, the output of which is the final audio wave form. Of the two contour generators, the amplitude contour generator is the simplest, so it will be described first. This contotr geierator consists of 035, Q36, IC18, transistor pairs 026-27 ané 028-29, 030, 031, and the associated circuitry. then the trigge- voltage goes on, 035 partially discharges C25 so that the eaitter of 935 remains at 5 volts or so. If Q36 is «saturated, 934 does not go on at all. Row #3 in the resistor matrix det :rmines whether or not Q36 is turned on. If 034 is not turned on, the C25 is free to charge again through 026. The charging carrent from 026 is determined by the voltage control which the current from the resistor matrix develop across R189. Thus, the soltage at the emitter of 935 is a decaying curve if 936 is on, and a step followéad by a decaying curve if'936 is off. The rise time of the voltage at the emitter of 035 is determined only by th» ability of Q35 to discharge C25. Typically, this xise time is less then 1 millisecond. The decay time of the amplitude sontour is determined by the voltage difference between th> bases of Q26 and 027. ‘The voltage across R189 results from the aaplitude contour decay time control currents coming fron rov #2 of the resistor matrix, the keyboard voltage appiicd .to R199, and the shaping current from R169 and R171 (described ‘below). 190 corrects for transistor offsets and other normal’ component variations. A voltage increase of 18.5 mv at the base of 925 cuts the decay time in half. IC18 and 932 comprise a voltage follower whose slew rate is propora-:ional to the bias current of IC18. The bias current .comes from the collector of Q28 and is determined by the voltage difference between the bases of Q22 and 929. ‘Thus, since, the decay time of an envelope is generally longer than the attack time, the soltage appearing at the source of Q32 has an attack time inversely proportional to the collector current of 026. The contrioutions to attack time control are similar to those Of decay time control. The quick-set current comes from row #1 of the resistor matrix. : ; : Sinc: 926 is a nearly ideal current source, the decay slope at the sou:ce of Q32 would be a straight line, were it not for the action of Q30. At the beginning of the decay slope, the voltage at the base of Q30 is more positive than the emitter, and 930 do2s not conduct. When the base of Q30 goes below -0.6 volts, Q30 acts as an emitter follower. The current through R169 slows down the decay slope. The more negative the base of 930 goes, che higher is its control current, and the more the decay slop> yces down. This gives the decay slope an extended tail and tterefore sounds like a more natural exponential decay. When the voltage at B21 is +9, Q31 is saturated and there is very li:tle current flowing through R171. When the voltageat B21 is zero, R31-is open and current flows through R170-171 «ko greatly speed up the decay slope. The “sustain" switch connects B21 to +9 when it is down, and connects it to the trigger line when it is up. As a result, the tone is rapidly squelchea when the “sustain" tab is up and the keys are released. As noted above, the keyboard pitch voltage controls both attack end decay times through R199 and R198 respectively. ‘These times change by a factor of approximately 2.5 over the complete keyboaré range. The filter contour generator contains most of the features of the amplitude contour generator. Q15 of the filter contour generator corresponds to 935 of the amplitude contour gencrator, Q13 to Q34, and Q12 to Q36. An additional feature of the contour-initiating circuitry is the coupling in of trigger pulses -firom the modulating oscillator through R36 and.R90 to produce * repeated filter contours (Fig. 5). The “filter contour choice" - gontrol current that comes from the matrix row #11 through R88 and R91 determines whether the filter contour will rise and then immediately fall, or fall only upon release of all keys. Q9-10 of the filter contour generator corresponds to 026-27 of the amplitude contour ganerator. The current from Q10 determines the @ecay time of the contour. Similarly, IC14 corresponds to ¥C18, Q18-19 correszonds to 928-29, and Q16 correxponds to 030. R95 and RLO1 couple the keyboard voltage to the attack and . decay contzol circuits. Finally, the voltag_ applied to B18 from the contour potentiometer simultaneously varies the attack and decay iimes of the filter contour. Q22 and Q23 are routing switches; only one is on at a time. he "filter contour routing" control current from matrix row #5 determines whether Q17 is “open or saturated. .If Q17 is open, then Q21 is also open, and Q24 is saturated. ‘Thus, 022 is biased on and Q23 is biased off, and the contour is routed to the low pass filter. On the other hand, if Q17 is saturated, Q23 is biased on and the contour is routed to che center frequency control input of the bandpass filter. DESCRIPTION OF CIRCUITRY ON SMALL BOARD The aw power supply and modulating oscillator are mounted on the smaller cixcuit board, along with the seven slide potentioneers. Refer to drawing 08-004 for the schematic of this board. ‘he rev supply is completely conventional. ‘the nominal toal load drawn from each of the raw voltages is 45 milliamperes.’ The modulating oscillator consists of ICl, IC2, and associated components. iC2 is an integrater and IC] is a ‘Schmitt trigger, Tne waverform at the output of IC? is triangular and: the waveform at the output of ICl is square. ‘The output of ICl is used to drive Q1 in and out’ of saturation. Thus, the voltage at the square wave output (pin 12) is a square wave with a peak amplitude of precisely -9 volts. ‘The trigger output <(pin 10) is a positive pulse which occurs when the square wave * switches from negative to positive. The current which supplies the integzrater, and therefore the oscillator frequency, is varied by means of R10. The frequency range is 1-50 Hz.Satellite Test and 3 Page Nine Calibrating Procedure : Revision A 5/14/74 Unless otherwise noted, controls and switches on the outside of the Satellite should be set in the following "normal" positions for testing: conrouR 0 COLOR ° EMPHASIS 0 RATE 0 DEPTH 10 GLIDE 0 VOLUNE 20 FINE TUNE Mid-Position EFFECTS TABS All up QUICKSET TABS All up 1. “Adjust R4 until the +9 volt line is exactly 9.000 volts +10 mv, Verify that the -9 volts line is -9.000 volts Z 200 mv. 2.. Depress highest note on keyboard. Observe the voltage between AG (common lead) and AS (positive lead), Adjust R79 until voltage reads +9.000 volts +10 mv. This sets the keyboard current. 3. Verify that the trigger voltage at the collector of Q8 is as shown in Fig. 6 when a single key is depressed. ilold that keydown and depress the next highest key and verify that a trigger occurs. 4, Verify that the keyboard pitch voltage at the emittor of Q goes frou -4.50 volts to +4.50 volts +50 my as the tester runs his hand up the Keyboard, Also Verify thet this voltage holds while and after the key is roleased and does not drift more than 25 my per minute. +5. Depress "one octave" tab and the A above middle G on the keyboard. Observe a sawtooth wave as shown in Fig, 7 at the emitter of Qi6. Adjust tune control to approximately the + middle range.’ Adjust R16 for approximately 440 Hz. Depress the C above middle G and adjust its frequency by means of the fine tuning control to some convenient value, say S00 Hz. Now play the lowest C on the Keyboard and adjust R17 for pre- ciscly 125 liz. Repeat until a precise two octave step results between these two C's. This scts the overall interval spacing. 7. Depress the lowest C. Observe that the frequency is precisely 125 Iz. Raise the “one octave" tab, and adjust R10 for pre- - cisely 250 liz. This sets the one octave step.OT fay VoL Neo 8. sthe "hollow" tab, Adjust R47 for a symnetr: Raise all tabs. Depress the highest key on the keyboard. Set the VOLUME slider all the way up. Adjust R159 until the De ge Ten Revision A 5/14/74 Depress the “two octave" tab, Play middle "F" on the keyboard, Now flip the "two octave" tab up and adjust R21 for an oscil- lator frequency change of precisely two octaves. This sets the two octave step, 175- 79% With al] tabs up, depress the highest € and adjust the fine tune control for 2000 Hz. Play the lowest C. Adjust R25 for 250 liz. Continue to go back and forth from the lowest C to the highest C until a perfect three octaves is obtained. This sets the high frequency compensation. Repeat steps 6-9 until unit is in tune. yr Put the modulation waveform selector tab/on square and the vibrato tab down, Put the MODULATION 48BFH slider in its maximum position, Adjust R1 for a perfect octave jump. Vv Observe the waveform at the junction of R119 and R120. Depress al square wave. This sets the waveform calibration. Depress the “one octave" tab and depress the, second C froa the bottom. Depress the "mute" tab. Observe the filter contour at the source of Q20 when the key is depressed. Adjust R98 and R105 until the filter contour matches the pattern shown in Fig. 9. This sets the filter contour attack and decay. Observe the voltage at the junction of R166 and R165. With the "mute" tab still down, depress the second C from the bottom, adjust R174 so that the attack time matches that ¥ shown in Fig. 10, This sets the auplitude contour attack.“ Lift the "mute" tab and depress the "strike" tab. Depress the second C from the bottom. Adjust 190 for the decay tine shown in Fig. 11, his sets the amplitude contour decay time. Lift the "strike"! tab and depress the “hollow" tab, Observe the waveform at the source of Qil. Depress the “one octave" tab and depress the second C from the bottom of the keyboard. Adjust R150 and R152 to obtain the waveform shown in Fig. 8. This sets the bandwidth and center frequency calibration, waveform at the output of IC22 is two volts peak-to-peak. Short the junction of R149 and C30 to ground. Set the volume slider at maximum, hit and release a key and adjust R160 until minimun click or thump is heard,Satellite Test and Page Eleven * Calibrating Procedure Revision A 5/14/74 19. Depress "bell" and "rep" tabs. Depress key and verify that 21. 22. 23. 24, the bell sound repeats. Lift "rep" tab and depress "sust" tab. Hit and release a key and verify that bell decays slowly after the key is released. Lift "rep" and "bell" tabs and depress "glide" tab. Verify that keyboard voltage glides between any two notes and verify that GLIDE slider varies glide rate. Observe the voltage.at A21. Using "tune" control set this voltage to 0 volts + 100 mv. Depress "one octave" tab and A above middle G on the keyboard. Observe a sawtooth wave at omitter of Q46. Adjust R16 for precisely 440 liz. Cinch-Jones Six Pin Connector Test. a. Verify that the voltage between Pin 1 § 2 is +9.000 +20 mv. b. Verify that the voltage between Pin 3 § 2 is 9,000 +200 mv, c, Depress the "one octave" tab, depress low C on the keyboard, and adjust "tune" control for 125 Hz. Apply #900 volts to Pin 4 and verify that the oscillator frequency is now 500 Hz +50 Hz. d. Raise all tabs and depress the lowest key on keyboard. Observe output of IC22. Apply +3 volts to Pin 5. Waveform should read .8 volts pp. approximately, This tests the external control of lowpass filter. e. Depress "bright" tab and second C from the bottom of keyboard. Observe waveform at source of Q41. Apply -3 volts to Pin 5, Waveform should compare to waveform in Fig. 12. This tests the external control of the bandpass filter. f, Raise all tabs. Momontarily apply +9.00 volts to Pin 6. Verify that a trigger occurs when the voltage is applicd. Depress "bright" tab and any key on keyboard. Apply -3 volts to Filter Control Jack. Verify that the harmonic content of output waveform decreases, This determines whether Filter Control Jack wiring is correct,datei1ite test and ; vage iweive Calibrating Procedure Revision A 5/14/74 25. Turn "volume" and "level" pots to maximum. ‘Depress highest Key on keyboard. Iigh and low outputs should read -10 and =20 dB 42 respectively. Check "level" control for correct operation, 26. Double check all "tabs", controls, and keyboard for correct operation.FIG, 8 SOURSE OF O41 LOLI" TAD DOT, STAVE" TAB DOW, "yn OF 262 ia, Ja GO-70 —o| WseG SEPM KEY pown oe “ETE” EPRESSED , CTAVE" PARS DEP: passa a : Sane FREQUENCY OF 262 Ku. bersee— lem I. 21s Hoy ‘a KEY ‘ Down FIG. i. JUNCTION, OF R165 and R166 FIG. 12, source or ok WITH WEIN "STRIKE" and" ONE OCTAVE" TABS — "DRIGHT" TAB DEPRESSED, -3 VOLTS DEPRESS} QUENCY OF 262 Hz, OW E: FIL. , FREQ. OF 52412.FIG, 1. COLLECTOR OF Q5 LSanS =} ie —2.2V ov FIG. 3. PIN #6 OF ICG 25 MS: 20 ms —es KEY Down 2. BASE OF 4 420V— < te L2.6V Fi FIG. 4, EMLITER OF Q46 “yy —tsy Ov FIG, 5, JUNCTION OF R86 AND R90 ao ams. —| av ov |s*——— KEY own, Key UP FIG, 6. collector of Q81. 4. SYMPTOMS No regulated +9 volts Regulated +9 volts not ad- justable. Excessive ripple on +9 volts No regulated -9 volts SATELLITE PROBABLE CAUSE No raw DC Load exceeds 50 ma Bad regulator Bad regulator Load exceeds 50ma Raw DC low Excessive ripple on raw DC Bad regulator No reference No raw DC Load exceeds 50ma CORRECTION Plug and line cord Power Switch Transforrer Tl open Diodes D1 ~ D4 open Filter Caps shortened Measure resistance of +9 volts to ground nominal value 900 ohms Check R2 & C3 Replace ICl Replace IC] Check R3, R4, R5 Measure resistance of +9 volts to ground nominal value 900 ohms Check R2 & C3 Transformer T1 Diodes Dl ~ D4 Filter Cap Filter Caps Diodes Dl - D4 Transformer T1 Replace IC1 Check ¢3 Check +9 volts Transformer T1 Diodes Dl - D4 Filter caps Measure resistance of -9 volts to ground nominal value 1000 ohms Check C2Regulated -9 volts out of tolerance Exces$ive Ripple on -9 volts No keyboard vol- tage Keyboard voltage not adjustable No trig signal PROBABLE CAUSE Bad regulator Bad regulator Load exceeds 50ma Raw DC low Excessive ripple on raw DC Bad Regulator Keyboard shorted Ground on keyboard string Keyboard resistor string open Bad current source No keyboard voltage CORRECTION Replace I¢2 Replace Ql Check R8, R6, R7 Replace IC2 Replace Q1 Check R@, R6, R7 Measure resistance of -9 volts to ground nominal value 1000 ohm. Check C2. Transformer T1 Diodes Dl - D4 Filter caps Filter caps Diodes Transformer Replace IC2 Replace Q2 Check C2 Remove short Remove short to ground Replace bad resistor Fix open Replace IC7 Check R80, R79, R81, R82 Check keyboard current source Check keyboard buss connection Replace IC4 Check R53lo. il. 12s 13. SYMPTOMS No 10 milli-~ second delay No higher note trigger No pitch voltage change Pitch Voltage goes backwards PROBABLE CAUSE Key down comparator not switching (£C5) One shot not firing DC gate not working One shot time not right "AC keydown detector One shot or DC gate Sample # hold circuit not sampling Open glide circuit Defective isola- tion amplifier Keyboard ____ CORRECTION Check input of IC5 for change Check R65, R67 Replace IC5 Replace 06, 07 Check C7, C6. CR7. CR9, CRLO Check R68, R69, R70, R71 Replace 07, 08 Check CR8, C12, R73, R72 R83, R71 Replace C6 Replace 05 06 Check R71, R69, R70 Replace IC6 Check CR9, CR1O Check R66, C10. Cll, R76 R74, R75, C8. C9, R192, R17, R78 See No Trig section Check at A7 Check CR1, R61, C13 Replace 050, 04 Check R62 Replace 03 Check R6¢, R58, R59 Replace IC10, 051 Check C5. R54. C37. R57, R55, R56, R6O Replace Ic3 Check Glide switch Check Glide pot Replace IC9, Q2 Check C4, R52, R49, R50 €36, R51 Check for ground on keyboards Check keyboard current source14. 15. 16. 17; 18. 19. 20. 21. 22. SYMPTOMS Pitch Voltage drifts osc not running Sawtooth, not to spec. High frequency OSC on sawtooth OSC running very high frequency Osc. running out of frequency ad- justment range Osc. has severe f freq. drift problems Scale will not adjust One octave tab will not set up PROBABLE CAUSE Sample & Hold Current source Relaxation OSC Isolation amp or Schmitt trig Isolation Amp Current source Summing amp Summing. amp Wiring Summing amp CORRECTION 1, Replace 951, IC10, C5 2. Replace 93 3. Check trig circuits 1. Replace ICll, Ic21 2. Check R19, R28 3. Replace IC8 4/ Check R17, R18, R16, R14 5. Check R13, R12, R11, R93, Rae R4B, R24, R25 6. Check pin 6 IC8 fér OV DC £100 mv 1. Replace C38, 945, IC12, 046, 043, 044 2. Check R31, R38. R39. R37, R40, R36, R33, R34, R35, C17 1. Replace IC12,7046, Q43, 044 2. Check R37. R36, RAQ, R35, R34 B. Check R39, R31, 045, R41, R43 1. Replace C17, ICl2, 046, R35 2. Check R36, R41, R43 1. Replace ICl1, R14 2. Sce ose not running section 1. Check R16, R14, R17, R18, R12, R48, R11, R9, R10, C 38 2. Check tune control 3. See osc. not running section 1. Check power supply 2. Check keyboard voltage 3. Check other control inputs 4. See osc. not running section 1. Check R17, R18, R14, R48 2. See 19 1. Check one octave switch 1. Check R9, R10 2. Check keyboard voltage See 2123. 24, 25. 26, 27, 28. 29. Two octave tab will not set up High Freq. Comp. will not set up Modulation ¢epth will not sot up wave form will not set up No filter con- tour signal Filter decay does not sct up Filter attack does not set up PROBABLE CAUSE Wiring Exponential current source Summing anp Summing amp Wiring Wave’ form selector Filter contour Filter contour de- cay current source Filter contour attack current source CORRECTION Check two octave switch Replace Icli, 04% Check R20, R21, R22, R23 See 15 Chock R25, R24 Replace ICLL See 19 Check R12, Ri See 19 Check Vib tab Check mod depth pot Check sine-scuare tab Check mod ose Replace IC13. 947, 048 Check R46. R47, R45, R118, R41, B42, RAZ, RAG, R11, R120 Check matrix Check trig Replace 915, Q13. 99, 10, Icl4. O14, 020 O19, 018 Check C15, Cl4, CR5, R84, R85. CR3 Check R24. R96. ROT, P1C6, R104, R103, O16, R102 Check matrix Replace 99 010. 015, 916, 013, 912. O11, O14 Check kevhoard voltage Check R94, P96. R97, P12 R9B, ROS. PIE RIO Check one octave tab Check mute tab Check matrix See 29 Replace 918, 919, Ic14, 020, C16 Check R106, R104, R103 R105. R1C7, R108, R101, R100 Check contour pot Check keyhoard voltage Check one octave tah Check mute tab Check matrix30. 31. 32. 33. 34, SYMPTOMS No VCA contour VCR attack does not set up vcA decay does not set up No signal out c# hey of Band pass filter Bandpass filter will not set up PROBABLE CAUS: VCA contour 1. 2. CORRECTION Cheek trig Replace 935, 034, 026, 27, 28, 929, 1018. 032, 930, °31, Check C24, CR6, R135, P136 C25, R175, R189, siis, R177, VCA contour decay current source VCR contour decay current source Band pass filter Bandwidth adjust- ment Center freq. adj. a 35. R165, P166. RIG7, FICE Check R188, R190. R173, R174, RSS, R198 Replace IC20 Check one octave tab Check keyboard voltage Check mute tab Chock matrix Replace 928, 29, IC18, 932 Check R176, 8177. R173, R174, PI67, F168. R198, C35 Check keyboard voltage Check one octave tab Check mute tab Check matrix See 32 Replace 926, 927, 931, 035, 934, IC18, 936, 930 Check R175, R189 R1se, RISC, R199, R172. R170, P171, R16o, R168. R167, C25 Check keyboard voltage Check one octave tab Check strike tab Check matrix Check center fzeq. adj. Check band with adj. Replace C15, IC16, IC17, O41, 042 Check R122, R124, C20, C23, R142, R148, C26, C27, F141, R147 Replace 037. 938, IC15 Check R128, n129, R130, R131 R121, R191 Check emphasis pot Cheek R122, R123. R125, C23, C21, R126, F143 Check osc. freq. Replace 039, 040, IC16, IC17, 041, 042 Check R134, R133, R132, R131, R141, 7147 Check matrix35. 36. a7. 39. PROMDBLE CRUST No signal on . Low pass filter output of VCA VCA Low pass filter Ly fot sas. on towpass filter VCA VCA will not \:".° WCA balance Repeat will not '. .Méd osc finction Sustain will not f:VCAioontour gencrator funétion input from R116 1 & color pot Cheek trom. input Check osc, frac. Replace Ic19 1¢20, 023 Che filter contour output Check colot pot @ oxt. fil Chock P149, C30, M1lE4, P150 P152, R151, P13e, P14n Check matrix Check R158 P157, R156, 7155, R154,P153, C39, C40,C31 Check trem insut Check osc. fred. Replace I¢20. 1022, Check VCA contour output Check vol pot Check R164, C32, P60, n159 P61, F162, R163 Replace IC19, C20, 033 Check matrix Check VCF contour output See 35 Peplace IC20, I¢22 Check vol not Check VCA contour output See 35 Replace IC20, 1¢22, Ic19 Check F160, F159, R161, RIG3 R162, 164 Check vol pot See 35 & 36 Replace 912, 013 Check mod ose reneat tric out Cheel: rep tab Check filt contour See 33 Replace 931 Chock R172, 7170, P171 Check Sustain tab See 30SYMPTONS _ PROBABLE CAUSE CORRECTION 40. Glide does not Keyboard circuit 1. Check §lide switch funttion 2. Check £lide pot 3. Replace cf 4. See 12 41. Tune pot docs not Summing amp 1. Replace tune pot function 2. Check 3. Check one octave tab 4. Check keyboard voltage 5. fee 19 42. Accessory jack Wiring 1. Cheek connector wirina does not work 2. Check hoard connections 3. See areas rertainine to function Bailine + Check adjustments + Check ta: 43. One woice does not 'Natrix 2 3 Replace matrix 4 1 sound richt 44. More than one Adjustments + Check adjustments voice docs not sound right Matrix + Find voices with errors and look for cormon cause example VCF contour routing control 2. Check control point 3. Check tabs 4, Replace matrix 5. Check modifier controls 45. Some voices have Low pass filter 1. See 35 low volume 2. Check matrix 3. See 44 vca 1. See 35 2. Check matrix 3. See 44 Band pass filter 1. Sce 33 2. Check matrix 3. See 44 Filter contour 1. Check vcF contour routine circuit 022, 923, CR1l, CR12, 021, 022, O17 Check matrix Sea 44 See 27 VCA contour See 30 Check matrix See 44 HONE sun 46. Double triggering Keyboard Adjust keyboard contacts