Arp Pro soloist 2701 User manual

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PRO

SOLOIST

MODEL

2701

PRO/DGX

MODEL

2720

SERVICE

MANUAL

TABLE

OF

CONTENTS

1.

Introduction.2

2.

Theory

of

Operation.

.2

3.

General

Information.3

4.

Trouble

Shooting

Procedure.3

5.

Tuning

and

Calibrations.4

6.

Circuit

Descriptions.5

7.

R.O.M.

Truth

Tables.8

8.

Voice

Flow

Charts.10

9.

Interconnection

Diagram.40

10.

Block

Diagrams,

Board

A,

C

&

E.

41-43

11.

Schematics

&

Layouts,

Boards

A,

B,

C,

D,

E,

F,

&

G.44

-61

12.

Parts

List.’.62

THE

INFORMATION

CONTAINED

HEREIN

IS

CONFIDENTIAL

AND

PROPRIETARY

TO

ARP

INSTRUMENTS,

INC.

IT

IS

DISCLOSED

TO

YOU

SOLELY

FOR

PURPOSES

OF

INSTRUCTION

AS

TO

OPERATION

OF

THE

EQUIPMENT

AND

MAINTENANCE

AS

APPROPRIATE.

IT

IS

NOT

TO

BE

USED

BY

YOU

FOR

ANY

OTHER

PURPOSE.

NOR

IS

IT

TO

BE

DISCLOSED

TO

OTHERS

WITHOUT

THE

EXPRESS

PERMISSION

OF

ARP

INSTRUMENTS,

INC.

ARP

INSTRUMENTS,

INC.

45

Hartwell

Avenue

Lexington,

MA

02173

(617)

861-6000

Document

No.

9001801

(c)

March,

1976,

by

ARP

Instruments,

Inc.

3rd

Printing

(updated)

March,

1977

1.

Introduction

CONTROLS:

Included

in

.this

service

manual

are

troubleshooting

references

which

if

used

properly

can

greatly

reduce

the

repair

time

of

the

Pro

Soloist.

Section

2

covers

the

signal

flow

through

the

Pro

Soloist.

Section

3

describes

design

techniques

unique

to

the

product.

Section

4

describes

'where

to

start'

when

a

problem

occurs.

The

circuit

descriptions

in

section

5

should

be

consulted

once

a

faulty

circuit

has

been

identified

by

the

use

of

the

R.O.M.

truth

tables

and

Voice

Flow

charts

in

sections

7

and

8.

Portamento-

Enables

the

pitch

to

slide

from

note

to

note.

Portamento

SpeecZ-Regulates

the

time

required

to

slide

from

note

to

note.

Touch

Sensitivity—

Controls

the

over

all

amount

of

keyboard

touch

sensor

effects.

VOICES

AND

EFFECTS

Bassoon

Buzz

Bassoon

English

Horn

Sax

Oboe

Space

Reed

Clarinet

Telstar

Flute

Song

Whistle

Tuba

Noze

Trombone

Pulsar

French

Horn

Comic

Wow

Trumpet

Mute

Trumpet

Cello

Steel

Guitar

Violin

Harpsichord

Bass

Space

Bass

Piano

Steel

Drum

Banjo

Country

Guitar

Fuzz

Guitar

1

Fuzz

Guitar

II

Brilliance-

Permits

the

addition

or

subtraction

of

brilliance.

Volume-

Regulates

the

over

all

volume

of

the

instrument.

Repeat-

Creates

the

rapid

pick

strokes

of

string

instruments.

Vibrato/Repeat

Speed-

Controls

the

vibrato

speed

and

repeat

rate.

Octave

Transpose

Switch-

Transposes

the

instrument

up

and

down

one

octave.

2.

Theory

of

Operation

The

Pro

Soloist

is

a

hybrid

of

digital

and

analog

cir¬

cuits.

The

internal

flow

of

the

audio

signals

is,

in

most

respects,

quite

similar

to

any

of

our

other

synthesizers.

That

is,

a

raw

signal

(pulse

or

sawtooth

wave)

is

processed

through

a

voltage

controlled

filter

and

a

voltage

controlled

amplifier

to

the

output

of

the

instrument.

Two

envelope

generators

(ADSR

and

AR)

are

available

to

control

the

VCF

and

VCA

to

determine

the

attack

and

decay

characteristics

of

the

instrument.

In

addition

to

the

voltage

controlled

filter,

there

are

fixed

band

pass

filters

which

shape

the

raw

waveforms

for

particular

voices.

In

variable

synthesizers,

such

as

the

ARP

Odyssey

or

the

ARP

2600,

the

signal

paths,

oscillator

waveforms

and

filter

characteristics

are

adjusted

manually,

In

the

Pro

Soloist,

each

of

these

settings

are

programmed

by

a

digital

memory.

(Read

Only

Memory,

or

R.O.M.).

Referring

to

the

block

diagram.

Board

A

is

the

Waveform

Generator

board.

A

sawtooth

wave

and

a

pulse

wave

are

suppliedlat

the

correct

pitch)

to

Board

C.

the

Filter

board.

Board

C

contains

the

voltage

controlled

filter

(VCF),

the

voltage

controlled

ampli¬

fier

(VCA),

and

14

fixed

filters.

The

signal

paths

through

board

C

are

determined

by

the

R.O.M.

out¬

puts

which

select

one

of

several

paths

through

the

different

filters.

Board

B

provides

the

ADSR

or

AR

output

to

the

VCF

and/or

the

VCA

(again

determined

by

the

R.O.M.s).

Board

E

(keyboard

electronics)

sends

a

6

bit

(6

line)

code

to

board

A

to

control

the

pitch

of

the

oscillator.

Board

E

also

supplies

the

envelope

generators

on

board

B

with

a

gate

and

trigger.

Board

F,

the

Voice

Selection

board,

generates

a

5

bit

code

which

addresses

all

of

the

R.O.M.s

(eight

total)

which

in

turn

program

the

signal

paths

and

filter

settings.

The

Special

Effects

board

(D)

generates

the

touch

sensor

effects:

vibrato,

growl,

wow,

volume,

brilliance

and

pitch

bend.

PRO

SOLOIST

BLOCK

DIAGRAM

3.

General

Information

The

digital

circuits

in

the

Pro

Soloist

employ

'open

collector'

TTL

devices.

This

means

that

a

logic

1

is

an

open

circuit,

and

a

logic

0

is

ground.

The

voltage

level

on

the

output

of

this

type

of

gate

does

not

necessarily

relate

to

the

logic

level.

Illustrated

below

are

two

uses

for

the

open

collector

type

gates

which

will

be

found

in

the

Pro

Soloist.

It

is

necessary

in

some

circuits

to

add

(externally)

a

"pull

up"

resistor

(22K

typical)

from

the

+5

volt

power

supply

to

the

output

of

an

open

collector

type

gate

so

that

the

logic

level

can

be

identified

with

a

DVM

or

oscilloscope.

Always

verify

the

logic

state

of

these

chips

in

this

manner

before

assuming

the

device

is

defective.

4.

Trouble

Shooting

Procedure

INSTRUMENT

DEAD:

When

the

Pro

Soloist

is

to¬

tally

dead,

the

following

should

be

checked:

1.

Power

supply:

Check

the+15

volt,-15

volt

and

+5

volt

outputs.

If

the

power

supply

(board

G)

is

malfunctioning,

re¬

move

the

power

connector

from

board

C

and

connect

the

supply

to

a

dummy

load

while

trouble

shooting

(see

the

power

supply

section

for

dummy

load

values).

2.

VCA:

All

signals

in

the

Pro

Soloist

are

routed

through

the

VCA;

therefore,

the

output

of

the

VCA

should

be

checked

while

a

key

is

depressed

.

If

there

is

no

signal,

check

the

output

of

the

VCF.

If

there

is

still

no

signal,

check

the

sawtooth

and

pulse

outputs

of

board

A.

VOICES

MISSING,

INCORRECT

OR

DEAD:

When

some

of

the

voices

are

correct

and

some

incorrect,

the

defective

circuit

common

to

the

incorrect

voices

must

be

identified.

Proceed

as

follows:

1.

Check

the

voice

code

output

of

board

F:

This

code

addresses

ALL

of

the

Read

Only

Memory

chips

in

the

Pro

Soloist.

See

the

board

F

circuit

description

section

for

the

voice

code

truth

table.

CONTINUED

ON

2.

Make

a

list

of

all

the

defective

voices.

js

jn

the

suspecte

d

circuit.

Caution:

Ihe

R.O.M.

3.

Consult

the

Voice

Flow

charts

in

this

manual

is

often

falsely

accused

of

being

defective;

the

to

determine

the

circuit

which

is

common

only

failure

rate

of

the

R.O.M.s

is

actually

very

low.

to

the

voices

listed

above.

Example:

Oboe,

Electric

Bass

and

Electric

4.

Consult

the

schematics,

Voice

Flow

chart

Piano

are

dead.

Violin

and

Cello

are

not

cor-

test

points

and

the

R.O.M.

truth

tables

to

de-

reef.

Conclusion:

defective

resonator

bank

3,

termine

the

code

outputs

of

the

R.O.M.

which

board

C;

changeZ2B.

5.

Tuning

and

Calibrations

REF.

TRIMMER

TRIM

PROCEDURE

BOARD

A

R37

VCFTRACK

1.

low

C

on

the

keyboard.

2.

Monitor

TP-1

(J2-4)

with

a

digital

voltmeter.

3.

Adjust

trimmer

R37

for

exactly

zero

volts.

R29

SET

'B'

1.

low

C

on

the

keyboard.

2.

Turn

ON

the

VIOLIN

voice

switch.

3.

Put

the

vibrato

switch

DOWN.

4.

Adjust

trimmer

R24

(TUNE)

so

that

the

Pro

Soloist

is

tuned

to

low

C

on

an

organ

or

strobe

tuner.

5.

the

B1

key

on

the

keyboard.

6.

Adjust

trimmer

R29

so

that

the

output

of

the

Pro

Solist

is

tuned

to

'B'

on

the

organ

or

strobe

tuner.

R49

TOUCH

SENSITIVITY

1.

Turn

ON

the

TRUMPET

and

PITCH

BEND

switches.

2.

Put

the

TOUCH

SENSITIVITY

slider

on

the

front

panel

in

the

MIDPOSITION.

3.

Adjust

trimmer

R49

for

the

amount

of

pitch

bend

desired

by

the

customer

on

a

firm

key

depression

(usually

maximum).

R24

TUNE

1.

This

control

is

used

to

tune

the

Pro

Soloist

to

the

same

frequency

as

other

instruments

it

is

being

used

with.

It

is

adjustable

from

the

front

for

the

customer.

R20

VCF

OFFSET

(CALIBRATE)

BOARD

C

TRIM

PROCEDURE

1.

Turn

ON

the

FLUTE

voice

switch.

2.

Put

the

BRILLIANCE

slider

on

the

front

panel

MIDPOSITION.

3.

Adjust

R20

for

the

best

flute

sound

possible.

R45

VCF

CONTROL

REJECT

1.

Turn

ON

the

HARPSICHORD

voice

switch.

2.

Adjust

trimmer

R45

for

minimum

'thump'

on

key

depression

(turn

amplifier

up)

R54

VCA

CONTROL

1.

Adjust

trimmer

R45

(see

above)

2.

Turn

ON

the

HARPSICHORD

voice

switch.

3.

Adjust

trimmer

R54

for

minimum

'thump'

on

key

depression

(turn

amplifier

up)

2701

BOARD

LOCATIONS

CIRCUIT

DESCRIPTIONS

SECTION

6

6.1

Board

A

circuit

Description

The

4

bit

key

code

from

board

E

is

converted

to

an

analog

control

voltage

in

the

D

to

A

converter.

Although

the

2

bit

octave

code

is

also

fed

to

the

D

to

A

converter,

it

serves

as

a

correction

voltage;

the

octave

control

over

the

voltage

controlled

oscillator

is

in

the

Frequency

to

Voltage

converter

circuit.

The

output

of

the

D

to

A

converter

is

+5

volts

when

any

C

key

is

depressed.

When

any

C#

key

is

depressed,

the

D

to

A

output

increases

to

about

+5.3

volts.

The

highest

voltage

produced

by

the

D

to

A

converter

is

+9

volts

when

any

B

key

is

depressed.

Trimmer

R29

(set

'B'

trimmer)

sets

the

interval

between

each

key

and

is

equivalentto

the

volts

per

octave

trimmers

in

the

standard

ARP

synthesizers

except

that

it

only

affects

the

interval

between

C

and

B

on

the

keyboard

rather

than

from

low

C

to

high

C.

The

voltage

from

the

D

to

A

converter

is

fed

through

a

differential

amplifier

to

the

voltage

controlled

oscillator

circuitry,

Here

the

control

voltage

(now

-1

V/OCT)

is

supplied

to

a

linear

voltage

to

exponential

current

converter

(Q3

and

Q4).

Q4

determines

the

charging

time

on

capacitor

C7.

C7

and

Q5

are

a

uni¬

junction

oscillator

operating

at

about

seven

or

eight

octaves

higher

than

the

pitch

that

is

heard

on

the

output

of

the

Pro

Soloist.

Q6

makes

the

sawtooth

from

Q5

compatible

with

TTL

circuitry

and

supplies

it

to

the

frequency

to

voltage

converter.

Z3

and

half

of

Z1

are

divide

by

two

chips

which

are

enabled

by

the

two

bit

octave

code

from

board

E.

Depending

in

whichoctavea

key

is

being

depressed,

none,

one,

two

or

three

of

these

dividers

are

enabled

to

supply

Z22

(one

shot)

with

a

pulse

wave

which

is

either

at

the

same

frequency

as

the

oscillator,

or

one,

two

or

three

octaves

lower.

Since

the

pulse

width

on

the

output

of

the

one

shot

is

constant,

the

repetition

rate

(fre¬

quency)

of

the

pulses

is

integrated

to

provide

an

off¬

set

voltage

to

the

differential

amplifier

thus

provid¬

ing

the

octave

control

over

the

oscillator

(4

octaves).

The

output

of

the

differential

amplifier

will

have

a

large

AC

component

which

is

filtered

by

C4

and

C5

to

yield

a

DC

control

voltage

(-1

V/OCT)

on

J2-4.

The

output

of

the

voltage

controlled

oscillator

is

also

supplied

to

the

Programmable

Octave

Dividers.

Depending

on

the

voice

selected,

R.O.M.

Z15

will

in¬

struct

half

of

Z1

and

Z8

to

either

send

the

signal

through

the

circuit,

or

divide

it

either

once,

twice

or

three

times

(down

1,

2

or

3

octaves).

The

manual

octave

dividers

divide

the

signal

even

lower,

depending

on

the

position

of

the

Transpose

switch.

The

signal

then

enters

the

Six

Stage

Frequency

divider

circuit

whose

output

is

processed

in

the

Saw¬

tooth

Sum

circuit.

Each

of

the

divisions

is

weighted

and

summed

to

produce

a

+10

volt

sawtooth

made

of

64

small

steps.

The

Pulse

Generator

circuit

monitors

the

outputs

of

the

six

stage

dividers

to

develop

the

following

pulse

widths:

1/14,

1/9,

1/64

and

2/11.

Additionally,

the

Dynamic

Pulse

Converter

circuit

develops

a

variable

(dynamic)

width

pulse

wave.

All

of

the

pulse

waves

are

supplied

to

the

Pulse

Selection

circuit

where

one

is

selected

by

R.O.M.

Z15

and

routed

to

the

pulse

output,

6.2

Board

B

Circuit

Description

Board

B

is

the

Envelope

Generator

Board.

Z1,

Z2

and

Z3

(R.O.M.s)

program

the

attack

time,

decay

time,

sustain

level,

and

release

time

of

the

ADSR

envelope

generator

and

the

attack

and

release

times

of

the

AR

envelope

generator.

ADSR:

The

output

of

the

attack

R-S

flip

flop

(Z4

3)

changes

from

logic

1

to

logic

0

when

a

gate

and

trigger

are

supplied

from

the

keyboard

electronics

(board

E)

on

J4-6

and

J4-7.

Z5

3

provides

a

logic

1

which

allows

R64

to

charge

the

integrating

capa¬

citor,

C3.

Q4

and

Q5

follow

the

voltage

and

supply

it

to

the

switching

circuitry

to

be

routed

to

either

the

VCF

and/or

the

VCA.

Q6

is

a

"peak

detector"

comparator.

When

the

ADSR

output

reaches

the

maximum

voltage

(about

+5

volts)

Q6

resets

the

R-S

flip

flop

output

(Z4

3)

to

logic

1.

The

voltage

on

C3

then

discharges

through

CR16,

CR17

or

CR18

to

the

voltage

level

on

the

junction

of

R30,

R31

and

R32

(sustain

level).

When

the

gate

on

J4-6

is

no

longer

present

(all

keys

up)

the

remaining

voltage

on

C3

discharges

through

CR20

and

pins

3, 4

or

5

of

Z1

to

zero.

AR:

The

gate

voltage

is

supplied

to

the

AR

circuit

from

Z5

8

to

charge

capacitor

C2

through

CR2,

CR3

or

CR4.

When

all

keys

are

released,

the

voltage

on

C4

discharges

through

CR5

or

CR6

back

to

8

of

Z5.

R.O.M.

Z3

selects

which

envelope

(ADSR

and/or

AR)

is

to

be

routed

to

P6-16,

the

VCA

control

input.

Z3

also

selects

which

envelope

is

to

be

supplied

to

Z6.

R1,

R2,

R3

and

R4

attenuate

the

envelope

before

it

is

processed

through

Z6.

Z6

sums

and

inverts

the

ADSR

or

AR

envelope,

the

growl

signal

from

board

D

and

the

touch

brilliance

voltage

from

board

D.

The

envelope

must

be

inverted

because

the

VCF

accepts

negative

going

control

voltages.

The

output

of

Z6

is

connected

to

the

control

input

of

the

filter

via

the

brilliance

silder

on

board

A.

Q7,

Q8

and

Z4

pins

9,

10

and

11

are

the

squelch

cir¬

cuit

which

provides

a

momentary

pulse

to

the

VCA

control

input

to

turn

it

off

to

prevent

transients

from

being

heard

when

a

voice

switch

is

turned

on.

6.3

Board

C

Circuit

Description

Board

C

contains

a

voltage

controlled

filter

(VCF),

a

voltage

controlled

amplifier

(VCA)

,

four

high

pass

filters

(HPF)

and

ten

band

pass

filters

(arranged

in

one

of

three

banks).

R.O.M.s

Z6,

Z7

and

Z8

determine

the

signal

paths

through

each

of

these

filters

and

determines

the

settings

for

the

VCF.

The

sawtooth

waveform

supplied

from

board

A

is

processed

through

the

Sawtooth/Pulse

Mixer

and

is

routed

through

one

or

more

of

the

High

Pass

Filters.

The

output

of

the

HPF

is

routed

through

the

VCF

and

the

VCA

to

the

output

of

the

Pro

Soloist.

The

pulse

waveform

from

the

pulse

amplifier

can

take

either

of

two

paths:

through

the

Sawtooth/Pulse

mixer,

or

through

the

resonator

banks.

Resonator

banks

1,

2

and

3

are

supplied

with

the

pulse

wave¬

form

only.

R.O.M.

Z8

determines

which

(if

any)

of

the

resonators

in

each

bank

are

enabled.

The

output

of

Resonator

Bank

1

and

2

may

routed

only

to

the

input

of

the

VCA.

The

output

of

Resonator

Bank

3

may

be

routed

to

the

input

of

either

the

VCF

or

the

VCA

(again,

determined

by

R.O.M.

Z8).

The

VCF

Tracking

circuit

determines

whether

the

VCF

will

track

at

one

volt

per

octave,

2

volts

per

octave,

5

volts

per

octave,

or

not

at

all.

The

Res¬

onance

circuit

determines

the

amount

of

feedback

from

the

VCF

output

to

the

VCF

input

for

'wow'

effects.

6.4

Board

D

Circuit

Description

Board

D

provides

the

touch

sensor

effects:

Vibrato,

Pitch

Bend,

Wow,

Repeat,

Growl,

and

Brilliance.

Z3

is

a

low

frequency

oscillator

producing

a

triangle

wave

for

vibrato

and

tremolo,

and

a

square

wave

for

repeat

triggers.

Z4

and

Z5

are

a

voltage

controlled

amplifier

exclu¬

sively

for

the

vibrato

signal.

Q3,

Q4

and

Q5

delay

the

Vibrato

VCA

from

turning

on

for

certain

voices

(such

as

violin)

producing

a

delayed

vibrato.

All

'upper'

voices

have

delayed

vibrato

(if

used

at

all);

lower

voices

have

undelayed

vibrato.

Z4D

and

Z4E

switch

the

output

of

the

Vibrato

VCA

to

either

P7-11

for

vibrato

or

P7-16

for

tremolo.

Vibrato

and

tremolo

are

never

on

at

the

same

time.

Tremolo

affects

the

VCF

on

board

C;

vibrato

affects

the

pitch

of

the

oscillator

on

board

A.

Z2

B

and

Z2C

are

an

astable

flip

flop

oscillating

at

32

Hz.

to

produce

the

growl

signal.

This

signal

is

gated

into

a

band

pass

circuit

(Z2D

and

Z2E)

through

CR8.

The

growl

output

is

applied

to

the

VCF

control

input

through

Z6

on

board

B.

6.5

B

oard

E

Circuit

Description

The

keyboard

electronics

generate

three

signals

which

are

routed

to

other

parts

of

the

instrument:

1.

Pitch

information

(4

bit

key

code

and

2

bit

octave

code).

2.

Gate

(+5

volts

while

a

key

is

down),

3.

Trigger

(short

pulse

on

each

new

key

depression).

The

codes

for

each

key

are

as

follows:

c

0000

c#

000

1

D

0010

D#

00

1

E

0

100

F

0

10

1

F#

0

110

G

0111

G#

1000

A

100

1

A#

10

B

10

11

Not

used

1

00

•

1

II

110

1

•I

II

1110

II

1111

Octave

1

00

Octave

2

0

1

Octave

3

1

0

Octave

4

11

(High

C

only)

In

order

to

generate

these

coded

outputs,

the

cir¬

cuitry

on

board

E

is

designed

to

scan

the

keyboard

about

100

times

per

second.

When

the

scanning

cir¬

cuitry

comes

to

a

note

which

is

pressed

down

by

the

performer,

the

number

corresponding

to

that

note

is

loaded

into

the

6

bit

memory

at

the

output

and

a

gate

and

trigger

pulse

are

generated.

An

oscillator

(Z2C,

Z8D

Z8B

and

C3)

produces

a

square

wave

at

about

150

KHz.

The

output

of

the

oscillator

is

fed

into

a

six

stage

frequency

divider

(Z4

&

Z5).

The

first

four

stages

of

the

frequency

divider

(Z4)

are

wired

to

a

'data

selector'

chip

(Z11).

The

outputs

of

the

six

stage

frequency

dividers

pro¬

duce

a

six

bit

binary

word

which

'counts'

from

00

0000

to

11

111

(0

to

64).

The

first

four

divisions

6

STAGE

FREQUENCY

of

the

frequency

divider

are

connected

to

the

data

selector

chip

which

moniters

the

changing

code.

The

last

two

divisions

(octave

information)

are

decoded

so

that

only

one

bus

rod

is

enabled

at

a

time

(enabled

is

logic

0).

The

inputs

of

Z11

are

wired

to

the

keyboard

contacts

such

that

all

C's

are

wired

to

8,

C#s

to

7

etc.

When

a

key

is

depressed,

one

of

the

outputs

of

the

octave

decoder

is

connected

to

one

of

the

inputs

of

the

data

selector

chip.

10

of

Z11

will

be

a

logic

1

only

when

the

following

occurs:

1)

A

key

is

de¬

pressed

(to

enable

a

particular

input

of

Z11),

2)

The

octave

decoder

output

is

enabled

(occurs

only

when

the

octave

code

is

correct),

and

3)

The

code

on

pins

11,

13,

14

and

15

matches

the

enabled

input

(Example:

'D'

input

is

enabled

AND

code

0010

is

present

on

the

data

selector

input).

A

logic

1

on

10

of

Z11

indicates

that

at

that

in¬

stant,

the

codes

on

the

output

of

the

six

stage

fre¬

quency

divider

matches

the

key

and

octave

depressed.

The

output

of

Z11

(pin

10)

is

processed

through

the

strobe

gate

and

the

R-S

flip

flop

to

update

the

6

bit

memory

by

pulsing

the

clock

inputs

of

the

'D'

type

flip

flops.

Thus

the

outputs

of

the

6

stage

frequency

divider

are

quickly

memorized

before

the

number

changes.

Since

the

only

time

the

R-S

flip

flop

changes

state

is

when

a

key

is

being

depressed,

the

gate

memory

cir¬

cuit

monitors

the

output

of

the

R-S

flip

flop

to

provide

a

gate

signal

(+5

volts)

for

as

long

as

a

key

is

depressed.

The

leading

edge

of

the

gate

signal

(Q

bar)

is

differentiated

and

processed

through

the

one

shot

circuit

to

develop

a

15msec.

delayed

trigger

pulse

whenever

a

key

is

depressed.

6.6

Board

F-ll

&

F-lll

Circuit

Description

In

order

to

minimize

the

number

of

interconnecting

wires

between

the

Voice

Select

board

and

the

rest

of

the

Pro

Soloist,

the

15

Voice

Select

switches

are

encoded

into

five

bit

binary

words.

In

this

manner,

it

is

possible

to

send

over

five

wires

all

of

the

informa¬

tion

necessary

to

say

which

of

the

15

switches

has

been

depressed.

Separate

wires

are

also

brought

out

for

the

portamento

switch.

In

addition

a

Voice

select

squelch

line

is

also

brought

out

which

indicates

when

none

of

the

switches

are

on.

VOICE

CODE

TRUTH

TABLE

A

=

0

A

=

1

B

c

D

E

OFF

0

Buzz

Bassoon

0

1

Saxophone

English

Horn

0

1

0

Space

Reed

Oboe

0

1

Telstar

Clarinet

0

1

0

Song

Whistle

Flute

0

1

0

1

Noze

Tuba

0

1

0

Pulsar

Trombone

0

1

Comic

Wow

French

Horn

1

0

Mute

Trumpet

1

0

1

Steel

Guitar

Cello

1

0

1

0

Harpsichord

Violin

1

0

1

Space

Bass

Electric

Bass

1

0

Steel

Drum

Electric

Piano

1

0

1

Country

Guitar

Banjo

1

0

Fuzz

Guitar

II

Fuzz

Guitar

1

3

a.

H

3

O

a

UJ

o

>

Q

When

one

key

is

being

held,

additional

triggers

are

obtained

from

the

6

bit

code

change

detector.

The

exclusive

OR

gates

provide

pulses

to

the

one

shot

delay

circuit

only

when

the

key

or

octave

code

change

(when

a

different

key

is

depressed).

F

E

D

C

B

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J

i

1

6.7

Board

G

(Power

Supply)

An

apparent

malfunction

of

the

power

supply

may

be

the

result

of

shorts

or

other

problems

on

other

boards

in

the

Pro

Soloist.

If

there

is

any

doubt

about

the

power

supply

being

defective,

remove

PI

from

board

C

and

clip

on

a

set

of

dummy

loads

as

follows:

+

15V

to

ground:

270

ohm,

1

Watt

-15

V

to

ground:

330

ohm,

1

Watt

+5

V

to

ground:

5

ohm,

10

Watt

Observe

the

following

color

coding

of

power

supply

wires:

+

15V

=

Red

Zli

u

10-

I

-0

i

1

ICounts

to

63)

Dtti

Depressed

Ipulse

updates

6

bit

memory)

-15V

=

Violet

+

5

V

=

Orange

Ground

=

Black

2701

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TRUTH

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1

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1

ENABLE

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1

OCTAVE

LOGIC

1

ENABLE

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2

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1

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LOGIC

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ENABLE

LOGIC

1

SELECT

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1

SELECT

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1

SELECT

VCA

ATTENUATOR

ADSR

S/R

B

ADSR

S/R

A

ADSR

RELEASE

C

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0

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B

LOGIC

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SELECT

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RELEASE

A

LOGIC

1

SELECT

ADSR

SUSTAIN

B

LOGIC

1

SELECT

ADSR

SUSTAIN

A

BOARD

B

Z2

LOGIC

1

SELECT

ADSR

DECAY

B

LOGIC

1

SELECT

ADSR

DECAY

A

LOGIC

1

SELECT

ADSR

ATTACK

C

LOGIC

1

SELECT

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B

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1

SELECT

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A

LOGIC

1

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A

LOGIC

1

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ENV.

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LOGIC

1

SELECT

VCF

ENV.

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C

6

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1

SELECT

VCF

ENV.

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B

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1

SELECT

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ENV.

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A

4

LOGIC

1

ROUTE

ADSR

TO

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3

LOGIC

1

ROUTE

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1

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SELECT

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SELECT

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RES.

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LOGIC

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ENABLE

NO

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LOGIC

1

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0

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ENABLE

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0

110

0

1

0

11

0

10

11

110

0

10

0

1

LOGIC

1

ENABLE

HPF

A

BOARD

C

Z8

0

111

0

1

10

0

1

1111

1110

10

0

1111

9

LOGIC

1

ROUTE

NO.

3

RES.

TO

VCF

10

0

110

0

1

10

0

10

0

10

11

7

LOGIC

1

ROUTE

NO.

3

RES.

TO

VCA

10

0

1

10

0

1

110

0

10

0

1

6

LOGIC

1

ENABLE

OBOE

RESONATOR

10

0

1

0

11

1110

0

111

0

10

0

11

5

LOGIC

1

ENABLE

E.

BASS

RESONATOR

10

0

1

0

10

1

0

10

0

10

0

10

0

1

4

LOGIC

1

ENABLE

E.

PIANO

RESONATOR

0

10

0

10

0

1

10

0

111

3

LOGIC

1

ENABLE

VIOLIN

1

RESONATOR

0

111

10

11

1111

2

LOGIC

0

ENABLE

RES.

1&2,

CELLO

1,2

&3

1111

0

111

1111

0

111

1111

10

11

0

10

1

LOGIC

0

ENABLE

RES.

1

&

2.

VIOLIN

2,3

BOARD

D

Z1

0

10

0

1

0

1

9

LOGIC

1

ENABLE

GROWL

B

MAX

0

10

110

0

1

0

10

0

1

7

LOGIC

1

ENABLE

GROWL

A

[+B]

0

11

10

0

1

0

10

0

1

0

1

6

LOGIC

1

ENABLE

VIBRATO

C

MIN.

10

0

10

1111

0

10

0

10

1

10

0

1

0

10

1

5

LOGIC

1

ENABLE

VIBRATO

B

MED.

10

0

110

0

10

0

1

0

10

0

10

0

1

0

1

4

LOGIC

1

ENABLE

VIBRATO

A

MAX.

110

0

1111

10

0

1

1111

10

0

1

1111

0

10

0

111

3

LOGIC

1

ENABLE

VIBRATO.

O-TREMOLO

0

11

0

11

1110

0

1

0

110

0

11

0

110

10

0

1

2

LOGIC

1

ENABLE

FILTER

OFFSET

C

ID!

0

11

0

10

0

1

0

10

0

1

0

110

10

0

1

LOGIC

1

ENABLE

FILTER

OFFSET

D

2701

R.O.M.

TRUTH

TABLES

2701

VOICE

FLOW

CHART

VOICE:

BASSOON

d)

2701

BOARD

TEST

POINTS:

RE¬

FER

TO

THE

SCHEMATICS

FOR

BOARDS

A,

B

&

C

FOR

THE

LO¬

CATIONS

OF

THE

TEST

POINTS.

m

-

0*1

LV

a,

J

KCV

DOwJAJ

-

S'!

0

J

0

Ul

o

>

PULSE

OUTPUT

SAWTOOTH

OUTPUT

PULSE

AMPLIFIER

SAW/PULSE

MIXER

z

tc

0

J

I

ui

-1

Ul

O

>

RES.

BANK

2

(3

RES.)

RESONATOR

BANK

3

(5

RESONATORS)

HIGH

PASS

FILTER

VCF

i

-1

VOLTAGE

CONTROLLED

1

—tel

ADSR

FILTER

(LOW

PASS)

i

ENVELOPE

GENERATOR

1

i

l

VCA

1

AR

CELL

2701

VOICE

FLOW

CHART

VOICE:

ENG.

HORN©

AR

i

1

I

-

r-f@*

ENVELOPE

1

|

GENERATOR

1

i

!

1

BOARD

B

|

ww*nif

1

2701

VOICE

FLOW

CHART

VOICE:OBOE

©

2701

BOARD

TEST

POINTS:

RE¬

FER

TO

THE

SCHEMATICS

FOR

BOARDS

A,

B

&

C

FOR

THE

LO¬

CATIONS

OF

THE

TEST

POINTS.

-ijuMJtoMJli

1

*--"

RES.

BANK

1

(2

RES.)

PULSE

OUTPUT

SAWTOOTH

OUTPUT

PULSE

AMPLIFIER

SAW/PULSE

MIXER

z

cr

0

-1

<*)

I

-1

UJ

O

ui

u

>

RES.

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2

(3

RES.)

fo

0

.

BASS

BOE

-

s

1

o

j

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U

Ui

0

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3

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Erl

HIGH

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FILTER

VOLTAGE

CONTROLLED

FILTER

(LOW

PASS)

VOLTAGE

CONTROLLED

AMPLIFIER

ADSR

ENVELOPE

GENERATOR

ENVELOPE

GENERATOR

BOARD

B

VOICE

CODE

110

2701

VOICE

FLOW

CHART

VOICE:

TUBA

2701

BOARD

TEST

POINTS:

RE¬

FER

TO

THE

SCHEMATICS

FOR

BOARDS

A.

B

&

C

FOR

THE

CO-

CATIONS

OF

THE

TEST

POINTS.

SHH£

AS

Puirf

C

D&uJaJ

3

Oc.rA->»

CNJ

0

eg

_!

-1

111

0

u

>

PULSE

OUTPUT

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OUTPUT

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AMPLIFIER

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MIXER

RES.

BANK

2

(3

RES.)

RESONATOR

BANK

3

(5

RESONATORS)

HIGH

PASS

FILTER

VOLTAGE

CONTROLLED

FILTER

(LOW

PASS)

VOLTAGE

CONTROLLED

AMPLIFIER

ADSR

ENVELOPE

GENERATOR

ENVELOPE

GENERATOR

_I

i_

BOARD

B

|

VOICE

CODE

[l]

2701

VOICE

FLOW

CHART

VOICE:

TROMBONES)

2701

BOARD

TEST

POINTS:

RE¬

FER

TO

THE

SCHEMATICS

FOR

BOARDS

A.

B

&

C

FOR

THE

LO¬

CATIONS

OF

THE

TEST

POINTS.

S4rt)e

4S

Stirs'

<\l

0

CM

d

ID

0

O

>

SAW/PULSE

MIXER

RES.

BANK

2

(3

RES.)

RESONATOR

BANK

3

(5

RESONATORS)

HIGH

PASS

FILTER

VOLTAGE

CONTROLLED

FILTER

(LOW

PASS)

VOLTAGE

CONTROLLED

AMPLIFIER

ADSR

ENVELOPE

GENERATOR

ENVELOPE

GENERATOR

BOARD

B

VOICE

CODE

1

2701

BOARD

TEST

POINTS:

RE¬

FER

TO

THE

SCHEMATICS

FOR

BOARDS

A,

B

&

C

FOR

THE

LO¬

CATIONS

OF

THE

TEST

POINTS.

2701

VOICE

FLOW

CHART

VOICE:

FR.

HORN®

S4in<?

as

pt-onf

PULSE

OUTPUT

SAWTOOTH

OUTPUT

PULSE

AMPLIFIER

SAW/PULSE

MIXER

CM

0

CM

J

111

0

o

>

Z

N

“

0

O

J

n

X

J

.

hi

0

LI

O

>

RES.

BANK

2

(3

RES.)

HIGH

PASS

FILTER

RESONATOR

BANK

3

(5

RESONATORS)

VOLTAGE

CONTROLLED

FILTER

(LOW

PASS)

VOLTAGE

CONTROLLED

AMPLIFIER

ADSR

ENVELOPE

GENERATOR

ENVELOPE

GENERATOR

BOARD

B

CELLO

2

2701

VOICE

FLOW

CHART

VOICE:

TRUMPET®

PULSE

OUTPUT

SAWTOOTH

OUTPUT

PULSE

AMPLIFIER

SAW/PULSE

MIXER

z

%

tr

o

O

-J

<*>

X

J

lli

o

ui

O

>

RES.

BANK

1

(2

RES.)

RES.

BANK

2

(3

RES.)

RESONATOR

BANK

3

(5

RESONATORS)

HIGH

PASS

FILTER

VOLTAGE

CONTROLLED

FILTER

(LOW

PASS)

VOLTAGE

CONTROLLED

AMPLIFIER

ADSR

ENVELOPE

GENERATOR

ENVELOPE

GENERATOR

BOARD

B

2701

VOICE

FLOW

CHART

VOICE:

CELLO

©

VOICE

CODE

1

2701

BOARD

TEST

POINTS:

RE¬

FER

TO

THE

SCHEMATICS

FOR

BOARDS

A,

B

S.

C

FOR

THE

LO¬

CATIONS

OF

THE

TEST

POINTS.

2701

VOICE

FLOW

CHART

VOICE:

VIOLIN©

(M

0

N

J

-1

UJ

0

U

>

RES.

BANK

1

(2

RES.)

PULSE

AMPLIFIER

SAW/PULSE

MIXER

(15)

(16)

(17)

(19)

(20)

(21)

(22)

(23

RES.

BANK

2

(3

RES.)

RESONATOR

BANK

3

(5

RESONATORS)

HIGH

PASS

FILTER

6

)

(7)

(8)

(9

VOLTAGE

CONTROLLED

FILTER

(LOW

PASS)

VOLTAGE

CONTROLLED

AMPLIFIER

ADSR

ENVELOPE

GENERATOR

ENVELOPE

GENERATOR

BOARD

B

ARP Pro Soloist 2701 User manual

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