RMI 368 User manual

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RMI Electro Piano and
Harpsichord 368X
The 368X is another out-of-this world innovation from RMI. The
far out sounds you can produce with this instrument are limited
only by your imagination. Try the harpsichord, the organ mode,
and the most unearthly true piano tone you've ever heard. Helping
you to blast off will be those seven additional notes at the top and
a powerful first-stage bass boost. The whole capsule only weighs
85 pounds, and since you're planning to travel, solid state
reliability added to portability will mean a lot.
Hear the 368X at your space age music dealer and expand into
new worlds of sound.
Rocky Mount Instruments, Inc.
Macungie, Pa. 18062

SPECIFICATIONS
RMI ELECTRA-PIANO & HARPSICHORD 368X
SOUND - The RMI Electra-Piano 368X produces a
piano sound which is remarkably authentic. It is a
properly scaled piano — the quality and intensity of
the notes over the entire keyboard are unusually
accurate and in proper relationship.
VERSATILITY - In addition to the true piano
sound, this instrument has a fine Harpsichord sound
and an excellent Lute sound. It is really three
instruments in one.
PORTABILITY - The RMI Electra-Piano is truly
portable. Its chrome legs are self-contained. They fold
out for fast set-ups, fold flat for easy carrying. Total
weight about 85 pounds.
DESIGN — Completely solid state (all transistors -
no tubes), using 68 separate tone generators, one for
each note on the 68 note keyboard. There are no
strings or bars which can get out of tune. The use of
individual tone generators for each note is more
expensive than other methods, but does three things:
1. Provides true piano tone; 2. Permits performance
unmatched by any other system; 3. Provides a high
degree of reliability.
KEYBOARD CONSTRUCTION - The individual
note keys are completely interchangeable and
individually adjustable. The action is quiet - it has all
the excellent characteristics and quality associated
with a wood action.
CONTROLS - Foot control unit is standard equip
ment; a pedal provides full range expression from
silence to full output; a separate pedal produces piano
sustain. Rocker type on/off switch has built-in pilot
light.
The-Accenter gives a percussive attack to the harpsi
chord or lute sound, as desired. The Organ Mode
permits all stops to be played as an organ, without
the normal percussive decay.
SAMPLE TONE POSSIBILITIES -
Electronic Bass - The keyboard is a full 68 notes
extended to low F, thereby providing the useful range
of an electronic bass. With the Lute stop depressed,
the RMI Electra-Piano can be used to provide an
excellent electronic string bass accompaniment
"Honky-Tonk" Piano - By depressing the Piano and
Harpsi stops an authentic "rinky-tink" sound can be
achieved.
These are a few. There are many other unique and
interesting combinations possible.
"BASS BOOST' CONTROL - Mounted on the stop
panel is an additional sliding control for the bass
section. This makes it possible to increase or vary the
amount of bass power at will. A startling effect of
sudden waves of bass tones can be achieved.
CONNECTIONS - Foot control has two plugs at the
end of suitable cables - they are easily plugged into
jacks under the piano — and since one is larger than
the other, you cannot make an error in plugging them
in.
T line cord and a 10' shielded cable with jack for
plugging the piano into the amplifier. Both are
permanently attached. An AC outlet located under
the instrument permits switching amplifier on and off
with the RMI Electra-Piano.
AMPLIFICATION - The RMI Electra-Piano &
Harpsichord 368X can be plugged into any high
quality music amplifier with good results. For the
best results, it should be used with the RMI-140A
amplifier. This is a special purpose amplifier, with its
own separate treble system, designed to bring out the
fantastic upper range sound capabilities of RMI
portable keyboard instruments.
MATERIALS & COLORS - The RMI Electra-Piano
is covered with rich black, tough material which
resists abrasion and stains. The tone selector panel is
chrome steel, and the legs chrome. The appearance is
highly distinctive and pleasing; it complements the
great sound.
DIMENSIONS -
Height Width Depth
Open 35 3/4" 42 5/8" 23 3/8"
Closed 9 3/8" 42 5/8" 23 3/8"
POWER - 105-125 volts, 60 cycles, only 10 watts.
ACCESSORIES - Optional accessories include
extensions for the legs which raise the unit for
convenient stand-up playing.
Rocky Mount Instruments, Inc.,
Sales Office: Macungie, Pa. 18062,
Phone: [phone]
Subsidiary of Allen Organ Company
COPYRIGHT .61074

The RMI ELECTRA-PIANO and harpsichord is the all new
instrument for sound-thinking combos who are bothered by
the problems of piano availability, tone, tuning, and
transportation that limit and hamper the jobs they play.
These problems are solved by the RMI ELECTRA-PIANO
and harpsichord —the all-electronic piano that delivers the
truest portable piano tone available. It's the one with no
strings or struck bars to get out of tune. The one with
harpsichord and various novelty-effect stops that allow you
to change your sound at will. And the littlest big feature of
all: its weight — here is a piano that only weighs about 80
pounds including its slim, modern, self-contained legs. All
of these features, plus a 61 note keyboard and expression-
sustain pedal, clearly make the RMI ELECTRA-PIANO and
harpsichord a real sound investment for small combos on
the move.
The RMI ELECTRA-PIANO and harpsichord is another of
the unique sound ideas from RMI instruments. Plug into
one at your nearest progressive music store.
ROCKY MOUNT INSTRUMENTS, INC.
Subsidiary of Allen Organ Company
MACUNGIE,PA. 18062

SPECIFICATIONS
RMI ELECTRA-PIANO & harpsichord
SOUND-The RMI Electra-Piano produces an acous
tical piano sound which is remarkably authentic. It is a
properly scaled piano — the quality and intensity of
ths notes over the entire keyboard are unusually
accurate and in proper relationship.
VERSATILITY - In addition to the true piano sound,
this instrument has a marvelous Harpsichord sound and
an excellent Lute sound. It is really three instruments in
one.
PORTABILITY -The RMI Electra-Piano is truly porta
ble. Its chrome legs are self-contained. They fold out for
fast set-ups, fold flat for easy carrying. Total weight
under 80 pounds.
DESIGN -Completely solid state (all transistors - no
tubes), using 61 separate tone generators, one for each
note on the 61 note keyboard. There are no strings or
bars which can get out of tune. The use of individual
tone generators for each note is more expensive than
other methods, but does three things: 1. Provides true
piano tone; 2. Permits the instrument to be quickly
switched from Piano to Harpsichord, to Lute, or any
combination of these sounds; 3. Provides a high degree
of reliability.
CONSTRUCTION—The keys are completely inter
changeable and individually adjustable. The action is
quiet — it has all the excellent characteristics and quality
associated with a wood action.
CONTROLS — Foot control unit is standard equipment;
a pedal provides full range expression from silence to full
output; a separate pedal produces piano sustain. Rocker
type on/off switch has built-in pilot light.
TONE SELECTORS -
Piano Lute
Piano PP Organ Mode
Harpsi Accenter
Harpsi PP
The Accenter gives a percussive attack to the harpsi
chord or lute sound, as desired. The Organ Mode permits
all stops to be played as an organ, without the normal
percussive decay.
SAMPLE TONE POSSIBILITIES -
Electronic Bass — The keyboard is a full 61 notes and is
extended to include additional notes at both the bass
and treble ends. When the Lute stop is depressed, the
RMI Electra-Piano can be used to provide an excellent
electronic string bass accompaniment.
"Honky-Tonk" Piano - By depressing the Piano and
Harpsi stops an authentic "rinky-tink" sound can be
achieved.
These are a few. There are many other unique and
interesting combinations possible.
CONNECTIONS-Foot control has two plugs at the
end of suitable cables - they are easily plugged into
jacks under the piano - and since one is larger than the
other, you cannot make an error in plugging them in.
7' line cord and a 10' shielded cable with jack for
plugging the piano into the amplifier. Both are perma
nently attached. An AC outlet located under the
instrument permits switching amplifier on and off with
the RMI Electra-Piano.
AMPLIFICATION-The RMI Electra-Piano can be
plugged into any high quality music amplifier with good
results. For the best results, it should be used with the
RMI-140A amplifier. This is a special purpose amplifier,
with its own separate treble system, designed to bring
out the fantastic upper range sound capabilities of RMI
portable keyboard instruments. Another advantage of
the RMI-140A is the availability of the RMI Razer-a
super articulator which provides even more brilliance-to
the highs.
MATERIALS & COLORS-The RMI Electra-Piano is
covered with rich blue and black, tough vinyl material
which resists abrasion and stains. The tone selector panel
is brushed aluminum, and the legs chrome. The appear
ance
is highly distinctive and pleasing; it complements
the great sound.
^
DIMENSIONS-
Open
Closed
Width Depth
42-5/8" 23-3/8"
42-5/8" 23-3/8"
POWER - 105-125 volts, 60 cycles, only 5 watts.
ACCESSORIES -Optional accessories include a
removable music rack, and extensions for the legs which
raise the unit for convenience in stand-up playing.
ROCKY MOUNT INSTRUMENTS, INC.,Sales Office: Macungie, Pa. 18062, Phone: [phone]

JLlh
The Model 368 ELECTRA PIANO & HARPSICHORD represents the second
generation of the now famous RMI 300 series portable keyboards. This 68 note
instrument is equipped with seven stop tablets as follows: Piano, Piano PP,
Harpsichord, Harpsichord PP, Lute, Organ Mode, and Accenter. Two
additional controls appear on the stop board, namely, BASS and VOLUME
controls. In addition, there are combination foot controlled volume and
sustain pedals.
AUDIO
This instrument is designed to be operated with an external audio system,
such as an RMI type 140 Amplifier. It should be remembered that the tone
quality and power will be limited if the audio system does not have good
performance characteristics. Very few amplifiers on the market today have
the brilliant treble response so necessary for producing the sound of a Harp
sichord, for instance. It is in this area of bright, treble response that RMI
Amplifiers excel. An amplifier equipped with Reverb provides additional,
pleasing effects. Do not expect satisfactory results if.you connect the RMI
ELECTRA PIANO & HARPSICHORD to a BASS type musical instrument
amplifier. -- unless bass only is desired.
OPERATION
To make the instrument operational, first plug the AC cord into a 110 V.,
60 cycle receptacle. It will be noted that there are two cords and plugs
connected to the pedal unit. These plugs are inserted into the proper receptacles
of the ELECTRA PIANO, and it is hardly possible to confuse these since one jack
is larger than the other. Next, the audio wire should be connected to the input
of the aforementioned audio system, and the amplifier tone and volume controls
set for the desired effect - with the volume pedal set at maximum.
Set the instrument's Bass control at the mid point and set the instrument's VOLUME
control at maximum. The instrument VOLUME CONTROL is s convenience feature
and will save you the trouble of having to manipulate the amplifier control,
depending on the musical effect that is to be produced. Now,. you may increase
or decrease the bass according to your taste and the type of effect that you desire
to create.
PIANO
The first stop, moving from left to right, is, of course, the PIANO. Depress
this atop and set the volume pedal to its maximum* Set the bass control at the
desired level. Also set the instrument's volume control to the desired point.
This instrument can then be played like a regular piano with standard sustain pedal
techniques* The next stop, called PIANO PP, is essentially the same but softer.
**Also Model 36 8X
MOUNT IMQTRI IMFNTQ IMP macungie,Pennsylvania 18O62 215/965-9801
IVIUUIN I UNO I nUIVIEZIN I O, I W V*. ASUBSIOIARY OF ALLEN ORGAN COMPANY PLANT: ROCKY MOUNT, N.C. 27801

RETAIL PRICE LIST
July 1, 1977
Suggested List Price
KEYBOARDS
Keyboard Computer KC-II $4750.00
Electra Piano $ Harpsichord, Model 368X 1195.00
AUDIO SYSTEMS
Important Note: The RMI 360 Amplifier Line is designed to be used with a wide
variety of instruments. Be sure to select the proper model for each specific
instrument". "" " ~
Model 360-G High Efficiency Audio System 895.00
(Includes 360 Amp § G180 Cabinet)
Designed for the RMI Electra Piano, guitars, etc.
Model 360-B Bass Audio System 825.00
(Includes 360 Amp § B 180 Cabinet)
• For applications such as electric bass, etc.
Model 360-K Flat Response Audio System 895.00
(Includes 360 Amp S K180 Cabinet)
Suggested for use when there is a specific need for
"flat response11, such as the RMI Keyboard Computer
or synthesizers*
360 Amp Head only 475.00
G180 Cabinet only 500.00
B180 Cabinet only 430.00
K180 Cabinet only - flat response cabinet - for high volume
requirements, use G180 cabinet 500.00
Amp Cover - fits all three Amps (2 pieces) 25.00
All prices and specifications subject to change without notice

SERVICE INFORMATION
•■■' '■■■" -V.\,. ""r- ■■ ' ' >'i '>'■
ELEGTRA PIANO & HARPSICHORD.
MODEL 368 & MODEL 368X
,\
AND
RIANQS & ROCK-SI-CHORD
MODEL 668 & MODEL 668X
ROCKY MOUNT INSTRUMENTS, INC.

•<■*
NOTKll.IN;fTHE.E^CTRA PIANO ; j
SXmmGtf &i> CRACKMNG NOISE WHEN-PLAYING AN INSTRUMENT i.
ACCOMPANIED BY RISE OR FALL IN VOLUME OF.CERTAIN
NOTES
.■■: .■••' '. ■ • . • •; .. ••"..' .•■. -.■;;•
$UBJECT 3: ORGAN MODE CIPHER . .- -.::■.. :.;•-.i
SUBJECT 4: CIPHER WITH "SUSTAIN" PEDAL
SUBJECT'SS : A SINGLE NOTE HAVING A' .'SNUBBED1! OR SHORT SUSTAIN
SUB JECT 6: INSTR UCTIONS FOR fTUNING RMI GENERATORS
SUBJECT 7: INSTRUCTIONS FOR CURING PROBLEM OF STICKING
-•■'■;-i AND/OR CLICKING KEYS ON ELECTRrAPIANOl
SCHEMATICS AND PICTORMATIC LAYOUT
• » . '• ! • ,

SUBJECT 1: FIXING A "DEAD NOTEffOEM THE ELECTRA PIANO
Before'tioirig any te§tiri&# 'make -a i&6roughAHsuarvcHfifcklcJ make
all components are in proper physical location without shorted leads, etc.
All components for one pitch are in a straight line from front to back, as
shown* bn the pidtormsitic: l&ydiit.' ^The dir&iit showii 1£ 'repeated f£x* -e^Qh ^
pitch. '> *U/ "; '-OV /;?.!.*/.'.»' •!' > 1. ;/ • / ■"; r,'-": -^V ' r ">//.,/.
Trouble Shooting a Dead Key
1. Depress Piano stop. // ? > ^/t L K . :r ;
2. Make sure key contact is clean and "making".
3. Attach a clip lead in series with a 220 ohm resistor to the B+
terminal at the right end of the generator board. Touch the
T : other end of the clip lead to/pbint MD'/. It -the oscillator plays, ,
you have isolated-the problem to the keying clrcult~(pric>ceed to~
"8M below). But, if the oscillator is still dead when keyed at
!D"> prodeedais follows:' / rfv \ ,:. v ?.,'•■
4. With B+ applied to point lfD" through a 220 ohm resistor, measure
)the DC voltage at point HDn> A zero reading indicates a shorted >
keying capacitor; C7*. A very low. reading indicates a shorted
blocking capacitor C8#
5. Take a low ohms scale resistance reading across points "A11
to "B". A zero reading indicates a shorted tuning capacitor - C9.
•■: }.. ^ <f / , •" .'•'; x:-:>.\".»:I : -' - Av \\yy-
6. Take a low ohms scale resistance reading between points flCfl and
"A" and then lfCn and lfB". This measures each side of the
oscillator coil. Both readings should be identical. If they are
not, a defective coil is indicated.
7. Take a resistance reading across resistor R17. Reverse the
leads and measure again. The one reading should be approximately
ten times higher than the other. If both readings are similar,
this indicates a defective transistor.
8. If in 3 above, the oscillator operates when keyed at !lDfl, then
proceed as follows:
9# With a clip lead, short across capacitor C5, and depress the key.
If the oscillator now plays, this indicates an open capacitor.

7r<
^^ j
gK it ^ iit
il; - take a ^isMft^ te^di^ i
n>eas:ui?6 ^aiii^ > A,;zerp reading bail* dir
>:.:; sHdrt^d;dic?g& ^iiicfe vrtiiild daEtfse a dead
12. Tiake a resistance reading across capacitor C6* A zero reading
j f r ^uldiindiGflttei a isjip^if /j ;i°: ^- •" 'i ?-{"v.;r;(.-. ••;"•'•. ...;; •/ .; •■■•, •!f--»'^,?fA
13; If all the stbOyg dhecfc but tiOfrraallyr replace the tr
P N0ISE WHM^LAY3/NGAN
^^
CERTAIN NOTES
Tjiis cpriditipil e^fti fee^ici^u^ed by k cdicj -9pld®h JQiritflia the^^Liidio bliss bar'^
line w;hich riiris the length of the tone generator, and is located just behind
hfe bddiil^td^'tiiife; ^dii thfe scheiiiktic^ thi? ^ d^ll^d^e SPLIT C3ROUND
*ftse hd^ethkttH^^eaxe sesifetars sold&red ih;at V^Hpus^ppintS'SlQng:1 *
this line. If the above condition occurs, carefully chepk each sp>ide# - \:
connection along this line and resolder where necessary*
Of course, the above procedure assumes that the strtiplifier^fepBiifcerSystem
.-•.■■ -.r-. .-
If a certain pitch sounds continuously when the Organ Mode stop is used,
the trouble is usually caused by a defective diode* CI17. The location of this
diode is shown on the pictprmatic layout drawing. When replacing this
11^ •-. ffljie ^^.^(^^ pypyities i??to^e bass
^^ ^i^ som
^hbrs.j^ '9, fla>?( in the; i
f 4iei ^pM^Pv ^ Gp^i^qweni^ ^rhen^MC^j^je^.c^ j^Sjpbi^rved, it
is necessary to lower the setting of the bass control to the point where no
distortion occurs.

SUBJECT 4; CIPHER WITH "SUSTAIN" PEDAL
If a certain note sounds continuously only while the Sustain pedal is
9ir^ransIstbrV ffie^ocatidri of WhichI^rinudi^aife6d on the pfdtor-' J
rnatic layout drawings Apparently in some environments a conductive
> appears eta tfte surface \o$ theI trfatiSiator^heret^Ke leaftfe
lpstici;';>,U^e ai$^gllScrewdriver/ior; •sim^rlPPinted
object, and scrape along the surface of the plastic, between the center
#nd Bid* leacl^U^ i,s t
when yoto^rthig; otherwise^i;the ;t^a«isistorpa*i^ bej buried <?ut
accidentally connec1£ng>^\^^ dp^a .riot curie the
condition, only then replace the transistor.
Another cause for this condition is the 2 ml&rfblQptrolj^c; capacitor, C6,
the location of which is also shown on the pictormatic diagram. Observe
the£c&£*ect pblfeirity; riiarkings, iU 8?epl&fcing> this <?ot?&pqiitent• ^Vskv for? 5
Electra Piano Capacitor C6. The circuit shown on th^ pictormatic layout
is duplicated for each pitch.
^a*riife"k^pa^&it^t\>_i^; ^:^t|c>r%tj&cj cVDrtcK^dtoM. (\yd3i ;csius£ia\ dead note?
p^e^§ure £tGiipss-th6' c&p^ifbr wifR in
A "SNUBBED1!
"^nut)bed"f or.pxtra sfeortiovprtjthe entice keybipard,
the problem is most probably due to leakage in one of ^i
>procedj^%will hQlp>ypurto locatq whiohiQf thg;
is at
1. Put one of the tone stops down; for example, Lute.
3. Wedge the lowest note on the HeyfeehaydL^pii ^Uf^^pii/^)^
even after the souncj of the note dies away.
4* Hold the sustain pedal on.
5. Start at the high end of the keyboard and play one note at a time,
listening for the length o$/#*e'^taip.,j.The ^e with ^.dpfe
diode will have a sustain T^tibff^W5brt(e^:c^4ir ifi&:other notes."
SUBJECT 6: INSTRUC^0>OR Tti^
y&6 *uiiihg ctf ah{ Rklins^m^tit^cani^ aec^mpii^hod in les? thg^ pijih^ixr
%^^^ -pience'in tuj^ijg?^ * "i$$ ;
&^^^ aid of sjbiViObpe Who. is ^ydlifijed. IJpweyep,
^ ihe fbdldwjng ^sho %

I
W^r —^ 1
(continued) ' ' I
Ajctupilly, there i^nq mystery about tuning, and it does not require a, I
musical ear, as that term is understood. It does require, however, ait ■
ear which can hear the wave beats between two frequencies of very
he 3^m^j3itph |
Use^^ the "Organ' MoBe11^ and ffPiinbfl stops for tuning purposes, " , ,.
'To make a" change iii frequency (tuning),1 iurri tiie 'potentiometer ty'^e' }^'%yi ■
tuning control either clockwise (sharp) or counterclockwise (flal)^"'1*' A*°
I
depending upon which, w^y it is desire.d to shift the pitch. If a.given nqtQ. I
cannot be brought into proper pitch fryacljus^m
it ip nepessary to carry put the following procedure: . ;. . f .
Adding capacity tq any.given tuned circuit will^lower th^freguencyj "Oix
^ii^raelj^e^pvlpg capacity from any rgiyen tiuied circuit will raise .its ■
freque^ncy^ ^e ^mallest of the tuning; jc^tpacitbrs^ C§," sfipuH be' phpsen "~"' |
as /the ope tochange * in other words, if a generator cannot be maie sharp
enough ;With the^controj, it will be necessary to reduce the capacity-- \. u
re,moyQ one of the §mall value tiinihg 'capacitors .aiid replace it 'with the ' I
next smaller sxze> ■
ft %s neqessjary' to liaye some type of pitch standard pxi reference -!r J&fr tf}h |
' tuiielf piano/ etectrqnic clevice such; as,vtlie Conn, Strbboturier{or PeteT^soii^
Tuner, or "A" tuning fork for those who can set a' teinpe^ameiit%y feaR 'l ■
Several paodels of audio ostcillatof reference ,ctevices for tuning pu^ppse^s |
Tq^b ^ese^^^^si^qL^ly^ zero beat the' ftiytt^ unit. I
^
E^c^tt^ tu^ier cpny^nieritly sq you hay^ eas^. access to the seij^ctbr s^
a patch cord between the tuiier arid the output pf ^ If
you wish to listen to the sound as well as see the strobe paitern^ use an
?tRCA audio tfYfl connector at the generator output,
trs
First set the tuner gain control to produce the best pattern contrast* ^
generator can then be tuned in the usual way changing the tuning adjustment
to produce & stationary pattern on the strobe disc. The tone selector knob
is reset, of course, for each different tone measured.

>' Vv;iir;:-o-:>
the pointer to stop the pattern in case movement is noted.
Instead of tuning successive notes in each octave, ^<We »tUfie£s prefer to
use this method. First tune the ffCfsff in all.Qctavep with your selector
switch set atk*#*ra tK^n^r^e^Vith^if the ^'s^ &£ • ^iAs"trietKbd
reduces the nujnber qf tone selector switch settings;, and speerds the tuning
operatibi^
cppie
The
itfeffiok pXrSe^fing Te^j>e tuning peVices' ' " "'
One note, say A3 (A abov6 miSdler 6) is'chosen to Wt^
note is tuned tq? a s|;andar(| spurqe, usually 440 cycles, whiph might cpp
from a\tunijiig'^wfe*!r!af^ffier^^tum6xit, or an el^hirohiH si^nditd^ Th
x^xt;sie|^ $ttb ^oundtherl;3 ancf ^53;'' ThW :^t4i^lT^
^loui^h;J ^ toe\the E3,'&^% The'^at '
* occurs.'tietween .^e/to^^ ^a^r&piiii of the ,A3 ^nA tl\e fotitth ^r^onic of the
E3f F^prjcorrect turiing, tfiis'jbeat freque^ ohean^ qrie-
quax^er:'beat's p^r 'second or^ i'6 beats in ife Seconds. ^ Th^actualjfreque'ncy
of the third harmonic of A3 is 1320 cycles. A beat frequency bif one and1
.^ ...... .. ». • . . . .. . , . ■ i
, ^fi^3|ifi^hen soun^ea;^ ^is larval U ajjr^ti^j.pajL fl£t&^/
The beat noie occurV between the thirtfharpaoiiic oi tlie ^3 iari'd tKi Second
harmonic of the B3, and is about one and one-quarter beats per1 second.
Again, two different frequencies of B3 v?pl g^ye the. cori;ect.beat* As before,
the lower or flattest of the two mus£&e:^
.until finally on #ie 12th step, acheck is agairt paade on A3, this time with D3.
.[]'r A list of't^ given. ff^e'last^t^P^
D3i' ^nd' A 3 .rdsuits in a'beat thiat is slcrtv eijoiugh to be coulrf-etfi tkd ^uiiiiig'
iem^eramQn^^ 'To tune the rest of 1:he ;generat6V, ofitav^^yrei'theh'
n^?o'5zkro'lJ6at^ti? 'f ' ; ' j
All of the following notes are t^o be taken from the third octave (from middle C

T7=T7r"~Tr~~"""^ (continued)
1. Use Piano and Organ Mode Stops.
2« Set A to tuning fork or other standard (440 cycles).
3. Sound A and E tuning E about 1-1/4 cycle under or flat.
4. Sound E and B tuning B about 1-1/4 cycle under or flat.
5. Sound B and F# tuning F# about 1-1/4^ycle-wndep or flat.
;v 6. Sound F# and C# tuning C#^ abo^t'1-1/4; cycle under or flat. ;„- . r,
"7.;' So^iid ^ eycle und^r or flat.
, 8^ Sound G# and D# %upingj}tt abdut ;^ or flat,
9. StfiiilclJ6# apd A'$ funfng^# a¥ojut: 1-1/4 cycle iind^r or flat.
10. Sourid A# and F-tiJHin^Ti? abQiit 1-1/4 cycle uhdef* or flat.* ../.
11 # Sound ]F?Lnd C turfiti^jC. 4b<?Mi.J.S'X/,4 5ycle up.d^r oV. flat.*- v^
12. Sound C and d tuning G^boiit 1-1/4 cycle under or flat* y
13. Sound G and D tuning {^about 1-1/4 cycle under or flat.
14. Sound D and A tunMg about 1-1/4 cycle under or flat. *r
Ifjthe A does not automatically seem approximately right in-relation to the~D,
then it is necessary to back up so as to even out the temperament. If the
A is too flat, it shows that the previous notes have been tuned too flat, and
it is necessary to "slow11 their beat. In listening, car$ must b$ taken that
one t&lis^^^^ due to the
higher: har.monics*. Qtlierwise, ^ "fal^e1'.^effect ypXf. be. obtained;due to the
/.<*—^-" ^y-'^tb^gl?6|ihte upper harmonics*' f,: :: . ;
. ••»■!•>

SUBJECT 7: INSTRUCTIONS FOR CURING PROBLEM OF STICKING
~~T, AjND/OR CLICKING; KEYSy QN. ELECTRA PlANO ;: : I:
1* Open lid by removing two thumb screws on Jbottorn of instrument,.
1. Remove black keyboard facer ^trip by removing the two round
head slotted<rs'crewk from front bottom dif instrument;
3# Remove keybed by removing the ten phillips head screws from
bottom of instrument*
4* Install metal washers as shims between metal limiting rail (a)
and wood keybed (B)t using one washer (C) behind each screw (D),
Caution - remove one screw and shim one portion of keybed at a
time,
5* Reinstall keybed and check contact adjustment*
6# Reinstall facer strip*
7* Install thumb screws*
NOT APPLICABLE TO MODEL 368X OR MODEL 668X

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TONE
: amd
STOP SECTtOU
BOOST
CIRCUIT
VOLUME
COV1TR0U
SGOO
EXPRESSOM PEDAL
CIRCUIT
ALLEN ORGAN C0.r
Ei-H^T.^rA F/iNC y.ZZZL. 3i 2
TOWS ChAN2£R C Ki^OCK C'^.C

" 'i
PICTORMATIC LAYOUT
r.RMI 368 a 668 OSCILLATOR a KEYING CIRCUIT
SPLIT GROUND BUS
LI
CIO
RI8
03
R16 5- RI5
C8
RI7
ORGAN MODE
• BUS ' •
RfO"
;cr&
SINGLE PITCH EXAMPLE
.R7-
;6rgan
TCR
"GND.
:R6
R5
CR6:
:1 «
STOP SWITCH-GROUND w
1 BUS (STOPHfJFF) KEY ,NPUT
SUSTAIN PEDAL BUS ;C