Wersi CLASSICA W3SK User manual

Master Assembly
CLASSICA W3SK
AM 079
AM 079 (Part)
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1 PREFACE
The following extracts are taken from the Master Assembly Manual for the Classica, to cover the layout of the organ
modules, testing, and cable-form wiring.
2 TABLE OF CONTENTS
1 PREFACE ................................................................................................................................................................................................................................ 2
2 TABLE OF CONTENTS......................................................................................................................................................................................................... 2
2.1 FIGURES.........................................................................................................................................................................................................................................................................2
2.2 TABLES ..........................................................................................................................................................................................................................................................................3
3 Initial Operation and Adjustments ........................................................................................................................................................................................... 5
3.1 Preparations......................................................................................................................................................................................................................................................................5
3.2 Conventions and lnitial Conditions..................................................................................................................................................................................................................................5
3.3 First-Time Power On .......................................................................................................................................................................................................................................................6
3.4 Testing of the L/Man Drawbars .......................................................................................................................................................................................................................................6
3.5 Testing of the Lower Manual Envelope Control..............................................................................................................................................................................................................6
3.6 Testing of the Drawbars and Envelope Control of the Upper Manual.............................................................................................................................................................................7
3.7 Testing of the Lower Manual Fixed Stops .......................................................................................................................................................................................................................7
3.8 Testing of the Fixed Stops of the Upper Manual .............................................................................................................................................................................................................8
3.9 Testing of the Pedals........................................................................................................................................................................................................................................................9
3.10 Testing of the Frequency Vibrato ....................................................................................................................................................................................................................................9
3.11 Testing of the Selector Switches Drawbars/Fixed Stops................................................................................................................................................................................................10
3.12 Testing of the Wersivoice ..............................................................................................................................................................................................................................................11
3.13 Testing of the Channel Selectors....................................................................................................................................................................................................................................11
3.14 Testing of the Swell Pedal and Reverb ..........................................................................................................................................................................................................................11
3.15 Testing of the Piano, Couplers and Wersidata Programming ........................................................................................................................................................................................12
4 Final Steps.............................................................................................................................................................................................................................. 12
2.1 FIGURES
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Figure 1 Layout of the building blocks in the organ top..........................................................................................................................................................................................................4
Figure 2 Block diagram of the audio wiring and associated DC controls ............................................................................................................................................................................5
Figure 3 Schematic layout of the wiring harness GO 3........................................................................................................................................................................................................14
2.2 TABLES
Table 1 Wire List of Harness GO 3 .........................................................................................................................................................................................................................................15
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Figure 1 Layout of the building blocks in the organ top
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Figure 2 Block diagram of the audio wiring and associated DC controls
3 Initial Operation and
Adjustments
We suppose that power supply, tone generator and electronic keyers have
passed the previous tests and are in good working order. We further assume that
the organ is equipped with operating power amplifiers and speakers.
Only some of the connectors of the wiring harness G03 are to be connected at
this point in time. If in doubt, verify which ones are to be plugged in by rereading
chapter G.
3.1 Preparations
( ) Cut off a 100 cm (40")long piece of hookup wire (any colour). Solder an
alligator clip to one end and connect the other end to -15 V of the power supply
(together with the large number of blue wires).
This lead will serve as test wire to activate the various analogue audio switches.
3.2 Conventions and lnitial Conditions
A tongue tab is said to be "OFF" when it is in its upper position.
A rocker tab is considered "OFF" when its top is pushed in.
A drawbar is "OFF" when it is pushed home.
Turn off all tongue tabs and rocker tabs.
( ) Push home all drawbars (including master controls).
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( ) Set the transposer to "C" (normal pitch).
( ) Set the master pitch control (on A P 1) to the centre of rotation.
( ) Depress the swell pedal completely.
( ) Push the programming switch "Cancel" (if applicable).
3.3 First-Time Power On
Important: There will be AC line voltage present from now on at various locations
in the organ. Keep your hands away from the AC line connector, power
transformer, AC toggle switch and pilot light.
( ) Turn on power to the organ for a few seconds only. Quickly scan the
instrument with your eyes and nose on the lookout for smoke. The power
amplifier may hum and hiss slightly and even a few faint sounds may be heard.
But there should be no July 4 spectacle taking place.
( ) If everything seems to behave in an orderly manner check the power supply
voltages (+ and -15 V D C).
( ) In case of trouble at this stage remove the supply lines at the subunits
throughout the organ one by one (but positive and negative lines simultaneously)
to isolate the culprit. Keep notes of what you are doing such that you can restore
the instrument after locating the problem.
( ) Confirming test for operating power supply, tone generator and power
amplifier: Hold a finger of one hand to the terminal "E" of one of the power
amplifiers. The amplifier will hum now. Run a finger of the other hand along the
foil side of the circuit boards G 2 of the tone generator. Tones should be heard
besides all other noises.
( ) Jam a key of each manual in the depressed position. While holding on to the
amplifier terminal, touch the terminals "SO" or "SIN- of the keyer block. Again,
tones at various pitches should be heard.
3.4 Testing of the L/Man Drawbars
( ) Set all trim pots on the preamplifiers to their centres of rotation.
( ) Pull all 12 drawbars of the lower manual out half way.
( ) Jam a key in the centre of the lower manual in the depressed position. There
should be no audible sound yet.
( ) Clip the test lead to plug 4, terminal S 2 of the right preamp. The drawbar
signal should appear from the right speaker.
[ ] If no tone is heard touch the terminal E 2 (plug 3) of the right Area m p with
one hand (use a short piece of bare wire to reach down into the rear opening of
the connector) and touch the input pins of the lower manual drawbars with your
other hand. You should hear 11 different pitches when touching the drawbar pins
sequentially. If no tones appear the problem is likely to be found on the
preamplifier. Are the supply voltages present? Do you measure - 15 V D C at the
control terminal S2? Is the ribbon cable installed underneath the preamplifiers?
( ) Clip the test lead to the terminal S 2 of the left preamp. The sound should
now appear from the left speaker.
( ) If a problem appears to be confined to the preamplifiers consult the manual A
M 540 and find out which IC's are responsible for the input gating of E 2/S 2.
Swap IC's of like types.
( ) Push all drawbars except the left most drawbar home. The sound will
disappear. Pull out single drawbars of the lower manual one by one and check
for proper sequence of the pitches. Release the key on the lower manual.
3.5 Testing of the Lower Manual Envelope Control
The operation of the 4 envelope control switches for the lower manual can be
tested by using the drawbars.
( ) Turn on the switch "Soft Attack". When depressing a key on the lower manual
the tone buildup should be slower than before.
( ) Turn on the switches "Short Sustain"; " Medium Sustain" and "Long Sustain"
successively. The tone decay after the release of a key should become
progressively longer.
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Rich in overtones, "brushed-string" sound.
7
[ ] Should any of these functions not operate properly fasten a second test lead
to -15 V of the power supply and clip it directly to the pins "Att. soft"; "Sustain
short", "Sustain medium" or "Sustain long" on HK 13 of the lower manual.
If the envelope modes now are working okay the problem will be found in the
wiring (see wire list). If not the trouble is located on the envelope control boards
HK13 or HK12 of the lower manual (though they were tested previously).
3.6 Testing of the Drawbars and Envelope Control of
the Upper Manual
Repeat the tests of the preceding chapters IV and V. However, apply the test
lead to one or the other Area m p terminal S4, jam a key on the upper manual
and test a total of 11 pitches.
After the completion of the tests for the upper manual, 10.
remove the test lead and push all drawbars home.
3.7 Testing of the Lower Manual Fixed Stops
( ) Jam a key of the lower manual in the depressed position.
Turn on a few fixed stops of the lower manual.
( ) Pull the volume control "L/Man" out mid-way.
( ) Push the connector from the harness G03 onto the pins of "Plug 1" and "Plug
2" (GP 2 of lower manual).
( ) Clip the test lead to pin S1 of the right preamp. The selected fixed stops will
now be audible from the right speaker.
( ) Check the presence of all fixed stops and compare the sound character with
the list below:
Fixed Stop Voices of the Lower Manual
1. Cello 16':
2. Principal 1 6':
Wide spectrum, full-bodied.
3. Bowdon 16':
Mellow, hollow, no high pitches.
4. Trumpet 16':
Powerful and bright.
5. Viola 8':
Bright, rich in harmonics.
6. Principal 8':
Broader spectrum than Viola 8', but still rich in harmonics.
7. Bassflute 8':
Mellow and somewhat "hollow".
8.Schalmei 8':
Bright, at the lower pitches slightly "reedy".
9. Trumpet 8':
Loud and brassy, very rich in harmonics.
10. Violin 4':
Same as Viola 8'but pitched one octave higher.
11. Principal 4':
Broader spectrum than Violin 4; but still rich in harmonics.
12. Flute 4':
Soft and mellow.
13. Nasst 2-2/3':
Sounds one fifth higher than the 4' stops (G appears on a C key). This is a fill-in
voice (not a solo stop) and sounds softer than the 4' stops.
14. Principal 2':
Same as Principal 4' but pitched one octave higher, repeats at the highest C.

15. Flute 2':
Mellow, few harmonics, repeats at the highest C.
16. Third 1-3/5':
Sounds one third higher than the 2' stop (E appears on a C key). Colouring fill-in
voice.
17. Fifth 1-1/3':
Sounds one fifth higher than the 2' stop (G appears on a C key). Colouring fill-in
voice.
18.Principal 1’.
Same as Principal 2; but pitched one octave higher, repeats over the entire top
octave.
19. Ninth 8/9':
Sounds a full tone higher than 1' (D appears on a C key), soft and thin tone,
repeats after the A key of the fourth octave.
20. Sifflute 1/2':
Pitched one octave above the 1' stops, sounds sharp, repeats over the two top
octaves.
21. Mixture V:
Bright mixture over the entire manual.
22. Mixture VIII:
Richer than the Mixture V, especially at the tower pitches.
( ) Clip the test lead to pin S 1 of the left preamp and test a few stops. The sound
should now appear from the left speaker.
3.8 Testing of the Fixed Stops of the Upper Manual
( ) Jam a key of the upper manual in the depressed position.
( )Turn on a few fixed stops of the upper manual.
( ) Pull the volume control " U/Man " out mid-way.
( ) Push the connector from the harness G03 onto the pins of "Plug 1" and "Plug
2" (G P 2 of upper manual).
( ) Clip the test lead to pin S 3 of either preamp. The selected fixed stops will
now be audible.
( ) Check the presence of all fixed stops and compare the sound character with
the list below:
Fixed Stop Voices of the Upper Manual
1. Cello 16':
Rich in overtones, "brushed-string" sound.
2. Principal 16':
Wide spectrum, full-bodied.
3. Gedackt 16':
Mellow, somewhat hollow sound of a "stopped " pipe.
4. (Flugel)horn 16':
Subdued "brassy'; fundamental tone slightly suppressed.
5. Trombone 16':
Powerful low voice, becoming "buzzy" at the lowest octave.
6. Viola 8':
Bright sound, rich in harmonics.
7. Principal 8':
Rich full sound with plenty of harmonics.
8. Flute 8':
Subdued, soft, mixes well with other stops.
9. Oboe 8':
Thin woodwind, brighter than clarinet 8'.
10. Horn 8':
Fundamental tone suppressed slightly, hollow character.
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11. Trumpet 8':
Loud and bright brassy tone.
12. Clarinet 8':
Typical woodwind tone, hollow.
13. Violin 4':
Same as Viola 8', but an octave higher, almost no fundamental tone.
14. Principal 4':
Bright and powerful, rich in harmonics.
15. Flute 4':
Soft and pleasant.
16. Nasat 2-2!"3':
Sounds one fifth higher than the 4'StopS(G appears on a C key). Subdued voice
as fill-in.
17. Principal 2':
Bright and powerful, rich in harmonics, repeats at the highest C.
18. Flute 2': .
Soft and mellow, especially at higher pitches.
19. Third 1-3/5':
Sounds one third higher than the 2' stops (E appears o n a C key). Colouring fill-
in voice. Repeats after the top G.
20. Fifth 1-1/3':
Sounds one fifth higher than the 2' stops (G appears on a C key). Colouring fill-in
voice. Repeats after the top E.
21. Piccolo 1':
Thin, high-pitched stop, repeats after the C key of the 4th octave.
22. Minor Third 16/19':
Sounds a minor third higher than the 1' stop (a D # appears on a C key), repeats
after the G # key of the fourth octave.
23. Cymbal VI:
Very sharp mixture, brilliant over the entire manual.
24. Mixture IV:
Fuller than the Mixture VI, especially at lower pitches.
( ) Again, test the changeover of the sound to the other channel by clipping the
test lead to pin S 3 of the other preamp.
3.9 Testing of the Pedals
The drawbars and the fixed stops of the pedal section are to be tested in the
same way as the voices for the manuals. The corresponding control inputs at the
preamplifiers are:
S 6 for the drawbars (left and right)
S 5 for the fixed stops (left and right)
Clipping the test lead (-1 5 V D C) to any of these pins will activate the audio
inputs for the pedal drawbars or fixed stops respectively (and left or right
respectively).
3.10Testing of the Frequency Vibrato
The fixed stop voices of the upper manual can be used to test the various modes
of the frequency vibrato.
We suppose that the tone generator was tuned after its assembly.
( )Turn on the switch "Delayed Vibrato".
( ) Depress one or more keys in the upper manual.
After a short delay a weak vibrato should appear. The delay is initiated everytime
a key is depressed after a pause in playing. The delay time can be adjusted by
means of trim pot P 3 on the tone generator board G 1. Our recommendation:
centre of rotation.
( ) Turn off "Delayed Vibrato" and turn on "Contin. Vibrato". The vibrato exists
immediately when a key is depressed.
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( ) In addition, turn on "Vibrato II". The intensity (or depth) of the vibrato
increases.
( )Turn on "Vibrato III" additionally. This causes the heaviest vibrato. By the way,
the two vibrato intensity switches II and III are effective only in conjunction with a
turned on "Delayed Vibrato" or " Contin. Vibrato':
( )Turn on yet "Slow Vibrato". The previously fast vibrato should slow down
about 40 %.
General Procedure in Trouble-Shooting of Switch Functions
All modes of operation of the various building blocks throughout the organ which
are controlled by a mechanical switch are activated as follows: The switch sends
a negative (-15 V D C) control voltage to the corresponding location. Since it is
irrelevant from where the control voltage originates we can also activate a
particular function with the help of our test wire.
Example: Suppose that the function "Slow Vibrato" does not work while all other
vibrato modes are operating properly. First, we trace the control voltage.
We find that the switch "Slow Vibrato" is shown in Fig. 59. The control wire is No.
14 5. The wire list states that the other end of wire No. 145 is connected to the
tone generator G 1, plug A, pin 3.
Using our test lead (extended with a piece of bare wire) we touch this pin on the
generator. There are two possible results, namely:
a) The vibrato does not slow down,
b) The vibrato slows down.
c)
In case a) the problem is located o n the tone generator board (though it was
tested; did you miss that test?). In case b) we conclude that the control voltage
does not arrive at the tone generator.
Where did it get lost? In the harness? That is easy to verify by touching the
corresponding pin of the switchbank (other end of wire No. 145). If the vibrato
does not slow down we have to assume that the wire you see emerging from the
switch bank is not the one arriving at pin A 3 on the generator.
More likely, the vibrato will slow down, giving rise to two new questions:
a) Is the switch "Slow Vibrato" defective?
b) Is the control voltage for the entire switch bank missing?
c)
Question b) can be brushed aside immediately since the other switches of the
same group do control their functions.
The last locations of the trouble are, therefore, the switch itself, the foil pattern on
the board US 1, or the diode in series with the switch.
Clip the positive test lead of your voltmeter (15 V D C or greater) to ground and
test the following points in the indicated sequence:
1) Switch bank pin "p m " (master control voltage for entire switch bank).
2) One of the two pins at the rear of the switch (no voltage = defective switch).
3) Pin a where grey wire (No. 145) is connected (no voltage = defective diode,
wrong polarity of diode or interrupted foil pattern). Also refer to Fig. 28 for layout.
It took us quite a few words to describe this procedure. We hope that you
understand the fundamental idea behind all trouble-shooting.
a) Identify the function that is not working.
b) Locate the "sender" of the control signal (usually a switch).
c) Trace the signal, using the wiring list, hookup drawings and foil pattern
reproductions of this and/or other manuals.
d) Trace the path backwards by means of the test wire or follow it forwards by
using a voltmeter.
Important: Keep your inner cool and -if somebody else is watching - maintain an
air of "situation under complete control".
3.11Testing of the Selector Switches Drawbars/Fixed
Stops
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The Wersivoece switches on the stop board are "off". In that case the vibrato
(Whirl) is at its normal intensity and at the fast speed.
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( ) Turn on a few fixed stops in the lower manual.
( ) Pull a few drawbars of the lower manual.
( ) Push the connector for plug 4 on the right preamplifier onto the pins.
( ) Set the volume control " L/Man" about mid-way.
( ) Hold a chord on the lower manual and alternate the positions of the tongue
tab " Drawbars/Fixed Stops" of the lower manual. You should hear the drawbar
sound with the switch in the "up" position and the fixed stops in the "down"
position.
( ) Turn on all fixed stops of the lower manual. Pull XI
out all drawbars of the lower manual.
( ) Hold down a key or chord on the lower manual. Alternate between drawbars
and fixed stops and balance the volume of the fixed stops with the one from the
drawbars by means of trim pot P1 on GP 2(L/Man).
( ) Repeat the entire procedure from the beginning of this paragraph XI for the
upper manual and for the pedals respectively.
3.12Testing of the Wersivoice
( ) Push the 3 connectors from the harness G O 3 onto the pins o n the
Wersivoice circuit board WV 7.
( ) Turn off any vibrato (switches " Reverb/Vibrato, etc.").
( ) Select some bright fixed stops in both manuals and pull the drawbars for a
matching bright sound.
( ) The switches "Fixed Stops to Wersivoice" (in both manuals), when pushed
down, assign the respective sounds to the Wersivoice. The Wersivoice imposes
a rather complex vibrato on the sound such that it seems to emerge from rotating
speakers or baffles.
3.13Testing of the Channel Selectors
( ) Push the connector for plug 4 onto the pins of the left preamplifier.
( ) While playing on the upper manual, activate the channel selector switch "
U/Man Left/Right". The sound should switch back and forth between the amplifier
channels.
( ) Repeat the procedure for the lower manual.
( ) Assign the drawbars of the upper manual to the Wersivoice and play on the
upper manual. Activate the switch "Wersivoice Left/Right". The sound should
alternate between channels.
3.14Testing of the Swell Pedal and Reverb
( ) Push the connector of the harness G O 3 onto the pins of "Plug 1 " of both
preamplifiers (board VV 1). Refer to Fig. 40 for proper orientation of the
connectors.
( )Set all channel selectors to "Right".
( ) Test the volume control operation of the swell pedal while playing.
( ) Take the swell pedal back all the way (up). Adjust the trim pot "Null" on the
right channel V V 1 for minimum volume.
( ) Set all channel selectors to "Left".
( ) Repeat the -Null" adjustment for the left channel.
( ) Turn on the switch " Reverb I" and push Be swell pedal down. Hit a chord
briefly and observe the reverb.
( ) Turn off " Reverb I" and turn on " Reverb II". The reverb should be
lengthened.

( ) Adjust the trim pots P 2 on each V V 1 such that the longest reverb (" Reverb
I and II" turned on) suits your personal taste. Our recommendation: centre of
rotation.
( ) Set both treble controls P 3 on V V 1 (top) and Me bass controls P 4 (centre)
to the centre of rotation. Later on, you may want to re-adjust these controls to
match the organ sound to the room acoustics.
( ) Set the trim pots P 5 on V V 1 (bottom) for the highest desired volume from
your speaker when the swell pedal is fully depressed and when you play with "full
organ":
( ) Set the trim pot P1 (Output) on the Wersivoice circuit board WV 7 to the
centre of rotation.
( ) Find the position on P 2 (Input) on WV 7 where distortion occurs using many
fixed stops. Then, back off the volume until the distortion disappears.
( ) Now adjust P 1 (Output) such that the volume is the same in both positions of
the switch "Fixed Stops to Wersivoice" (using stops of the upper manual).
( ) Hold a full chord, using fixed stops in the upper manual. Turn on the rocker
switch "Fast/Chorale": The vibrato should be slow now (chorale speed).
( ) Turn the switch "Fast/Chorale" off again. The vibrato speed should increase
slowly until it reaches the fast (normal) speed. The Wersivoice simulates the
inertial speed-up of mechanical rotators.
( ) Turn on (down) the rocker switch "Speedshift Slow/Fast": When the speed is
changed now from slow to fast the speedshift takes place instantaneously (no
longer simulating any mechanical inertia). The speed change from fast to slow
(chorale) remains sudden, independent of the setting of the switch "Speedshift
Slow/Fast':
( ) Turn on the switch "Heavy" (also called "Celeste"). The intensity of the vibrato
should increase.
( ) Turn on the switch "Soft" only (also called "Chorus"). The vibrato becomes
less intense.
( ) Turn on both "Heavy" and "Soft": The result is an intensified vibrato (like the
one you hear when holding your ear very close to a rotating speaker). Thus
"ultra-heavy "vibrato is disabled automatically (and reduced to "normal heavy") at
the chorale speed.
( ) Turn on the switch "Whirl/Choir" only. The Wersivoice is now in its voice-
multiplying mode (also called string orchestra mode). The incoming voices
(coming from single instruments) are transformed into sets or choirs of voices.
The two intensity switches perform similar duties as in the "Whirl" mode. The
"Fast/Chorale" switch, however, is disabled. For more details, refer to the manual
AM 4 65 "Wersivoice".
Testing of the Swell Indicator
( ) Push the connector onto the pins on the swell indicator LA 1.
( ) Set the swell pedal to maximum volume, fully depressed. The LED's of the
swell indicator should light up.
( ) Adjust the trim pot P 1 on the board LA 1 such that the last (red) diode just
lights up with a fully depressed pedal.
3.15Testing of the Piano, Couplers and Wersidata
Programming
The installation, wiring, and testing of the remaining building blocks are described
in the respective assembly manuals.
4 Final Steps
When you reach this chapter you have completed a considerable amount of
work. We congratulate you for this achievement.
But, please, tome your haste and spend some time for the final cleanup. Inspect
the instrument for loose particles and tools. Use a vacuum cleaner to suck up the
remaining debris. (Some small strands of wire have a tendency to lodge
somewhere between terminals and components where they can cause the
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famous "demonstration effect" during your inaugural concert.) Fasten the swell
pedal cover and close up the rear panel(s).
We wish you many years of enjoyment with your CLASSICA. Since you built this
instrument yourself you are thoroughly familiar with its musical capabilities.
Maybe you want to start your playing experiments with duplicating some of the
sounds Klaus Wunderlich displays live on his LP "Wersitime 2 ". His registration
information on the liner notes pertain to the model W 2 S, the principles hold true
for all other models.
There is also a record dedicated to the CLASSICA namely the LP “Old Masters”
by Paul Heuser. This recording represents a good collection of the rich sounds
the CLASSICA is capable of.
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Figure 3 Schematic layout of the wiring harness GO 3
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The wiring list on the following pages contains the wire numbers, colors and types of wires used in the harness GO 3. Beginning and end of each wire are also identified
as to subunit name and terminal designation as far as the wiring of the organ is concerned, we do not make use of this list. It is provided as an aid in trouble-shooting and
for future reference.
Table 1 Wire List of Harness GO 3
Wire Material/Color Starts at: Ends at:
No. W =stranded wire (Subunit, PC Board, Terminal) (Subunit, PC Board, Purpose, Remarks
S = shielded cable Terminal)
1 W blue Power supply, PS 2, - 15 V Preamp, V V 2, right, plug 5, pin - 15 Neg. supply voltage
2 W blue Power supply, PS 2, -15 V Preamp, V V 2, left, plug 5, pin -15 Neg. supply voltage
3 W blue Power supply, P S 2, -1 5 V Matrix board, pedals, V 6, terminal - 1 5 Neg. supply voltage
4 W blue Power supply, P S 2, -1 5 V Wersivoice, WV 7, pin 18 (-15) Neg. supply voltage
5 W blue Power supply, PS 2, -15 V Matrix board L/Man, V 4, terminal -15 Neg. supply voltage
6 W blue Power supply, PS 2, -15 V Matrix board U/Man, V 5, terminal - 15 Neg. supply voltage
7 W blue Power supply, PS 2, - 15 V Tone generator, G 1, plug A, pin 8 Neg. supply voltage
8 W blue Power supply, P S 2, - 15 V Piano, PI 1, plug 3, pin -1 5 Neg. supply voltage
9 W blue Power supply, P S 2, -1 5 V Master pitch control, terminal A On interface panel AP 1
10 W blue Power supply, PS 2,-15 V Envelope control U/Man, H K 13, terminal-15 Neg. supplyvoltage
11 W blue Power supply, PS 2,-15 V Bus bar U/Man Neg. supplyvoltage
12 W blue Power supply, P S 2, - 15 V Piano keyers, PI 13, terminal V Neg. supply voltage
13 W blue Power supply, P S 2, -15 V Envelope control L/Man, H K 13, terminal - 15 Neg. supply voltage
14 W blue Power supply, P S 2, - 15 V Bus bar L/Man Neg. supply voltage
15 W blue Power supply, P S 2, -1 5 V Couplers, K 1, terminal - 15 Neg. supply voltage
16 not used
17 W blue Power supply, PS 2, -15 V Programming L/Man, plug 2, pin 17 Neg. supply voltage
18 W blue Power supply, PS 2, -15 V Programming U/Man, plug 2, pin 17 Neg. supply voltage
19 W blue Power supply, PS 2, -1 5 V Swell indicator, LA 1, plug 1, pin -1 5 Neg. supply voltage
20 W blue Power supply, PS 2, - 15 V Fixed stops U/Man, G P 2, plug 1, pin -1 5 Neg. supply voltage
21 W blue Power supply, PS 2, -15 V Fixed stops L/Man, G P 2, plug 1, pin -15 Neg. supply voltage
22 W blue Power supply, P S 2, -1 5 V Fixed stops pedals, G P 2, plug 1, pin -1 5 Neg. supply voltage
23 W gn/red Piano, PI 1, plug 2, pin Pe Terminal strip G O 3/G U 3 Piano sustain switch
24 W red Power supply, PS 2,+15 V Terminal strip G O 3/G U 3 +15 Vforswellpedallam p
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Wire Material/Color Starts at: Ends at:
No. W =stranded wire (Subunit, PC Board, Terminal) (Subunit, PC Board, Purpose, Remarks
S = shielded cable Terminal)
25 W ye/gn Power supply, PS 2, G N D Terminal strip G O 3/G U 3 Safety ground
26 W bn Swell indicator, LA 1, pin L D R Terminal strip G 0 3/G U 3 Swell indicator drive
27 W gray Pedal switches, S 3,point7 Terminal strip G 0 3/G U 3 Pedal sustain
28 W bk Power supply, PS 2, G N D Terminal strip G 0 3/G U 3 Ground for reverb springs
29 W bk Power supply, PS 2,G N D Terminal strip G O 3/G U 3 Ground for swell pedal
30 W red Power supply, P S 2, +15 V Preamp V V 2, right, plug 5, pin +15 Pos.supply voltage
31 W red Power supply, PS 2, +1 5 V Preamp V V 2, left, plug 5, pin +15 Pos.supply voltage
32 W red Power supply, PS 2, +15 V Matrix board, pedals, V 6,. terminal +15 Pos.supply voltage
33 W red Power supply, P S 2, +1 5 V Wersivoice, WV 7, pin +15 Pos.supply voltage
34 W red Power supply, PS 2, +15 V Matrix board L/Man, V 4, terminal +15 Pos.supply voltage
35 W red Power supply, PS 2,+15 V Matrix board U/Man,V 5, terminal +15 Pos.supplyvoltage
36 W red Power supply, PS 2, +15 V Tone generator, G 1, plug A, pin 4 Pos.supply voltage
37 W red Power supply, PS 2, +1 5 V Piano, PI 1, plug 3, pin +1 5 Pos.supply voltage
38 W red Power supply, PS 2,+15 V Piano keyers,Pl13,terminal+ Pos.supply voltage
39 W red Power supply, PS 2,+15 V Piano keyers,Pl12(2nd oct.),terminal+ Pos.supply voltage
40 W red Power supply, PS 2, +15 V Piano keyers, PI 12 (3rd oct.),terminal + Pos.supply voltage
41 W red Power supply, PS 2, +15 V Piano keyers, PI 12 (4th oct.),terminal + Pos.supply voltage
42 W red Power supply, PS 2,+15 V Piano keyers,Pl12(5th oct.),terminal + Pos.supply voltage
43 W red Power supply, P S 2, +15 V Swell indicator, LA 1, plug 1, pin +15 Pos.supply voltage
44 W red Power supply, PS 2, +15 V Fixed stops U/Man, G P 2, plug 1, pin +1 5 Pos.supply voltage
45 W red Power supply, PS 2, +15 V Fixed stops L/Man, G P 2, plug 1, pin +15 Pos.supply voltage
46 W red Power supply, PS 2,+15 V Fixed stops pedals, G P 2, plug 1,pin +15 Pos.supply voltage
47 W black Power supply, PS 2, G N D Master controls,ground plane G N D (= Ground)
48 W black Power supply, PS 2, G N D Preamp, V V 2, right, plug 5, pin G Ground (= G N D)
49 W black Power supply, PS 2, G N D Pream p, V V 2, left, plug 5, pin G G N D
50 W black Power supply, PS 2, G N D Matrix board, pedals, V 6, terminal G N D G N D
51 W black Power supply, PS 2, G N D Wersivoice, W V 7, terminal 9 (G N D) G N D
52 not used
53 W black Power supply, PS 2,G N D Envelope controlU/Man,HK 13,term.G N D G N D
54 W black Power supply, PS 2, G N D Piano keyers,Pl13,terminal G N D G N D
55 W black Power supply, PS 2,G N D Envelope control L/Man, H K 13, term. G N D G N D
AM 079 (Part)
16

Wire Material/Color Starts at: Ends at:
No. W =stranded wire (Subunit, PC Board, Terminal) (Subunit, PC Board, Purpose, Remarks
S = shielded cable Terminal)
56 W black Power supply, PS 2,G N D i Couplers, K 1tterminal G N D G N D
57 W black Power supply, P S 2, G N D Piano volume, terminal A G N D
58 W black Power sup ply, PS 2,G N D U/Man volume, terminal A G N D
59 W black Power suppIy,PS 2,G N D L/Man volume, terminal A G N D
60 W black Power supply, PS 2,G N D Pedal volume, terminal A G N D
61 W black Power suppIy,PS 2,G N D U/Man drawbars,Z R 4,pin15 G N D
62 W black Power supply, PS 2, G N D U /Man dra wbars, Z R 4, pin 17 not used in some harnesses
63 W black Power supply, P S 2, G N D Matrix board L/Man, V 4, terminal G N D G N D
64 W black Power supply, PS 2, G N D Matrix board U/Man, V 3, terminal G N D G N D
65 W black Power supply, PS 2, G N D Tone generator, G 1, plug B, pin 8 GND
66 W black Power supply, PS 2, G N D Piano, PI 1, plug 3, pin G N D G N D
67 W black Power supply, PS 2, G N D L/Man drawbars,Z R 4, pin 15 G N D
68 W black Power su pply, PS 2, G N D L/Man drawbars, Z R 4, pin 17 not used in some harnesses
69 W black Power supply, P S 2, G N D Wersidata switches, SW 2, point G N D G N D
70 W black Power supply, PS 2,G N D Tape jack on AP 1,terminal2 G N D
71 W black Power su pply, PS 2, G N D Pedal drawbars, Z R 1, pin 12 not used in some harnesses
72 W black Power supply, PS 2, G N D Pedal drawbars, Z R 1, pin 14 G N D
73 W black Power supply, PS 2, G N D Master pitch control, terminal E On interface panel AP 1
74 W black Power supply, PS 2, G N D Pedal switches, S 3, point 6 G N D
75 W black Power supply, PS 2, G N D Swell indicator, LA 1, plug 1, pin G N D G N D
76 W black Power supply, PS 2, G N D Transposer, TP,point M G N D
77 W black Power supply, PS 2, G N D U /Man fixed stops, G P 2, plug 1, pin G N D G N D
78 W black Power supply, PS 2, G N D L/Man fixed stops, G P 2, plug 1, pin G N D G N D
79 W black Power supply, PS 2, G N D Pedal fixed stops, G P 2, plug 1, pin G N D G N D
80 W black Power supply, PS 2, G N D Programming L/Man, plug 2, pin 20 G N D
81 W black Power supply, PS 2, G N D Programming U/Man, plug 2, pin 20 G N D
82 W green Programming L/Man, P R 1, plug 2,
pin 11 Switch bank H 4 L/Man, U S 1, point p m PM for L/Man envelope (PM =
programming voltage)
83 W green Programming L/Man, P R 1, plug 2,
pin 12 L/Man switches, S 3, point 1 (PM) P M
AM 079 (Part)
17

Wire Material/Color Starts at: Ends at:
No. W =stranded wire (Subunit, PC Board, Terminal) (Subunit, PC Board, Purpose, Remarks
S = shielded cable Terminal)
84 W green Programming L/Man, P R 1, plug 2,
pin 13 Pedal switches, S 3, point 1 (PM) P M
85 W green Programming L/Man, P R 1, plug 2,
pin 14 Fixed stops L/Man, G P 2, plug 1, pin PM PM for fixed stops L/Man
86 W green Programming L/Man, P R 1, plug 2,
pin 15 Fixed stops pedals, G P 2, plug 1, pin P M PM for fixed stops pedals
87 W green Programming U/Man, P R 1, plug 2,
pin 11 Channel selectors,S 2 K, point 16 PM for channel selectors
88 W green Programming U/Man, P R 1, plug 2,
pin 11 Switch bank Piano, U S 1, point p m PM for piano
89 W green Programming U/Man, P R 1, plug 2,
pin 12 Switch bank H 4 U/Man, U S 1, point pm PM for U/Man envelope
90 W green Programming U/Man, P R 1, plug 2,
pin 12 Switch bank WV, U S 1, point pm PM for Wersivoice
91 W green Programming U/Man, P R 1, plug 2,
pin 13 U/Man switches, S 3, point 1(P M) P M
92 W green Programming U/Man, P R 1, plug 2,
pin 14 Switch bank Vibrato/Reverb, U S 1, point pm PM for tone generator
93 W green Programming U/Man, P R 1, plug 2,
pin 15 Fixed stops U/Man, G P 2, plug 1, pin P M PM for fixed stops U/Man
94 W green Programming U/Man, P R 1, plug 2,
pin 16 Wersidata switches, SW 2, point P M P M
95 W white Left Preamp, V V 1, pin R A Right Preamp, V V 1, pin R A Reverb jumper
96 W brown Left Area m p, V V 1, pin R E Right Area m p, V V 1, pin R E Reverb jumper
97 S white Preamp V V 1, right, plug 1,cond.to
pin E 13, shield to pin G
Interface panel AP 1,audio connector, cond.to term.
5, shield cut off Tape playback, right
98 S gray Preamp V V 1, right, plug 1,cond.to
pin A 13, shield to pin G
Interface panel AP 1,audio connector, cond.to term.
4,shield cut off Tape record, right
99 S brown Preamp V V 1, left, plug 1,cond.to
pin E 13, shield to pin G
Interface panel AP 1, audio connector, cond.to term.
3,shield cut off Tape playback, left
100 S yellow Preamp V V 1, left, plug 1,cond.to
pin A 13, shield to pin G
Interface panel AP 1,audio connector, cond.to term.
1,shield cut off Tape record, left
AM 079 (Part)
18

Wire Material/Color Starts at: Ends at:
No. W =stranded wire (Subunit, PC Board, Terminal) (Subunit, PC Board, Purpose, Remarks
S = shielded cable Terminal)
101 S green Preamp V V 2, left, plug 3,cond.to
pin E 1,shield cut off
L/Man volume control, cond.to term. S, shield to
term. A L/Man fixed stop audio to Preamps
102 S black Preamp V V 2, left, plug 3,cond.to
pin E 2,shieid cut off
L/Man dra wbars, Z R 4,cond.to term. 1, shield to
term. 16 L/Man drawbarsaudio to Preamps
103 S gray Preamp V V 2, left, plug 3,cond.to
pin E 3,shield cut off
U/Man volume control, cond.to term. S, shield to
term. A U/Manfixed stop audio to Preamps
104 S blue Preamp V V 2, left, plug 3,cond.to
pin E 4, shield cut off
U/Man drawbars, Z R 4,cond.to term. 1,shield to
term. 16 U/Man drawbaraudio to pream ps
105 S white Preamp V V 2, left, plug 3,cond.to
pin E 5, shield cut off
Pedal volume control, cond.to term. S, shield to
term. A
Pedal audio to pream ps (fixed
stops)
106 S red Preamp V V 2, left, plug 3,cond.to
pin E 6,shield cut off
Pedal dra wbars, Z R 1,cond.to term. 10, shield to
term. 9 Pedal audio to preamps (dra wbars)
107 S yellow Preamp V V 2, left, plug 3,cond.to
pin E 7,shield cut off Wersivoice, WV 7,cond.to pin 10, shield to pin 9 Wersivoice audio to Preamps
108a S brown Preamp V V 2, left, plug 5, pin E 11
(shield cut off)
Piano volume control, cond.to term. S, shield to
term. A Audio from piano to Preamps
108b S brown Preamp V V 2, left, plug 5,cond.to
pin E 11, shield cut off
Preamp VV 2, right, plug 5,cond.to pin E 11, shield
cut off Extension of cable No. 108a
109 W red/blue Preamp V V 2, left, plug 4, pin S 1 Channel selectors, S 2 K, point 10 L/Man fixed stops left
110 W yel/red Preamp VV 2, left, plug 4, pin S 2 Channel selectors, S 2 K, point 9 L/Man dra wbars left
111 W wh/yel Preamp V V 2, left, plug 4, pin S 3 Channel selectors, S 2 K, point 4 U/Man fixed stops left
112 W wh/brn Preamp V V 2, left, plug 4, pin S 4 Channel selectors, S 2 K, point 3 U /Man dra wbarsleft
113a W wh/blue Preamp VV 2, left, plug 4, pin S 5 Pedal switches, S 3, point 5 Pedal fixed stops left/right
113b W wh/blue Preamp VV 2, left, plug 4, pin S 5 Preamp V V 2, right, plug 4, pin S 5 Extension of wire No. 113a
114a W wh/blue Preamp V V 2, left, plug 4, pin S 6 Pedal switches, S 3, point 3 Pedal drawbarsleft/right
114b W wh/brn Preamp V V 2, left, plug 4, pin S 6 Preamp V V 2, right, plug 4, pin S 6 Extension of wire No. 114a
115 W brn/gn Preamp V V 2, left, plug 4, pin S 7 Channel selectors, S 2 K, point 17 Wersivoice left
116 W wh/gn Preamp V V 2, left, plug 4, pin S 11 Channel selectors, S 2 K, point 14 Piano left
117 W yellow Preamp V V 2, right, plug 4, pin S 1 Channel selectors, S 2 K, point 12 L/Man fixed stops right
118 W brown Preamp V V 2, right, plug 4, pin S 2 Channel selectors, S 2 K, point 7 L/Man dra wbars right
119 W wh/red Preamp V V 2, right, plug 4, pin S 3 Channel selectors,S 2 K, point 6 U/Man fixed stops right
120 W wh/blue Preamp V V 2, right, plug 4, pin S 4 Channel selectors, S 2 K, point 1 U/Man dra wbars right
AM 079 (Part)
19

Wire Material/Color Starts at: Ends at:
No. W =stranded wire (Subunit, PC Board, Terminal) (Subunit, PC Board, Purpose, Remarks
S = shielded cable Terminal)
121 W brn/ye Preamp V V 2, right, plug 4, pin S 7 Channel selectors, S 2 K, point 18 Wersivoice right
122 W v'vh/red Preamp V V 2, left, plug 4, pin S 1 1 Chan nel selectors, S 2 K, point 15 Piano right
123a W white Preamp V V 2, left, plug 5, pin R 1 Switch " Reverb I'; U S 1, point a Control for Reverb I
123b W white Preamp V V 2, right, plug 5, pin R 1 Preamp V V 2, left, plug 5, pin R 1 Extension of wire No. 123a
124a W pink Preamp V V 2, left, plug 5, pin R 2 Switch " Reverb II'; U S 1,point a Control for Reverb II
124b W pink I Preamp V V 2, right, plug 5, pin R 2 Preamp VV 2, left, plug 5, pin R 2 Extension of wire No. 124a
125 S green L/Man volume control, cond.to term.
S, shield to term. A Wersivoice, WV 7, inputs cond.to pin 1, shield cut off L/Man fixed stop audio to WV
126 S black L/Man drawbars, Z R 4,cond.to pin 1,
shield to pin 17
Wersivoice, WV 7, inputs con d.to pin 2, shield cut
off L/Man audio to WV
127 S gray U/Man volume control, cond.to term.
S, shield to term. A
Wersivoice, W V 7, inputs cond.to pin 3, shield cut
off U/Man fixed stop audio to WV
128 S blue U/Man drawbars, Z R 4,cond.to pin
1, shield to pin 17
Wersivoice, W V 7, inputs cond.to pin 4, shield cut
off U/Man audio to WV
129 S white Pedal volume control, cond.to term.
S, shield to term. A
Wersivoice, W V 7, inputs cond.to pin 5, shield cut
off Pedal audio to WV (fixed stops)
130 S red Pedal drawbars, Z R l,cond.to pin 10,
shield to pin 9 Wersivoice, WV 7, inputs cond.to pin 6, shield cut off Pedal audio to WV (drawbars)
131 S brown Piano volume control, cond.to term.
S, shield to term. A Wersivoice, WV 7, inputs cond.to pin 7, shield cut off Piano audio to WV
132 W red/blue L/Man switches, S 3, point 4 Wersivoice, WV 7, pin 1c L/Man fixed stops to WV
133 W ye/red L/Man switches, S 3, point 2 Wersivoice, WV 7, pin 2c L/Man drawbars to WV
134 W wh/ye U/Man switches, S 3, point 4 Wersivoice, WV 7, pin 3c U/Man fixed stops to WV
135 W wh/bn U/Man switches, S 3, point 2 Wersivoice, WV 7, pin 4c U/Man drawbars to WV
136 W white Pedal switches, S 3, point 4 Wersivoice, WV 7, pin 5c Pedal fixed stops to WV
137 W wh /red Pedal switches, S 3, point 2 Wersivoice, WV 7, pin 6c Pedal drawbars to WV
138 W wh/gn Piano switches, US 1, point a Wersivoice, WV 7, pin 7c Piano to WV
139 W brown Switch "Normal /Heavy", US 1, point
aWersivoice, WV 7, pin 12 WV intensity (Heavy)
140 W yellow Switch "Normal /Soft", US 1, point a Wersivoice, WV 7, pin 13 WV intensity (Soft)
AM 079 (Part)
20