Wersi GALAXY User manual

Master Assembly
GALAXY
AM 075
AM 075 (Part)
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1 PREFACE
The following extracts are taken from the Master Assembly Manual for the Galaxy, 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.........................................................................................................................................................................................................................................................................3
2.2 TABLES ..........................................................................................................................................................................................................................................................................3
3 Initial Operation ....................................................................................................................................................................................................................... 8
3.1 Test Lead..........................................................................................................................................................................................................................................................................8
3.2 Preparation of the Organ ..................................................................................................................................................................................................................................................9
3.3 First-Time Power On .......................................................................................................................................................................................................................................................9
3.4 Preliminary Tests .............................................................................................................................................................................................................................................................9
3.5 Testing of the Lower Manual Drawbars ........................................................................................................................................................................................................................11
3.6 Testing of the L/Man Envelope Control ........................................................................................................................................................................................................................12
3.7 Testing of the Middle and Upper Manuals respectively ................................................................................................................................................................................................13
3.8 Testing of the Drawbar Presets ......................................................................................................................................................................................................................................13
3.9 Testing of the L/Man Fixed Stops..................................................................................................................................................................................................................................14
3.10 Testing of the M/Man Fixed Stops.................................................................................................................................................................................................................................16
3.11 Testing of the U/Man II Fixed Stops..............................................................................................................................................................................................................................17
3.12 Testing of the U/Man I Fixed Stops...............................................................................................................................................................................................................................19
3.13 Testing of the Tongue Tab Switches "Drawbars(or) Fixed Stops" ................................................................................................................................................................................19
3.14 Testing of the "Drawbar/Fixed Stops" switches of the M/Man and U/Man respectively ..............................................................................................................................................19
3.15 Tuning of the Tone Generators and Testing of the Generator Functions.......................................................................................................................................................................20
3.16 Testing of the Functions "Manual Couple" "Orchestra Coupler" and "Ensemble Tuning" ...........................................................................................................................................22
3.17 Testing of the Wersivoice I............................................................................................................................................................................................................................................24
3.18 Testing of the Wersivoice II...........................................................................................................................................................................................................................................25
3.19 Testing of the Channel Selectors U/Man, M/M an, L/Man and Wersivoice I respectively ...........................................................................................................................................25
3.20 Testing of the U /Man Special Effects ...........................................................................................................................................................................................................................25
3.21 Testing of the M/Man Special Effects............................................................................................................................................................................................................................26
)
3.23 Testing of the Pedals......................................................................................................................................................................................................................................................27
3.22 Testing of the Piano .......................................................................................................................................................................................................................................................26
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3.24 Testing of the Swell Pedal and Reverb respectively ......................................................................................................................................................................................................27
3.25 Testing of the Swell Indicator ........................................................................................................................................................................................................................................28
3.26 Testing of the Key Pop...................................................................................................................................................................................................................................................28
3.27 Testing of the Rhythm/Auto Accompaniment ...............................................................................................................................................................................................................28
3.28 Tuning of the two Twin Transposers .............................................................................................................................................................................................................................29
3.29 Testing of the Arpeggio/Glissando ................................................................................................................................................................................................................................30
3.30 Testing of the Studio Amplifiers....................................................................................................................................................................................................................................30
3.31 Testing of the Sound Computer .....................................................................................................................................................................................................................................31
4 Final Steps.............................................................................................................................................................................................................................. 31
2.1 FIGURES
Figure 1 Layout of the building blocks in the organ top..........................................................................................................................................................................................................4
Figure 2 Block diagram of the audio distribution and associated DC controls....................................................................................................................................................................5
Figure 3 Schematic diagram of the drawbar presets PZ4.......................................................................................................................................................................................................7
Figure 4 Schematic layout of the wiring harness GO 4........................................................................................................................................................................................................33
2.2 TABLES
Table 1Tuning Table for the Twin Transposers.............................................................................................................................................................................................................................30
Table 2 Wire List of Harness GO 4 .........................................................................................................................................................................................................................................34
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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 distribution and associated DC controls
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Figure 3 Schematic diagram of the drawbar presets PZ4
(Applies also to PZ6 with different component numbers)
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3 Initial Operation
We presume that the power supply, the tone generators, the
electronic keyers, the envelope control, as well as the power
chassis, have passed their respective testing successfully earlier.
As a reminder, the harness P R 4 must not be installed yet at this
point in time. If it is installed (against our recommendations) do not
mate any connectors to the sound computer boards SC 3 and SC 5
respectively.
We further presume that the harness G04 was wired exactly as
described earlier in this manual. Only a limited number of
connectors should be mated at this time. Others are not connected
yet.
NOTE-IMPORTANT
Refer to Fig. 91. Remember that you have joined the 5 blue wires in
the vicinity of the "Read-in" key switch and that all " PM ..." lines
were joined with the respective blue wires. This applies an
unconditional negative control voltage to all tab and rocker switches
of the organ, that is, the organ is permanently under manual
control. When you will be ready to install the sound computer, these
temporary connections will have to be eliminated.
3.1 Test Lead
1. Cut a 40" long piece of thin hookup wire and attach a
connector insert to one end. Push this insert into a free
position of one of the -15 V connectors on the power supply.
(Many blue wires are already connected there.)
2. Attach an alligator clip to the other end of the test lead. We
are going to call this wire simply "Test lead" in the future.
Never allow the alligator clip to touch ground (all black wires
and metal chassis parts respectively) nor +1 5 V (all red
wires).
As you may have noticed by now, all functions of the organ are
controlled by a negative control voltage. This control voltage may
stem from a front panel switch, from the sound computer, or from
our test lead.
The conversion of this control voltage into the respective function
normally takes place directly on the circuit board where that
function is located.
Examples: Electronic input gates on the preamplifier board V V 2
determine whether a particular audio signal
is to be passed on to the circuitry or not. Electronic switches select
the voices on the piano voicing board PI 1. D C controlled field
effect transistors (F E T) activate the fixed stops. Logic circuits
determine the modes and speeds of the Wersivoice.
We may use the test lead to by-pass any switches and activate a
particular function directly by applying -15 V directly to a control
input terminal. Should you encounter a function which is inoperative
when the corresponding switch is activated, the trouble-shooting
procedure is straightforward. In that case, consult the wire list for
the harness G O 4. There you find the wire number between the
switch in question and the corresponding control port. Apply the
test lead to that control terminal. If the function is now operative, the
trouble is limited to the wiring (check colours) or the switch (solder
connections, associated diode). If the function remains non-
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operative, the problem is to be found on the circuit board where the
electronics is located.
3.2 Preparation of the Organ
It is necessary that we have a defined initial setup of the organ
before we start to activate the various subunits. Set the switches
and controls as follows:
( ) All tongue tab switches off (up). ( )All rocker switches off
(pushed in on top).
( ) All drawbars, including the master controls, pushed home.
( ) All push button switches on both slanted control panels off (in
the "out" position).
( ) Transposer switch in position C (standard pitch).
( ) "Slalom" control (left control panel) at its right hand stop.
( ) Push the AC on/off switch down.
( ) Set all trim pots o n both preamplifiers VV 1 to the centre of
rotation.
( ) Connect the speakers to the organ.
3.3 First-Time Power On
This is the moment of truth. We hope that you appreciate the
significance of the impending action. Optimists, at this moment,
unplug the soldering iron and put it back in the closet. Pessimists,
on the other hand, fight a certain tightness in the stomach area.
Plug the AC line cord into a grounded outlet. If nothing happens
you should mark it as a success. Pushing the button at the lower
right corner of the right control panel (you performed this step in the
preceding paragraph II) turned the organ off.
Now push the AC o n/off button again to release it which turns the
organ on. Limit this first on-period to about 3 seconds and turn it off
again.
If your eyes, nose and other senses did not receive any "smoke
signals" or strange noises from within the organ or from the
speakers turn the organ on again. You should be able to notice the
following:
( ) The AC on/off button should be lit.
( ) The tongue tab illumination should be lit. ( )The pedal spot lights
should be on.
( ) The 8 push button "Instruments Delete" on the left control panel
should be lit.
( ) The speakers should produce a faint noise, coming from the
operating power amplifiers.
3.4 Preliminary Tests
1. Check the presence of the power supply voltages by using a
voltmeter. Measured against ground you should be able to
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read +15 V DC and 15 V DC respectively. Both voltages
should be correct within +/-1VDC.
Possible problems: One or both voltages are missing or read well
below the 1 5 Volts.
Possible cause: A short circuit in any of the organ's subunits that
use this voltage.
Trouble-shooting: Unplug all connectors on the power supply
leading to the pins of the voltage in question. Do not remove any
connectors leading to " G N D ". Turn on the organ again and verify
the presence of the proper voltage. It is very likely that it will be
there since the power supply was found to be in good working
condition earlier. Re-connect the connectors one by one while
constantly monitoring the voltage. The connector which, when
mated, causes the voltage to collapse, obviously contains the wire
with the short circuit. Consult the wire list to locate all possible
"users" of this voltage. Check for a short circuit (using the
ohmmeter and looking for a very low resistance, e.g., less than 10
Ohms) at each point where the supply voltage is used. (The
connector which contains the wire with the trouble is to be
disconnected from the power supply during this test.) After the
subunit is located which presents a short circuit to the power
supply, consult the respective assembly manual for assistance to
the troubleshooting on the subunit proper.
In any case, the power supply voltages must be at their
proper values with all supply wires connected. Anything that
impedes this must be located and rectified before any subsequent
tests are meaningful.
2. Prepare another 40" long piece of hookup wire by removing
the insulation at both ends over a length of about 1/4".
Attach a 1" long piece of heavy bare hookup wire to one end
of this wire. Stick the end with the bare wire into the rear
opening of the connector on the left preamplifier, namely into
the hole with leads to pin "A 2" on plug 5. This location
corresponds to the audio output of the left preamplifier (=
audio input of the left power amplifier).
Turn on the organ and touch the other end of this wire with
your hand. The formerly faint noise from the left speaker
should become more pronounced. This test verifies the
continuity of the audio output line all the way from the
preamplifier to the speaker.
Plug the lead with the bare piece of wire into the opening
corresponding to "A 2" of plug 5 on the right preamplifier.
Again, touch the other end of the wire. The increased noise,
this time, should come from the right speaker.
Leave the wire connected to "A 2", plug 5 on the right
preamp. Hold the other end of the wire with one hand and
run a finger of the other hand along the foil side of the gating
boards G 2 on either tone generator. All sorts of tones
should be heard at a certain volume which depends on
whether you have dry or moist skin. The "bridging" action of
your body between the tone generator and the power
amplifier is totally harmless. However, should you be
reluctant to lend your body as a part of the test circuit, delete
this test altogether. Under no circumstances must you touch
any circuit components directly with the audio monitor lead.
The power amplifiers are designed to accept millivolts (a few
thousandths of a volt) for full output power. The voltages in
the organ (including the tone generator) range u p to 15
Volts. Applying that kind of a signal to the power amplifier
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will, at best, knock you off your feet, and, at worst, destroy
the amplifier and the speaker.
Run your test finger along the G 2 boards of the other tone
generator too. The tones you hear indicate that both
generators deserve their prefix (namely tone...)
3. The same "test finger" method can also be used to verify that
the electronic keyers and the envelope control boards are
working. Leave the bare wire end connected at "A 2'; plug 5,
of either preamplifier. Hold the other end with one hand and
touch the pins "Sq " or "Sin" of the E T 13 boards (on keyer
block) with a finger of the other hand while holding down one
or more keys. Obviously, the keys of the lower manual are to
be depressed when touching the outputs of the L/Man
keyers Tones at different pitches should be heard when
touching the output pins of different footages.
Repeat this test for the other two manuals and keyers
respectively.
Remove the audio monitor lead from the location "A 2" on
the preamplifier. Save the lead for future use. Turn off the
organ.
3.5 Testing of the Lower Manual Drawbars
1. Pull all drawbars of the lower manual halfway.
2. Locate the pre-assembled drawbar preset board P Z 4
(L/Man) and push it onto the round pins of the L/Man
drawbar board Z R 4.
3. Mate the connector attached to branch 7.3 of the harness G
O 4 with the pins of plug 1 on the board P Z 4 (L/Man),
referring to Fig. 84.
4. Turn on the organ. Depress a key near the centre of the
lower manual and hold it depressed. (Wedge some non-
metallic material between the key and the manual spacer.) N
o tone should be heard yet.
5. Clip the test lead (-15 V) to pin " S 5'; plug 4, of the right
preamplifier. ("S 5" is the control input for the audio input "E
5" where the audio signal from the L/Man drawbars arrives -
see Fig. 65.)
6. The drawbar signal should be audible from the right speaker.
Adjust the trim pot P 5 "Volume" on the right preamplifier VV
1 to obtain a satisfactory listening level.
Possible problems: The (mixed) drawbar signal is not audible.
Possible causes: The input gate responsible for the input E 5 on the
right preamplifier is not working properly or the audio signal from
the L/Man drawbars does not arrive at pin E 5.
Trouble-shooting: Push the saved lead with the bare wire into the
opening, corresponding to pin " E 5 " of the right preamplifier.
Leave the test lead (-15 V) clipped to S5. Hold the other end of the
audio monitor lead with one hand (you may hear hum) and touch
the input pins on the L/Man drawbars one by one (the14-conductor
cable is attached to these pins). The tones from the various
footages should be heard. If not, the trouble is located tin the
preamplifier (either associated with the input gate E 5/S 5 or the
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daughter board V V 1 is not working properly). The V V 1 boards
are interchangeable as long as the reverb is not hooked up.
If the tones from. the drawbar inputs are audible but not from the
output (sum signal), the problem is likely to be found on the
associated drawbar preset board PZ4 (no supply voltages on PZ4,
faulty IC 2 on PZ 4).
7. Remove the audio lead from the pin E 5(if applicable).
Remove the test lead (- 15 V) from pin S 5 of the right
preamplifier and clip it to S 5 of the left preamplifier. The
combined drawbar signal now should be audible from the left
speaker. Adjust the volume to match the one you heard
earlier by means of the trimpot P 5 " Volume" on the left
preamplifier V V 1.
Should the signal not appear from the left speaker, the
problem is probably located on the "left half" of the board V V
2 (input gate E 5/S 5) or on the left channel plug-in board V
V 1. Since we trust your workmanship we are discarding the
possibility of the missing ribbon cable on the foil side of V V
2, joining the inputs E ... of both preamplifiers.
8. Push all L/Man drawbars home except the left-most one
(master volume control for the mixed signal). The drawbar
tones should disappear. In case you still hear an appreciable
sound level, check for unreliable ground connections at the
solder lug near pin 15 on the drawbar board Z R 4.
9. Pull out one drawbar at a time. The pitch of the tone heard
should increase when you progress from left to right across
the individual drawbars. If you listen closely you will hear two
tones when either of the right-most two drawbars is pulled.
The eleventh drawbar controls the sum of two footages,
namely the Seventh 1-1/7' and the Ninth 8/9' while the
twelfth drawbar is fed with the two footages Third 4/5' and
Fifth 2/3: Release the key of the lower manual.
10.Check all footages over the entire lower manual. That means
you have to depress 61 keys 11 times. Since you tested the
electronic keyers as well as the envelope control earlier we
are confident that your ear will meet with all of the 671 tones
of this test. We just want to make sure that everything is still
in perfect working condition. You will notice that some tones
repeat at the treble end of the keyboard when listening to
pitches at 2'or higher. For more information on the "fold-
back" tones refer to the assembly manual AM 120
"Electronic Keyers"
3.6 Testing of the L/Man Envelope Control
1. Pull out the left-most and the 4' drawbar respectively of the
lower manual. Depress a key repeatedly in the centre of the
keyboard. Note that the tone starts with somewhat of a
popping sound and that it stops abruptly upon the release of
the key.
2. Depress the button "Soft Attack" on the right control panel,
associated with the lower manual. It should light up.
Depressing a key again, the tone should start with a soft
volume build-up (what else?). Actually, we also added a
slight amount of sustain which, however, is almost
unnoticeable. Check the "Soft Attack" for every key of the
lower manual. There is no need to repeat that test for any
other footage than the 4’.
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3. Now depress the switch "Short Sustain" which should cause
it to light up. Check every key for a tone decay which is no
longer sudden but has a "tail".
4. Depress the switch "Medium Sustain" (L/Man). It should light
up. The sustain on all lower manual keys should be longer.
5. Depressing the switch "Long Sustain" should produce an
even more pronounced sustain.
Note 1: Activating the medium and/or tong sustain will cause the
corresponding push buttons to light up. In either case, the short
sustain button will be lit too, disregarding whether it is depressed or
not.
Note 2: The length of the medium sustain can be adjusted by
means of the trimpot on the envelope control board H K 13
(underneath the lowest octave). Adjust it such that the sustain
length is cantered between "short" and "long".
Should any of these functions not be operative, isolate the problem
area as follows: Lift the lower manual and apply the control voltage
(test lead) directly to the terminals on the H K 13 board (pins "Att.
soft" "Sustain short"; "Sustain medium"; or "Sustain long"
respectively). If everything works okay when the control voltage is
applied there the problem is to be found in the wiring between the
right control panel and the L/Man envelope control or in the control
panel itself. Otherwise the trouble is limited to the envelope control
boards. (The latter is unlikely since these boards were tested
earlier.)
3.7 Testing of the Middle and Upper Manuals
respectively
Repeat all tests of the preceding chapter VI with the following
changes:
The middle manual drawbar signals are applied to the inputs " E 3 "
of the preamplifiers and the corresponding control inputs are the
terminals "S 3": Similarly, the upper manual signals are connected
to "E 1" (control to "S 1"). Also consult the block diagram, Fig. 6 5.
Do not forget to install the corresponding drawbar preset boards
PZ4.
Note: It would be purely coincidental if corresponding keys of the
U/Man and the M/Man respectively produced tones of identical
pitch at the same footage. We shall achieve this later by tuning the
tone generators.
3.8 Testing of the Drawbar Presets
The manual drawbars can be disabled by activating the drawbar
presets. Each preset board (PZ 4) has space for up to 6 presets.
Some of the preset locations are not equipped with resistor
combinations and only a total of 5 presets (out of a possible total of
18) can be activated by front panel controls. Others will be used by
the sound computer.
1. Attach the test lead to pin "S 5" of either preamplifier. You
can play the drawbars as usual on the lower manual.
2. Turn on the front panel switch " L/Man Preset" (rocker switch
on the stop board). This will disable the manually adjustable
drawbars, including the volume drawbar. Instead, the
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artificial drawbar setting which corresponds to "Preset 1" on
PZ 4 (L/Man) will sound.
3. Move the test lead from the pin "S 5" to pin "S 3 " on the
preamplifier being used. Now verify the changeover to the
middle manual presets, namely " M/Man Preset 1" and "
M/Man Preset 2" respectively. B y the way, the presets are
non-exclusive, that is, more than one preset can be used in
an additive fashion.
4. Move the test lead to "S 1" of the preamplifier and test the
operation of both U /Man presets.
In case of any malfunction in this area, check whether the control
voltage (-15 V D C) arrives at the corresponding terminals on the
preset boards PZ 4 (consult Fig. 47). If that is the case the problem
is to be located on the preset board(s). If no control voltage
appears there, check the wiring (see wire list) and the circuit board
which carries the preset switches.
Note: Like the vast majority of the organ's control switches, the
preset switches are effective only as long as the organ is under
manual control (not under the control of the sound computer).
Furthermore, the drawbars (and their presets) will be active only
when the corresponding tongue tab switch of that manual is in its
"up" position (" Drawbars ").
5. Turn the organ off.
3.9 Testing of the L/Man Fixed Stops
1. Depress and hold a key of the lower manual.
2. Activate a few fixed stops of the lower manual by flipping
the corresponding tongue tabs down.
3. Pull the master control " L/M an Volume" (grey drawbar) out
halfway.
4. Mate the connector attached to branch 9.6 of the harness
GO 4 with the pins of plug 2 on the board G P 1 (L/Man),
referring to Fig. 89.
5. Clip the test lead (-15 V) to pin "S 6" of the right preamplifier.
Turn on the organ. The fixed stops should be audible from
the right speaker.
6. Changing the test lead to pin "S 6" of the left preamplifier
should cause the stops to sound from the other speaker.
7. Turn off all stops which should silence the sounds
altogether. Check the on/off operation of each individual stop
by flipping its tab down and up again.
Note: The fixed stops have not been tested prior to their
installation. It is, therefore, conceivable that you may encounter a
problem at this phase of the test procedure.
Possible problem: A stop sounds all the time and cannot be turned
off.
Possible causes: A faulty F E T on a filter board (this field effect
transistor acts as an audio switch). A FET installed wrong (not
corresponding to the mounting instructions for its particular type).
Trouble-shooting: Isolate the stop in question by locating the stop
tab which does not change the sound. The associated filter board is
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the one you are looking for. Remove this filter board from the
motherboard (if you installed the optional edge connectors) or
unsolder the F E T from the filter board (with power off). Inspect the
board closely by consulting the manual AM 204 "Galaxy Voicing":
Possible problem: A stop does not produce a sound.
Possible causes: Faulty F E T on the filter board, missing
components or missing wire jumpers on the filter board, connecting
pin (s) at the wrong location(s)in hard-wired systems.
Trouble-shooting: Compare the board with the assembly
instructions of AM 204.
Possible problem: No stops produce any sounds.
Possible causes: Short circuit between the foil trace "Su" and the
neighbouring foil pattern on the motherboard G P 1. Faulty IC 1 on
GP1. Faulty wiring of the audio cable from the pin "Outp." on G P 1
to pin " E 6" on the preamplifier.
Trouble-shooting: Remove the connector from plug 2 on GP 1.
Stick a pin into each of the two connector openings where shielded
cables are attached. Hold both pins with one hand and "borrow" an
audio signal from the tone generator with your other hand (G 2
boards). N o sound = trouble in the wiring (consult wire list). If you
get sound, the problem is located on the voicing motherboard G P
1. Remove it from the lid and inspect the narrow foil pattern very
carefully.
8. Check the sounds of each fixed stop with the description
below, while playing the lower manual.
Note 1: Minor variations may be noticed since the tone generator is
not set to its correct pitch.
Note 2: Do not jump to conclusions if a particular stop does not
sound exactly as you envisioned. The speaker placement and the
tone control settings may not be matched yet or maybe you are
playing notes on the 61note keyboard which do not exist on the
real-life counterpart of the simulated instrument. (We do not know
either how a clarinet is supposed to sound when played
[hypothetically] at the normal pitch of a Piccolo.)
Sound Characteristics of the L/Man Fixed Stops
1. Bourdon 16'
Mellow and hollow, no brilliance.
2. Diapason (Principal) 16'
Full sound, somewhat bright.
3. Cello 16'
Rich in harmonics, raspy at the bass end.
4. Gedackt 8'
Pitched one octave higher than the 16'stops, softer than the other 8'
stops, hollow sound, compared with an 8' drawbar.
5. Diapason (Principal) 8'
Full and powerful sound, rich in harmonics.
6. Viola 8'
Brighter than the diapason, plenty of harmonics.
7. Tibia (Flute) 4'
Pitched one octave higher than the 8' stops, mellow and pleasant.
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8. Diapason (Principal) 4'
Rich in harmonics, loud.
9. Nasat 2-2/3'
Pitched a major fifth higher than the 4' stops (a G sounds on a C-
key), softer than the 4' tibia but somewhat brighter.
10. Diapason (Principal) 2'
Pitched one octave higher than the 4' stops, full sound at the bass
end, narrower spectrum towards the treble keys. Repeats at the
highest C (same tone as the C one octave lower).
11. Third 1-3/5'
Pitched a major third higher than the 2' stop (an E sounds on a C-
key), soft, intended to add color only, not to be used as a solo stop.
Repeats at the highest G #-key and up.
12. Fifth 1-1/3'
Pitched a major fifth higher than the 2' stop (a G sounds on a C-
key), soft, intended to add color only in conjunction with lower pitch
stops. Repeats at the highest F-key and up.
13. Piccolo 1'
Pitched one octave higher than the 2' stop, thin voice. Repeats at
the C-key of the 4th octave and up. (The 3 highest C-keys produce
the same note.)
14. Cymbal V
Very bright and powerful, brilliant down to the bass end, requires a
full complement of lower pitch stops as a foundation.
15. Mixture III
Powerful mixture, less brilliant than the Cymbal V but fuller towards
the bass end.
3.10Testing of the M/Man Fixed Stops
Test the middle manual fixed stops in a similar fashion. This time,
however, clip the test lead (-1 5 V) to pin "S 4 " of either
preamplifier.
Mate the connector attached to branch 9.5 with plug 2 of the M/Man
fixed stops (board G P 1), referring to Fig. 89.
Note that the audio output from the middle manual fixed stops is not
connected directly to the preamplifier. Cable No. 141 leads to the
small board DS 1 "Orchestra Coupler" attached to the U /Man II
fixed stops.
This board is to be plugged onto plug 2 of the U/Man II fixed stops
and the connector attached to branch 9.3 is to be mated with the
pins on the board DS 1. Refer to Fig. 88.
Provided this is all done, the board DS 1 is powered by the D C
voltages which activate the electronic switches located on the
board. The M/Man fixed stops signal, therefore, is routed from the
board G P 1 (M/M an) via cable No. 141 to the board DS 1, passes
a closed electronic switch (details see AM 204 "Galaxy Voicing"),
continues via cable No. 142 to the M/Man volume control from
where cable No. 143a carries the signal to the inputs " E 4 " of both
preamplifiers.
Sound Characteristics of the M/Man Fixed Stops
1. Horn 16'
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Subdued "brassy"; has some nasal character.
2. Trombone 16'
Bold and "brassy".
3. Cello 16'
Plenty of harmonics, but with a warm character.
4. Tibia (Flute) 8'
Pitched one octave above the 16' stops, mellow stop which mixes
well with others.
5. Clarinet 8'
Typical hollow woodwind character.
6. Oboe 8'
Narrow spectrum, nasal character.
7. Trumpet 8'
Loud metallic sound with high-pitched resonance.
8. Viola 8'
Rich in harmonics, narrower spectrum than the lower pitched cello
16:
9. Tibia (Flute) 4'
Pitched one octave above the 8' stops, powerful but pleasant.
10. Violin 4'
Very bright, little fundamental tone.
11. Nasat 2-2/3'
Pitched a major fifth above the 4' stops (a G sounds on a C-key),
softer than the 4' Tibia but somewhat brighter.
12. Piccolo 2'
Pitched one octave above the 4' stops, thin background voice,
repeats at the highest C.
13. Flute 1'
Pitched one octave above the 2' Piccolo, mellow, turns softer
towards the treble end. Repeats at the C-key of the 4 octave and
above. (The 3 highest C-keys produce the same note.)
14. Mixture II
Piercing add-on brightness over the entire manual, not a solo stop.
3.11Testing of the U/Man II Fixed Stops
The U/Man II fixed stops are located on the voicing block of the
upper manual which is not equipped with stop switches. (We
already connected the board DS1 there as well as the connector of
branch 9.3 according to Fig. 88.)
Depress the button "Orchestra Coupler" o n the right control panel.
It should light u p and it should disable the M /M an fixed stops (you
may want to verify that). Instead, the audio output of the U/Man //
fixed stops is now applied to the volume control and the audio
inputs " E 4 " of the preamplifiers which are assigned to the middle
manual. Also refer to Fig. 7b of AM 204.
The stops of the U/M an II voicing block are activated by the tab
switches attached to the U/Man (voicing block.
Are you thoroughly confused now? If so, forget the preceding
paragraphs and simply perform the following steps:
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a) Leave the test lead at " S 4 " (as if you tested the
M/Man stops)
b) Depress the button "Orchestra Coupler" (right control
panel)
c) Depress the tab " Horn 8" of the upper manual d)
Mate the connector attached to branch 9.4 with plug
2 of the U /Man I fixed stops, referring to Fig. 88.
You should be able to hear that stop from your speaker. If you
don't, well, you still have to trace the signal using the descriptions at
the beginning of this chapter.
Compare the sounds of the U/Man II fixed stops with the
descriptions below. Remember, while the tab switches are located
on the U /Man I voicing block, you are listening to the circuitry on
the U/Man ll block (without switches).
Sound Characteristics of the U /Man Fixed Stops (applies to
U/Man land U/Man ll)
1. Horn 16'(or Flugel horn 16')
Subdued "brassy'; a bit hollow at the bass end.
2. Saxophone 16'
Rich in harmonics with traces of a "stopped" pipe at middle to low
pitches, very reed-like.
3. Accordion 16'
Very brilliant with lots of harmonics (contains the aliquotes 1-3/5'
and 1-1/3'respectively).
4. Trombone 16'
Bold and "brassy".
5. Cello 16'
Plenty of harmonics, but with a warm character.
6. Clarinet 8'
Pitched one octave above the 16' stops, typical hollow woodwind
sound.
7. Horn 8'
Fundamental tone somewhat suppressed, barely nasal character.
8. Schalmei 8'
Rich in harmonics with a mellow touch, becomes slightly hollow at
the bass end.
9. Trumpet 8'
Loud metallic sound with high pitched resonance.
10. Viola 8'
Brighter than the lower pitched cello 16:
11. Tibia (Flute) 4'
Pitched one octave above the 8' stops, mellow and "airy".
12. Violin 4'
Very bright, little fundamental tone.
13. Diapason (Principal) 2'
Pitched one octave higher than the 4' stops, full 5.
sound with plenty of harmonics.
14. Cymbal ll
Very piercing, glittering all the way down to the bass end.
15. Mixture V
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Less brilliant than the Cymbal 11, grows fuller at the lower pitches.
3.12Testing of the U/Man I Fixed Stops
Move the test lead (-15 V) from the preamplifier terminal "S 4" to
terminal "S 2": Repeat the listening tests by activating the U/Man
stop tabs again and comparing the sounds with the descriptions of
the preceding chapter. This time, however, the filter boards directly
adjacent to the tab switches are responsible for the sounds.
Both U/Man voicing blocks are equipped identically. It might be
interesting to compare the sounds between the filters from either
block. If you switch the test lead back and forth between the pins
S2 and S4 you alternatingly hear the same stop (or stops) coming
from two different voicing blocks (adjust the M/Man and U/Man
volume control for balanced volume).
Remove the test lead from the preamplifier.
3.13Testing of the Tongue Tab Switches
"Drawbars(or) Fixed Stops"
Lower Manual
1. Mate the connector leading to plug 1 on the lower manual
fixed stops, referring to Fig. 89.
2. Flip the switch "Drawbars/Fixed Stops" downwards (left-
most switch of the group "Lower Manual Fixed Stops").
Leave the next two switches to Wersivoice")in their up
position.
3. Activate a few stops.
4. Pull a few L/Man drawbars about halfway, must include the
volume drawbar(left-most black drawbar of the group).
5. Mate the connector leading to plug 4 of the right preamplifier,
referring to Fig. 7 0.
6. Play on the lower manual. The fixed stops should sound
from the right speaker (provided the channel selector switch
still is in its up position).
Flipping the switch " Drawbars/Fixed Stops" up again, the
fixed stops should be silenced and the drawbars should
sound instead.
Turn on all L/Man fixed stops.
7. Pull the L/ M an volume control (grey drawbar) all the way.
8. Pull all L/ Man drawbars (12 drawbars).
9. Hold a chord on the lower manual and flip the tab "
Drawbars/Wersivoice" back and forth. First, adjust the
trimpot P 5 "Volume" on the right preamp to a suitable
listening volume.
Second, adjust the trim pot P1 on GP 1 (L/Man) to balance
the fixed stops volume with the draw bar volume with a slight
emphasis of the fixed stops, that is, the fixed stops should
sound a little bit louder.
Should you be unable to reduce the fixed stops volume
sufficiently, reduce the resistor R6 on G P 1 (L/Man) from 22
kOhms to10 kOhms. (Hint: lf you parallel a second 22 kOhm
resistor piggy-back style onto the first one you don't have to
dismount the voicing block.)
3.14Testing of the "Drawbar/Fixed Stops" switches of
the M/Man and U/Man respectively
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Mate the connectors leading to plug 1 on G P 1 (M/Man) and G P 1
(U/Man I)respectively.
Release the push button "Orchestra Coupler". Balance the fixed
stops of the middle manual against the M /Man drawbars (trimpot Pl
on GP1 M/Man).
Depress the push button "Orchestra Coupler". Balance
the U/Man II fixed stops against the M/Man drawbars 10.
(trimpot P 1 on G P 1 U/Man II).
Balance the U/Man I fixed stops against the drawbars of the upper
manual (trim pot P1 on GP1 U/Man I).
3.15Tuning of the Tone Generators and Testing of the
Generator Functions
1. Set the rotary control "Master Pitch" on the panel 12. AP 1 G
to the centre of rotation.
2. Set the control "Orchestra Intonation" on the right control
panel to the centre of rotation.
3. Flip the tab " Drawbars/Fixed Stops" of the upper manual
down (Fixed Stops).
4. Flip the tab " Drawbars/Fixed Stops" of the middle manual
down (Fixed Stops).
5. Activate the stop "Clarinet 8" in both U /Man and M /M an
respectively. Do not select any other stops. Make sure that
the push button "Orchestra Coupler" (right control panel) is
released. Playing either upper or middle manual, you should
hear a clarinet sound, very likely at different pitches.
6. Convince yourself that the transposer switch is set to " C "
(standard pitch).
7. Push the " Slalom " control on the left control panel to its
left-hand stop.
8. Depress and hold the A-key of the 4th octave on the middle
manual This tone should be "middle A"; having a frequency
of 440 Hz. There are many methods by which this can be
achieved (frequency counter, tuning fork, tuning flute, or
another instrument of known tuning).
Adjust the cermet trim pot P 2 on the tone generator I until
the "middle A " has the exact pitch. If you are using another
instrument as a reference, listen for the beat frequency
which is to be slowed down until it disappears. If you are
using a frequency counter at the tone generator test point set
the frequency to 3520 Hz.
9. Push the "Slalom" control to its right-hand stop. The tone
will rise by approximately one octave.
10.Depress and hold the A-key of the 3rd octave. This tone
should become the "middle A'! Adjust the trim pot P 1 on the
tone generator I until this is achieved. If you use a frequency
counter you are to get a reading of 7040 Hz.
11.As a crosscheck slide the " Slalom " control from stop to
stop. The pitch of the "A" should change exactly one octave.
By the way, the normal pitch of the entire organ is obtained
with the "Slalom" control at its right-hand stop.
12.Depress and hold the same key in the upper manual. You
will hear a second clarinet which very likely is out of tune
with the first one.
13.Set the "Slalom" control to its left-hand stop.
14.Verify that none of the push buttons "Ensemble Tuning" on
the right control panel is depressed.
15.Adjust the trimpot P 2 on the tone generator ll to achieve a
"zero beat" between the two clarinets.
16.Set the "Slalom" control to its right-hand stop.
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