Peterson

MIDI Resource System™

INSTALLATION INSTRUCTIONS

INTRODUCTION

When a complete pipe organ control system including switching, combination action and MIDI is purchased from Peterson, these sub-systems will be provided to you with nearly all of the wiring already done. Our ability to interface various systems together, and with the rest of the organ, is usually only limited by a lack of complete or accurate information provided to us. When some equipment from another manufacturer is being used, or in the case of rebuilds where parts of the original console are being reused, we will make every effort to provide our part of the job in a way that is convenient for you to connect to the existing components.

Following is a summary of the steps required to install, wire, and test the MIDI Resource System™. You will likely find that many of these steps have already been completed when the MIDI system is purchased along with other Peterson products. Each of these procedures is explained in detail later this manual. After carefully unpacking the MIDI Resource System™ and checking for any obvious shipping damage, proceed as follows:

1. Select a suitable location and mount the MIDI Resource System™ base system, DC encoders if applicable, and other circuitry.

2. Mount any panels such as the MIDI Resource System™ main control panel, Advanced Features control panel, and brass MIDI Port plate if these have been purchased.

3. Make all necessary wiring connections to the top of the Minimum I/O board to implement various options.

4. If the MIDI Resource System is being installed in an organ that uses OrgaPlex™ couplers or switching, make all necessary wiring connections between Serial In and Serial Out pins.

5. If the organ does not use OrgaPlex™ couplers or switching, wire all keys to DC Encoders. The DC Encoders will be provided with prewired cables to connect them into the MIDI Resource System™ mother board.

6. Wire all stop controls and/or pistons that will be used with the MIDI Resource System™. In a basic MIDI out system this is limited to the stop control to turn on MIDI for each manual. In a complete MIDI In/Out system, this may also include stops or pistons that will be used as MIDI presets to send patch changes, and also the organ's regular stops and/or pistons that will be encoded for use in recording performances via a sequencer or personal computer.

7. Make all necessary power connections to the Class 2 transformer, organ rectifier, and OrgaPlex™ power supply if applicable.

8. If expression shoes are to be connected to the MIDI system, wire contacts to the Shoe Encoder board, or wire each shoe potentiometer directly to the MIDI Resource System™ mother board.

9. If transposing of MIDI voices is desired, connect the transposer switch or Peterson Digital Transposer Assembly to the Transposer connector on the MIDI Resource System™ mother board.

10. If MIDI preset pistons are to be used and multiple memory levels are desired, connect a rotary switch, Digital Memory Level Selector Assembly, or pins on the Peterson Master Stop Processor™ Control board and Special Functions board to the MIDI Resource System™'s Minimum I/O board.

11. Connect standard MIDI cables between the ports (MIDI sockets) on the MIDI Resource System™ and a sound module or synthesizer.

12. Follow the Initial Test Instructions to verify basic operation of the system.

13. If a MIDI Resource System™ main control panel is installed or available, follow the step-by- step diagnostic test and set-up procedure later in this manual. This causes the system to check its own operation.

14. Follow the Configuring and Initializing instructions to calibrate the expression shoe range and tuning pot and to assign stops to allow for compatibility with other MIDI equipped organs.

A troubleshooting guide will be found near the end of this manual, which should be useful should any trouble occur. If you have difficulty with any of the above procedures, or have questions after reading the appropriate section of this manual, please contact the factory for assistance.

MOUNTING

The MIDI Resource System™ is supplied as a base system with desired optional assemblies ready to mount in an organ console (See Figure 1). When choosing a location, keep in mind the routing of cables and accessibility for ease of working on the system. Also, if a MIDI Resource System™ is used in the same console with a Master Stop Processor™, arrange these two base systems with as much separation as possible; never less than two feet apart. Temporarily remove any plug-in subassemblies (daughter boards) that may be in the way of mounting holes. Mount the base system (mother board) with the twelve supplied #6 x 1-1/4" screws. Replace any removed subassemblies paying careful attention to match the assembly numbers and align the keying pins as they are reinstalled. Most of the subassemblies use finer pitch edge/wafer connectors and it is particularly important to be sure of pin alignment before fully pushing the board in place. Bent pins will cause problems.

If the optional control panel assembly was purchased, choose a convenient location on the name board or side jamb. Use the template provided (See Figure 2B) to mark and then cut the required clearance hole. Remove the U bracket from the back of the control panel assembly and then remove the protective paper from the adhesive transfer tape on the back side of the front panel. Carefully align the control panel in the clearance hole and press in place. Install the supplied brads in each corner of the control panel. Replace the U bracket on the back of the control panel and tighten in place.

A cable is supplied with the control panel to connect it to the MIDI Resource System™ mother board (See Figure 4). Route this cable in a convenient way but avoid routing it next to any A.C. wires or cables that carry high current, such as to magnet coils. If this can't be avoided keep the cables in separate bundles; never tie them tightly together. The supplied cable is 8' long and cannot be lengthened, so arrange the location of the Base System relative to the control panel accordingly.

WIRING

EXTERNAL D.C. CONTROLS

The following control inputs are located on the connectors on top of the Minimum I/O board #404586 (See Figure 6). These inputs are activated by switches and/or piston buttons that apply organ positive voltage (11-18 VDC) through their contacts to these pins. These controls are optional and some require installation of other optional modules on the MIDI Resource System™ mother board before they can be used. A brief description of each pin follows.

1. Memory Select A - See AMemory Select Switch section below.

2. Memory Select B - See AMemory Select Switch section below.

3. Memory Select C - See AMemory Select Switch section below.

4. Memory Select D - See AMemory Select Switch section below.

5. Memory Select E - See AMemory Select Switch section below.

6. Lock-Out - Prevents setting of MIDI pistons/preset stops. Can be wired to the combination action lock-out. Please refer to the note on Figure 6 for details. NOTE: This input requires positive to lockout. (Do not connect a Negative lockout key.) The positive lockout can be connected to a Duo SetJ Combination Action by using it's Cresc. or Sforz. code lockout inputs. Connect a diode with cathode (banded) end toward the combination action terminal if this terminal is already used.

7. Set - Saves control panel settings on piston or preset stop that is active when in the Program mode and when this input is activated. Can be wired in parallel with the combination action set button input so the same piston is used for MIDI and combination action setting.

8. Cancel - MIDI cancel clears MIDI voices on all channels. Also used to erase piston and preset stop memories when in the Program mode. Can be wired in parallel with the combination action general cancel piston input. See Figures 6 and 10A.

9. Start - Used to control any MIDI A Real Time device attached to the MIDI output port. Can be a piston button, or the Advanced Feature Control Panel may be used.

10. Stop - Used to control any MIDI Real Time device attached to the MIDI output port. Can be a piston button, or the Advanced Feature Control Panel may be used.

11. No Connection.

12. Organ Positive

13. Continue - Used to control any MIDI Real Time device attached to the MIDI output port. Can be a piston button, or the Advanced Feature Control Panel may be used.

14. Memory Transfer - Used in transferring memory data from the combination action to the MIDI Resource System's EEPROM memory. Can be a piston button, or the Advanced Feature Control Panel may be used.

15. All Stops Off - Used to disable stops on playback of incompatible files.

16. Auto Resend - Enables periodic resending of organ data to the sequencer. Can be wired to A start button to provide stop registration queing.

17. Tremolo - This allows the user to turn on the Tremolo (or Vibrato) on the voice module connected to the MIDI Instrument Output port. Can be wired to the organ's tremolo stop control.

18. Sustain - Causes the sustain (or sostenuto) to be activated on the voice module connected to the MIDI output port. An optional skate clamp switch that attaches to the expression shoe is available from Peterson.

19. Mode Select - Used in conjunction with the control panel to change the MIDI Resource System's mode of operation. Can be a piston button or the Advanced Feature Control Panel may be used. Normally the default Multi Mode is acceptable.

20. Basic Channel Select - Used to change the MIDI Basic Channel which is the channel that MIDI Mode messages are sent on. May need to be altered if there is a conflict with multiple MIDI devices. Can be a piston button or the Advanced Feature Control Panel may be used.

KEYBOARDS

If the MIDI Resource System™ is being used on an organ that requires D.C. keying for the existing relay, D.C. Key Encoders can be provided for positive keying only. Refer to Figure 3A for a typical layout and wiring diagram for this type of system. These D.C. Key Encoders for 61 and 32 notes, #404687 and #404688 respectively, will be supplied with a Key Junction to which the key contacts are to be wired. Cables from the D.C. Key Encoders to the MIDI Resource System™ mother board will be supplied. A Keyboard Interface board #404588 is also required on the MIDI Resource System™. Information about keying inputs for the MIDI Resource System™ when used with Peterson OrgaPlex Master Coupler™ or original OrgaPlex™ system is illustrated in Figures 3B and 3C, and is explained in the section entitled OrgaPlex™ Serial Inputs.

STOP CONTACTS

If organ stop controls are to be connected to the MIDI Resource System™ for a complete MIDI In/Out system, the organ stop control contacts should be wired to a Stop Junction. This Stop Junction may be provided as a part of the MIDI Resource System™, OrgaPlex™ Switching System, Combination Action, or mounted separately within the console. A pre­wired cable from this stop junction can be supplied to plug onto the OrgaPlex™ System or Combination Action and connect to the stop controls.

D.C. Encoders (originally developed as OrgaPlex™ key encoders) are required and are available in 72, 61, 48 and 32 input sizes that plug onto the stop junction(s). Cables are provided for interconnection from the D.C. Encoders to the MIDI Resource System™ (See Figure 4). D.C. encoders can be wired where the commons connected to the group connector on the MIDI Resource System™'s mother board are connected as follows: A-E to the 61 input board and F-H to the 32 input board (The 61st pin is not used). This arrangement permits up to 92 inputs on the Stops Input A (See Figure 7 for relationship of encoders). In some cases two 61 input encoders can be wired to the group commons as follows: A-E to the first encoder and F-H plus A&B (of Stops Input B) to the other encoder (The 61st pins are not used). This arrangement permits up to 120 inputs on the Stops Input A and B inputs (See Figure 7 for relationship of encoders).

MIDI stop or coupler controls (MIDI On a division, MIDI To a division, or MIDI On/Off) should be included on these stop inputs to ensure proper playback from s sequencer. Also, if these stop controls are assigned (see stop control assignment section) #35 in their respective divisions and if the MIDI coupler inputs on the Master CouplerJ are wired to organ positive; key data will be sent to the sequencer regardless of whether stops are on. Data to the instrument output is controlled by these (#35) inputs. This has the advantage of being able to make organ-only recordings without the MIDI stops being on.

In order for MIDI In to control organ stops a Serial Output board (#404590) and a Demultiplexer of the appropriate number of circuits are required. The Demultiplexer can be a coupler type that will plug onto another row of the stop junction (See Figure 4 ). Use the NX strobe for the Demultiplexers connected to the MIDI stop outputs.

NOTE: If a manual transfer is being used, do not include its stop control on the MIDI Encode/Decode Stops Junction. Also, if coupled data is used for the MIDI=s input, do not include these couplers stops in the MIDI Encode/Decode Stop Junction.

PISTONS and MIDI PRESET STOPS

Pistons can be connected to the MIDI Resource System™ to provide a complete MIDI In/Out system and/or for use as MIDI Presets (for sending MIDI Patch changes). Programmable MIDI stop controls can also be accommodated. These options require the Piston/Stop Input board #404587.

Either piston presets or stop presets must be selected as the means for sending MIDI Patch changes. This choice is made in the Configuring and Initializing section. If stop presets are selected, pistons are still read and may be used with data sent to a MIDI Sequencer depending on the selected format.

The piston and MIDI stop contacts should be wired to separate junctions. These junctions may be optionally a part of the MIDI Resource System™, Combination Action, or mounted separately within the console (See Figure 4).

D.C. Encoders (same as OrgaPlex™ key encoders) are required and are available in 72, 61, 48 and 32 input sizes that will plug onto these piston and MIDI stop junctions. Cables are provided for interconnection from the D.C. Encoders to the MIDI Resource System™.

A Maximum of 24 general pistons (one of which can be used as a tutti) and 48 divisionals can be accommodated by the MIDI Resource System™. The first 24 positions of the piston D.C. Encoder are used for the generals and tutti. The next 48 are used for the divisionals. Other than this the order is not important.

Twenty four MIDI preset stops at unison or 8' pitch are available (Refer to Figure 4 for wiring order). Additionally, four 16' stops, four 4' stops, 8' and 4' Melody Stops and 16' and 8' Bass Stops are also available. These stop control inputs can be any of the 288 available stop inputs in Channels a, b and c. The appropriate number from the Peterson "Universal Stop List" is then assigned with the MIDI Resource System™ in "ASSIGN" mode (see "Stop Control Assignments" Pages 12 and 21 of the Operating Instructions). The Melody Stops sound only the highest note being played and the Bass Stops sound only the lowest note being played.

POWER

Connect organ rectifier feed wires to the barrier terminals on the MIDI Resource System™ mother board (See Figure 4 ). Observe the polarity as marked. Reversal of the polarity will cause damage. Connect positive to the ORG+ terminal and negative to the NEG terminal. The size of these feed wires should be #22 - #18 AWG.

The organ rectifier voltage should be 11-18 VDC. This voltage must not drop below 9 VDC during normal operation. This would include any ripple at full load conditions. The Peterson Power Supply Fault Detector can be used to test the rectifier voltage. Also refer to the Organ Rectifier and Feed Wire Sizes section in the Combination Action and Orga-Plex™ manuals.

When the MIDI Resource System™ is used with an OrgaPlex™ switching system, wire the 9 volt D.C. from the OrgaPlex™ Logic Power Supply Regulator Board #404674 to the MIDI Resource System™ mother board's barrier terminals. Connect positive to the +9V terminal and negative to the NEG terminal. Note that this NEG terminal is the reference (common) for both the organ rectifier and OrgaPlex™ 9 VDC voltages. The size of these feed wires should be #22 - #18 AWG. If the Serial Outputs for OrgaPlex™ are not used, the 9 Volt supply board does not need to be wired.

The supplied plug­in Class II, 9VAC, 15.3 VA (1.7 Amp) transformer wires to the C1 and C2 terminals on the MIDI Resource System™ mother board's barrier terminals. A clear­coated pair of wires with lugs on the end will be provided to connect to the secondary screws of the transformer and to the barrier terminals. The Class II transformer must be plugged into an unswitched outlet. The MIDI Power Module Board has it's own cut-out relay operated from the organ rectifier.

EXPRESSION SHOES

The organ's expression shoes can be connected to the MIDI Resource System™ to provide expression on the MIDI voices. Two methods of connecting expression shoes to the MIDI Resource System™ are provided. Refer to Figure 6 for wiring diagrams of both.

If the organ's expression shoes use potentiometers or if a potentiometer is required for the Trem/Vibrato depth, use Method One. If the organ's expression shoes use standard roller type contacts and a potentiometer is not required for Trem/Vibrato depth, use Method Two.

METHOD ONE

This method requires the Expression Shoe board #404592. Expression shoes that provide a varying D.C. voltage, such as from a potentiometer (1K to 10K Ohm), can wire directly to the expression inputs. Expression shoes with standard roller type contacts should be wired to the Shoe Encoder board #404597. A pre-wired cable to connect the Shoe Encoder to the MIDI Resource System™ mother board is provided (See Figure 6).

There are expression inputs for Pedal, Choir, Great, Swell, Solo and All. If there is only one expression shoe, the All input will affect the volume of all the keyboards playing through MIDI channels. If there are Swell and Choir expression shoes, for example, the Swell shoe contacts could wire to the pedal and swell inputs and the Choir shoe contacts could wire to the choir, great and solo inputs. Thus each shoe would affect the MIDI volume of more than it's own division.

If desired, a potentiometer can also be connected on this input connector to adjust the Tremolo (vibrato) depth of the synthesizer or voice module being used. This potentiometer should have a value between 1K and 10K Ohms. Connect organ positive and negative to the pot ends (negative on the CCW end) and the wiper to the Trem input. Refer to Figure 1 for the wiring order of these inputs.

METHOD TWO (Preferred)

This method uses a D.C. (Key) Encoder #404687 that plugs on to one row of a two row Auxiliary Junction board #400674. Note: The expression board #404592 is not required for this method. The other row wires to the organ's expression shoe(s) contacts. Inputs are available for Pedal, Choir, Great, Solo and All. The order of these inputs and the order of the stage numbers can be found in Figure 6. A prewired cable is provided for connection from the D.C. Encoder to the MIDI Resource System™ mother board. The "All " input affects all but the Swell division.

One shoe can wire to more than one of the MIDI Resource System™s expression shoe inputs. Refer to Method One above for details. Expression values sent on the MIDI outputs have been predetermined in the software and no adjustment is required with this method.

Alternately, a 2 x 8 Encoder #404372 can plug directly on to the MIDI mother board's D.C. Expression Input connectors. Pins 1-8 are used for the "All" input and pins 9-16 are for the swell. This is particularly useful when only one or two shoes are required. Typically the Choir shoe connects to the "All" (-swell) and the Swell shoe connects to the Swell input. A single shoe would be connected with the "All" and Swell pins connected together.

OrgaPlex™ SERIAL INPUTS

Keyboard data from PETERSON OrgaPlex™ Switching Systems can be connected to the MIDI Resource System™ in the serial data format requiring only one wire per keyboard. As many as seven keyboards can be connected in this manner. The order of these inputs is assigned and to maintain compatibility with other installations this order should be observed.

The available keyboards are:

INPUT # CLASSICAL THEATER

1. Swell Solo

2. Great Great

3. Choir Accomp

4. Pedal Pedal

5. Solo (top of 4) Bombarde

6. Antiphonal Accomp 2nd

7. Echo Great 2nd

When an OrgaPlex Master Coupler™ is being used in the installation of interest, keyboard wiring may be accomplished in one of several ways.

If MIDI to a manual (at 8') is required, install the MIDI Option Interface #404595 onto the Master Coupler™ mother board and then plug in the supplied cable from the MIDI Option Interface to the MIDI Resource System™ mother board (Refer to Figure 3B). OrgaPlex™ clock, NX strobe and data lines are included in this cable. Note that the NX strobe wire is a pigtail that must be connected to the NX strobe pin on the adjacent connector at the Master Coupler™. This arrangement requires the MIDI coupler stop control(s) located in the stop junction row of the Master Coupler™ to be wired to their respective stop controls or wired to organ positive. See the Stop Contact section for details..

If MIDI on a division is required, it is necessary to install a Straight Stop Gate #404711 on a Coupler/Unit Mother Board #404605 in order to provide the stop control(s). A data input pin (left side) on the Straight Stop Gate would connect to a division's coupled data line and the corresponding output pin (right side) would go to the MIDI Resource System™'s OrgaPlex™ input. The stop control input (top) associated with that Straight Stop Gate would wire to it's respective stop control. The NX strobe and OrgaPlex™ clock must also be wired from the Master Coupler™ output connectors to the MIDI Resource System™'s input connector. Refer to Figure 3B. Note that this arrangement is not recommended because the additional data caused by coupling will tend to slow down the MIDI Output and may cause noticeable delays upon playback when many notes are played.

If no stop controls are required for the MIDI (controlled by presets only) then the OrgaPlex™ data lines can be wired to the Player Interface connector data lines on the Master Coupler™ mother board. This is the same point the OrgaPlex™ output lines of the MIDI Resource System™ would connect to so one cable can wire to both. The NX strobe and OrgaPlex™ clock must also be wired from the Master Coupler™ output connectors to the MIDI Resource System™'s input (and output) connector(s).

When an Original OrgaPlex™ System is being used in the installation of interest, keyboard wiring is accomplished by installing the MIDI Isolation Board #404596 between the Keyscan Base mother board and the Coupler/Unit Mother boards and plugging in the supplied cable from the MIDI Isolation Board to the MIDI Resource System™ mother board (Refer to Figure 3C ). OrgaPlex™ clock, NX strobe and data lines are included in this cable.

Depending on the connection point chosen above, the Octave Select step in diagnostics may need to be changed. MIDI on and MIDI to connections play an octave lower with respect to the player or original connections. Refer to the diagnostics section if this needs to be changed.

Organ stop controls can also be connected via the Serial Inputs, however D.C. Stop Encoders are still required and a second Serial Input board #404589 may be required as well. So unless the stops must be encoded for another reason, consider wiring the stops as described in the Stop Contacts section above. Figure 5 shows connections for stops encoded using a Master Coupler™. Figure 1 shows the wiring order (names) of the OrgaPlex™ serial inputs. SC1 data would connect to the MIDI Resource System™'s Stops A input and SC2 would connect to the Stops B input. If the Stops B input is required, the second #404589 and #404590 are also required.

In some cases it may desirable to have both D.C. Encoded stops and OrgaPlex™ serial stops connected to the MIDI Resource System™. A sample wiring diagram is shown in Figure 5. If this wiring scheme is employed it is important that the DC Encoded stops and the OrgaPlex™ serial stops do not overlap. Figure 7 shows the relationship of these inputs (and outputs).

OrgaPlex SERIAL OUTPUTS

These outputs of the MIDI Resource System™ provide OrgaPlex™ compatible serial data that can be connected into the OrgaPlex™ System allowing the MIDI In to sequence (play) the organ's keys. Stops and shades can be connected via these outputs as well, but require a demultiplexer to convert from serial back to D.C. outputs. Refer to Figure 3 and to the Serial In section for available manual names.

A total of seven keyboards and the first 96 stops can be accommodated by one Serial Output board #404590. A second Serial Output board is required if there are more than 96 stops. The second Serial Output board allows an additional 192 (288 total) stops. Expression shoe outputs are included in the stop output data as well, as explained below.

The keyboard serial outputs connect to their corresponding data lines in the OrgaPlex™ System. Refer to Figure 3C for an original OrgaPlex™ System and to Figure 3B for an OrgaPlex Master Coupler™ System. The preferred connection point on the Master Coupler™ is the Player Interface connector|. This arrangement allows MIDI In data (from a Sequencer/player) to be coupled. The NX strobe and OrgaPlex™ clock must also be wired from the Master Coupler™ output connectors to the MIDI Resource System™'s output connector(s). Note that the Division/Matrix boards #404698 of the Master Coupler™ must be revision E or later. If the suffix letter for the part number on your Division/Matrix boards precedes this, contact the Peterson factory for an exchange. | Note: If a MIDi system uses coupled data from a Master Coupler™, the coupler stops must not be recorded.

Figure 4 shows typical wiring connections for Demultiplexers as used for stops. OrgaPlex™ clock and strobes must also be connected to the Demultiplexers. Use the NX strobe for keyboards and for stops/shade Demultiplexers. See detail on Figure 4.

Expression shoe OrgaPlex™ serial outputs share data lines with Stops A and Stops B outputs. Figure 7 shows the relationship of the expression outputs to the stops. Separate demultiplexers can be used for the expression shoes by using the NXD strobe derived by using a special NXD Strobe Register. In this case a 32 note demultiplexer (connected to the Stops A data line) will decode expression outputs (8 stages each) for All, Swell, Great, and Choir. This is usually all that is required, however Solo and Pedal outputs can be decoded in a similar fashion by connecting to the Stops B data line and again using the NXD strobe.

Pistons may be operated through the encoded stop inputs and stop serial outputs if it is desired to have the pistons move the stops (via the combination action) on playback. However, a preferred way is for stops to be activated directly using a MIDI System Exclusive coding that includes provisions for pistons. This MIDI System Exclusive provides stop compatibility with other organs having the Peterson MIDI Resource System™ (or with Allen1 Organs or Rodgers2 Organs equipped with MIDI interfaces). Because wiring pistons to encoded stop inputs and stop serial outputs would not provide for this compatibility between organs, this should only be done if compatibility is not required.

TRANSPOSER

If your relay system incorporates a transposer, the MIDI Resource System™ Transposer Input should be connected so that MIDI data will transpose as well. If the relay's transposer switch uses a positive D.C. voltage to select the transposer step, an optional D.C. Encoder can be used on the MIDI Resource System™'s Transposer input. In this case connect a wire from each of the transposer switch terminals to the MIDI Resource System™'s Transposer D.C. Encoder input connector (See Figures 1 and 3). The +6 through +1 pins are used for the sharp positions and the -1 through -6 pins are used for the flat positions.

If something other than a D.C. switched transposer system is used (which is the case with OrgaPlex™ Systems) a separate pole gang on the transposer switch is required. (Multiple pole gang switches and transposer interface are available from Peterson.) In this case install the Transposer Interface #404339, Transposer Switch and 2 x 8 D.C. Encoder #404372 as shown in Figure 9B.

When an OrgaPlex™ switching system incorporates a digital transposer, a Transposer Interface (#404370) that shares the Digital Transposer Control Panel should be connected as shown in Figure 9B. Do not operate the MIDI Resource SystemJ with the Transposer Interface installed unless it is connected to the OrgaPlexJ Digital Transposer. (Unpredictable results occur.)

MEMORY SELECT SWITCH

If MIDI pistons are employed, two methods of selecting memory levels of MIDI presets are available. These methods provide compatibility with Peterson Duo-Set™ and MSP-1000™ type combination actions and allow the existing combination action memory select switch to also be used for the MIDI Resource System™. The type of compatibility desired (MSP or Duo-Set) is selected on the dip switches on the Minimum I/O board #404586. Refer to Figure 6 and the Configuring and Initializing section below. Wire the memory select switch inputs A-E as described below for the desired type system compatibility.

Duo-Set - The memory select lines A through E of the MIDI Resource System™ parallel the existing memory select lines B,C,D,E,and F of the combination action, respectively. If a digital or rotary Memory Select is used without a diode isolation board #40xxxx, isolation diodes must be installed between the Memory Select Switch outputs and the combination action mother boards. Cathodes (banded end) of these diodes should be toward the combination action terminals. See Figures 6 and 10A.

MSP-1000 - The MIDI Resource System™ memory select A input wires to the MSP up input. The B input wires to the MSP down input. The C input wires to the Increment output from the MSP Special Function board (Output Pin #7). The D input wires to the Reset to One output from the MSP Special Function board (Output Pin #8). The E input is used only if an up/down memory select other than the MSP (such as the Advanced Feature Control Panel) is to be used. Wire this terminal to organ positive in this case. These inputs can optionally wire to the Advanced Feature Control Panel or other Memory Select Switch (rotary or digital)

independent of the combination action. See Figures 6 and 10B.

Be sure to select the proper combination action type in the configuring and initializing section. Also, in the case of an MSPJ, the MIDI Option must be selected using the MSPJ set-up terminal. MSPJ's installed prior to 12-14-1993 will require a new software IC to implement this feature. Additionally, with an MSPJ, be sure to select memory level #1 to synchronize the two systems when first testing the installation.

MIDI CABLES

Connecting MIDI devices to the MIDI Resource System™ is done through standard MIDI cables with 5 pin DIN plugs. Three receptacles or ports are provided on the side of the Minimum I/O Board #404586 for MIDI In, MIDI Sequencer Out, and MIDI Instrument Out. Optionally, a remotely mountable brass plate with extender cables can be provided allowing the MIDI In/Out ports to be located under the keybed or on the console's back panel for easier access by the organist.

The MIDI In port connects to the MIDI Out port of a Sequencer, Keyboard Controller or Synthesizer. The MIDI Sequencer Out port connects to the MIDI In port of the desired Sequencer or personal computer. The MIDI Instrument Out port connects to the MIDI In port of the desired synthesizer or sound module. When multiple

MIDI devices are desired in the system, optional Mergers may be required. See Figure 8 for some examples of how the MIDI In, Sequencer Out and Instrument Out ports would be used to interconnect MIDI devices such as sound modules, a sequencer and/or a personal computer.

Further help with connecting multiple MIDI devices may be found in the instruction manual(s) of the MIDI devices being connected. You may also contact our factory for details or assistance in connecting your particular devices.

ADVANCED FEATURE CONTROL PANEL

(Not available at this time)

This optional control panel has switches for Mode Select, Basic Channel Select, Start, Stop, Continue, All Stops Off, Auto Resend, Memory Transfer and Memory Select (up/down) and also includes a two digit LED Memory Level Readout. This control panel will be supplied with prewired cables that connect to the Minimum I/O External D.C. Inputs and to the Memory Level Readout connector on the MIDI Resource System™'s mother board (Refer to Figure 6).

o Allen is a registered trademark of Allen Organ Company, Macungie, Pennsylvania

2 Rodgers is a registered trademark of Rodgers Instrument Corporation, Hillsboro, Oregon.

INITIAL TEST OF MIDI Resource System™ AFTER INSTALLATION

PLEASE READ THIS SECTION BEFORE APPLYING ANY POWER!

It is suggested that once you have installed and wired your MIDI Resource System™ you use the following procedure for testing its operation.

First, turn on the organ rectifier and check to see that the relay on the MIDI Power Module clicks in, and that the control panel and the green LEDs on the other modules in the MIDI Resource System™ light. IF THEY DO NOT LIGHT, REMOVE THE ORGAN POWER IMMEDIATELY and confirm the polarity of the power connections before proceeding. If rapidly changing numbers appear on the control panel at this time, do not be concerned. This indicates that the microprocessor has detected a difference in the EEPROM memory or system configuration from the last time it was tested at the factory and is initializing it's memory. This initialization process takes about 1 minute to complete, so if this occurs, be patient and wait for the display to flash done. When all 0s are displayed the system is ready for testing. The Troubleshooting section describes the operation of the individual LED indicators for each subassembly on the MIDI Resource System™.

DIAGNOSTICS and TESTING

The MIDI Resource System™ can be tested using its built in diagnostics if a control panel is attached. If a particular installation does not have a control panel it may be desirable to temporarily plug one in for testing purposes.

To access these diagnostics, turn off all of the power, push down the top of DIP switch #12 on the Minimum I/O board #404586 (See Figure 1 ), then turn the power back on. The control panel rocker switches and LED readouts now have the following functions; (Note: Normal MIDI functions do not operate in this mode.)

- The Off/On/ANO rocker switch selects the diagnostic function (Up/Down) .

- The Channel Up/Down switch selects the channel or manual.

- The Program Up/Down switch sets variables

- The Send/Receive switch is used to confirm or initiate some functions.

- The Manual Number window displays the number of the selected diagnostic function.

- The Channel Number window displays the channel (or manual) number.

- The Program Number window displays variables for each diagnostic.

As an aid in finding the desired diagnostic, a prompt (abbreviated name) will be displayed briefly as each diagnostic is entered. These will use upper and lower case letters to allow their display in the 7 segment read-outs. It is highly recommended that each of these tests be performed for all of the installed and wired options. The MIDI Resource System™ displays dashes for any diagnostic that it senses as not being applicable. The Diagnostics Mode may also be entered by holding up the Program, Channel Up, Program Up and send buttons on the control panel while the power is turned on.

The following diagnostic tests are available:

Note: The characters in [brackets] are the prompt that is flashed when the diagnostic number is selected.

0. Revision number of the software being used is displayed. For example: 1.54 in the Program Number window is for Version 1.54 software.

1. RAM test [rt] writes and reads to random access memory locations. The word Pass or Fail will appear in the Program window to indicate passing or failing the test. If this test fails, contact the factory. A quick test is initiated by pressing Send and a comprehensive test (3 minutes) is initiated by pressing Receive.

2. Tuning potentiometer test [tune] reads out 0-180 in the Program window as the Tuning knob on the control panel is rotated from full CCW to full CW. The actual range may be different due to tolerances and the adjustment of the trimmer pot on the Control Panel Interface board #404594.

3. Expression Shoe test [E Shoe] this test is for use with the #404592 expression shoe board only. D.C. encoded shoes are tested in test "N". Displays a value 75-255 in the Program window as the expression shoe(s) are moved from full closed to full open. The range (75-255) may be limited by the use of the Shoe Encoder and/or the trimmer pots on the Expression Shoe board. The Channel window indicates which shoe input is being tested and is selected by the Channel Up/Down switch. These numbers are 1=Unassigned, 2=Trem, 3=All, 4=Solo, 5=Swell, 6=Great, 7=Choir, 8=Pedal. T

4. Piston and Preset Stop test [PIStOn] displays a value 1-96 for each piston or pre-stop that is activated. 1-24 are for generals and a tutti piston, 18-67 are for divisionals, and 72-96 are the preset stops. Also note the mnemonic "no can" or "do can" is displayed momentarily. This indicates that blank (unprogrammed) pistons do not cancel or do cancel MIDI instruments. This can be changed by pressing the send/receive switch. The factory default setting is do can.

5. D.C. Control Input test [dc] displays 1-18 as each pin on the top of the Minimum I/O is activated with organ positive. Number 1 is the left most pin (as viewed from the component side). Pins 11 and 12 of the twelve pin connector are not used.

6. Keyboard Input test [61n] (for D.C. encoded inputs) displays values 1-61 as each key is pressed. The manual number of the keyboard being played will display in the Channel window. 1=Swell 2=Great, 3=Choir, 4=Pedal, 5=Solo (top of 4).

7. Serial 1 - OrgaPlex™ input test [Ser 1] for the first board displays a value 1-132 depending on the key (or stop) being activated. 132 = the lowest key C1 and 72 = the highest key C6 of the keyboard. The Channel window displays which serial input is being used. The appropriate MIDI to or MIDI on a division stop control must be turned on if applicable.

8. Serial 2 - OrgaPlex™ input test [Ser 2] for the second board displays a value 1-132 depending on the key (or stop) being activated. 132 = the lowest key C1 and 72 = the highest key C6 of the keyboard. The Channel window displays which serial input is being used. The appropriate MIDI to or MIDI on a division stop control must be turned on if applicable.

9. Stop Input test [StOPS] (for D.C. encoded stops) displays 1-96 in the Program window for each stop activated. The Channel window displays which bank of stops A(1), B(2) or C(3) is being tested.

a. Display (readout) test lights all the segments and decimal points of the control panel displays. This would appear as 8. 8.8. 8.8.8.

b. Erase EEPROM [EE Clr] will clear all programmed values (pistons, preset stops and assigned stops for a Memory Transfer) and restore factory settings if the Send button is activated while in this diagnostic.

C. MIDI In test [In] will display the MIDI channel and MIDI note number for key on/off data received on the MIDI Input. MIDI note number 60 = middle C (C3).

d. Octave Select [Oct] will shift MIDI In and Out data up or down an octave. ORIG is the default for OrgaPlex™ systems wired ahead of any couplers. CPLR would be used when the data is derived from coupled data on Master Couplers.

E. MSP Maximum Memory Level [SP end] Use program up/down to set the MIDI Resource System™ to match the maximum number of memory levels used by the MSP-1000™ system.

F. Test Song [Song] will play a test song on the channel selected in channel number.

H. Memory Level [LEUEL] displays the current memory level.

J. Preset Stops [PreStp] Displays 1-24 in program number corresponding to activiated stop control.

L. Auto Resend [Resend] Use program up/down to set the repetition rate (See Page 14 for details.)

n. D.C. Expression Shoe Test [dc ESH] (for Method 2) will display the program # value 1-8 indicating the highest shoe stage active and the channel # will display 1 for Swell, 2 for Great, 3 for Choir, 4 for Pedal, 5 for Solo and 6 for All. While in this test, turning on Prog. enables selection of minimum expression value. This value is displayed in Prog. # and send selects new value (55, 31, 15 or 0).

P. Program Number Base [bASE] Value in Prog. # 0 or 1 selects program # display 0-127 or 1-128. Pushing send selects new value.

Board test [brd] Number displayed in readout indicates the total of currently installed boards.

When finished with the diagnostics turn the power off, set DIP switch #12 back in its up position. Then turn the power back on to restore normal operation.

ADDITIONAL TESTS

Connect a MIDI tone generating device to the MIDI Instrument Out port of the MIDI Resource System™. Be sure it is in the Omni mode with some voice selected. This mode is usually selected automatically when a MIDI device is first turned on. Refer to the instruction manual of the device you are using if there is any question.

Now play each note of each manual. Write a list of any problems that may be encountered. This will help in determining whether the cause is in the keys, stops, D.C. encoders, etc. As keys are played on each manual the number in the Manual window on the control panel should change indicating which manual is being played. Bear in mind that dead or ciphering notes or stops may be due to contact or wiring defects. Ciphers can be confirmed or discounted by unplugging the appropriate key or stop connector from the MIDI Resource System™. If the problem is found to be in the MIDI Resource System™, repair assistance will be found in the Troubleshooting section.

Next, press the up and down buttons for Channel and Program on the control panel. The readout in the corresponding window should change. Now with a new channel and program number showing, press the Send button and play some more keys. A new tone should be heard.

CONFIGURING AND INITIALIZING

To complete the installation the following set-up procedure should be followed to configure and initialize the MIDI Resource System™. Some aspects of the configuration may be made with input from the organist.

Minimum I/O Dip Switches. The function of each is briefly described below. Choose the one setting for each that will be used regularly. If uncertain of any particular setting, use the factory defaults, dip switches in the up position. (See Figure 1 .)

1. Channels +8 - See description on Page 14.

2. Multi/Omni mode - The default mode that the MIDI Resource System™ responds to on power up. The MMA recommends the Omni mode; however for organ use the Multi mode is much more useful. With this dip switch up, Multi is the default. With it set down, Omni is the default.

3. Sustain/Sostenuto - This selects whether the external D.C. control is a sustain or sostenuto. Sostenuto is down. Note: Some sound modules may not support sostenuto.

4. Volume/Velocity Swell - Selects whether volume or velocity data is sent for its expression shoe input. Velocity is down. Velocity only affects the volume at the time keys are pressed. This is more realistic with piano or percussive tones.

5. Volume/Velocity Great - See #4.

6. Volume/Velocity Choir - See #4.

7. Volume/Velocity Pedal - See #4.

8. Volume/Velocity Solo - See #4.

9. Assign Stops - This is only used during set-up. See Stop Control Assignments below.

10. Preset Stops - Normally presets (patches) are sent by pistons. With this switch on preset stops are selected.

11. Duo-Set/MSP combination action - This determines the method used for the MIDI Resource System memory select input lines and should be selected when MIDI pistons will have multiple memory levels available. This DIP switch position is not important if this does not apply. With this DIP switch on, the MSP™ mode is selected, which uses Up/Down type selection. Otherwise the Duo-Set™ mode uses a five line binary selection scheme. Also refer to the Memory Select section above. (Be sure to select MIDI Option in MSPJ set-up.)

12. Diagnostics - Used only during testing of the MIDI Resource System™. See Diagnostics and Testing above.

TUNING POT TRIMMER

This potentiometer is factory set; however if calibration becomes necessary this potentiometer is located on the Control Panel Interface board #404591 and adjusts the A=440 (center) position of the Tuning Knob on the control panel.

Set the Tuning Knob on the control panel straight up and adjust this pot while listening to the frequency of the tone from the voice module being used compared to a tuner or other standard. Note: Some voice modules may not respond to the Tuning Knob control.

STOP CONTROL ASSIGNMENTS

This step should be performed to prepare the MIDI Resource System™ for compatibility with the desired sequencer (recording) format. This permits pre-recorded sequences of music to be replayed using the proper stop registration. It also permits recording sequences that will then be playable on other instruments, even if their stop lists are not the same.

The Peterson MIDI Resource System™ supports compatibility with three possible formats. These formats are:

1. Peterson (default) format

2. Allen1 Organ format (Will be available in the future with software update).

3. Rodgers2 Organ format (Will be available in the future with software update).

The Allen1 and Rodgers2 formats were chosen because of these companies' proven experience in recording with their respective formats and to allow taking advantage of their vast libraries of pre-recorded music. If compatibility with either of these formats or with any other instrument is not required, the default Peterson format can be used. We highly recommend choosing one format and assigning stops to maintain compatibility with other instruments.

In some cases where stop compatibility is not required it may be desirable to achieve the maximum speed in stop handling (to avoid delays) by using the Peterson format A Fast Config. assignment (See below).

Once the desired format is chosen refer to the corresponding Stop List (Peterson, Allen1 or Rodgers2) located at the end of this manual for the stop assignments. Turn on (set down) the Assign Stops dip switch #9 on the Minimum I/O board #404586 (See Figure 1 ) and turn the organ power off and then back on. This puts the MIDI

Resource System™ in it's Assign Stops Mode. Note: Normal MIDI functions do not work in this mode. The Assign Stops Mode can also be entered by holding down the Show, Channel Down, Program Down and Receive buttons while the power is turned on.

Next, turn on one stop and use the Program Up/Down button to set the Program Number to the reference number associated with that stop from the desired Stop List. Use the Channel Up/Down to set the division number in the Channel read-out. 1=Swell, 2=Great, 3=Choir, 4=Pedal, 5=Solo, 6=Antiphonal, 7=Echo and 8=generals and intermanual couplers.

Now press the Send button to store the division number and stop number for the stop that is turned on. Repeat this process for every stop control on the organ. The values assigned to a stop can be viewed by switching to Show mode. Turn stops on, one at a time, to See their assigned values.

If E EE EEE is displayed when setting, an error has occurred. Usually this means more than one stop is on. When set is displayed the values have been written to memory. An S (looks like 5) is displayed in the manual read-out when in the show mode of assign stops.

In a similar manner, each numbered piston must be assigned to its division (Not required for Peterson format). Again use the Channel Up/Down button and read-out to select the division. Then hold the Send button and push each piston in that division, one at a time, to store them.

After all the stops and pistons have been assigned, it is a good idea to switch to the show mode and examine each stop to be sure they are programmed. Any that show - -- --- were overwritten from a duplicate setting. Choose a new value and reprogram that stop. Finally, turn off the Assign Stops dip switch and again reset the MIDI Resource System™ by turning the organ power off and on as above, to return to normal operation.

1 Allen is a registered trademark of Allen Organ Co., Macungie, Pennsylvania

2 Rodgers is a registered trademark of Rodgers Instrument Corporation, Hillsboro, Oregon.

Fast Config. Assignment (Available in Peterson format only.)

Follow the procedure above but rather than using the Stop List values, assign sequential numbers to the stops in each division. Start with the value one for the first stop of the Swell (division 1), two to the second stop, etc. (Values up to 299 are valid). Change to the Great division (number 2) and repeat the process starting with one again. Follow this procedure until all stops have been assigned. This method is the default method of assignment of stops as shipped from Peterson. The only exception to this method is assigning #35 to MIDI Stops. See stop contact section for details.

AUTO RESEND

This is an exclusive feature of the PETERSON MIDI Resource SystemJ. When enabled, all organ data is re-transmitted to the Sequencer Output at regular intervals (see operating manual Page 9 for additional information.) This interval can be selected while in diagnostics by switching to the "resend" (j) test. The program up/down selects a value 0-19. Zero disables this feature. The values 1-19 are approximately 1/3 to 1/2 second per value. The recommended setting is 10 (about 3-5 seconds.) Caution: Faster intervals will use more sequencer memory and disk space.

When activated, data is sent immediately and then at the interval rate. Thus a momentary button could be used with this feature as a cue button to send stops and expression when a recording is started.

BLANK PISTON CANCEL MODE

While in diagnostics, enter the Piston test (4). The current mode is briefly displayed. The default "do can" indicates that blank pistons will cancel the MIDI Instrument. Pressing Send/Receive toggles the display to "no can" which indicates blank pistons will not affect the MIDI instrument. The displayed mode will become active when switching back to Use or another diagnostic.

CHANNELS +8

If dip switch #1 on the Minimum I/O board is in its normal off (open) position MIDI channels 1-16 can be mapped (assigned) to play from any keyboard to the Instrument Output Port channels 9-16 thus allowing MIDI Instrument(s) to be Sequenced (recorded) along with the organ.

With the +8 dip switch in the ON (closed) position the Control Panel Channel Numbers will range from 1-24. 1-16 being the Instrument Output Port and 17-24 being 9-16 of the Sequencer Output Port. This would allow two MIDI Instruments to be connected (one to the Instrument Out and the other to the Sequencer Out) with each being controlled separately for a total of 24 MIDI channels for MIDI Instruments. In this case when Sequencer playback (MIDI In) data from channels 9-16 is copied to Instrument Out 9-16 and Sequencer Out 9-16 care must be taken in the assignment of MIDI Instruments recorded with the organ.

This feature is most useful when control of two MIDI Instruments is desired in lieu of Sequencing ease.

TROUBLESHOOTING

DESCRIPTION OF PWBA INDICATORS

Light Emitting Diodes (LEDs) are included on each circuit board module. These LEDs indicate various signals on each board and aid in diagnosing any problems. Green LEDs should normally be on and if they are not a potential problem is indicated. Red LEDs should normally be off and if lighted indicate a problem. See Figure 1 for location of indicators. The indicators are:

1. M68k :P. board #404585

a.-CLK - Green LED monitors the crystal oscillator divided output.

b.-A1 - Green LED monitors activity on the microprocessor's address 1 (LSB) line.

c.-D0 - Green LED monitors activity on the microprocessor's data 0 (LSB) line.

2. Minimum I/O board #404586

a.-MIDI IN - Yellow LED lights when MIDI data is received.

b.-MIDI Out - Yellow LED lights when data is detected on the MIDI Out port. A program jumper selects Instrument Out or MIDI Out

3. Piston/Stop Input board #404587

a.-PC2 - Green LED monitors this scan line.

b.-Scan - Green LED monitors scanning this board.

4. Keyboard Input board #404588

a.-Scan - Green LED monitors scanning activity on this board.

5. Serial Input board #404589

a.-CLK - Green LED indicates presence of OrgaPlex™ clock.

b.-Data - Yellow LED indicates OrgaPlex™ data entering board.

Brightness varies depending on notes being played.

Higher notes are brighter.

6. Serial Output board #404590

a.-Data - Yellow LED indicates data on the serial 1 output (swell) to the OrgaPlex™ system. Brightness varies like serial in.

7. Control Panel Interface board #404591

a.-Red LED monitors conversions being made by the A/D converter. This light is normally off. If on, conversions have stopped.

8. Expression Shoe board #404592

a.-Data - Green LED indicates data from conversions waiting to be read by the microprocessor.

TROUBLESHOOTING GUIDE

In some cases the problem may be in the organ wiring, relay system or combination action system. Some effort to isolate the source of the problem could save time in troubleshooting the wrong system. Usually this can be done by unplugging connectors between systems and if necessary keying with a hot lead to help isolate the problem. Help can also be found in the Installation Manual(s) of the other systems.





















TROUBLESHOOTING GUIDE

SYMPTOM

PROBABLE CAUSE

HOW TO ISOLATE

NOTES DEAD


A. One note key of the manual is dead on all stops or couplers.

1. Key contact defective or not making.

Using a test wire, short the contact to see if it will play.


2. On a D.C. encoded system connector or wiring to contact open .

Using a test wire apply Organ + directly to input of D.C. encoder and/or short note pin to octave pin of keyboard connector.


3. Defective diode on D.C. encoder board.

Using an Ohm meter, measure the diode(s) in question.

B. All of the same kind of note is dead (i.e. all "C" keys.

1. Short or open in note connector wiring to D.C. Encoders.

Test for continuity from note buss on encoder to note connector on mother board. Measure resistance to ground (neg.) of note in question at note connector of mother board. Should be 1K ohm or more.


2. Minimum !/O assembly #404586 defective. Mother board #404598 defective.

Swap Minimum I/O assembly #404586. Consult factory on suspected mother board problems.

C. Part of all octaves of all keyboards are dead.

1. Minimum I/O assembly #404586 has defective U1.

Swap Minimum I/O assembly #404586 or swap suspected I.C.

D. One entire octave of a keyboard is dead.

1. Wiring from D.C. Encoder common is open.

Test for continuity from octave common on D.C. encoder to octave connector on mother board.

E. All notes of a keyboard are dead

1. U1-4 or U6-9 on the keyboard Int. #404588

Swap I.C. in question with another known good one from another keyboard.


2. Defective Serial In board #404589

Swap Serial In board #404589.

NOTES PLAY

WHEN THEY

SHOULD NOT


A. One note ciphers with no keys depressed.

1. Stuck or shorted key contact.

Visually inspect or check with an ohm meter.


2. Short in key or encoder wiring.

Unplug connector from key contact or unplug cable from D.C. encoder to mother board.

B. A single adjacent note runs.

1. Short in key or encoder wiring.

2. Short in D.C. encoder.


Visually inspect or check with an ohm meter. Unplug connector from key contact or unplug cable from D.C. encoder to mother board.

STOPS DEAD


A. One stop of a group is dead.

1. Stop contact defective or not making.

Using a test wire, short the contact to see if it will play.


2. On a D.C. encoded stops, connector or wiring to contact open.

Using a test wire apply organ + directly to input of D.C. encoder and/or short stop pin to group pin of stop connector.


3. Defective diode on D.C. encoder board.

Using an ohm meter, measure the diode(s) in question.

SYMPTOM

PROBABLE CAUSE

HOW TO ISOLATE

STOPS DEAD


B. Dead stops repeat in all groups (i.e. every 12th stop).

1. Short or open in stop connector wiring to D.C. Encoders.

Test for continuity from stop buss on encoder to stop connector on mother board. Measure resistance to ground (neg.) of stop in question at stop connector of . Dead stops repeat in all groups. (i.e. every 12th stop).

mother board. Should be 1K ohm or more.



2. Minimum I/O assembly #404586 defective. Mother board #404598 defective.

Swap Minimum I/O assembly #404586. Consult factory on suspected mother board problems.

C. Sections of all stop groups are dead.

1. Minimum I/O

# 404586 has defective U1.


Swap Minimum I/O assembly #404586 or swap suspected I.C.

D. One entire group of stops are dead.

1. Wiring from D.C. Encoder common is open.

Test for continuity from octave common on D.C. encoder to octave connector on mother board.

STOPS PLAY

WHEN THEY

SHOULD NOT


A. One stop stuck on with no stops active

1. Stuck or shorted stop

contact.


Visually inspect or check with an ohm meter.


2. Short in stop or encoder wiring.

Unplug connector from stop contact or unplug cable from D.C. encoder to mother board.

B. Adjacent stops run (work together).

1. Short in stop or encoder wiring.

2. Short in D.C. encoder.


Visually inspect or check with an ohm meter. Unplug connector from stop contact or unplug cable from D.C. encoder to mother board.

UNUSUAL

PROBLEMS



A. Any one or two notes of a rank will play. But, any 3rd (or 4th) note added kills all the notes.

1. Defective Serial Output board #404590.

Swap Serial Output board #404590.

B. Notes stutter or intermittently transpose.

1. MIDI cable too long or picking up interference.

Try shorter cable or re-routing the cable.


2. Power Module #404594 defective.

With organ power off, carefully remove and exchange the suspected Power Module with a known good one.


3. Serial input board #404589 defective.

Swap board with a known good one


4. Serial output board #404590 defective

Swap board with a known good one

C. Any 1 or 2 stops will play but any 3rd or 4th stop added kills all the stops.

1. Blown fuse in stops demultiplexer.

Replace fuse.


2. Defective stops demultiplexer.

Swap demultiplexer with a known good one.

SYMPTOM

PROBABLE CAUSE

HOW TO ISOLATE

D. System Hangs Up. MIDI functions cease to operate, up/down buttons have no affect.

1. Organ rectifier voltage drops below 9VDC

Repair or replace rectifier. Increase feed wire size to console. Raise D.C. voltage


2. Control panel picking up interference

Re-route cable or separate from other cables it runs next to.

E. System goes into diagnostic even if not selected.

1. Transposer Interface installed but not plugged into Digital Transposer Decoder Driver.

Connect cable or remove Transposer Interface card.


2. Stop and/or Piston Encoders installed but Piston/Stop board #404587 not installed.

Install Piston Stop board #404587.

F. System Re-Initializes (counting sequences) every time power is turned on.

1. Class II transformer plugged into switched outlet.

Move transformer to an unswirched outlet.

G. Tuning control and cancel have no effect on any MIDI instrument.

1. MIDI Instrument plugged into the Sequencer Output

Move the cable to the Instrument Output

H. MIDI IN/OUT system appears to be DEAD although some LEDs are on.

Strobe wiring to Serial out not connected

Visually inspect or use a multimeter to see that serial output strobe pin is connected to the NX strobe of the OrgaPlex system.

The preceding guide should enable any organ service person, regardless of his familiarity with electronics, to repair nearly any trouble in the MIDI Resource System™ that may develop. If a problem does arise which the repair person is unable to correct, the modular construction of PETERSON systems permits the trouble-some part to be isolated by simply unplugging the suspected module and swapping it with one known to be good. If the problem moves with the module, that module is defective. If further assistance is required, call 1-708-388-3311 or toll free 1-800-341-3311.

A simple phone call may save much time and money !

SUPPORT POLICY

Peterson Electro-Musical Products, Inc. will provide any necessary telephone support to aid in the sales, installation, set up/configuration, operation and service of the MIDI Resource SystemJ. This support extends to the interface with diode matrix relays, OrgaPlexJ relays, MSP-1000Jand Duo-SetJ combination actions manufactured by Peterson. This also includes software/operating questions beyond the scope of the manuals.

We are not able to support other manufacturers' equipment which may be connected to the MIDI Resource SystemJ. To the extent that we are familiar with another manufacturer's equipment, we will do our best to advise on its use with our MIDI interface system. However, due to the large number of MIDI synthesizers, sound modules, sequencers, patch bays, etc., we cannot support or answer questions on these devices or on their interconnection. We recommend that you direct questions to the manufacturer or distributor of the product of interest.

Note: The Peterson MIDI Resource SystemJ conforms to the MIDI Manufacturers Association, MIDI 1.0 Specification, Version 4.2 and will operate properly with other equipment that conforms to this specification (or earlier versions). Some equipment that conforms to this specification nevertheless may not recognize certain MIDI messages such as "Pitch Bend", Master Volume (expression), Sustain, Bank Select, etc..

SOFTWARE LICENSE AGREEMENT

The MIDI Resource System software (firmware) and documentation are owned by PETERSON ELECTRO MUSICAL PRODUCTS, Inc. and are protected by United States copyright laws and international treaty provisions. Therefore, you must treat the MIDI Resource System software (firmware) like any other copyrighted material.

You must not copy the software or written materials accompanying the software. The software (firmware) must not be used in any device other than the MIDI Resource System hardware that it was intended for. You may not reverse engineer, decompile, or disassemble the MIDI Resource System software (firmware).

Peterson Electro-Musical Products, Inc. grants the use of it's MIDI Resource System software (firmware) in the MIDI Resource System hardware that it was supplied with.

Peterson Electro-Musical Products, Inc. warrants the physical media (EPROM) in which the MIDI Resource System software is contained to be free from defects and shall replace any such defective media free of charge.

Peterson Electro-Musical Products, Inc. further agrees to provide any licensee of it's MIDI Resource System software (firmware) with any updated version(s) of the MIDI Resource System software for a period of one year. This upgrade agreement applies to the software (firmware) only and does not include shipping or installation costs and further requires the return of the software (firmware) that is being replaced.

WARRANTY

Effective October 1, 1987

Peterson warrants the equipment that it manufactures to be free from defects in material or workmanship under normal use for a period of ten(10) years from the date of the original shipment to the buyer unless otherwise specified in writing. (See exceptions to 10 Year Warranty). Peterson's sole obligation under this warranty shall be that upon the return of goods to the Peterson factory, transportation charges prepaid, Peterson will, at its option repair or replace any equipment which it deems to contain defective material or workmanship and will return the repaired or replaced equipment to buyer, transportation charges prepaid. Peterson shall have the sole right upon inspection of any item of equipment or part thereof, to determine whether or not the defect is covered by the terms of this warranty.

Peterson will also warrant all of its equipment in a particular installation against indirect lightning strikes. If the installation is considered as a high risk to lightning strikes it is required that certain precautionary installation procedures be followed. These procedures will be specified in writing by Peterson. It is the responsibility of the buyer to check with Peterson prior to the installation as to whether the installation is considered a high risk. This warranty is not valid in the case of direct lightning strikes. Peterson considers a direct strike when the building is physically damaged by the lightning strike. By electrical system damage Peterson is referring to electrical wiring, electrical panel, motors,etc., not other electronic equipment in the building. Peterson reserves the right to inspect the installation site, and Peterson's determination as to whether the proper installation procedures were followed will be final. Peterson's sole obligation under this warranty will be the same as listed above in its standard warranty.

This warranty shall not apply to any equipment, or part thereof, which has been repaired by others in such a manner that does not conform with the Peterson standard for quality and/or workmanship, or which has been improperly used, abused, altered, damaged, subjected to accident, flood, fire or acts of God; or on which any serial numbers have been altered, defaced or removed. Peterson will not be responsible for any dismantling, reassembly or reinstallation charges. This warranty is in lieu of any other warranties expressed or implied, including, without limitations, warranty for merchant-ability and fitness for particular purpose as well as all other representations made to the purchaser. No person is authorized to give any other warranties or to assume any other liabilities on behalf of Peterson unless made or assumed by Peterson in writing. Peterson will not be liable for any special, indirect, incidental or consequential damages claimed in connection with any rescission of the agreement by the buyer.

Peterson=s warranty does not include the Yamaha MDF2 or any other third party sequencer(s). These devices are covered by their manufacturer=s warranty.

Peterson's warranty, as here in above set forth, shall not be enlarged, diminished or affected by, and no obligations or liability shall arise or grow out of Peterson's rendering of technical advice or service in connection with buyer's order of goods furnished hereunder. This warranty gives you specific legal rights which may vary from state to state.


PETERSON UNIVERSAL STOP LIST (MAP)

Each physical organ stop control will have a pre-assigned stop name and pitch from the Peterson Universal Stop List (MAP). The stops on any particular organ will be assigned to their corresponding logical bit in the appropriate division stop group, thus making MIDI files interchangeable between organs of any size and stop list. Even files made on a theater organ could be used on a classical organ or vice versa.

Most frequently used stop controls/pitches will be in the first (0) stop subgroup and the least used will be in the 8th subgroup. Subgroups 9-11 are used for Fast Config. assignments. Subgroups 12-16 would be used for unique stops/controls that would not likely translate to any another organ specification. Consult Peterson on the use of these un-assigned subgroups to avoid conflicts in compatible files. Channel 7(8) is reserved for encoding general couplers and piston data. A means of masking and/or disabling the piston data should be provided as piston changes are not likely compatible from organ to organ. Piston bits should only be used if compatibility is not required and where visual (or mechanically moving) stop control from

a combination action is desired or from an assigned receive program change. An alternate method of encoding/decoding pistons (as stops) using subgroups 12-16 is preferred.

The Universal Stop List (MAP) begins below and is broken down by subgroups showing prioritizing. There are currently 207 stop controls with 296 stop names (including alternates) provided for in this list. These utilize 8 subgroups. Additional stop controls and/or alternate names can be added. There are 17 un-assigned bits in the 1-8 subgroups and most of the bits in subgroups 12-16 for this purpose. Bear in mind that this list is re-used for each of 7 divisions, so a 1358 stop organ could be accommodated.

An example/legend is provided at the beginning of the Universal Stop List (MAP) below that explains the format used.

PETERSON UNIVERSAL STOP LIST (MAP)

Example: 65. 2.09 8' DULCIANA (AEOLINE)

LEGEND

65 = Assignment number

2 = Stop Subgroup

09 = Second bit of 2nd byte

8' = Pitch

DULCIANA = Stop name

(AEOLINE) = Alternate stop name(s)

143. 5.03 64' GRAVISSIMA

142. 5.02 32' OPEN DIAPASON (FLUTE OUVERTE)

141. 5.01 32' PRINCIPAL

136. 4.24 32' CONTRA VIOLONE

95. 3.11 32' CONTRA BOURDON

135. 4.23 32' CONTRA BOMBARDE (DIAPHONE)

134. 4.22 32' CONTRA FAGOTTO

54. 1.26 32' RESULTANT

96. 3.12 16' OPEN DIAPASON (DIAPHONIC DIAPASON, FLUTE OUVERTE)

10. 0.10 16' PRINCIPAL (MONTRE)

128. 4.16 16' CONTRA BASS

129. 4.17 16' VIOLONE

11. 0.11 16' BOURDON (SUBBASS, TIBIA CLAUSA)

97. 3.13 16' GEMSHORN (SPITZFLUTE)

98. 3.14 16' GAMBA

12. 0.12 16' LIEBLICH GEDACKT

99. 3.15 16' QUINTATON (ROHR BOURDON)

130. 4.18 16' BOMBARDE (OPHECLIEDE)

131. 4.19 16' TROMBONE (POSAUNE, DIAPHONE)

137. 4.25 16' TUBA

13. 0.13 16' FAGOTTO (BASSON, HAUTBOIS, OBOE, OBOE HORN)

14. 0.14 16' TRUMPET (TROMPETTE)

132. 4.20 16' DULZIAN (CLARINET)

133. 4.21 16' TROMPETTE-EN-CHAMADE

219. 7.23 16' SAXOPHONE

220. 7.24 16' BRASS TRUMPET

221. 7.25 16' ENGLISH POST HORN

108. 3.24 16' VOX HUMANA

109. 3.25 16' RESULTANT

100. 3.16 10 2/3' GROSS QUINTE

113. 4.01 8' STENTORPHONE (GRAND DIAPASON, DIAPHONIC DIAPASON)

57. 2.01 8' OPEN DIAPASON (1st OPEN DIAPASON)

1. 0.01 8' PRINCIPAL (2nd OPEN DIAPASON)

58. 2.02 8' GEIGEN PRINCIPAL (3rd OPEN DIAPASON, VIOLIN DIAPASON)

59. 2.03 8' FLUTE MAJOR (GROSS FLUTE, SOLO TIBIA CLAUSA, TIBIA CLAUSA)

2. 0.02 8' BOURDON (2nd FLUTE)

60. 2.04 8' FLUTE HARMONIQUE (CONCERT FLUTE, MELODIA, HOHLFLUTE)

61. 2.05 8' GEDACKT (STOPPED DIAPASON, CHIMNEY FLUTE, ROHRFLUTE)

62. 2.06 8' QUINTADE (QUINTADENA)

3. 0.03 8' VIOLA (VIOL DA GAMBA, VIOL D. ORCHESTRE, GEMSHORN)

4. 0.04 8' VIOLA CELESTE (GEMSHORN CELESTE)

63. 2.07 8' SALICIONAL

64. 2.08 8' VOIX CELESTE

114. 4.02 8' FLAUTO DOLCE (ERZAHLER)

115. 4.03 8' FLUTE CELESTE (ERZAHLER CELESTE)

65. 2.09 8' DULCIANA (AEOLINE)

116. 4.04 8' UNDA MARIS (AEOLINE CELESTE)

66. 2.10 8' TUBA (TROMBA, HARMONIC TUBA, TUBA MIRABILIS)

5. 0.05 8' TRUMPET (TROMPETTE, CORNOPEAN, BRASS TRUMPET)

6. 0.06 8' OBOE (FAGOT, HAUTBOIS, BASSON, ORCHESTRAL OBOE, OBOE HORN)

67. 2.11 8' HARMONIC TRUMPET (TROMPETTE HARMONIQUE)

68. 2.12 8' FRENCH HORN (CORNO DI BASSETTO, COR D' ORCHESTRE)

117. 4.05 8' ENGLISH HORN (COR D' ANGLAIS)

69. 2.13 8' CLARINET (KRUMMHORN, CROMORNE)

70. 2.14 8' VOX HUMANA (VOIX HUMAINE)

118. 4.06 8' TROMPETTE-EN-CHAMADE (TROMPETTE REAL, FANFARE TRUMPET)

159. 5.19 8' ENGLISH POST HORN

160. 5.20 8' KRUMMET (KRUMMHORN, KORNET)

161. 5.21 8' SERPENT

162. 5.22 8' MUSETTE

163. 5.23 8' SOLO VOX HUMANA

164. 5.24 8' SAXOPHONE (BRASS SAXOPHONE)

165. 5.25 8' KINURA

71. 2.15 5 1/3' QUINT

119. 4.07 5 1/3' QUINT TROMPETTE

7. 0.07 4' OCTAVE

72. 2.16 4' PRINCIPAL

73. 2.17 4' PRESTANT

110. 3.26 4' GEIGEN OCTAVE

8. 0.08 4' CHIMNEY FLUTE (ROHR FLUTE, KOPPEL FLOTE)

74. 2.18 4' GEDACKT (BOURDON, TIBIA)

75. 2.19 4' SPITZ FLUTE (SPITZ PRINCIPAL, GEMSHORN)

76. 2.20 4' OPEN FLUTE (NACHTHORN, WALDFLOTE)

77. 2.21 4' HARMONIC FLUTE (FLUTE TRAVERSO, ZAUBERFLOTE, CONCERT FLUTE)

120. 4.08 4' FUGARA (VIOLINA)

78. 2.22 4' SALICET

121. 4.09 4' CELESTE

79. 2.23 4' GAMBETTE

122. 4.10 4' CELESTINA

80. 2.24 4' DULCET

123. 4.11 4' CELESTE

85. 3.01 4' HARMONIC TUBA (HARMONIC CLARION)

9. 0.09 4' CLARION

86. 3.02 4' CHALUMEAU (ROHR SCHALMEI)

87. 3.03 4' OBOE (FAGOT, HAUTBOIS)

124. 4.12 4' TROMPETTE EN CHAMADE

125. 4.13 3 1/5' GROSS TIERCE

23. 0.23 2 2/3' QUINTE (TWELFTH)

88. 3.04 2 2/3' NAZARD

21. 0.21 2' PRINCIPAL (FIFTEENTH)

89. 3.05 2' SPITZ FLUTE (SPITZ PRINCIPAL)

22. 0.22 2' BLOCK FLUTE (PICCOLO)

90. 3.06 2' HARMONIC PICCOLO

126. 4.14 2' KORNET

24. 0.24 1 3/5' TIERCE (TERZ)

29. 1.01 1 1/3' QUINT (LARIGOT)

127. 4.15 1 1/7' SEPTIEME

91. 3.07 1' SIFFLOTE (FIFE)

145. 5.04 2/3' QUINT

146. 5.05 HARMONICS

147. 5.06 FULL MIXTURE

30. 1.02 FOURNITURE

31. 1.03 SHARFF

92. 3.08 CYMBAL

147. 5.07 ACUTA

32. 1.04 SESQUIALTERA

93. 3.09 CORNET

94. 3.10 SEPTERZ

53. 1.25 II MIXTURE

25. 0.25 III MIXTURE

26. 0.26 IV MIXTURE

20. 0.20 TREMULANT I-FAST (PRIMARY OR FIRST)

148. 5.08 TREMULANT II-SLOW

171. 6.03 TREMULANT MAIN A

172. 6.04 TREMULANT MAIN B

173. 6.05 TREMULANT TIBIA

174. 6.06 TREMULANT VOX

175. 6.07 TREMULANT BRASS

176. 6.08 TREMULANT REEDS

187. 6.19 GLOCK RE-IT

188. 6.20 XYLO RE-IT

189. 6.21 MARIMBA RE-IT

15. 0.15 16' SUB COUPLER

16. 0.16 8' UNISON COUPLER (UNISON OFF)

194. 6.26 5 1/3' QUINT COUPLER

17. 0.17 4' OCTAVE COUPLER

37. 1.09 16' SOLO TO X

38. 1.10 8' SOLO TO X

194. 6.26 5 1/3' SOLO TO X

39. 1.11 4' SOLO TO X

40. 1.12 16' SWELL TO X

41. 1.13 8' SWELL TO X

42. 1.14 4' SWELL TO X

43. 1.15 16' GREAT TO X

44. 1.16 8' GREAT TO X

45. 1.17 4' GREAT TO X

46. 1.18 16' CHOIR TO X

47. 1.19 8' CHOIR TO X

48. 1.20 4' CHOIR TO X

222. 7.26 PEDAL TO X

152. 5.12 ECHO ON X

153. 5.13 ANTIPHONAL ON X

154. 5.14 POSITIV ON X

34. 1.06 16' MIDI TO X

35. 1.07 8' MIDI TO X (MIDI ON/OFF)

36. 1.08 4' MIDI TO X

49. 1.21 16' MIDI AA

50. 1.22 16' MIDI AB

102. 3.18 16' MIDI AC

103. 3.19 16' MIDI AD

18. 0.18 8' MIDI AA

19. 0.19 8' MIDI AB

104. 3.20 8' MIDI AC

105. 3.21 8' MIDI AD

51. 1.23 4' MIDI AA

52. 1.24 4' MIDI AB

106. 3.22 4' MIDI AC

107. 3.23 4' MIDI AD

81. 2.25 8' MIDI MELODY

82. 2.26 4' MIDI MELODY

83. 2.27 16' MIDI BASS

84. 2.28 8' MIDI BASS

155. 5.15 MANUAL TRANSFER

156. 5.16 ALL SWELLS TO SWELL

157. 5.17 BASS COUPLER

158. 5.18 MELODY COUPLER

169. 6.01 PIZZICATTO COUPLER

170. 6.02 SOSTENUTO

181. 6.13 16' PIANO

182. 6.14 8' PIANO

183. 6.15 4' PIANO

184. 6.16 PIANO SUSTAIN

215. 7.19 REMOTE ORGAN ON/OFF

216. 7.20 REMOTE OCNSOLE ON/OFF

217. 7.21 LOCAL ORGAN ON/OFF

218. 7.22 LOCAL CONSOLE ON/OFF

33. 1.05 CHIMES

149. 5.09 HARP

150. 5.10 CELESTA

151. 5.11 CARILLON

185. 6.17 TOWER CHIMES

177. 6.09 MARIMBA HARP

178. 6.10 CHRYSOLGLOTT

179. 6.11 XYLOPHONE

180. 6.12 GLOCKENSPIEL

186. 6.18 TUNED SLEIGH BELLS

101. 3.17 ZIMBELSTERN

179. 6.23 GONG

180. 6.24 TRIANGLE

212. 7.16 SLEIGH BELLS

200. 7.04 CRASH CYMBAL

201. 7.05 TAP CYMBAL

202. 7.06 BRUSH CYMBAL

214. 7.18 FINGER CYMBAL

203. 7.07 SNARE DRUM

199. 7.03 BASS DRUM

204. 7.08 SNARE DRUM ROLL

205. 7.09 TOM TOM

206. 7.10 TYMPANI

207. 7.11 TAMBORINE

208. 7.12 CASTINETS

209. 7.13 CHINESE BLOCK

210. 7.14 WOOD BLOCK

211. 7.15 SAND BLOCK

197. 7.01 STEAMBOAT WHISTLE

198. 7.02 BIRD WHISTLE

190. 6.22 SIREN

213. 7.17 GLADSTONE AFTERBEAT

225. 8.01 SWELL SHADE 1

226. 8.02 SWELL SHADE 2

227. 8.03 SWELL SHADE 3

228. 8.04 SWELL SHADE 4

229. 8.05 SWELL SHADE 5

230. 8.06 SWELL SHADE 6

231. 8.07 SWELL SHADE 7

232. 8.08 SWELL SHADE 8

233. 8.09 SWELL SHADE 9

234. 8.10 SWELL SHADE 10

235. 8.11 SWELL SHADE 11

236. 8.12 SWELL SHADE 12

237. 8.13 SWELL SHADE 13

238. 8.14 SWELL SHADE 14

239. 8.15 SWELL SHADE 15

240. 8.16 SWELL SHADE 16

241. 8.17 SWELL SHADE 17

242. 8.18 SWELL SHADE 18

243. 8.19 SWELL SHADE 19

244. 8.20 SWELL SHADE 20

245. 8.21 SWELL SHADE 21

246. 8.22 SWELL SHADE 22

247. 8.23 SWELL SHADE 23

248. 8.24 SWELL SHADE 24

249. 8.25 SWELL SHADE 25

250. 8.26 SWELL SHADE 26

251. 8.27 SWELL SHADE 27

252. 8.28 SWELL SHADE 28

The following is a duplicate AUniversal Stop List (MAP) that has been sorted by it's assignment (sysex subgroup) numbers. Use for checking assigned stops.

1. 0.01 8' PRINCIPAL (2nd OPEN DIAPASON)

2. 0.02 8' BOURDON (2nd FLUTE)

3. 0.03 8' VIOLA (VIOL DA GAMBA, VIOL D. ORCHESTRE, GEMSHORN)

4. 0.04 8' VIOLA CELESTE (GEMSHORN CELESTE)

5. 0.05 8' TRUMPET (TROMPETTE, CORNOPEAN, BRASS TRUMPET)

6. 0.06 8' OBOE (FAGOT, HAUTBOIS, BASSON, ORCHESTRAL OBOE,OBOE HORN)

7. 0.07 4' OCTAVE

8. 0.08 4' CHIMNEY FLUTE (ROHR FLUTE, KOPPEL FLUTE)

9. 0.09 4' CLARION

10. 0.10 16' PRINCIPAL (MONTRE)

11. 0.11 16' BOURDON (SUBBASS, TIBIA CLAUSA)

12. 0.12 16' LIEBLICH GEDACKT

13. 0.13 16' FAGOTTO (BASSON, HAUTBOIS, OBOE, OBOE HORN)

14. 0.14 16' TRUMPET (TROMPETTE)

15. 0.15 16' SUB COUPLER

16. 0.16 8' UNISON COUPLER (UNISON OFF)

17. 0.17 4' OCTAVE COUPLER

18. 0.18 8' MIDI A

19. 0.19 8' MIDI B

20. 0.20 TREMULANT I­FAST (PRIMARY OR FIRST)

21. 0.21 2' PRINCIPAL

22. 0.22 2' BLOCK FLUTE (PICCOLO)

23. 0.23 2 2/3' QUINTE

24. 0.24 1 3/5' TIERCE (TERZ)

25. 0.25 III MIXTURE

26. 0.26 IV MIXTURE

27. 0.27

28. 0.28

29. 1.01 1 1/3' QUINTE (LARIGOT)

30. 1.02 FOURNITURE

31. 1.03 SHARFF

32. 1.04 SESQUIALTERA

33. 1.05 CHIMES

34. 1.06 16' MIDI TO X

35. 1.07 8' MIDI TO X (MIDI ON/OFF)

36. 1.08 4' MIDI TO X

37. 1.09 16' SOLO TO X

38. 1.10 8' SOLO TO X

39. 1.11 4' SOLO TO X

40. 1.12 16' SWELL TO X

41. 1.13 8' SWELL TO X

42. 1.14 4' SWELL TO X

43. 1.15 16' GREAT TO X

44. 1.16 8' GREAT TO X

45. 1.17 4' GREAT TO X

46. 1.18 16' CHOIR TO X

47. 1.19 8' CHOIR TO X

48. 1.20 4' CHOIR TO X

49. 1.21 16' MIDI AA

50. 1.22 16' MIDI AB

51. 1.23 4' MIDI AA

52. 1.24 4' MIDI AB

53. 1.25 II MIXTURE

54. 1.26 32' RESULTANT

55. 1.27

56. 1.28

57. 2.01 8' OPEN DIAPASON (1st OPEN DIAPASON)

58. 2.02 8' GEIGEN PRINCIPAL (3rd OPEN DIAPASON, VIOLIN DIAPASON)

59. 2.03 8' FLUTE MAJOR (GROSS FLUTE, SOLO TIBIA CLAUSA, TIBIA)

60. 2.04 8' FLUTE HARMONIQUE (CONCERT FLUTE, MELODIA, HOHLFLUTE)

61. 2.05 8' GEDACKT (STOPPED DIAPASON, CHIMNEY FLUTE, ROHRFLUTE)

62. 2.06 8' QUINTADE (QUINTADENA)

63. 2.07 8' SALICIONAL

64. 2.08 8' VOIX CELESTE

65. 2.09 8' DULCIANA (AEOLINE)

66. 2.10 8' TUBA (TROMBA, HARMONIC TUBA, TUBA MIRABILIS)

67. 2.11 8' HARMONIC TRUMPET (TROMPETTE HARMONIQUE)

68. 2.12 8' FRENCH HORN (CORNO DI BASSETTO, COR D' ORCHESTRE)

69. 2.13 8' CLARINET (KRUMMHORN, CROMORNE)

70. 2.14 8' VOX HUMANA (VOIX HUMAINE)

71. 2.15 5 1/3' QUINT

72. 2.16 4' PRINCIPAL

73. 2.17 4' PRESTANT

74. 2.18 4' GEDACKT (BOURDON, TIBIA)

75. 2.19 4' SPITZ FLUTE (SPITZ PRINCIPAL, GEMSHORN)

76. 2.20 4' OPEN FLUTE (NACHTHORN, WALDFLOTE)

77. 2.21 4' HARMONIC FLUTE (FLUTE TRAVERSO, ZAUBERFLOTE, CONCERT FLUTE)

78. 2.22 4' SALICET

79. 2.23 4' GAMBETTE

80. 2.24 4' DULCET

81. 2.25 8' MIDI MELODY

82. 2.26 4' MIDI MELODY

83. 2.27 16' MIDI BASS

84. 2.28 8' MIDI BASS

85. 3.01 4' HARMONIC TUBA (HARMONIC CLARION)

86. 3.02 4' CHALUMEAU (ROHR SCHALMEI)

87. 3.03 4' OBOE (FAGOT, HAUTBOIS)

88. 3.04 2 2/3' NAZARD

89. 3.05 2' SPITZ FLUTE (SPITZ PRINCIPAL)

90. 3.06 2' HARMONIC PICCOLO

91. 3.07 1' SIFFLOTE (FIFE)

92. 3.08 CYMBAL

93. 3.09 CORNET

94. 3.10 SEPTERZ

95. 3.11 32' CONTRA BOURDON

96. 3.12 16' OPEN DIAPASON (DIAPHONIC DIAPASON, FLUTE OUVERTE)

97. 3.13 16' GEMSHORN (SPITZFLUTE)

98. 3.14 16' GAMBA

99. 3.15 16' QUINTATON (ROHR BOURDON)

100. 3.16 10 2/3' GROSS QUINTE

101. 3.17 ZIMBELSTERN

102. 3.18 16' MIDI AC

103. 3.19 16' MIDI AD

104. 3.20 8' MIDI AC

105. 3.21 8' MIDI AD

106. 3.22 4' MIDI AC

107. 3.23 4' MIDI AD

108. 3.24 16' VOX HUMANA

109. 3.25 16' RESULTANT

110. 3.26 4' GEIGEN OCTAVE

111. 3.27

112. 3.28

113. 4.01 8' STENTORPHONE (GRAND DIAPASON, DIAPHONIC DIAPASON)

114. 4.02 8' FLAUTO DOLCE (ERZAHLER)

115. 4.03 8' FLUTE CELESTE (ERZAHLER CELESTE)

116. 4.04 8' UNDA MARIS (AEOLINE CELESTE)

117. 4.05 8' ENGLISH HORN (COR D' ANGLAIS)

118. 4.06 8' TROMPETTE­EN­CHAMADE (TROMPETTE REAL, FANFARE TRUMPET)

119. 4.07 5 1/3' QUINT TROMPETTE

120. 4.08 4' FUGARA (VIOLINA)

121. 4.09 4' CELESTE

122. 4.10 4' CELESTINA

123. 4.11 4' CELESTE

124. 4.12 4' TROMPETTE EN CHAMADE

125. 4.13 3 1/5' GROSS TIERCE

126. 4.14 2' KORNET

127. 4.15 1 1/7' SEPTIEME

128. 4.16 16' CONTRE BASS

129. 4.17 16' VIOLONE

130. 4.18 16' BOMBARDE (OPHECLIEDE)

131. 4.19 16' TROMBONE (POSAUNE, DIAPHONE)

132. 4.20 16' DULZIAN (CLARINET)

133. 4.21 16' TROMPETTE­EN­CHAMADE

134. 4.22 32' CONTRA FAGOTTO

135. 4.23 32' CONTRA BOMBARDE (DIAPHONE)

136. 4.24 32' CONTRA VIOLONE

137. 4.25 16' TUBA

138. 4.26

139. 4.27

140. 4.28

141. 5.01 32' PRINCIPAL

142. 5.02 32' OPEN DIAPASON (FLUTE OUVERTE)

143. 5.03 64' GRAVISSIMA

144. 5.04 2/3' QUINT

145. 5.05 HARMONICS

146. 5.06 FULL MIXTURE

147. 5.07 ACUTA

148. 5.08 TREMULANT II­SLOW

149. 5.09 HARP

150. 5.10 CELESTA

151. 5.11 CARILLON

152. 5.12 ECHO ON X

153. 5.13 ANTIPHONAL ON X

154. 5.14 POSITIV ON X

155. 5.15 MANUAL TRANSFER

156. 5.16 ALL SWELLS TO SWELL

157. 5.17 BASS COUPLER

158. 5.18 MELODY COUPLER

159. 5.19 8' ENGLISH POST HORN

160. 5.20 8' KRUMMET

161. 5.21 8' SERPENT

162. 5.22 8' MUSETTE

163. 5.23 8' SOLO VOX HUMANA

164. 5.24 8' SAXOPHONE (BRASS SAXOPHONE)

165. 5.25 8' KINURA

166. 5.26

167. 5.27

168. 5.28

169. 6.01 PIZZICATO COUPLER

170. 6.02 SOSTENUTO

171. 6.03 TREMULANT MAIN A

172. 6.04 TREMULANT MAIN B

173. 6.05 TREMULANT TIBIA

174. 6.06 TREMULANT VOX

175. 6.07 TREMULANT BRASS

176. 6.08 TREMULANT REEDS

177. 6.09 MARIMBA HARP

178. 6.10 CHRYSOLGLOTT

179. 6.11 XYLOPHONE

180. 6.12 GLOCKENSPIEL

181. 6.13 16' PIANO

182. 6.14 8' PIANO

183. 6.15 4' PIANO

184. 6.16 PIANO SUSTAIN

185. 6.17 TOWER CHIMES

186. 6.18 TUNED SLEIGH BELLS

187. 6.19 GLOCK RE­IT

188. 6.20 XYLO RE­IT

189. 6.21 MARIMBA RE­IT

190. 6.22 SIREN

191. 6.23 GONG

192. 6.24 TRIANGLE

193. 6.25 5 1/3' QUINT COUPLER

194. 6.26 5 1/3' SOLO TO X

195. 6.27

196. 6.28

197. 7.01 STEAMBOAT WHISTLE

198. 7.02 BIRD WHISTLE

199. 7.03 BASS DRUM

200. 7.04 CRASH CYMBAL

201. 7.05 TAP CYMBAL

202. 7.06 BRUSH CYMBAL

203. 7.07 SNARE DRUM

204. 7.08 SNARE DRUM ROLL

205. 7.09 TOM TOM

206. 7.10 TYMPANI

207. 7.11 TAMBOURINE

208. 7.12 CASTANETS

209. 7.13 CHINESE BLOCK

210. 7.14 WOOD BLOCK

211. 7.15 SAND BLOCK

212. 7.16 SLEIGH BELLS

213. 7.17 GLADSTONE AFTERBEAT

214. 7.18 FINGER CYMBAL

215. 7.19 REMOTE ORGAN ON/OFF

216. 7.20 REMOTE CONSOLE ON/OFF

217. 7.21 LOCAL ORGAN ON/OFF

218. 7.22 LOCAL CONSOLE ON/OFF

219. 7.23 16' SAXOPHONE

220. 7.24 16' BRASS TRUMPET

221. 7.25 16' ENGLISH POST HORN

222. 7.26 PEDAL TO X

223. 7.27

224. 7.28

225. 8.01 SWELL SHADE 1

226. 8.02 SWELL SHADE 2

227. 8.03 SWELL SHADE 3

228. 8.04 SWELL SHADE 4

229. 8.05 SWELL SHADE 5

230. 8.06 SWELL SHADE 6

231. 8.07 SWELL SHADE 7

232. 8.08 SWELL SHADE 8

233. 8.09 SWELL SHADE 9

234. 8.10 SWELL SHADE 10

235. 8.11 SWELL SHADE 11

236. 8.12 SWELL SHADE 12

237. 8.13 SWELL SHADE 13

238. 8.14 SWELL SHADE 14

239. 8.15 SWELL SHADE 15

240. 8.16 SWELL SHADE 16

241. 8.17 SWELL SHADE 17

242. 8.18 SWELL SHADE 18

243. 8.19 SWELL SHADE 19

244. 8.20 SWELL SHADE 20

245. 8.21 SWELL SHADE 21

246. 8.22 SWELL SHADE 22

247. 8.23 SWELL SHADE 23

248. 8.24 SWELL SHADE 24

249. 8.25 SWELL SHADE 25

250. 8.26 SWELL SHADE 26

251. 8.27 SWELL SHADE 27

252. 8.28 SWELL SHADE 28

253. thru 448. UN-ASSIGNED

Peterson Electro-Musical Products, INC.

11601 South Mayfield Avenue

Alsip, Illinois 60803  1-(708)388-3311  1-(800)341-3311

FILE: D:WP51\FILES\INS\MIDI_INS.INS 8 3-26, 1996 P.E.M.P.,I.