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
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.
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. | |
| ||
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. |
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. | |
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. |
| ||
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. | |
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..
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.