Monitoring

In order to properly record a performance, both the engineer, producer and all of the players must be able to hear the performance. When listening to the speakers in a control room (where the mixer is), this is called monitoring; when the musicians are listening to headphones while overdubbing, this is called cueing. Adjustments to monitor or cue mixes should not affect the mix going to the recorder, so that recording levels remain at the optimum, even if the performer requires less of a particular instrument in the headphones. Monitoring is a more complex operation than it might seem at first, since there are many mixes that occur simultaneously. Often there are 3 separate mixes (sometimes
Introduction more) happening simultaneously in order to complete the task of overdubbing. The comprehensive systems and logical layout of the X2 Mixer will make it relatively easy for you to accommodate even the most complex monitoring requirements. The following are a few of the typical mixes that may occur during a session: Multitrack Mix: The first mix would be the mix that is being recorded onto tape. This mix is derived from the Channel Faders and the Tape Outs or the Group Outs. These levels are nominally adjusted so that the optimum signal level reaches tape in order to ensure the least amount of noise or distortion. This level averages about 0 VU on the meters of an analog multitrack tape machine, or -15 dB on the inserts of a digital multitrack tape machine, such as the Alesis ADAT. However, the transient peaks of instruments such as percussion may exceed this average level by 10 to 15 dB. One of the key factors in setting the proper mix for the recorder is being aware of the headroom available on the tape, and making sure it isnt exceeded. Monitor Speaker (Control Room) Mix: If you were to listen only to the multitrack mix, you would probably find that it would be terribly out of balance since the optimum recording level (the primary concern of a multitrack mix) is not necessarily the best listening level. Therefore, a second mix is required called the monitor mix, which provides the engineer with a useful instrument balance and enables him or her to make changes and adjustments to the mix (such as muting or soloing channels) without disturbing the signals being recorded on tape. Cue Mix: Many times a third separate mix is required which is sent to the musicians headphones for overdubbing. This is called the cue mix. This mix can be radically different from what the engineer is listening to (the monitor mix), since the musicians may need certain instruments either played louder or removed from the mix in order to hear their cues (hence the name cue mix). This mix is derived from the Pre-Fader Sends, so that the headphone mix will not change if the engineer makes fader adjustments to the monitor mix. Since the X2 Mixer has two Pre-Fader Aux Sends (Aux 1-2), either 2 separate mono cue mixes or 1 stereo cue mix may be created.

Muting Automation

The Master module comes complete with X2 Dynamic Mute Automation. The display and accompanying controls let you record each individual press of a MUTE button anywhere on the console into the internal mute automation sequencer, synchronized to incoming ADAT Sync, MIDI Time Code or a MIDI Clock. Four Mute Groups, which allow you to mute as many channels as you want with a single button press, are available in each of the 100 sequencer memory locations. Alternatively, these mute groups or individual mutes can be triggered remotely via MIDI or recorded into a MIDI sequencer.

Meter Bridge

The meter bridge provides a total of thirty-four 15-segment LED peak meters for the 24 Channels, 8 Groups and the two Master Outs (L-R). The 24 Channel meters can monitor either the Tape Send levels or the Tape Returns levels. To select the meter bridge mode, hold the ALL (ALT) button and press DISPLAY (METER BRIDGE).
Guided Tour This toggles the meters between Tape Sends and Tape Returns. Two Mode LEDs on the meter bridge indicate which mode is selected.

Connecting the X2

CHAPTER 3:

CONNECTIONS

Unpacking and Inspection
Your X2 was packed carefully at the factory, and the container was designed to protect the unit during shipping. Please retain this container in the highly unlikely event that you need to return the X2 for servicing. Upon receiving the X2, carefully examine the shipping carton and its contents for any sign of physical damage that may have occurred in transit. If you detect any damage, do not destroy any of the packing material or the carton, and immediately notify the carrier of a possible claim for damage. Damage claims must be made by you. Contact your Alesis dealer. The shipping carton should contain the following items: This instruction manual Alesis X2 with the same serial number as shown on shipping carton X2 Power Supply unit AC Power Cable Alesis warranty card
It is important to register your purchase; if you have not already filled out your warranty card and mailed it back to Alesis, please take the time to do so now.

Power Supply

If the basic experiments dont uncover the source of the problem, consult your dealer or technician trained in proper studio grounding techniques. In some cases, a star grounding scheme must be used, with the X2 at the center of the star providing the shield ground on telescoping shields, which do NOT connect to the chassis ground of other equipment in the system.
Channel Inputs and Outputs
Each of the 24 channel modules on the X2 contains an XLR balanced MIC Input connector, a 1/4" TRS balanced LINE Input jack, a 1/4" TRS balanced TAPE IN jack with a +4/-10 level switch, an unbalanced 1/4" TAPE SEND jack, and a TRS 1/4" INSERT jack. Also included are three 56-pin ELCO connectors which provide eight channels each of BALANCED TAPE Ins and Outs. Here are more detailed descriptions of each of these, and what they should be connected to.

Balanced Mic Inputs

The MIC Input is a standard female XLR-3 connector and is available when the MIC/LINE switch is in the MIC (out) position (see section 6.0.2). The cable wiring is illustrated below
The MIC Input is designed to accept a wide range of balanced or unbalanced low impedance input signals. Each Mic input can provide the +48V necessary for phantom-powered microphones on pins 2 and 3; this may be turned on and off with the [+48V] switch (see section 6.0.1). The phase of pins 2 and 3 may be reversed using the [] (phase) switch.

Unbalanced Line Inputs

The LINE Input is a 1/4" socket which will accept unbalanced or balanced line level sources when the MIC/LINE switch (see section 6.0.2) is in the LINE position.
Unlike the low impedance microphone input, this connection provides a high impedance (>10k ) to the input signal, enabling many types of instruments to be plugged straight in without direct boxes or external preamplification. While the output of a standard synthesizer (or other equipment) can be plugged in using a 2conductor 1/4" plug, balanced line sources may also be connected here using a stereo TRS plug as shown above. Line inputs may also be used for connecting additional effects returns, where
Connecting the X2 additional post-effect equalization is required.

Tape Input

The Tape Input is a 1/4" balanced TRS connector which will accept either -10 dBV or +4 dBu, depending on the setting of the +4/-10 switch (see next section). The Tape Input is the normal source of the Monitor path. However, when the CHAN/MON REVERSE switch is pressed, the Tape Input is switched over to the Channel path (see section 6.0.5). Connect the outputs of your balanced or unbalanced multitrack tape machine here; however, this jack is normally intended for use with unbalanced inputs, since the ELCO-type connector provides an easier way of connecting balanced tape inputs and outputs. If you dont use all the Tape Inputs, unused jacks may also be connected to the outputs of synthesizers or effects devices.

Overdubbing

Monitoring the Multitrack on the Monitor Faders
Once you have recorded onto the multitrack tape machine, you will want to listen back to those tracks, especially if you are overdubbing new tracks with musicians who need to hear the material already on tape (see next section, Getting the Mix to Headphones). The signals coming back from the multitrack tape machine connect to the TAPE IN connectors of each channel, and normally appear at the Monitor section within each of the Input modules. To listen to tape tracks on the Monitor faders: 1 Place the tracks of the tape machine you wish to monitor into the Tape or Playback position. Make sure the CHAN/MON REVERSE switches are up. Raise the Monitor FADERS being used for the tape tracks you wish to listen to. Assign these Monitors to the Master Outputs by placing the L-R button in the On (down) position. Raise the Master FADERS to where the peaks of the signal briefly light the red LEDs in the meters. Select L-R as the Control Room Source and turn the CONTROL ROOM control up to the desired listening level.
Monitoring the Multitrack on the Channel Faders
Depending on how many inputs you are using at a time, you may want to use a different technique for monitoring. Monitoring on the Channel faders gives you a head start on your mixdown, and also allows you to start using the parametric EQ. Keep in mind, however, that you will not be able to record a Mic or Line source which is plugged into any channel being used to monitor a tape return. To listen to tape tracks on the Channel faders: 1 On the multitrack, set the tracks you want to monitor into playback mode (Record switched OFF). Make sure the DIR and Group Assign 1-8 switches of the tracks you want to hear are all UP (off). Press the CHAN/MON REVERSE switch down in the channel you want to hear. This makes the tape return the source of the large Channel FADER, and simultaneously makes Mic or Line the source of the short Monitor FADER. Assign the channels to L-R (the switch lowest on the channel strip). Raise the Channel FADERS being used for the tape tracks you wish to listen to. Raise the L-R MASTER FADERS and CONTROL ROOM settings, as in the

Playback/Mix-Down

Mixdown Basics
Here is a simplified step-by-step way to establish a mix: 1 On the Channels where tape tracks are returning, press the CHAN/MON REVERSE button. This reverses the two inputs of the Channel (Mic/Line and Tape In). Now the microphone or line input will appear at the Monitor FADER, and the TAPE IN will appear at the Channel Input. Raise the Channel FADERS being used as Tape Returns to the desired levels. Add the amount of effects desired by adjusting the AUX levels of each Channel. If required, adjust the AUX MASTERS levels to eliminate overload to outboard effects. Assign the Returns to L-R. Raise the level of the STEREO AUX RETURNS and adjust the STEREO SEPARATION and BALANCE as desired. Adjust the Master FADERS so that the desired level is sent to the mixdown tape machine. Press EXT 1 as the source in the CONTROL ROOM section. This assures that you are hearing only what is actually reaching the mixdown deck, and that it is in RECORD mode when you want it to be.
Getting the Mix to the Tape Deck
Once you have established a satisfactory mix, its time to get it over to the mixdown tape deck. This involves connecting the L-R MASTER OUT jacks to the mixdown 48 X2 Reference Manual
Applications tape decks left and right inputs. For more information on interfacing the X2 with a mixdown deck, see page 27. Assign all Channels, Monitors, Stereo Aux Returns and Groups being used to the LR MASTER FADERS, by making sure the L-R buttons for each is down. Then create a mix using the Faders for the selected channels. If there are any channels, monitors or aux returns you are not using, make sure their L-R switches are up, to keep the noise floor to a minimum.
Creating a Dependable Mix
Creating a mix is easy; creating a great mix (one that jumps off the tape) is a lot harder. There are those engineers who are in demand just for mixing because of their sense of balance between instruments causes the mix to come alive with excitement. Although outboard effects and tonal adjustments are important, youd be surprised at how good a dry (meaning no EQ or effects) mix can be if the balances between parts are right. When you add effects and EQ, it will sound that much better. Since much of the art of mixing is totally subjective and up to the taste of the engineer, a basic balance between instruments is necessary first before any tonal or effect enhancements can really become effective. Weve included a method to help you quickly create a dependable mix; one that sounds good no matter what speakers you mix or play back on. Although our example involves mixing the instruments found in popular music, this method can be applied to any type of music regardless of the instruments being used. To create a dependable mix: Note: This is only a reference or starting point. Each song is unique and calls for different balances. 1 Begin with all the Channel FADERS in the - (down) position. Set the Stereo Master FADERS to the -10 point on their travel (about 75%). Set the Meter Bridge to Tape Return mode by holding ALL/ALT and pressing DISPLAY. This way, when you roll tape, the meters will light up (for those tracks with audio) regardless of where the Channel Faders are. Raise the Kick Drum Channel FADER until the LED meters read -2. Mute the Kick Drum Channel by switching the MUTE button to the On (down) position, so that the Kick can no longer be heard. DO NOT MOVE THE FADER! Just mute the Kick Channel. Raise the Snare Drum Channel FADER until the LED meter reads 0. Mute the Snare Drum Channel, the same as the Kick. Raise the Hi-Hat Channel FADER until it reads -15 on the LED meter. If any cymbals (ride or crashes) occur in the song, set those Channels to -15. Mute the Hi-hat and Cymbals Channels.

Raise the Toms Channel FADERS. Set them so that the LED meter indicates 0. Mute the Toms Channels. Bring up the Bass Guitar Channel FADER so that the LED meter reads -6. Mute the Bass Channel. Raise the Channel FADERS with the rhythm guitar and/or keyboards so that the LED meters read -10, unless percussion instruments are involved (such as cowbell, triangle or shaker), in which case the meters should read -15. Mute these Channels.
10 Raise the Channel FADERS with the keyboard pads, strings and/or organ so that the LED meters read -30. Mute these Channels. 11 Raise the Channel FADERS with the melody and solo instruments (such as lead vocal, solo guitar, etc.) so that the LED meters read -8. Mute these Channels. 12 Raise the Channel FADERS with the background vocals and/or incidental instruments so that the LED meters read 10. 13 Unmute all Channels and make balance adjustments as necessary. The above process can be accomplished very quickly once you get the hang of it. Usually, it is done at least twice when getting up a mix. The first time is without effects or EQ to see what (if anything) the mix needs. The second time is after all the effects and EQ have been added.

Mute Automation

One of the most creative elements of mixing is the art of muting. By turning channels on and off, you can create a different performance of what is being fed to the channel. Example: A lead vocal track may have wound up with some unwanted sounds. By muting and unmuting the channel, you can omit the unwanted portions. Or, you can use muting to change the rhythm of a drum part; or to remove a previously unnoticed mistake on one of the other tracks. While this is a powerful technique, without a mute automation system it can be difficult to keep track of which channels to mute, when and for how long. Obviously, mute automation is the only reliable way of applying the technique of muting during mix-down on a large console like the X2. You can automate the muting and unmuting of any channel either by recording these mute events into the X2s Dynamic Mute Automation sequencer, or by using an external MIDI sequencer. When using the built-in sequencer, a synchronization source is required to drive it. If you are using one or more ADATs, the best way to use the X2 is by synchronizing its built-in Mute Automation sequencer to the ADATs time code reference. This provides an extremely accurate method of managing the many tracks that are used in post-production applications, where muting and unmuting tracks is frequent and the timing crucial. If you dont use ADAT, you can synchronize the X2s sequencer to MIDI Time Code
Applications or MIDI Clock. This can either come from a synchronization processor (one that can translate SMPTE or VITC timecode into MTC) or from a MIDI sequencer. Alternatively, you can also use the MIDI sequencer to record mutes from the X2s console, thereby bypassing the X2s built-in sequencer. If you plan to use an external sequencer for automating mutes, there are several things to consider. Not only must you choose a MIDI channel for the X2 to receive and transmit on, you must also choose a MIDI Map which defines how the mutes will be controlled. Because there are many sequencers available, each with its own characteristics, the X2 provides a MIDI Map for virtually every possible situation. Refer to the Chapter 5 for more information about Dynamic Mute Automation.

Mute Automation and have them playback. This is done by choosing one of the many built-in MIDI maps the X2 provides, which determines how the mute events will be transmitted (using note-on messages, controller data or as System Exclusive). The entire memory of the Mute Automation (100 songs, 400 Mute Groups and up to 10,000 mute events) can be downloaded to an external MIDI device (such as an Alesis DataDisk, MIDI sequencer, bulk librarian, or some other MIDI device). This can be done by transmitting the data via MIDI System Exclusive messages. This data can then be retrieved to the same or another X2, instantly recalling all mute sequences from the original session.

Destructive Solo

The Mute Automation system also has a Solo mode, not to be confused with the SOLO buttons. Solo mode lets the MUTE buttons act as solo buttons (as far as the Mute Automation is concerned), allowing you to perform destructive soloing. In Solo mode, the logic of the Mute Automation is reversed: press a MUTE and that channel will continue to be heard, while all other channels will be muted. Unlike the SOLO buttons which affect only the Control Room mix, destructive soloing affects the mix which is going to tape. When should you use destructive solo via the mute automation system, instead of the control rooms solo-in-place system? One application of destructive solo is to create an abrupt cut from an ensemble to a single instrument or voice during a mix. Another common application involves destructive solo and effect sends/returns. The normal SOLO buttons do not cut the effect sends of other channels, so if you solo one channel and one Aux Return, you will still hear the echo of any other instruments that are feeding that effect device. Destructive solo, however, since it mutes all other channels (and hence their post-fader Aux Sends), allows you to hear only one channel if you wish. Simply enter destructive solo mode, and press the MUTE buttons of the channel and the aux return. If you dont want to hear the dry signal (which is necessary when setting up certain effects), de-assign the channel signal from L-R or any Groups. It will still send to the effect device, but you will only hear the Aux Return -- all other channels are muted. To enable destructive solo mode: 3 Hold the ALL/ALT button. Press the ONLINE/SOLO button. Select a channel to solo by pressing any MUTE button on the console. All other channels MUTE LEDs will flash. To unsolo a channel, press its MUTE button again. To disable, hold the ALL/ALT button and press the ONLINE/SOLO button.

Copy Song

Copying Songs to other locations in memory makes it possible to make back-ups or different versions of Song projects. For example, if you just recorded the mute events into a song, you may want to copy it into a different song location before adding more mute events to it. Sometimes, instead of trying to delete a series of unwanted mute events, it is faster and easier to go back to an older version of the Song that was copied somewhere else in memory. To copy a Song to another location: 1 Select a song (0099) by pressing the DISPLAY button until the SONG LED is lit and using the INC/DEC buttons to change the value in the display. Hold the ALL/ALT button and press the COPY button. Use the INC/DEC buttons to select a Song (0099) to be the copy destination. Press the UPDATE button to execute the copy.
When you want to use an external MIDI sequencer to provide mute automation, instead of the X2s internal sequencer, you must select a MIDI channel and choose a MIDI Map. There are several different sequencers to choose from, although we recommend using a sequencer that provides event chasing, so that you can locate to any location on your sequencer and be confident that it will update the mixer with its correct mute status for that particular section of the song.

MIDI Channel

The MIDI Channel value determines which MIDI channel the X2 will transmit and receive mute events on as MIDI messages for recording and playing back on an external MIDI sequencer. The messages that are sent representing the mute events are determined by the currently selected MIDI Map (see next section). You can transmit and receive on any one channel, from 1 to 16, or you can choose all 16 channels simultaneously; this is called omni mode. Use omni mode only when you are using the MIDI sequencer exclusively for recording and playing back mute events.
The MIDI Channel and Map displays are disabled if the Sync Source is set to Ad (ADAT sync). To set the MIDI channel: Press the DISPLAY button until the CHANNEL LED is lit. Use INC/DEC to change the value. Choose 0116 for MIDI channel 1 through 16, or 00 for omni mode (all 16).
It is recommended that you use a MIDI channel that is not being used by another device (synth, sampler, drum machine) connected to the same source as the X2.

Selecting Songs via MIDI

Using MIDI program change messages, you can select any of the 100 Songs. These messages can be sent by a MIDI sequencer or some type of MIDI controller (particularly useful in live performance applications). The X2 responds to MIDI program change numbers 000099 to recall Songs 0099, respectively. This means every time you send a program change message, you can call up four entirely different Mute Groups, thus giving you instant remote access to all 400 Mute Groups. Once you have selected a Song using program change messages. you can select any mute on the console or Mute Group by sending the appropriate MIDI message. The type of MIDI message that each Mute and Mute Group responds to depends on the currently selected MIDI Map.

TO MON Switch

The TO MON switch inserts the Hi and Lo EQ into the Monitor (short fader path). When the EQ is in the monitor, it is not affected by the EQ IN switch.

Hi Mid and Lo Mid EQ

Combined with the Hi and Lo EQ section, these make up a 4-band parametric equalizer. The Hi Mid controls and Lo Mid controls consist of three knobs each: FREQuency, GAIN and Q (bandwidth). In both cases, the FREQ and GAIN are on a concentric knob with GAIN on top and FREQ on the bottom, while the Q is a separate knob. The FREQ knob changes the center frequency of the EQ. Hi Mid FREQ range is sweepable between 650 Hz to 15 kHz; Lo Mid FREQ range: 45 Hz to 950 Hz. The GAIN controls how much boost or cut is applied to the band chosen. At the center detent position, there is no effect (flat response). Turning to the right amplifies the band, to a maximum of 15 dB. Turning to the left cuts the band, to a maximum cut of -15 dB. The Q, or bandwidth, can be adjusted to select the range of frequencies around the center frequency that will be most affected by the boost or cut. It can be set to as little as 1/6th of an octave when turned completely left, or to almost 2 octaves when turned completely clockwise.

EQ IN Switch

This inserts the equalizer controls into the channel signal path. When down, the EQ is in the signal path. This switch has no effect on the HPF control (see above), or on the HI and LO EQ if the TO MON switch is down.

AUX 12, AUX 12 PAN

The AUX 1-2 knob controls how much signal will be sent to either AUX SEND 1 or AUX SEND 2, as set by the PAN knob directly below this knob. This is a pre-fader, pre-mute, post-EQ stereo send typically used for performer monitors and headphone feeds. By turning the PAN fully left, the signal is routed only to AUX 1. When turned fully right, the signal is routed only to Aux 2. Its input can be derived from either the Channel or Monitor, as determined by the AUX SOURCE switch (see below). Its unity gain position is approximately 2 oclock.

AUX 3/7 and AUX 4/8

These are both mono post-fader sends typically used for effect sends. The AUX 3/7 knob controls how much signal will be sent to either AUX SEND 3 or AUX SEND 7, as set by the 7/8 switch below it. The AUX 4/8 knob controls how much signal will be sent to either AUX SEND 4 or AUX SEND 8, as set by the 7/8 switch directly above it. Their input can be derived from either the Channel or Monitor, as determined by the AUX SOURCE switch (see below)

7/8 Switch (Aux 3/4)

The 7/8 switch, found between the 3/7 and 4/8 knob, is an auxiliary assignment switch. When up, the AUX 3/7 knob sends signal to Aux Send 3, and the 4/8 knob sends signal to Aux Send 4. When this switch is down, the AUX 3/7 knob sends signal to Aux Send 7, and the 4/8 knob sends signal to Aux Send 8. The reason for this switch is to allow you to use the Aux controls for different purposes on different channels (example: two different types of effects). Another reason is to allow the monitor and the channel to send signal to the same effect device simultaneously (when the AUX SOURCE switch and both 7/8 switches are down).

AUX SOURCE Switch

The AUX SOURCE switch selects the input for Aux Sends 14 above it. When up, they get signal from the Channel path. When down, they get signal from the Monitor path. If using the Aux Sends for a headphone mix and you are monitoring tape on the short faders, press the AUX SOURCE switch down to allow the performers to listen to what is already on tape.

AUX 5/7 and AUX 6/8

These are both mono post-fader sends. Their signals are derived from the Channel only (not the Monitor). The AUX 5/7 knob controls how much of the Channels signal will be sent to either AUX SEND 5 or AUX SEND 7, as set by the 7/8 switch below it. The AUX 6/8 knob controls how much of the Channels signal will be sent to either AUX SEND 6 or AUX SEND 8, as set by the 7/8 switch directly above it.

7/8 Switch (Aux 5/6)

This switch functions identically as the 7/8 switch found between Aux 3/7 and 4/8, but is used to assign the AUX 5/7 and 6/8 knobs (refer to previous section).

Monitor PAN

The PAN control sends the output of the Monitor in continuously variable degrees to either side of the stereo mix (if the Monitors L-R switch is pressed -- see below).

Monitor PEAK LED

The PEAK LED will flash when the Monitors signal level (post-EQ, pre-fader) is about 15 dB over nominal level. This is 3 dB before the channel electronics will distort (clip). If it flashes, reduce the gain in the circuit (by adjusting the MIC/LINE GAIN control if the monitor source is Mic/Line, or lowering the recording level if the monitor source is Tape) until it stops flashing.

Monitor SOLO Button

The SOLO button sends the Monitors pre-fader signal(and only that Monitors signal, if no other SOLO buttons are pressed) directly to the Control Room monitors, cutting off any other signals to the Control Room. It allows the engineer to hear the signal before bringing it into the mix, for cueing purposes. When SOLO is pressed, its LED will light. The master SOLO LED will light in the Master module section, to alert you that Solo is active. You can adjust the output level of the signal(s) being soloed by turning the SOLO knob in the Master module section.

Monitor MUTE Button

The MUTE button disconnects the Monitors signal from the Master outputs and any post Aux Sends. When pressed, the MUTE buttons LED will light. This button is also controlled by the Dynamic Mute Automation system.

The PEAK LED will flash when the Aux Returns level (post-EQ, pre-fader) is 15 dB over nominal level. This is 3 dB before the channel electronics will distort. If it flashes, reduce the level of the incoming signal until it stops flashing.

Stereo Separation

The STEREO SEPARATION knob allows continually variable control over the width of the stereo image from MONO (hard left) to FULL (hard right).

Balance

The BALANCE knob controls the level of the signal being fed to the ASSIGN switches (see below). In the center position, the Balance is at unity gain. Turning BALANCE hard right increases the right signal, and totally removes the signal from the left side. Turning the knob hard left has the opposite effect. Balance left routes the signal to odd numbered Groups, balance right to even Groups. If the STEREO SEPARATION control is in the MONO position, BALANCE functions similarly to a pan control.

TO AUX 12 Level

The TO AUX 1-2 knob controls how much of the Aux Returns signal will be sent to both AUX SEND 1 and 2. This is a pre-fader, post-EQ stereo send typically used for performer monitors and headphone feeds. Signals from the left input will go to Aux 1, and signals from the right input will go to Aux 2. The Aux 1-2 signal will not be affected by the STEREO SEPARATION, BALANCE, or MUTE controls.
AUX A ASSIGN Switches (Aux A Only)
The Aux Return ASSIGN switches (1-2, 3-4, 5-6, 7-8) route the Aux Return to any of the eight Group outputs. They work in the same way as the CHANNEL ASSIGN switches (see page 63). Press these switches if you want to record an effect onto the multitrack. Remember that the STEREO SEPARATION and BALANCE knobs have an effect on the assignment.
GROUP MASTERS Switch (Aux B Only)
Description of Controls The GROUP MASTERS switch routes the Aux Returns signal to the pair of Group FADERS directly below the Aux Return (example: pressing the GROUP MASTERS switch on Aux B of the first Group module would route that signal to Groups 1 and 2.). Remember that the STEREO SEPARATION and BALANCE knobs have an effect on the assignment.

L-R Button

The L-R button routes the Aux Returns signal to the Master L-R FADERS, depending on the settings of the STEREO SEPARATION and BALANCE knobs.

DEFINE

The DEFINE button lets you create Mute Groups. To store a Mute Group, press DEFINE (its LED will flash), press all the MUTE buttons you wish, then press one of the MUTE GROUP buttons (14). The mute status of the entire console is stored.

ALL/ALT

The ALL button selects (mutes) all channels on the console (72 in all) when defining a mute. Unless DEFINE is pressed first, the ALL button does nothing when pressed momentarily. If DEFINE is pressed (its LED flashing), pressing ALL will mute all channels. At this point you can store the current mute status of the console as a Mute Group, or you can unmute particular channels before storing. When the ALL button is held (without DEFINE being pressed), it becomes an ALT button, allowing you to access other features using existing buttons. The following buttons have secondary features which are accessed while holding ALT: Button DISPLAY COPY DEFINE ONLINE UPDATE UNDO OVERLAY ERASE FWD DEC w/o ALT Advance Display Mode Copy Mute Events Define Mute Group Locks sequencer to external sync source Places on-board sequencer in record Deletes the last mute recorded Layers multiple Mute Groups Erases mutes in forward direction Decrements value in display w/ ALT Meter Bridge mode Copy Song Memory Remaining Mute Solo mode Dump System Exclusive Erase Song Software Version Clear All Memory

OVERLAY

The OVERLAY button determines how the MUTE GROUPS buttons (14) will function when recalling Mute Groups. When OVERLAY is turned off, the GROUP MUTES buttons function like radio buttons. Each button by itself toggles its Mute Group on and off. However, while a Mute Group is recalled, pressing any other MUTE GROUPS button will recall that Mute Group and disable the previously selected one. 82 X2 Reference Manual
When OVERLAY is turned on (its LED lit), Mute Groups can be recalled on top of one another instead of canceling each other out. This is handy when you want to independently yet simultaneously control the enabling of multiple groups of channel mutes.
When the Mute Automation is recording Group Mute events, they are treated as single events. instead of many mute events. If OVERLAY was on when you recorded Mute Group events, make sure it is on whenever you are ONLINE (see below).

ONLINE

The term on-line means that the Dynamic Mute Automation system is active and ready to control the X2. The type of reference is determine by the SYNC parameter (see above). Once a Sync Source has been determined and the proper connections have been made, the ONLINE button tells the X2 to synchronize its sequencer with the incoming sync source signal. If this is ADAT sync, the ONLINE buttons LED will flash while waiting for sync reference. When the ADAT is put into play, the sync information arrives at the X2 and the ONLINE button stops flashing and remains lit. Once you are online, the Mute Automation sequencer will play back any stored mute events in the currently selected Song, once valid time code or clock is received.

Mix Output Noise: 24 Tape Inputs assigned to L/R Master Out -74 dBu Signal to Noise: MIC/LINE to L/R Master Out Dynamic Range: MIC/LINE to L/R Master Out Headroom: Internal to Console External above +4 dBu Balanced Outputs Maximum Output Level: Balanced Outputs into 10k ohm Load Balanced Outputs into 600 ohm Load 89 dB 113 dB 24 dB 24 dB +28 dBu +26 dBu
THD + Noise @ 1 kHz (+20 dBu Input - Unity Gain): MIC/LINE to Tape Out <0.005%, 0.003% typical MIC/LINE to L/R Master Out <0.005%, 0.003% typical Tape In to L/R Master Out <0.004%, 0.002% typical Attenuation (1 kHz): CHANNEL fader CHANNEL MUTE AUTOMATION BUSS ASSIGN ISOLATION CROSSTALK >83dB, 88 dB typical >95 dB, 100 dB typical >100 dB, 103 dB typical 70 dB typical
Equivalent Input Noise (22 Hz to 22 kHz): MIC w/ 150 ohm termination -128 dBu Input Levels:
Specifications MIC Nominal Input Level LINE Nominal Input Level TAPE Nominal Input Level Maximum Gain: MIC to L/R Master Out MIC to L/R Group Out MIC to Aux Sends Power Supply: X2 Maximum Power U.L. Rating Input Module (24): Phantom Power Mic/Line Selector Phase () Reverse Mic/Line Gain Channel/Monitor Reverse High-Pass Filter Hi EQ EQ to Monitor Selector Low EQ Hi Mid Gain Hi Mid Frequency Hi Mid Bandwidth (Q) Lo Mid Gain Lo Mid Frequency Lo Mid Bandwidth (Q) Aux Source Selector Group Module (4): Aux Level (A/B) Hi EQ (A/B) Lo EQ (A/B) Stereo Separation (A/B) Balance (A/B) Aux 1-2 Send (A/B) Assign Switches 18 and L/R Mix (A) Group Master Assign (B) Master Module: Dynamic Mute Automation Controls Solo Mute 3-Frequency Oscillator Solo Master Level Aux Masters (8) Aux Masters AFL (8) Aux Masters Mute (8) Studio Level Studio CR/Aux 1-2 Selector Control Room Level 96 -56 dBu to -8 dBu -44 dBu to +4 dBu +4 dBu / -10 dBV Switchable 70 dB 70 dB 68 dB 210 Watts 300 Watts Aux Source Selector Monitor Pan Monitor Peak LED Indicator Monitor Solo Monitor Mute Monitor L/R Assign 45mm Monitor Fader Channel Pan Channel Peak LED Indicator Channel Solo Channel Mute Direct Source Selector Channel L/R Assign Group Assign Selectors (18) Aux 1-2, 3-4, 5-6, 7-8 Aux 1-2 Pan Solo (A/B) Mute (A/B) Group Assign Left Group Assign Right Pre-Fade-Listen Mute 100mm Group Master Faders
CR Source Selectors (L/R, Aux 1-2, Ext. 1, Ext. 2) Phones Level Dim Switch Mono Switch Talkback Mic Mic Level Slate Switch Studio Talkback Switch 100mm L/R Master Faders X2 Reference Manual
Rear Panel: Balanced I/O Mic Inputs Balanced Line Inputs Mono Aux Sends Channel Inserts Mono Tape Outs Balanced Tape Inputs Balanced L/R Outputs L/R Inserts Mono Group Outs Group Out Inserts Balanced Control Room Outputs Balanced Studio Outputs MIDI ADAT Synchronization Interface Input Mono Aux Returns External 2-Track Inputs Front Panel: Headphone Jack Dimensions: X2 Console Power Supply Weight: X2 Console Power Supply Total Shipping Weight: Dimensional Drawings:

9.10 QS6 Service Parts List... 68 9.20 QS7 Service Parts List... 72 9.30 QSR Service Parts List... 76 9.40 QS8 Service Parts List... 79
10.00 Appendix E Dictionary Of Selected Terms...83 11.00 INDEX....85 12.00 Schematics...88

List Of Figures

Figure 1 - QS6 Simplified Block Diagram...2 Figure 2 - QS7/QS8 Simplified Block Diagram...4 Figure 3 - QSR Simplified Block Diagram...6 Figure 4 - Keyboard Velocity Reponse...13 Figure 5 - QS8 Key Construction....15 Figure 6 - Alesis Serial Port Pinout....17 Figure 7 - Examples of Switch Self Test Key Press Order...21 Figure 8 - 48KHz Test.....22 Figure 9 - Keyboard Casetop Removal....23 Figure 10 - S6 Case Screw Locations....24 Figure 11 - QS7QS8 Case Screw Locations...24 Figure 12 - QSR Case Screw Locations...25 Figure 13 - QS6 Key Release Location....26 Figure 14 - Key Release Catch Location...26 Figure 15 - SG ASIC Pinout....28 Figure 16 - FX ASIC Pinout....28 Figure 17 - Keyscan ASIC Pinout...29 Figure 18 - H8 Processor Pinout....29 Figure 19 - FX SRAM Pinout...30 Figure 20 - EPROM Pinout....30 Figure 21- Sound ROM Pinout....30 Figure 22 - GAL Pinout....31 Figure 23 - DAC Pinout....31

List Of Tables

Table 1 - Pin to Pin Connections for 9 Pin PC Serial to QS... 17 Table 2 - Pin to Pin Connections for 25 Pin PC Serial to QS.. 18 Table 3 - Pin to Pin Connections for MAC Serial to QS.. 18 Table 4 - QS6 Main PCB Revision B Changes... 32 Table 5 - QS6 Main PCB Revision C Changes... 33 Table 6 - QS6 Main PCB Revision D Changes... 33 Table 7 - QS6 Main PCB Revision E Changes... 33 Table 8 - QS6 Main PCB Revision F Changes... 34 Table 9 - QS7/8 Main PCB Revision B Changes.. 35 Table 10 - QS7/8 Main PCB Revision C Changes... 36 Table 11 - QS7/8 Main PCB Revision D Changes... 36 Table 12 - QS7/8 Main PCB Revision E Changes... 37 Table 13 - QS7/8 Main PCB Revision F Changes... 37 Table 14 - Schematic Set... 88
1.00 General Descriptions
The QS series of 64 voice, keyboard and rack mount digital synthesizers represent the current state of the art in high end digital synthesizers. It is certainly recommended that technicians be thoroughly familiar with the operation of the units according to the Users Reference Manuals before attempting any repair. As is often the case when machines present the user with so many options, many repairs can be made simply through education in the correct way to use the product. The software histories in Appendix B of this manual may also prove to be an excellent aid in troubleshooting User difficulties. Several of these units utilize the same PCBs. For example, the QS7 and QS8 have identical main PCBs, and all three keyboards (QS6, QS7, and QS8) use the same keypad PCB. However, some PCBs may be different between individual units while performing similar functions. In order to minimize confusion between reference designators for the different unit types, the following conventions will be used throughout this manual: QS6 Reference Designators are BOLD (e.g. R6, C9) QS7 Reference Designators are Italicized (e.g. R6, C9) QS8 Reference Designators are Underlined (e.g. R6, C9) QSR Reference Designators are Plain (e.g. R6, C9) Combinations are allowed (i.e. Italicized and underlined indicate both QS7 and QS8 references) (e.g. R6, C9)

shows that knowing how the hardware is supposed to respond to software changes can greatly simplify the task of hardware troubleshooting. The most important pins are: 16 Bit Data Buss (note that in the QS Series some of the other devices only use 8 bits of the data buss. This may cause some noise in the unused data lines during processor reads making the appear bad due to a floating input. While ignored by the software, it can make troubleshooting a real open in the data buss more difficult. A0-ABit Address Buss (Note that only 20 bits are actually used). RES System RESET line. Asserted only during power up/down. (See Section 2.31A) RD Read Enable HWR Write Enable XTAL, EXTAL Input for system clock crystal. PX.X I/O Ports are configured by the software and allow the software some direct hardware access. In particular are:
TXD1 Transmit Serial Data line to MIDI output circuit (See Section 2.31D). TXD2 Transmit Serial Data line to PC/MAC output circuit (See Section 2.50). RXD1 Receive Serial Data line From MIDI In circuit (See Section 2.31D). RXD2 Receive Serial Data line From PC/MAC input circuit (See Section 2.50). PITCH Pitch Wheel data input (See Section 2.31C). DATA Data Slider data input (See Section 2.31C). MOD Mod Wheel data input (See Section 2.31C). RES CD1 PCMCIA Card #1 Present Switch input (See Section 2.32B). CD2 PCMCIA Card #2 Present Switch input (See Section 2.32B). PC/MAC PC/MAC Serial Port Switch input (See Section 2.50). KEYINT Keyscan ASIC interrupt.input (See Section 2.33). SUS Sustain Pedal Input. SMUTE DAC Output Mute EDIT PCB SWITCH MATRIX (See Section 2.31C).

D0-D16

2.31A RESET
Reset is one of the single most important circuits/signals in the entire unit. Without a correct RST signal during power up and power down, any number of problems can occur. These can range from an occasional failure such as an odd audio blip, to complete, system wide lock ups and data corruption. Therefore any time processor problems are suspected, RST should be the first thing checked. In order to ensure that data will not be corrupted, the reset circuit uses the raw power supply signal to determine the correct time to assert the RST signal (i.e. not until the regulated +5V supply rail contains no ripple). This is done by using a raw supply threshold of approximately 7V. Since the power down sequence of events is generally the reverse of the power up process, only the power up events are described here.

2.53C QSR Variant

Note that the QSR varies slightly in that its PC/MAC switch is a software function rather than a physical switch. Q7 is used here provide the necessary switching action to correctly bias the handshake signal driver U24D. 2.54 H8 UART Clocking There are 2 internal UARTs (Universal Asynchronous Receiver Transmitter) in the H8 (1 for MIDI and 1 for computer serial I/O). It should be noted here that the MIDI UARTs all operate at the same fixed rate so further discussion of UART clocking will be limited here to the UART used for computer serial I/O. In order for serial data to be transmitted and received at the correct speed, the UART must be clocked at the correct speed via the FREQ input (pin 92). In the QS6 it is simply derived from the system clock via U17 and U20A limiting its BAUD rate. In later models however, the BAUD rate is variable to match the speed of the host computer, so a little extra hardware is needed. U26 U27 is used as a software controlled variable frequency divider. Control input to the 74HC161 is provided by the H8 in the form of a count value. The Carry output is used to force the device to load the new count input via U25A U26A. The Carry output is also passed along to a divide by 2 waveshaping flip-flop (U29A U29A) before being sent to the H8 FREQ input. There are also 2 clock sources available (again selectable by the H8 via gate logic comprised of U28 and U25C U28 and U26C). The first is the 20MHz system clock (M2 M2), and the second is a 14MHz clock (M3 M3) intended strictly for this purpose. The ultimate purpose of all of this is to determine how fast the H8s TXD and RXD lines send and receive data.

3.00 Test Procedures

If at all possible, user memory should always be saved (PCMCIA Card or MIDI SYS-EX) prior to service. Its also important to remember that user data itself may be corrupted for a variety of reasons. So if for some reason a unit continues to crash when reloaded, its not unreasonable to expect bad data to be the cause. 3.10 Self Tests The QS Series Software is specifically designed to assist in troubleshooting hardware problems. This assistance comes in the form of a series of self test routines that check various aspects of the hardware. There are two different methods of accessing these routines. One is an automated run through all tests, while the other allows the choice of which individual tests are run. Note that due to the extreme difference in the QSRs front panel, the self tests themselves and the method they are accessed are also different. See Section 3.13 for a thorough discussion of the QSR Self Tests.

3.13 Differences In QSR Self Tests Because it is a rack mount unit and its buttons are different from the keyboard versions, the self test routines for the QSR are slightly different. The manual self test (there is no automated version) is initiated by holding MIDI CH and. Use Cursor or to select the test to run. Pressing STORE initiates the test. Pressing either cursor button exits the test. Note that pressing Cursor and shows the current software version, but only if the unit is in MIX or PROGRAM Play modes (i.e. the unit is not in EDIT or SELF TEST). The tests are: 0. 1. 2. 3. 4. 5. 6. 7. Test EPROM - Same as the keyboard test. Test SRAM - Same as the keyboard test. Test MIDI I/O - Same as the keyboard test. Test PC I/O - Same as the keyboard test. Test F/X DRAM - Same as the keyboard test. Test Sound ROM - Same as the keyboard test. Test Switches - Same as the keyboard test. Test Encoder/LED - Once initiated, front panel LEDs (under the buttons) will cycle according to the direction the data wheel is turned. Press STORE to exit this test. 8. Test Display - This test simply turns on all of the display elements in the LCD. 9. Test Audio - This test simply sends audio through all outputs. This is extremely useful when troubleshooting analog circuit problems.
3.20 Further Testing Naturally it is a good idea to actually play the keyboard. Be sure to check that pitch and velocity scaling sound normal. Its also important to check the Aftertouch to ensure its function. Note that in the QS8 it is important to check the Aftertouch of white and black keys separately as each of these key sets has its own Aftertouch cable. While the self test will pick up most circuit errors, MIDI should still be tested in both send and receive. This can be done 3 ways: Record and playback from a MIDI Sequencer Save and load Sys-ex data from a MIDI Librarian or DataDisk. Use a second keyboard to send trigger notes to the unit under test. Also test that key presses from the unit under test trigger notes on the other keyboard or an extra module. If at all possible, the PC/MAC Serial connector should be tested similarly, as well as all other I/O type circuitry such as 48KHz, PCMCIA, and optical (with the use of an ADAT Multitrack). 3.21 Testing 48KHz Obtain an ADAT-XT or a classic ADAT and a BRC. Connect the sync cable from the ADAT to the BRC. Connect a BNC cable from the BRC's 48K OUT to the QS's 48K IN. Connect a fiber optic cable from the QS's OPTICAL OUT to the ADAT's OPTICAL IN. Finally connect the ADAT's analog outputs 1 and 2 to an amplifier and speakers or headphones as shown in Figure 8. Make sure the BRC syncs to the ADAT. Press the DIG IN and ALL INPUT MONITOR on the ADAT-XT or BRC. Turn on the QS under test's 48K IN ON (under Global button). Change the Pitch control on the ADAT-XT or BRC from 000 to -300. Play the QS and

5.00 Appendix A Pinout Diagrams

5.10 SG ASIC

Figure 15 - SG ASIC Pinout

5.11 FX ASIC

Figure 16 - FX ASIC Pinout

5.12 KEYSCAN ASIC

Figure 17 - Keyscan ASIC Pinout

5.13 MICRO CONTROLLER

Figure 18 - H8 Processor Pinout

5.14 SRAM

Figure 19 - FX SRAM Pinout

5.15 EPROM

Figure 20 - EPROM Pinout

5.16 SOUND ROM

Figure 21- Sound ROM Pinout

5.19 GAL

Figure 22 - GAL Pinout

5.20 DAC

Figure 23 - DAC Pinout
6.00 Appendix A Updates And Corrections
6.10 QS6 The QS6 has undergone numerous changes in order to improve its performance. Each new revision incorporates all hardware modifications necessary from previous versions. The fact that this unit has been around for a while has also allowed for the creation of more extensive documentation than is available for more recent units. This comes in the form of precise engineering notes of all main P.C. Board changes. Any major circuit changes are treated separately following the PCBs Revision Change Table. All other changes are layout only and do not affect the electrical operation of the PCB. The reasons for these minor changes range from improved R.F.I. characteristics to simplified assembly.

6.11 QS6 Main Revision B

Table 4 - QS6 Main PCB Revision B Changes PART NUMBER: 9-40-1241 CHANGES FROM REV:

TO REV: 4/15/96

CHANGE: Change all text from Rev A to B Reroute 3.072Mhz signal Add GND bar along back panel Put GND vias under DACs Update power diode part Remove redundant REV.A labels Move A.T. BLACK silk screen away from edge Bump up trace below PCMCIA Move 88 UPPER and 76 UPPER silk screen away from edge Move D10 and D11 silk screen away from edge <45 degree angle between J7 and C38 No solder paste for Heat Sink (Use V6 for CAM toppaste)*** Teardrop J21 traces Adjust C53 Use C4 fiducials Adjust C46 Add thermals to Heat Sink Clean up logic Add 470 in series for 3.072Mhz and 12.288Mhz Plate mounting holes, and completely connect to GND plane Move 20Mhz crystal closer to uP Reroute VCO asic area Move 0.1uF caps closer to power on FX and SG asics Use 96 mil drill bit instead of 100mil

6.12 QS6 Main Revision C

6.22 QS7/8 Main Revision C
Table 10 - QS7/8 Main PCB Revision C Changes PART NUMBER: 9-40-1241 QS7/QS8 MAIN CHANGES FROM REV: B TO REV: C DATE: 5-7-96 CHANGE: Change all text from Rev B to C Move R88, R92, & C88 farther above central mounting hole Tie both A.T. lines together before the CD4052 (U24) Increase inner diameter of mounting holes to 160mil Connect MIDI OUT/THRU barrels to chassis GND Reroute \RD \WR \AS away from back panel jacks Shrink inner diameter of PCMCIA mounting holes to 120mil Change R2 & R3 to 120 Connect MIDI IN barrel to chassis GND thru a 0.1uF cap Connect LPF caps (C28, C31, C35, C36) in the MAIN/AUX OUT to chassis GND Drop C74 and R75 (redundant to C70 and R73) Edit text for first 4 ROMs by adding "A" to end of part number Suppress U6 paste by renaming it V6 and suppressing in CAM Add hole in bottom right corner to accommodate screw for mounting keyboard Short thru R49 and U25D (connect input to GND) to EXT_IN
6.23 QS7/8 Main Revision D
Table 11 - QS7/8 Main PCB Revision D Changes PART NUMBER: 9-40-1241 CHANGES FROM REV: C TO REV: D DATE: 6-13-96 CHANGE: Change all text from Rev C to D Add 2200uF cap in parallel with C8 Change R37 into 1.2K 1206 5% Separate Aftertouch lines into U24 Pin 4 & 5 Change R25, R24, R28, R27, R6, R7, R9, R10 into 15K "U-connect" all tight pitch pads on uP and DACs Lower R64 silk screen Use New & Improved Fiducials Connect all mounting holes to GND (on the Fly command)
6.24 QS7/8 Main Revision E
Table 12 - QS7/8 Main PCB Revision E Changes PART NUMBER: 9-40-1241 CHANGES FROM REV: D TO REV: E DATE: 7-1-96 CHANGE: Change all text from Rev D to E Change R25, R24, R28, R27, R6, R7, R9, R10 into 12K Reroute and GND isolate MIDI IN connects Add assy file
6.25 QS7/8 Main Revision F
Table 13 - QS7/8 Main PCB Revision F Changes PART NUMBER: 9-40-1241 CHANGES FROM REV: E TO REV: F DATE: 7-22-96 Borders added to PCB at production's request. Now, many back panel parts become waveable. Because of new waving technology, the audio jacks can be waved without harm or corrosion. Rev.E and Rev.F are electrically the same. CHANGE: Change all text from Rev E to F Move via from beneath the BNC jack Straighten trace into headphone jack Straighten trace above M3 Remove SMK from heatsink Lower MIDI THRU text Add.4" border with breakaway tabs on jack side of PCB Add.15" border with breakaway tabs on keyboard side of PCB Add fiducials on breakaway borders Shrink optojack mounting holes to original size Move the extra hole center to the same level as the bottom right mounting hole
6.25 Changes To QS7/QS8 VCO Circuit (All Main PCB Revisions) It was found that the Digital VCO could lock up if a slight negative voltage was present on the +5V line prior to power up. While this sounds unusual, it happens! Unfortunately, it wasnt our first guess. Originally it was thought that reducing the amount of negative voltage at the control voltage input was enough. This was done by soldering a 120K bleeder resistor in parallel with C43. While this seemed to be the fix for a while, it ultimately failed to fix all keyboards, and a further investigation was conducted. All units exhibiting this fault should be checked that they not only have the smaller supply capacitor, but this resistor has not been installed previously. If it found, it should be removed. The drain on the +5V rail is sufficient to lower the charge across raw supply filter capacitor very rapidly, but the -5V rail powers very few components, and consequently, the its raw supply filter capacitor holds a significant charge. Once the +5V supply is fully discharged the conditions are perfect for the negative rail to leak to the positive rail via all of the devices common to both rails. Eventually this charge will leak to ground too, and if power is cycled quickly it can be significant enough to stop the VCO. The solution is to reduce the size of the negative raw supply filter capacitor from 2200F to 1000F, hence reducing the amount of charge it can retain on power down. 6.30 QSR There are currently no changes this product.

Func Page Pot 0 3

-99 --99 --99 -0 -0 -0 Offset 55

Limit 100 100

bits 7 7
36:3 36:6-36:4 37:5-36:7 38:4-37:6 38:6-38:5 39:5-38:7 40:5-39:6 41:5-40:6 42:0-41:6 42:7-42:1 43:6-43:0 44:0-43:7 44:7-44:1 45:7-45:0 46:7-46:0 47:2-47:0 48:1-47:3 49:0-48:2 49:2-49:1 50:1-49:3 51:1-50:2 52:1-51:2 53:0-52:2 53:7-53:1 54:6-54:0 55:5-54:7 56:4-55:6 57:3-56:5 57:5-57:4 57:6 57:7 58:6-58:0 59:6-58:7 60:5-59:7 61:4-60:6 62:3-61:5 63:2-62:4 64:1-63:3 65:0-64:2 65:2-65:1 65:3 65:4 66:3-65:5 67:3-66:4 68:2-67:4 69:1-68:3 70:0-69:2 70:7-70:1 bit address 71:6-71:0 72:5-71:7 72:7-72:6 73:0 73:1 74:0-73:2 74:5-74:1 75:4-74:6 76:3-75:5 77:2-76:4 11/19/06
112. 113. 114. 115. 116. 117. 118. 119. 120. 121.
Sound tracking point 3 Sound tracking point 4 Sound tracking point 5 Sound tracking point 6 Sound tracking point 7 Sound tracking point 8 Sound tracking point 9 Sound tracking point 10 Sound enable Drum number

3 (cannot edit)

78:1-77:3 79:0-78:2 79:7-79:1 80:6-80:0 81:5-80:7 82:4-81:6 83:3-82:5 84:2-83:4 84:3 84:7-84:4
Drum Sound: # 0. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18-33. 34-49. 50-65. 66-81. 82-97. 98-113. 114-129. 130-145. 146-161. 162. 163. 164. 165. Parameter name Func Keyboard / drum mode (=1) 9 Spare Drum 1 sample group 0 Drum 1 sample number 0 Drum 1 volume 1 Drum 1 pan 1 Drum 1 output 1 Drum 1 effect level 2 Drum 1 effect bus 2 Drum 1 pitch 3 Drum 1 pitch velocity mod 3 Drum 1 filter velocity mod 4 Drum 1 velocity curve 5 Drum 1 note number 6 Drum 1 amp envelope decay 8 Drum 1 mute group 8 Drum 1 note range 6 Drum 1 spare Drum 2 parameters Drum 3 parameters Drum 4 parameters Drum 5 parameters Drum 6 parameters Drum 7 parameters Drum 8 parameters Drum 9 parameters Drum 10 parameters Sound enable 9 Spare Drum number 0-6,8 Spare Page Offset 0 -(see above) (see above) (see above) (see above) (see above) (see above) (see above) (see above) (see above) Pot 0 Limit bits bit address 0:0 0:7-0:1 1:3-1:0 2:2-1:4 2:7-2:3 3:2-3:0 3:4-3:3 4:2-3:5 4:4-4:3 5:3-4:5 5:6-5:4 6:0-5:7 6:4-6:1 7:3-6:5 8:2-7:4 8:4-8:3 8:6-8:5 8:7 16:7-9:0 24:7-17:0 32:7-25:0 40:7-33:0 48:7-41:0 56:7-49:0 64:7-57:0 72:7-65:0 80:7-73:0 81:0 81:7-81:1 82:3-82:0 84:7-82:4
EFFECT DATA FORMAT Effects contain 64 bytes of packed parameter data. The first 11 bytes are common parameters for all three configurations. The first 10 exist for compatibility with older software, and are always sent as zeroes. The bit addresses shown are from most significant bit to least significant bit for each parameter, with the byte number first, followed by a colon (:), followed by the bit number. Each parameter should never exceed the limit shown in the table. For bipolar parameters, the limits shown are offset binary, since this is the format that the parameters are stored in. To view them as two's complement numbers, add the value shown in the Offset column. For direct parameter editing (sysex command 10H), the function, page, send, and data pot numbers are shown. The Mode should be set to 3 (=Effects), and the Channel parameter is not used. The Send parameter is not used where the Send parameter is shown as "x" below. Signed parameters should be sent in 2's complement format.

9.00 Appendix D Service Parts Lists
9.10 QS6 Service Parts List
Grp ASY ASY ASY ASY ASY CAB AlPartNo 9-79-0090 9-79-0091 9-79-0092 9-96-1220 9-96-1221 4-18-0514 Description Qnty ASSY PCB EDIT/SELECT KEYPAD SASSY PCB SLIDER SASSY PCB MAIN SASSY WHEEL PITCH S6 (TOPFLY VERSION) 1 ASSY WHEEL MODULATION S6 (TOPFLY VERSION) 1 CABLE 16-PIN DIL 250MM RIBBON (MICRO to MICRO 1 AMP CONN) CABLE 16-PIN DIL 350MM RIBBON (MICRO to MICRO 1 AMP CONN) CABLE 6-PIN SIL 250MM SHIELDED PAIRS SCABLE DIL 20-PIN 350MM RIBBON 1 CABLE 14-PIN 250MM DIL RIBBON 1 CABLE AFTERTOUCH Q7/QCABLE 5-PIN SIL (STAKED) 50MM 1 CABLE 6-PIN 2MM CTR (80mmX3; 160mmX3) 1 CAP 10uF ELEC 16V 8 CAP 2200uF ELEC 16V 12x24mm 3 CAP 4.7uF ELEC 50V 20% 05xCON 8-PIN DIN SERIAL (CIRCULAR-MINI) 1 S6/Q7/Q8/QSR CON 68-PIN MEM CARD 1 DIODE POWER 1NDIODE ZENER 1N5231B 1 HEADER 14-PIN 0.1 DIL 1 HEADER 20-PIN DIL 0.1 XR/CL 1 HEADER 20-PIN DIL 0.1 XR/CL 1 HEADER 16-PIN DIL "MICROMATCH" (AMP 1-215079-6) 2 HEADER 4-PIN SIL O.HEADER 6-PIN SIL 2MM CTR (SHROUDED) 1 HEADER 6-PIN SIL 2MM CTR 90 deg. 1 HEADER 6-PIN SIL 2MM CTR 90 deg. 2 SCREW 6-32 x 1/4 PPZ 3 SCREW 6-32 x 1/4 PPZ 4 SCREW 6-32 x 5/16 PPB 20 SCREW M3 x 8mm PPZ 8 SCREW M4 x 10mm PPB "BT" TAPTITE 2 SCREW 6-32 x 5/16 PPB W/LOCTITE 3 NUT KEP 6-FASTENER SNAP RIVET 4 REG 7805 +5V TO220 NATIONA 1 REG 7905 -5V TO220 NATIONA 1 IC 6N138 OPTO ISO HEWLETT 1 ASIC KEY-SCAN 68-PIN PLCC 1 Description Qnty PCB Ref.Designator Comments

TOP ASSY

CAB 4-18-0616 CAB CAB CAB CAB CAB CAB CAP CAP CAP CON CON DIO DIO HDR HDR HDR HDR HDR HDR HDR HDR HDW HDW HDW HDW HDW HDW HDW HDW IC IC IC IC Grp 4-18-0650 4-18-1020 4-18-1514 4-19-0002 4-19-1401 4-19-1402 1-08-0101 1-08-2200 1-11-0407 4-10-0009 7-10-0026 2-01-5400 2-02-5231 4-14-0014 4-14-0020 4-14-0020 4-14-2116 4-15-0004 4-15-1006 4-15-2106 4-15-2106 5-00-0016 5-00-0016 5-00-0023 5-00-1011 5-00-1020 5-00-1632 5-02-6320 5-04-1007 2-11-7805 2-11-7905 2-24-0138 2-27-0021 AlPartNo
MAIN MAIN Main MAIN MAIN Main Main MAIN EDIT/SEL MAIN MAIN MAIN MAIN SLIDER Main

PITCH WHEEL MOD WHEEL U9

PITCH WHEEL

LCD PITCH WHEEL MOD WHEEL
LCD TOP ASSY LCD SLIDER PITCH WHEEL MOD WHEEL

Ref.Designator

Comments
REP REP REP REP REP RES RES RUB RUB SMC SMC SMC SMC SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMM SMM SMM SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR Grp SMR SMR SMR SMR
8-20-0092 8-20-0093 8-20-0094 8-20-0095 8-20-0096 0-00-0102 0-09-1038 9-23-1028 9-23-1031 1-55-0022 1-55-0220 1-56-0562 1-57-0104 2-27-0038 2-32-0009 2-33-0005 2-64-1138 2-64-7405 2-64-7414 2-64-7474 2-65-0390 2-66-5160 2-67-6228 2-71-0082 2-71-5532 2-72-0339 2-75-4319 2-77-0011 2-77-0012 2-77-0013 2-77-0014 2-50-4148 2-51-4401 2-51-4403 0-15-0202 0-15-0221 0-15-0362 0-15-1101 0-15-1102 0-15-1103 0-15-1105 0-15-1123 0-15-1153 0-15-1203 AlPartNo 0-15-1332 0-15-1470 0-15-1471 0-15-1472
KEY WEIGHTED B WHITE S6/S9 KEY WEIGHTED F WHITE S6/S9 KEY WEIGHTED BLACK S6/S9 KEY WEIGHTED E HIGH END WHITE S6/S9 KEY WEIGHTED G WHITE S6/S9 RES 1K OHM 1/8W 5% RES SLIDER 10KB 45mm MONO KEYPAD EDIT S6 KEYPAD RUBBER SELECT (W/ S6 SILKSCREEN) CAP 22PF XQSR 0805 CAP 220PF NPO 0805 CAP 5600PF XQSR 0805 CAP 0.1uF Z5U 0805 ASIC SOUND-GEN 84-PIN PLCC (REV.B) S8/S9/QSR IC MPU HITACHI H8/510 SMT GAL GAL16V8 20-PIN SMT IC 74AC138 DEMUX/DEC SMD IC 74HCU04 HEX INVERTER SM IC 74HC14 HEX INVERTER IC 74HC74 DUAL D FF SMD IC 74HC390 DIVIDE BY 100 CTR 16-SOP IC HM514260AJ-7 DRAM SMD IC HM628128LFP-8 SRAM SMD IC TL082 DUAL OPAMP SMD IC NE5532 DUAL OPAMP SMD IC LM339 ANALOG COMP SMD IC AK4318A DUAL 18-BIT DAC IC MASK ROM S6-1 IC MASK ROM S6-2 IC MASK ROM S6-3 IC MASK ROM S6-4 DIODE SIGNAL LS4148 SMD TRANS 2N4401 NPN SMD TRANS 2N4403 PNP SMD RES 2K OHM 1/10W 5% 0805 RES 220 OHM 1/10W 5% 0805 RES 3.6K OHM 1/10W 5% 0805 RES 100 OHM 1/10W 5% 0805 RES 1K OHM 1/10W 5% 0805 RES 10K OHM 1/10W 5% 0805 RES 1M OHM 1/10W 5% 0805 RES 12K OHM 1/10W 5% 0805 RES 15K OHM 1/10W 5% 0805 RES 20K OHM 1/10W 5% 0805 Description RES 3.3K OHM 1/10W 5% 0805 RES 47 OHM 1/10W 5% 0805 RES 470 OHM 1/10W 5% 0805 RES 4.7K OHM 1/10W 5% 0805

Qnty 4 16

Main Slider

Jump Resistor

Main MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN Main MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN Main MAIN MAIN MAIN MAIN Main MAIN MAIN MAIN MAIN MAIN MAIN MAIN PCB Main MAIN MAIN MAIN
C42,46,56,57 C11,12,14,19 C5,6 C1,2,4,7,8,10,13,16-18,20,22,23,28,31-34,37-41,43-45,47,50-55,5862 U8 U16 U12 U1 U18 U7 U20 U17 U14 U15 U6 U5 U2 U3 U24 U23 U22 U21 D3-5,7-15 Q1,4-8 Q2,3 R9-10,50,52,67. R1-3 R28 R70 R4,5,14,16,18,20,31,39,44,48,51,68,71, R21,32,42,43,49,63,66,74-79,15,45 R27,41,6. R33,34,38,47 R35-37,46 R7,8,65 Ref.Designator R25,26,30 R12,13 R6,22,24,29 R11,17,19,23,40,53-62,64

1 Qnty 4 1

MAIN P/S MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN
(2) WHEEL BRACKET, (1) WHEEL BEZEL (3) EMI FILTER (U6)
BUNDLES ALL SIX WIRES FOR PITCH & MOD WHEELS U6 U4 U7 U32 U10 U18 J12-J14 J3, J5, J8-9, J15-16, J18 J1

MAIN MAIN MAIN MAIN P/S

EMI FILTER M2 M1 M3 B1 BETWEEN XFMR AND BOTTOM PNL. EMI FILTER
(J1, J3, J5, J8-9, J15-16, J18) PITCH WHEEL MOD WHEEL
MAIN PCB Ref.Designator Comment
PLS PLS PLS PLS PLS PLS PLS POT POT POT REP REP REP REP REP REP REP REP REP REP RES RES RUB RUB SMC SMC SMC SMC SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI Grp SMI SMI SMI SMI
9-15-1152 9-15-1152 9-15-1154 9-15-1155 9-15-1157 9-15-1179 9-15-1227 0-09-1034 0-09-1106 0-09-1124 8-20-0087 8-20-0088 8-20-0089 8-20-0090 8-20-0091 8-20-0092 8-20-0093 8-20-0094 8-20-0095 8-20-0096 0-00-0000 0-09-1038 9-23-1028 9-23-1031 1-50-0104 1-50-0220 1-50-0221 1-50-0562 2-27-0038 2-32-0009 2-33-0005 2-64-0161 2-64-1000 2-64-1138 2-64-7402 2-64-7405 2-64-7414 2-64-7474 2-66-5160 2-67-6228 2-71-0084 2-71-5532 2-72-0339 2-73-4052 AlPartNo 2-76-4319 2-77-0044 2-77-0045 2-77-0046
WHEEL PITCH & MOD S6 WHEEL PITCH & MOD S6 BRACKET RETAINER LCD S6 PANEL LEFT S6 PANEL RIGHT S6 CAP FADER BLACK (NO STRIPE) BEZEL LCD Q7/Q8 POT 1KA STEREO SLIDE 45mm POT 10KB SINGLE CONTROL EYELT 18mm-SHFT POT 10KB DUAL CONTROL EYELET KEY WEIGHTED C LOW END WHITE S6/S9 KEY WEIGHTED B WHITE S6/S9 KEY WEIGHTED D WHITE S6/S9 KEY WEIGHTED A WHITE S6/S9 KEY WEIGHTED G WHITE S6/S9 KEY WEIGHTED B WHITE S6/S9 KEY WEIGHTED F WHITE S6/S9 KEY WEIGHTED BLACK S6/S9 KEY WEIGHTED E HIGH END WHITE S6/S9 KEY WEIGHTED G WHITE S6/S9 RES 0 OHM 1/8W 5% RES SLIDER 10KB 45mm MONO KEYPAD EDIT S6 KEYPAD RUBBER SELECT (W/ S6 SILKSCREEN) CAP 0.1uF NPO 1206 CAP 22PF NPO 1206 CAP 220PF NPO 1206 CAP 5600PF NPO 1206 ASIC SOUND-GEN 84-PIN PLCC (REV.B) S8/S9/QSR IC MPU HITACHI H8/510 SMT GAL GAL16V8 20-PIN SMT IC 74HC161 SYNC 4-BIT COUNTER IC 74AC00 QUAD 2-IN NAND SMD IC 74AC138 DEMUX/DEC SMD IC 74HC02 QUAD 2-IN NOR IC 74HCU04 HEX INVERTER SM IC 74HC14 HEX INVERTER IC 74HC74 DUAL D FF SMD IC HM514260AJ-7 DRAM SMD IC HM628128LFP-8 SRAM SMD IC TL084 QUAD OPAMP SMD IC NE5532 DUAL OPAMP SMD IC LM339 ANALOG COMP SMD IC CD4052 ANALOG MUX SMD Description IC AKM4319 DAC IC MASK ROM 1 Q7/Q8 IC MASK ROM 2 Q7/Q8 IC MASK ROM 3 Q7/Q8

Qnty 1 1

PITCH WHEEL MOD WHEEL
SLIDER PITCH WHEEL MOD WHEEL

SLIDER SLIDER

MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN PCB MAIN MAIN MAIN MAIN

C4, C6-7, C9, C11, C16, C20, C24-27, C34, C39-42, C44-48, C51-63, C67-70, C73-94 C49-50, C64, C66, C71-72 C1, C5, C10, C12, C19, C21, C30, C33 C28, C31, C35-36 U16 U21 U13 U26 U12 U14 U28 U25 U9 U29 U8 U15 U3 U2 U31 U24 Ref.Designator U1, U5 U17 U19 U20
SMI SMI SMI SMI SMI SMM SMM SMM SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR SMR SOC SWT SWT
2-77-0047 2-77-0048 2-77-0049 2-77-0050 2-77-0051 2-50-4148 2-51-4401 2-51-4403 0-10-0101 0-10-0102 0-10-0103 0-10-0105 0-10-0121 0-10-0122 0-10-0123 0-10-0150 0-10-0153 0-10-0202 0-10-0203 0-10-0221 0-10-0332 0-10-0362 0-10-0471 0-10-0472 0-10-0821 4-06-0040 6-01-0002 6-03-0001
IC MASK ROM 4 Q7/Q8 IC MASK ROM 5 Q7/Q8 IC MASK ROM 6 Q7/Q8 IC MASK ROM 7 Q7/Q8 IC MASK ROM 8 Q7/Q8 DIODE SIGNAL LS4148 SMD TRANS 2N4401 NPN SMD TRANS 2N4403 PNP SMD RES 100 OHM 1/8W 5% 1206 RES 1K OHM 1/8W 5% 1206 RES 10K OHM 1/8W 5% 1206 RES 1M OHM 1/8W 5% 1206 RES 120 OHM 1/8W 5% 1206 RES 1.2K OHM 1/8W 5% 1206 RES 12K OHM 1/8W 5% 1206 RES 15 OHM 1/8W 5% 1206 RES 15K OHM 1/8W 5% 1206 RES 2K OHM 1/8W 5% 1206 RES 20K OHM 1/8W 5% 1206 RES 220 OHM 1/8W 5% 1206 RES 3.3K OHM 1/8W 5% 1206 RES 3.6K OHM 1/8W 5% 1206 RES 470 OHM 1/8W 5% 1206 RES 4.7K OHM 1/8W 5% 1206 RES 820 OHM 1/8W 5% 1206 SOCKET 40-PIN DIP 0.6 SWITCH SLIDE DPDT SWITCH DPST POWER 10A MARQ
MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN
U22 U23 U27 U30 U33 D3, D6-8, D10-17 Q3-6 Q1-2 R74 R13-14, R17-18, R29-32, R59, R61, R68, R70, R76-79, R8384, R88, R90-91 R15-16, R20, R34, R40, R46, R62-67, R92 R39, R57, R72, R94 R2-3 R37 R6-7, R9-10, R24-25, R27-28 R58 R5, R8, R11-12, R21-23, R26 R19, R36, R93, R95 R33, R96-97 R35, R42-45, R47 R1, R4, R81-82, R86 R87 R41, R80, R85, R100, R103 - R104 R38, R50-56, R60, R69, R71, R73, R75, R89, R98-99, R101102 R48 (U18) SW1
9.30 QSR Service Parts List
Grp ASY ASY ASY ASY ASY CAB CAB CAB CAP CAP CON CON CON CON DIO DIO HDR HDR HDR HDW HDW HDW HDW HDW HDW IC IC IC IC IC AlPartNo 9-79-1287 9-79-1289 9-79-1304 9-96-1247 9-96-1284 4-19-1331 4-70-0003 4-70-0004 1-08-0101 1-08-2200 4-04-0003 4-10-0009 4-11-0003 7-10-0041 2-01-5400 2-02-5231 4-14-0016 4-15-1008 4-15-1008 5-00-0016 5-00-0016 5-00-0020 5-00-1005 5-02-0009 5-02-6320 2-11-7805 2-11-7905 2-24-0138 2-27-0022 2-31-0074 Description ASSY PCB LCD QSR ASSY PCB MAIN QSR ASSY PCB FRONT-PANEL QSR ASIC PCVCO CD (TESTED) ASSY PANEL FRONT QSR CABLE SIL 8-PIN 225MM 2MM F-F (REV B) CABLE RIBBON DIL 16-PIN 68mm F-M QSR CABLE RIBBON DIL 16-PIN 280mm F-M QSR CAP 10uF ELEC 16V CAP 2200uF ELEC 16V 12x24mm CON BNC (WAKA) CON 8-PIN DIN SERIAL (CIRCULAR-MINI) S6/Q7/Q8/QSR CON DIG OPTICAL TRANSMITTER CON 136-PIN STACKED ROM CARD PCMCIA DIODE POWER 1N5400 DIODE ZENER 1N5231B HEADER DIL 16-PIN 0.1 MALE HEADER 8-PIN SIL 2MM CTR (SHROUDED) HEADER 8-PIN SIL 2MM CTR (SHROUDED) SCREW 6-32 x 1/4 PPZ SCREW 6-32 x 1/4 PPZ SCREW M3 x 7mm PPZ SCREW 3 x 6MM KEYPAD HEATSINK M3x20 D4 NUT KEP 6-32 REG 7805 +5V TO220 NATIONA REG 7905 -5V TO220 NATIONA IC 6N138 OPTO ISO HEWLETT ASIC DSP1 DIG-FX 84-PIN IC SOFTWARE EPROM QSR (v1.0) Qnty PCB LCD MAIN F/P MAIN Ref.Designator Comment

9.40 QS8 Service Parts List
Grp ASY ASY ASY ASY ASY ASY ASY ASY CAB CAB CAB CAB CAB CAB CAB CAB CAB CAB CAP CAP CON CON CON CON DIO DIO HDR HDR HDR HDR HDR HDR HDR HDR HDR HDW HDW HDW HDW HDW HDW HDW Grp HDW AlPartNo 9-79-0090-D 9-79-0190 9-79-1163-D 9-79-1247-D 9-96-1190 9-96-1220-D 9-96-1221-D 9-96-1247 4-18-0650 4-18-1020 4-18-1421 4-18-1514 4-19-0002 4-19-1400 4-19-1608 4-19-1609 4-19-2000 4-19-2001 1-08-0101 1-08-2200 4-04-0003 4-10-0009 4-11-0003 7-10-0041 2-01-4003 2-02-5231 4-14-0008 4-14-0014 4-14-0020 4-14-0020 4-15-0004 4-15-1006 4-15-1006 4-15-1206 4-15-2106 5-00-0003 5-00-0016 5-00-0016 5-00-0030 5-00-0100 5-00-0512 5-02-6320 AlPartNo 5-02-6320 Description Qnty ASSY PCB EDIT/SELECT KEYPAD QASSY PCB MAIN QASSY PCB SLIDER QASSY PCB TRANSFORMER QASSY FILTER EMI MB,A1,BR,S9,QASSY BRACKET (PITCH WHEEL) QASSY BRACKET (MOD WHEEL) QASIC PCVCO CD (TESTED) 1 CABLE 6-PIN SIL 250MM SHIELDED PAIRS SCABLE DIL 20-PIN 350MM RIBBON 1 CABLE DIL 20-PIN 550mm RIBBON M-F REV 0.1 SPC 2 CABLE 14-PIN 250MM DIL RIBBON 1 CABLE AFTERTOUCH Q7/QCABLE 6-PIN 100mmLG. 2mm SPC F-F 1 WIRE 1 TERM TO TINNED (BLUE) 1 WIRE 1 TERM TO TINNED (BROWN) 1 CABLE SLIDER-TO-POT Q7/QCABLE SLIDER-TO-MAIN Q7/QCAP 10uF ELEC 16V 14 CAP 2200uF ELEC 16V 12x24mm 3 CON BNC (WAKA) CON 8-PIN DIN SERIAL (CIRCULAR-MINI) S6/Q7/Q8/QSR CON DIG OPTICAL TRANSMITTER 1 CON 136-PIN STACKED ROM CARD PCMCIA 1 DIODE POWER 1NDIODE ZENER 1N5231B 1 HEADER 8-PIN DIL XR/QS 1 HEADER 14-PIN 0.1 DIL 1 HEADER 20-PIN DIL 0.1 XR/CL 3 HEADER 20-PIN DIL 0.1 XR/CL 1 HEADER 4-PIN SIL O.HEADER 6-PIN SIL 2MM CTR (SHROUDED) 2 HEADER 6-PIN SIL 2MM CTR (SHROUDED) 1 HEADER 6-PIN SIL 0.2" SPC 1 HEADER 6-PIN SIL 2MM CTR 90 deg. 2 SCREW 6-32 x 1/4 PPB 11 SCREW 6-32 x 1/4 PPZ 1 SCREW 6-32 x 1/4 PPZ 39 SCREW 6-32 x 3/8 PPB 1WAY SCREW 6-20 x 1/2 PPB TYPE-A SELF-TAPPING SCREW M5 x 12mm PPB NUT KEP 6-32 Description NUT KEP 6-1 Qnty 3 PCB KEYPAD MAIN SLIDER XFMR Ref.Designator PCB Comment
MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN EDIT/SEL MAIN MAIN P/S P/S SLIDER MAIN
U11 J2 TO (SLIDER) TO J4 (MAIN) J17 (MAIN) TO KEYPAD PCB KEYS (HIGH) TO J26 ON MAIN, KEYS (LOW) TO J24 ON MAIN J21 ON MAIN TO LCD MODULE FATAR A/T CABLE TO J6(WHITE) J7(BLACK) ON MAIN XFMR TO MAIN EMI FILTER EMI FILTER SLIDER PCB TO POTS (J2) C2-3, C13-14, C17-18, C22-23, C29, C32, C37-38, C43, C65 C8, C15, C96 J11 J19 J10 J22 D1-2, D4-5 D9 J20 J21 J17, J24, J26 FOR KEYPAD PCB J6-7 J2, J4

MAIN PCB

J1 (POT), J3 (VOL) (5) REAR PANEL, (6) SIDE BRACKETS (U6) (4) MAIN PCB, (4) XFMR PCB, (12) KEYPAD, (6) SIDE BRACKETS, (4) WHEEL ASSY, (6) SLIDER PCB, (3) LCD (3) EMI FILTER & GND (6)LEFT WOODEN SIDES, (6) RIGHT WOODEN SIDES (11) MOUNTS FATAR KEYBOARD (U6) Ref.Designator (3) EMI FILTER & GND

HDW HDW HDW HDW HDW IC IC IC IC IC IC JAC JAC JAC LCD LIT LIT LIT LIT ME ME ME ME ME ME MIS MIS MIS MTL MTL MTL MTL MTL MTL MTL MTL MTL MTL MTL MTL MTL MTL MTL MTL OEM OEM Grp OEM PLS PLS
5-04-1007 5-05-1001 5-10-1004 9-04-0004 9-04-0005 2-11-7805 2-11-7905 2-24-0138 2-27-0021 2-27-0022 2-31-0071 4-00-0001 4-02-0001 4-03-0001 9-44-1602 7-51-1198 7-52-0009 7-52-0010 7-52-0011 4-09-0006 7-01-0005 7-01-0020 7-01-0021 7-05-0003 7-40-2700 7-07-0017 7-07-0027 7-13-0084 9-03-1126 9-03-1127 9-03-1132 9-03-1220 9-03-1221 9-03-1222 9-03-1223 9-03-1224 9-03-1225 9-03-1226 9-03-1227 9-03-1228 9-03-1229 9-06-0008 9-96-1281 9-96-1282 7-10-0021 7-10-0037 AlPartNo 7-10-0137 7-81-0069 9-10-0015
FASTENER SNAP RIVET CLIP FUSE TIE WRAP 4in LOCKING WHITE PANEL WOODEN LEFT-SIDE COVER Q8 PANEL WOODEN RIGHT-SIDE COVER Q8 REG 7805 +5V TO220 NATIONA REG 7905 -5V TO220 NATIONA IC 6N138 OPTO ISO HEWLETT ASIC KEY-SCAN 68-PIN PLCC ASIC DSP1 DIG-FX 84-PIN IC SOFTWARE EPROM (v1.02) Q8 JACK 5-PIN DIN (MIDI) JACK 1/4 MONO CLIFF JACK 1/4 STEREO DISP LCD MODULE GRN STN GLASS S6 MANUAL REFERENCE Q7/Q8 CHART QUICK SET-UP Q7/Q8 CHART PROGRAM Q7/Q8 CHART MIX Q7/Q8 FILTER EMI-DELTA CRYSTAL 20 mHz KDS CRYSTAL 7.056 MHZ CRYSTAL 14.7456 MHZ BATTERY 3V LITHIUM PANASONIC TRANSFORMER 115/230V 18VAC 15W S5 INSULATOR SHEET Q7/Q8 SPACER FELT Q8 ADHESIVE DIE-CUT (LCD/SIDES) S6 BRACKET PITCH S6 BRACKET MODULATION WHEEL S6 HEATSINK CD/S4/S6/S8/Q2/Q7/Q8/QR PANEL BOTTOM Q8 (W/OUT SLKSCRN) PANEL TOP Q8 (W/OUT SLKSCRN) BRACKET WHEEL 1 Q8 BRACKET WHEEL 2 Q8 BRACKET SLIDER 1 Q8 BRACKET SLIDER 2 Q8 BRACKET SIDE-PANEL LEFT Q8 BRACKET SIDE-PANEL RIGHT Q8 BRACKET LCD-RETAINING Q8 BRACKET KEYPAD RETAINER (18ga.-JET COAT) Q8 SPRING TORSION PITCH S6 ASSY PANEL TOP Q8 (W/SLKSCRN) ASSY PANEL BOTTOM Q8 (W/SLKSCRN) PEDAL SUSTAIN S5 (W/BOX) KEYBOARD 88-KEY TP-20 WEIGHTED FATAR Description GUIDE CARD PCMCIA Q7/Q8/QSR FOAM BOTTOM LEFT Q8 BEZEL SLIDER Q7

Qnty 1

(FOR RUBBER FEET) P/S BUNDLES ALL SIX WIRES FOR PITCH & MOD WHEELS
MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN MAIN
U6 U4 U7 U32 U10 U18 J12-J14 J3, J5, J8-9, J15-16, J18 J1
EMI FILTER M2 M1 M3 B1 BETWEEN XFMR AND BOTTOM PNL. (11) BOTTOM OF KEYS (16mm x 20mm x 7mm)

PCB MAIN

PLS PLS PLS PLS PLS PLS POT POT POT REP REP REP REP REP REP REP REP REP REP RES RES RUB RUB RUB SMC SMC SMC SMC SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI SMI Grp SMI SMI SMI SMI SMI
9-15-0076 9-15-1151 9-15-1152 9-15-1154 9-15-1179 9-15-1227 0-09-1034 0-09-1106 0-09-1124 8-20-0099 8-20-0102 8-20-0103 8-20-0104 8-20-0105 8-20-0106 8-20-0107 8-20-0108 8-20-0109 8-20-0110 0-00-0000 0-09-1038 9-23-1028 9-23-1031 9-23-1072 1-50-0104 1-50-0220 1-50-0221 1-50-0562 2-27-0038 2-32-0009 2-33-0005 2-64-0161 2-64-1000 2-64-1138 2-64-7402 2-64-7405 2-64-7414 2-64-7474 2-66-5160 2-67-6228 2-71-0084 2-71-5532 2-72-0339 AlPartNo 2-73-4052 2-76-4319 2-77-0044 2-77-0045 2-77-0046