L Series
L Series
IVIANmL
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HO-735
Specifications iv
2- 1 General 2-1
2—2 Preamplifier 2—1
2-3 Vibrato Phase Shift Amplifier 2-1
2—4 Percussion Amplifier 2—2
2-5 Reverberation and Power Amplifier 2—2
2-6 Power Supply 2-3
2—7 L-IOOA Percusion Voicing Circuitry 2-3
2- 8 Mode Switch 2-3
2—9 Frequency Divider 2—4
2-10 Cymbal and Brush 2-4
2-11 Brush Keying 2-4
2—12 Cymbal Keying 2—4
2—13 Bmsh and Cymbal Amplification 2-4
2—14 Power Supply 2-4
2—15 L- 00-1
1 Six-Voice Percussion Circuitry 2-4
2-16 Power Supply 2-4
2-17 Push-Button Circuits 2-5
2-18 Lower Manual Keying Circuits 2—5
2-19 Pedal Keying Circuit ^ 2-5
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SECTION III - Disassembly
4- 1 General 4-1
4—2 Organ Performance Check 4—1
4—3 Equipment Required 4—1
4-4 Procedure 4—1
4-5 Vibrato 4-2
4—6 L— OOA 1 Percussion Performance Check 4—3
4—7 L- 00- 1 1 Six-Voice Percussion Performance Check
SECTION V - Diagrams
5— 1 General 5—1
Index - L- 00 Series
1 6-1
Index - L-200 Series 6-15
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LIST OF ILLUSTRATIONS
Wigure Page
1-1. L-lOO Console, Front View 1-1
1—2. L— 100 Console, Rear View 1 —2
1-3. Block Diagram, L- 100 Series 1-3
1—4, Typical Tone Generator 1—4
1—5. Magnet Locations on Tone Generator 1—4
1—6. Filter Locations and Frequency Terminations on
Generator Cover 1—5
1-7. Manual Wiring Chart 1-6
1—8. Drawbars & Control Tabs (Partial View) 1—7
1-9. Pedal Keyboard 1-8
1-10. L- 1 OOA Preset Percussion Unit 1-10
1-11. L- 1 00- 1 Six-Voice Percussion Controls 1-10
1 — 12. Earphone Adapter Circuit 1—11
4— 1. Vibrato Adjustment Waveform 4—2
5— 1. Schematic Diagram, L— 100 Organ with AO -41 Amplifier .... 5—2
5—2. Schematic Diagram, L— 100 Organ with AO— 47 Amplifier .... 5—3
5—3. Schematic Diagram, L— 100 Organ with AO— 47 Amplifier
and LDR Expression Control 5—4
5-4. Schematic Diagram, L-IOOA, L- 100-1 8l L- 100-2
Organ Consoles 5—5
5—5. Schematic Diagram and Parts Layout, L— lOOA Percussion Unit 5—6
5—6. Schematic Diagram and Parts Layout, L— 100— 1 Six-Voice
Percussion 5—7
5— 6A. Schematic Diagram and Parts Layout, L— 100— 1 Six-Voice
Percussion, Early 1 970 Production 5—8
5—7. Schematic Diagram, L— 100- 1 Percussion Power Supply .... 5—9
5—8. Schematic Diagram & Parts Layout, Pedal Control Board .... 5—10
5-9 Wiring Diagram, L- 100 Organ 5-11
5-10. WiringDiagram, L- 100-1 and L- 100-2 Organs 5-12
5—11. Wiring Diagram, Control Panel, L-lOO Series 5—13
5— 1 2. Wiring Diagram, Control Panel, L- 00 Series Revised
1 5—14
5—13. Wiring Diagram, Percussion Unit, L—1 OOA 5—15
5—14. Wiring Diagram, Six-Voice Percussion, L— 100— 1 5—16
5-15. PartsLayoutAO-41 Vibrato Amplifier 5-17
5-16. PartsLayoutAO-47 (126-000023) Vibrato Amplifier 5-18
5-17. PartsLayout,AO-42 (117-000019) Percussion Amplifier .. 5-19
5-18. Parts Layout, AO-43 (126-000017) Power Amplifier 5-20
5-19. Power Amplifier Fuse Location (Canadian, 101— 000130) .... 5—21
This manual contains service information for L— 100 Series organs. The series is comprised of the following
models:
L-lOO
L-IOOA
L-100-1
L-100-2
L^200
The Model L— 100 Hammond organ is a completely self-contained console, requiring no external tone
cabinet. It has two manuals or keyboards of 44 keys each, a 1 3 note pedal keyboard, and an expression
(swell) pedal for controlling the volume. All tones are produced by electro-magnetic tone generators and
electrically amphfied. Selection of tone colors is made by adjusting 1 7 drawbars and 6 preset tabs. Other
characteristics of the music are adjusted by means of 10 other tabs. A toggle switch, located to the right
\
of the console above the manuals, is used to turn on the organ. A pilot Ught shows when the organ is
: turned on.
^ Model L-lOOA is similar to Model L-lOO, with the addition of percussion voicing circuitry, controlled
from the lower left end block.
Model L— 100— 1 is similar to L— 100, with a six-voice percussion feature added. Percussion controls are
mounted in the lower right end block.
Model L-100-2 is identical to Model L-100-1, with the addition of the ''drawer" type automatic
Rhythm II feature. No service information for Rhythm II is contained in tliis manual, since its circuitry
\ is independent of the organ. For Rhythm II service information, refer to the Service Manual for Rhythm II
I
HO~466.
Model L— 200 with inbuilt rhythm is electrically identical to the L— 100— 2 organ. Wiring of the rhythm uni
to the console is presented in Figure 5—20.
L— Series organs will have fuses added to the Canadian power supply (101—000130) to comply with C.S.A.
standards. Location and value of fuses are shown in Figure 5—19.
For convenience in location desired information, this manual is divided into the following sections:
For convenience in locating desired information, this manual is divided into the following sections:
SPECIFICATIONS
frequencies which can be combined by rotates, these teeth pass near a permanent
means of harmonic drawbars to produce any magnet, and the resulting variations in the
desired tone quality. The block diagram, magnetic field induce a voltage in a coil
PEDAL CONTROL
DRAWBAR TABS
LOWER MANUAL PILOT OFF-ON
DRAWBARS LIGHT SWITCH
UPPER OR
SOLO MANUAL
LOWER OR
GREAT MANUAL
PEDAL'KEYBOARD EXPRESSION
(VOLUME) PEdAL
wound on the magnet. This small voltage, Percussion tones are produced by borrow-
when suitably filtered, produces one note of ing a signal from the upper manual 2nd
its pitch or frequency
the musical scale, harmonic drawbar, 3rd harmonic drawbar,
depending on the number of teeth passing or both, and conducting the signal through
the magnet each second. the percussion amplifier, where its decay
characteristics are controlled.
A note played on either manual of the
organ consists of a fundamental pitch and
A portion of this signal is returned to the
a number of harmonics, or multiples of the
respective drawbar. The percussion signal
fundamental frequency. The fundamental
is then combined with the signal from the
and harmonics available on each playing
manuals after the vibrato system but before
key are controllable by means of drawbars.
the expression control. The control tubes
By suitable adjustment of these controls are keyed through the 6th harmonic key
the player may vary the tone colors at
contacts and busbar.
will. Several pre-selected tones are also
available by use of the preset tabs.
The pedal tones do not require drawbars
Mixed tones from the upper manual and for tone color variation, because they are
lower manual and pedals go through the produced as complex tones by special
pre-amplifier and the "vibrato amplifier". tone wheels. The single pedal drawbar
Vibrato may be added, depending on the adjusts the volume of the pedals relative
position of the vibrato selector tabs. The to that of the manuals, and the pedal signal
tones then pass through the expression then is combined with the signal from the
control and additional stages of amplifica- manuals before passing into the matching
tion before reaching the speaker. transformer.
-TONE WHEEL
COIL
-3. MOTOR AND POWER SWITCH. - The tone rod with a pickup coil wound on it. These
generator assembly, in which all tones of magnets extend through the front and back
the organ originate, is driven at constant of the generator, and are held by set screws
which can be loosened in case adjustment
speed by a self starting synchronous motor,
operating at 1800 RPM, located at the left isever necessaiy. Figure 1-5 shows the
side (rear view) of the console (Figure location of the magnet for any frequency
1-2). (In 50 cycle organs, the generator number. In the illustration the dotted lines
speed is 1500 RPM). indicate frequencies whose tone wheels are
on the same shaft.
A toggle switch (Figure 1 -1) controls
power to the organ. On top of the tone generator assembly are
small transformers and condensers, forming
-4. TONE GENERATOR. - All tones of the organ tuned filters for the higher frequencies.
originate as electrical signals in the tone They are not likely to need replacing. In
generator assembly. It contains 87 tone case one filter becomes inoperative, both
wheels having various numbers of teeth, the transformer and condenser must be
with suitable gears for driving them at replaced with a matched set from the
various speeds from a main shaft extending factory. Figure 1—6 shows the location of ^
along the center. Each pair of tone wheels these filters. A few frequencies use untuned
is mounted on and between them is
a shaft filters consisting of coils alone.
§)@)@(8l)@(g)@)@@@@)@)©
\® \@ \0 \@ \e \® \<s \0 \@ \e \@ \@
s\ @)\ @\ @\ @\ 60 (56) g)\ e
SYNCHRONOUS BACK OF GENEBATOR
MOTOR CNO (ATBACK OF CONSOLE)
SyNCHRONOUS
FRONT OF GENERATOR MOTOR END
DOTTED LINES SHOW FREQUENCIES WHOSE TONE WHEELS ARE ON SAME SHAFT
per second. Frequency numbers 1 to 1 3 are the busbars endwise and thus provide a
fresh contact surface. (See paragraph 4-3b).
used only for the pedals; numbers 14 to 17
are omitted; and numbers 18 to 91 are used
for the manuals. Figure 1 -6 showing filter
Looking under the lower manual on the
left hand end (front view) a black wood
locations also shows the termination point
» of each frequency, while Figure 5-1 shows end block will be observed. One half inch
i
typical tuned and untuned tone generators. from the front of this block is a drilled hole.
I
Within this drilling is a small metal tongue
^ In case any generator frequency is weak or with a punched hole. Using either long nose
absent, refer to ''Practical Service Sugges- phers or a hook, this tongue can be moved
in and out and it in turn moves the busbars.
[
Each of the two manuals has 44 playing shows how the contacts of each key are
connected to the proper frequencies to
keys, or approximately SVi octaves. The two
manuals do not cover exactly the same supply the fundamental and harmonics of
that particular key. The blank spaces
pitch range, but they are arranged so that
indicate that no key contact is used, inas-
keys of like pitch are in line. Middle "C" is
the first C on the upper manual and the key much as the higher harmonics of these
on the lower manual. keys are not required. Since the percussion
in line with it
control circuit is keyed through the 6th
Under each key are a number of contact harmonic busbar, the blank spaces in this
springs (for the fundamental and harmonics
row have contacts connected to ground
of that key) which contact an equal number through resistance wires.
of busbars when the key is pressed. All
contact springs and busbars have precious The busbars of each manual, each one
carrying a certain harmonic, are wired to
metal contact surfaces to avoid corrosion,
and the manuals are sealed to exclude dust the appropriate harmonic drawbars for
that manual through the "Drawbars" tab.
so far as possible. In case a contact becomes
52 3i 69 9 45 26 62 2 8fe 3» 67 7 91 84 24 60 41 77 53 34 70 10 46 27 6 3 3 87 80 20 56 37 73 13 49
.
^
OUTPUT TERMINAL FREQUENCY NUMBERS"
1-5
SL B-FUND BROWN 18 20 2 1
31
37 38 39 40 4 2 43 44 45 46 47 48 49 50 5 52 53 3 + 55 56 57 58 59 60 6 62 63 64 65 6 6 67 && 69 /O 7 1 72 73
FUND ORANGE 30 31 32 33 34 3 5 36 1
1
52 53 54 55 56 57 60 6 62 63 64 65 66 67 69 70 7 72 73 74 75 76 77 78 79 8 0 8 82 8 3 84 85 86 8 7 68 8 9 90
3RD GREEN 49 50 51 58 59 1
1
1
58 59 70 72 73 74 75 76 7 7 78 79 80 8 82 83 84 85 66 8 7 88 8 9 90 91
ER MANUAL 4TH BLUE 54 55 56 57 58 59 60 6 1 62 63 64 65 66 6 7 7 1
1
VIOLET 62 63 64 65 66 67 68 69 70 72 73 74 75 76 7 7 7 8 79 80 8 82 83 84 85 86 87 88 B9 90 91
STH 58 59 60 6 1
7 1
1
8TH WHITE 66 67 68 69 70 7 1 72 73 74 75 76 78 79 80 8 1 82 83 84 85 86 8 7 88 89 90 9 1
42 43 44 45 46 47 4 8 49 50 5 52 53 54 55 56 57 58 59 60 6 62 63 64 65 66 67 68 69 70 7 72 73 74 75 76 77 78 79 80 6 1 82 83 84 85
2 ND YELLOW 1
1
1
52 53 54 55' 56 57 58 59 60 62 63 64 65 66 67 68 69 70 7 72 73 74 75 76 77 78 79 80
RED 38 39 40 41 42 43 44 45 46 47 48 49 50 5 6 1
SUB-3 RD 37 1
1
'*
* * ;* * * • * * * * *
6TH GREY 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 62 83 84 85 86 87 88 69 9 0 91
NOTES
F F* 6 A A* B C |
C*^ D D* E F f'^ g g^ a a^I b c d e U Ik* G |g* a A*| B
I
C |C*| D |d*| E
I
F |f*| G |g*| A |a*| B
I
C \c^\ D |
d'| E |
F |f^| 6 |g^| A |a-^| B
|
C
6|47|4&j49|50j5l|52|53|54|55|56 57|58j59|60|6l
6 7
1
8 1
9 I'oj" I2jl3|l4|l5|l6|l7|l8| I9|20 2l[2 2|23[24|25j26|2 7|28|29|3o|3l|32|3 3j3 4|35|36|37|38 39|40|4l|42|43|4 4j45j4
1 1
KEY NUMBERS
BUSBAR
FREQUENCY NUMBERS LEAD COLOR
HARmO NIC
52 53 54 57 58 59 60 BROWN FUND
22 23 24 25 26 27 28 29 30 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 5 5 5 56 6 1
i8 19 20 2 1
31 1
53 54 55 56 57 58 59 60 62 63 64 65 66 67 68 69 70 7 72 73 RED 2ND
30 31 32 33 34 35 3fe 37 38 39 40 42 43 44 45 46 47 48 49 50 51 52 61 1
72 73 74 75 76 77 78 79 80 8 82 83 84 85 86 87 88 89 GREEN 5TH
46 47 46 49 30 51 52 53 54 55 56 57 58 59 60 6 1
62 63 64 55 66 6 7 68 69 70 7 1
1
73 76 7 76 79 80 8 82 83 84 85 8 6 87 88 89 90 9 VIOLET 8TH
54 55 56 5 7 56 59 60 6 1 62 63 64 65 66 6 7 68 69 70 7 1 72 75 7 1
1
52 53 54 55 56 57 58 59 60 62 63 64 65 66 67 68 69 70 7 72 73 74 75 76 77 78 79 80 ORANGE 3RD
37 38 39 40 42 43 44 45 46 47 48 49 SO 51 6 1
1
62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 YELLOW 4TH
42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 6 1
the right group of nine drawbars controls 1-7- PEDAL DRAWBAR. - The center drawbar
the upper manual. By sliding these drawbars adjusts the volume of the pedals. Its opera-
in and out, the organist is able to mix the tion is similar to that of a manual drawbar.
fundamental and harmonics (or overtones)
in various proportions. The distance a bar
1-8. PEDAL KEYBOARD. -The 13 playing pedals
is pulled out determines the strength of the
are operated by the left foot and are con-
corresponding harmonic; and if a drawbar
nected to the lowest 1 3 frequencies of the
is set all the waythe harmonic it repre-
in,
generator. Like the manuals, they have
sents is not present in the mixture. Neither
light and dark keys arranged in the standard
manual will play unless one of its drawbars
. is pulled out at least part of the way with
octave pattern. Figure 1 —9 identifies the
the drawbar tab pressed, or a preset tab is
pedals and shows the generator frequency
pressed. number associated with each. A single
contact on each pedal closes when the pedal
is pressed, thereby allowing the correct
The drawbars sUde over 1 7 busbars, repre-
senting intensity levels. As the drawbar generator frequency to reach the amplifier.
moves, contact is touching some busbar
its
at all times, and therefore there is a smooth 1-9. EXPRESSION PEDAL. - The expression
change in volume of that harmonic. pedal, sometimes called "swell" pedal
(Figure 1-1) is operated by the player's
These busbars extend the length of the draw- right foot and varies the volume of both
bar assembly, and are connected to the manuals and pedals together. When the
low impedance primary of a matching pedal is tilted back (closed) by pushing on
transformer. Signals from the high imped- the player's heel the music is softest, and
ance secondary of this transformer go to when pushed forward (opened) by the
the preamplifier input. The matching player's toe the music is loudest.
Jlllll lllllll I
1-10. CONTROL TABS. - There are 17 tabs on the 1-13. REVERBERATION AND VOLUME SOFT
L-lOO series instrument, each providing TABS. - Several degrees of reverberation
some change in the instrument's operation. are obtained by the use of either or both
tabs labeled REVERB I and REVERB 11.
To have the instrument sound after turn- These tabs, in addition to turning this feature
ing it on, tabs such as FULL ORGAN and on, govern the loudness or amount of rever-
ENSEMBLE will place the upper and lower beration by a resistive network used in con-
manual in operation. A tab is in use when juntion with the speaker. The VOLUME
in the down position. Functions of the SOFT tab controls the overall volume of the
various tabs from left to right as they organ and is especially useful where playing
appear on the instrument are given in the
following paragraphs.
1-14. PERCUSSION CONTROL TABS - There are
1-11. PRESET TABS. - Four tabs are provided four of these tabs which operate only when
for the upper manual and two for the the upper manual DRAWBARS tab is de-
lower manual. As indicated, they provide a SECOND
pressed. Pressing either the
choice of using the drawbars or playing the HARMONIC or THIRD HARMONIC tab
preset tones indicated on them. will,when the upper manUal is played,
cause the tone to sound percussively (in
1-12. VIBRATO TABS. - The L-lOO series organs addition to sustained organ tones). Both
are equipped with 3 tabs which vary the tabs can be depressed, giving a combination
vibrato effect. Three degrees of vibrato percussive tone. The FAST DECAY tab
are available using the VIBRATO NORMAL, causes the percussive tones to fade away
VIBRATO SMALL or both together. with greater rapidity. PERCUSSION SOFT
VIBRATO CHORUS can be used with reduces the volume for the percussive signal.
VIBRATO NORMAL, VIBRATO SMALL, Operation of the electrical circuits associated
or both, to provide different degrees of with this feature is described in subsequent
chorus. paragraphs.
1-8
REITERATION SPLIT
"A" CHANNEL "B" CHANNEL DRAWBARS
Chime 2nd Fundamental
3rd
4th
(5th to Freq. Div.)
(1-1/4 From Freq. Div.)
1-9
1-10
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The RHYTHM VOLUME control, mounted 1-24. EXTERNAL SOUND SOURCE. - A record
to the right of the rocker tabs, regulates player or microphone equipped with a
the loudness of the rhythm voices relative suitable preamplifier, or a radio, can be
to the other organ voices. The organ's played through the organ's speakers. The
expression pedal also affects the rhythm device used should have an output level of
voices except brush and cymbal. about 1/2 volt rms maximum, and should
have its own volume control, since the
The BRUSH and CYMBAL voices sound organ volume controls will not affect the
without reverberation. The remaining voices signal. The organ may be played at the
are reverberated whenever a REVERB tab same time.
on the organ's control panel is depressed.
To connect an external sound source, a
Switchcraft Type 330 Fl "Y" connector is
1-22. EXTERNAL EQUIPMENT. - The L-lOO
required. Removethe connector cable from
Series organs may be equipped with ex-
tension speakers, external inputs and
the WH terminal on the power amplifier.
Insert the ''Y" connector into the terminal,
earphones.
and insert cable previously removed into
one arm of the "Y". Connect external
1-23. EXTENSION SPEAKERS. - A Hammond sound source to the other arm.
Model PR-40 Tone Cabinet may be used
as an extension speaker. A Tone Cabinet 1-25. EARPHONES. - hi order to use earphones,
Control Kit, P/N AO-22625-2 is required the output jack and network shown in
for proper interconnections. Installation Figure 1-12 are required. When earphones
instructions are furnished with the kit. are in use, organ speakers are silenced.
GN.
SWITCHCRAFT Use Koss
Organ SF-JAX #25 OR 55 Model
Spk. SP-3.
wires
47a
ji
BLK.
2-1. GENERAL. - This section contains circuit plate and cathode of each shifter stage and
descriptions of the ampUfier chassis, and controUing them with the saturable reactors.
the percussion attachments. There are Plate and cathode resistors are of equal
three amphfier assembhes in the L— 100 value and consequently signals are equal in
series instruments. On the upper shelf as amplitude in each plate and cathode circuit.
viewed from the rear, to the left is the The saturable reactors serve as a means of
vibrato amphfier, towards the center the providing a varying composite of signals
preamplifier and percussion amphfier, from both plate and cathode of each stage,
while the reverberation and power amplifier ranging from virtually full cathode signal to
is located on the lower shelf. full plate signal.
2-2. PREAMPLIFIERS (See Figure 5-1). - The pre- The driver tube plate current varies from
amplifier (VI) receives all signals impressed about .5ma to 5ma. at vibrato rate. This
on the matching transformer secondary, current varies the degree of saturation in
which originate by use of the drawbars or the reactor cores and results in a smoothly
preset tabs. Should any percussion tab be varying impedance.
in use, a portion of the second, third or
both harmonics of the upper manual wiU At minimum driver current (when the
also appear in the input circuit of the per- voltage feeding driver tube V5 is negative
cussion amplifier which will be discussed and driver tube is nearly cut off) the
further on. reactor impedances are maximum and are
large compared to the 15000 ohm plate,
2-3. VIBRATO PHASE SHIFT AMPLIFIER (See circuit series resistors Rl 04, Rl 1 0, Rl 1 5.
Figures 5-1 through 5-4). - The vibrator
system varies the frequency of the tones Therefore, under this condition most signal
by continuously shifting their phase. will emanate from the plate. (The reactors
Circuit components include three series- being virtually short circuited by the plate
connected vacuum tube phase shifter stages circuit series resistors) and phase shift will
(V2A, V2B, and V3A), associated saturable be maximum - approaching 1 80° - since
180** out of phase with grid
reactors (SRIOI, SR102, SR103), voltage plate voltage is
impresses its signal on V4, a cathode fol- ohm plate circuit series resistors R104,
lower and isolation stage. Positive pulses Rl 10,R1 15. Therefore, most signal will
now appear on the grid of driver tube V5. emanate from the cathode (the saturated
The plate circuit of this tube is in series and low impedance reactors virtually short
with three saturable reactors located in the circuit the plate circuit series resistors) and
plate and cathode circuits of the phase shift phase shift will be a minimum - approach-
stages. Irrespective of which vibrato stop is ing 0° — since cathode voltage is in phase
used, the rate remains constant, but the with input grid voltage.
degree of vibrato is determined by the
amplitude of the positive pulse on the Between these extremes, the phase varies
driver tube. smoothly under control of the saturable
reactors. ^
The continuous phase shift is accomplished
by using 180° out-of-phase signals from the The continuous change in phase is equi-
jf either harmonic stop is depressed the key- With either or both 2ND and 3RD HAR-
i ing wire (normally held at plus 28 volts MONIC tabs down, the harmonic drawbar
through anti-spark resistor R21 5) is con- wires are connected to the -green signal input
nected to solo manual 6th harmonic draw- wire of the percussion amplifier. Either or
bar. When a key is pressed this keying hne both signals are fed back to their respective
^ is grounded through the key contact and drawbars by resistors R410 and R41 1 which
tone generator filter. This virtually grounds are shorted out when the percussion tabs
the grid and plate of VI 1 (connected as a are not in use.
diode) open-circuiting the tube and isolating
[ the control tube grid circuit. The grid of The percussion signals as well as the signals
the control tube drifts from its operating from the vibrato and phase shift amphfier
potential of about 25 volts to a cutoff potential are combined in the input circuit of cathode
potential (about plus 1 5 volts) at a rate follower VI and are sent to the expression
determined by the time required for C210 control, which is also connected to the
3 to discharge through R219 and R409. input of the reverberation and power
amplifier.
The percussion signal is now blocked. No
percussion notes can sound until all keys of 2-5. REVERBERATION AND POWER AMPLIFIER
the solo manual are released and the control (See Figure 5-4). - The combined signals
grid again rises to plus 25 volts. The time of from both prior mentioned amplifiers (after
this rise (that is, how quickly the control the expression control has acted upon them)
tubes turn on again after the key is released) are impressed on the grid of V6 and in turn
is the time required to charge C2 1 0 to plus on V7, the reverberation drive tube. After
25 volts through R2 18. passing through the reverberation unit the
signal is again ampUfied by V6 and passed
When a ''percussion" tab is pressed the solo through a resistive network, components of
manual second, third, or both harmonic which are variable, permitting the reverbera-
*
manual busbars are connected to the green tion to be available in several intensities
percussion signal line and a 5 OHM series and "off. From the input of V7 (the
resistor is connected between the manual reverberation drive tube) a signal is shunted
bus wire and drawbars providing for a sus- around the reverberation unit and its control
tained signal in addition to the percussion features which provide a path for the non-
signal. The 6th harmonic drawbar is dis- reverberation signal. The input of V8 re-
connected from its lead wire and this wire ceives this signal as well as a reverberative
(which is grounded through the generator signal. This common input line also contains
magnets when any key is pressed) is used the VOLUME SOFT tab circuitry.
to turn off the control tube. Therefore the
6th harmonic is not available on the upper The output of the second half of V8 is a
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1
phase inverter driving push-pull output With the "Mode Switch" in the "Normal",
tubes V9 and VI 0. A feedback circuit from "Vibrato", or "Delayed Vibrato" position,
the output transformer secondary (R336 the various pre-voiced percussions are
and R337) makes the pedal response more routed to a percussion preamphfier made
uniform by reducing speaker resonance. up of Q314 and Q313. These amplified
I
R336 is adjusted at the factory. signals are then routed into the regular
Hammond percussion system at the col-
2-^6. POWER SUPPLY (See Figure 5-4). - The lector of Q201. With the "Mode Switch"
power supply uses a 5U4 rectifier tube in the "Normal" position all percussion
with conventional filtering circuit. voices sound as normal; that is, they have
no vibrato.
2-7. L-10QA PERCUSSION VOICING CIRCUITRY
(See Figure 5-5).
NOTE
2-8. MODE SWITCH - With the ''Mode Switch" To obtain the following vibrato
in any of the reiteration positions, the effects it will be necessary to de-
harmonics necessary to produce the press one or both of the VIBRATO
"Chime", "Guitar", and "Banjo" are all tabs.
fed into the "A" reiteration channel only,
while the "Marimba" and "Xylophone"
effects feed harmonics into both the "A" With the "Mode Switch" in the "Vibrato"
and the "B" channels. This spht into the position, a portion of the percussion signal
"A" and "B" channels only occurs with the is taken from the input side of the Expres-
use of reiteration. Without reiteration, all sion pedal and routed through R670, the
effects are routed into the regular percussion "Mode Switch", and is then fed to the grid
system. The two reiteration channels are of VI A (Pin 2). Here the percussion voices
identical. You will note that across the are amplified and fed to the vibrato phase
secondary windings of the two input trans- shift ampUfier. All voices so routed now
formers is located a field-effect transistor. appear with vibrato.
These gates Q300 and Q303, are fed alter-
nating pulses from a bistable multivibrator
With the "Mode Switch" in the "Delayed
which supplies alternate pulses to each one
Vibrato" position, a portion of the percus-
of these gates. That is; one is On, while the
sion signal is taken from the input side of
other is off. These gates shunt the signal
the Expression pedal, and routed to a
to ground, thereby making the channel
voltage divider made up of R682 and R681.
inoperative. These individual signals are
This weak signal is fed to the base of Q3 1 2.
further amplified by a one stage transistor
It be noted that the emitter of this
will
amplifier, Q301 for the "A" channel, and
stage is not bypassed and that the output
Q302 for the "B" channel. They are then
of this stage is relatively low. During keying,
mixed together and fed to a common
after a predetermined time lag (.5 seconds),
amphfier, Q307, which in turn feeds this
the charge on C631 is depleted by Q308
percussion signal to the input side of the
and Q309. With this charge depleted, Q308
swell pedal. The multivibrator which
and Q309 stop conducting and their
supphes the keying pulse for these two
respective collectors assume the supply
gates does not run continually, but rather
potential + 1 2 V. This + 1 2 V. from the
is turned off and on each time a key is
collector of Q309 is now apphed to the
depressed on the upper manual. The multi-
base Q3 1 0, thereby placing Q3 1 0 and Q3 1
vibrator consists of Q305 and Q306. The
in a state of conduction. With Q3 1 1 now
multivibrator rate varies with the applied
conducting, C633 is placed across the
base voltage. This voltage is applied through
emitter resistor of Q3 1 2. This materially
the "Mode Switch" and R684 and R685.
increases the gain of this stage, and as the
Q304 provides the necessary switch pulse
percussion is dying away, feeds this ampli-
to start the multivibrator.
fied portion of the fading percussion signal
through the "Mode Switch", and R683 to
NOTE the grid of VI A (Pin 2). There the signal
Whenever the reiteration is used, is ampUfied and fed to the Vibrato Phase-
itcompletely bypasses the percus- Shift amphfier. All voices so routed now
sion section of the AO— 42 amplifier. appear with a vibrato tail-off.
of the "Chime" tone. This is accompHshed developed across R616, the emitter resistor
of Q330, is rectified by D204 and this posi-
by routing the 5th harmonic into an ampli-
tive voltage is applied to the base of Q331,
fier made up of Q315 and Q316. Q317
the "Cymbal" gate, turning it on. At the
' rectifies and further amplifies this pulse
which is then fed to a two-stage frequency same time, the output of Q328 is being
rectified by D205 and slowly appUed to the
divider, made up of Q318, Q319, Q320,
base of Q329. When Q329 is biased into
\ and Q321. The output of this second
conduction it depletes the base bias nor-
I frequency divider is then routed back to
mally supplied to Q330 through R612 and
I the "Selector Switch", and is used as one
of the harmonics in the "Chime" voice. Q330 stops conducting. In this state, no
signal is available at the emitter of Q330
to be rectified, and Q331, the "Cymbal"
NOTE gate, slowly turns off. To the base of this
j
Because a frequency divider can cv "Cymbal" gate is also fed the noise from
I handle only one frequency at a the noise generator, Q324. This noise is
time, any attempt to play two or tuned in the collector circuit of Q33 1 and
more "Qiime" notes at a time will fed to Q325 and Q326 the "Cymbal and
result in distortion. Brush" amplifier.
2-10. CYMBAL AND BRUSH - The "Cymbal- 2-13. BRUSH AND CYMBAL AMPLIFICATION. -
^
Brush" switch when in the "off" position After being ampUfied byQ325 and Q326, the
disables the keying functions necessary to "Brush and Cymbal" signals are routed to a
produce the "Brush" effect. With the voltage divider consisting of R604, R605, and
"Cymbal-Brush" switch in any one of the R606. then tapped by the switch and
It is
"on" positions, the 8th harmonic of the routed to R602 the overall level control.
lower manual is disabled and this harmonic This is located on a terminal strip on the
busbar is used for keying the "Brush" effect. lower organ shelf, near the AO— 43 ampli-
The pedal signal (keying) contact is used to fier. The wiper of the overall level control
activate the "Cymbal" effect each time a (R602) now feeds into the AO— 43 ampli-
pedal is depressed. fier through R601 and C318 to Pin 7 of
V8. To enhance the "Brush and Cymbal"
effects, a small high frequency speaker is
,2-11. BRUSH KEYING - With the "Cymbal-Brush" attached to the main ampHfier. It is located
'
switch in any of the ON positions, the base
under the lower right hand end block on
of Q322 is routed now to the 8th harmonic the organ.
busbar in the lower manual. Anytime a key
is depressed, the base voltage of this tran-
thru -9). All necessary DC supply voltages C105B, resistor R104B, and capacitor CI 20
for the rhythm unit are supplied by this to the base of ampUfier stage Ql 07, and
chassis. The output voltages are 30 V DC, after amplification by Q 107 and Q108, it is
15 V DC, and 5.5 V DC. The 5.5 V output connected to R203, the volume control.
is not used in the Model L- 100-1 organ. TOM-TOM, BONGO, and CLAVES are
The frequencies of the
similar in operation.
120 V AC 50/60 Hz is supplied to the determined by the values of
oscillators are
power transformer from an external source. the components in the phase shift network.
The secondary AC voltage is 40 V AC,
which is then rectified by the full wave When the BRUSH push button is depressed,
bridge of diodes D 1 00, D 10 1 D 1 02 and
, + 5 V DC is suppUed to the junction of
1
D103. This DC voltage is then filtered by Rl 16 and CI 1 1 and this supphes bias
,
the combination of RlOl, R103, ClOOA, through D102 to the base of Q 103, tuming
CI 01 and appUed across the 30 V DC Zener "on" the one shot multi-vibrator stage,
diode D104. The 30 V DC is the supply Q103 and Q104 for one complete cycle.
voltage for the amplifier stages Q106, The Brush Gate transistor Q 105 is turned
Q107 and Ql 08 on the rhythm PWB and "on" for a period determined by CI 13 and
the reference voltage for the 1 5 V DC and R120 of the multi-vibrator stage. This
5.5 V DC suppUes. The 30 V DC is supplied apphes positive bias through R123, D104,
to the voltage divider of R107 & R108 and R124 to base of Q105, turning on Q105
fed to the voltage regulators Ql 00 & Ql 02, and allowing white noise to appear on col-
the output of which is the 1 5 V DC which lector of Ql 05, tuned by CI 15 and LI 01,
is used to supply all other circuits on the and this signal is then routed through CI 1
rhythm device. and output level control R126 and R127
to hiss amplifier Q106.
The 30 V DC is also supplied to the voltage
divider R106 & R105, and fed to the 2- LOWER MANUAL KEYING CIRCUITS (See
emitter follower QlOl the emitter output
, Figure 5-6). - The lower manual buss line
of which is 5.5 V DC. QlOl is used as a isconnected through CI 24 and the base of
voltage regulator and in conjunction with Q109, which is a pulse ampUfier stage. Re-
ClOOB provides the filtering for the 5.5 sistor R147
provides base bias to the stage,
VDC. so that with no key depressed, the collector
is at approximately 4.5 V
DC. CI 24 and
2-17. PUSH BUTTON CIRCUITS (See Figure 5-6). R145 is network which
a differentiating
One side of each push button is connected puts a pulse on the base of Q109. This
thru R200, 2.2K ohm resistor to the 15 V pulse is amphfied by Q109, and instanta-
DC supply. The 1 5 V DC is available to the neously the collector of Q 109 rises from
push buttons at all times, and if one is de- 4.5 V DC to approximately 1 1 V DC This
pressed at any time, that particular voice change is routed through R 149 to the base
will appear at the output. When any of the of Ql 10, which at an emitter voltage of 5.5
push buttons is depressed, that button V and base bias of 4.5 V was "off". With
apphes 1 5 V DC to the base input of a 1 1 V on its base, QUO
turns "on", and
phase shift oscillator. its collector, which was at 1 5 V drops to
5.5 V. This change is coupled through CI 26
As an example, the BLOCK push button
if and R153 to the base of Qlll,aPNP
is depressed, 1 5 V DC is apphed to the which has been biased "off" through R152
junction of RIOOB and capacitor ClOOB. and R153. The change in bias turns "on"
This signal is differentiated by CI OOB and QUI and the collector has an instanta-
the resulting pulse is fed thru DIOOB and neous output of + 1 5 V DC of about 2
Rl 05 to the base of Ql OOB, turning it on. milliseconds duration. This trigger pulse
This signal is fed back to the base, inverted isdefined as the lower manual trigger pulse.
by the phase shift network C103B, C102B, The pulse is routed through whichever
C104B, R106B, and R107B, and will be LOWER tabs are "on" to trigger the
regenerative for a period of time determined selected voices. Output is obtained as
by RIOOB, ClOOB, and RIO IB. The decay- described in Paragraph 2—17.
time of the collector output depends upon
the values of ClOlB, R105B and R102B. 2 19. PEDAL KEYING CIRCUIT (See Figure
The output is coupled through capacitor 5-B). - A signal of approximately 75 mV
P-P from the pedal keyboard is connected The signal entering pin is fed through
to the input T4. The first two stages using R160 to the base of Ql 14, which is nor-
transistors Ql & Q2 are basically ampli- mally in the "on" condition with no pedal
fiers providing a + 1 3 V square wave pulse pressed (collector at OV DC). When a pedal
for each input cycle. The first + 1 3 V is pressed, the negative signal applied to the
square wave pulse appearing on transistor base turns "ofV Ql 14, and the collector
Q2 collector turns on Q4 providing a + 1 + 1 5 V DC. Point "D" is
voltage rises to
V pulse at output terminal Tl 1 At the . routed to point "A" and coupled through
same time C4 is charged through R6. This CI 27 and Rl 56 to the base of Ql 1 2. Ql 1
icharging time is long enough to delay the which is normally "off is turned ''on",
conduction of Q3 until after the first pulse; and its collector voltage drops to zero. The
then Q3 conducts, cutting off Q4 before the collector signal of Ql 1 2
then fed to the
is
second pulse can be passed. Effectively, base of PNP Ql 13, turning it "on'\ and its
lieach time a signal is applied to the input at collector switches to + 1 5 V DC. This + 1 5
T4, one pulse appears at the output termi- DC pulse on the collector of Ql 13 is desig-
j
nal (Til), which connects to terminal F of nated as the pedal-down pulse, and is routed
voice generator board 124-0001 14. Ql 15 through the BLOCK and/or CYMBAL tabs,
is normally off. The input at T' is fed when "on" to trigger the selected voices.
through R 163 to the base of Ql 1 5 to turn Output is obtained as described in Paragraph
the transistor on. When Ql 1 5 is on, the DC 2-17.
voltage at its collector drops from + 15V
to Zero V. Note that pin 'G' is jumpered to
pin 'C, and that both are common to Ql 1
DISASSEMBLY
3-1. GENERAL. - This section contains descrip- mounting screw; unhook key from screw
tions of disassembly techniques peculiar to and lift out key.
L— 100 Series organs. h. To remove a white key loosen its key
mounting screw and those of adjacent
3-2. ACCESS. - For access to some of the parts black keys. Unhook these keys from
discussed in following paragraphs, it may screws, push them back, and lift out
be necessary to remove organ top, back, white key.
or both.
3-3. UPPER MANUAL KEY. - To remove an 3-5. DRAWBAR CONTACT SPRING. - To remove
upper manual key proceed according to a drawbar contact spring proceed according
the following. to the following.
a. Removefour screws which secure metal a. Remove four screws which secure metal
cover on control panel assembly. cover on control panel assembly.
b. Remove two large screws located at b. Push drawbar all the way in.
ends of control assembly, which secure c. Remove screw at back end of drawbar.
itto upper manual. d. Pull out contact spring. To disconnect
c. To remove a black key, loosen its key spring entirely, unsolder wire.
mounting screw, lift control panel
assembly and hft out key. CAUTION
d. To remove a white key, loosen its key Do not under any circumstances pull
mounting screw and those of adjacent drawbar forward while contact spring is
black keys. Lift control panel, push the off, as damper spring will catch in slot
keys back and hft out white key. and necessitate removal of entire draw-
bar assembly.
NOTE
Ifremoval involves the lowest three 3-6. DRAWBAR, DRAWBAR KNOBS OR DRAW-
keys, it will be necessary to remove
BAR ASSEMBLY. - To remove any of these,
or loosen drawbar assembly. See proceed according to the following.
Paragraph 3—6.
a. Removefour screws which secure metal
3-4. LOWER MANUAL KEY. - To remove a cover on control panel assembly.
lower manual key proceed according to the b. Unsolder black wire from "Full Organ"
following. tab switch.
c. Remove two large screws located at ends
a. Remove four screws which secure metal of control assembly which secure it to
cover on control panel assembly. upper manual. Turn control panel face
b. Remove two upper manual mounting up, and prop up in this position, being
bolts which secure manual assembly to careful not to stress wires.
case work. d. Remove four hexagonal machine screws
c. Remove two screws which pass through holding drawbar assembly to base.
angle brackets into upper manual. These e. To remove knob, tilt drawbar assembly
brackets are located inside of cheek up, and remove screw which holds knob.
blocks. These screws are accessible from f. To remove drawbar and contact spring,
front of organ. pull them out at back of assembly, while
d. Remove AO-41 and AO -42 amplifiers pressing with thumb to release pressure
from rear of upper manual. on contact.
e. Tilt manual up from front. g. To separate drawbar from contact spring,
f. Using 1 /4" box ratchet, loosen key remove screw at back end of drawbar.
mounting screw. h. To remove entire drawbar assembly,
g. To remove a black key, loosen its key unsolder all connecting wires.
from right end of lower manual which b. Remove two screws back of
in lower
terminate at lower manual control tab console and three screws between ampli-
switch. fier and front of console.
c. Remove four screws from under manual c. Lift console and pull out keyboard.
assembly (front) which secure terminal (When reinstalling pedal keyboard replace
cover. two screws in back of console first,
3-2
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leaving them loose until remaining screws a. Remove four screws which secure metal*
are replaced.) cover on control panel assembly.
b. Remove two Phillips screws from front
3-12. SWELL ASSEMBLY. - To remove swell of control panel which hold bank of
assembly, perform steps a. through d. If switches associated with tab to be
replacement of assembly is required, replaced.
perform step e. c. Remove lock washer from either end of
switch assembly, and pull rod out so it
a. Remove tv^o leads with white coded ends just clears broken tab. It may be neces-
from preamplifier and main amplifier. sary to tilt assembly so that free end of
b. Remove four wood screws securing swell rod will clear adjacent switch assembly.
housing cover to case and lift out cover. d. Remove remains of broken tab and insert
c. Remove four screws securing swell pedal new piece.
assembly to case work. Swell assembly
is now loose and can be picked up and
NOTE
removed from back.
A small bronze spring washer will be
d. Swell potentiometer can be removed at
found between tab and one side of
this time if necessary and will require an
switch assembly. Be sure this is re-
Allen 1/16" wrench.
inserted with new tab.
e. Replacement for more dependable swell
operation can be made by ordering Part
Number 123-000021 from the factory, 3-14. PILOT LIGHT OR POWER SWITCH. - Dis-
and proceeding as follows. connect organ from power source, then
1. Remove Expression Control housing. proceed according to the following.
2. Unplug long shielded lead from Per-
cussion Amp. Chassis and short a. Remove four screws which secure metal
shielded lead from Power Amp. Chassis. cover on control panel assembly.
3. Remove four screws securing Expres- b. Replace bulb with No. 12 GE 6.3 V .15A
sion Control Chassis to floor of miniature 2 pin.
cabinet. c. To replace power switch, unsolder two
4. Remove Expression Control as one black leads from generator power panel.
unit. d. Compress springs on sides of switch and
5. Place new Expression Control in posi- push through front of control panel.
tion and secure with original screws.
6. Plug long shielded lead into Percus-
sion Amp. jack and short lead into 3-15. PERCUSSION CIRCUITRY, L-100A. - With
Power Amp. Jack. the exception of power supply and terminal
7. Using accompanying Terminal Strip, strip assembly, Figure 5 — 13, the percussion
splicetwo Brown wires from Expres- circuitry is mounted on the lower left end
sion Control into Blue & Gray 6.3V block. If access to end block circuitry is
filament leads originating in 6 pin required, remove control knobs before re-
rectangular plug on Power Amp. moving end block from organ.
Chassis. Secure Terminal Strip to
cabinet floor with small wood screw.
8. Replace Expression Control Housing. 3-16. SIX-VOICE PERCUSSION CIRCUITRY.L-1 00-1
The power supply, 1 27-000007 and pedal
NOTE control board assembly, 063-042051, are
If swell assembly is replaced as mounted on the left (rear view) wall of the
directed, circuitry will conform to console.
Figures 5—3 and 5—4.
The rhythm voice board, 1 24—0001 14, is
3-13. TO REPLACE A BROKEN TAB. - Proceed locatedon the bottom left (rear view) of the
according to the following. console.
NOTE
On L- 100-2 the SILENT-SOUND
tab on Rhythm II must be in SI-
LENT position.
VIBRATO. - To check vibrato proceed ac- Figure 4-1. Vibrato Adjustment Waveform
cording to the following.
a. Pull out upper manual 2' drawbar to NOTE
position 8. All other drawbars in. De- Phase shift can be read best if
press UPPER DRAWBARS tab. waveform is centered so that the
b. Remove the phono cable from the BN. center peak of the sinewave coin-
phono jack located on the preampUfier cides with a graticule line.
chassis. Connect the scope VERTICAL
INPUT to the phono plug removed. j. Release VIBRATO NORMAL tab. Single
c. Remove the phono cable from the BK. wave must be centered ± Vi cm. as shown
phono jack located on the vibrato phase in Figure 4—1.
shift ampUfier. Insert into the BK. phono k. Disconnect external leads and adapter.
jack an adapter with two phono jacks Reconnect phono cables to proper jacks.
highest one. Note that pitch of sound b. Mode Switch Operation (Vibrato
goes down each time with the excep- Functions)
tion of sub-3rd drawbar. Return upper 1 All control panel tabs and drawbars
.
ly equal. Variation heard in level in the and notice that vibrato effect begins
reiteration, normal, and delayed vibra- approximately .6 of a second delayed
to positions of the mode switch are in time, after chord is pressed.
normal. Notice a decrease in level when c. Mode Switch Operation (Reiteration
PERCUSSION SOFT tab is depressed Functions)
in all but reiteration modes. 1. Selector switch to CHIME or GUITAR
4. Percussion voices of the selector switch position.
are checked for harmonic content by 2. Mode switch to FAST position, and
comparison with lower manual regis- pressing key on upper manual produces
tration. Play middle C and E keys a reiterative sound, repeating at the
except when comparing chimes which rate of approximately 1 1.2 HZ.
should be checked using middle C key 3. Mode switch to MEDIUM position -
only. playing as above, produces a reitera-
5. CHIMES should be identical to drawbar tivesound with rate of approximately
registration0888 000, except that 7.7 HZ.
1-1/4 harmonic will be missing from 4. Mode switch to SLOW position - play-
the drawbar registration. ing as above, produces a reiterative
6. GUITAR should be identical to regis- sound with rate of approximately
tration 8088 80Q. 5.4 HZ.
5. Notice that if selector switch is turned d. Press BRUSH push button at about 5
to MARIMBA or XYLOPHONE posi- times per second. Adjust R 126 to ob-
tain a meter indication of 2.2 to 2.8 V
I
! sound of different
tions, a reiterative
^ quality heard. The two harmonics
is rms.
used in these voices are turned on and e. Press TOM-TOM push button at about
off at opposite times. This is known as 5 times per second. Adjust R 134 to ob-
"alternate reiteration", tain a meter indication of 1.3 to 1.7 V
d. Cymbal-Brush Switch Operation rms.
1^ 1. With lower manual DRAWBARS tab
switch depressed, and CYMBAL-
4-9. ONE VOICE IS SILENT. - Check the
BRUSH switch off, lower manual following:
t drawbars should function normally.
I 2. With CYMBAL-BRUSH switch to any
a. Connection to corresponding pin of PWB,
on-position, drawbar #7 will be
124-0001 14, See Figure 5-6.
inoperative.
b. If connections O.K,, check for +15 V DC
3. With lower manual DRAWBAR tab at pin when push button of missing voice
I
I up, and Brush & Cymbal switch in
is held down.
LOUD position, depress BRILLIANCE c. If voltage is missing, check connections
tab, playing any lower manual key to push button switch, rocker tab, and
repeatedly (other than highest 6 keys
rhythm power supply.
i on right- side of manuals). The result d. If voltage is present, trace associated
should be a percussive hiss sound of voice circuitry.
1.0 V ± 3 db rms measured across
12" speaker leads. R602 may be
NOTE
adjusted to obtain the proper levels.
If failure is in Brush and/or
R602 is located on terminal strip Cymbal voice, check Q101
assembly, AO—
3 1213—1.
4. With Cymbal and Brush switch in
LOUD position, play any pedal repeat- 4-10. PROGRAMMED VOICE DOES NOT SPEAK. -
edly, and notice percussive hiss sound Ifany voice speaks when push button is
of 1.25 V±3db rms. pressed, but not from programmed source
5. Notice that when BRILLANCE fab is (manual or pedal, as appUcable), check
. turned off, volume of Brush and Cym- rocker switch and associated wiring. See
r bal is decreased. Paragraphs 4— 1 3 and 4—14 also.
4-7. L-100-1 SIX-VOICE PERCUSSION PERFORM- 4-11. ALL PERCUSSIVE VOICES SILENT. - (Hiss
ANCE CHECK AND TROUBLESHOOTING. voices speak.) Check Q107, Q108, and
associated circuitry.
I
wiring, power switch, line cord, line cord a clip lead from the back end of the
plug,and wall outlet. drawbar to the generator terminal in
b. If the generator turns and the tubes light, question. See figure 6 for location of
^-
but no sound can be obtained with all all generator terminals. If the generator
controls in playing position, the most is all right, the note will play loudly.
Checks a through i, following, the input side of the filter coil (not the
must be performed with the grounded tap) and the input side of the
'
operating each drawbar for that manual, it means that the tone wheel is not
observing on which drawbar the key fails turning, the coil is defective, or the
to play. Reference to the manual wiring magnet not properly adjusted.
is
chart. Figure 1-7, will tell which fre- g. If the tone wheel
is not turning, the
1 one manual but not on the other manual, magnet may have become loose and
I look for a break in the cable connecting moved so far from the wheel as to make
one manual to the other. the note inaudible. It may be adjusted
d. If the frequency is missing on both as described in the following paragraph.
a. Trace the note as described in the pre- a. It is possible tomake a black pedal lock
ceding section to see whether weakness down and play continuously by striking
is due to dirty contact, poor connection, it very hard at an angle so that it moves
4-6
5-1. GENERAL. - This section contains schematic diagrams to illustrate the text and provide information
necessary to proper organ servicing.
5-1
•15V R5
u: Dl
OOUTPUT TO TERN.
T-E" ON P.C. BO.
T .124-000114
0 r I R9 /r;;?<ooi-i RIO
10K
^J^r-r
—" *
«»«C2MOMM « Hk
063-042051 A
FIGURE 5-8.
SCHEMATIC DIAGRAM
^-
AND PARTS LAYOUT,
PEDAL CONTROL BOARD
5-10
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L
TONE 6ENERAT0fR
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o
o
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o
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o
Q
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o
u I- zz
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oo
o QQ .
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o
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z ZZ
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a *o Of -"^
z^^ IL z
o
CM 2^
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o
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Z 2-QvJ 2^-C
bj Z
Old > DC
O O o ^
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i
i a n. ^^^ Si
- o..
_JltJ J ooo
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2
O 4t
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ul
2
2
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in
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094-041160 D
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UJCL OrO
9110 ^
CO
5-17
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o
p
UJ — OJ fO
1 ooo
< or CC oc:
5-18
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l®n=n=j"
So
Q.u>
5-19
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Figure 5-18. Parts Layout, AO-43
(126-000017) Power AmpUfier
5-21
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SECTION VI
L-SERIES PARTS LIST
INDEX
6-1
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AUTOMATIC RHYTHM ASSEMBLY (RHYTHM W DRAWER) , 6-13
Control Assembly 6—13
Voice Generator 6—13
Wire & Plug Assembly 6-13
WOODWORK 6-13
Llll-1 6-13
LI 12-1 6-13
L122-1 6-13
L133-1 6-13
L143-1 . 6-13
L212-1 6-13
L222-1 6-14
MISCELLANEOUS
Cable Assembly (Generator To Manuals) 6—14
Reverberation Unit Assembly 6-14
Endblocks 6-14
Speakers 6-14
6-3
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Mounting Bracket 035-024205
Lever Mounting Bracket 035-024335
Control Tab. (Drawbars) 031-036481
Control Tab. (Trumpet) 031-036483
Control Tab. (Clarinet) 031-036484
Control Tab. (FuU Organ) 031-036485
Tubular Clip 013-028002
Shaft 020-037238
Spring Washer 999-000151
Terminal Lug 007-035151
Sems. Round Head Machine Screw 821-040314
WOODWORK
Cabinet Assembly LI 11-1 111-000024
Case Assembly 050-036894
Top Panel 050-036890
Music Panel 050-038294
Baffel & GriUe Ooth 052-036886
Rear Cover 056-040229
Bench Assembly 152-000023
Cabinet Assembly LI 12-1 111-000025
Case Assembly 050-036895
Top Panel 050-036891
Music Panel 050-038295
Baffel & Grille Goth 052-036887
Rear Cover 056-040228
Bench Assembly 152-000024
Cabinet Assembly LI 22-1 111-000026
Case Assembly 050-025470
Top Panel 050-036891
Music Panel 050-025427
Baffel & Grille Cloth 052-036887
Rear Cover 056-040228
Bench Assembly 152-000027
Cabinet Assembly LI 33-1 111-000027
Case Assembly 050-025500
Top Panel 050-036893
Music Panel 050-025428
Baffel &Grineaoth 052-036888
Rear Cover 056-040228
Bench Assembly 152-000025
Cabinet Assembly L143-1 111-000028
Case Assembly 050-025530
Top Panel 050-036892
Music Panel 050-036905
Baffel & GriUe Cloth 052-036889
Rear Cover 056-040230
Bench Assembly 152-000026
Cabinet Assembly L212-1 111-000115
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Case Assembly 050-036895
Top Piinel 0S0-000S40
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Music Panel 050-038295
Baffel & GriUe Cloth 052-036887
Rear Cover 056-040228
Bench Assembly 152-000024
Cabmet Assembly L222-1 111-000116
Case Assembly 050-025470
Top Panel 050-000840
Music Panel 050-025427
Baffel & Grille Cloth 052-036887
Rear Cover 056-040228
Bench Assembly 152-000027
MISCELLANEOUS
i^dal FUter Choke Assembly 003-025333
Cable Assembly (Generator To Manuals) 011-024352
Reverberation Unit Assembly 121-000002
Trim Strip (Grille Cloth) 061-031029
Speed Nut 999-024841
Cover (Control Switch) 041-024211
Felt (Adhesive Backed) 042-033312
Endblock Upper Right Hand - Textured 025-035707
Endblock Upper Right Hand - Smooth 025-024307
Endblock Lower Left Hand - Textured 025-028406
Endblock Lower Left Hand - Smooth 025-024848
Endblock Lower Right Hand - Textured 025-028407
Endblock Lower Rij^t Hand - Smooth 025-024847
SPEAKERS
L100,L100.1,-2 (Early Production) 014-024346
014-027293
LIOOA (Early Production) 014-024346
014-024347
L100,L100-l,-2 014-030812
014-027293
LIOOA 014-030812
INDEX
CONTROL PANEL ASSEMBLY 6-16
Stop Switch Base 6-16
Manual Stop Switch AssemUy 6—16
Preset Switch Assembly (lower manual) 6-16
Preset Switch Assembly (upper manual) 6—16
Percussion Switch Assembly 6—17
Vibrato Switch Assembly 6—17
Reverberation, Volume, Brilliance Switch Assembly 6—17
MISCELLANEOUS
Generator Pad 6-24
Reverberation Unit Assembly 6—24
Power Supply Cable 6-24
Speakers 6—24
Swell Pedal Housing 6-24
EndBlodcs 6-24
Front Strip 6-24
Pedal Filter Choke Assembly 6-24
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Terminal Panel Assembly (AC Panel with GY, BL. YEL.) 006-024326
Motor Mountiiig Bracket 035-027354
Capacitor Qamp 013-0^4313
Motor Clamp 013-024427
Motor Coupling Spring 012-029132
Motor Coupler 017-024242
Insulator Strip (AC Panel) n^A n">4378
Post (For Mounting Cover) 044-031434
Terminal Cover 041-022076
Oval End Cap (Motor Capacitor) 041-024838
Pan Assembly
Chassis 009-036649
Chas^ Housing Assembly 009-024417
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WOODWORK
Cabinet Assembly L-212 111-000115
Case Assembly 050-036895
Rear Cover 056-040228
Fastener 013-040269
Brad 999-040271
Fastener "Clip" (Rear Cover) 013-036811
Baffle & Grille Cloth 052- 036887
Lock Nut (Speaker & Baffle Mounting) 999-001437
Baffle (only) 054-025432
Grille Cloth 053-038428
Standard Mounting Soew 999-006116
Plastic Bumper 025-023329
Top & Music Panel Assembly 050-002778
Top Panel 050-000840
Music Panel 050-038295
Hinge 032-033414
Screw 880-030537
Top Rail Screw 832-081814
Stud (Top Panel) 044-042417
Brach Assembly 152-000024
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Cabinet Assembly L-222 111-000116
Case Assembly 050-025470
Rear Cover 056-040228
Fastener (Rear Cover) 013-040269
Brad 999-040271
Fastener "Clip" (Rear Cover) 013-036811
Baffle& Grille Cloth 052- 036887
Lock Nut (Speaker & Baffle Mounting) 999-001437
Baffle (only) 054-025432
Grille Cloth 053- 038428
Standard Mounting Screw 999-006116
Plastic Bumper 025-023329
Top & Music Panel Assembly 050-002807
Top Panel 050-000840
Music Panel 050-025427
Hinge 032-033414
Screw 880-030537
Top Rail Sorew 832-081814
Stud (Top Panel) 044-042417
Bench Assembly 152-000027
6-26
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