Jupiter One Synthesizer

Overview The Jupiter One project is an original Jupiter 4 Voice Card turned into a complete single voice synthesizer, with the addition of a replica Controller PCB and the addition of a new Pot PCB that holds the switches, LED’s and potentiometers. The project started in 2018, but was paused for a year whilst I worked on Behringer projects, and restarted over the Xmas holidays of 2020. This post describes the work to get to a completed and full working synth.

I decided to replicate the Roland Jupiter 4 Controller functionality, which translates the 0 to +5V  potentiometer voltages into the CV’s required for the voice circuit even though I am not planning to add in the preset memory capability at this stage of the development. It also contains the LFO, Noise and half the ADSR’s, so I had to build at least 50% of it anyway! The Voice Card tends to use +15V on/off signals whilst the panel and DAC of the Roland design uses +5V. There are various level shifters on the main PCB which I have simply omitted and used +15V on the Panel PCB where needed.

A future project could be a replica Pro Mars but the Roland design is incredibly complex, very inefficient in terms of components and space and requires a lot of trimmers. The OS is locked up in a 8048 chip, so it not easy to modify the code to add more presets. A replacement microprocessor was available as the IO product but that appears to be history. I am replicating the Oberheim OB-1  preset monosynth instead, using a new microprocessor (already programmed) to reduce the complexity.

Controller PCB This new PCB holds the LFO and Noise circuits, plus the CV control stages for the VCO, HPF, VCF and VCA and six clock generators for the two ADSR’s. The LFO of the Jupiter 4 and Jupiter 8 are very similar and I have used the later design as it uses a CMOS analog switch to select the waveform. Initial tests proved the LFO worked well with a minor resistor value correction to get close to the original frequency range, but with a higher top frequency of 200Hz (not 70Hz) which I have retained.

The Noise circuit worked first time and uses the same 2SC828R transistor from the legendary TR808, which delivers a wide noise spectrum. In fact the noise level was too high and I had to trim in back to 2V p-t-p, as it would bleed through the JFET on/off switch at higher output levels.

Oscillation The VCO based on the ua726 chip worked first time, with the correct sawtooth and square waveforms, and frequency range selection, but the pulse width circuit needed some work as its uses a DP4T switch which I have not be able to source. The PW on/off switch was stuck on LFO modulation, and needed +15V as the reference voltage not +5V (level translation issue). Pulse width selection now works, with 50%, 40%, 20& and 10% widths, although the 10% is very narrow more like 5%!

The LFO bleeds slightly into the VCO frequency even with the modulation turned down, so this needs some attention.

Filters The HPF and LPF control voltages were initially too low and too high, although the filter did resonate correctly. The HPF control circuit works well in my 8104 filter module, so I correctly suspected a mistake by Roland at R111, which should be 47K not 100K. The LPF control voltage is being driven too high by the non existent Foot Pedal input which I have now removed. Both filters now work well and trimming is good.

The original filter S&H circuit uses the digital arpeggiator clock as a sample source, this is not available as it needs the 8048 microcontroller. I have used the LFO as the clock and S&H circuit from the Jupiter 8, with the front panel slider controlling the level of S&H into the VCF using a BA6110 VCA, so this could be preset in a future version with patch memory. My first attempt used an expo transistor pair which made the slider only responsive at the very top, I changed this to a single transistor linear response (as used in the JP-8).

Envelope Generators The original Roland design is unique and a very complex way to get to a voltage controlled ADSR. It uses CMOS clocks and switches to get the voltage control and was replaced by a single IR3R01 chip in the Jupiter 8. The voice card contains half the CMOS circuit, so I have added the other half to my Controller PCB. I have proven the design by building the AM808 Env Generator module, so I am confident I can get this working.

The filter ADSR worked immediately, whilst the amplifier ADSR was dead. I replaced the buffer Op Amp at IC21 which is a 4558 chip.

VCA and Output The voice card contains a BA662 VCA with a volume control on the front panel, and its own dedicated ADSR. This was easy to get working properly. This is also a final analog volume control before the output signal goes to the rear mounted Output jack socket.

LFO Modulation The original Jupiter 4 has a rather nice modulation panel to the left of the keyboard. I have replicated this using a thumb joystick that provides vertical pitch bend and horizontal LFO modulation depth to the VCO, VCF and VCA using the same three selection switches, and two rotary knobs.

LFO Delay and AutoBend

Inputs and Outputs My Jupiter 01 has four 3.5mm jack socket inputs; traditional pitch and gate, and then X and Y inputs which over ride the Thumb Joystick control voltages and enable velocity or aftertouch to be patched into the synth. There is a single 6.35mm jack socket mounted on the rear PCB which also houses a Meanwell power supply.

Pot PCB My initial design used DP4T slide switches for the PWM, LFO waveform and Key Follow selection. But the switches could not be wired as dual four way, so I have replaced them with a CMOS circuit that creates the correct 2-bit binary code, with selection by a push button and the display is 4x 3mm LED’s.

Chorus Options The Jupiter 4 used a BBD chorus circuit to add some much needed depth to the single VCO sound, which I suspect I could do with as well! I will either recreate the MN3004 fixed rate chorus as an internal PCB or a BBD-320.

Ultravox Custom Mini-Moog

Ultravox Mini-Moog

Overview I came across a picture of the Mini-Moog that was customized by Roy Gwinn for Ultravox and was intrigued by what the changes were for and how they were implemented. The actual Mini-Moog has long since been scrapped, as it had a very hard life touring and then being painted grey. It was in use from 1980 to 1983, until the later songs used Billy Curries bigger collection of synths and Chris increasingly focused on playing bass guitar.

The modifications were aimed at two limitations of using the Mini-Moog live in 1980; reproducing tight bass lines locked to the drums, and the tuning instability. The  modifications were quickly obsoleted by the introduction of MIDI in 1983 and digital synths.

The custom Mini-Moog was a key part of the revised Ultravox band and sound from June 1980 and the Vienna album. It featured in the bass lines of the album and was played by Chris Cross. I cannot be 100% sure about the modifications but I have collated as much information from the Internet as possible. Big thanks to Roy Gwinn for creating these modifications in 1980!

There are three visible modifications to the Minimoog;

• Left Hand Side – Toggle switches, red push button, input jack and LCD display.
• Lower Front – Extra potentiometer and a 7 segment display.
• Env Generators – Toggle switches.

VCO3 Voltage

Early photographs show only two toggle switches on the left hand panel and no jack socket or red button. The displays are Digital Multi Meters that measure voltages and not music values such as tempo (bpm) or pitch (note values).

Trigger Sequencer This was a modification to the Mini-Moog and used to pump out a steady stream of eighth-notes, which could be transposed up the keyboard by Chris. By keying different notes, a bass line was produced with the unwavering perfect tempo of the machine.  This rock solid tempo had a hypnotic effect to it, which was an important part of the new Ultravox sound, which also used early Roland drum machines like the CR-78.

It looks like VCO3 was used as a LFO to drive the trigger sequencer using the external gate input, then switched into the filter and loudness envelope generators by the toggle switches in the Modifier section. The LFO/sequencer was not in sync with the drum machines and Warren simply played along with acoustic drums. Later on the drum machines were sync’d up as the clock source and the control panel further modified. The CR-78 does have a trigger out for this.

The first incarnation has only two toggle switches on the left panel, possibly external CV and Gate on/off. The second incarnation (1983?) has an extra push button, switch and input jack socket, which I presume is for an external clock from a drum machine, with the extra switch and push button controlling the clock in. This setup would have been easier to use on stage with Warren switching on the drum machine and Chris bringing in the clock on the Mini-Moog to create the bass sequence.

VCO1 & 2 Voltage

DDM Readouts There are two DDM displays; the LCD on the left shows the voltage going into VCO3 and therefore the trigger sequencer tempo, and four 7-segment LED displays show the voltage going into VCO1 and VCO2 – with an extra potentiometer (green cap) marked OSCS Find Tune, to the left of the display.

When VCO3 is switched to LFO mode for sequencing, it is disconnected from both master tune, pitch wheel and the keyboard. It is therefore totally independent and not affected by other pitch controls. The extra fine tune control is connected into the Tune CV output which goes to VCO1 and VCO2.

This voltage is monitored by the DDM before the keyboard and pitch wheel CV’s are added. You can see a display of 52, which might be +5.2V! This would be correct as the Tune control varies from 0 to +10V and its usually set mid way.

I wouldn’t be surprised if the 7-segment display predated the LCD display, as tuning would have been a big issue and LCD’s came out later. Early Mini-Moog’s were renowned for temperature instability and even later ones would have struggled in the hot conditions of a live stage. You can see Chris adjusting the tuning and checking the readout at the start of songs, like All Stood Still.

Env Generator Switches These are unmarked toggle switches, which I think switch the gate input on/off for the filter and loudness envelopes, and therefore whether they are driven by the trigger sequencer.

Replicating Today With the advent of MIDI sequences the Ultravox Mini-Moog trigger sequencer is redundant and its really easy to recreate the 1/8th note sequences on a DAW or MIDI sequencer. If you are into old school CV and Gate and have a Behringer Model D, you can patch the on board LFO to the Gate inputs of the VCF and VCA, to recreate the same effect. Unfortunately this is not possible on the Behringer Poly D, as even though there is a 4th VCO which can be set as a LFO it does not have an external output.

A better approach is to use a 8-step trigger sequencer with toggle switches (e.g. Nosie Engineering – Bin Seq), and drive this from a MIDI clock or analog clock. This delivers the driving 8th notes but with skips and rests, which is probably the way I will go.

Pitch instability of VCO’s is still with us on analog synths, but generally they are more stable than the early Mini-Moog’s. So there is not much call for an onboard fine tune pot and a DDM these days, although your DAW can use tuner plugins to get to the same result, or there are euro rack modules that do the same.

SCI 700 Programmer

SCI 700 Mark 1

Overview  Back in 2002/3 I bought and restored a couple of SCI 700 Programmers, and here is the “restored” blog page from my old web site. The Sequential Circuits Model 700 Programmer is a rather useful way of adding 64 patch memories to an analog synthesizer. In November 2002 I bought one from the USA that need some repair work.

The front panel had corroded quite badly and it was externally in a poor condition. So I decided to do a full electronic restoration and rebuild it into a 5U 19″ panel so it could sit with the AM Modular cabinets. The picture on the right shows the Model 700 as it arrived from the USA. In April 2003 I acquired a second Programmer 700 (a Mark 1), this required a lot less work to get it fully operational. I sold both of these in the mid 2000’s.

Overview  Back in 1976 Sequential Circuits was a small music technology company based in San Jose, California and run by Dave Smith from his garage. After successfully designing and launching a digital sequencer (Model 800) Dave and new recruit John Bowden (x-Moog) went on to create the Model 700 Programmer. The new product provided rudimentary patch memories for analog mono-synths like the Mini-Moog and ARP 2600. The table top programmer had 64 memories of 3 control voltages to drive the VCO’s and two DADSR envelopes to drive the VCF and VCA of the partner synthesizer. In 1977 this was a major step forward, with only Oberheim providing patch memories on its 4 and 8 voice synthesizers.

Mark 1  Dave launched the Model 700 in 1977 and sold one a week, mainly in the USA. Here is a Mark 1 model, all the knobs are large, there are no CV trimmers on the top left hand panel and the patch switches are engraved with numbers. The record switch is part of the right hand lower toggle switch.

SCI 700 Mark 2

Mark 2 In 1979 the Mark 2 model was released with front panel V/octave trimmers for the 3 control voltages, and a single multi-way socket for a single cable connection to the partner synthesizer. The Mark 2 has revised PCB’s and a slightly different circuit design. The original CA3080 and matched transistor design was updated to use SSM2050 and SSM2020 chips, along with TL072 Op Amp’s.

The high quality sealed cermet pots were also replaced with standard carbon pots. All these changes meant the Model 700 could be manufactured for less cost and Sequential Circuits went on to sell over 200 Programmers, and it was still in the catalog in March 1981.

The Model 700 has a place in synthesizer history and it provided some funding and technical R&D for the legendary Prophet 5. Below is a Mark 2 version with Prophet 5 knobs, and lettering above the tactile switches. The 7 segment display is larger and the patch Record facility has a red button rather than being on the right hand lower toggle switch.

Rick’s SCI 700

Description The Model 700 has 3 independent control voltages for controlling the pitch of the partner synthesizers VCO’s. Each pitch is controlled by a rotary potentiometer, and a single external control voltage from a keyboard can be optionally added into each pitch with 3 toggle switches. The pitches are quantized to semitone values.

Two envelopes can be programmed with the usual ADSR and an initial delay – very Dave Rossum! The envelopes are triggered from gate or trigger inputs, usually from the external keyboard. The envelopes are designed to drive the VCA and VCF of the partner synthesizer directly. Each envelope has its own VCA so that the envelope volume can be controlled from the 700. There is an additional offset control for envelope 2, so that the initial VCF cut-off can be set too.

Memories Once a patch has been set up with the programmer you can store it into one of 64 memory locations, selected by 8 switches (Programs) and a rotary switch (Banks). A red Record button is partially sunken into the control panel, which means it is not accidentally pressed. Patches can be recalled or the programmer can simply by used as a live set of controls.

Tricks  The 700 has a few neat tricks up its sleeve. The 8 Programs within any Bank can be incremented electronically from a footswitch or a LFO or keyboard. Using an external LFO you can create a traditional 3 control voltage x 8 step sequencer with different VCF/VCA sounds for each step. The number of Programs that are incremented can be adjusted from a rotary front panel control from 0 – 8. When set to 3 the Model 700 will switch Programs as 1-2-3-1-2-3-etc.

Technology The Model 700 is based around CMOS logic chips, there is no micro-processor as the new Zilog Z80 was too expensive to use in 1976. Dave couldn’t use ADC chips either, so he emulated one with discrete digital and analog chips. The control voltage resolution is 6 -bits, which for the VCO controls equates to 64 discrete voltages, 5 octaves from 0 – 5V. However the envelopes also get the same resolution, which is a bit more of a limitation.

Inside there are two neat and well laid out PCB’s stacked on top of each other. The first board contains 16 pots which are scanned and stored as 6-bit digital words into 768 bytes of SRAM storage, which is backed up by a 3V lithium battery. This data is used to drive the 3 control voltages, and to control two DADSR envelopes based on SSM2050’s, along with two VCA’s built from SSM2020’s. This design is very similar to the Dual Transient Generator made by E-mu Systems.

SCI 700 Panel

Restoration Part 1 The first step was to see if the Model 700 would power on, and to do a smoke test! A quick internal visual inspection showed no burn outs, so I powered it on and was greeted by a set of LED’s that worked perfectly but no control voltages or memories. Plus the tale tell smell of burning – a tantalum capacitor was on its way out!
A detailed inspection revealed:

• The +5V rail was okay – the regulator was replaced as a precaution
• The +15/-15V rails were dead – both regulators were replaced
• The comparator reference voltage had failed – thanks to the blown tantalum capacitor. I replaced this with an electrolytic and replaced the scarred 47 ohm resistor on the inbound connection to the LM723 regulator chip – which I also replaced as a precaution.
• The lithium battery was dead – so it was replaced with a Varta 3V lithium 2/3AA
• The transformer was in very good condition – so it was left alone.
• Some IC’s had previously been replaced, as there were some new IC sockets. I added sockets when replacing chips, as Dave Smith had only put sockets in for the SRAM memory chips.

An order for new regulator chips was sent out, and whilst I waited for the parts to arrive I replaced the tantalum capacitors with electrolytic capacitors, and completed the following upgrades:

• The electrolytic power regulator capacitors were replaced with high temperature versions – they are smaller too!
• All ceramic disk capacitors were replaced with new dipped versions
• The rusty old pots were replaced with Bourns sealed conductive versions
• New E-mu control knobs in solid aluminum replaced the beaten up originals
• New slide switches replaced the worn out Switchcraft switches which had started to have a redundant center position, as well as lots of surface rust.

Restoration Part 2 With the new power regulators in place and the rails working again, it was possible to power up the 700 and see what else had failed. Quite a list!:

• Voltage 1 had gone permanently -12V, this was fixed by replacing IC4 (LM348 Op Amp)
• Voltage 2 was fine.
• Voltage 3 was correct but modulated at about 20Hz, once again replacing a LM348 Op Amp at IC3 sorted the problem.
• Envelope 1 was at 0V – the SSM2050 and SSM2020 checked out okay, so it was clear that IC3 was the problem. When replaced the envelop worked perfectly.
• Envelope 2 was fine, although the release time was over 30 seconds! I will add a trimming control, as in the SSM2050 application notes.
• The patch buttons didn’t work consistently, so I replaced almost all of the CMOS logic around the scan and clock logic, using new IC sockets. The key problem turned out to be IC14 – it needed an exact replacement MC14163. Near equivalents gave erratic responses.
• The 12 position rotary switches have been replaced with new plastic ones. The original shafts were damaged when I removed the control knobs, and they were rather clunky.

April 28th 2003 (5 months after purchase!) and everything was working perfectly again.

New Panel And finally a nice new 3mm aluminum front panel, 5U high, 19″ across in aluminum with black lettering. This replicates the old panel exactly, so that the PCB’s can be mounted directly to the panel. The rear jack sockets for inputs and outputs have been moved to the right hand side and are 3.5mm jacks (my studio analog synth standard). The new front panel was designed during May – July 2003, with many checks against a paper print out of the front panel. The panel was finally ordered on 8th August.

Restoration – Again The second Model 700 I bought in April 2003 required a lot less work, I’ve added a lithium battery and replaced all the decoupling and PSU capacitors. It is a Mark 1 model, which means its based around lots of CA3080’s, with no SSM chips, very different to the Mark 2.

I have kept the original red LED’s and 7 segment display, replaced the potentiometers with high quality Spectrol units (there is not enough space for the deeper Bourns 91A). The control knobs were replaced as well. They stood proud of the front panel by 1/4″ thanks to the factory not cutting the pot shafts down to size! Overall the unit worked very well as bought, which is a good job as it cost £300.

AMSynths 700 Well its now 2020 and the time is right to reproduce the 700 as a EuroRack module. My “Big Moog” has a set of 3x 921B VCO’s and a PPG303 filter that are ideal to connect up to a new 700 programmer with 64 patches. The availability of CEM3310 clones makes a reproduction 700 viable and the patches (and notes) can be driven by the 960 sequencers, so the timbre of each note changes. The 700 quantizes the VCO notes into semitones, so this is a perfect match for a 960.