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Mark all hole locations with your pencil. Using a 1 8" drill bit, drill all your pilot holes. Open these holes to size with the hand reamer or, if the reamer s penetration is blocked, the careful use of a correctly sized burr bit mounted in your Dremel drill. Finish hole edges with your de-burrer.
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As with the SA-2, removal of the circuit board and speaker is easy. If you re intending to paint the instrument and want to keep the keyboard unpainted (or want to paint it differently), removal is mandatory. After the circuit and speaker are removed, the keyboard will lift out without a problem. Handle the keyboard with care. It s quite fragile.
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Fairly straightforward. Try to mount your RCA output jack, allowing you room for tightening the hex nut within the speaker enclosure without too much difficulty. If mounting the body-contacts as in the illustration (Figure 19-1, one project back), you might find it helpful to remove the circuit board to better access the bolt heads, though this probably won t be necessary.
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After all components are mounted, simply solder things together as seen in Figure 20-1. When soldering to the arched components to the left of the board, you might find it helpful to play hooky as covered in 8. Form a small hook in the end of your stripped wire-wrap wire and hook the target resistor firmly. With a very clean soldering tip, finish the job. Make this connection as quickly as possible. Line-output circuitry is the same in all projects if not otherwise noted. See the line-output scheme in Appendix A and assume that the speaker in the diagram is the speaker in the project.
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Because the battery compartment cannot be connected to the instrument in any way other than by bringing the two halves of the case together, do just that. Replace a couple screws to keep the halves from coming apart. Insert fresh batteries. Turn the Concertmate 380 Aleatron on and hit one of the demo tunes. With the chance dial turned down, hit the chance trigger (pushbutton) while the demo is running. Nothing should happen. If the instrument s audio is interrupted, you ve wired the pot in reverse. Open the case and de-solder the wire going to the outside lug of the pot. Solder it to the opposite outside lug instead. Now, with the demo tune running, hit the chance trigger as though you re tapping a bongo drum (as before, don t push it in like a doorbell). Tapping is key here. Nothing should happen until you get the dial turned up high enough. When the dial approaches the trigger threshold, the music will begin to be interrupted. The further you turn the dial, the more kick will be delivered to the trigger button. But you don t need much. For now, leave the dial set to where it just begins to influence the trigger. The keyboard will probably crash, a lot. Each time it does, turn it off and back on. Sooner or later the trigger will initiate a passage of aleatoric, or chance, music. The dial may now be backed off a little. Further quick tapping of the trigger will augment the chance phases of music. When a chance passage is happening, try touching the chance body-contacts. This system has a milder effect upon changing the chance phrases, incrementing them forward more delicately than possible with the mechanical trigger. As you know by now, finger licking is allowed, as long as the fingers are your own.
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It s possible to wire a reset switch to this circuit to allow a quicker reset than by using the original slide power switch. This is done by cutting a power supply trace on the back of the circuit board (see 9 for complete instructions). Simply observe where the stiff battery contact wire connects to a circuit trace and cut the trace as detailed in 9.
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