boss ce 300 manual
LINK 1 ENTER SITE >>> Download PDF
LINK 2 ENTER SITE >>> Download PDF
File Name:boss ce 300 manual.pdf
Size: 1606 KB
Type: PDF, ePub, eBook
Category: Book
Uploaded: 20 May 2019, 14:10 PM
Rating: 4.6/5 from 766 votes.
Status: AVAILABLE
Last checked: 10 Minutes ago!
In order to read or download boss ce 300 manual ebook, you need to create a FREE account.
eBook includes PDF, ePub and Kindle version
✔ Register a free 1 month Trial Account.
✔ Download as many books as you like (Personal use)
✔ Cancel the membership at any time if not satisfied.
✔ Join Over 80000 Happy Readers
boss ce 300 manualPlease do not offer the downloaded file for sell only use it for personal usage. Looking for other manual? For this no need registration. May be help you to repair. You could suffer a fatal electrical shock. Instead, contact your nearest service center. Note! To open downloaded files you need acrobat reader or similar pdf reader program. In addition, Also some files are djvu so you need djvu viewer to open them. These free programs can be found on this page: needed progs If you use opera you have to disable opera turbo function to download file. If you cannot download this file, try it with CHROME or FIREFOX browser. Translate this page: Relevant AUDIO forum topics: Kenwood KDC8070 kikapcsol Kenwood KDC 8070 cd-s autoradio,bekapcsolastol szamitva pontosan 30perc elteltevel kikapcsol,es csak aramtalanitas utan lehet ujra bekapcsolni,a menuben nincs kikapcsolasi idozites,tehat valami mas baja lehet.Ha valaki tud segitsen,elore is koszi!FLY001 Suzuki SX4 autoradio (PACR07) kodproblema Tisztelt Tanyazok! Hozzaertoktol kerek segitseget a cimben szereplo cd-s autoradioval kapcsolatban. Egyedi koddal ellatott keszulekrol van szo. Par napja a szervizben kivettek a radio biztositekat hibakereses kozben. Mivel a kodot, amit annak idejen felirtam, nem fogadta el, addig probalkoztam a variaciokkal mig elfogyott a 10 probalkozasi lehetoseg. Sok emberrel beszeltem a temarol, az mar kiderult, hogy a benne levo eprom 24C01 es a tunerjeben van. De smd. Mi a teendo ezzel a keszulekkel? Felmerult a gyarba visszakuldes lehetosege, de maceras es draga a javitasi koltseg. Ha valaki tud elfogadhato megoldast erre a problemara, nagyon megkoszonnem. Tovabbi szep napot mindenkinek. Tisztelettel: laszloferkeVan nalam egy Technics ST-G70 tuner.Mivel osszehegesztett vasa van meg bontani sem lehet. Sajnos a rajzabol nem derul ki a trafo mit tudhat. Eleg furcsa tapja van. Az biztos, hogy az egyik tekercse 12V mert egy stabi fogadja ami 12egyent keszit. A masik tekercse viszont a kijelzo futese.http://theuniversaltimes.com/images/bose-personal-music-center-ii-remote-control-manual.xml
- Tags:
- boss ce-300 manual, boss ce-300 service manual, boss ce-300 super chorus manual, boss ce 300 manual, boss ce 300 manual pdf, boss ce 300 manual download, boss ce 300 manual 2017, boss ce 300 manual free.
A kijelzorol viszont nem talalok adatot. SAD7MT8ZK Ugyan ez a kijelzo van a Panasonic SU-V90D ben is. Arrol viszont rajzom nincs. Nem akarom elfustolni a futoszalat ezert volna jo tudni a trafo mit adhatot le, vagy mennyi a futofeszultsege ennek a kijelzonek. Koszi LaciEz az autoradio avval a hibaval kerult hozzam, hogy aram ala helyezve magatol bekapcsol. A kijelzon a LOAD felirat megjelenik, es kikapcsol. Ezek utan semmi gombra nem reagal, ujabb aramtalanitas es a helyzet ugyanez, vagy a reset gombot megnyomva is ez lesz. Mi lehet a hiba? A proci ki tud igy kattanni, mert a CD-resz kivetelekor is ezt csinalja. Similar manuals: You can write in English language into the forum (not only in Hungarian). Bass tracks, Beats, Drums, Snare tracks, Vocals Also, by using the Chorus Tone control, any type of chorus effect desired is possible-from the popular CE-1 type mild chorus effect to one that’s extremely sharp-sounding. With unequalled ease-of-use and built to extremely high specifications, the Boss CE-300 delivers recording quality performance in the studio or onstage. Processing may take longer than usual. Site functionality is therefore limited. Please enable Javascript for full functionality. How did it fare on the road. Although I have always liked the sound of chorused keyboards, I've never particularly liked the idea of effects pedals. Keyboard players usually have enough to do with their feet what with a swell and sustain pedal for each of several instruments, not to mention the spaghetti junction situation on the floor and the perplexed roadie trying to wire it all up. So when I discovered that Boss (Roland) had introduced a rack mounting version of their legendary stereo chorus I was very interested, particularly as at that time I was putting together a rack of effects and mixer to go out on the road.http://www.gintaras.cz/userfiles/bose-personal-music-center-iii-remote-manual.xml Stick a CE-300 in the rack, I thought and link it permanently to the effects loop of the mixer - that way, the amount of chorus in the sound of each instrument can be controlled by the 'send' level on each individual channel. You know - a touch on piano, a lot on strings, and mega-amounts on the DX7 Rhodes sound (subtle, eh?). Apart from the obvious advantages of a rack mounted unit i.e., ruggedness, mains power, permanent connections and ease of operation, the CE-300 incorporates quite a bit more than its nearest pedal counterpart. Two completely independent chorus circuits have separate outputs A and B. The difference between these outputs is the phase of the modulation signal, output A having positive phase and output B negative or 'inverted' phase. Both these chorus outputs are mixed with the direct sound and ratio of chorus to direct sound can be adjusted using the chorus level control. In addition, by means of the chorus tone control the chorus part of the signal can be mellowed or sharpened without affecting the direct signal. Alternatively, the direct sound can be muted - very useful when the Super Chorus is patched into the effects loop of a mixer and only chorused sound is required. As on conventional chorus units, modulation rate and depth are provided and these function in the normal way. All the variable controls are marked with a little blue line at a position which Boss feel will give an optimum chorus effect. However, with a bit of experimentation some very unusual sounds can be produced. There are in fact many ways of using this unit although the three described below I found to be the most effective. 1) A and B as separate stereo outputs 2) A as one side of a stereo pair, the other side being the direct signaL 3) As a mono output Of these configurations, 1) gives the broadest possible chorus sound but a complete stereo amplification system is necessary.http://eco-region31.ru/4-h-poultry-judging-manual This setup is also ideal for recording, because the presence of some direct signal on both sides of the stereo image means that the sound is only enhanced by the chorus effect and the strength isn't impaired. 2) is very close to the Roland Jazz Chorus effect i.e., one side straight, the other side chorused; but still needs a stereo setup. 3) gives as good a mono chorus as I've ever heard and is ideal for anybody who only uses one amp. Incidentally, output A used on its own is actually the sum of A and B, i.e. the in phase and out of phase chorus signals added together. If only in phase chorus is required (and this can be quite subtle), a blank jack in output B will break the connection between the channels. The CE-300 is designed to take an input from virtually any electronic instrument but not from a microphone - so if you want to chorus the vocals, you'll have to feed the Super Chorus from the mixer or some other pre-amp. I actually only used the CE-300 Super Chorus on keyboards, but as the Roland Chorus was originally designed with guitar in mind I have no doubt that this new product would also be an invaluable addition to any guitarist's range of effects; not to mention vocalists, didgeridoo players, et al. Studios might also consider it a worthwhile investment at only ?250 retail. All in all a welcome addition to an already comprehensive range of Boss pedals and effects. RRP ?250 Inc VAT Boss info from Roland (U.K.) Ltd., (Contact Details). Tired of downloading the same vague schematics from yet another website, the copy that is copied ad infinitum on the web. Or did you buy a CD on eBay, full of the same rubbish. Time is money, and especially so for technicians. Time that should be dedicated to repair and not wasted with the frustrations of searching for a decent service manual. So here is a site with only high quality, high resolution service manuals, most of them carefully cleaned, restored and sometimes partially re-drawn.http://flordeyebenes.com/images/boss-ce-300-manual.pdf Here you will find no unreadable drawings or manuals with crucial pages missing. Here you get what you need for the job and get on with it. Free downloads instead of paying silly money for an email with attachment. Of course hi-res means large files. They can be up to 8 times the size of a lo-res scan. That means they need much more server space, space that has to be rented at costs that will come back every year. And many of the manuals you will find here had to be bought as hard copy originals from the manufacturers before they could be scanned at all. Most of this is funded privately, but there is a limit to this budget. Yes, you got it. donations. When this service is useful to you, and you not only want it to continue but to expand as well, that's the way. Contributions received will immediately result in more server space, giving room for more service docs. Donations will also open the way for later additions, such as synth chip data- sheets, synthesizer spec sheets, etc. Your donation will help to make this site a database for synth technicians as never before available on the world wide web. ENJOY! Needs replacing). BOSS TONE CENTRAL is a library service offering additional contents for BOSS products. By simply launching the dedicated BOSS TONE STUDIO application and connecting to the internet, you can download any of the free contents from our growing collection. GT-1000 Live Sets GT-1000 Product Details GT-1 Compact multi-effects provides tone quality and sound-shaping ability that far exceeds. GT-1 Live Sets GT-1 Product Details GT-1B Mobile powerhouse gives bass players a massive range of pro tone-shaping power in a small and robust package. Update your GT-100 to use BOSS TONE STUDIO. Ver.2 software is available as a free download for all GT-100 owners at the product page. GT-100 Ver.2 Live Sets GT-100 Ver.2 Product Details GT-001 A stylish desktop processor with the amps and effects of the flagship GT-100 Ver.2 for your home studio or mobile rig.https://rescue.bg/wp-content/plugins/formcraft/file-upload/server/content/files/1626d8baa34f53---3m-tl20-manual.pdf GT-001 Live Sets GT-001 Product Details ME-80 New ME series model with compact and powerful floor multi-effects with a simple knob-based interface. ME-80 Live Sets ME-80 Product Details ME-25 A compact size multi effects unit providing instant access to your ideal tone from extensive collection of onboard SOUND LIBRARY. BOSS TONE STUDIO for ME-25 works as a librarian software. ME-25 Live Sets ME-25 Product Details GP-10 All-in-one unit with user-customizable tunings, instrument modeling and flagship quality multi-effects. GP-10 Live Sets GP-10 Product Details SY-300 True analog-style polyphonic guitar synthesizer with zero latency and no special pickup required. RC-10R Song-Based looper and smart rhythm machine for modern music creators. RC-10R Track Sets RC-10R Product Details RC-505 Tabletop looper with five loop tracks, dedicated controls and powerful effects. RC-505 Track Sets RC-505 Product Details RC-202 Advanced BOSS technology in a compact tabletop looper with two loop tracks. RC-202 Track Sets RC-202 Product Details RC-300 Floor type flagship looper with three stereo tracks, dedicated footswitches and controls for each. RC-300 Track Sets RC-300 Product Details RC-30 Two stereo tracks twin pedal looper with effects and support for battery power. RC-30 Track Sets RC-30 Product Details RC-3 Simple operation and powerful stereo looper in a compact pedal with up to three hours recording time, 99 onboard memory phrases. WAZA-AIR Over-ear guitar sound system with wireless connectivity, premium amp and effect tones, Bluetooth audio streaming, and sound editing via your smartphone. WAZA-AIR Live Sets WAZA-AIR Product Details KATANA-Artist MkII The flagship Katana tones backed by the 12-inch WAZA Speaker with increased 100-watt capacity. Exclusive front-faced controls including Contour, Global EQ and Solo boost features for professional sound shaping. Stage-ready 100-watt combo amp with two custom 12-inch speakers.BAUGHERS.COM/ckfinder/userfiles/files/carrier-36000-btu-manual.pdf Stage-ready 100-watt combo amp with a custom 12-inch speaker. KATANA-100 MkII Live Sets KATANA-100 MkII Product Details KATANA-50 MkII Katana MkII takes the acclaimed Katana guitar amp series to the next level, turbocharging the core platform with more sounds, more effects, and more features. Stage-ready 50-watt combo amp with a custom 12-inch speaker. KATANA-50 MkII Live Sets KATANA-50 MkII Product Details KATANA-HEAD MkII Katana MkII takes the acclaimed Katana guitar amp series to the next level, turbocharging the core platform with more sounds, more effects, and more features. Light and portable 100-watt guitar amp head with powerful, gig-ready sound. KATANA-HEAD MkII Live Sets KATANA-HEAD MkII Product Details KATANA-AIR The Katana-Air gives you the freedom to jam and practice without hassling with guitar cables. KATANA-AIR Live Sets KATANA-AIR Product Details KATANA-Artist With a premium 12-inch Waza speaker, semi-closed cabinet, and newly retuned amp characters, the 100-watt KATANA-Artist is a powerhouse tone machine for professional players. KATANA-100 Live Sets KATANA-100 Product Details KATANA-50 With 50 watts of power and a custom 12-inch speaker, the KATANA-50 delivers a commanding range of gig-worthy tones that gracefully slice through any band scenario. KATANA-50 Live Sets KATANA-50 Product Details KATANA-HEAD Compact and powerful, the 100-watt KATANA-HEAD delivers sharply defined rock tones with rich, commanding presence. KATANA-HEAD Live Sets KATANA-HEAD Product Details Terms of Use. Learn more Also are Juno 106 and Juno 60 chorus 100 identical?They are interesting chorus FX because they use two seperate BBD delay paths.If they have a stereo output they merely send dry to the left and wobbly to the right. Or - the worst idea ever - they clone the wobbly signal and polarity invert one of them then hard pan. That creates a nice stereo effect using just one delay - BUT - it totally disappears when summed to mono.http://yuseigachi.nl/wp-content/plugins/formcraft/file-upload/server/content/files/1626d8bb44ac83---3m-wireless-communication-system-model-xt-1-manual.pdf So these units are good because they use two delay paths, and wobble them out of phase. Much better. The Dimension D I think uses more like a square wave, to avoid the wobby triange wave sound of the Juno 60 chorus. Both flavours are nice, but the Dimension was basically a chorus that was trying not to sound like a chorus.Actually prior to these, in the 70's there were string machines that used 3 BBD delay lines - and tri-chorus units in the 80's like Dyno-my-Piano etc are really cool.This is done by compressing the signal then sending it to the BBD chip and then expanding the signal back to linear dynamic range after the BBD. The Juno 106 and Juno 60 do not have any companding circuitry to improve signal to noise which is why they are rather hissy.Memorials, RIPs and Obituaries Grove Park, Maidenhead, Berkshire SL6 3LW.Hosted by Nimbus Hosting. I'll give it another hack this weekend. I think I need a better meter with frequency on board, as my scope is definitely a single input.When replacing the PS fuse, if I recall correctly, the key rating I should worry about is the amp rating. Mains voltage around here is same as US, so 250V is really about double - odd that would be the standard.It would give repeatable results on the same output though, so once I set the benchmark frequency from the one set of BBDs (strangely mine came in at 116k - could be error between the DMMs?), I adjusted RT5 until I had the same reading. Germaniac - did you try and adjust this by ear afterward. The stereo chorus effect seems a bit narrower by comparison. I might play around and see how the audio is actually affected by RT5. I'm starting to find my way around the circuit now, though!I think that decoupling the ICs is next on the list, but dunno if I'll get to that this weekend! If I can get rid of this blasted cold that hit me hard yesterday, I think I'll make a bit more progress.https://gmonlinestore.com/wp-content/plugins/formcraft/file-upload/server/content/files/1626d8bc474fad---3m-window-film-manual.pdf A few tweaks of RT5 to tighten things up even more (this DOES actually narrow the stereo field as, of course, the differential between delay lines is decreased - but seems critical in keeping that clean, not-washed-out chorus). VERY manageable now.It's TP8 that put out the clipped tri wave on my unit. More thoughts on this in a moment....It would give repeatable results on the same output though, so once I set the benchmark frequency from the one set of BBDs (strangely mine came in at 116k - could be error between the DMMs?), I adjusted RT5 until I had the same reading. I might play around and see how the audio is actually affected by RT5.They make an audible difference in the smoothness of the BBD signals.) With a clock freq of 116K, a 1024-stage device like the 3007 with give you about 4.4ms of delay (which is bit short for a chorus unit, IMHO).I tweaked the 1M pot so the sweep seemed to bend equally up and down. Then, listening to the outputs again with white noise and the DEPTH and RATE controls set to zero, I could tweak 500K trimmer until it sounded a lot like thru-zero flanging. I set the trimmer for the greatest cancellation effect. So, in essence, the two delay lines were virtually identical at rest. Whew!Regarding the aforementioned delay time fix, I think more delay will cure the lack of image width you're hearing. A chorus ought to be more in the range of 10ms or so. You could either bump the clock caps up to 100pf or (I suspect) change those 100k resistors in the VCO to 33k as is done in the Boss CE-2 (the very same VCO set-up as the CE-300 aside from that resistor). I have the head-cold thing going on too, but your experiments have nearly got me fired up to do that last mod....PLEASE provide, and I will thank you much in advance and apologize upfront for my slow digestion.http://batterseataxi.com/survey/userfiles/files/carrier-33cs250-01-manual.pdf Frankly, it's nice to know that someone else is moving in the same direction on something and, hey, if you've started blazing that trail before me, I certainly don't mind benefiting from whatever knowledge you feel like sharing! Those are small caps, to say the least!! I firmly believe that your symmetry mod is critical, though. From what I can see of the tri's I'm getting, they're not clipping as yours were, but they definitely do NOT look like perfect symmetrical tri's. I'm detecting some instabilities in the circuit that, short of aging electros and possibly ill NEs or Op Amps (I think the former more probable), I can't account for. Plus, although much quieter than before, I still think the quiescent noise in this beast can be further silenced.I am MUCHO interested in hearing your results, and will likewise keep all posted on my developments! My theory about the VCO resistors didn't play out, so I resorted to increasing the clock caps, C27 and C41. At first I tried 100pf which upped the delay to about 7ms, then I went to 220pf which I find ideal. The clock freqs are now about 33K, for about 14ms of delay. I didn't have any polysty in that value so I used polypro for the time being.The first example is the dry uneffected sound. FWIW, I don't care for that sound in a chorus.But now it definitely sounds like a CHORUS. That's with the DEPTH control full CW, so there's lots of room to tame it down. But I really like having all that depth to spare because you never know how it might be useful in a mix somewhere. I slowly raise the DEPTH control, then the RATE control, and then back it down to a reasonable speed.Let me know what your opinions are....I'm beat for the day, so it's off to take a nap....Sounds like I'm going to be on the hunt for some 220pfs myself, as that sounds MUCH better than the stock 300. Way to go, man. If anything, it was adding a nasal quality to my nice fat Obie pads, which is NOT a pleasing addition! The theory seems to have been that the more random differences between the left and right channel, the more likely the ear would pick it up as a stereo image. Most distressing when all of the critical components for a really good chorus - quality companding etc. - were in the design from the start. Sounds like I'm going to be on the hunt for some 220pfs myself, as that sounds MUCH better than the stock 300. Way to go, man! I guess my ears were plugged due to head-cold. I'll do some more dialed-in samples, hopefully later this week. BTW, Mouser's got 220pf polystys, but I don't know how do-able that is for you up there in Canadia Land. Most distressing when all of the critical components for a really good chorus - quality companding etc. - were in the design from the start. All I know is, I used to see CE-300s piled three and four high in the used-gear shops in the late 80s to late 90s. Nobody wanted them, and I didn't either. Even now, there isn't much of a buzz about them on the web, so I figure the lackluster sounds we're hearing are not just imagination. OTOH, inside the ugly hag is a hot chick waiting to be set free.... If you mean where physically, it was just an opportunistic thing, wherever they would fit on the trace side of the PCB without threatening to short anywhere. You probably already know this, but overall, decoupling effectiveness is in proportion to the nearness of the cap to the relevant IC pin (or whatever). The decouple caps should be right on the IC pin, and if you must have a slight length of lead, it's better put the body of the cap nearest the IC pin and use the longer lead for your ground.What I was aiming for was the best spot on the overall bias, ref and cancel circuits - I know you need to get it as close as possible to the circuit your decoupling (easily spotted with an IC!), but I just wasn't sure of the best spot on those. Sounds like the best place to stick 'em is on the rail prior to the passive components in the circuits. Will find out soon enough! When I picked mine up, there was some scuttlebutt around on the net that it was a good sub for the Dim-C, and as I wasn't going to get around to building a clone any time soon, I thought I'd take a risk on the 300. It seems so ridiculous that Boss went as far as they did with this design, only to drop the last 1 of the work and lose 90 of the benefit of what they actually did RIGHT in the design. Oh well, keeps this piece of kit affordable for those of us who can tweak them to our benefit!!However, I'm a bit confused about the statement:With those values, you get unity gain at max, but if you're using line-level siganls like synths, you'll almost never need to boost the gain. Also, lowering those values to 10k lowers the input noise a little.Now, if one component of the formula is reduced dramatically (R2 from 1M to 10K) it should be compensated by increasing the other one (C1). At least that's what I've always done so far while converting high-Z input devices to low impedance for studio use.Is it really not necessary, didn't this mod affect the frequency response of the chorus, or you just did not bother to mention it as something too obvious?However, I'm a bit confused about the statement:With those values, you get unity gain at max, but if you're using line-level siganls like synths, you'll almost never need to boost the gain. At least that's what I've always done so far while converting high-Z input devices to low impedance for studio use.If you can read the designation of this resistor correctly (or we can all come to consensus as to what to call it), let me know and I'll adopt the correct term. Sorry for any confusion this may have caused ( ) and thanks for pointing this out. What would you suggest as the proper value for C1 if R2 were indeed lowered to 10K?If you can read the designation of this resistor correctly (or we can all come to consensus as to what to call it), let me know and I'll adopt the correct term. Sorry for any confusion this may have caused ( ) and thanks for pointing this out! Yes, the feedback resistor is actually R3. All clear. BTW, there a site (unfortunately in japanese!) with similar mod, plus the feedback resistors of outbut buffers are also changed.If the resistance of R2 is reduced 100 times (from 1M to 10K) the capacity of C1 has to be increased with the same factor (from 0.047 to 4.7uF). Unfortunately capacitors of this range tend to be too large to fit in the original space, unless they are electros (and you probably don't want to add electros to the audio path). If you really want to go down to 10K you probably have to go higher with the cap. Some guys have suggested 10.50uF bipolar electros in this scenario.Yes, the feedback resistor is actually R3. All clear. BTW, there a site (unfortunately in japanese!) with similar mod, plus the feedback resistors of outbut buffers are also changed.Why he would want to increase the output level so much I don't quite get, but that's the beauty of DIY I guess....If the resistance of R2 is reduced 100 times (from 1M to 10K) the capacity of C1 has to be increased with the same factor (from 0.047 to 4.7uF). Unfortunately capacitors of this range tend to be too large to fit in the original space, unless they are electros (and you probably don't want to add electros to the audio path). Some guys have suggested 10.50uF bipolar electros in this scenario. FWIW, with op-amp line-level stuff, I wouldn't be too worried about electros in the audio path, especially since we're talking about a sound-effect after all. But for the hard-core hi-fiers, the Panasonic FC series are quite good, and they can also be bypassed with a small film cap. Anyway, for the CE-300, the only place I'd be very particular about the cap material are those polystys for the clock chips. They really make a difference in the smoothness of the BBD outputs over the stock ceramic caps.All this time I've been meaning R3, NOT R2 for the input level reduction mod. So, to clarify once and for all, the input-level mod spoken of in this thread should be to reduce resistors R4 and R3 to 10K. All my previous posts have now been edited to reflect the correct designation.My bad, and I'll try to be as clear and precise as possible from here out. I hope your mods are going well, and I'm sorry again if this mistake caused any trouble....I hope your mods are going well, and I'm sorry again if this mistake caused any trouble....I'm waiting on a conclusion here first I really am excited about your progress.I really am excited about your progress. I'll be excited to know what you find when you start working on your CE-300 too. Keep us posted....Just in case anybody's in the market:Just in case anybody's in the market:I actually have to purchase some more parts. After I'm satisfied with my direction I'll head on over to mouser I should also mention here that the earlier problem I had with the LFO distortion seemed to have disappeared, so I undid all the changes relevant to that. I can't explain why this happened in the first place, though I do have the o-scope shots to prove it existed! Attached is a color-coded schematic. For synthesizers or general line-level use, R2 can be reduced to 10K for lower input impedance and less noise. To retain low frequency response, C1 should be increased to at least 4.7uF. (Thanks Margus for this info!) In my case, I used a 4.7uF Panasonic nonpolar electrolytic, along with the original.047 film cap bypassing it on the trace side of the PCB.Also the gain-setting resistors around IC1b don't need to be as high a value as they are, since input buffer IC1a can drive a fairly heavy load. Both R4 and R3 can be changed to 10K, which will give slightly lower noise and unity gain at full CW on the LEVEL control. With those values, a typical synth output should have no problem driving the level meter into the red even at 50 of the LEVEL control. If you want to keep the gain of the stock unit, the input noise still can be lowered by changing R4 to 10K and R3 to about 22K.If you have an o-scope make sure the LFO outputs at TP8 and TP9 are as equal as possible before moving to the next mods....Previously they were varying more than a volt in sync with the LFO, but now they were down to a couple hundred millivolts. Whether this has any effect on the overall sound is open to question, but it does seem like a strange design glitch.The clock caps C27 and C41 can be increased from 47pf to 100pf or even 220pf.The CE-300 has a bare minimum of decoupling. On the trace side of the PCB, anything in the range of.1 to 10uF decoupling caps can be added to PS pins of all op amps, compander chips, BBDs, and clocks, as well as the BBD bias, Vref, and Cancel supplies. Some might call this overkill, but heavy PS decoupling always seems to makes op-amp circuits sound much smoother and cleaner to my ear.Click on it to enlarge. Well done!!Almost time to put in a parts order, methinks! Be as specific as you like, and I'll try to get something recorded that gives a clear idea of how this thing sounds now.Then I have my repairs, my MKS-70, my buddy's Arp 2600, my CE. It never ends! The big stuff is just gonna have to wait. Guitar is a great source, as would be a softer pad type sound, that way you can get a sense of how the chorus behaves with swirling sounds as with percussives? For reference sake, unless otherwise noted, all examples were done with the controls set at the exact middle of shaded areas on the CE-300's front panel.Last is saw wave sans hex chorus with stereo CE-300.Second figure, same guitar sound with stereo CE-300. Third figure, with stereo CE-300, but with controls adjusted for more DEPTH and slower RATE (which I prefer for this type of sound).