Wicks CM100 Manual
Wicks CM100 Manual
Wicks CM100 Manual
C O M P A N Y
CM-100
QUICK REFERENCE GUIDE
by viscount
AVIS
RISQUE DE CHOC LECTRIQUE
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CAUTION
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NO USER-SERVICEABLE PARTS INSIDE
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INDEX
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1
Warnings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
1. Controls and connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
1.1 Description of the front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
1.2 Description of the rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
1.3 Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
1.4 Positioning the loudspeaker boxes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
2. Main Page and Demo mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
2.1 Main Page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
2.2 Display messages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
2.3 Listening the demo songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
3. Setting the MIDI channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
3.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
3.2 The whole and split modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
3.3 Setting the MIDI channel in whole mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
3.4 Setting the MIDI channel in split mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
3.5 Additional notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
4. Using the Voices Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
4.1 Procedure for saving and recalling voices memories . . . . . . . . . . . . . . . . . . . .15
4.2 Using the Memory Banks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
5. Setting the Reverb and Tremulant effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
5.1 The reverb effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
5.2 Reverb effect settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16
5.3 The tremulant effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
5.4 Tremulant effect settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
6. Voice change
6.1 Voice change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
6.2 Changing Labels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
7. Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
- Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
Index
WICKS CM-100
INTRODUCTION
Dear Customer,
Thank you for choosing the WICKS CM 100 sound module. The Company, a world leader in the construction of fine classical organs, has installed in the CM 100 the latest and most sophisticated technology dedicated to the high fidelity reproduction of pipe organ sounds, with impressive flexibility and remakable quality of timbre.
After years of research exploring musical synthesis techniques, The Viscounts Research and
Development unit is the FIRST in the world to create the sounds of a pipe organ by using the "physical
modeling technology" upon which the ACCUPIPE is based.
Instead of using "sound samples" from pipe organs (previously the standard method) this revolutionary
sound generation system involves the real-time calculation of the waveform generated by a precise
mathematical model based on the sound emission physics of
a pipe organ, incorporating the principal physical parameters
ie. construction geometry, materials used, and pertaining air
pressure, etc.
The fact that the simple reproduction of memorized "sound"
has been disregarded, permits the achievement of unimaginable realism, with the level of detail previously only created
by a traditional pipe organ.
For example, the mathematical model allows the production
of a different sound for each key since it provides the virtual
reproduction of the original instrument by assigning a different
pipe to each note, similar to a pipe organ.
Furthermore, it will generate a different sound for each consecutive pressure of the same note, thus simulating the precise
condition of the air volume inside the pipe as it is pressed.
The CM 100 also permits the "physical" editing of the sounds produced, by adjusting the parameters just
as the organ builder constructs the pipes. If however, "editing" is not your forte, you may choose your
sound from a library of 176 different pre-programmed pipe organ voices already in the module's
memory.
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WICKS CM-100
WARNINGS
ENGLISH
Disclaimer
The manufacturer and its authorised dealers do not accept any liability with regard to the use or application of the products
described in this documentation, and cannot be held responsible for any damage incurred by the client further to improper use
of, or modifications to, the instrument.
Any references to names, products and companies are for the sole purpose of illustrating the use of the products described
herein. Any names, logos and brands referred to belong to their respective owners.
2005. All rights reserved; the reproduction of any part of this manual, in any form, without the manufacturer's specific written
permission is forbidden.
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WICKS CM-100
o VOICE key: Selection key used to access the menus for modifying everything relating to the voice, such
as the timbre parameters, replacement of voices in the stops, the levels of each voice, and so on.
o SETUP key: Press this key to access the menu for modifying the CM-100's general parameters, such
as the MIDI channel, tremulant, reverb, etc. settings.
o DEMO mode: In DEMO mode you can play back eight short pieces of music (which the instrument
plays without any assistance from you) to demonstrate the instrument's timbre qualities: to access this
mode, press the VOICE and SETUP keys simultaneously.
o DATA rotary encoder: The data input device. Once you have selected the parameter for modification
using the cursor keys, you can adjust its value by turning this knob. Turn the encoder clockwise to
increase the value, or anticlockwise to decrease.
o CURSOR S,T, W, X keys: these buttons allow you to move the cursor around the video page on the
display and select the various parameters for modification. What's more, the S and T buttons have
LEDs which come on to indicate the availability of a video page before and/or after the one displayed.
Press the relative button to display the video page you require.
o ENTER key: button which confirms the selection of a function, a value or a procedure.
o EXIT key: button for exiting the current video page or function. Pressing this key also aborts any procedures in progress (where permitted).
o VOLUME trimmer: regulates the instrument's general volume.
o SET key: Press this key to enable the saving of VOICE MEMORIES (see next point).
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o REVERB trimmer: regulates the level of the Reverb effect. When the trimmer is turned to the minimum
(lowest) setting, the effect is disabled.
WICKS CM-100
o VOICES MEMORY keys (from 1 to 8). Press these keys for easy recall of 8 stop (voice) setups saved
earlier by the user. The CM-100 offers a total of 64 memories divided into 8 banks of 8 memories
each. For more information about use of the voice memories, see chapter 4.
o CANCEL key. "Clear" button: press this key to switch off all the voices which may be on.
o WHOLE / SPLIT key. Sets the sound module's operating mode. When the key LED is off, the CM100
is set in WHOLE mode, in which all the voices respond to the same MIDI channel (single manual mode). Press the key to switch on the LED and activate SPLIT (multi-manual) mode, in which the instrument is able to respond to more than one MIDI channel, each channel associated to one or more voices. Press the key again to switch off the LED and revert to whole mode. See chapter 3 for more
information.
o TREMULANT key: activates (LED on) and deactivates the tremulant effect.
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o VOICE REGISTERS (1 to 12) . Press these keys to switch the single voice on (press the lower part)
or off (by pressing the upper part). Note that voices set (and therefore the labels of the keys) may
change according to the country or, as CM-100 is a fully programmable device, according to the customers settings
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WICKS CM-100
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WICKS CM-100
1.3 Connections
Connect the power supply lead supplied with the instrument to the CM-100's A.C. input connector (rear
panel). Then connect the other end of the lead to the mains plug.
Now connect the Loudspeaker boxes (or the amplification system) to the OUTPUTS connectors on the
CM100's rear panel. If you have two diffusers (system recommended minimum) connect them to outputs
1 (left diffuser) and 2 (right diffuser). If you have more than two loudspeaker boxes, read the next point
carefully.
ENGLISH
If you wish to listen to the instrument using headphones, connect them to the Phones output provided.
Remember that connecting the headphones does not cut out any diffusers connected.
Now use a MIDI cable to connect the MIDI OUT connector of your organ (or keyboard) to the CM 100's
MIDI IN connector.
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WICKS CM-100
The fundamental connections have been made and the CM-100 is ready to be switched on.
However, the interfacing options available do not end here: the instrument can be included in complex
MIDI networks or connected to sequencers, computers or other devices. You will find the description of
all these and other connection options in the "controls and connections" chapter of the advanced manual.
1.4 Positioning the loudspeaker boxes
As mentioned in point 1.2, one of the key features of the CM-100 is the implementation of special algorithms that reproduce the acoustic panorama generated by the windchests of a pipe organ.
To ensure that this reproduction is of the highest possible fidelity, it is of fundamental importance for the
loudspeaker boxes to be connected and placed correctly, as shown below
- 2 boxes configuration or connection to the organs amplification (ouputs 1 and 2)
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WICKS CM-100
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WICKS CM-100
The CM-100 offers a number of setup parameters for each output, as well as a range of windchest customisation possibilities: refer to the advanced manual for more information.
Op.System
1.10
After a few moments, the display will automatically switch to the main page.
M.BANK:1 ENSEMBLE:2
TEMPERAMENT:Equal
TRANSP.:+1 TUNE:
0
STATUS:Finish1
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ENGLISH
- STATUS: the status parameter allows you to select 4 memories containing all the instrument's settings,
known as "Finishes". These 4 finishes, known as "Finish1", "Finish2", "Finish3" and Finish4 allow you
to save all the instrument's main performance and timbre parameters, such as the pitch, temperament,
voice parameters, and so on. When a parameter is modified, it will automatically be saved in the current
finish: to confirm that it has been saved, two asterisks (*) will appear on either side of the name of the
finish. For more information about the use and saving of the finishes and restoration of the original finishes, refer to the advanced manual.
WICKS CM-100
ENGLISH
MEANTONE:
- 8 pure major thirds: E flat - G / B flat - D / F - A / C - E / G - B / D - F # / A - C# / E - G.
- 4 unusable major thirds (diminished fourths): B - D# / F# - A# / C# - E# / A flat - C.
- 1 fifth known as the "wolf" (very dissonant extended fifth): A flat - E flat.
- Highly irregular chromatic scale (meaning that chromatic compositions are given a very distinctive voice)
- Keys usable with this temperament: C maj. / D maj. / G maj. / A maj. / B flat maj. and the relative minors.
PYTHAGOREAN: In this temperament, all the fifths are natural except for the "wolf" fifth, in the interval A flat
- E flat, which is greatly diminished.
It dates from the Middle Ages up to the 15th century, and can therefore be used for compositions of that
period.
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WICKS CM-100
The CM-100 has detected that there are no loudspeaker boxes connected to the outputs: you can only
listen to the instrument using the headphones.
Press EXIT to close the video page and return to the main page
WARNING: LINE OUTs HAVE TO BE CONNECTED
CONTIGUOSLY (1 to 6)
press EXIT
The system has detected that the loudspeakers have not been connected correctly, so some outputs
might not work or might malfunction.
Check the connections and make sure that they have been made as described in point 1.4.
Press EXIT to exit
2.3 Listening to the Demo songs
In the CM-100 DEMO mode you can play back a number of short pieces of music, which the instrument
plays itself to demonstrate its timbre qualities (demo songs).
To access the DEMO mode, locate on the main page and press the VOICE and SETUP keys simultaneously. The following video page will appear on the instrument's display.
Select DEMO song with VOICE MEMORY Keys:
There is one demo track associated to each of the VOICE MEMORY keys: simply press the key of the
demo you wish to hear and it will start to play. The display will indicate that the selection has been made
by showing the word PLAYING followed by the name of the song and the progress bar.
Select DEMO song with VOICE MEMORY Keys:
PLAYING: Pescetti_Presto
[/
]
At the end of the piece, the instrument returns to the demo song selection video page.
You can stop the demo at any moment by pressing the EXIT key or pressing the demo song selection
key again.
N.B. The instrument automatically sets the timbre suitable for performance of the demo
song selected: however, this setup can be changed while the song is playing using the
stops on the front panel.
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To exit the DEMO mode, press the VOICE and SETUP keys simultaneously, or the EXIT button: in both
cases the instrument will return to the main video page
WICKS CM-100
The association between the VOICE MEMORY keys and the demo songs is as follows
key
key
key
key
key
key
key
key
1:
2:
3:
4:
5:
6:
7:
8:
ENGLISH
First connect the MIDI OUT connector of your master instrument (organ, keyboard or computer) to the
CM-100's MIDI IN data input port. Use good quality MIDI cables no more than 15 metres long.
Once the connection has been made, the two instruments have to be "tuned" to the same MIDI channel
so that the data exchange can take place correctly.
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WICKS CM-100
Use the CURSOR keys to select the MIDI field (the field is selected when the word MIDI is flashing).
Then press the ENTER key to confirm the selection. The display will show the options of the menu selected.
[WHOLE MODE]
[SPLIT MODE]
[FILTERS]
[BULK DUMP] [CAPTURE VOICE ID]
Press ENTER to select the WHOLE MODE option. The display will show the page for setting of the transmission (TX) and reception (RX) channels.
CHANNEL SELECT
Rx:ALL
Tx: 1
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Use the cursor keys to select the RX option. Turn the encoder to select the channel required in a range
from 1 to 15, taking care that the value set is the same as the master instrument transmission channel.
If the ALL option is selected, the instrument will respond to any MIDI channel.
WICKS CM-100
Once the settings have been made, press EXIT to return to the MIDI menu: the settings will automatically be saved, and will be retained even if the instrument is switched off. From the MIDI menu, you may
return to the main page by pressing EXIT twice.
3.4. Setting the MIDI Reception Channel in SPLIT Mode
Press the WHOLE/SPLIT key to enable the multi-channel mode: when it is enabled, the LED of the key
is constantly on.
The procedure for setting the reception channels is similar to that described in point 3.3: from the main
page, press the SETUP key
[TREMULANT] [REVERB] [MIDI]
[OUTS CTRL]
[FINISH] [EXP. PEDAL]
LCD contrast: 6
Then use the cursor keys to select the MIDI menu (the menu option is selected when it is flashing) and
press ENTER
[WHOLE MODE]
[SPLIT MODE]
[FILTERS]
[BULK DUMP] [CAPTURE VOICE ID]
Using the cursor keys, select the SPLIT MODE option and press ENTER
Ctrbomb32> 1
Schawm4
> 1
Bombard16> 1
Waldhrn16> 1
Bombarde8> 1
Cornopea8> 2
The video page contains the names of all the stops, in accordance with the instrument's current setup,
followed by the value of the midi channel associated to each of them. With the usual procedure, use the
CURSOR keys to select the value to be changed, and then modify it using the encoder.
Note that:
When a stop is selected for modification, both its value on the display and the light in the rocker
Tab switch on the panel flash
A stop can be selected for modification by pressing its key directly on the panel.
Illumination of the LEDs of the [S] and [T] buttons indicates the availability of a video page before
or after the one currently displayed, respectively. Press the relative button to select it.
Once the settings have been made, simply press EXIT to return to the MIDI menu: the settings made will
automatically be enabled and saved. Then press EXIT to return to the SETUP video page, which can be
exited by pressing the same key.
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WICKS CM-100
The CM-100 has 8 voice memory keys, located underneath the stops bar.
4.1 Procedure for saving and recalling voices memories
Saving the contents of a voice memory is simple and intuitive. Once you have created the stop setup
you require, just press the SET key and, keeping it pressed, press the key (from 1 to 8) of the voice
memory of your choice.
To recall a voice memory, simply press the key which contains the programmed setup you require. The
LED of the key comes on and the right stop setup will be activated.
4.2 Using the Memory Banks
The Memory Bank (M.Bank) parameter multiplies the 8 voice memories on the CM100 front panel into
8 different "banks". As well as providing a total of 64 voice memories, this function simplifies use of the
instrument by more than one organist, since each of them will be able to save his or her own settings in
a different Memory Bank.
Obviously, therefore, voice memory 1 in Memory Bank 1 will be different from the same voice memory
in bank 2.
The active Memory Bank is selected from the CM-100 main video page.
M.BANK:1 ENSEMBLE:2
TEMPERAMENT:Equal
TRANSP.:+1 TUNE:
0
STATUS:Finish1
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Use the cursor keys to start the number beside the M.BANK (Memory Bank) field flashing, and turn
the DATA encoder to select the Memory bank required (from 1 to 8)
WICKS CM-100
When the trimmer is turned to the minimum setting, the reverb effect is deactivated; as the trimmer is turned up, the amount of effect will rise in proportion. This means you can make the setting you require
depending on your own taste and the needs of the context in which the CM-100 is installed.
The REVERBERATION TYPE parameter (set using the function provided in the setup menu) allows you
to choose the type of room or building to be simulated.
To do this, press the SETUP button and use the cursor keys to start the word REVERB flashing.
Then press ENTER and the video page shown below will appear on the display.
REVERBERATION type:Church1
ENGLISH
You can now modify the Reverberation Type parameter as you wish by turning the DATA encoder. You
can choose from no less than eight types of room or building simulations, ranging from a large church
with strong reverb and many reflections to a small room with very short, muffled reverb.
Press EXIT to save the selection and return to the SETUP menu, from where you can return to the main
page by pressing EXIT again.
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WICKS CM-100
TREMULANT DEPTH:13
TREMULANT SPEED:14
Use the cursor S and T keys to select the field you require and turn the encoder to enter the values of
your choice: when the operation is complete, the display wll return to the main page.
ENGLISH
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WICKS CM-100
6. VOICE CHANGE
As already mentioned at the beginning of this manual, the CM 100 has a library of 176 organ voices
which the user can freely assign to each of the 12 stops on the instrument's front panel. Once the
voice has been assigned to a stop, it will remain in the memory until the next time it is changed.
Now let us take a detailed look at how to carry out the procedure for changing a stop's voice:
6.1 Voice Change
Starting from the main page, press the VOICE key. The video page with the function's menu will appear on the display:
[EDIT]
[CHANGE]
[VOLUME]
[OUT ROUTER]
[V.F.S.]
[LABEL CHECK]
[SORT VOICES]
Use the cursor keys to select the CHANGE menu option, which will start to flash. Press ENTER and the
display will show the list of voices currently installed on the 12 stops: the stop currently selected will flash
Ctrbomb32
Schawm4
Bombard16
Waldhrn16
Bombarde8
Cornopea8
Then use the cursor keys to select the voice you wish to replace; you can also do this by pressing the
stop of your choice on the front panel.
If the selection is confirmed by pressing ENTER, the display will show
Replace:Ctrbomb32
With:Principals press ENTER to continue
For greater convenience, the CM100's voice library has been subdivided into families, each containing
the voices belonging to a specific type of organ pipe: these include the Principals, Bourdons, Reeds, etc.
So on the current page, turn the encoder to select the family you require and press ENTER to confirm.
(or exit to go back)
Replace:Ctrbomb32
With:CtPrinc32
Press ENTER to replace
ENGLISH
You can now turn the encoder to select the voice of your choice, contained in the family you choose in
the step before. Note that the name of the voices is shown in abbreviated form: the appendix to this
manual contains the name of the voice in full, its acronym, the family to which it belongs and the consecutive number consigned to it.
Remember that when you are selecting a voice, the instrument allows you to listen to it in advance:
if you play the master instrument, you will hear the timbre of the voice currently on the display, before it
is definitively memorised.
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WICKS CM-100
In the usual way, when you press ENTER the new voice selected will replace the one present in the
selected stop. To confirm this has taken place, the display will show the following video page
WARNING!
Tab 1 now is CtPrinc32
- Please change the label -
reminding you that you have to physically change the label on the stop, because its contents have been
changed.
Then press EXIT to scroll back to the previous pages and make a new selection or return to the main
operating page.
6.2 Changing labels
Once you have loaded one or more voices it is a good idea to change the labels of the stops, to ensure that the name of the stop is the same as that of the voice loaded in the memory.
It is very easy to change the labels because they are just pressed into the stop. Remove the label with
your fingers or using a small screwdriver (as shown below) and fit the correct one.
7. FACTORY SETTINGS
The Factory Settings procedure allows you to restore the factory settings of all the instrument's internal
parameters (voices inclueded), deleting all the changes made by the user.
To perform the Factory Settings procedure, switch the instrument on while keeping the Voice memory 1, 2 and 3 keys pressed, until the display shows the following video page
Release the keys. After a few moments, the message confirming that the factory settings have been loaded will be displayed.
FACTORY SETTINGS RESTORED
ENGLISH
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WICKS CM-100
APPENDIX
- CM100 VOICES LIBRARY
ENGLISH
Family: PRINCIPALS
PRINCIPALS
Long name
Display Abbreviation
Contra Principal 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CtPrinc32
Double Open Wood 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DbOpnWd32
Prestant 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Prestnt32
Double Diapason 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DbDiaps16
Open Wood 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .OpenWod16
Prestant 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Prestnt16
Principale 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Princp16A
Principal 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Princp16B
Prinzipal 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Prinzip16
Conical Diapason 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ConicDps8
Diapason 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Diapasn8A
Diapason 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Diapasn8B
Open Diapason 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FstOpDps8
Geigen Diapason 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GeignDps8
Gemshorn 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gemshrn8A
Gemshorn 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gemshrn8B
Gemshoorn 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gemshrn8C
Horn Diapason 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HornDpsn8
Octave Wood 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .OctaveWd8
Ottava 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ottava8
Principal 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PedPrinc8
Prestant 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Prestant8
Principal 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Principl8
Prinzipal 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Prinzip8A
Prinzipal 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Prinzip8B
Prinzipal 8' C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Prinzip8C
Open Diapason 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SndOpDpn8
Octave 4' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FrstOctv4
Octave Geigen 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .OctGeign4
Oktave 4' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oktave4A
Oktave 4' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oktave4B
Oktave 4' C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oktave4C
Ottava 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ottava4
Praestant 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Praestnt4
Principal Octave 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PrcplOct4
Prinzipal Oktave 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PrzplOkt4
Octave 4' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SndOctav4
Violin Diapason Octave 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VlnDpnOc4
Quint 2 2/3' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Quint223A
Quint 2 2/3' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Quint223B
Twelfth 2 2/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Twlfth223
Fifteenth 2' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Fiftenth2
Oktave 2' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oktave2A
Oktave 2' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oktave2B
Super Oktave 2' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SuperOkt2
Superottava 2' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Superott2
Super Octave 2' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SuprOctv2
Terz 1 3/5' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Terz13/5
Larigot 1 1/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Larigt113
Nineteenth 1 1/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nintth113
Page 20
WICKS CM-100
Family: STRINGS
Long name
Display Abbreviation
Contra Violone 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CtVioln32
Gross Gamba 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .GrsGamb16
Violone 16' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Violon16A
Violone 16' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Violon16B
Aeoline 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Aeoline8
Gamba 8' C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gamba8C
Viola 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Viola8
Family: FLUTES
Doppel Flute 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DoplFlut8
Flte 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Flte8
Flte Harmonique 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FltHrmnq8
Flte Traversire 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FltTravr8
Hohlflte 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hohlflt8
Holfluit 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HolFluit8
Traversflte 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Travflt8
Block Flute 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BlckFlut4
Blokfluit 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BlkFluit4
Flauto d'Amore 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FltdAmor4
Harmonic Flute 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HarmFlut4
Major Flute 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MajFlute4
Night Horn 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .NightHrn4
Offenflte 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Offnflt4
Spitzflte 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sptzflt4
Waldflte 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Waldflt4
Flute Twelfth 2 2/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FlutTw223
Blockflte 2' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Blckflt2
Piccolo 2' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Piccolo2A
Piccolo 2' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Piccolo2B
Recorder 2' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Recorder2
Spitsfluit 2' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Spitflut2
Terts 1 3/5' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Terts135
Tierce 1 3/5' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tierce135
Flageoletta 1 1/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Flaglt113
Sifflte 1' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sifflte1
Sifflet 1' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sifflet1
Family: BOURDONS
Page 21
ENGLISH
Long name
Display Abbreviation
Double Lieblich 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DbLiebl32
Major Bass 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MajBass32
Bourdon 16' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bourdon16
Gedackt 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gedackt16
Holzgedackt 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hlzgdkt16
Major Bass 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MajBass16
Minor Bourdon 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MnBourd16
Bourdon 16' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PedBrdn16
Quintadeen 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Quintdn16
Stopped Diapason 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .StpDpsn16
Bordone 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bordone8
WICKS CM-100
Family: BOURDONS
Long name
Display Abbreviation
Chimney Flute 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ChimnyFl8
Quintadeen 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Quintadn8
Rohrflte 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rohrflt8
Rohrgedackt 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rohrgdkt8
Stopped Flute 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .StopdFlt8
Stopped Diapason 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .StpDpsn8A
Stopped Diapason 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .StpDpsn8B
Quintadeen 5 1/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Quintd513
Bourdon 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bourdon4
Spindle Flute 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SpndlFlt4
Nazardo 2 2/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nazrd223A
Nazard 2 2/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nazrd223B
Tapered Twelfth 2 2/3' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TpdTwl223
Woudfluit 2' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Woudflut2
ENGLISH
Family: REEDS
Long name
Display Abbreviation
Controbombarda 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ctrbomb32
Contra Bombarde 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CtrBomb32
Contra Fagotto 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CtFagot32
Ophecleide 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ophecld32
Bombarde 32' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PdlBmbd32
Bombarde 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bombard16
Double Tromba 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .DbTromb16
Dulciana 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dulcian16
Dulciaan 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Dlciaan16
Fagot 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Fagot16
Fagotto 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Fagotto16
Fagott 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Fagott16
Bazuin 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PedBazn16
Trompet 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PedTrpt16
Posaune 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Posaune16
Regaal 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Regaal16
Trombone 16' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Trombn16A
Trombone 16' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Trombn16B
Waldhorn 16' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Waldhrn16
Bombarde 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Bombarde8
Clarinetto 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Clarnet8A
Clarinet 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Clarnet8B
Corno d'Amore 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CornoAmr8
Cornopean 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Cornopea8
Echo Trompet 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EchoTrpt8
Fagotto 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Fagotto8
Voix Humaine 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FrenchVH8
Hobo 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Hobo8
Hobo d'Amour 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .HobodAmr8
Klarinett 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Klarinet8
Kromhoorn 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kromhorn8
Musette 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Musette8
Oboe 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oboe8A
Oboe 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oboe8B
Oboe 8' C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Oboe8C
Orchestral Oboe 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .OrchOboe8
Regaal 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Regaal8
Page 22
WICKS CM-100
Family: REEDS
Long name
Display Abbreviation
Tromba 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Tromba8
Trompette 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Trompet8A
Trompete 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Trompet8B
Trompet 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Trompet8C
Tuba Mirabilis 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .TubaMirb8
Vox Humana 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VoxHumn8A
Vox Humana 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VoxHumn8B
Vox Humana 8' C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VoxHumn8C
Bombarde Clarion 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .BmbdClrn4
Clarion 4' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Clarion4A
Clarion 4' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Clarion4B
Klaroen 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PedKlarn4
Schalmei 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Schalmei4
Shawm 4' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Shawm4
Family: MIXTURES
Long name
Display Abbreviation
Mixture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Mixture
Family: CORNETS
Long name
Display Abbreviation
Kornett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kornett
Sesquialtera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sesquialt
Family: DETUNEDS
Long name
Display Abbreviation
Echo Aeoline 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .EchoAeol8
Flauto Dolce 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FlautoDl8
Flte Celeste 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .FltCel8
Gamba 8' A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gamba8A
Gamba 8' B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Gamba8B
Melodia 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Melodia8
Muted Viole 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MutViole8
Schwebung 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Schwebng8
Viola d'Amour 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VioladAm8
Violin Diapason 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ViolinDp8
Viole de Gambe 8' . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VldeGamb8
ENGLISH
Page 23
WICKS CM-100
ENGLISH
NOTES
Page 24
NOTE: This equipment has been tested and found to comply with the limits for a Class B
digital Device, persuant to Part 15 if the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in a residential installation. This equipment
generates, uses and can radiate radio frequency energy and, if not installed and used in
accordance with the instruction, may cause harmful interference to radio comunications.
However, there is no guarantee that the interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio or television reception, which can be
determinated by turning the equipment off and on, the user is encuraged to try to correct the
interference by one or more of the following measures:
-
The user is cautioned that any changes or modification not expressly approved by the party
responsable for compliance could void the users authority opearate the equipment.