The Internet Archive has a mission to provide "universal access to all knowledge". Amen to that!
The document seems to have come from here : http://www.loscha.com/scans
which has a number of other interesting synth related documents, including another version of the IC guide book.
The manual contains details of the two chips used on each tone generator board. Ten years ago (blimey) I wrote about the polyphony. I mentioned in passing that the SS30 has two oscillators per note. This post expands on that and, although it still isn't the whole story of how the sounds are generated in the SS30, it is where it all starts.
The SS30 tones start with a pair of oscillator circuits built from discrete parts. These are free-running VCOs with control for the pitch and detune. They share a common master tune and vibrato input and one also has the detune control input . The output frequency of these VCOs is much higher than what you will end up hearing though.They both produce 500 KHz signals.
These two signals are then feed to a pair of YM25400 Digital Tone Generator chips as the master clock input.
Each cascades of these Digital Tone Generators output a divided down clock which is passed on to next generator board for further division. 500KHz - 250KHz - 125KHz - 62.5KHz
The YM25400 derives 13 tones (an octave + 1, C0 - C1) from the master input clock. Each YM25400 then feeds a further pair of LM3211 frequency divider chips.
The two octaves are named using the eight-foot-pitch naming convention. The initial octave direct from the YM25400's at the 8' and the one below is the 16'.
By now you may be thinking we're going to end up with not with 49 tones for the 49 keys but more like two hundred tones! And we do, but not all at once. Firstly the outputs of the YM25400s and LM3211s are mixed in pairs. Each tone that come out of the G boards is a combination of two square waves - and quite a strange combination too, which I will cover in a later post. If I can actually figure out what is going on!
So, there are actually half that number, but still double the number of keys. The reason for that is the G boards generate Violin, Viola and Cello tones. The various outputs of the G boards are split, switched in and out and combined in various ways to provide the various options selectable from the front panel. At it's simplest you can play the bottom octave, the G1 board, as violin/viola or Cello. When playing as Violin/Viola you only use one half of the G1 boards output. And when you change the split and play Cello you use the other half of the G1 board. It becomes more complicated on the other boards. G2 is split twice, so you get Cello half way through an octave at F as well as at C, and G3 and G4 don't out put any Cello. It gets very confusing in the schematic but is quite simple in the end.