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Guitar Electronics Input/Output Structures Modify: Fender Amp Mxr Phase 100 More Gr- 500 the Ultimate Keyboard

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Guitar Electronics Input/Output Structures Modify: Fender Amp Mxr Phase 100 More Gr- 500 the Ultimate Keyboard J u ly -Aug. 1981 PQLUPHONU $2 .5 0 ELECTRONIC MUSIC & HOME RECORDING ISSN: 0163-4534 GUITAR ELECTRONICS INPUT/OUTPUT STRUCTURES MODIFY: FENDER AMP MXR PHASE 100 MORE GR- 500 THE ULTIMATE KEYBOARD The Prophet-10 is the most complete keyboard instrument available today. The Prophet is a true polyphonic programmable synthesizer with 10 complete voices and 2 manuals. Each 5 voice keyboard has its own programmer allowing two completely different sounds to be played simultaneously. All ten voices can also be played from one keyboard program. Each voice has 2 voltage controlled oscillators, a mixer, a four pole low pass filter, two ADSR envelope generators, a final VCA and independent modula­ tion capabilities. The Prophet-10’s total capabilities are too The Prophet-10 has an optional polyphonic numerous to mention here, but some of the sequencer that can be installed when the Prophet features include: is ordered, or at a later date in the field. It fits * Assignable voice modes (normal, single, completely within the main unit and operates on double, alternate) the lower manual. Various features of the * Stereo and mono balanced and unbalanced sequencer are: outputs * Simplicity; just play normally & record ex­ * Pitch bend and modulation wheels actly what you play. * Polyphonic modulation section * 2500 note capability, and 6 memory banks. * Voice defeat system * Built-in micro-cassette deck for both se­ * Two assignable & programmable control quence and program storage. voltage pedals which can act on each man­ * Extensive editing & overdubbing facilities. ual independently * Exact timing can be programmed, and an * Three-band programmable equalization external clock can be used. * Program increment footswitch * Ability to change programs automatically in * Programmable volume control and a master the sequence. volume control * Transpose facilities for instant pitch * Octave transposition switches changes. * Upper & lower manual balance control * A-440 reference tone The Prophet-10 comes complete with a high quality flight case, two voltage pedals and two foot- switches. It’s now available; see your local dealer. Play the Prophet-10 today-It’s your ULTIMATE KEYBOARD. For more information write to: SEQUENTIAL CIRCUITS, INC. 3051 North First Street Dept. K San Jose, California 95134 --- STAFF --- CONTENTS PUBLISHER John S. Simonton, Jr. ISSN: 0163-4534 EDITOR Craig Anderton Volume 7, Number 1 MANAGING EDITOR July/August 1981 Linda Kay Brumfield FEATURES ART DIRECTOR/ PRODUCTION MGR. Cynthia Rueb Build a $5 Analog Programmer..................9 by Kirk Austin CIRCULATION Ramona French Peggy Walker Tube Tip..................................... 12 by Gerald Michaud BOOKKEEPING Helen Chalos Sample and Hold Composition Technique........13 PRINT PRODUCTION by Geoffrey Collier SEMCO Color Press Applied Synthesis: Marketing your Records.... 21 POLYPHONY (ISSN 0163-4534) is published by Bill Rhodes bimonthly at 1020 W. Wilshire Blvd., Oklahoma City, OK 73116, by Polyphony Fender Amp Mod...............................22 Publishing Co. Entire contents copyright (c) 1981 by Polyphony Publishing Co. All by Lee Powell rights reserved. No portion of this publication may be reproduced in any Taking Control of Your MXR Phase 100........25 manner without written permission from by Matt Richards the publisher. No patent liability is assumed with respect to the use of the information contained herein. Second More GR-500 Comments and Mods....... ’....... 28 Class postage is paid at Oklahoma City, by Robert D. Loney OK 73125. ADVERTISING rate card and deadline schedule is available upon request. Modular Synthesizer Effects..................30 Contact Linda Brumfield at (405) by Jim Aikin 842-5480. DEALERS & DISTRIBUTORS bulk prices are available upon request. Contact Linda Brumfield at (405) 842-5480. COLUMNS & REGULARS SUBSCRIPTION rates: American 1 year 12.00 2 years 22.00 Editor's Note................................. Foreign 1 year 14.00 2 years 26.00 We now accept MasterCharge 1and Visa Letters....................................... payment for subscriptions, back issues, and PolyMart items. Foreign payments must be by charge card, money order, or Reviews....................................... certified check in US funds drawn on a US bank. Current Events................................1 BACK ISSUES are available at $2.00 each ppd. Send SASE and request pur 'Back Issue List' for a complete index of Practical Circuitry...........................1 issues and their features, or see the back issue ad in this issue. Patch.........................................2 CHANGE OF ADDRESS notifications must include your former address and zip code, and any numbers from the mailing Equipment Exchange............................3 label, as well as your new address. When you move, be sure to notify your post office that you DO want second Advertiser's Index.................... 2 class and controlled circulation ublications forwarded. This will save ost or returned issues. Polyphony is On the Cover: photo by Vesta Copestakes not responsible for replacement of lost or returned issues when we have not been supplied with change of address NATIONAL information. ASSOCIATION OF MUSIC MERCHANTS c r PTO POSTMASTER, send address changes to: LU POLYPHONY CD PO Box 20305 Oklahoma City, OK 73156 Ph. (405) 842-5480 ^NAM\A POUPHONU- — July / August 1981 If you've made a record yourself and are trying great for some people, but what if you can't afford to figure out how to market it, then read on...we've an ad? What to do... got some important news for you. Well, we've created an alternate means of mak­ I've been hearing a lot of excellent self- ing music, and proved that we can make music that's produced albums these days; in fact, the quality of as valid as anything coming out of the major labels. these recordings is starting to not just equal, but Next, we have to come up with an alternate means of to surpass the quality of product put out by the distributing. I don't have the answer, but I have a major labels. Interestingly, I recently had a con­ proposal. versation with the leader of a Major Rock Group The proposal is simple: that Polymart put out (hate to drop names, you know), and she was noting a sampler tape or LP, containing a cut or a few that the best drum sounds they were getting were not minutes of music from various self-produced albums. on the 24 track whiz-bang computerized board, but on This way, listeners can buy the sampler for a rela­ the lead guitarist's Portastudio. Why? They had tively low price, and decide what records they would time to experiment, to get the sound just right, and like to hear more of. all their Portastudio sessions took place under Now, there are a few details to the proposal, relaxed circumstances - a distinct contrast from the namely: often nervous atmosphere that prevails in a record­ • Polymart would NOT handle the individual ing studio, where you have to keep one eye on the records, only the sampler. Sources and prices for tuning and the other eye on the budget. all music in the sampler would be printed on the When it comes to independent artists, take album cover, or enclosed with the cassette. someone like Steve Tibbetts. His album was turned • All copyrights would be held by the artist. down by virtually every major label, so he marketed We're not interested in publishing songs; we're it himself. He's sold about 5000 copies of his 2nd interested in helping you get your music across. album, "Yr" (which is excellent by any standards), You would give us the right to use the excerpt of and the sales show no signs of letting up. your choice (not to exceed, say, 4 minutes) on the Then there's the fellow who calls me up sampler in return for the promotional advantage it periodically and plays me selections from his album would give you. in progress over the phone. It's all synthesizer, • Artists on the sampler would agree to re­ all fresh, and again, up to a very high standard of ceive no royalties for the use of their excerpt on quality. the sampler. The object of the sampler is to get as These independent musicians would appear to much music as possible out to the public for the have everything going for them: good studios, a minimum possible price; paying royalties would force good product, excellent music, and a degree of in­ an increase in the price of the sampler that might novation that you're just not going to find on the prevent people from buying it. Realize, though, radio. But they are lacking one thing: Distribu­ that Polymart would have to make some money off the tion. sampler, both in order to cover expenses and, if What brought this home to be was an album by possible, take out ads for the sampler in other Bill Rhodes, who also writes for Polyphony (see the magazines. article on marketing your own record in this issue). Interested? I thought you would be. Here's I had never heard of Bill Rhodes, but he had heard what to do. of me, so he sent me the album. The music was good, Send a copy of your LP or EP to SAMPLER, Poly­ but that's not the point...the point is that his mart, PO Box 20305, Oklahoma City, OK 73156, and work would appeal to lots of people, but since not indicate which selection you would like to have everybody is as visible as I am, most people will included on the sampler. We will then send you a probably never hear about it. form to sign giving us the right to use your I've played Steve Tibbetts' album for lots of material on the sampler, and also tell you when we people, and virtually everybody loves it. But, they expect to release the sampler. At the moment, I would never have known about the album had I not have no idea how many records we'll get; we may put played it for them first.
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