$2.50 M ^ p h o a y ELECTRONICS-MUSIC-HOME RECORDING A p ril 1985

SEQUENTIAL’S SIX REVIEWED

ESIZING IC PIANO BUILDf A VOLTAGE STATE V MIDI IUM URE NEW! VIDEO FO BY DO RTED WITH

4534 t TASCAM, we’re obsessed with your music. We’re A driven to providing the technology that will give you back everything you put into your sound. With advanced recorder/reproducers that focus on your At Tascam, specific needs, delivering the ultimate in signal quality, dependability and multi-track versatility. We built our 8-track 38 for the professional who demands uncompromising quality at a very economical Your M usic price. You get full 8-track flexibility, plus the exacting precision of TASCAM-built heads, with sync response equal to repro response. If your next step in audio is video, our SMPTE- Drives Us to compatible 8-track 48 can move your music right into the picture. Balanced/unbalanced, the hard-working 48 features full microprocessor 3-motor servo control for fast recording and editing. E xtrem es. For rugged sophistication, our SMPTE-compatible 58 is built for rapid, high-torque tape shuttling. The 58 is the industry’s first V2” 8-track with the engineering depth of a 1” machine. Its unique Omega Drive provides the ultimate in tape to head contact, assures superb tape path stability and eliminates tape stretch and bounce. Each TASCAM 8-track is part of its own series, allowing you to easily build a complete system with outstanding half-tracks and four-tracks engineered to the same stringent TASCAM standards. For even broader needs, our 85-16B moves you into full 16 track production. We’ve carried our technology to extremes, so that wherever you want to go with your music, we’ve got a system to take you there. See your TASCAM dealer today, or write TASCAM, TEAC Professional Division, TASCAM 7733 Telegraph Road, Montebello, CA 90640, (213) 726-0303. Copyright 1984-TEAC Corporation of America

Nobody makes a broader line of professional recorder/reproducers than TASCAM. STAFF CONTENTS---- PUBLISHER ISSN: 0163-4534 John S. Simonton, Jr. Po^ptumy EDITOR VOLUME 10, NUMBER 2 Craig Anderton APRIL, 1985 EDITORIAL ASSISTANT Vanessa Else Covering the months of February and April, 1985

MANAGING EDITOR Linda Kay Brumfield

PRODUCTION MANAGER Add a Noise Generator to your Organtua TECHNICAL ILLLUSTRATOR By: Ron Oberholtzer ...... 42 Caroline Wood CDs CIRCULATION By: Robert Carlberg ...... 28 Ramona French Grounding and Shielding Seminar: A Review Peggy Walker By: Vanessa Else ...... 40 BOOKEEPING Justly Tuned Guitar Cathi Boggs By: David B. Doty...... 38

MIDI: Recording Medium of the Future PRINT PRODUCTION By: David Albin ...... 6 SEMCO Color Press Optical Disk Drum Machine By: James Lisowski ...... 22 POLYPHONY (ISSN 0163-4534) is published bimonthly at 1020 W. Wilshire Blvd., Sequential Circuits 610 MIDI Six-Trak Review Oklahoma City, OK 73116, by Polyphony By: Chuck Pogan ...... 32 Publishing Co. Entire contents copyright (c) 1984 by Polyphony Publishing Co. All The Man Behind Musicom: Felix Visser rights reserved. No portion of_ this By: Craig Anderton ...... 18 publication may be reproduced in any manner without written permission from Twin-T Test Oscillator the publisher. Second Class postage is By: Jack Orman ...... 1414 paid at Oklahoma City, OK 73125. ADVERTISING rate card and deadline schedule is available upon request. Contact Linda Brumfield at (405) 842-5480. Applied Synthesis: Once Again Upon a Piano DEALERS & DISTRIBUTORS bulk prices are By: Bill Rhodes ...... 12 available upon request. Contact Linda Brumfield at (405) 842-5480. Editorial The Last issue of POLYPHONY SUBSCRIPTION rates: BY: Linda Simonton...... 15 American 1 year $12.00 2 years $22.00 On Location: Foreign 1 year $14.00 Musicom 84, Holland 2 years $26.00 By: Craig Anderton ...... 16 We now accept MasterCharge and Visa payment for subscriptions, back issues, Practical Circuitry ana PolyMart items. Foreign payments Build a Voltage-Controlled State Variable Filter must be by charge card, money order, or By: Thomas Henry...... 8 certified check in US funds drawn on a US bank. Re-View By: Robert Carlberg ...... 5 BACK ISSUES are available at $2.50 each ppd. Send SASE and request 9 ur 'Back Video Focus: Issue List' for a complete index of The Forgotten Technology issues and their features, or see the By: Don Slepian ...... 30 back issue ad in this issue. CHANGE OF ADDRESS notifications must include your former address and zip code, and any numbers from the mailing label, as well as your new address. When you move, be sure to notify your Advertiser's Index...... 42 post office that you DO want second class and controlled circulation Current Events ...... 26 ublications forwarded. This will save fost or returned issues. Polyphony is DataBank ...... 37 not responsible for replacement of lost or returned issues when we have not been Equipment Exchange ...... 42 supplied with change of address information. Letters ...... 4

TO POSTMASTER, send address changes to: NOTE: Subscriptions are fulfilled by volume and issue POLYPHONY numbers rather than months. This combined month issue counts PO Box 20305 as one volume and issue on your subscription fulfillment. Oklahoma City, OK 73156 Ph. (405) 842-5480 ON THE COVER: A Silk Screen Print by: Piet Jan Blauw

P o lyphony April 1985 3 WIND PLAYERS VOCALISTS

You can use yo u r own instrument or voice to control any standard synthesizer, with more expressiveness than C-64 MICRO-DRUMS!

I was just reading the August the vocoder/Stringz combination '84 issue of Polyphony (excellent, would be your most cost-effective as usual) and thought I'd cast my option. vote in favor or a C-64 implemen­ tation of Micro-Drums (I'm sure many other Polyphony readers are MORE GUITAR! Commodore owners). I am an electric guitarist Mike Dolan and a very interested reader of Bristol, TN Polyphony. Although I realize that the electric guitar has lit­ tle to do with synthesizers (un­ OOOH...AHHH! less you have a guitar synthe­ sizer), I am annoyed by the fact I have read and thoroughly that most of your projects are enjoyed "Electronic Projects for written with only the keyboard Musicians” and "Home Recording for synthesist in mind. Is it assumed Musicians". I have also built that there are too few guitar qentle electric several of the Craig Anderton PAIA playing readers out there to con­ U D ept p projects, to my complete satisfac­ sider? P.O. Box 132, Delta, CO 81416 tion. Now I have an interesting A super envelope follower 3 0 3 - 874-8054 / 3 0 3 - 874-7171 idea for a project. Would it be project would be nice. It would possible to connect a keyboard enable an electric guitar, bass, with oscillators and chorusing or microphone to use and control SAVE BY BUILDING circuit to a speech synthesis chip many of your past projects: VCFs, to produce a keyboard that could VCLFOs, etc. that are voltage OUR R A C K M OUNT sing oooh, ahhh, la, da, etc.? controlled. Also, in future arti­ Such a unique keyboard would be cles where a guitar might be ap­ STUDIO very useful for my home studio. plicable, a mention of some sort Even better, could such a circuit as to how the guitar can be ap­ EQUIPMENT be added to a Stringz 'N Things? plied would be appreciated. Any thoughts or opinions would be I enjoy Polyphony and plan to QUADRAFUZZ — four separate fre­ greatly appreciated. continue receiving it. I have quency bands of distortion are mixed learned many things I would not for the smoothest fuzz you’ve.ever Jon Hand have learned elsewhere. heard, no.6720...... *...... $39.88 Pulaski, TN HYPERFLANGE/CHORUS - the Tom Carter cleanest, widest range, most versatile Jon — Actually, there are San Carlos, CA flanger anywhere at any price. • several ways to do what you want no. 6750...... $149.95 to do. A speech synthesizer chip Tom — We are always looking would probably not be satisfac­ for guitar-oriented articles, but VOCODEJR — unmatched perfor­ tory, as these have a kind of "Mr. don't receive too many from read­ mance in a versatile, low cost rack Roboto" timbre which tends to ers. I would write them myself, package, no. 6710...... $99.95 grate after a while — certainly except that I already covered the subject of guitar interfacing HhOT^SPRiNGS ■— user’s agree, short not the dulcet tones of a choir. fairly thoroughly in DEVICE (see of studio plate systems, you won’t I have had very good results using vocoders with Stringz 'N Thingz to Polymart). DEVICE contained an find a better reverb at any price.-

no. 6740...... $59.95 produce vocal/choir effects; in ongoing series on the AMS-100, a ADD $3 SHIPPING fact, PAIA has just come out with trigger-oriented audio modifica­ FOR EACH KIT ORDERED an under $100 vocoder which would tion system for guitar and other probably give the exact effects electric signal sources (I still Innovative, cost effective designs by use the AMS-100 all the time in my Craig Anderton in easy to assemble which you seek. If you want to kits from: invest some big bucks, the Emula­ own studio). The AMS-100 inter­ tor II can do fantastic vocal faces guitar to many existing IB iA Electronics, Inc. simulations via sampling; Ensoniq modules, as well as custom Direct mailorders and inquiries to: Dept. 11Y has also just released an under- modules. Older issues of Poly­ 1020 W. W ilsh ire , O klahom a City, O K 73114 (405)843-9626 phony also contain some AMS-100 ______Ask for your free catalog. $2000 sampling keyboard, although add-ons. Until more readers get CHARGE TO VISA OR MC TOLL- FREE I have not yet had a chance to 1-800‘654'8657 9am to spm c s t mon-fri check it out. Overall, I think (continued on page 33 ) Polyphony ------April 1985 Robert Carlberg’s I re-view

Laurie Anderson United States David Snow The Passion and Trans­ (Warner Bros. 25192-1). A 5-LP figuration of a Post-Apocalyptic set of the complete United Eunuch (Opus One 59). Only from States" performance piece, taped a university electronic music stu­ live during the Feb '83 debut of dio (in this case Yale) could you the whole thing. This is meant to get a concept album about eunuchs be a companion to the book of the and cockroaches after a nuclear visuals form the show (reviewed war. Fragments of jazz, rock, and October). It's a fabulous job of Zappaesque humor are combined with live recording, with just the an unrestrained students' verse. right amount of audience response and hall acoustics — if you're not already Lauried out. NEW f r o m POLYMART The digital delay handbook by Craig Anderton is the most detailed book in print on a subject of importance to all modern musicians and recording engineers. Contains sixty-nine different applications, suitable for a variety of instruments, which help you Data Bank A The Citadel (K02). unlock the hidden potential in Rhythm box rock. Last October I v ir t u a lly any delay lin e . described it as similar to Peter Special sections deal with Tangerine Dream Poland (Jive Baumann. This time Andy Szava- using the rear panel jacks, Electro HIP 22). Live albums have long delay techniques and Kovats' songs are meatier, and His been good for the Dream because multiple delay line monotone vocals recall Iggy Pop as they don't just repeat their hits. applications. Also covers much as Baumann. $6 from 262 The extended side-long improvisa­ short delay applications, Mammoth Road, Lowell, MA 01854. automatic flanging, phase tion, which they practically in­ shifter simulation, doubling, vented, still works due to their Various Synthesis Ltd. (ARM “bathtub* reverb, echo, and intelligent synthesizing and un­ 8487), A project of the Elec­ much more. ceasing diversity. Nobody does it tronic Music Club of Saddleback Whether 1ive or in the better. College, although this is not some studio, th is handbook helps you dry academic noodling. No, here create signal processing magic with one of the most popular are twelve pop-oriented pro­ and commonly available effects. fessional-quality tunes, well re­ Easy to follow text with many corded and coherent despite the clear diagrams make this a book numerous contributors. Saddle­ which must be part of your back's "best-kept secret” indeed! 1ib ra ry . $5 from the club, 28000 Marguerite Parkway, Mission Viejo, CA 92692. Order on the polymart order form just mail a check or money order for *9.95 plus .50 postage & handling to Polymart SYNTHESIS LTD. and tell us you want the DIGITAL DELAY HANDBOOK.

Penguin Cafe Orchestra Bro a d ­ SHIP TO: casting from Home (Editions EG Name: ______38). Simon Jeffes' utterly ori­ ginal music is sorta classical, City • Zip . sorta Terry Riley, sorta acoustic Laurie Anderson. It can't be

categorized, anticipated or ig­ MasterCharge Bank # . Expiration Date . nored . Signature ______MAIL t o : (continued on page 20 ) POLYMART I*o(yj>lu>ivy POBOX 20305 OKLAHOMA CITY, OK 73156 MIDI:------RECORDING MEDIUM OF THE FUTURE BYs DAVID ALBIN

MIDI has settled down and is store 17 seconds of eight tracks What makes MIDI so useful for starting to make a real impact in of sound. A typical length for a recording is that different data the music world. Some of its short song would be about 170 can be assigned to different chan­ impact is for live playing situa­ seconds (just under three min­ nel numbers. This is just like tions, where performers can work utes). Therefore, to record eight assigning sounds to different with a simplified keyboard setup tracks of even a short song would tracks on a multi-track recorder. on-stage and control off-stage take about 40 Megabytes of RAM, These channels can retain indepen­ synthesizers. Many bands now have Although it might be possible to dent information, and play back "keyboard technicians" who load use data compression and the like through independent instruments. disks, change channel assignments, to save memory, we're still talk­ For example, the data in MIDI and so on for these remote key­ ing about a very expensive system. channel 1 can play a bass line boards. But MIDI is of great use through a MIDI instrument set to in the studio, too. In fact, we The way to solve this problem receive on channel 1, the data in are starting to see the develop­ is to store musical information^in MIDI channel 2 could play a brass ment of "MIDI studios" which are "shorthand." Instead of having to line through something like a DX-7 in about the same state of sophis­ use up Megabytes of RAM to store set to receive on channel 2, and tication as analog home recording the actual sound, we record data so on. One other important point was in the late 70s. The birth of indicating when the note started, that people sometimes overlook is the MIDI studio doesn't mean it's what pitch it is, if any pitch that each channel can contain time to trade in your TASCAM or changes (modulation) occur during polyphonic information, so chords Fostex gear yet, because there are the duration of the note, and when can be recorded in a channel just many things that MIDI cannot do. the note stops. This obviously as easily as single notes. Those who are interested in re­ would take up a lot less memory. cording, though, cannot afford to Again using the Emulator II as a Before describing what makes ignore MIDI's implications. This means of comparison, that same up a MIDI recording system, let's article will describe the concept half Megabyte which stores 17 talk about some of the advantages. behind a MIDI studio and the com­ seconds of sound can store the By recording in RAM you need not ponents that make up such a stu­ information for 90,000 notes! concern yourself with tape prob­ dio. lems such as alignment, head MIDI, of course, is perfectly cleaning, azimuth adjustments, and The MIDI studio concept. suited to be the language that so on. Also, long rewind and fast With a conventional analog studio, defines notes since it has pro­ forward times are no longer a sound waves (or electrical im­ visions to communicate note on, problem, which saves a tremendous pulses, if you're going direct) note off, pitch, and modulation amount of work time. Finally, are recorded on tape. The varia­ parameters. This MIDI data is there is no signal degradation. tions in magnetic flux on the tape recorded into RAM as data. On Recording a sound on tape adds are analogous to the sound waves playback, this data is played back hiss, distortion, and other prob­ or impulses. Therefore, the ana­ into any device with a MIDI port. lems. With MIDI recording, you log tape stores the actual sound, In many ways, what we have done is are not recording sound but data and playing back the tape plays created a modern player piano — — and when the data plays back back a replica of the' original but one with far greater flexi­ into an instrument, the instrument sound. bility, ease of use, and timbral will produce its sound in real possibilities. It should be noted time. Well, almost real time. MIDI recording uses semicon­ that the concept of recording data MIDI does have some delays, but ductor memory instead of tape to instead of sound existed before these are of little consequence store sounds. However, to sample MIDI, with the Oberheim "System," unless you are trying to simul­ sounds and record the actual the Fairlight CMI and the Syn- taneously play many notes on many sounds into memory would use up a clavier being perhaps the best instruments. prohibitive amount of memory. As examples of this type of approach. a point of comparison, the Emula­ However, MIDI certainly stream­ However, before we write off tor II has about a half-megabyte lines matters since it allows for tape completely, remember that of RAM and stores a little over 17 a great degree of compatibility acoustic instruments, the human seconds of sound. If you think of between different makes of equip­ voice, and many other instruments this as one track of a recording, ment. do not lend themselves to MIDI .then you would need 4 Megabytes to recording. In practice, although

6 April 1985 MIDI recording can stand on its been recorded .aries greatly as you for a while! This assumes own for some applications it is well. The main rule is try before that you have 16 MIDI instruments more commonly used in conjunction you buy. No one sequencer has to sequence, but don't forget that with a conventional analog multi­ everything, so it is up to you to buying 16 high-quality MIDI voices track recorder. The combination anticipate your needs and choose is considerably cheaper than buy­ of the two is extremely powerful, the device that fits your musical ing a 24 track recorder, let alone as we will see later on. desires. a 32 track (and think of all the money you'll save not having to MIDI studio components. The You will also need several buy 2" tape). Plus you won't need most important element is the'MIDI MIDI sound generating devices, and noise reduction on the MIDI in­ sequencer, which is the equivalent this represents a considerable struments. Throw in a SMPL system of the multi-track recorder. The expenditure. Any keyboard with a with chase lock, and you can even least expensive way to get started MIDI input will do, of course, but lock your MIDI gear to the tape with MIDI sequencing is to hook a don't overlook expander modules recorder so that you can auto- MIDI interface to a personal com­ and mini-keyboards with MIDI in­ locate the MIDI parts as well as puter like the Commodore 64 or puts. Casio's CZ-101 lists for the tape. The mind boggles, as Apple, and record data in the under $500 but can provide four does the bank account. But no computer's memory. Data can be independently addressable MIDI matter how you look at it, you saved on diskette or cassette, single-note lines. The sound will obtain a quality of sound providing the computer has pro­ quality wouldn't be mistaken for a that would have costs hundreds of visions for this. Passport Prophet, but it's a quick way to thousands of dollars a couple of Designs, Sequential Circuits, add a bass part or whatnot. The years ago. By that standard, a MusicData, and many others offer Sequential Six-Trak is another MIDl/analog recording setup is a this kind of package. good option; it's not too expen­ bargain, and as with everything sive and provides six independent else that's computer-based prices The next step up is a dedi­ single-note lines which, while not will probably decline further in cated MIDI sequencer. Probably always rich sounding, are flexible the future. the unit getting the most atten­ and easy with which to work. Korg tion these days is the Yamaha QX1, makes an expander version of the One other thing about a MIDI which lists for $2,795. It fea­ Poly-800, and Roland offers rack- studio: you can play tricks you tures a built-in 5-1/4" disk mount MIDI modules. Probably the just couldn't pl.ay with a normal drive, eight tracks, and an 80,000 king of the expanders, though, is recording setup. With an analog note capacity. The QX1 makes no the Oberheim Xpander. Not only recorder, if you record a violin sound of its own (just like a tape does it provide up to six individ­ line and think it would send bet­ recorder) and is strictly a con­ ually addressable MIDI voices of ter as a cello, you would have to troller. Of course, Yamaha would superb sound quality, but the MIDI re-record the part. With a MIDI like you to control their MIDI implementation is one of the most instrument, the note information devices, but you are not limited universal and complete in the remains the same and all you would to using their products. industry. Anyone interested in a have to do is change patches. MIDI recording setup would be Also, MIDI sequencers can typical­

Several musical instruments well-advised to look into the ly be slowed down and sped up by also include built-in MIDI sequen­ Xpander. outrageous amounts — much more cers. The Linn 9000, in itself a than the variable speed option on great drum machine, features a Putting the MIDI recording most recorders, and without timbre very complete MIDI sequencer. The studio in context. One of the or frequency shifts! Even the Emulator II includes an 8 track most exciting things about MIDI slowest players can play parts in MIDI sequencer that stores veloci­ recording is that you can usually a MIDI studio. ty and modulation settings. The sync the MIDI sequencer to one Oberheim DSX/0B-8 combination can track of an analog recorder. This Acknowledgment. Much of this be retrofitted for MIDI, with DSX means that the MIDI instruments article was inspired by a seminar data appearing over the 0B-8's never have to be recorded on tape. I attended on MIDI and synchroni­ MIDI port. If you have one of the During mixdown, you just run the zation given by Craig Anderton. these instruments, you are already analog tracks and the MIDI instru­ When I suggested he write up his well on your way to having a MIDI ment outputs into the master tape. talk, he said he didn't have time s tudio. The MIDI tracks are called "vir­ but was willing to help me with an tual tracks" because they never article provided that I submitted All sequencers are not alike, exist on tape, but act as if they it to Polyphony. For further however. Generally, sequencers do. If you have a sampling in­ information, I recommend writing are available in 4, 8, and 16 strument like Ensoniq's Mirage or away to manufacturers for litera­ track versions. You should at an Emulator II, you can even ture on MIDI sequencers. And least be able to punch-in and sample acoustic instruments and start experimenting! The only way punch-out, and have optional auto­ sequence them along with the tape you'll learn how to use MIDI is to correction (quantization) to tracks. start using it. Even if you've smooth out human timing errors (if been baffled by how it works, desired). Some sequencers store Have you always wanted to go everything falls into place once more notes than others, some can 24 track but didn't have the you actually sit down with the record modulation settings and money? By synching a 16 track gear. some can't, and some let you MIDI sequencer to a Fostex B-16, bounce data tracks together. Ease you'll have 31 tracks (32 minus of editing notes once they have the sync track). That should hold V______I\)(y|>li

By: Thomas Henry

Looking for a versatile sound sizer, Che state variable filter sure to refer Co Bernie Hutchins' modifier Co add Co your synthe­ should be voltage-controlled. excellent manual, Laboratory Prob­ sizer system? Then consider a Typically you will want a one volt lems and Examples in Active, Vol­ state variable filter, a filter per octave control input; this tage-Controlled, and Delay Line with a single audio input but lets the filter track a VCO so Networks, published in 1978 by three independent outputs (low- Chat Che resulting waveshape re­ Electronotes (see DataBank, p.37). pass, bandpass or highpass re­ mains unchanged as you play notes This provides a good mathematical sponse). As you might expect, up and down the entire keyboard. treatment, an explanation of how these multiple outputs — which For dynamic effects, an envelope to add voltage-control to state may be used simultaneously if input should be available Coo. variable filters, and several desired — offer quite a few more This allows an ADSR, for example, practical circuits as well. For waveshaping options Chan most oth­ Co modulate Che filter, thus gen­ our purposes, however, we'll sim­ er filters! In this installment erating a timbre which changes ply consider a state variable of "Practical Circuitry" we'll see with time. Finally, coarse and filter to be composed of two inte­ how to build one of these mar­ fine tuning controls are handy Co grators and a summer (mixer) and velous devices; and despite Che have since they allow you Co pre­ assume that hooking these three seemingly exotic nature of Che cisely set Che initial cutoff circuits together correctly does state variable filter, the simpli­ frequency of Che filter. indeed lead to a state variable city of the circuit might surprise Reliability is always an im­ design. you. Let's look k little closer portant aspect Co consider in the In Fig. 1, the summer is easy at this neat filter. design of synthesizer modules. Co find; it consists of amplifier This includes, among other as­ A1 and associated components. What Is A State Variable pects, the notion of temperature Notice that it sums the input Filter? This circuit uses a two stability. To make a state varia­ signal, a return path from the Q pole design, meaning that Che ble filter as useful as possible, control, and Che "loop” path from response of Che lowpass and high- provision should be made for tem­ the lowpass output. The integra­ pass outputs roll off at a rate of perature compensation. This in­ tors are composed of op amps, twelve deciBels per octave. The sures that the unit will work capacitors, and transconductors. bandpass output obeys a six dB per predictably and reliably at any For example, Che first integrator octave pattern. Although these temperature. As it turns out, (reading the schematic from left figures are low compared to Che this feature isn't that hard to Co right) is composed of A2 and results obtainable with four pole include in the design. C4, with one-half of Che CEM3330 designs, for some applications Che These comments should give VCA chip acting as Che transcon­ two pole filter's gentler rolloff you an idea of what a state varia­ ductor. (A3, C5 and Che other half can actually be more musically ble filter is all about and what a of the CEM3330 form the other appropriate. (Editor's note: good implementation for one should integrator.) The transconductor's Certain top-of-the-line synthe­ include. Let's look at the sche­ purpose is Co allow a varying sizers, such as Che Oberheim OB-8, matic for a tested design and amount of current Co flow into Che allow for a choice between two and check out some of these features integrator while under voltage four pole filter response.) Also, in greater detail. control. Ultimately, the control a special Q control allows you Co voltage determines the cutoff fre­ add a peak Co the critical fre­ A Practical Design. Refer to quency of Che entire filter. quency of Che circuit, and this Fig. 1. The mathematical deriva­ We've been discussing the can generate some really wild tion of a state variable filter circuit in rather broad terms so "wah-wah” effects. Subtle timbre isn't Coo difficult, but in keep­ far; let's get more specific and changes are possible Coo, as you ing with the title of this column, examine some of the actual compon­ will discover if you build this we'll skip over it. If you're ents comprising the state variable fascinating circuit. interested in seeing exactly how filter. The signal to be filtered To be usable within a synthe­ one of these puppies works, be is injected into the circuit at

8 Polyphony April 1985 flg.l

Jl. Switch SI lets you choose AC offers a number of advantages over features that both VCAs within the or DC coupling. When filtering the methods described above. CEM3330 share in common. Let's audio signals, you can flip SI to First, the chip includes two iden­ now consider some aspects of the the AC position and C8 will block tical VCAs in one package (and the individual VCAs. To this end, any undesired offsets. On the state variable filter needs two we'll examine the half of the chip other hand, you may have occasion transconductors). Secondly, the associated with op amp A2 in Fig. to process DC control signals CEM3330 has noise and dynamic 1, keeping in mind that the other (this can produce some fascinating range characteristics which are half works in a similar fashion. control voltage waveshapes); leave clearly superior to FETs or 3080s. R17 is the input resistor for the SI in the DC position for this Lastly, and perhaps most impor­ VCA, and converts the input vol­ application. tantly, the chip is already set up tage to a current in a range with R27 lets you attenuate the to generate an exponential re­ which the CEM3330 can work effi­ input as needed. The state varia­ sponse, thus obviating the need ciently. R8 and C6 (along with ble filter is designed to handle a for matched pair transistors and Cl) compensate the gain cell, and standard 10V p-p signal with very other exotic components. D1 prevents latch-up during un­ low distortion, but if the input Let's look at the basic power usual conditions. R30 in tandem rises above this (perhaps when requirements of the CEM3330. Pin with R21 allows for nulling out filtering a mix of several "hot" 10 connects directly to the posi­ input offsets, about which more signals), then R27 can tame the tive supply. An on-board Zener will be said later. input accordingly. regulator simplifies the task of But what about the voltage The lowpass, bandpass, and generating a suitable negative control aspects of the VCA? Well, highpass outputs are available at supply voltage at pin 5; R4 limits refuting Murphy's law, things J4, J3, and J2 respectively. R7, the current going to the Zener really do work out well here. R6, and R5 trim the output impe­ diode. Pin 18 connects to ground. Although the CEM3330 contains all dances of these three outputs to a (Note that balance pins 3 and 17 sorts of neat logarithmic con­ standard value of IK. are also grounded since the verters and whatnot, we can bypass All voltage controlled state balance feature is not needed in the entire lot, thus greatly sim­ variable filters need some sort of this application.) plifying the design and adding to transconductor, or voltage-con­ A special feature of this the temperature stability of the trolled resistor. In the past, chip is the way in which the circuit as well. The normal FETs, 3080s and some of the newer operating mode for the amplifiers linear and exponential control transconductance op amps (like the may be selected. I decided on inputs (at pins 7 and 6, respec­ LM13600 and CA3280) have been used Class A operation for this cir­ tively) are ignored entirely and for this purpose. None of these cuit, and so set Rll at 6.8k, as the control voltage is instead methods really appealed to me, so recommended in the spec sheet for applied directly to pin 2. This I scoured the literature for a the CEM3330. This resistor con­ is a really slick approach; note better and simpler way to imple­ nects pin 8 to pin 5 (which as we that pin 2 is even ganged with pin ment the transconductor. After have seen, is the negative supply 15, the control input for the much research, I finally arrived pin for the chip). other transconductor. What could at the CEM3330. This excellent IC So far we have looked at be easier!

P olyphony April 1985 9 Let's move on and now consi­ and see exactly how to construct der the control-voltage summer for and adjust the state variable the circuit. A4 and its asso­ filter. ciated components handle this job. Parts List An exponential, one volt per oc­ Building the State Variable tave control signal (from a key­ Filter. While this design is very (If you do not understand parts board, for example) can be applied compact and simple, one of the specifications see Databank, p.@@, to jack J6, and this is sent to ti ^ecffs for this simplicity is under Intt'l. Parts Specification the summer unimpeded by R19. An that several of the parts won't be Standard.) envelope-control signal may be commonly found at your local injected via J5. Note that R14 dealer. In fact, you will probab­ Resistors (all values in Ohms) gives this input a gain of about ly have to put in orders to two, while attenuator R23 allows several mail order houses to get RI 47 you to tame the control voltage as all of the parts together, since R2 100 trimmer desired. This duo guarantees that as far as I can determine no one R3 390 the envelope input will give the supplier seems to stock all of the R4 680 broadest range of control possi­ parts needed. Here are a few tips R5 - R9 lk ble, allowing anything from small on procuring the unusual parts. R10 2k Q81 thermistor to monstrous sweeps. Fig. 2 shows the complete Rll 6k8 R25 is the coarse tuning parts list for the state variable RI2 27k control. This control will sweep filter; use this as your shopping R13 33k the filter's cutoff over a range list. The CEM3330 is available R14 47k of up to a dozen octaves or so. from PAiA Electronics for about $8 RI5 - R20 100k Due to a characteristic of the plus shipping and handling. Jame- R21, R22 100k trimmer CEM3330, the positive end of this co Electronics stocks the TL074 R23 - R27 100k pot potentiometer is limited by R13, quad BIFET op amp used in this R28 330k and this tends to make the control design. The 100 pF polystyrene R29 100k more useful in its midrange. For capacitors used to be fairly hard R30, R31 470k similar reasons, R28 adds in a to find, but fortunately PGS Elec­ R32 3M3 fixed negative offset to the sum­ tronics now stocks them for about mer network. To make smaller a quarter apiece. The 2k Q81 adjustments possible, R24 and R32 thermistor is made by Tel Labs; if capacitors implement a fine tuning control. you can't locate a 2k thermistor, This pot covers a musical interval you can always use the more readi­ Cl - C3 lOOp of about a fifth. ly available lk type, but then you C4, C5 lOOp polystyrene The summer mixes all of these will have to halve the values of C6, C7 lOn (0.01 uF) just-mentioned signals, and at­ RI9, RI4, R29, R32 and R28 to C8 470n mylar (0.47 uF) tenuates the result to a suitable compensate. The lk Q81 thermistor C9, CIO 33u electrolytic range via RIO, R2 and R3. R2 may is available from PGS Electronics be adjusted to give the filter a if you elect to go this route. precise one volt1per octave ex­ (See Databank for suppliers' ad­ Semiconductors ponential response. dresses.) Write to these places The CEM3330 is temperature for catalogs and ordering informa­ Dl, D2 1N4148 or equiv. diode compensated for second order ef­ tion (and make sure you mention IC1 CEM3330 VCA chip fects, which are the most trouble­ Polyphony!). The remaining parts IC2 TL074 quad op amp some. To compensate for the re­ are easy to find at local elec­ maining first order effects, we tronics stores. must apply a little ingenuity. Now here's a word to the Hardware Notice that RIO is actually a wise. If the parts list specifies thermistor which has the charac­ a certain type of capacitor, then J1 - J6 1/4" phone jacks teristic of changing resistance in use that type only! On the other Misc. Sockets, panel, wire, a manner opposite, but proportion­ hand, if no type is mentioned, knobs, hardware, solder, al, to the undesired changes going then use whatever you have handy. etc. on in the exponential circuitry Similarly, IC2 must be a BIFET internal to the CEM3330. Thus, type op amp package; don't even undesired changes with respect to consider using a standard bipolar sign. (If you still harbor the temperature are automatically con­ op amp in this circuit! feeling that a state variable cealed by this simple mechanism. After collecting all of the filter is "complicated," notice RIO is a standard Tel Labs Q81 components, you are ready to start how compact and simple the circuit thermistor, with a value of 2k and building. Whatever mode of con­ board is !) Fig. 4 shows the ac­ a temperature coefficient of +3600 struction you choose, be certain companying parts placement guide ppm/degree. In order for it to do you apply neat and orderly tech­ for the circuit board. its duty, it must be in thermal niques since any exponential cir­ If you're using a circuit contact with the CEM3330. cuit that covers a ten octave board, simply load the board using As you can tell, this circuit range or better is subject to a the parts list and the parts has a number of professional fea­ number of stray capacitance prob­ placement diagram as your guides. tures, and yet the design isn't lems. All in all, the best route Don't forget to install the jum­ too outlandish. In fact, you may is to go with a printed circuit pers (denoted by the letter "J"), be surprised to learn that the board. To simplify the task of and be sure to use sockets for the entire circuit can be built with putting a board together, Fig. 3 ICs. Also, don't install R10 just just two chips! Let's dig in now shows the artwork for a test de- yet; this occurs in a later step. I*ofypiumy April 1985 And by the way, C8 mounts behind the front panel, rather than on Fig.31 the circuit board. ©1984 THOMAS HENRY w You'll want to make an at­ tractive front panel next. I was able to fit all of the controls easily behind a standard, single width rack panel of 1-3/4" by 19". I used epoxy paint and dry trans­ fer letters to jazz things up, and then applied a number of layers of clear plastic spray to protect the finish. A pair of small angles, formed of aluminum, hold the cir­ cuit board behind the panel, with #4 hardware securing everything. Notice that the circuit board is keyed.to the schematic so that a * there is no confusion as to how to hook up the front panel controls. To simplify the task of running power lines to the fine and coarse tuning control, there are two STATE holes for the positive supply, two VARIABLE for the negative supply and two FILTER for ground. These are denoted +15V, -15V and G, respectively, on the parts placement guide. When comparing the schematic to the parts placement guide, keep in Flg.4 mind that V+ is +15V and V- is - 15V. When you're done wiring up the front panel to the circuit board (and don't forget C8 now, which connects between J1 and R27), consideration should next be given to RIO, the thermistor. Refer to Fig. 5; note how the thermistor mounts directly on top of the CEM3330, thus insuring good thermal tracking. Two holes, lo­ cated at either end of the CEM3330, are provided on the cir­ cuit board to facilitate this operation. To minimize confusion, they are marked by asterisks on the parts placement guide. Before soldering RIO in place, smear some silicone heatsink grease on top of the CEM3330, and then press the thermistor into it. Solder this in place, and you've completed construciton of the voltage- controlled state variable filter.

Adjusting and Using Che Fil­ oscillation is around 500 Hz or or another, this method fell flat ter. To tweak volts per octave so. Now tweak the filter as you for me, with the output assuming trimmer R2, simply connect a con­ would any VCO until a perfect all sorts of unusual DC values trol voltage from your keyboard to lV/Octave response is obtained. depending on the settings of the the lV/Octave input at J6, and Adjusting the offset trim­ tuning controls. I finally ar­ then run a patch cord from the mers, R21 and R22, is slightly rived at the following intuitive lowpass output (at J4) to an audio more difficult. I found that method which has given me good amplifier. Set the amplifier for these trimmers simply didn't be­ results. While monitoring the a comfortable listening level. have the way I thought they would, lowpass output on an oscilloscope, Turn down the audio input attenua­ and I'm still a little perplexed turn up Che Q control, R26, until tor, R27, completely. Now turn up by it all. In theory, the filter the filter oscillates. Now sweep the Q control, R26, until the is rapidly swept across its range Che filter across its entire range filter starts oscillating. Adjust while R21 and R22 are adjusted for while watching Che sine wave for the coarse and fine tuning con­ minimum deflections at the lowpass trols, R25 and R24, until the output. However, for one reason (continued on page 13 ) Polyphony April 1985 I------Applied Synthesis:

Once Again Upon a Piano

By: Bill Rhodes

A few issues back, I sug­ sustain "pedal” characteristics.) 71 0 gested that if one needed an 51 1 72 0 acoustic piano sound, one should NO MG No Value 73 0 use a piano instead of a synthe­ 74 0 sizer. Well, after all the nasty 75 0 mail, I have repented and decided Poly 800 by Korg 76 0 to give my reader friends patches NO MG No Value for an "approximately-realistic Parameter Section: Value: piano sound" that can be realized 11 3 on commercially available poly­ 12 2 phonic synthesizers. While the 13 1 Poly-6 by Korg ultimate control settings will 14 1 depend on your sound reinforcement 15 1 Waveform: Sawtooth system, musical application, and 16 1 PWM: Off (of course) taste, these samples 17 Volume Sub Osc: Off should be a help,to get you off to 18 1 All MG: Off a good start. 21 off VCF: Cutoff =5.5 22 off Resonance = 0 The patch information is 23 off E.G. = 0 given in terms of parameter func­ 24 off KBD Track = 0 (vary for tion and value; this information 25 off best results) should be sufficient for writing 26 off Envelope: A = 0 out patches on factory supplied 27 off D = 7.5 patch sheets if desired. 31 0 S = 0 32 0 R = 6 (vary for best 33 0 results) Poly 61 by Korg 41 56 - 66 No Chorus 42 0 Parameter Section: Value 43 1 11 8' 44 2 JX3P with PG200 (Edit Section) by 12 . 3 45 0 Roland 13 3 46 2 21 4’ 47 0 DCO: 1 22 2 48 off Range: 16' 23 1 51 0 Waveform: Sawtooth 24 1 52 19 All modulation: Off 31 7 53 22 No HPF 32 0 54 25 VCF: Cutoff = 3 33 1 55 0 Resonance = 0 34 3 56 21 - 26 Pitch Follow = 100% 41 0 61 0 + ADSR Polarity 42 14 62 0 VCA Mode: Env. 43 0 63 0 Envelope: A = 0 44 12 - 64 0 D = 3 (Note: The exact value for 65 0 S = 1 to 2 above depends upon the des: 66 0

12 P o ly p h o n y April 1985 r ENV 2: A = 0 Oscillator 2: 8' Jupiter 6 by Roland D - 4 Pulse Width = 54 S = 4 Square and Triangle Wave (Note: Factory Preset (A-l) is a R = 3 to 5 Osc. 2 Level = 23 very good piano sound, especially Oscillator 3: 8' in the lower registration. The Pulse Width = 50 low end of the piano is duplicated Juno 60 by Roland Square and Triangle Wave rather well by the use of two Osc. 3 Level = 64 oscillators in different octaves. No LFO VCF: Cutoff = 54 However, the top two octaves, when DCO Waveform: Sawtooth Emphasis = 34 played alone without the left No HPF Contour Amount = 0 hand, leave a lot to be desired VCF: Resonance = 0 Modulation: LFO on Triangle (Rate because the timbre in the upper Cutoff Freq = 3 to 3.5 = 20) end seems tinny and thin. You can (depending on brightness) Destination = PW1, 2, 3 achieve a good sound by MIDIing ENV = 3 VCF Envelope: A = 0 two synths together; find one that + Polarity ADSR D = 100 sounds good on the bottom regis- VCA: +5 S = 0 tration and another that is good ENV: A = 0 R = 6 in the upper octaves. Following D = 5 Return to Zero, Keyboard is an alternate sample sound.) S = 2 Follow, Release On R = 5 VCA Envelope: A = 7 VCO - 1 Waveform: Sawtooth and Octave Transpose: Down or Normal D = 88 Square 8' No Chorus S = 0 VCO - 2 Waveform: Triangle and R = 46 Sawtooth VCF: Cutoff = 3 to 5 Memory Moog by Moog There's your collection of Resonance = 0 piano patches...with no strings KYBD = 5 Oscillator 1: 8' attached! Good luck with them. ENV, LFO: Off Sync On ENV 1: A = 0 Pulse Width = 86 ? D = 5 Square and Triangle Wave S = 0 Osc. 1 Level = 44

l -

with the Q really cranked up. The trolled current sources, Bernie Practical Circuitry... result is very similar to a vowel Hutchins also offered several sug­ signs of flattening on either uttered by a human voice. Also, gestions which eased the task of peak. Move back and forth between by using very fast attack and coming up with the control struc­ R21 and R22, adjusting either or release times on the controlling ture for this state variable fil­ both until the sine wave remains ADSR, I have been able to come up ter. I'm deeply indebted to him pure across the entire audio spec­ with some extremely convincing for all of his help over the trum and centered about ground. Hammond organ sounds. But don't years. This seems to set the optimum stop there — there are many more Doug Curtis, the president of point for the filter and gives sounds just waiting to be discov­ Curtis Electronics Specialties fine audible results. ered. Inc., helped out with a number of If anyone comes up with a tips concerning the CEM3330. I Acknowledgments. In addition better method for adjusting the DC wish to thank him for his patient to writing some of the best arti­ feedthrough, or can explain why response to my many questions. the first method gives weird re­ cles on exponential voltage-con- sults, please write to me in care of Polyphony so that I can pass the information along. And by the Fig. 5' way, the DC feedthrough is very small anyway. In fact, for most thermi ster non-critical applications, R21, R22, R30 and R31 could probably be removed altogether with your ears being none the wiser! At this point you're all set to start using your new state variable filter. If this module Detail showing how tne thermister is mounted in thermal contact with the CEM3330. Note that is new to you (as it was to me), solder holes are provided on the circuit board, then I predict you'll be quite at either end o-f the socket, -for installing the heatsink thermister in this fashion. The two holes are surprised by the quality of the grease IC socket marked on the parts placement guide with asterisks. sounds possible with it. One of my favorite effects is generated by inputting a square wave and listening to the highpass output,

P olyphony April 1985 13 By: Jack Orman and record about 15 seconds of the TWIN T TEST tone. With SW1 set to 13k Hz and SW2 back on 0 dB, again adjust the input level for a 0 VU reading. Set SW2 to -20 dB and record 15 seconds of the tone. Connect the line out of the tape deck to the OSCILLATOR input of another unit that has a VU meter on it, such as a mixer or another tape deck. Rewind the tape and play it back. When the 700 Hz tone comes on, adjust the second machine's input level for a 0 VU reading. Let the tape play and notice the difference between the 700 Hz tone level (0 VU) and that of the 13k Hz tone (this should also be 0 VU but may vary). A difference of plus or minus 2 dB is allowable. If the 13k Hz tone level is significantly different from that of the 700 Hz tone, the bias level of the recorder needs to be adjusted to even out this difference. Repeat this calibra­ tion procedure for each channel of the recorder. Note that any fora of noise reduction must be off when this test is made or the results will be invalid.

I mounted this circuit in a small plastic box and keep it lows. Turn on the oscillator, set A good, stable signal source handy in the studio for when I SW1 to 700 Hz, and set SW2 to the need to do any testing or calibra­ is invaluable on the workbench or 0 dB position. Connect the output in the studio for setting levels, tion. Although this unit is not of the test oscillator to the line as versatile as a complete func­ so I designed and built a simple input of one channel of the tape tion generator, its low cost and and inexpensive sine wave oscilla­ machine. Adjust the deck's input usefulness make it a welcome addi­ tor to fulfill these functions. level for a 0 VU reading. Now tion to my workbench and studio. Basically, IC1 is a "Twin-T” os­ flip SW2 to the -20 dB position cillator with two switch select­ able frequencies. The ”Twin-T" network of resistors and capaci­ tors in the feedback loop of the op amp determines the sine wave generator's frequency. The net­ work consisting of RI - R4 and Cl - C4, when selected by the DPDT switch SW1, gives the oscillator a frequency of 700 Hz while R5 - R8 and C5 - C8 yield a 13 kHz signal. The exact frequency and purity of the sine wave depends on closely matching the components; 5% resis­ tors and capacitors gave excellent results for me. Resistors R10 - R12 form a divider network on the output to attenuate the high level signal. SW2 selects between the normal output or one that is at­ tenuated by 20 dB. This switch is also necessary when using the oscillator to test the calibration of a tape deck.

The procedure to test a tape deck for proper bias is as fol­ V______14 IV>(yplioflty A p ril 1985 ( ------\ This is the last issue Jazzical Records of Polyphony. LPs on Cassette (High Quality) EDITORIAL of Multi-Idiom Electronic Music:

In the 10 years that Polyphony has been in publication it has been supported 1. Key Essentials - Featuring "Life and Death of a Star" by a devoted following of readers who Bill Rhodes and Everfriend were on the forefront of knowledge in the rf j blsri) £8 (EooiEiiM (9si i d _ « ; m 1 b ' f _ D -f tir3 fM fctr, somewhat esoteric field of electronics 2. New Earth Synthphony and computers as they were applied to the Bill Rhodes production of music. Now that field has expanded into a major market area. Electronics and computer technology in 3. Requiem to the Modern World the music industry is the norm rather and than the rarity it once was, yet we find Music for Escher that musicians are asking for still more Mike Penny knowledge. There is an expanding base of Bill Rhodes equipment to choose from but a void in the area of information on how to use

this new technology. We know of no one All Music Features DX-7, Prophet V, Jupiter 6, Poly 6, Grand. else that would be more qualified to fill All Cassettes $6.00 including postage. the information void than Craig Anderton. and the folks that have produced Jazzical Records l Wyndmere Road Polyphony. Piscataway, NJ 08854

Beginning with the next bi-monthly Also available: "Shoot to Kill" LP by Everfriend $7.98 issue Polyphony merges with and becomes Dedicated to those who perished on KAL FLIGHT 007 ELECTRONIC MUSICIAN Magazine. With this name change comes a change and expansion it the area of coverage. Emphasis will include multi-track recording techniques, MIDI applications, the application of BY PROFESSIONAL DEMAND Electronic Effects, Video Production DDC OFFERS FREE ADVICE, PERSONAL SERVICE basics, computer applications and more. AND ONE-DAY SHIPPING OF THE FINEST MUSIC Along with this expanded editorial AND SOUND EQUIPMENT AVAILABLE ANYWHERE: coverage and name change comes a change in the look; Electronic Musician will be gCfOLUn Lraynor completely typeset, professionally p^l K0RG Pokypasion produced and includes computer generated graphics and illustrations. We're going CVJ KELSEY^ H | IfllfliTifil for expanded newstand sales, added subscriptions and we will be distributed T E A C ^ S & w ncr ( m x r ) nvr and represented at the June NAMM Show. We've taken in to consideration all \) © 0DiMarx!o of the things that you, our readers, have been asking for over the past year. We y y f ill r e m q hope that you enjoy ELECTRONIC MUSICIAN T7XI3CO ©YAMAHA as much as we think you will and that its M expanded coverage will meet all of your C R U M A R O lK‘rlM‘im expectations. mm—' Iwhirlwindl Cordially, pRophet fik FOTJ a KRAMERK R A M E C R C Z f P ^ l . Linda Simonton OSG Managing Editor k m . in*in te rs o u n d 1020 Wcsi W ilshiic Boulevard. O klahom a

T elep h o n e : I0.r> HIZ-'ilHO INFORMATION - YOU'LL BE GLAD YOU DID! DICKSTEIINJ D ISTRIBUTIN G COMPANY 1120 Q UINCY P PY-SC RA N TO N , PA 18510 SDC PHONE O RD ERS WE LCOME I 7 1 71 344 7469 ^ 7 ^ 4 .

l*oly|>li

For me, Musicom 84 (held help integrate himself into the varying the distance between the November 9 - 11 at the Rotterdam artistic, process. For example, two hands makes the sound louder Hilton in Holland) was the elec­ one of his "performances" is to of softer. It's difficult to tronic music event of 1984. Of wear clothes with built-in speak­ convey the drama created by some­ course, there was the standard ers, sound generators, vocoders, one playing in this manner, but I fare of exhibitors showing their signal sources, and microphones think you get the idea...spreading latest products, just like a NAMM (to pick up external sounds), then the hands apart in an expansive or AES show. But what really set simply walk around and see what gesture increases the volume, Musicom apart were the special happens. His artwork ranges from while turning the hands rapidly exhibits, workshops, concerts, and robots to video, but perhaps his can give dramatic octave jumps. lectures. Not only could you most popular work at Musicom was a At any rate, normal remote key­ catch up on what various manufac­ "keyboard radio." Each key of a boards look somewhat less exciting turers were up to, there was a three-octave keyboard connects to after seeing the Steim hand con­ valuable opportunity to interact an individual radio, which can be trollers in action. and learn from independent re­ tuned by the player. As you press But that wasn't all by any searchers, studio owners, aca­ down the keys, you get dialogue, means. Steim also showed a "mu­ demics, and hobbyists in order to music, static, strange radio seum piece” of an early programma­ obtain a complete electronic music noises, and so on — sort of a ble drum machine, consisting of a experience. sampling device for the electro­ trap set with solenoids and con­ The credit for Musicom's magnetic spectrum. Packaged in trollers. Another room, drama­ unique character lies with its blue plexiglass, people simply tically darkened, contained a num­ originator, Felix Visser, a couldn't resist coming up and ber of tuned metal ribbons, con­ prominent figure in the Dutch pressing the keys to see what nected to contact microphones, electronic music hardware scene would happen next. that were occasionally struck with (see accompanying story). His Another interesting exhibit solenoids. The sound was shimmer­ vision was to bring people togeth­ was put on by Steim (address: ing, eerie, and very complex. er in this field, since indivi­ Groenburgwal 25, 1011 HR Amster­ There was also a "low-tech percus­ duals cannot unravel the secrets dam), an experimental Dutch studio sion controller" consisting of an of sound by themselves; he feels founded in 1969 with a subsidy 8 track tape loop upon which had they need interaction and stimula­ from the Ministry of Cultural been recorded such musique con­ tion from a variety of sources. Affairs and the city of Amsterdam. crete sounds as cymbals rolling As Felix said, "The tools of Steim was originally founded as an across the floor, percussive (electronic music) have to be open studio for composers, but has sounds, and so on. These passed improved, and if events like Musi­ grown into a multi-studio research through VCAs that were triggered com don't happen, these tools will center devoted to music, visual/- by drum pads. As pointed out by not be improved. We need the theatrical disciplines, and elec­ the designer, this approach com­ right input from the right people. tronics. Musicom donated five bines musique concrete and emula­ Perhaps a common language will rooms at the Hilton for Steim to tion effects but at a pretty low evolve that will allow us to make show their work, and for many price (assuming you have a multi­ real progress in finding out the attendees these rooms were the track recorder handy, which most secrets of sound. I want all this best part of the show. studios do). electronic stuff, the bits and One of the Steim highlights Steim also made much use of pieces, to evolve into a real was a remote MIDI controller for the "Vosim” generator, which is a instrument...and besides, I want the Yamaha DX-7, designed by type of burst generator (see Fig. to be around people with ears.” Michel Waisvisz. This novel con­ 1). Simply stated, a trigger I particularly liked Musi­ troller consists of two hand-sized establishes the basic frequency; com's unusually non-commercial plates, each of which straps on to this trigger initiates a series of nature. The best exhibit space one hand. Each plate has a matrix bursts with variable amplitude, wasn't auctioned off to the high­ of switches that covers one oc­ period, percentage of amplitude est corporate bidder; it was do­ tave, plus mercury switches so change, and number of pulses. nated to avant-garde artist Piet that changing the hand position After Musicom, I was able to play Jan Blauw, whose work combines changes the octave range. There with the Vosim generator at the visual arts, performance arts, and are also patch advance buttons Sweelinck Conservatory studio, as electronic music. He considers plus an infrared sensor in each well as hear tapes made with the the artist to be as important as hand controller. The latter con­ device. While not necessarily a the art, and uses electronics to trols dynamics in such a way that "new" signal generator, it was new V______/ 16 Polyphony April 1985 thesizers, a zillion MIDI sequen­ cers, etc.), but it's always in­ structive. to remember that the USA and Japan are not the only game in town when it comes to electronic music instruments. While several computer-based products were designed for the Commodore-64, products were also available for Sinclair computers (ZX-81 and the newer Spectrum). Many Europeans seem to be Fair- light fanatics; but of course, the Fairlight is beyond the financial reach of all but the most affluent musicians. As a result, there are a number of low-cost sampling programs designed for use with home computers. While obviously not capable of matching the specs of something like a Fairlight or Emulator, these devices provide a lot of fun and can give musically useful results. One of the best of these was the DS:3 sampling add-on for the Apple II or lie, demonstrated by >to me and I was quite impressed. investigate, but of course, upon John Molloy of Mainframe (an With a single Vosim you can make opening the door and making some English synth duo). The basic traditional oscillator sounds, noise the "frogs” stopped chirp­ package (about $300 in England) hard sync effects, sounds which ing. Further confused, he closed consists of a plug-in card, soft­ resemble traditional filtering the door again only to hear the ware, and cabling,. The sampling effects, and much more. Most of sounds emanating a while later, system (30 kHz, 8 bit) allows for the versions I saw used software­ which once more shut up when he four-voice, polyphonic, splittable generated waveforms, although it went to see what was going on. (I operation from either the Apple seems that you could make a decent suppose this was the "how to drive keyboard or optional five-octave approximation with some Curtis a night watchman crazy" portion of AGO keyboard (add about $575 for and/or SSM chips. Oh yes, and the exhibit.) the latter). The DS:3 also ac­ Vosim is great for percussive Of course, there were plenty cepts and supplies synchronizing effects — every drum machine of exhibitors showing their wares; signals for drum machines, synths, should have one. Linn introduced the Linn 9000 to etc. There are two modes for Not all of the Steim exhibits the general public for the first waveform editing, aural or via a were ultra-technical, however. time at Musicom, and it is a very monitor display. Although the The "Interactive Frog Pond" (by impressive drum machine. Actual­ maximum sampling time at full Felix Hess) was whimsical, but ly, it's more than a drum machine fidelity is only 1 second (2 sec­ highly intriguing: It consisted since it features a sophisticated onds at reduced fidelity) and of a large number of self-con­ MIDI sequencer (conceptually sort there is no looping, according to tained units about the size of a of like combining an Oberheim DMX John improvements are in the transistor radio, designed to and DSX in one package). Drum and works. Finally, there's a sequen­ mimic the effects of frogs inter­ keyboard sequences are stored on a cer that makes good use of the acting with each other. For exam­ micro-floppy, and you can sample Apple's capabilities. Mainframe ple, if you walked into the room some of your own percussion ef­ has a record out, "Into Trouble and made noise, the boxes would fects in addition to using the with the Noise of Art" (recorded stop making sounds. Then if you existing drum sounds. The drum on an old four-track in their were quiet, eventually one box pads on the box also have dynamic bedroom studio) which not only would start up, followed by more response -- a nice touch (pun convincingly demos the system but boxes interacting with the sounds intended). It's in the same high is also pretty entertaining in its from that box. The interactivity price range as other Linn prod­ own right. For more information included the rate of repetition of ucts, but for professionals it contact Greengate, 24 Missden the sound, volume level, and other should be a very popular item. Drive, Hemel Hempstead, Herts, factors. One of the fun stories Many American and Japanese England HP3 8QR. that came out of Musicom occurred products were also present, mostly Another sampling device, the after the show closed one day and distributed by European distribu­ Action Replay, is a Sinclair Spec­ the room was closed up. Because tion companies...but we've covered trum add-on and is manufactured by there had been a lot of noise, the most of these in previous On Loca­ Ricol Electronics (48 Southport "frogs" were not making any sound tion columns dealing with NAMM Road, Omskirk, Lancs, England L39 and so the Steim people forgot to shows. There were also a number 1QR). In addition to providing turn off the batteries. Several of European products that I had sampling with looping, it can also hours later, a security guard never seen before. Generally, do delay and primitive harmoniza­ heard strange sounds coming from they're pretty similar to what we tion. The sound quality is sirai- ^behind the door. He decided to have here (MIDI interfaces, syn­ ______J I*o(ypliCMiy April 1985 17 lar to something like an Instant of Polyphony. I learned a lot, experience. This naturally leads Replay; cost is approximately and so did the audience: After to other questions, such as wheth­ $250. all, not too many people suspend er aesthetics are compositionally There were also a large num­ piano strings from the ceiling and describable, or if computers can ber of high-tech products there — drive them with E-Bows, or connect make aesthetic decisions. And how in addition to the Fairlight, metal sculptures with plate reverb do you program beliefs and per­ people had a chance to check out drivers...or stick talk box tubes sonalities? the new Emulator II, Kurzweil, into acoustic instruments, which There was lots more, but I've PPG, Synclavier, and Synergy. You are then miked. already taken up enough space. could also look at some of the Floris Van Manen and Fay However, I should mention the many European music magazines, and Lovsky (more about her later) concerts that were also a part of I was quite surprised that the demonstrated how to do sound-on- Musicom. Of these, I was particu­ much smaller European population sound with a single Sony PCM-F1. larly impressed by the Fay Lovsky base could support such a diversi­ Basically, Floris treats the two band, a local quintet that blended ty of magazines in the same genre halves of the FI independently, intelligent pop with electronics as Polyphony. This is probably and uses two VCRs and a mixer to and clever staging. Another band, because the European magazines are bounce signals around. He re­ Tubapack (from France) showed that really several magazines rolled corded while Fay overdubbed almost an essentially all-tuba band can into one; you don't have the ex­ a dozen tracks of difficult-to- make some highly original and treme specialization as experi­ record acoustic instruments, and creative music. enced in this country, where you the results were very impressive In retrospect, it was the have separate magazines for key­ — finally, here's a way to do combination of demos, lectures, board players, guitarists, record­ inexpensive digital overdubbing workshops, and concerts that gave ing, high-end recording, etc. In­ while maintaining extremely high Musicom its unique flavor. The stead, there's basically one or sound quality. (By the way, PCM theme of the show was not hard­ two magazines for each country recording is very big in Europe; ware; it was sound, concepts, which contain a variety of musi­ every studio I visited, and most creativity. I hope there will be cally-related articles. individuals, had some kind of PCM another one — the day after I Musicom also featured numer­ setup. It definitely inspired me hear the dates, I'll be making ous lectures and workshops, in­ to get one, because as more than plane reservations. cluding two by yours truly ("The one person noted, you save enough Synchronized Electronic Music Stu­ on tape costs so that the unit dio" and "Getting the Most Out of pays for itself in a short period Signal Processors"). The former of time.) was an overview of SMPTE, MIDI, There were several seminars and synchro-sonic techniques; the geared mainly to the Dutch market The Man Behind Musicom latter, a grab bag of tips and about promoting music, doing film Felix Visser techniques for synchronizing and work, and so on. Klaus Netzle generally utilizing signal proces­ (Polyphony, Re:View, October 1984) sors to the fullest extent. Un­ gave a talk on applications of Felix Visser (b. 1943) is like American conventions, except music computers and there were well-known in the Dutch music for a couple of cases all the also talks about FM synthesis, scene. His company, Synton, has lecturers were invited by Musicom demos of various pieces of equip­ made qost-effective modular syn­ and were not representing any kind ment, and so on. thesizers and top-of-the-line vo­ of corporate interest. In other Several people invited by coders for several years; he also words, instead of having a sales­ Steim gave lectures on the final distributes high-tech gear from a person or engineer hyping a com­ day of the show. Nicholas Col­ number of countries in Holland. pany's latest product or product, lins, an independent recording What's less well-known is his all the lectures and workshops artist from this country, talked musical background as a drummer were given by individuals who work about using home computers for (he started at age 15) and com­ in the field — authors, studio automated mixdown; Richard Teitel- poser. In fact, just before Musi­ owners, and other professionals. baum described a computer-con- com he finished scoring the movie Of particular interest was a lec­ trolled, e lec tro-mechanically "Voro Nova” using nothing but a ture by Terry Fryer on the econom­ driven, acoustic piano player sys­ Fairlight (one of his favorite ics of running a small .commercial tem called the Digital Piano. The instruments). Interestingly, he studio, and the use of synchroni­ basic premise is that music played sampled sounds from the movie zation when doing sound work for on one piano is read into computer itself and, by various permuta­ TV commercials. Terry is one of memory, where it can be stored, tions, turned them into the sound­ those people who is not well-known processed, and/or sent to two track. to the general public, yet if you Marantz Pianocorder systems. Luc Felix started playing in have a TV, you've heard his work Steels (University of Brussels) bands regularly at age 19, per­ on dozens (if not hundreds) of gave a talk about the use of Arti­ forming "typical nightclub jazz commercials and spots. ficial Intelligence in composi­ stuff in obscure places in Ger­ Swiss composer Bruno Spoerri tion. He feels there are many many". He became disillusioned gave a workshop that went heavily similarities between problem sol­ with the long hours, mercenary into musique concrete and electro­ ving and musical composition; his club owners, and general sleazi­ mechanical devices. After Musicom goal is to create instruments that ness of the music scene at that I travelled down to Switzerland to truly extend the capacity of the time; one day in the mid-sixties, do an interview with him, which performer because they actually he had enough and simply stopped ,will appear in an upcoming issue bring in musical knowledge and playing drums. Next he started^ Polyphony April 1985 18 /experimenting with tape and mu- the people who make them. In most FV: It means we have different sique concrete techniques. An Dutch homes, you'll find 90% of raw materials to work with for opportunity to do some film music the pop records are English or sound. It formed the basis of came up, and this got him deeper American. The money spent on instruments like the Emulator; the and deeper into the process of music in Holland goes to the USA E-mu people are very clever, and akirig music; he also spent some or England, which also limits the built on the strongest concept of time in Italy acting in "spaghetti music scene here. the Fairlight — the ability to do Westerns", which taught him a lot instant musique concrete with sam­ about film (like seeing Fellini at CA: Why aren't Dutch people more pling techniques. work). He also made some bucks by supportive of local acts? translating books, mostly science CA: Do you think analog synthesis fiction. FV: There are 14 million people is a dead issue, and that sampled Upon returning to Holland in here — about the same as the sounds will be around for a while? the late sixties, he found out greater Los Angeles area, but not Or are we just entering into about EML's VCS-3 ("Putney") syn­ as hip. There just aren't the another fad? thesizer. After a little while, numbers to support a vital local the synth broke down. Upon taking music scene. With 250 million FV: Analog synthesizers might go it apart, it occurred to him that people in the United States, you the same way as the electronic he could do a better job. In not only have a large home base organ, which is not even a stan­ 1972, Synton was born when he but you can also sell to England, dard instrument. Acoustic sounds decided to start making a synthe­ Australia, and so on. have a special quality, and sam­ sizer. After spending all the pling instruments can actually use money from a bank loan and still How can we evolve if there's noth­ those special sounds. I'm still not having a complete synthesizer, ing to support? That's why we working on why sampled sounds are working more or less out of des­ asked people like you here; that's so appealing to people... peration he made a phase shifter why I started Musicom...to aid (the effect was pretty hot at that evolution. CA: Perhaps it's because it takes time), and the company was off and the synthesizer concept of being running. Synton then started CA: What equipment creates the an "audio erector set" one step making vocoders, which were very most interest here? further. With analog synths you well received, and the company was only had a couple of oscillators well established. FV: Cheap instruments -- little to modify; with sampling machines As Felix started traveling Rolands, Korgs, etc. For me, you've got the whole world to play to the states to show his prod­ though, the hottest item is the with... ucts, he eventually got asked Fairlight. Not in terms of sales about distributing products in — I'm lucky to sell two or three FV: Yes. Well, there's no ques­ Holland; Synton now distributes E- a year -- but in terms of inter­ tion that sampling devices are mu, Synergy, Fairlight, Quantec, est; it's a fascinating instru­ very much taking things in new TC Electronics, Kurzweil, Linn, ment. The company is also very directions. and Sound Workshop in the Benelux supportive. When they make prom­ countries. Felix has some inter­ ises, they live up to them. The CA: As a drummer, how do you like esting thoughts about the current Fairlight is also extremely re­ the new Linn 9000? state of the electronic music liable. scene, as evidenced in the follow­ FV: I'm very much impressed. I ing interview. What makes the instrument fascin­ think they really listened to what ating to me is the "organic" people wanted...they paid atten­ CA: What's the main difference quality of the sound. For an tion to details, like high-hat between the American and European analogy, I consider analog synthe­ decay. I'm not sure about the music scenes? sizer sounds of the past 15 years sequencer though; I think the drum as like walking in an area with computer is strong enough to stand FV: The United States is a one- huge apartment buildings — after by itself, but I suppose it is language country. In Europe, the a quick scan, you've absorbed the handy to have a good MIDI sequen­ situation is completely different essence of the area. Especially cer . and only a few Americans appre­ preset synthesizers, which are ciate that. If you drive your car kind of like junk food, as opposed What I admire about Roger Linn is for about an hour and a half, to the modular types which are he doesn't shoot off his mouth a you're in a different country and more like gourmet food. On the year in advance. They talk about people don't understand you any other hand sampled sounds, because the product when it's ready. He more. Sometimes there are even they are related to real life and only panicked once, I think - different dialects in the same musique concrete techniques, have when Tom Oberheim came out with country. an inherent fascination. You can the DMX — and when he announced close your eyes to what's around the LinnDrum, it obsoleted the LM- As a result, no one is interested you, but you can't close your 1. Like the same problem with E- in Dutch pop music in other coun­ ears. The Fairlight takes those mu announcing the Emulator II tries, which limits the market and natural sounds, magnifies them, before it was ready. therefore the sales. Germany is makes them useful. different; there are about 60 CA: That's a common problem million people there, so their CA: What does this mean musical­ though, especially in the computer home market is strong enough to ly? business. The technology moves so maintain home-made products and fast the companies can't keep up

I*ofyplioivy April 1985 19 with it, although they think they ference between the American and American high schools. You can' can. And these instruments are Dutch music scenes. What are some see competitiveness taught to peo­ essentially computers with key­ of the economic considerations? ple as soon as they're born. boards or pushbuttons attached... FV: One problem in the United CA: Competition leads to other FV: What I like about the com­ States is that it is a very compe­ problems too. People keep re­ puter in musical instruments is titive environment from an econom­ inventing things because there that people with little musical ic standpoint...artists have to isn't a framework for co-opera­ education, but specific ideas work harder to prove themselves, tion. That's why I was so im­ about how something should sound, because if they don't, there are a pressed with Musicom; the only can make music. This will lead to zillion other people ready to take problem was that the high school a new type of music, because these their place. That's different kid playing with ICs is the one people will not be hindered by here; people are spoiled because who should be at Musicom, but it tradition or technique. That in­ of the social security (welfare). costs a lot of bucks to fly to trigues me. Of course, the thing If you're a musician and lazy, and Holland. is abused — wallpaper music, for don't feel like working, there's example — but then again, a lot no need to work hard because the FV: That's one reason we're of instruments are being abused. state won't let you starve. I making tapes of the various work­ CA: So what happens when people think this affects the quality of shops — hopefully that will get start getting bored with sampling the end product, because you hear the word out further. At least, devices? music from people who are bored though, there is a communication stiff. They can afford to be happening. Eventually people will FV: Maybe in another five years bored stiff, because if they're become more interested. And the that will happen, but I'm not fired from their jobs, they don't personal contacts are very valua­ sure. If we do get bored, I think have to worry. I think the artis­ ble, especially what happens at tic as well as technical level is the next thing will be alternative conventions. tuning. I was amazed when I spoke much higher in the states... to Wendy Carlos last time I was in CA: What do you plan to work with New York; I heard her next album CA: It i£ a very competitive in the future? — the one after Digital Moon­ scene, you have to produce to scapes — and that was fascin­ survive... FV: I like what Floris Van Manen ating. It's something old, but is working on, the concept of also very new. FV: That was taken out of Europe being aware of the sounds around a long time ago. But I don't like you...the fact that you can't shut CA: Let's get back to the dif­ the way it is exaggerated in your ears but you can close your V ______eyes. That is such an important \ statement; well, you heard what he ********«**********»*(*********************** did with the PCM sound-on-sound * * seminar. To me, the point is not * RAYNA SYSTEMS * that he can make a good recording — the point is that he's working * LOW COST - HIGH QUALITY DIGITAL SYNTHESIS * on a very high level of awareness * * of what makes up good sound. I * FOR SPECIAL INSTALLATIONS & HOBBYISTS * don't think my interest is so mi^ch * * music; music is beautiful, but I * 59 OSCILLATORS WITH OWN FREQ. & VOL. * can do without it. Yet I couldn't *.16 WAVEFORMS ANY SHAPE. QUAD AUDIO OUT *

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RECORDING

CIRCUITS & MODS We’ll show you such secrets as low-cost con­ sole automation, budget Welcome to the first magazine For the do-it-yourselfer, EM publishes digital multitracking, dedicated to helping musicians schematics of gear you can build your­ and getting a good self — plus modifications for customiz­ “sound” with four-track understand and use new m usic ing equipment to your own needs. cassette decks. technology.

REVIEWS t NEWS • EM takes a close look at what’s EM checks the music, available to find equipment electronic, and compu­ Subscribe! worth using, books worth read­ ter worlds for items of ing, and records worth hearing. interest to musicians. You’ll read about new ______— products, emerging technologies, and Q INTERVIEWS upcoming events. In EM, interviews are enlight­ ening as well as entertaining. SOFTWARE & Find out how successful musi­ COMPUTERS cians use technology — the MIDI problems as well as the advantages. The next generation of con­ Musicians have plenty of questions sumer computers is upon about MIDI, and EM has answers us. EM keeps track of what’s — from synchronizing MIDI new, and helps sort out the equipment to making a simple average from the MIDI patch bay. outstanding.

APPLICATIONS VIDEO □ & BASICS £l£CTRScHIC EM’s regular column. EM includes: application tips to Video Focus, de­ help you use today’s equipment 1020 West Wilshire Boulevard, Oklahoma City, OK 73116 mystifies video for the more effectively, updates on new newcomer while pres­ technologies, and tutorials on mus­ Telephone: 405/842-5480 enting useful tech­ ical electronics. niques musicians can use in video work. C f , * ’ • V * P : 1 year (6 issues): USA $12, International $14 2 years: USA $22, International $26 ------s Optical Disk Drum Machine

By: James A. Lisowski

s ______i My article "Optical Audio" would anyone else using a tool of To accurately capture the (Polyphony 5/82) presented an the trade. Indeed, a drum pro­ exact waveform, samples are usual­ overview of optical processing grammer is a "drummer" with a new ly taken at a rate of two or more techniques that can greatly expand set of sticks, as well as tricks. times the highest frequency sound upon current electronic music (Even so, I've yet to see someone to be sampled. Many closely technology. This article con­ toss and twirl a pair of drum spaced (toward infinitely small) tinues in the same vein with a machines in mid beat. Any samples can record and reproduce a timely example: the Optical Disk takers?) waveform to any desired degree of based Drum Machine. fidelity, but the number of sam­ I'm sure that you are fami­ How digital drum machines ples stored and the sampling rate liar with conventional Electronic work. Price, not technology, im­ increase with greater degrees of Drum Machines and Rhythm Sequen­ pedes advancement in the digital accuracy. (Special data encoding cers (as well as with their limi­ drum field. Sure, we'll see im­ methods, such as Linear Predictive tations). The prodigy of fast provements in price/performance Coding used in speech synthesis, microprocessors', cheap memory, ratios due to competitive market­ can help use memory more effi­ precise Analog to Digital to Ana­ ing and the manufacturing learning ciently.) So, real world trade­ log conversion systems and a will­ curve, but the component “guts" offs are made in order to keep the ing market, these systems provide define the base price. Quality product's price from rising toward the studio recordist or practicing source recording facilities and infinity. Often this means a musician with an on-beat, properly talent is a constant. The drum medium sample rate and low pass mic'ed, "drummer in a can." The unit itself consists of a control filtering (to prevent sampling first models had, only a limited microprocessor(s) that sequences errors or aliasing), and a small kit of synthetic voices and the drum voices. The voices are number of samples (sound durations limited set of preset rhythms. "digitized" percussion sounds that of a second or two) so that the The next step was "programmabili­ are encoded into electronic ROM or voice will fit in a memory device. ty", which placed the musician at PROM data storage devices. These The manufacturer limits the number the controls of a sequencer-based "digital sound samples" are read of different voices (each voice percussive synthesizer. Once mi­ sequentially and then sent to a uses more memory) and number of croprocessors and digital record­ fast D/A converter (and associated data bits in the digital word ing became "inexpensive," manufac­ circuitry) to reproduce the drum (resolution) that describes the turers recorded the best percus­ voice. If the "playback" speed analog voltage level of each sam­ sion instruments, under the most (clock rate) that is moving the ple point on the recorded wave­ i^eal recording conditions, and samples out of the ROM is faster form. More bits give higher fi­ squeezed the sound into electronic than the "recording speed” (sample delity, better signal-to-noise circuits that could give decent rate) at which the sound was ori­ ratios, and greater dynamic frequency response and dynamic ginally recorded, the result is a (amplitude) range (and with per­ range at an "affordable" price. higher pitched sound of shorter cussive sounds, wide dynamic range Even with their limitations — duration. Conversely, slower is a very important characteris­ frequency and tuning range, accent playback clocking makes a sound tic) but of course add to the quantization, number of voices, lower in pitch and longer in dura­ cost. Adaptive companding or non­ sample duration, and programming tion than the original, thus al­ linear D/As can give higher specs — early units were good enough to lowing for "tuning" a single drum without adding bits, but these are make the listener wonder if that sound. Ideally, an Infinite num­ still not perfect. Digital drums new song was backed by a real ber of samples should be taken and also cut memory needs by using a drummer or a machine. Sometimes played back. In the real world, programmable amplifier playback it's obvious; the performance is however, a fixed number of samples level control. This provides too perfect (or limited) to be a can be stretched or compressed several "accent" settings from a human. Far from being an endan­ only so far before the sound loses single voice sample, but otherwise gered species, the accomplished its identity or is obscured by the does not change waveform content modern drummer is often the best artifacts of the process. (as would happen if you hit a real qualified person to program a drum drum harder or softer). unit or suggest improvements, as The central bottleneck to all

22 Polyphony April 1985 these considerations is MEMORY. same rhythm — each at a different motions and mix of the entire Simply put, a large collection of tempo, "tuned pitch" or accent group. This version might be high fidelity, large dynamic style. It might also have one composed of common CD players plus range, and long duration sound beat with selectable combinations external controllers, or an all- samples requires massive amounts of instruments on different in-one box that contains several of memory. Other things being "tracks". Unfortunately, this disk transport/decode units about equal, a lower priced mass simple approach still has definite, (eliminating redundant amplifiers, memory device makes for a substan­ confines, especially with an un­ tially lowered drum price. Now, converted CD player and album if you are familiar with OPTICAL disk. (For example, the pitch, memory devices such as industrial tempo and pattern of the drum beat computer data systems, video disks is fixed.) Nonetheless, this and the compact audio disk (CD), "basic." configuration takes a sig­ you should start to "see" the nificant lead over electronic ROM connection! drum machines, even with the use of off-the-shelf CD player tech­ The optical drua aachine. nology. Most digital drum machines use electronic ROM memory chips that store up to several hundred thou­ sand bytes (data words) of sound sample. Played end to end, the sounds last only seconds. Now, consider that optical compact au­ dio disks and video disks hold several million to several billion bytes of high quality audio, posi­ tion, timing, and sometimes con­ trol data (or computer programs) and can play for hours. Optical etc.), and custom controller (Fig. disks can be manufactured from low Fig. 2 shows the next step 3). The benefits should be ob­ cost materials and encoded with a up. This unit contains either vious: Long (virtually infinite) one step mechanical or photo­ multiple read heads, scanned read program lengths, very many rhythm graphic exposure method. Add to light beams, multiplexed sensors, and voice choices, multiple out­ this the mass produced consumer multiple fixed space or programma- puts, accents, tempos and pitches, optical disk players that have bly directed fiber optic read all without greatly complicated comparable audio specs and lower bundles. This allows continuous disk programming or head con­ prices than many digital drum sequences because one "head" figurations. The main controller machines and what do you get? The reaches the end of the pattern. might even be a MIDI controller. Optical Disk-based Digital Drum (In the "basic" model, a sequence This system could also make musi­ Machine! would end sometime, though the cal sounds other than percussion gaps could be minimal or timed to — besides a drum disk you might /— > be between beats.) The "multi­ want a flute, guitar, synthesizer, head" version could produce con­ choral voice, or other disk, all o o Micro

D tinuously increasing or decreasing working together or doing occa­ z' \ Computer 's ^ tempos by interleaving tracks of sional fills. Why not have C different rhythm speeds on-the- several "string" disks of "real" fly. Since each head presents a violins that can be doubled or FIG.1 different voice source, you can omitted in real time? What a > s_____ mix instruments in any combina­ great way to conduct your own tion, taking each source to a quartet or orchestra! The "master Fig. 1, the "basic" optical separate volume control/fliter control" might be a CD disk bear­ disk drum machine, might be a output jack. (This can be done in ing computer control or MIDI in­

special device and disk format or the "basic.” version with "stereo," structions that direct the other it might be a modified CD player "quad," etc., but there might be disk players (or other electronic scanning a "drum sound" disk or a some channel leakage.) The multi instruments, effects, recording commercial "album” containing in­ unit is an improvement on the equipment or lighting) to produce

teresting drum sounds. A single basic model, but it requires com­ "canned” or sequence programmed read head picks off the encoded plicated source disk mastering and backing or lead lines. ("Jam Disk information from the single disk, read head movement logic. Heads, of the Month", anyone?) while other circuitry decodes the mounted at 90 degrees to each Then again, why have all of data and translates it to audio. other and moving on a radius from those real disk players when one An internal or external microcom­ the disk center should give good puter directs the head and disk to player can simulate several "vir­ program selection with modest head tual players"? Just treat the the desired drum sound or riff for control logic; but then again, if optical disk as sound sample mass selection. With a "drum” disk, a four heads are better than one, storage — access the sample, then snare track/program, bell program, how about four disks? dispense with the disk. For exam­

five-minute "Rock 1" or "Waltz" Several disk players, each ple, you could record a drum track beat could be selected. The disk having its own head and program from disk to one track of a multi­ might be one instrument and one disk, could have one central con­ track recorder, change the disk, beat, or several programs of the trolling computer directing the lay down another track, change

Potyphcm y April 1985 23 disks again, etc.. In this case end and data port to digitally learn about the basics of digital tape loops or the variable speed record your own (non-disk based) recording circuits and optical record/playback features of the sound sources, click tracks, or disk technology is: "The Sony tape machine can do the multiple MIDI instructions; then overlay Book of Digital Audio Technology,” instrument, beat, tempo, pitch and and edit them. Magnetic tape/disk //1451B, from Tab Books Inc., Blue programming sequence tricks. data save and recall would be Ridge Summit, PA 17214. (This book is also part of the Sony Digital Audio Club package.) Memory Disk J

RAM A/D o Seth Bovey Wolf Tones with Black S-l IN Sound (cassette). Six tracks (1/2 C-60) featuring rhythm box, FIG .4 _ r guitar, bass, a small synthesizer whose keyboard doesn't seem to track quite right, and one spoken Let's jump one more step and nice, as would read/write optical vocal, all by Seth (another uses a apply this technique to solid disk archival storage. Options guest vocalist). Two of the state technology. Fig. 4 subs­ might include multiple buffers, pieces are quite striking, utiliz­ titutes computer RAM for the mag­ players, native CD disk code pro­ ing taped clock sounds in one case netic tape recorder in the pre­ cessors, sample length/pitch com­ and Gregorian chant in the other. pensation, resynchronizers, time- vious example. The procedure is $5 from Seth, Route 4 Box 280, this: Select the drum sound sam­ coders and loop-through sweeten­ College Station, TX 77840. ple (for example, a four beat ers. This combination of digital measure, fill, or entire song) computer processing, optical mass position from the optical disk, storage and large, cheap RAM memo­ "down load" it into the RAM buffer ry is a capable instrument ready memory and then play out the buf­ for today's modern musician's hand fer as the final composition. and spirit. This setup is capable of all the Now, I'm not suggesting this tricks of digital recording and as the perfect robot band. It processing, and also, the sound should be used as a tool in the can be stretched past the boun­ same way that programmable drum daries of the optical disk source machines and bass lines are being material in several, ways. used now: for recording, practice As with tape, this device and inspiration when flesh and could sequentially record several blood musicians are not available, sounds or tracks (off several or for composers who have arrang­ Peter Schafer Peter Schafer's disks) and compile a "master mix” ing skills aplenty and playing FARN-Werke (FARN 18002). Peter from component parts, with total skills alack. Imagination and continues to amaze, turning out control over their individual experience will still be needed, mature accomplished neo-classical amplitude and tone attributes. and talented musicians will still pieces using only a PPG 2.2, Ro­ Any number of voices could be have to create the disk samples. land TR-808, and Tascam 38. • He's overlayed to develop a thicker Sharp technicians will need to wise beyond his 23 years. Distri­ sound. Change the clock speed to nurse new prototypes and make old buted by Eurock, PO Box 13718, (or from) RAM to transpose the circuits jump through different Portland, OR 97213. disk sound up or down. The same hoops. But remember that high tactic could provide smooth, pro­ technology doesn't have to mean The Digital Domain (Elektra 9 grammed tempo changes from one (or high price. For instance, in the 60303-2; compact disc). As ex­ a range of) disk-based rhythms. networked, separate CD player con­ plained in the accompanying book­ You can even play the RAM sound figuration, you could rent addi­ let, this CD was designed not only image backwards, create multiple tional players and disks from a as a demonstration of digital copy "echoes", or do digital music store on demand (just like recording but also digital synthe­ flanging. Digital editing could calling in session musicians and sizers. Accordingly, over half provide gap free loops, bridges, instruments) instead of buying the the disc is devoted to various assembled multi-position re-ar- entire unit up front. transformations and compositions rangements, or cut out unwanted Although you won't have to be utilizing the one-of-a-kind digi­ beats or instruments from the an electro-optical engineer to use tal synthesizer at Stanford Uni­ source material. With digital an Optical Drum Machine, this versity's Center for Computer Re­ waveform subtraction you could chapter still has numerous pages search in Music and Acoustics. even extract a desired sound from to be written by enterprising home Some "old friends" of Polyphony a commercial album disk, even if experimenters and major manufac­ (Michael McNabb, Stuart Dempster, several other instruments were turers. Make those disks and Richard Waters) are featured. playing at the same time. At this computers sing with your musical point all you need is an A/D front ideas! A good starting point to

24 Polyphony April 1985 It's a good demonstration of the \ capabilities of both digitals — and consequently won't (and can't) be released in any other format.

Maurice Jarre Dreamscape Sound­ track (Sonic Atmospheres 302). Well, Keyboard's Jim Aikin liked it. Like many soundtracks the music doesn't really stand on its own, and the synthesis is nice but nothing special. I think Craig Huxley (the performer) was punch­ ing a time clock on this one. "First Album") and the other late For a free HMR catalog on The finest 1984, illustrate just how little electronic tuning equipment in the Numan's songs have changed in 6 world, please write or call us. HMR manufactures a variety of different years. The instrumentation has models of tuning devices for piano, changed — it's odd hearing the organ, and stringed instrument tuning old all-guitar line-up — but Nu- as well as music laboratory equipment. man's consistently good, occasion­ HMR tuners use a very stable quartz reference with all digital circuitry ally great songwriting persists. and a variety of signal outputs. Write to HMR, Dept PH, West Newton, PA 15089. Phone (412) 872-8220.

The Art of Noise Close-Dp (ZTT 12Ztps001; 12" single). Yes-pro­ ducer Trevor Horn's studio tom­ foolery gives us yet a third (or is it fourth?) version of "Close (To The Edit)”, a sort of loose Linndrum rhythmic framework into which he fits different parts each time. Can he make a career of it? Moebius and Beerbohm Double Cut (Sky 091). Like their previous Jean-Michel Jarre Zoolook (Drey­ collaboration (reviewed 9/82), fus 18118). Jarre has been these are pretty simple patterns gradually shedding his goody two played by human sequencers who go RETAILERS! shoes image, becoming more experi­ on long after you wished they had mental and adventurous with each quit. I don't know why I keep release. Teamed here with such buying them. sound-pioneers as Adrian Belew, Marcus Miller and on one track r Laurie Anderson, and making it all make perfect sense, you'd hardly recognize the author of "Oxygene”. WRITE NOW. Unlike that other Jarre, the syn­ thesis is pretty impressive too.

mo» «< High-tech customers will know they're in the right

one ot y°u oU mignr »n . n p r,nt. place when they see Elec­ sfess&srcs??isn't os har ^ see your work .n P . ^ tronic Musician in your even tell Y ° u % Write fo r EM magazine rack. Selling EM and include a is not only good for your envelope- customers and your write author? Then be a famous image, but for your bot­ Ready fo oe u now! tom line too. Gary Numan The Plan (Beggars For more information, contact Linda 20305' C,'Vl Simonton at 405/842-5480 or write EM, Banquet 55); Berserker (Numa («. r.«- P.O. Box 20305, Oklahom a City, OK OK 73156- 1001). Two albums, one unreleased 73156. tracks from 1978 (before the

April 1985 25 Tell Them You Saw It In Polyphony ’

All prices quoted are suggested retail prices, as supplied by the Voltage controlled active Sweet 16. The MS-16 one-inch manufacturers. filter nodule. The Kyodo VCF-410 16 track tape recorder includes provides high pass, low pass, and SMPTE control capability. Head broadband responses and can be bumps have been minimized to under Updated software. Studio 64 configured as a Butterworth, Che- 1 dB, and equal response is for the Commodore-64 (C-64) has bychev, or Bessel filter. Control claimed for sync and repro heads. been re-designed to include higher range is 1000:1. Sabor Corpora­ Other features include DC-c.oupled resolution graphics and simplified tion, 2908 Oregon Ct., Suite H-l, amplifiers with differential pair control. It retains compatibility Torrance, CA 90503. with another En-Tech program, Add FETs, +4 dBm XLR and -10 dBV RCA outputs, and separate low frequen­ Mus'In, which adds music to other Hone studio acoustic foan. cy compensation adjustments for programs and can play music de­ Sonex, used to control sound in record/sync and playback heads. veloped with the older version. pro audio applications, has now TASCAM, 7733 Telegraph Road, Mon­ Retail price (diskette version been packaged in 24" square, 2" tebello, CA 90640. Tel. 213/726- only) is $39.95. En-Tech, 10733 thick panels for home studio use. 0303. Chiquita, Studio City, CA 91604. Sonex can greatly reduce standing waves, slap echoes, and resonances caused by hard walls, windows, and other hard room surfaces. Pack­ aged four panels to a box; $39.95 per box. Distributed by Illbruck USA, 3800 Washington Avenue North, Minneapolis, MN 55412. Tel. 612/521-3555.

Keyboard Controlled Sequencer ($100) allows real or step time note entry, editing, auto-correct, transpose, 3300 note capability, inversion, and independent real­ time control of up to 35 sequences on up to 16 MIDI instruments. Includes sync to drum machine. New LSI Soundnaker. Phillips Runs on the C-64 and handles SCI, has shown a prototype stereo sound Passport, Yamaha, or Korg inter­ generator IC scheduled for intro­ faces. DX7 Patch Librarian ($75) duction in 1985. Conceptually provides disk storage and patch similar to the Commodore SID chip, editing/printing. All operator there are six eight-octave (30 Hz related patch parameters, are dis­ to 7.81 kHz) tone generators, with played on one screen, with other resolution to 256 tones per octave parameters displayed on a second Helpful hints on how to hype. (perfect for microtonal work). It screen. Changes to any parameter "How to Promote Your Rock Band", interfaces with most 8 or 16 mi­ made on the computer are sent by Grey Smith, is claimed to croprocessors; each output (six immediately to the DX7. Dr. T's answer many important questions stereo pairs = 12 channels) has 16 Music Software, 24 Lexington St., for aspiring musicians (including selectable output levels. The Watertown, MA 02172. Tel. effective group management, con­ chip also has noise capabilities, 617/926-3564. tracts, auditions, demo tapes, runs from a single +5V supply, and copyrights, publicity, and show­ draws less than 70 mA. Help in Canada. For synthe­ manship). Available only by sizer service, custom work, and a direct mail for $25. GS/GR0UP, Canadian source for SSM music ICs, 27252 Pinocha, Mission Viejo, CA Noise gate/expander. The contact Music Technologies Group, 92692. Tel. 714/495-3372. Gatex provides four channels of 10204 - 107 Avenue, Edmonton, Al­ noise gating and expansion for berta T5H 4A5. $399 list. It includes the Valley

April 1985 26 P o lyphony People TA-104 gain cell to mini­ mize noise and distortion. USAudio, PO Box 40878, Nashville, TN 37204. Tel. 615/297-1098.

New music software. Guitar Master ($49.95) is a C-64 compati­ ble diskette that teaches tuning, chords, progressions, chord analy­ sis, transposing, picking and strumming patterns, scales, etc. through 64 different lessons and an accompanying 78 page manual. Manufactured by Mastersoft; dis­ tributed by Maverick Publications, Drawer 5007, Bend, OR 97708. Tel. 503/382-6978.

Yamaha enters home computer biz. The CX5M Music Computer ($469) is a Z-80 based, MSX-stan- dard compatible computer, designed synthesizer via MSX BASIC for with musical applications in mind. voice selection, music composi­ It includes a built-in FM synthe­ tion, and automatic performance. Back to basslcs. The BH-420 sizer with 46 pre-programmed Regarding other computer bass amp head ($799) specs out at voices; these sounds can be re­ functions, the CX5M runs other MSX 400 Watts at 0.05% THD with only corded and played back using the software cartridges (word process­ 2.75 microvolts of input noise. CX5M's memory, for storage and ing, etc.). Graphics capabilities Includes li miter/compressor, playback of up to 2000 notes. include 16 colors, sprites, and bass/treble EQ, and four bands of There's also an auto accompaniment plotting functions. Yamaha, 6600 quasi-parametric EQ. AMP, 9829 section with bass, rhythm, and Orangethorpe Ave., Buena Park, CA Independence Ave., Chats worth, CA chords. 90620. Tel. 714/522-9011. 91311. Tel. 818/709-0518.

An optional keyboard (mini type, $100; standard size, $200) Speaker. The RS325i 3-way "lightweight and portable" turns the computer into a live loudspeaker ($549) handles 400 cabinet. Community Light & Sound, performance synthesizer with pro­ Watts continuous from 60 Hz to 18 333 E. Fifth St., Chester, PA grammable split and MIDI. Avail­ kHz from what is said to be a 19013. able software cartridges ($50 each) include the FM Music Com­ poser for computer-aided music composition and orchestration; the FM Voicing Program allows for creation of new voices, as well as modifying the FM sound synthe­ sizer's existing voices. A DX7 Voicing Program allows for easy DX7 programming, with on-screen displays of all voicing parame­ ters. FM Music Macro accesses the

IHilyphcxvy April 1985 27 By: Robert Carlberg

Compact Discs (CDs), those Beta Hi-Fi). Unfortunately, no­ 3. Documentation: Because iridescent little 4-3/4" digital­ body is marketing music on video­ of the smaller package, some manu­ ly-encoded discs, have lately been tape, unless it happens to be the facturers do not print all the the subject of much hoopla. As soundtrack to a movie. same information as on record usual, a lot of it is pure bunk. covers. Some of it isn't though, and II. The real ad & disadvan­ 4. Packaging: The plastic that's what's interesting. tages. For the record (pardon the packets used for most releases are It may be a little while pun), here is my own list of the impossible to open without a scis­ before CDs become the domain of true advantages and disadvantages sors -- you gotta wait until you "Electronic Music and Home Record­ of CDs, arranged in rough order of get home. ing" (however, see related story importance (first the advantages): 5. Visual information: You by James Lisowski in this issue), 1. Wider dynamic range: In can't see where the pickup is on but as a subscriber to Polyphony excess of 90 dB compared to the the disc (they're read from the you're probably a fan of high LP's 60 dB. bottom). Some players make up for technology. So, here is one per­ 2. No surface noise: Ap­ this with an elapsed time display. son's view of what CDs mean to us. proached by audiophile LPs but only really achieved by the CD. A couple of comments on the I. The hype. The press is 3. Higher signal-to-noise above. The first advantage is a filled with advertising hype and ratio: With a louder maximum and theoretical one; aside from a few press agent feeds masquerading as no noise floor, it follows. old classical "spectaculars", not reporting. Many fantastic claims 4. No wear: Since the disc much music reaches these limits. have been advanced: is read by a laser, nothing ac­ Those that do tend to do so at the "CDs will soon eliminate the tually touches the disc. Prac­ expense of "musicality", since LP." Baloney. (1) Most of us tically speaking, a good turntable we're not accustomed to being couldn't afford to replace our comes darn close though. startled. This may change (both records with CDs even if they were 5. No wow and flutter: statements, actually) as CDs be­ available (2) which they're not Speed information is encoded on come the accepted medium to re­ and (3) probably never will be. the disc itself, making variations lease new music. Right now, for Vinyl is cheap to manufacture and "below the limit of test equip­ the majority of existing music and sounds just fine. It fills a ment". Again, a good turntable especially re-issued analog re­ niche for medium size labels just will give the same performance, cordings, it's academic at best. as cassettes fill a need for even within human limits. smaller distributions. Augment 6. Small size: A marginal III. Players. There are a yes, but not replace. advantage in my book (but if you number of different players avail­ "The CD is an audio revolu­ live in a tiny apartment it might able. They all will play any tion." No, sorry. Evolution matter). disc, which is quite a feat when without the "r". Things have been 7. Resistance to skipping: you consider all the compatibility moving in this direction for a It's possible to make a CD skip, problems with Beta/VHS, MIDI, long time, what with digital re­ but you have to thump the player SQ/QD quad, etc. It happened cordings, half-speed mastering, pretty hard. This is an improve­ because this technology was de­ audiophile vinyls, 45 RPM LPs, ment over most turntables, but I veloped by two industrial giants etc. The next "revolution" will stopped dancing to records a long (Phillips and Sony) and licensed be even more amazing — for exam­ time ago. to other users, not unlike the ple, speaker design hasn't changed basic cassette rights which re­ much since the '50s. cently lapsed on Phillips. The "Playing time of 75 minutes technology had a remarkably short uninterrupted." Possible, but Disadvantages: gestation — a prototype was first rarely achieved. Most CDs are re- 1. Susceptibility to damage: shown in 1979 and the first player released LPs, with their 20 minute Like an LP, a CD can w.arp, was marketed in 1983. per side limitations. scratch, or get too dirty to play. Yet the players have emerged "The biggest advance in audio They must be handled with the same more-or-less full grown. It can since stereo." A judgement call. care as records (by the edges with be safely said that any CD player CDs may affect the way music is clean hands) and stored like sounds better than any turntable. recorded the way stereo eventually records (in their cases away from And while some differences in did, but it hasn't yet. Rieht now sunlight). The plastic covers are sound quality have been rumored, that's puffery. scratched more easily than your if you stick to reputable brands "The new audio standard." better quality LP jackets. you won't be disappointed. Fea­ This one is true. Nothing else 2. Cost: Presently ranges tures are the main difference sounds quite as good, with the from $10 to $20 per disc, roughly between models and makers. possible exception of PCM-encoded twice that of LPs. It'll come For instance, the first play­ audio on videotape (as in Sony down. er I took home could only access

April 1985 28 ItotyplUMiy tracks by the beginning of the ting tricky about admitting this In terms of software, many artists track. For pop this might have — they print "digital" across the will design their releases speci­ been okay, but you couldn't get to CD to alert you to the CD format, fically for the CD format, putting the digitally-recorded cannons at but don't mention it was recorded out longer and more dynamic the end of the 1812 Overture ex­ in somebody's basement on a 3340. pieces. Only then will you see cept by sitting through all 15 Or the record was "mastered digi­ the limits tested in what can be minutes of it -- a fatal flaw if tally" — which again says nothing put on CD. Today's "sonic specta­ you're planning to impress guests. of the original recording. The culars" will sound pathetic in That may be one reason why the Society of Professional Audio Re­ comparison, since none of them decks were being given away for cording Studios is trying to get even scratches the surface of the under $200 -- less than the cost manufacturers to use a 3-letter potential. of a decent cassette deck! code to identify recording, mix­ In hardware, advances in Prices range from under $200 ing, and mastering processes. In playback equipment are due and to over $2000, so there's plenty this scheme full digital would be will be forced somewhat by the CD of room to experiment. The upper designated DDD, analog recordings explosion (many apartment dwellers levels include some pretty bizarre digitally mastered would be AAD, can be expected to be evicted). features, such as the ability to and so forth. Industry acceptance But more radical advances are also load in 51 discs and play any of this standard is slow in com­ on the drawing boards. Digital track from any disc in any order. ing, but it should be showing up tapes are being developed which What am I, a radio station? on more and more CDs. will likely obsolete the automo­ More common features, besides Of course, many old analog tive disc players, due to improved elapsed time displays and fast- recordings transfer very nicely to shock handling. However, ease of forward/fast-reverse which I de­ the CD. Since they usually go access will probably keep discs in cided I couldn't live without, back to the original master tape the forefront for home units, include track order programmabili­ and eliminate all stages of de­ especially considering that CDs ty (in case your new $20 CD has a gradation in between, some drama­ can be used as a storage medium few stinkers on it), wireless tic improvements over the LP ver­ for computers, and disc "read remote control (in case you're sions are possible. Abbey Road by only" memories are in the proto­ catatonic), repeat function (a CD the Beatles was "digitally re­ type stage. CDs have an enormous will theoretically play forever), mixed" for Japanese audiophile LP storage capability — the equiva­ and time-remaining display for release, and these same digital lent of 1000 floppy disks, or an those of you who like to time your tapes were used for the CD re­ entire set of encyclopedias on one cookies by Van Halen. So-called lease. It is obviously cleaner disc. At present these would be "second generation" players sample and closer to the original. On "read only" until the "write once" at twice or even four times the the other hand, Jethro Tull's and "eraseable" discs move out of normal 44.1 kHz rate for improved Aqualung is reportedly worse than the lab and into the home (Edi­ resolution. The improvement is the LP (possibly a ham-fisted tor's note: Some people think reportedly minor. Some players engineer?) (Editor's note: Or that the introduction of eraseable also utilize a 3-beam laser pickup possible a very good LP mastering discs is purposely being slowed for improved tracking — though engineer who wasn't consulted when while manufacturers try to figure single beam pickups will track the album was mastered for CD from out a way to prevent the type of just fine under normal circum­ the original tapes.) pirating problems that have hap­ stances. Generally speaking the re­ pened with cassettes and records). Last, they have just intro­ leases so far, which number some­ Other reference works which might duced portable (Walkman-type) and thing over 2000 and growing daily, be called up on your computer automotive players. These seem to are those platinum sellers which screen from a CD include transla­ completely ignore the top three stand a chance of making back the tion dictionaries, phone direc­ advantages and top two disadvan­ still-expensive pressing costs. tories -- how about the printed tages of CDs, but anything that You've got your Pink Floyds and score or lyrics to the music on promotes consumer acceptance of Billy Joels and 1812 Overtures and the disc? The capability is the new format is bound to benefit Pachelbel's Canons. As costs go there. the price and availability of CDs down and sales go up, the variety Interactive computer games or and related equipment, so I'm all will improve; which for eccentric educational programs are another for it. tastes like mine can't happen soon possibility. You make a choice enough. A couple labels, like and the computer zips ahead to the IV. Garbage in, garbage out. Verve, are compiling material from appropriate "next question" on the A CD is only as good as the ori­ more than one LP to release 60+ CD. You could even hear the ques­ ginal recording. It is exactly as minute CDs, which is a good sign. tions at the same time — in digi­ good as the original recording, Some of the most popular tal fidelity. Think of the musi­ but no better. For this reason, electronic music, and that which cal possibilities! You decide the glut of old analog LPs which translates best to CD, has been what music is played and the are being re-released in the CD released. Jarre, Vangelis, Tomi- screen takes it apart for you. format is truly surprising. In ta, Kitaro, Deuter, and Tangerine These functions are a couple order to fully take advantage of Dream are but a few, and more will of years away yet, and new players the digital playback capabilities, be out before you read this. will probably be needed with a digital original recording is Check your stores -- daily if greater accessing capabilities. necessary. Unfortunately, almost necessary. all rock, a lot of jazz, and many classical CDs are not digital V. The future. What does originals. Some labels are get­ the future hold for digital audio? (continued on page 31 )

I\)(y|>h

V ^ Editor's note: This new few hours with the Gnome, cheap Gnome sitting side by side along column, by noted synthesist Don cassette, and crystal mic. Go to with Neumann mics would make up a Slepian (interviewed in the May the bottom of a good reverberant single moderate purchase in a 1982 Polyphony), introduces the concrete stairwell, turn on the video studio budget. Since all world of music-oriented video ex­ Gnome, loosen your voice, mind, highly advanced video equipment perimentation. Don has been doing and creative energies, and amaze becomes obsolete every few years, electronic music since 1970 and yourself with the beautiful, pow­ it's easy to see that professional computer graphics and video since erful, complex soundscape you can video is a very tough, capital 1976; he has twice been sponsored create using these inexpensive intensive business. by the French Ministry of Culture little tools. This column is Video people also have "toys" to perform live videosynthesis in dedicated to those people who which correspond to flangers, Paris and La Rochelle, and has would achieve the same experience pitch transposers, digital reverbs also given performances in New in video. and all the other signal proces­ York and Philadelphia as well. The next step up in equipment sors used to enhance audio. These His specialty is creating visual from the home consumer type is are called digital effects (never accompaniment to electronic music, "industrial", which roughly cor­ "toys"), go under names like both on tape and in performance. responds to "semi-pro" in audio. "Mirage" and "ADO"(Ampex Digital In this column, Don takes a An editing 3/4" tape VTR (Video Optics), and are in evidence every hands-on, practical, friendly ap­ Tape Recorder; approximately time you see a can of dog food proach that's tailored for those $5000) is the equivalent of a 7- flip, tumble, spin, and roll-over with more creativity than cash. 1/2 ips 1/4 track audio tape deck. in TV commercials. These effects For example, how would you like to A super-low cost graphics system are actually special purpose pow­ shoot your first video project for ($8000) is like a Korg Poly 61 or erful computers, which allow the under $300? Keep reading, because Roland Juno 106, and an industrial operator to alter perspectives and this first column will tell you color camera ($2000) is like a reposition video images. They how. We're very pleased that Don decent Shure mic. range in price from $20,000 to is writing for us -- if there are MTV videos, and other "slick" $250,000. I have yet to see one specific subjects you would like video productions, are made in the packaged in a "stomp box" for to see covered in future columns, far different world of broadcast floor use, however, I predict write "him c/o Polyphony. video equipment. Broadcast video these studio machines will soon be recorders generally use 1 inch used in live music performances. tape, and are placed in rooms with During sports events they are Welcome to Video Focus! In a great deal of support equipment. often used to create transitions this initial column, I'll take two These rooms, called editing between scenes. steps back and give you an over­ suites, contain several VTRs, a A standard budget for music view, and future columns tackle video mixer (called a switcher), videos is $50,000, with most of specific subjects. My goal is to several processing and enhancement that money going for rental of the increase the information available devices, and many monitors. video studio. Few video companies to the home'video enthusiast. In Rather than having a big pane of have found this field to be pro­ the process, I will shed some glass looking out onto a room full fitable, and many production peo­ light on the field of videosynthe­ of musicians, most editing suites ple work in this field to add to sis as seen from the viewpoint of are places where clients bring their sample-reels and challenge the Electronic Musician. pre-recorded video tapes ready to their creativity. "Creativity" is Let's first talk about hard­ be combined and finished. A typi­ the key word here, for just like ware, using audio as a basis for cal three-machine 1" editing suite electronic music all the equipment comparison. A VHS or BETA home- could easily cost over $500,000. in the world will not substitute type VCR (Video Cassette Recorder) The computer graphics systems used for creativity. Oftentimes the is the video equivalent of a $25 in this setting are priced from lack of money or equipment serves mono cassette recorder, a consumer $40,000 to $100,000. There is a to foster new solutions. color camera is like a $5 crystal good choice of broadcast cameras If, like most of us, these microphone, and an inexpensive in the $60,000 range. Continuing huge sums of money all lie outside personal computer is like a PAiA with our audio analogy, a 24-track the scope of your budget and/or Gnome synthesizer. Now before you studio with a 32-voice Synclavier, reach of your VISA card, don't get depressed, you should spend a the new Fairlight CMI, and a PAiA despair — read on. Videosynthe-

30 I*o(ypli

I*o(ypli(my April 1985 31 r REVIEW: Sequential Circuits 610 MIDI Six-Trak By:Chuck Pogan

The Sequential Circuits Six- another parameter, simply enter need to play "Beat the Clock." Trak synth is a polyphonic key­ that double-digit number and the When you start playing, the board with the unique ability to LED shifts back to "current para­ lit track's LED will blink. When store two multi-timbre real-time meter" automatically. You can you want to end your riff, press sequences of six different tracks; edit patches as you like, and save the same button that got you total on-board memory is 800 them in any one of the 100 user started recording in time with the notes. The Six-Trak also expands definable presets. beat (the one you hear in your to over 4000 note memory when used Some of the sound producing head, unless you're also using a with a Commodore 64 and Sequen­ capabilities are unique for a low drum machine). An external foot­ tial's own "Sequencer 64" module. cost synth, such as 6 note poly­ switch can be used instead of the In fact, SCI's compositional phony, VCO assignable to its own button, thus making the job a package, which includes their ADSR, polyglide, filter inversion little easier. "Drumtraks" as well, gives the and poly or unison modes. This Overdubbing is also a piece user more songwriting power than all adds up to a lot of diversity of cake, and gives you the feeling ever available before in so rea­ and some of the unison patches that you're working with a no- sonably priced a system. sound impressive. The poly mode, hassle 6 track tape recorder. To keep costs down, the Slx- however, is not quite what you may However, on this multi-tracker Trak's front panel — like many expect, being a little thin at there is no noise build-up when other synthesizers — is devoid of times. If you are not planning to new tracks are recorded. Just any individually assigned knobs use the 610 primarily for sequen­ select the program you want to for any of the modules. Instead, cing or expanding to MIDI, you may overdub and pretty much repeat rubber "soft-touch" buttons are want to check out SCI's thicker- what you did for your first track, used that serve multiple functions sounding Prophet 600 or other only select a different track (1 - depending on the selected mode. polyphonic keyboard. 6) for recording the new material. Parameter controls must be punched But as mentioned before, se­ Don't worry about when to stop up numerically, and only when the quencing is the name of the game recording overdubs, because the "par" (for parameter) button is and at this the 610 cleans house. 610 will record as long as the activated. Then, a two digit The multitrack on-board sequencer first entered sequence lasted. number (00 - 37) is entered via is a snap to program; if you have Also, it won't record overdubs the "select” (0 - 9) keys on the your timing and riffability to­ until the first sequence plays all right. At this point, select the gether, you'll produce superior the way through once, so this value button to the right of the results. To sequence, enter the gives you a chance to practice parameter button and the value of patch and select sequence A or B. what you want to play before com­ that function will be visible in Set the speed knob straight up, mitting your part to the sequence. the LED display. Value percen­ and press "track record". The By the time you're done you can tages are not given on a 0 - 100% desired tracks (1 - 6) are then have up to a 6-track, multi-timbre basis but rather are adjustable in selected for recording. If play­ sequence in real time. You can steps of 0 - 15, 0 - 31, or other ing polyphonically, choose two or now erase tracks, change volume on spans. The current value can be more tracks as needed for however each track, change patches, and changed by the "value” rotary pot many notes will be played simul­ speed up or slow down the tempo (one of only 5 pots on the front taneously. Recording doesn't (the sequence replay speed). This panel). To get to or change start until you do, so there's no by itself makes the 610 an V ______I______32 P o lyphony April 1985 / ------Finally, here's a Dynamic instrument to be reckoned with, little thin. The filters sound Noise Enhancer. String together a but there's more. buzzy when the "Q" goes down but bunch of Radio Shack molded plas­ The assignable arpeggiator for all the other cool stuff the tic adapters — you know, phone to has a couple of new twists pre­ 610 does for the money these draw­ phono, phono to mini, etc. If viously available only on "higher- backs can be overlooked. you're lucky, you might chance end "instruments (like the OB-8): Besides, you can just plug in upon what I call a "Variable Con­ It will not only arpeggiate up and another 610 with a MIDI cable and tinuity Connection" that entirely down note patterns, but up and double your pleasure, double your disrupts the ground signal. The down in the order in which the fun. The cost of two Six-Traks is result, as you can well imagine, notes were pressed. This really still a bargain in the polyworld is a positively geometric increase expands the flexibility of the and the textures that can be in Noise Potential (I've actually arpeggiator’s role. Another nice realized with a slave/master set­ managed to obtain an incredible 00 touch is that you can latch an up are something else. dB S/N ratio). arpeggio with one patch, then solo The future looks bright for over it with a totally different the 610. The software heart en­ Doug Bierer sound. How many other low-cost sures that it can be updated Sari Francisco, CA synths can do that? periodically so that you won't Lasit and certainly not least find it suddenly obsolete. And WHITHER GIZMO? is the devastating "Stack Mode." when you hook it up to a Commodore With this function up to six com­ 64, add the Sequencer 64 module, A letter in the March/April

pletely different patches can be and throw in the SCI Drumtraks, 1982 issue of Polyphony references ganged-up on ONE key. Talk about you'll understand why everyone's a device called the "Gizmo". From fat sound! With the press of a talking about MIDI. the context, I assume that it is key one can have, for instance, intended as an automated bowing bass, strings, trumpet, organ and device for guitar. Could you give electric piano playing at the same me more information on the Gizmo? time. There are two positions in I have been working on such a which to save the bombastic stacks device and would like to corres­ which could, depending on the pond with the originators of the individual frequency of selected idea. patches, be tuned to six-note one key chords. These two buttons can Robert E. Monroe make you mad with power!! Pleasant Ridge, MI The 610 contains many "hidden functions" that are selected thru Robert — The Gizmo was the a combination of track record, the hint and start sending in result of a collaboration between control record, and keypad but­ guitar-related articles, hopefully Kevin Godley and Lol Creme (for­ tons. Such functions include se­ the AMS-100 series will keep you merly of the rock band 10 CC), and quence erase, program dumps, MIDI occupied. was supposed to be distributed by modes, external MIDI clock con­ an offshot of Musitronics (known trol, MIDI control over patch mostly for the Mutron III enve­ TIPS changes, modulation and pitch lope-controlled filter). However, changes thru MIDI, and keyboard the company was plagued with fi­ Here are some tips which enable/disable. You will find nancial problems, and the Gizmo might be of interest to Polyphony yourself using most of these hid­ with technical problems. The Giz­ readers. I was looking for a way den goodies as your system grows; mo used a small electric motor to to limit the travel of a slide pot expansion and accessibility are drive several small wheels which the keys to the 610’s success. on my MXR Drum Computer, and hit upon using electrical tape. Sim­ rotated against the guitar string, The 610 is a software-based in­ thus providing the bowing effect. ply cut off a piece and stick it strument and already new EPROM Unfortunately, it was impossible down across the slide pot slot, updates are available at SCI ap­ to find a material for the wheels just at the point where you want proved repair shops. Another cur­ which was soft enough to not the slider to stop. Use two rently available mod is an audio damage the strings, yet firm pieces if you want to limit both channel splitter that expands the enough to not deteriorate with single audio output to 6 separate the maximum and minimum slide pot repeated use. Also, the motor outputs. This mod would be most excursions. generated electrical interference Here's a way to start the useful for multitracking (tape and "hash" which often came Drum Computer, stop it, and re­ that is), if you want to create through the pickups. start it exactly on cue. First, stereo imaging or treat separate If you want to hear the Gizmo tracks with effects devices. get yourself a 2-conduc.tor, 1/4" phone plug but don't connect any­ in action, Godley & Creme cut a three-record set called "Conse­ Conclusions. As mentioned thing to it. Next, start the Drum Computer. At the point where you quences" (Mercury SRM-3-1700; before, the poly sound of the 610 want to pause, insert the plug sometimes available in cut-out is not as high quality as, say, into the "From Tape" jack (on the bins) which uses lots of Gizmo. Roland's Juno 106, JX3P, or SCI's MXR rear panel). The DC is now in However, the Gizmo is currently a Prophet 600. The high end can infinite pause mode. To de-acti- dead issue; with the exception of sound a little honky-tonk and vate, pull the plug out of the the E-Bow, which works on a dif­ unless two tracks are used on the ferent principle, the field of "From Tape" jack and the DC will sequencer at once, it can get a mechanical bowing devices for gui­ carry on. v ______y tar is wide open.

l*o(yphtm;y April 1985 33 POLYMART NEW BOOKS!

GUITAR ELECTRONICS FOR MUSICIANS by Donald Brosnac is a comprehensive guide for any­ one interested in electric guitars. It clearly explains guitar electronics step-by-step with over 350 photos, drawings and schematics. Chapters include: types of pickups, design and function of hardware components, servicing electric guitar circuits, hot rodding electric guitars and more. Anyone who wants to increase his knowledge of guitar construction and function will benefit from reading this book # GEM ...... Guitar Electronics for Musicians...... $ 1 2 .9 5

GUITAR GADGETS by Craig Anderton — A consumer’s guide written by the expert on the sub­ ject. For the guitarist who wants to know all about electronic gadgets. How to buy them, fix them, and get the most out of them. Includes a demonstration record. #GG Guitar Gadgets ...... $14.95

CUSTOMIZING YOUR ELECTRIC GUITAR by Adrian Legg — An Easy to follow guide for customizing your guitar to turn it into a unique and personal instrument. Easy to follow diagrams and step-by-step instructions shows you how to get new and better sound from your guitar. #CEG Customizing your Electric G u ita r...... $7.95

STUDIO RECORDING FOR MUSICIANS by Fred Miller — Tells you everything you need to know about modern studio recording. Easy to follow text, backed throughout with illustrations. A must for professional and aspiring musicians — and for producers, engineers, arrangers and contractors. #SRM Studio recording for Musicians...... $14.95

HOME RECORDING FOR MUSICIANS is Craig Anderton’s original Hom e guide to outfitting and operating a budget studio for maximum results, includes mixer and other audio processing circuits and a sound sheet demo recording. ^M usicians. #HRFM HOME RECORDING FOR MUSICIANS $14.95 Synthesists must be well versed in a number of techniques and principles. “ How To” and project oriented books are a great way to pick up these skills. MULTITRACK PRIMER by TEAC is a step- by-step guide to building, outfitting and operating your home studio. #TEAC TEAC MULTITRACK PRIMER $4.95

" JUTJV lJ> r MAKING MONEY MAKING MUSIC by James Dearing — Everyong dreams of being at the top, but there’s an enormous amount of “ middle money” out there for the taking. This is not a book about how to become a Millionaire Rock Star, but the strategies revealed will give you the 9 knowledge you need to keep afloat if you decide to pursue a recording contract. A fresh and prac- t'Cal aPProach t0 staying ai've 'n the music business. From the publishers of Writer’s Digest #mmm MAKING MONEY MAKING MUSIC $12.95 REFERENCE Often used reference materials to answer the many questions encountered in everyday synthesis. THE SOURCE Book of Patching and Programming from Polyphony has over 125 pages of patches in universal flow chart notation; the largest publication of its type. ELECTRONIC MUSIC SYNTHESIZERS by Delton Horn devotes the first half to descriptions and functions of commercial electronic music synthesizers (Moog, Arp, PAIA, Oberheim, EML, and RMI); the second section provides schematics and projects for the ex­ perimenter. #SOURCE THE SOURCE $4.00 #CYCLO AUDIO CYCLOPEDIA (hardbound) $44.95 #EMS ELECTRONIC MUSIC SYNTHESIZERS $6.95

SCIENCE OF SOUND The physical and psycho-acoustical background to music is an important part of musical syn­ thesis. Helmholtz’s SENSATION OF TONE is, a century after its publication, still the standard text for the physiological acoustics. PSYCHOLOGY OF MUSIC by Carl Seashore, developer of the Seashore Music Test, provides an in-depth analysis of musical style and performance characteristics of many instruments. MUSIC, PHYSICS AND ENGINEERING by Harry Olson, who worked on the first RCA synthesizer, is a thorough discussion of the physical properties and design of traditional musical instruments (plus a chapter on electronic music). MUSIC, SOUND AND SENSATION by Winckel is much like the Helmotz work, with a bit less detail and more con­ centration on psycho-acoustics. #SENS ON THE SENSATIONS OF TONE $8.95 #MPE MUSIC PHYSICS AND ENGINEERING $6.95 #PSYCH PHYCHOLOGY OF MUSIC $6.50 #MSS MUSIC, SOUND AND SENSATION $4.50 ORDER FROM; POLYMART. POBOX 20305. OKLAHOM USE THE ORDER FORM

THE BSGINNEKS BO OK OF ON THE NEXT PAGE sais IILW? L< MUSIC

THE BEGINNERS BOOK OF ELECTRONIC MUSIC by Delton T. Horn — A fascinating introduc­ tion to synthesized sound using build-your-own circuits or commercial equipment. #BEM Beginners Book of Electronic Music ...... $12.95

MUSICAL APPLICATIONS OF MICRO-PROCESSORS by Hal Chamberlain — If you only have space in your library for one book on music synthesis, this is the book. The easily read text is entertaining and enlightening and teaches both basics and advanced theory without plowing through pages of equations. Liberal examples illustrate theory and practice of both digital and analog signal generation and processing. #MAM MUSICAL APPLICATIONS OF MICRO PROCESSORS $21.95

THE COMPLETE GUIDE TO SYNTHESIZERS by Devarahi — An extraordinarily thorough treat­ ment of the subject of analog synthesizers. Covers everything clearly, and the suggested ex­ periments are excellent. Well organized and leaves nothing out. #CGS THE COMPLETE GUIDE TO SYNTHESIZERS $20.95

PRACTICAL GUIDE FOR CONCERT SOUND by Bob Heil — Finally, a manual that explains in very simple language those many “ magic terms” you've heard for years and never really understood. It’s the first book written especially for musicians, roadies, and sound technicians who want to KNOW and UNDERSTAND what their sound system is all about. #PGC PRACTICAL GUIDE FOR CONCERT SOUND $10.00

ELECTRONICS Electronic Cookbooks are a great way to stock your library with materials that are not only heavy on theory, definitions and educational material but chock full of practical applications as well. These books can easily replace stacks of manufacturers data sheets and applications notes all in an easy to use reference. Walt Jung’s OP-AMP and Don Lancaster’s ACTIVE FILTER Cookbooks are self-explanatory — required reading for synthesists! ELECTRONIC PROJECTS FOR MUSI­ CIANS by Craig Anderton is almost in a class by itself. It discusses electronic construction technique for the novice and provides 27 projects with printed circuit board patterns and a demo recording of the effects. Even if you’re an old hand at musical electronics, you’ll appreciate that all of these processors, from Tube sound Fuzz to Phase shifter are compatible and work together without creating noise, signal loss, bandwidth compression or any of the problems common to in­ terconnecting effects from different manufacturers. There’s even a complete chapter on how to 4 H- modify and combine effects to produce your own custom pedalboard. ELECTRONIC MUSIC CIR­ CUITS by Barry Klein covers synthesizer system design, power supplies, control voltage generators, VCOs, Filters, analog multipliers and more. Lots of schematics and data sheets on the most popular music oriented ICs. An excellent technical reference. #EPFM ELECTRONIC PROJECTS FOR MUSICIANS $14.95 #OACB OP-AMP COOKBOOK $15.95 #EMCR ELECTRONIC MUSIC CIRCUITS $16.95 #AFCB ACTIVE FILTER COOKBOOK $15.95 #CMCB CMOS COOKBOOK $13.95 &MORE FROM POLYPHONY 4/8TRACK STUDIO LOG BOOK designed by Craig Anderton provides a place to keep all the impor­ tant information on your tape library. Log in timing, type of tape used, record patches, make notes and use the expanded track sheet to list sequential changes in tape tracks relating to the settings of the indes counter. Craig Anderton’s CONTEMPORARY KEYBOARD ARTICLES is a collected reprint of all the articles from June 1977 through February 1981, covers tips, technique, theory, maintenance, and numerous construction projects. DEVICE BACK ISSUES — during the year that this newsletter was published, it featured almost 200 pages of technical information for the guitarist/musician. A wealth of articles on design, product reviews, and modification and con­ struction projects. Sold in complete set, individual issues not available. Limited number available. CRAIG ANDERTON MUSIC TAPE — Delightful listening plus a booklet explaining how the effects/ were achieved. h #SLB STUDIO LOG BOOK $4.95 #AA CRAIG ANDERTON’S CONTEMPORARY KEYBOARD ARTICLES $5.95 #DEVICE---COMPLETE SET (12) DEVTG-E--BAC-K ISSUES $18.00 #CAMT CRAIG ANDERTON MUSIC TAPE $5.95 ft CITY. OK 73156 (405) 842-5480 m m #0705 Mar./Apr.'82: Electronic Music Math, Analog Delay B ACK ISSUES $2.50 each ppd Clock / Modulation; Frequency Domain Modifiers; Screen-Wave for the TRS-80; Touch Switches Revisited; Practical Circuitry: ADSR Find out what you’ve missed! the Easy Way; Getting the most out of a Cheapo (Guitar). ™ #0301: # 7/77: frequency divider project, random tone generator project, normalizing synthesizer controls, eliminating m m . #0706 May/August '82: Anatomy of a Private record, Don patch cords, computer control of analog modules, Chord Egg Slepian Interview, Understanding Digital Synthesizers: A Digital Filter, Syn-Bow Review, Optical Audio, Profiles of SSM 2033 & #0302: W 11/77: ^ 1 1 1 Sensuous Envelope Follower, digital g a t e s 2044, The PAL Filter, Bill Rhodes Applied synthesis: Bells, Pipe L a ° Yal|Tart* bullject, j t Apple I I as a music controller, using the NE566 as a VCO p a t c h e s . ■“ #0801 Sept/Oct.'82: Ambience in Electronic Music,Tone ■■ #0303: 2/78: compu ter controled Gnome, using joysticks, Bypass for Fender Amps, 8 Track Reviews, Parametric EQ Tips, build a bionic trumpet, ultra-VCO modifications, voltage control Solo/Cut Circuit for TASCAM Model 3, The SSM 2011, Tube Preamp, the Mu-Tron Bi-Phase, oral joystick, patches. Snare + Drum Voice Circuit, Triple Pick-up Switcher, Simulated ^ # 0 3 0 4 : A p t j. 1/May1 78:Minimoog Mods, non-keyboard module use, Stereo, When Quality Reocrd Mfg. Counts, Independent Record Mfg. phasing and flanging (theory and circuits) memory expansion for Convention report. programmable drums, digitally addressed transposer, polyphonic “ #0802 February '83: AMS-100 Gate Output, Bus Distribution s o f t w a r e . Modules for Modular Synthesizers, Dynamic Touch Controller, — ■ #0402: Sep5ept/0ct 78: electronic music notation, notes on Expanding Envelopes, MXR Limiter Review, New Age Music, An the recording or "Cords" by Larry Fast, sequencer software - part Overview, Synsonics Drum Review, Interface, Practical Circuitry: A one, rhythmic control of analog sequencers, touch switch projects, Paten Over Scheme for Small Synthesizers, Lab Notes: Shepard modular vocoder techniques, PET as a music controller, patches. F u n c t i o n s . ■ #0404: January/March 79: add-ons for vocal F and V ■■ #0803 April '83: Sound Interface Device, Build a Bass Pedal converter, shorthand patch notation, more on note to frequency System, Dr. Rhythm Mod., Switched Capacitance/Transversal Filters, cpnversion, graphic monitor project, George Russell, super VCA circuit, echo software, Vol. 4 index. Voltage Controlled LFO, Rockman & Voyetra Eight Reviews. ■■ #0502: July/August 79: hex VCA/ra ixer project, electronic #0804 June '83: MIDI Hardware Fundamentals, What MIDI Means music schools and studios, modify the Oberheim Expander Module, for Musicians, The Vangelis Interview, Creative Recording on a profile of Ernest Garthwaite, budget microphones, digitizer Shoestring Budget, A One Chip ADSR, An Electronic Switch. projects and software, bar graph ICs. . #0805 August '83; Donald Buchla Interview, An Overview of #0505: January/February 80: Joseph Byrd, Mort Garson,

Larry Fast on 'Games', composing for 'live plus tape', using the Digital Drums, Exploring Just Intonation, Build a simple Drum CA3280, recording vocals, ADSR circuits. Synthesizer, Micro-Drums part I, The Penultimate Compressor, Why Spring Reverb Will Never Die, Gate/Sample & Hold Circuit. ■■ #0506: March/April 80: Compu ters in Music: real time audio processing hardware, Powell sequencer system, Max Mathews, #0806 October '83 Larry Fast Interview, Basic Film Scoring advanced STG software, PortaStudio, phase modulation, Volume 5 i n d e x . Math, Foxtex X—15 Review, Build the Hip Bass Drum, Applied Synthesis: Orchestral Voicings Using the Tenth Interval. #0601: May/June 80: Gary Numan, Microcomputers in Real Time Audio, Build a Digital Audio Delay Line, writing ■■■ #0901: December '83 John Foxx Interview, Build: a Dual Documentation, Richard Hayman Composer/Performer Horae Recording: Trigger Delay; Center Channel Reverb. Drum Machine Modifications Applying Harmonizing and Pitch Transposing Techniques by: Craig A n d e r t o n . - PAIA, E-Mu, Roland; Polyphonic Keyboard Reviews, White noise. ■■ #0602: July/August 80: Peter Gabriel, digital VCO #0902 February '84 Commodore Music Software Review, Bund a project, Dream modules, optimum level settings, dynamic phrasing, Just Intonnation Generator, NE572 Noise Reduction Unit, 3D Video, p a t c h e s . Vocal Basics, Build a Quadrature Function Generator. n #0603: Sept/Oct combined with Nov/Dec 80: alternate controllers, add voices to Casio M-10, voltage controlled #0903: Remote MIDI Keyboard Project part I, Casio 202 Mods, quadrature oscillator project, cordless patch bay, recording Easy Firing ADSR, Low Budget Sequencers, Alternative Keyboard rules, patches. Designs, Winter '84 NAMM Report. mary/February 81: Special Construction Edition; #0604: January m m #0904: Wendy Carlos Interview, '64 Sounds Part I, Fostex 2050 Build: Audio Circuitlit Breaker,I Pulse Width Multiplier, Magnetic Review, Synthesizer Delay Line, DSX to Drumulator Adaptor. Harp, 50 Watt/Channel Stereo Power Amp, Quad Sequential Switch, DOD Mods, patches. #0905 August '84 Bill Nelson Interview, EH Instant Replay #0605: March/April 81: Portable Music Issue, reviews of Review, MIDI Remote keyboard Project Part II, '64 Sounds Part II Remco's FX, E-H Mini-synthesizer, Casio's VL-Tone, plus mods for Practical Circuitry: Hi-Hat & Percussive Voice Circuit. t h e M-10. GR-500, mini-amp, and the Korg X-911. Introducing; P r a c tical Circuitry and On Location, new columns. #0906 October '84 Commodore '64 Sounds Part III, Dr. Bohm Drum #0606: May/June 81: Synthesizer: Hardware Mods and

Software. Modular Synthesizer Effects, Environmental music, Review, Practical Circuitry: Synthesizer Phase Shifter, Pick-up Switching Tricks, Keyboard assignment for the 8700, new columns; Details, Practical Circuitry, and On Location. Volume 6 index.

#0701: July/August: Guitar Electronics: Modify; Fender Amp, MXR Phase 100, GR-500. Input/Output Structures, $5 Analog Programmer, Sample and Hold technique, Modular Synthesizer Effects, new column: Applied Synthesis, Marketing Your Records.

■■ #0702: Sept./Oct.'81: Harald Bode Interview, Live Plus Tape New Technique, Xenharmonics, Kraftwerk Live - Review, Psycho-Acoustic Experiments, Practical Circuitry - Super Controller, Applied synthesis - Brass, Construction Tips For B e g i n n e r s . APPLIED SYNTHESIS

— ■ #0703: Nov./Dec.181: Dave Rossum interview, Applied Synthesis: Strings,Details: Series-parallel/Sum-Difference. The Sound Gizmo and Pro-One Reviews, Practical Circuitry: VCO Deluxe. NEW from POLYMART - Bill Rhodes "APPLIED SYNTHESIS" 0704: Jan./Feb.'82: Bob Moog interview, Chip Power - •••.. a no nonsense guide to the mechanics of electronic STK-050/070, Simple Square Wave Shaper, Tape Timer Ruler, music for orchestral synthesis. Practical Circuitry: VCAs made simple. Details: Gozinda & Gozouta Revisited, Korg Trident & Casiotone 202 Reviews. Order No. APSN APPLIED SYNTHESIS $3.75

ORDER FORM------Quantity Item price ea. amount ! We cannot invoice; payment must be enclosed with your order. 1 there is a flat $.50 handling fee per order plus postage costs. | MasterCharge and Visa 'are welcome, ($10.UU minimum I charge ). Foreign orders m ust be paid by certified check or ■ money order in U.S. $ drawn on a U.S. bank (or by charge card] " Phone orders welcomed for charge card orders. ! SHIP TO: _ Name: ______.______5 A ddress: ______

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VISA .—jI ilfj^jll iy C l idt <_(Cl..' -i 1 "" sub total U.S.:add 10Q/oof Subflotal handling .50 C ard ft______or $5.°°m axim um M a s te rC h a rg e Bank # ______Expiration D a t e ______Foreign: 20°/oof Sublotal shipping or $10P°m axinnum Sig natu re ______total enclosed MAIL TO: POLYMART. PO BOX 2 0 3 0 5 , OKLAHOMA CITY. OK 73156 PCM-F1 - A device made by Sony which converts audio to digital signals suitable for recording on a VCR, thereby yielding exceptionally high fidelity (low DATA BANK hiss, wide dynamic range, unmeasurable wow and flut­ ter) . A/D - Analog-to-Digital Converter. PGS Electronics - Route 25, Box 304, Terre Haute, IN AC or DC coupling - DC coupling allows DC (such as 47802. control voltages) and AC (such as audio) signals to pass whereas AC coupling blocks DC signals and only pot - Potentiometer. allows AC signals to pass. p-p - Peak to Peak; a voltage measurement that re­ Audio Taper Pot - A potentiometer whose resistence presents the potential difference between the most changes at a logarithmic rather than linear rate. positive and most negative excursions of a waveform.

Curtis Electromusic Specialties - 110 Highland Ave., ppm - Parts Per Million. Los Gatos, CA 95030. RAM - Random Access Memory. D/A - Digital-to-Analog Converter. ROM - Read Only Memory. DPDT - Double-Pole-Double-Throw switch. SSM - Solid State Micro Technology for Music, 2076B Electronotes - 1 Pheasant Lane, Ithaca, NY 14850. Walsh Ave., Santa Clara, CA 95050.

Jameco Electronics - 1355 Shoreway Road, Belmont, CA Tel Labs - P.0. Box 375, 154 Harvey Road, Londonder- 94002- ry, NH 03053.

International parts specification standard: This thermistor - A device that changes resistance in standard avoids the unnecessary repetition of correspondence to temperature changes. The tempera­ zeroes, decimal points, and stating Ohms or Farads ture coefficient specifies the ra,te and amount of where it is implicitly understood. It is widely change for that particular device. accepted in the international community and Poly­ phony would like to bping it home. Following are VCA - Voltage-Controlled Amplifier. some examples. VCO - Voltage-Controlled Oscillator. USA Int'l where 50240 based keyboard - The 50240 is a Top-Octave lk lk k = 103 Divider IC which outputs square waves corresponding 1.5k lk5 M = 106 in frequency to an equally-tempered scale when input 2.2M 2M2 u = 10“6 Farads with a high-frequency square wave input clock. Used luF lu n = 10"9 Farads in many organ products of the 1970s. lOn O.OluF p = 10"12 Farad: Class B is defined at an idle current of luA 3300pF 3n3 0.0022uF 2n2 injected into Pin #8 through Ridle’ Class A is at an idle current of lOOuA. PAiA Electronics - 1020 W. Wilshire Blvd., Oklahoma O U TP U T^ City, OK 73116. © NC INV INPUT/J' J 2>vcc NONINV/? g ) OUTPUT INPUTS VOO0 NULL N2 OUTPUTi ^ O U T P U T INVERTIN' , ^ IN V E R T IN G INPUT INPUT NON INVERTING. NON INVERTING TL071 Low-Noise JFET-Input Op Amp INPUT _ INPUT VC O ® ©vcc- INVERTING/^ NON INVERTING INPUT INVERTIN G INPUT 8 ) OUTPUT Wide Band Monolithic TL074 JFET-Input Op Amp Low-Noise JFET-Input Op Amp

Dual Op Amp

Polyphony April 1985 37 JUSTLY TUNED GUITAR: 1 A Quick and Dirty (but workable) Solution By: David B. Doty I

______4

In the April 84 issue of using only Plastic Wood to fill guitar neck. The laws of physics Polyphony, Vanessa Else presented the slots, and have never observed indicate that the pitch of a an elegant method for obtaining a any warping. Use your own judg­ string of any given diameter at justly tuned scale with absolute ment. After filling the slots, any given tension is inversely accuracy. For those who have a sand the fingerboard back to its proportional to its length. 50240-based keyboard instrument to original smoothness. Initially Therefore, to raise the pitch of a retrofit, or are willing to build use a coarse grade of sandpaper string by a perfect fifth (3/2), one, this is an excellent way of (such as 120) to remove most of it is necessary to reduce its getting started with Just Intona­ the excess filler, then use a length to 2/3. If we could stop a tion. For those who lack such an succession ot tiner grades to string by grasping it from both instrument, are intimidated by the remove scratches and smooth the sides, without displacing it from thought of building a device with surface. 600 grit is a good a straight line, this rule would twenty-five ICs, or simply yearn choice for the final work. At be sufficient to predict the stop­ for the joy of bashing out a few this point, check that there are ping points. However, when we justly tuned power chords, here's no notches left unfilled where the stop a guitar string by pressing a method of converting a guitar or old fret lines meet the edges of it against the fingerboard, we not bass to a reasonably accurate form the fingerboard. If such notches only decrease its sounding length, of Just Intonation, requiring only remain, they should be carefully but also increase its tension. a few hand tools and a few even­ filled and resanded, or they may How much the tension increases ings of labor. Caution: The cause much frustration during the depends upon the height of the techniques that follow are not following phases of our task. action and the exact stopping meant to be applied to any instru­ point, among other factors, making ment where resale value is a con­ If we knew the exact posi­ a mathematical formula for fret sideration. If, at some point, tions at which to place our new placement beyond our reach. The you decide that you are committed frets, and had the proper tools solution to this difficulty is to to Just Intonation, and want to and skills, we could replace our use moveable frets and to deter­ have a good guitar refretted, you old frets with a new set of perma­ mine their placement by ear (or should have this done by a profes­ nent metal ones. Unfortunately, with the aid of a tuner calibrated sional luthier. In the meantime, it is very difficult to calculate in cents, if one is available). you can use the method outlined the exact position of the fret for Fig. 1 illustrates the technique below to convert a pawnshop spe­ any given interval on any given for tying a fret knot. The proper cial into a valuable new musical material for tied frets is mono­ resource. filament nylon fishing line. Al-

The first step in refretting a guitar is to remove the old frets. This is easily done, using either a pair of right-angled flush cutters or a small, sharp screwdriver. The frets should be pried loose beginning at either edge of the fingerboard, using a rocking motion and working gradu­ ally toward the center. Care must be taken not to peel the veneer of the fingerboard from the neck 1) Beginning with about 18" of monofilament, lay a loop across during this process. The next step is to fill the slots in the the fingerboard (under the strings, of course). fingerboard, using a commercial 2) With one of the free ends, make a second loop, and draw it wood-filler such as Fix or Plastic through the first. Wood. Some luthiers insist that 3) Take the other end over the first loop and through the the correct way to fill the slots second. is to glue in small slivers of wood, and that if this is not 4) Grasp both free ends firmly and pull the knot tight. done, the neck will warp. I and 5) When the fret is in its proper place, tie a square knot to my colleagues in Other Music have hold it there. refretted six guitars to date, 6) Trim the ends.

38 l*otyi>lio * ^ I $ f £ will work satisfactorily, depend­ $ § i £ 1 y V ing on the action of the particu­ VO It fc 5 $ 6 5 *0 lar instrument. If nylon rather 2 that metal frets strike you as 3 = 2 2 $ 2. M 0 3 1 2. = odd, take note that this practice 3 1 10 1 V\ 0 2 . has historical precedence. The 2. H = 3 3 3 3 ID lutes and viols of the Renaissance M 2. - and Middle Ages had tied frets, 3 3 M 2 7 5" Zi 0 £ and many ethnic and folk lutes and 2L = 3 S 1 2 2 7 3 guitars still use this traditional H technique. H = 5 3 5 2 % 8 3 1 5 = G 1 (o G >1 10 5" In order to get a reasonably S 5 = (o H G useful just scale without an un­ G Vi 0 H manageable number of frets, it is 1 2 JL G 3 a good idea to discard the usual 2 . E-A-D-G-B-E guitar tuning in favor e '/, 2 3 of one that repeats in octaves, n 1 Vi 1 2 i.e. a tuning of alternating 12 H V i 0 fourths and fifths or fifths and Q> Fig. 3: A gui to the fourths. Then it is simply a cross-checks used in ear-tuning the matter of locating the positions for frets which yield the low- fretting given in Chart #2. For best results, place the frets number-ratio intervals we desire. For best results, initially tie in the order given. The open strings can be tuned accurately your frets an inch or so closer to the nut than you expect the final by matching harmonics. Note: position to be, then slide them fret #4 is a special case; it down the neck to the desired loca­ Fig. 2: A usable fret pattern, cannot be matched to any other

tion. The increased tension due based on an open C tuning. fret by a unison, octave, or to the taper of the neck will help Note that this drawing is not fift-h. The best available check to insure a tight knot. However, precisely scaled, and should not is the seventh harmonic of note that if you have left any be used as a guide for exact fret string one, which is one octave higher than fret //4, on string unfilled notches at the edges of placement. the fingerboard, your new frets five. will stick inextricably at the old position.

Fig. 2 shows the fret posi­ tions for a useful scale. I find While using a tuner is the a fretting such as this suitable easiest way to determine fret for melodic playing, but something placement, one can do a decent job different would need to be devised checking by ear. Each new fret for rhythm guitar-style chording. usually can be tested by several When writing to change the address Note that this fretting doesn't intervals. Fig. 3 shows the on your POLYPHONY subscription extend up the neck beyond the checks to be used with the fret­ it is important that you enclose the major sixth. This is because the ting in Fig. 2. Best results may mailing label. Our computer cannot curve of the neck where it joins be obtained on electric guitars locate your name on the subscription list without it. the body of the guitar prevents with good sustain. Even distor­ the tied frets from staying in tion can be used to good advan­ place beyond this point, unless tage, as it highlights the beating one notches the neck to keep them that characterizes mistuned conso­ ATTACH OLD LABEL HERE from slipping. (Once the exact nances. This process of tuning by position for any fret has been ear can do much to refine one's determined, notches at the edges discrimination among intervals, a NEW ADDRESS of the fingerboard will make it desirable skill for any musician. easier to keep the fret in place.) On the portion of the neck closer Good luck with your tunings, Name______to the nut, it is possible to and feel free to write in to A ddress______place frets as close together as a Polyphony with any reactions to City------State_____ Zip______syntonic comma (81/80). It is not your experiments. particularly difficult to play single-note lines with frets mail to: F o f y p h o i ^ spaced this closely, but barring PO BOX 20305 across several strings may prove Oklahoma City,OK 73156 impossible.

I______/ April 1985 39 Grounding and Shielding Seminar : A REVIEW

BY: VANESSA ELSE

Proper grounding and shield­ circuits and some common errors; Low Current, Low Voltage, and High ing is becoming increasingly im­ near- and far- field effects of RF Impedance Measurements published portant in this age of low level interference; common and differen­ by Keithley Instruments, Inc., signals, nanosecond speed logic tial mode types of interference; lunch, and coffee, tea or soda circuits, and electromagnetic pol­ magnetic and electric field inter- during the several breaks taken lution. To learn more about the rerence; balanced and unbalanced throughout the day. This course subject, I recently attended an circuits; methods of identifying has been on the road to Illinois, instructional seminar on grounding noise sources; and shielding with Texas, New York, Massachusetts, and shielding electronic instru­ different types of materials. California, Arizona, and Colorado mentation in Palo Alto, California with upcoming dates planned for at the Holiday Inn. This one-day, Those in attendance seemed Florida some time later this year. eight hour course was geared pleased by the content. Although It is also available for in-house toward professional electrical the course was very general, many training, with length and content engineers as continuing education of the attendees had specific adjusted to suit special needs instruction and is offered by the questions related to their own (the cost for the eight-hour in- Department of Electrical Engineer­ fields of interest and these were house program is $3,800 at the ing at the University of Missouri- either answered during the session time of this writing). This Rolla. The instructor was their or, if they were more involved, course is scheduled to be pre­ faculty member Tom Van Doren who taken care © f during the many sented at: has 21 years of teaching and in­ breaks throughout the day. Mr. dustrial experience in electronic Van Doren frequently encouraged Washington, D.C. May 6, 1985 data acquisition, microwave com­ participation by presenting prob­ Philadelphia, PA May 8, 1985 munication systems, semiconductor lems for the engineers to solve. Patterson, NJ May 10, 1985 processing and electronic circuit In addition, he conducted several Dallas, TX May 14, 1985 design. Polyphony readers who are enlightening demonstrations with Houston, TX May 20, 1985 professional engineers may be in­ the visual aid of an oscilloscope. San Diego, CA June 4, 1985 terested in this course, particu­ Los Angeles, CA June 10, 1985 larly if their company has had any Those interested in taking San Jose, CA June 17, 1985 grounding and shielding problems this course should have some fa­ crop up in their designs. miliarity with electrical engi­ Also, Dr. Van Doren will, be teach­ neering concepts and an under­ ing an extensive three day course The course covered a wide standing of the mathematics in­ on Grounding and Shielding at variety of typical problems, and volved. For background before Rolla, MO (April 22, 23, 24 -- gave me a variety of topics to taking the course, or for general $660) and another 3-day course on consider in my work with printed background on the subject, I would Interfacing Computers to Elec­ circuit board layouts and studio recommend Noise Reduc t ion Tech­ tronic Instrumentation (April 1, wiring. Both analog and digital niques in Electronic Systems by 2, 3 — $660) at Rolla. Addition­ grounding problems were discussed. Henry Ott (Wiley, New York, 1976) al information may be obtained by Among some of the topics were: which will give you a familiarity writing to: Mr. JB i 11 Kratzer, electrical wiring in buildings; with some of the material covered. Engineering 'Continuing Education, improper wirings and the problems University of Missouri-Ro11 a, caused by such wiring errors (both The cost of this one-day Rolla, MO 65401. what to be aware of and what you course is $285 which includes: a should look for); ideas on printed detailed set of course notes in a circuit board grounding; proper workbook, a book entitled Low methods for measuring electrical Level Measurements for Effective

40 April 1985 LINEARS R ES IS T O R S 5 %, 1/4 watt SIGNAL DIODE TL061...... BiFet...... 72 All EIA values available from 2.0 ohm to 5.1 Meg. 601-60...1N914 (1N4148) signal diode. 5/.35 TL062...... Dual BiFet ...... 99 Also availble is 10 Meg. TL064...... Quad BiFet...... 1.95 TRANSISTORS TL071...... BiFet...... 65 100 each of same value...... $1.50 2N3904...... 2N3904 NPN Transistor...... 25 TL072...... Dual BiFet...... 1.15 50 each of same value...... 98 2N3906...... 2N2906 PNP Transistor...... 25 TL074...... Quad BiFet...... 1.95 25 each of same value...... 75 NE555...... Timer...... 39 10 each of same value...... 40 POTENTIOMETERS <0 NE570...... 3.80 5 each of same value...... 25 (3 /8 long shaft, 5 /1 6 mounting hole) NE571...... Compander...... 2.95 854-401....10K Linear taper...... 1.09 NE572...... 4.95 ASSORTMENTS 854-501.....100K Linear taper...... 1.09 UA741...... Comp. OpAmp...... 29 10 each of 10 values (100)..... 3.00 854- 505.500K Linear taper...... 1.09 MC1456...... Low Noise OpAmp...... 90 <3 25 each of 10 values (250) ...... 6.50 855- 401 .10K Audio taper...... 1.09 ...Low Noise OpAmp...... 1.48 RC1556... 50 each of 20 values (1000). 16.00 CA3080...... OTA...... 94 855-501.....100K Audio taper...... 1.09 CA3280...... Dual O TA...... 1.98 855- 505.500K Audio taper...... 1.09 CHORUS/DELAY KIT RC4136...... Quad OpAmp...... 1.10 856- 401.....10K Audio taper with RC4739 ...... 1.19 This chorus/delay unit, designed by Craig Anderton on/off switch...... 1.25 0 . and featured in Guitar Player magazine, provides NE5532...... Dual High Perf...... 3.70 NE5534...... High Performance...... 2.65 flanging, slapback echo, and automatic double tracking effects. The delay range is from 2 ms to 80 TRIM P O T S (vertical mount) ms. Due to the use of compression and expansion 802-251... 250 ohm trimmer...... 40 SPECIAL PURPOSE techniques, the unit has dead-quiet operation up to 802-103... 10K trimmer...... 40 □ □ SAD-1024. .... Analog Delay...... 17.50 about 50 ms and only minimal noise out the full 80 ms. SAD-4096. .... Analog Delay...... 37.50 This project kit consists of all electronics, pots, jacks, MINI TO G G LE S W IT C H E S MK50240...... Top Octave Div...... 5.95 etc. Also included are the two circuit boards (etched, 403-20....SPDT (on/on) sub-mini (3A).... 1.20 drilled, and legended) needed for the project. Not SN76477...... Sound Generator...... 3.45 403-40....DPDT (on/on) sub-mini (3A).... 1.50 included is wire, solder, case, knobs, etc. The Chorus/Delay unit also needs a well regulated 405-10....SPST (on/off) bat handle (6A). 1.85 SANYO HYBRID POWER AMPS bi-polar 15 volt power supply (not included). (A STK050.... .50 Watt Power Amp...... 19.40 punched and legended rack mount panel will soon be LED 's STK070.... .70 Watt Power Amp...... 24.20 available for this project.) Please note that the typical DC forward current (l-fwd) Order KT-CD777...... $78.00 SSM- SOLID STATE of these LED ’s is less than those offered elsewhere MICRO-TECHNOLOGY making these LED ’s ideal for battery circuits or others "SNARE +" DRUM VOICE KIT where current consumption is a factor. SSM 2010. .... VCA...... , 7.50 SSM 2011. .... PreAmp...... 5.75 This percussion synthesizer was designed by Thomas Henry and appeared in POLYPHONY 305-201.....Red T-VA jumbo diffused (20 m a.)...... 30 .... VCA...... 9.50 SSM 2012. magazine. Here’s what Craig Anderton had to say 305-202 Green T-1% jumbo diffused (30 ma).. .40 SSM 2020. .... VCA...... 7.50 about the "SN A RE + ” . "At last - an inexpensive drum 305-203.....Dual T-1% jumbo diffused (50 ma)...... 90 SSM 2022. .... VCA...... 7.50 voice that has a punchy, full sound...... All in all, the SSM 2030. .... VCO...... 7.50 Snare + delivers a lot of drum sounds, and I would 305-204.....Tri T-13/, jumbo diffused (20 ma)...... 1.50 SSM 2033. .... VCO...... 10.00 unhesitatingly recommend it to anybody who’s tired Note: 305-204 is a three lead, tri-color (green, red, SSM 2040..... V C F ...... 7.50 of the thin sound found in most electronic drum yellow) device. It is essentially two separate LED ’s in SSM 2044. .... VCF ...... 7.50 units.” one package. (The yellow is obtained by turning on We offer the kit with or without a panel. Kit 3770 both green and yellow.) SSM 2050..... VCTG ...... 7.50 contains all electronic parts, switches, jacks, pots, SSM 2056. .... VCTG ...... 5.75 etc, as well well as etched, drilled, and legended circuit board. Kit 3772 includes all this plus a punched JACKS and PLUGS and legended rack mount panel (standard 1 3/4 by 19 1 /4 In. PHONE JA C K S THERMISTER (Temp. Sensing Resistor) inches) available in black or blue (both with white LT 901-101...Mono standard phone jack...... 45 TSR-Q81.....Tel Labs Q81 1k ...... $3.50 legends). Not included with either kit is wire, solder, mounting 901-103...Mono with n/closed contact..... 52 hardware, etc. The SN A R E + also needs a bi-polar 15 OPTO-ISOLATOR 901- 105...Mono end. jack (open back).....55 volt power supply (not supplied). 902- 211...Stereo standard phone jack..70 CLM6000.. ..Clairex CLM6000...... $2.85 KIT 3770 Basic SNARE + kit...... $33.95 902- 213...Stereo end. jack (open back).. .77 KIT 3772 SNARE + with rack panel... $44.94 CAPACITORS (25 volt) 1 / 8 In. MINI JA C K S 701-100...... 100 pf polystyrene...... 25 903- 351...Mono with n/closed contact...... 32 701-180...... 180 pf polystyrene...... 25 THE "CLARIFIER" GUITAR 701-1000.. ... 1000 pf polystyrene...... 25 EQ/PREAMP 903-353...Mono end. (open back)...... 26 701-2200..... 2200 pf polystyrene...... 25 The "CLARIFIER” is an onboard preamp/EQ 903-355...Mono enclosed with contact...... 35 701-2200.. ... 3300 pf polystyrene...... 25 module for guitar. This design, by Craig Anderton, RCA JA C K S 701-3900.. ... 3900 pf polystyrene...... 25 was first seen in the pages of GUITAR PLAYER magazine. Here’s what the C LA R IFIER will do: 921-100...RCA jack, chassis mount...... 34 702-005...... 005 uf mylar...... 12 Replace the guitar’s standard passive tone control 921-200...RCA jack on phenolic mount... .25 702-01...... 01 uf mylar...... 12 with a two control, active circuit which provides over 921-300...Dual RCA on phenolic mount... .43 702-05...... 05 uf mylar...... 16 12 db of bass and treble boost and up to 6 db cut.... 1 /4 In. PHONE PLUGS 702-1...... 1 uf mylar...... 21 Buffer your pickups from external loading, giving additional output and improve high freq response.... 911-201...Mono, black phone plug...... 48 702-22...... 22 uf mylar...... 33 Add a nominal 6 db of gain to give your signal a bit 911-203...Mono, red phone plug...... 48 more punch, as well as improve the signal/noise ratio 703-1.0...... 1.0 uf tantalum...... 39 911-205...Mono, chrome (metal) plug... .1.20 703-3.3...... 3.3 uf tantalum...... 49 in multiple effects systems... make your guitar immune to the high freq loss caused by long cable 911-211...Stereo, black phone plug...... 65 703-4.7...... 4.7 uf tantalum...... 59 runs. 1 /8 In. MINI PLUGS 704-2.2...... 2.2 uf electrolytic...... 21 The CLA R IFIER kit is available in two options, both 704-4.7...... 4.7 uf electrolytic...... 21 of which include a high quality drilled, legended, and 913-251...Mono, black mini plug...... 38 masked circuit board, as well as complete step by 913-253...Mono, red mini plug...... 38 704-10...... 10 uf electrolytic...... 21 step instructions. Kit 2450 contains everything 704-100...... 100 uf electrolytic...... 31 needed for a complete unit.. Kit 2455 contains 913-255...Mono, chrome (metal) plug...... 56 everything execpt the pots (for those who prefer a 705-10...... 10 pf ceramic disk...... 15 SWITCHING JACKS particluar brand of potentiometer). Batteries are not 705-.01...... 01 uf ceramic disk...... 12 included with either kit. These are stereo phone jacks that contain an ...... 1 uf ceramic disk...... 17 705-.1...... KIT 2450....Complete CLARIFIER kit. $18.95 independent switching sywtem that is controlled by the insertion of the plug. Jack 905-301 contains the KIT 2455.... CLARIFIER less controls ..$14.95 IC S O C K E T S (soldertail) equivalent of a D PST normally on switch. Jack IC-S-08...... 8 pin high quality socket...... 27 905-302 contains the equivent of a DPDT on/on TERMS: (Check, Money Order, Cashiers Check - IC-S-14...... 14 pin high quality socket ... .30 switch making it ideal for switching bi-polar power Add .75 if under $10.00)— ($10.00 minimum on supplies on and off in effects boxes, etc. IC-S-16...... 16 pin high quality socket ... .34 C.O.D. (UPS only) add $1.50)— (Mastercard and IC-S-18...... 18 pin high quality socket ... .40 Visa: $10.00 minimum. You must supply exp. 905-301...Stereo jack with SPST switch.. .90 IC-S-28...... 28 pin hgih quality socket ... .60 date.)— (Indiana residents add sales tax.) 905-302...Stereo jack with DPDT sw..... 1.00 IC-C-08...... 8 pin economy socket...... 13 SHIPPING AND HANDLING: $1.00 plus 5% of IC-C-14...... 14 pin economy socket...... 15 purchase. We will credit any amount over our PGS ELECTRONICS IC-C-16...... 16 pin economy socket...... 17 standard rate. Route 25 - Box 304 IC-C-18...... 18 pin economy socket...... 20 SA TiSFACTION GUARANTEED! IC-C-28...... 28 pin economy socket...... 40 Terre Haute, IN 47802 /------eouiPfrenr exchadge ADD A NOISE GENERATOR TO YOUR ORGANTUA

Equipment exchange classified rates -for personal word ads - ■50/word, payment must accompany o rd e r. Commercial r a t e : .75/wd. prepaid. Prices, zip codes phone numbers count as by: Ronald L.Oberholtzer one word each. Advertisers using a PO Box address -for responses must -furnish a street address and phone number. Publisher is not responsible -for claims made in ads or -for the results o-f any transactions. We reserve the right to After my ORGANTUA gave me many hours of plea­ edit or re-fuse any ads submitted. sure, I decided to try adding a noise generator to PAIA Stringz 'Ny Thingz -*195.80; MXR simulate the wind noise present in some musical Phase Shifter -*25.88; Ross Compressor - instruments (such as pipe organ). I knew it was a *2 5.88; 2 Moog O s c illa t o r s , Rack mounted success after a concert for my organ club; for the - *95.88; Korg Drum Machine - 55B - 96 last number I asked them to tell me what instrument preset rhythms - *165.00. All in I was imitating, and before the number was finished excellent condition - shipping included. they were yelling "Calliope." The noise generator (201) 678-3256 or (281) 336-4380. effectively imitated the steam in the whistles.

The associated diagram and parts list are self- SERGE Music System MODULES WANTED! explanatory, and mounting the components is left to Please call or write Andrej Zdravid, 37 the builder’s creativity. Here's my calliope patch Dolores Terrace, San Francisco, CA 94118 for Organtua; play thirds with your right (or depen­ < 4 15> 626-4386; or c a ll Woody <505) 473- ding on your preference, left) hand. 8614. Clock: VAR Attack: 8 o'clock FOR SALE: TEAC 3348-S *588, BiAMP 1283 Modulation: OFF 12 input mixer *580, Electro-Uoice CS15 Range: Next to Top, All Ranks Condenser Mic *158, Neuman BS45A Phantom Octave Jump: On Power *58. Call Phil Cibley (212) 986- Noise: 11 o'clock 2219.

Parts List (all stock numbers are for Radio Shack ARP 2608 Synthesizer, excellent condition parts) - *780. Call (904) 222-9242. IC board (#276-024) 8-Pin IC socket (#276-1995) INTERNATIONAL ELECTRONIC MUSIC Noise generator IC (S2688 or MM5837) ASSOCIATION. Join Charter Members Craig 100K audio taper pot with switch (#271-1722) and Anderton, Klaus Schulze, and Synergy in knob promoting the A rt. Dues *12 annually 0.1 uF (100 nF) mylar capacitor (#272-1069) include Syne Magazine. P.0. Box 176-P, Solder, wire, mounting hardware Salamanaca, NY 14779. I J (Ed. note: Organtua is available for $299.00 plus shipping and handling from PAiA Electronics, Inc., A Dickstein Distributing 15 P.0. Box 14359, Oklahoma City, OK 73114.) Electronic Musician 21

D Gentle Electric 4

HMR Communications 25 I Jazzical Records 15 N PAIA E le c tro n ic s 4 D PGS Electronics 41 E Rayna Systems 28 Sync. Tech. 43 X TASCAM 2 TOA 44 V J I*oty]>iiOfty 42 April 1985 . vsV - COMPUTER AUTOMATION FOR THE SMALL STUDIO THE SMPL SYSTEM BREAKS THE PRICE BARRIER corded as audio. Not only does this effectively increase the num­ FOR SMPTE TIME CODE ber of tracks available, it allows these tracks to be mixed first gener­ ation to the master tape. No more loss of quality from ping-ponging Synchronous Technologies’ SM PL System is the only time and dubbing. code device specifically designed to solve the problems of the smaller recording studio. In one integrated package it provides AN OFF LINE TERMINAL FOR THE ENTERTAINMENT functions and features which can’t be duplicated with existing time INDUSTRY’S SYNCHRONIZING NETWORK code equipment even at many times the system’s low price. Func­ The benefits of using industry standard non-drop format SM PTE tions include: Time Code can’t be overstated. With the SM PL System, tapes pro­ SMPTE Time Code generator duced in the small studio will transport to larger studios and be SMPTE Time Code reader compatible with automatic mix-down and chase-locking equip­ Automatic Punch In/Out ment. Drum and Synth Sychronizer Even if you never need to sync audio to video, this compatibility Programmable 8 event sequencer has compelling economic advantages. Tapes produced on ma­ Autolocator chines with limited tracks can be “pyramided” to 24 and 40 track Time Code Metronome studio machines, allowing you to create in yourown environment at Recorder Remote Control your own pace and still have easy access to expensive studio facili­ ties on an as-needed basis. In many cases, your savings in billed studio time will quickly pay for the SM PL System.

A VERY HUMAN INTERFACE Either a Color or B/W Monitor,or TV set can be used as the dis­ play device for the SMPL System. The easily readable display pro­ vides all current information on the operation of the system includ­ ing operating mode, metronome tempo, current time, In/Out points, CUE point, recorder status and more. And the SMPL System doesn’t require an advanced engineering degree to operate, all functions are straight forward and obvious.

IT’S A COMPLETE, LOW COST SYSTEM IT’S THE ENGINEER YOU ALWAYS WANTED Not only is the SMPL System itself low in price, it's designed to With the SM PL System, insert editing no longer requires the be used with lower cost multi-channel cassette or open reel re­ combined skills of engineer, musician and juggler. During review, corders by simply plugging into their normal remote control jacks. Punch In and Punch Out points are set on the fly and saved in the Neither tachometer output nor speed control input are required. computer’s memory. Separate Rehearse and Take modes allow Even recorders without remote control jacks can usually be modi­ you to rehearse and preview the edit points as many times as fied for use with the system. necessary before committing to tape. The complete SMPL System consists of: Personal Computer Eight programmable event outputs are useful for triggering with keyboard modified for SMPL functions, SM PL System Soft- effects, changing instrument presets, fractional measure channel ware/lnterface cartridge, VHF channel 3/4 modulator,power muting and much more. supply and Using and Installation manual. The eight autolocator points let you get from section to section SMPL System ...... $995.00 (12 lbs) with a minimum of hassle and wasted time. And a separately pro­ grammable CUE point controls the recorder for a looping function CALL OR WRITE FOR THE NAME OF YOUR NEAREST DEALER. at the end of rehearsals and takes. You concentrate on the art, the system attends to details.

SYNC-LOCK THE NEW GENERATION OF INSTRUMENT/RECORDERS Through the SM PL System’s MIDI standard 24 tick/beat syn­ chronizing buss, an ever increasing number of Polyphonic Synthe­ sizer Sequencers and Electronic Drum Sets can be precisely syn­ chronized to material on tape. Many pre-MIDI instruments also conform to this standard and other non-standard sync formats can be handled with modest additional equipment. Unlike tone or click-track type synchronizers, the SMPL System can be started at any arbitrary point in the work and the computer intantly calculates the correct phase of both metronome beat and synchronizing signal. You save time and aggravation by not having to play through the entire work to do an edit at the end.

MORE, HIGHER QUALITY “TRACKS” Since much of today’s commercial music involves digital drums and sequencer controlled polyphonic synthesizers, the SMPTE No representation that S M P L is a product of Commodore B u sin ess M achines, In c.or an affiliated or related com pany is intended; nor is there any representation that there is any source of origin of Commodore Computers other than track can replace numerous tracks which might otherwise be re­ Commodore Business Macnines. Inc. or its affiliated or related companies. /////////////I////////////// 1/ SYNCHRONOUS TECHNOLOGIES P.O. Box 14467 • 1020 West Wilshire Boulevard • Oklahoma City, Oklahoma 73113 • (405)842-0680 . . .whether you're mixing down from multi-track or producing audio-for- video. TOA's new ME Studio Monitor outputs a crystal-clear mirror image of any input. The ME's have symmetrically-arranged drivers. Take a look- the Left monitor is a mirror image of the Right monitor. W hat you see is w hat you get stable and true stereo sound imaging within the confined spaces of recording studios and broadcast control rooms.

What's Your Reference Preference? Do you prefer a 3-way system or a 2-way. . .or a full-range mini-monitor that sits atop your mixing console? Do you prefer mid- and high-frequency attenuators to tailor the monitor's output I H K to specific room S$-' acoustics? f V P r

It's your choice, because there are four different ME Systems to suit every need. . . each one easily handles the wide dynamic range & precise acoustic demands of digital and advanced analog sound. Again and again and again.

Call or write for complete technical information. TOA Electronics, Inc. "TT"') Professional Music and Entertainment ' 480 Carlton Court, South San Francisco, California 94080 (415)588-2538 \ In Canada: TOA Electron^, Inc., 10712-181 Street Edmonton, Alberta T5S 1K8^403) 489-5511 ©1985 TOA Electronics, Inc.