ELECTRONICS- MUSIC- HOME RECORDING August 1984

BILL NELSON

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Put your music in the video scene, with TA SCA M ’s full line of SMPTE-compatible audio equipment. STAFF ------CONTENTS

PUBLISHER ISSN: 0163-4534 John S. Simonton, Jr.

EDITOR ------F o S y p h o i ^ ^ Craig Anderton VOLUME 9, NUMBER 5 EDITORIAL ASSISTANT Vanessa Else AUGUST, 1984 MANAGING EDITOR Linda Kay Brumfield PRODUCTION MANAGER TECHNICAL ILLLUSTRATOR An Interview with B ill Nelson Caroline Wood By: John K. D iliberto ...... 8 CIRCULATION Ramona French Peggy Walker Electro-Harmonix Instant Replay Review BOOKEEPING By: Chuck P o g an ...... 34 Cathi Boggs PRINT PRODUCTION Remotely MIDI, Part II Phuong Nguyen By: Kirk Austin ...... 24 SEMCO Color Press

Summer 1984 NAMM Show Report POLYPHONY (ISSN 0163-4534) is published bimonthly at 1020 W. Wilshire Blvd., By: Craig Anderton ...... 12 Oklahoma City, OK 73116, by Polyphony Publishing Co. Entire contents copyright (c) 1984 by Polyphony Publishing Co. All '64 SOUNDS, Part II rights reserved. No portion of this publication may be reproduced in any By: James A. Lisowski...... 22 manner without written permission fr

TO POSTMASTER, send address changes to: POLYPHONY ON THE COVER: PO Box 20305 The MIDI Remote Keyboard as interpreted in an Oklahoma City, OK 73156 Ph. (405) 842-5480 illustration by Lee Strauss.

August 1984 3 When writing to change the address on your POLYPHONY subscription it is important that you enclose the mailing label. Our computer cannot locate your name on the subscription list without it.

ATTACH OLD LABEL HERE \ gate input. You would then use EDITOR'S NOTE: ATTENTION the ADSR to control a VCA that EUROPEANS! inserts between the organ output NEW ADDRESS and amplifier. However, by fol­ I expect to be visiting lowing this approach you w ill only Europe in e a rly -to -m id November, be able to generate attack, decay, Name______1984. While I'm th ere, I hope to and sustain since taking your Address______■ visit electronically-oriented mu­ fingers off the keys initiates the City------State------Zip______sicians in a number of different release function; and if your countries. I would like to hear fingers are off the keys, there's from any European readers who are no sound to release. Also, note mail to: P o l y p h o n y eager to discuss musical elec­ that the envelope will affect the PO BOX 20305 tronics, are willing to put me up overall sound, not each individual Oklahoma City,OK 73156 for a day or two, and possibly, note. could introduce me to other local electronic musicians. If you're at all interested, please write as INTERFACE BLUES, PART 2 PLUG INTO soon as possible so that I can start working on my itinerary. In the past year, I have Incidentally, I speak French and a purchased a Timex ZX81 with 16K Fofyphof^ l i t t l e b it of Spanish and German. memory, Roland Juno 6, and Boss I look forward to hearing from Dr. Rhythm. We both know th at you, and hope to see you in Novem­ these toys cannot be intercon­ ber! Thank you very much. nected...or can they, with the right modification? Can I inter­ Craig Anderton, Editor face the Dr. Rhythm to the ZX81? Can I store melodies on tape or in V______) the ZX81 for later playback? Can the Juno 6 accept MIDI? Can I change the Juno 6 chorus speed and INTERFACE BLUES, PART 1 make it less hissy? C. L. Jaszberenyi FOR Some time ago I purchased a Toronto, Ontario, Canada ELECTRIFYING IDEAS! voltage controlled ADSR from PAIA Electronics, and would like to use C. L. — For those questions DON’T MISS AN ISSUE it on my electronic organ. Will it accept an analog signal into relating to mods (i.e. changing SUBSCRIBE TODAY! the trigger input? chorus speed), your best bet would be to contact a Roland service Charles Schrade center that has schematics for the | ( ) One year $12 US/$14 foreign San Jose, CA equipment. Regarding in te rfa c in g (6 issues) to a computer, this is not like | ( ) Two years $22 US/$26 foreign Charles — ADSRs are general­ plugging into an amp by any means. If you intend to do any serious ly designed to accept a logic I experimentation with keyboards and "high" signal at their gate inputs |Name:______computers, both need to be de­ (i.e. a steady-state DC voltage |Address:______signed with that specific task in around +5V, or sometimes +10V). mind. Sorry to be discouraging, | City:______state:_____ zip:. Generally a trigger is derived but some things just aren't easy. I from this logic high signal by | VISA/ Mastercharge accepted. differentiating the signal through ■ Card No.______a capacitor/resistor combination. j Expiration date: One way to interface a gate input INTERFACE BLUES, PART 3 to the organ is to take a separate I (signature) feed from the organ audio output, I have follow ed Thomas Hen­ Mail to: rectify and filter it to convert ry's Micro-Drums articles with I POLYPHONY, P. 0. Box 20305 it to DC, then amplify it (if great interest, and have con­ structed the necessary hardware. I Oklahoma city, OK 73116 necessary) to obtain the output I, level required to drive the ADSR cont. pg. 28 Polyphony August 1984 Imagine six of the most amazing syn- * boards, Sequencers, Guitars, Comput­ thesizer voices you’ve ever heard with ers, MIDI and CVs simultaneously, and 2 Oscillators, 15 VCAs, 5 LFOs, 5 Enve­ of course, the Oberheim System. lope Generators, 4 Ramp Generators, We've had these fantasies, too. 3 Tracking Generators, Lag Processor, 15 Mode Filter, and FM on every single The Oberheim Xpander... the fantasy voice. realized. Realize your fantasy at your local Oberheim dealer or write for more Imagine being able to control each of information. these voices easily and independently. A Matrix ModulationrM system that lets you connect 27 sources to any of 47 destinations per voice, with an interac­ tive block diagram and 120 display characters to make it easy to use. Imagine being able to interface all of this to anything you wish; Velocity Key­ Los Angeles. CA 9 0 0 6 4 However, many read ers — m yself Included — certainly must feel Robert Carlberg’s I left a little bit short on the software end, since Tom’s program is written for a microcomputer which is no longer available, the PAIA 8700. My own 8700 has re ­ cently decided to call it quits, so I have more at stake here than re -v ie w most people; perhaps some ambi­ tious computer-knowledgeable reader could translate the Micro- Drums program over to the Commo- This column is not in the business tle. Artificially extended by dore-64, which seems to be the of selling records. That's why tape studio techniques, it varies music-oriented budget computer. you won't see "Highly Recommen­ texture constantly — sounding at I would also like to express ded", * * * *, "A Must Buy" or times like a string quartet, at my appreciation for the great bass similar suggestions. Sometimes times like guitar feedback, at drum c ir c u it (October '83 Poly­ that means a good record gets times like Eno's Ambient series.* phony). I thought my bass drum hidden in the middle. Sometimes sounds were p re tty good u n ti l I it means a bad record is described Gale Ormiston & Carl Weingarten heard this! How about a good for what it is. Either way, the Windfalls (Multiphase 003). Dual handclap circuit? column only provides a forum for synthesizer drones heavily influ­ announcing what's available, and enced by Fripp & Eno and Kitaro hopefully gives some idea of what and all that mid-70s mellowness.* to expect. Comments, questions David Myers and items for review are all wel­ NY, NY 10014 comed, and should be sent to Poly­ phony Reviews, P.0. Box 16211, David — Re handclaps, we Seattle WA 98116. don't have that in the works but be sure to check out Thomas' hi- hat c ir c u it in th is issu e. Con­ Group 87 A Career in Dada Pro­ cerning Micro-Drums, we asked Tho­ cessing (Capitol 12334). Post- mas if he had a listin g for the C- electronic music from keyboard/- 64; his reply follows. trum peter Mark Isham (Feb '84), "I'm afraid I just don't have percussionist Peter Van Hooke and time to follow up on this just now electronic guitarist Peter Maunu. (I'm in the middle of my thesis I call it "post-electronic" be­ for a Master's Degree); however, cause they take gorgeous electron­ Yazoo Upstairs at Eric's (Sire in a few months I may be able to ic colors and actually do some­ 23737-1). In a never-ending look at the conversion problem. thing with them — in this case a search for tasteful applications, Here are a few thoughts on the combination of slow stately themes one might pause momentarily on matter. and faster rhythmic constructions. th is duo. Love lo s t, love found, "First, the conversion should It's highly composed and very tunes you've heard a m illion times be straightforward; although the sophisticated and I played it in other clothes. We move on. keyboard entry stuff will look about 23 times straight through. different, the basic logic of the program w ill be sim ilar. However, Steve Tibbetts Safe Journey (ECM before a conversion is possible, 1270). Enigmatic guitar with var­ it is necessary to know exactly ious hand drums and conundrums. what address David mapped M icro- It's closer in spirit to the first Drums in to , and what o th er a s­ two self-produced albums (reviewed sumptions his implementation May/June '81) than the third ECM- makes. Ideally, the person owning produced album (Sept/Oct '82), the hardware should write the probably because it was recorded software so that immediate testing back home in Minnesota. is possible. "I would be w illing to write the software for a Commodore-64 Hirudo The First Incarnation (H- Micro-Drums, if someone else w ill 001). Heavy chords and grand take on the task of writing up the piano — a very theatrical debut user's instructions. That is, in from Germans Uli Kutschera and several weeks, I'll have enough Peter Fischer with maybe the ghost time to write the software if of Wagner. A se lf-fin a n c e d re ­ someone e ls e w ill take on the lease available through Eurock documentation part of the arti­ D i s t r i b u t i o n , P.0. Box 13718, cle ." Portland OR 97213. Incidentally, I'm sure that Thomas would place a high p rio rity Carl Stone Woo Lae Oak (Wizard The Happiness Boys Resident Alien on this project if lots of people 224). Four minutes shy of an hour (Duo-3, EP). They c a ll i t "ag­ wrote in and wanted a C-64 Micro- of one continous drone made up of gressive structures for dance”, Drums. I ' l l cast the second vote a rubbed s trin g and a blown b o t­ cont. pg.23 IVriypliony ------August 1984 r

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EOE

V. r\n Interview With BILL NELSON By: JohnK. Diliberto "The Charleston was an appropriate soundtrack Nelson formed a new group, Red Noise, whose for the Prohibition era, rock 'n' roll was an appro­ debut album (Sound-on-Sound) was almost all Bill priate soundtrack for the 50s, protest music for the Nelson playing drums, synthesizers, guitars, percus­ 60s and Glam for the 70s. I just really think that sion, bass, vocals, and yes, a little guitar. Five that image of a guy strutting his stuff on stage years later, Sound-on-Sound still sounds fresh, with a shiny guitar in great clouds of dry ice had a alive and vibrant. It's full of odd song struc­ c e rta in magic in i t s day, but i t was bound to be tures, stop-start rhythms, twisted lyrics and ori­ limited. In 50 years time there will be certain ginal instrumental textures which could be why it clubs in town where you can see people wiggling was also his swan song for Capitol Records. "In their hips around and playing guitar with their some ways it was a little bit ahead of its time," teeth. But it's not going to be the kind of vital Nelson can now say with laughter. "That album ac­ music the the kids tend to cry out for." tually lost me my deal with Capitol in the States...they heard it and couldn't believe I'd made —Thomas Dolby such a quantum jump from Be-Bop to Red Noise." from Totally Wired '83 Capitol test marketed the record at 150 radio sta­ tions. The results, according to Nelson, were so That's easy for Thomas Dolby to say. He didn't extreme that even Capitol couldn't believe it. start making music until synthesizers were firmly "They a c tu a lly p h o to s ta tte d a l l the comments and established and debugged for consumer usage. But sent them to me," Nelson re c a lls . "They thought I what about those old guitar heros, musicians who wouldn't believe them. They are so despairing that wielded their Strats in the speed and distortion they're hilarious. There were things like, 'What is wars of the 60s and 70s? A lot of them are still at th is crap?', 'Out Devos Devo', and 'Too whacko for it, finding fewer .novel paths between the sonic us.' There wasn't one station that said this was adventures of Jimi Hendrix and the high velocity g re a t. ” forays of John McLaughlin. Be-Bop Deluxe fans were also chagrinned. B ill Nelson is a g u ita rist who gained a certain "Where's the guitar?" they cried. B ill Nelson how­ renown, waded through his share of dry ice, and ever, persevered, got new record contracts after a wiggled his hips a bit when he was with his Glam-era lengthy hiatus and has now developed one of the most band Be-Bop Deluxe. Be-Bop Deluxe put out sev eral original and provocative synthi-pop sounds around. albums in the seventies, beginning with 1974's Axe He also had a chance to go back into his own Victim and continuing through until 1977's Drastic home-grown stu d io to make personal soundtracks of Plastic. Be-Bop Deluxe was always a forward-looking atmospheric guitar-synthesizer, musique concrete band, mixing state-of-the-art guitar playing with applications. It was almost a return to the very s c ie n c e - fic tio n imagery. Nelson has the dexterity f i r s t B ill Nelson solo LP, Northern Dream (1971), and the signal-processing wizardry to orchestrate recorded on a 2 -tra c k tape machine. Only now, in ­ small symphonies out of each solo. While much of stead of electrified folk songs, Nelson creates the music he w rote for Be-Bop sounds a b it leaden moody soundsculptures and dark landscapes. Three now, the savage grace of his guitar solos still hold LPs of this genre have been released, Sounding the up. Ritual Echo, and two soundtracks for Yorkshire Ac­ However, towards the end of Be-Bop's days, as tors Company performances of Das Kabinett (von Dr. Nelson himself began to push thirty, he saw the Caligari) and Beauty and the Beast. future of rock 'n' roll, and it was synthesized. He Nelson's concern with the nature and fabric of s t i l l wanted to make v i t a l music, and the f i r s t sound can be heard on these soundtracks and his more inklings of his change came on Drastic P la s tic , with polished synthi-pop recordings. On tour, Nelson its hard-edged, metric rhythms and modernistic lyr­ uses sophisticated digital synthesizers and percus­ ics. But, Nelson wanted more, and he saw the vehi­ sion, yet he maintains a flexibility and true spon­ cle for his new music in the synthesizer with an taneity that most synthi-pop bands would find com­ ability to realize his music on his own. "It wasn't pletely alien. Bill Nelson, unlike programmers like my only thing in the band was to express myself Thomas Dolby, Duran Duran, and Depeche Mode, can as a guitar player," he recalls. "Suddenly there s t i l l kick out the jams onstage and improvise. was no band. It was just myself and a 24-track tape Nelson's current touring group can fully machine surrounded by a ll this technology." realize the complex rhythms and sophisticated tex­

8 Polyphony August 1984 tures of his recent works, Vistamix and The Love working on that kind of electronic imagery as well. That Whirls. He has three keyboardists playing five We recorded that in 1977 which was when punk Yamaha DX-7 digital synthesizers, two of which are was s ta r tin g to catch on in England, which is very connected together via the MIDI interface. One of ironic since a lot of the guys who started out in those keyboardists is his brother, Ian Nelson, who New Wave punk bands eventually got into electronic plays oboe and saxophone. Drummer Preston Heyman dance music. "Electrical Language" was, in fact, an employs a Simmons Digital Drum Kit that is sometimes electronical dance track. triggered by a Linn Drum Computer. Heyman can as­ The whole thing went on from there. I got into sign complete rhythms to the computer, play parts by the Red Noise thing to take some of that further; himself, or play parts in tandem with the computer. the actual visual and lyrical concerns of the Red Nelson himself plays only guitar on stage. Noise album were quite tongue-in-cheek, but actually He's c u rre n tly using a Yamaha SG-2000S as h is main dealt with a near future with the technology that instrument along with a Rickenbacker stereo 12- was upon us. I started relegating the role of the string for rhythm parts. His effects rack consists guitar from a lead instrument to sort of a texture of an Ibanez Multi-Effects unit (with compression, instrument. I used more chords and just minimized flanging, stereo chorus, phaser, and overdrive), the soloing, making it hit hard, short, and out. It plus the Roland SD-3000 and Boss Digital Delays. He was not the centerpiece of.the music. also uses an amazing device called an E-Bow to JD: That had to be a complete change of conscious­ create the most gorgeous sustain, and finally, ness for you, having grown up in the era of the there's the fam iliar Morley Volume Pedal. guitar hero and having pretty much been one yourself Nelson's home studio has improved from the 4- with Be-Bop Deluxe. track TEAC deck on which he realized all of the BN: I got to the stage where the guitar on its own instrumental albums. He currently has a Fostex A-8 was no longer my main love. My main love was making quarter-inch 8-track, with a Fostex mixer. But when music, having a statement projected through the he gets home from his current tour he'll be settling musical medium. To re s tric t myself to one kind of in to the Fostex B-16, 16-track machine with an tonal color seemed a bit narrow and primitive parti­ Allen Heath 24-Channel desk and Sony PCM F-l d ig ital cularly with the advent of synthesis and the kind of mastering machine. sounds that I just couldn't get with a guitar. It Nelson says he'll be doing more of his music at gave much more expression to the song to be able to home now. Besides his stage equipment, his home choose colors from this wide range of developing studio has a Yamaha CS-70M synthesizer, Wurlitzer electronic sounds. So it didn't hurt to leave the E le c tric Piano, Arp Omni, Casio 1000-P and 7000-P guitar alone because I was still, expressing myself with the built-in 8-track, Casio MT-30, and several through the keyboards, through the programming of VL-Tones, a ll given to him by Casio. drum machines, through the use of a bass guitar here After the rejection of Red Noise, Bill Nelson and there. People often didn't pick up on the fact is hitting a new popular stride with creativity that that I was playing 90% of the instruments on a only seems to increase with his 36 years. He still track. They were listening for that guitar and when lives in Yorkshire with his second wife, Jan. He they didn't hear it they thought that I wasn't on has three children, one by his first wife, whom he the track. le ft after "she smashed my elec tric guitar," and two JD: I t was around th a t time th a t you also s ta rte d by Jan. He wears his hair in the peroxide, spikey doing instrumental pieces. blonde style that's popular with the current new BN: That came about because I had a four-track wave, but as you will read, this synthi-pop artist system at home and I'd do these little doodles for is way ahead of the pop-star game. fun. A few friends heard them and thought I should put them on record. The q u a lity was very poor, John Diliberto: The big change in your music came distortion, drop-outs on the tape and all the rest with the Red Noise album, Sound-on-Sound, the f ir s t of it. But we did put a record out called Sounding album a f te r Be-Bop Deluxe. Then the next step in t he R itu al Echo (the second disc of Quit Dreaming the evolution of your music seems to have been The and Get on the Beam) which is purely these instru-^ Love That W hirls album. Your music's g otten more mental atmospheres. I've now got a box-set of four and more electronic. purely instrumental albums waiting to come out, Bill Nelson: The changes felt like a very natural which were a ll done on eight-track. progression for me although there were certain con­ JD: Your instrumental work is really different from scious elements to move things forward. I felt that your songs. I have a whole different image of how when I was w ith Be-Bop Deluxe in i t s l a t t e r stages you record them. They're much more atmospheric and that we weren't stretching ourselves as far as we moody... could as a complete team of musicians. I got my BN: They're more spontaneous. They're very much hands on a mini-moog synthesizer not long before we like instant sketches. I allow a certain amount of recorded our last album (Drastic Plastic). I also error to stay there, whereas the songs are much more had a g u ita r-s y n th e s iz e r, the Hagstrom Patch 2000, highly polished and have to be considered in a which was one of the earlier, prim itive guitar syn­ different light altogether. My feeling in making thesizers. I wrote most of the material on Drastic the instrumental music is to try to capture the Plastic on a synthesizer. initial impulse that I have to make that piece at We had a track on it called "Electrical Lan­ the time. So I try to put track s down very quickly guage" that utilized a drum loop, with the snare and try not to do more than one take unless there drum put through various devices, a fuzz-box and are really serious errors in there. Any subtle natural echo chambers. And I played guitar synthe­ error will get absorbed into the total picture by sizer on that. The whole basis of the song was that the time I've built up the layers. "I speak to you through elec tric a l language. Maybe I don't always know where I'm going in terms of you hear me when our frequencies meet.” It was all the final melodies or arrangements. I allow each

Ptriypliony August 1984 9 track to suggest the next section. They're always and the record industry and absolutely imparts no around a central point in that I usually work it information about anything whatsoever. It doesn't from a t i t l e firs t. I have a notebook with hundreds say much about the people who are making the music. of titles in it and the titles come out of situa­ So I've consciously backed off that on the last tions. I might hear somebody say something and I few things I've done. It's not that I've backed off ju s t w rite th a t down in the book. So when I go to technology itself. In fact, I've just gotten a new do an instrumental piece I go through the book and Yamaha DX-7 and the band I've got has five of them select a dozen titles that have an immediate re­ on stage. We're, using a Simmons drum kit and a Linn sponse and em otion for me. I put those down on a Drum triggering it. I've got a rack of digital piece of paper and one by one I look at it, think delays and E-Bows. So we're still using it, but about it and just sta rt working with that title . I it's the way we do it. I'm not too conscious of it. think of chords or a sound that go with that title A lot of people say here we have a computer synthe­ and build a whole picture up from there. So it's sizer and they approach it in a mathematical sort of very much a pure process without any second way. I'm try in g to approach th in g s in a very o r­ thoughts. ganic, human way, so th a t the in te rfa c e between Sometimes I'll do a particular chord pattern people and technology is much more fluid and expres­ and reverse the tape, chop it up and work with it sive. Instead of thinking about buttons, think going the wrong way for a w hile. The I ' l l tu rn i t about music. The machinery is here if you need it back again and work with i t going that way. So you to help. have a ll these elements that are actually produced The Love That W hirls was an album of varied by not quite knowing what's going to happen next. I ideas based around trance things. The rhythmic keep allowing elements of chance and random things s tru c tu r e s were based on trance p rin c ip le s and to occur so that I'm always being taken by surprise. eastern things, also in the melodies. The idea it And my surprise will produce a positive reaction was putting across was that there is a fusion be­ that isn't too intellectually enlabored. The pro­ tween sexuality and mysticism that has obviously cesses of making the tape are kind of in tellectu ally been known to the East for centuries, but which my worked out first, but not the music. Once the g en eratio n may only know a l i t t l e about. So I was process is decided it will throw up a musical sys­ dealing with those images in what on the surface is tem, a means of reaching an end, that is often as a very accep tab le pop way. You could dance to i t , much a surprise to me as anybody else. you could sit back and listen to it. But at the JD: How does your pop song process differ? same time there was this spirit in it, this blend of BH: That's usually done in a much more calculated sex and religion. way. It usually starts from the basis of rhythm and That's been developed and become more subtle on working patterns on a drum machine. Again, I use the Chimera album, which is part of the Vistamix titles as a spur. The lyrics are very important, record in the states. Songs like "Tender is the too. They've tended over the last few things I've Night" and "Another Day Another Ray of Hope,” done to be more personal. So I work with visual there's a kind of spiritual quality. It's not just imagery in lyrics and everything tends to be built sensuality, but there's an element of that in there. up around that. There's an essential core put down, The music is more spiritually aligned. I'm con­ and then I work on the lyrics. As the lyrics take scious of not wanting to come across like some sort shape I can visualize to n alities and arrangements to of brown ric e and beads, fa r-o u t, le t's drop some sympathize with what's being put forward. The im­ acid, you know. I've been through that and I've portant thing is to say something, and not to be found it wanting. It's a more realistic and per­ just a vehicle for a pretty melody or something sonal kind of discovery. It comes with age and that'll be easy to listen to on the radio. maturity. I'm 36 now and I can't play at being a JD: There has been a real sh ift in your lyrics from pop s ta r anymore. I have to be a human being and the Quit Dreaming and Red Noise albums to Love That one who expresses that humaness through his art. Whirls and the new records. The earlier pieces I'm learning to believe in myself a little bit more involved interfaces with technology and a certain and not worry about whether it sells or not. I just amount of alienation. You recent works are more worry about whether it was honest or not. persorfal, a bit on the erotic side sometimes with JD: From Red Noise to The Love That W hirls there the technology as a surrounding, understood sort of was also a real rhythmic shift. On the Red Noise element. record you played drums and there were lots of BH: I feel that the time is past for us to be maniac rhythms, stop-time sequences. Since Love awestruck by technology. There was a point in time That Whirls you've been using drum machines alot and where I was concerned very much, even with Be-Bop, the rhythms have become pretty static within a song. the kind of imagery that technology throws up. For BH: That's right. I've done things which repeat a while it was like the future was on our door-step over a certain number of bars. I wanted to simplify and it was a culture shock sort of thing. I wrote things and have this element of repetition being about all the uses and misuses of technology. part of the fascination of the song. There's a song on Sound-on-Sound called "Stop-Go- Some of the newer things, like the album I'm Stop" about electronic brain implants for political working on, are getting somewhat away from that. and criminal manipulation. It's a little less rigid rhythmically and a little I feel that that has now become a widely ex­ more organic. There's also a bit more guitar creep­ ploited genre, particularly in England, where every ing in, mainly as a reaction to synthesizers be­ man and his dog is in a synthesizer band. They all coming a common language. Not that it's bad p a rti­ use the same kind of synthesizers, hooked up in the cularly, but, when I do things that sound like other same way, use the same processes. You end up with a things I start to worry a bit. I try to maintain very bland, but safe and acceptable kind of elec­ that identity and personal vision. tronic music. It's acceptable to the radio there JD: What came first, the ideas for the rhythms or

10 ftriyplioity August 1984 the drum machines that could produce them? like the movie with black & white images. I wanted BN: On the Red Noise record I played a real kit and to use lots of percussion but I didn't have much while I can conceive of rhythms, I don't have the around the house. So I went around finding pots and physical stamina of a real drummer and there are pans, boxes, bits of wood to hit. I thought how can certain things that I can't get past physically I make them sound less like pots and pans. So I did because the body gets in the way. For me the drum things like having the tape at half-speed when I computer was just a means around that. It also recorded i t , so when I played i t back I'd get a enabled me to do poly-rhythmic things that I pitch change and a faster pattern. I'd use reverse couldn't technically accomplish on a kit. So to echo simply by turning the tape the other way around have a ll these elements of percussion was like be­ and re-recording it with echo and then turning back coming a drummer and p e rc u s sio n ist w ith li m i tl e s s so th a t the echo comes before the note. I'd chop stamina and access to sounds that I could never get the tape up, record things off the TV and radio, out of a normal kit. just playing physically with the tape. It's an JD: There've also been some ethnic elements ancient and primitive technique, especially consi­ creeping into your music. On Savage Gestures dering the things you can do with the new digital there's a kalimba and a marimba. synthesizers. I find it nice to get to grips with BN: I like the blend of acoustic and organic it. I also think that certain crafts and technolo­ materials with synthetic materials. I like the gies should be kept alive. It gives a certain contrasts and ironies that are created between the quality that's hard to define. two. I've used marimbas on a couple of albums now JD: How do you like the sounds that you get on the as well as acoustic percussion. I've been using d ig ital synthesizers compared to the ones you get on acoustic guitar too. your own? JD: Could you te ll me how the E-Bow works? BN: Well, I've got lots of other synths as well. BN: It produces infinite sustain, not by filtering My main synth until I got the DX-7, and it still the strings through any devices, though. It simply w ill be my main synth because I lik e i t very much, drives the string into permanent sustain by creating is the Yamaha CS-70M, which is an analog synth. But a magnetic field around the string causing the the beauty of it is that it comes without any preset string to vibrate in that field. As soon as you sounds whatsoever. It has 30 memories on board that take the E-Bow away it stops. It was invented by you can dump off onto magnetic cards. It's now Greg Heet in California who gave one to me the f ir s t obsolete even though it's only a few years old. But time I toured America with Be-Bop. Since I started all the sounds I have in there are unique to me playing guitar again in England, a lot of people because you don't have any factory presets. It's heard it and asked me what it was, so now he's also richer and mellower sounding than the DX-7. started making them again afte r having gone out of The DX-7s are brilliant for percussive voices, tubu­ business. People like Big Country are using them la r b e lls , harpsichords, kotos and so on. Some of now. the stringier things aren't quite as nice as they He gave me some new ones in LA which now have could be but that's the nature of FM synthesis, I an on-off switch. You just hold it in your hand. think. So I use the SC-70 for richer tones. It looks like a little iron or something. I've also got a mini-moog which is the first JD: Do you pick with it? synth I ever owned. I still use it for bass lines BN: No, there's no picking at all. The E-Bow has a because the oscillators are nice and fat. groove in the bottom and two finer grooves on either JD: You mentioned that you acquired a younger au­ side of the main groove. The two finer grooves dience after the switch to electronics. Do you dampen the strings next to the one you're working think that limits you at all, in that you have to on. When the bow is slid towards the pick-up, the keep coming around to what that audience is into at magnet in the pick-up and the electro-magnetic in the given time? the E-Bow interact positively and negatively, thus BN: Not really! I've never been as conscious as I creating a circle of energy around the string. The should've been about my market. It's obviously a string starts vibrating and will keep going until concern that I stay alive. I don't want to go back the battery dies or you take the E-Bow away. You to the day job, you know? But beyond c e rta in ob­ can adjust the harmonics of the note by sliding the vious things, like can we mix this so it will sound E-Bow slightly forward or behind the hotspot on the better on radio or whatever, the actual creation of pole piece (or by pushing down on the string — the music is always whatever I'm interested in at Ed.). any point in time. It just happens that a lot of After awhile you can make it do things and get the things I was doing tow ards the end of Be-Bop incredible harmonic sounds out of it. It's a very were laying the foundation for a lot of things that fluid sound; I've used it with all kinds of effects became new wave. The bands that I tend to work with in the studio, such as harmonizers tuned to fifths. in the studios, tend to be bands that have been to It's easier to play the E-Bow one string at a time Be-Bop concerts and were fans anyway. They grew up because changing strings is difficult and a a bit learn in g from Be-Bop Deluxe, so th ere are common abrupt. So you have to think in modal terms and references all the time. So I'm not too conscious therefore you get very Indian kind of scales coming about keeping up or ahead or behind the younger out. ones. JD: Even w ith a l l of the sy n th e siz e rs, you s t i l l People talk about rock being sexist, but it's use a lot of musique concrete techniques. also ageist in England particularly, though not so BN: Oh yeah! Slowed down, double-speed...that came much here. In England, the age where you can be about initially when I started messing about at home considered to be a pop m usician g ets younger and with my four-track. I had no outboard processing younger and finishes at an e a rlier date. There was gear whatsoever and wanted to achieve certain ef­ a tim e when th i r t y was the end and now you're past fects. I was doing the soundtrack to The Cabinet of Dr. Caligari, which is a very expressionistic play, Cont. on pg-15_____ Poiyplioisy ------August 1984 SUMMER 1984s------NAMM SHOW REPORT

by: Craig Anderton

(Editor's note: The following is excerpted and duced sounds such as cello, plucked bass, ^string expanded from the n a rra tio n fo r the "Summer '84 section, and lots more. There were also guitars NAMM-On-Video", a one-hour VHS video documentary of made out of magnesium, tin y "tra v e l" g u ita rs , and the NAMM show. Produced by video director David guitars optimized for specific types of playing Karr and hosted by yours truly, the video includes (such as the Melobar s lid e g u ita r). But there was equipment demos, interviews, commentary, and back­ also one entirely new type of stringed instrument ground information on the latest musical develop­ called the S tarrett Touchboard. Imagine an autoharp ments. The "Summer '84 NAMM-On-Video" is available that's laid out in a square shape and has frets from Polymart for $49.95 plus shipping; see the ad underneath the s tr in g s , and you have a p re tty good in this issue for more info.) idea of what John S ta r r e tt has come up w ith. Like Emmett Chapman's "Stick", another innovative instru­ ment, the Touchboard is designed to be tapped per- cussively rather than plucked. One of the most unusual aspects of the Touchboard is that the strings are tuned chromatically, so you can increase pitch by either moving rightward towards the next The National Association of Music Merchants — string, or moving upwards on a single string. NAMM for short — sponsors two trade shows per year Guitar synthesizers were also a hot topic at for the music industry. These shows, which are the Summer show. While e a rly models had gotten a closed to the general public, introduce the products bad reputation due to numerous technical and design and ideas which .set trends in the music industry for problems, Roland's newer GR-series of guitar synthe­ months and years to come. This summer's NAMM was, sizers has gained widespread acceptance. In fact, as usual, a musician's dream come true: over a Hamer now makes a guitar designed specifically for quarter million square feet of the latest in gui­ the Roland synthesizer, and you can even hook a GR- tars, synthesizers, drum machines, recording equip­ series guitar up to the Synclavier digital synthe­ ment, pianos, accessories, and sheet music — in s iz e r. But the la t e s t news was a prototype g u ita r fact, virtually anything that relates to playing synthesizer from JTG of Nashville, who gave a very music. It was attended by over 23,000 manufac­ convincing demo of the device's capabilities by turers, store owners, guest musicians, and members hooking it up to a Chroma synthesizer. While not of the press. slated for production until the end of the year, the The a tt it u d e at th is summer's NAMM show was tracking was incredible and there was no detectable extremely positive, due largely to exciting new delay between hitting the string and hearing the developments in electronic instruments. However, note. You could also do some pretty bizarre tricks guitars — electric, electronic, and otherwise — with the thing, such as flip the order of the also made quite a comeback. For example, the G itt- strings so that the high string is on the bottom and ler guitar, seen on the video for "Synchronicity II" the low string is on the top. by the Police, is a radical re-design of the tradi­ Although guitar synthesizers have improved tional electric guitar. It is made totally of metal remarkably in the past five years, they are still (you can even play it underwater, according to the too expensive for many musicians. However, there is inventor) with a long bar serving as the neck. The another way to coax synthesizer sounds from a tra d i­ frets mount on this bar; the end result resembles a tio n a l g u ita r: the E-Bow, invented several years highly stylized fish skeleton (with the frets ago by Greg Heet and now making a comeback at the forming the ribs). Each string has its own pickup Summer NAMM show. See the B ill Nelson interview in (which goes parallel to the string, not perpendicu­ this issue for further comments on the E-Bow. larly), thereby opening up a lot of possibilities In special effects, Peavey introduced the "Cy­ for hex processing systems. The Gittler guitar is bersystem s" programmable rack mount e ff e c ts box. expensive —- in the $2000 range — but it is beauti­ This device comprises a number of popular effects, ful, and functional as well. plus a programmer that lets you store particular T. F. Barrett exhibited a new electric violin, combinations of sounds for later recall — just like available with a plastic body, at the show. Sending a programmable synthesizer. A footswitch LED read­ the violin through different special effects pro­ out, oriented for easy viewing by the musician, 12 Rotypiiony ------August 1984 shows the currently selected patch. It's about time someone put out a product like this; guitarists for the working musician. There was quite a buzz shouldn't have to switch zillio n s of dials whenever about the Xpander at the show, and it's easy to see they change sound settings. why — this is the most exciting event I've seen in analog synthesis since companies started making programmable synthesizers. Some companies even combined analog and d ig ital technologies. PPG, the German sy n th e siz e r company Keyboards. At the January NAMM show, the MIDI now distributed in the US by Europa Technology., specification and sampling keyboards (namely E-mu's showed the "Wave" system which uses digital oscilla­ Emulator II and the Kurzweil 250) had been the talk tors and analog filters. The overall sound has the of the show. To recap, MIDI (the acronym for Musi­ complexity of digital synthesis and the characteris­ cal Instrument Digital Interface) provides a com­ tic "warmth" of analog synthesizers. Many synthesizer companies did not show new munications link over which computer-controlled hardware but instead concentrated on software. Over musical instruments can share data. For example, a at the Moog Music booth, the emphasis was on MIDI, MIDI compatible synthesizer can send data represent­ computers, and softw are. Moog Music was one of ing notes through the MIDI out channel into a second several companies that has put extensive efforts MIDI synthesizer's MIDI in channel. Since the second synth will play whatever is being played on into coming up with products to enhance their ex ist­ the main keyboard, setting the second synthesizer ing instruments. Octave-Plateau has also enhanced for a different patch can let a single keyboard the Voyetra-8 with more features, including an IBM trigger two entirely different sounds. MIDI sequen­ interface for patch storage. They also gave a great cers can store data which corresponds to the notes demo featuring Polyphony author Mark Styles. being played, and even drive several keyboards si­ Like Oberheim, Korg also unveiled a MIDI compa­ multaneously (as well as drum machines) for "multi- tib le expander module. Their EX-800 is essentially tracking" effects. Adding home computers to the a Poly-800 without the keyboard; it can expand the MIDI system increases your options — software sound of the Poly-800 or other MIDI-compatible syn­ th e s iz e rs . Korg's new RK-100, a compact, l i g h t ­ exists that lets you store more sounds than stand­ weight, inexpensive MIDI remote keyboard capable of alone units, print out scores, keep track of song driving MIDI-controlled devices, seemed like a lis ts , and more. logical choice for controlling the EX-800. Of course, like any new technology MIDI is not Yamaha also debuted a new remote MIDI keyboard, without controversy. Some musicians have experi­ the KX5, which lists for under >$500. This is a enced difficulties getting MIDI equipment to work together, but several companies now offer help. In pretty impressive piece of gear that even allows for particular, JL Cooper Electronics specializes in dynamics. producing MIDI interface boxes designed to take care A week or so before the show Kurzweil, makers of specific problems, such as interfacing standard of the Kurzweil 250 mentioned in my last NAMM report analog synthesizers to MIDI. (April 1984 Polyphony), announced that synthesizer Although digitally-oriented synthesizers have pioneer Robert Moog had been named chief engineer. gotten most of the limelight at recent NAMM shows Then, just a few days before the show opened, Kim­ ball Organ announced that they had been collabor­ (i.e. Yamaha DX-7, Emulator, Kurzweil, etc.), Ober- ating on a synthesizer project with noted instrument heim Electronics showed that there's a lot of life designer Donald Buchla. The results of that colla­ left in analog synthesis. Their latest product, the boration, the Buchla 400 by Kimball, will go into Oberheim Xpander, combines the fle x ib ility of older production later this year. While I didn't get a modular synthesizers with the convenience — and chance to play with the instrument, what struck me computerized efficiency — of the late st programma­ as most significant was the way the system software ble synthesizers. It's interesting that we seem to handles music notation. As the music plays notes have come f u l l c ir c le from the e a rly days when synthesizers didn't even have keyboards, but were scroll across the screen, but the method of notation thought of more as general purpose instruments: the takes excellent advantage of the power of computers. Xpander has no keyboard and is designed specifically Longer notes are represented by longer bars of color to be controlled from a MIDI keyboard, MIDI guitar than shorter notes; also, different voices have synthesizer, or any other MIDI controller. different colors to aid in differentiating them. The Xpander includes several touches that make Prices were not given, but as this is a pretty high- it a truly brilliant piece of engineering. First end piece of gear I would assume the Buchla 400 w ill off, each of the six voices has amazing fle x ib ility re ta il somewhere in the $14,000 range. — lo ts of f i l t e r modes (a la "M ultiple Id e n tity F ilte r” I wrote up for Keyboard several years ago), tons of LFOs and VCAs, scaling of any parameter, and so on. But more im p o rtan tly , the Xpander is very playable and accessible despite its complexity. Computers. Computers have made their mark in There are six pots (instead of the usual single pot) consumer products as well as professional gear. for parameter control, and multiple "pages" where Jazz g u itarist Ryo Kawasaki designed a snap-on organ the pots assume different id e n t it ie s (for example, mini—keyboard for the Commodore-64, along with soft­ if you're on the VCO page, the pots adjust VCO ware that is graphically as well as musically ap­ parameters such as pulse width). Best of a ll, there pealing. Melodian also showed a keyboard add-on for is an alpha-numeric display (one of several on the the Commodore plus an easy-to-use software package. instrument) above the pots, and as you switch pages, MusicData was one of several companies offering a the label above each pot changes to show its new MIDI sequencer for the Commodore 64, and JMC, a new identity. You can also name patches instead of just German company, showed a MIDI-based multi-tracking giving them numbers, which again makes life easier system for the Commodore. The Sequential Circuits l\>Ey|)hony ------August 1984 13 MIDI sequencer, another C-64 compatible product, two drum devices at the show with limited fidelity continues to grow in popularity; according to SCI, but extremely low price tags. Their "Drum Key" it's one of their best-selling products. board plugs into an Apple II, turning this popular However, not all software was for personal computer into a sophisticated drum machine for under computers. MusicData introduced a line of patch $ 150(!). Ensoniq also showed a prototype stand­ cassettes for various keyboard synthesizers and drum alone digital drum unit with a projected $200 list machines. These cassettes include ready-to-use price. patches programmed by recording artists, studio Yamaha introduced an under-$500 MIDI compatible musicians (in fact, I have done MusicData patch drum machine. The RX-15 offers good quality sounds cassettes for the Poly-800, OB-8, and Polysix), and and easy programming via either the unit's b u ilt-in in-house programmers at MusicData. controls or from any MIDI keyboard. Programming it from a dynamically-responsive MIDI keyboard is some­ thing else — I had never seen a keyboard player play a drum solo, with dynamics, from a remote keyboard before. Synchronization. Synchronization goes hand-in- As you might expect, the original drum machine hand with synthesizers, drum units, sequencers, and makers continue to refine their products. There are computers — a f t e r a l l , you need some way to make now several sets of alternate drum sounds available sure that all this equipment plays together. Many for the E-mu Drumulator, Oberheim DMX, MXR Drum musical devices are now compatible with SMPTE, the Computer I and their brand-new Drum Computer II, as synchronization standard for film and television. well as for the pioneering Linn Drum. E-mu has SMPTE is a digitally coded audio signal that keeps further enhanced the Drumulator with the Graphic Rhythm Composer software package, which gives the track of running time, and records this time every Drumulator more memory and programming fle x ib ility few milliseconds on film or tape. This recorded time code then serves as a master timing reference by interfacing i t to an Apple II computer. However, programmable drum units are not all to which other devices may synchronize. By syn­ there is to electronic percussion. All-electronic chronizing a MIDI system to SMPTE time code, musi­ cians can use the SMPTE signal as the timebase for a drum k its, such as those made by Simmons, are played song's rhythm, thus guaranteeing perfect audio and like conventional drums and respond to all the nu­ video sync. ances associated with traditional drumming; yet they Roland presented the SBX-80 synchronizer, which provide v irtu ally unlimited sounds that can go way allows any MIDI instrument to sync to SMPTE time beyond those of acoustic drums. In fact, in addi­ code tracks. The SBX-80 also writes and records tion to triggering drum sound modules, drum pads can SMPTE tim e code, reads audio c lic k tra c k s or MIDI, also trigger analog keyboard synthesizers, digital and can even convert rhythms tapped into the machine sampling devices, or analog special effects. Some into a system tempo. Europa Technology demonstrated electronic drum kits offer optional sequencers, or their latest SMPTE controller, and Korg introduced home computer interfaces, for drummers who want to the KMS-30 MIDI synchronizer. Garfield Electronics program parts as well as play them. One of the had a number of new interface and synchronization benefits of the all-electronic drum kit is that you boxes, including the "Nano-Doc”. This relatively may combine sequencing and manual playing, where the inexpensive unit accepts either 24, 48, or 96 sequencer plays repetitive patterns and the manual pulses-per-quarter1 note sync signals (or the Roland playing adds accents and fills. This enables one DIN sync signal) and translates it into 24, 48, or drummer to sound like many drummers. 96 pulses-per-quarter note signals or the Roland DIN Looking towards the future, Simmons, Akai, and sync signal. others will soon introduce devices that allow the musicians themselves to record their favorite per­ cussion sounds in to memory ICs. These custom ICs may then s u b s titu te for the stock memory ICs in ­ cluded with the drum unit. Drums. Programmable rhythm machines, like It's interesting that only a couple of years polyphonic keyboard synthesizers, have reached a ago, some people thought programmable electronic level of maturity where the main emphasis is now on drums would o bsolete human drummers. But if any­ cost reduction. Naturally, you don't get something thing, electronics has given drummers more of the for nothing; the drum sounds on budget units often spotlight than they have ever had before. have shorter decays and poorer high frequency res­ ponse than more expensive devices. Nonetheless, these low-cost drum machines make d ig ita l drumming possible for budget-conscious musicians ( a related Recording. The four track cassette decks in­ story on the Dr. Bohm programmable d ig ital drum k it troduced at previous shows — such as the Yamaha MT- will appear in the October issue.) Korg received a 44, TASCAM's high-end Model 234, and the notebook­ great deal of in terest for their DDM-110 and DDM-220 sized Fostex X-15 — remain extremely popular. In drum units, each of which re ta ils for around $500. the world of ste re o c a s s e tte decks TOA, a new com­ Rather than make one expensive drum machine with a pany with some really interesting products, showed a wide variety of sounds, the DDM-110 provides powered mixer with a b u ilt-in cassette deck suitable standard drum kit effects while the DDM-220 provides for recording a performance or playing back recorded percussive sounds, Musicians on a budget can sta rt sounds. of with one machine and then, at a later date, sync With respect to recording accessories, Fostex the two machines together for greater flexibility. introduced a four channel portable mixer with built- Ensoniq, a new company formed by members of in compression to complement th eir X-15, but d ig ital Commodore's original home computer design team which reverberation gained the most attention. Formerly includes Polyphony author Robert Yannes, introduced costing thousands of dollars, the price of digital 14 Polyphony ------August 1984 reverb is dropping rapidly thanks to recent techno­ lo g ic a l advances. Lexicon introduced the PCM-60, BILL NELSON...Continued retailing for about $1500; MXR updated their 01 it if you're twenty. Obviously that's bunk and reverb introduced at the last show; and Yamaha con­ rubbish and should be thrown out the window right tinues to produce both pro and semi-pro digital away. Not because I'm g e ttin g old but because I've reverbs. never felt that way. If you look at serious music, I recently had a chance to check out the 01, as opposed to folk or pop, most of the best things and must say that I'm quite impressed. The degree are achieved in the composers' middle-age. Obvious­ of control, and the quality of sound, is astonish­ ly there are exceptions, but there's a maturing ing. Digital reverb is an effect whose time has process that takes place and the art becomes come; in the months ahead, we can expect sev eral stronger and more powerful with the experience be­ companies to introduce even better and more cost- hind the years. effective digital reverbs. JD: Do you have any keyboard technique th a t you Last NAMM show Synchronous Technologies demon­ bring to the synthesizer? strated a prototype of the SMPL system (a unique BN: I had no knowledge of keyboard playing whatso­ tape recorder controller and synchronizing device) ever and even now my keyboard technique is minimal at the TASCAM booth. This show, they had their own beyond belief. But I can g.et out of it what I need booth and demonstrated the latest version of SMPL. to make the thing work. It now provides 96 and 48 pulses-per-quarter note The poor guys that are playing for me now are sync outputs in addition to the standard 24 pulses- a l l highly regarded English sessio n guys and good per-quarter output, as well as boasting some other musicians and I give them these quirky things, like enhancements. playing a line 100 times and then playing it another While SMPL is designed to retrofit almost all 100 times with just this one note change. They think existing tape recorders to computer control, Akai I should get a sequencer and I say, well I could, now makes a recorder w ith many com puterized func­ but it sounds better when people play it. It sounds tions built-in. Long known for their consumer audio different. So I've refused the temptation to hook products, Akai entered the music market in a big way everything up to an MC-4. at the Summer '84 NAMM. They not only introduced a JD: You don't use any sequencers at all? complete line of MIDI compatible electronic instru­ BN: I've never used a sequencer at all and anything ments (including the AX80 polyphonic synthesizer, that sounds like a sequencer, isn't. It's me ac­ MR16 drum machine, MS08 sequencer, and "Memory- tually playing it over and over and over again. Cussion" drum pads), but also the MG1212 twelve- channel mini-recording studio that combines a trans­ (John Diliberto is the co-producer of Totally port and mixer. The tape transport uses 1/2” tape Wired, an ongoing radio documentary program on elec­ cartridges (not standard VCR cartridges, however) tronic music. The first 26 episodes of Totally and provides 14 tracks. Two of these tracks are Wired have been aired on National Public Radio sta­ used for synchronization and control purposes, thus tions throughout the U.S. Totally Wired Mark II, leaving 12 tracks free for audio recording. The which w ill include this B ill Nelson interview, w ill MG1212 includes automatic punch-in, muting, search- begin airing in January of 1985. For more informa­ to-cue, and similar functions (although it does not tion, write to Totally Wired, Box 5426, Philadel­ use a standard time code format such as SMPTE). phia, PA 19143.) Priced at around $7000, Akai's la te st machine seems designed to compete with the new generation of low- cost 16 track recorders by offering computerized Discography functions at little additional cost.

Artist Album Label

Conclusions. As the NAMM show drew to a close, B ill Nelson Northern Dream Smile several trends became clear. While electronic ins­ BeBop Deluxe Axe Victim Harvest truments remain extremely popular, acoustic instru­ Futurama Harvest ments continue to evolve and are making somewhat of Sunburst Finish Harvest a comeback. Also, guitars are back in the lim elight Modern Music Harvest after being eclipsed for a few years by all the new Live In The Air Age electronic developments. (plus live EP) Home recording has yet to peak, as more and Drastic Plastic Harvest more musicians settle in at home with their four and Best And The Rest (Double) Harvest eight track machines. And MIDI is extremely signi­ A's and B's (compilation ficant; its influence is so pervasive that most of singles) Heritage manufacturers accept it not as the wave of the Red Noise Sound on Sound Harvest future, but the wave of today. B ill Nelson Quit Dreaming and Get On Finally, computers were everywhere: inside The Beam Mercury instruments, as stand-alone units, as vehicles for Sounding The Ritual Echo Mercury useful music software, as sequencers for MIDI equip­ Das Kabinett (the cabinet ment, and more. If anyone had any doubts, this show of Dr. Caligari) Cocteau proved that the marriage of music and computers is The Love That Whirls Mercury going to last for at least a while. La Belle et la Bette So th a t's i t for 1984. I can hardly w ait to (Beauty & the Beast) Mercury see what's going to amaze and delight us at the next Chimera Mercury show, scheduled for Anaheim in early 1985. Savage Gestures For Charm's Sake Cocteau

I\>Sypho«y August 1984 15 Practical Circuitry The HI HAT & PERCUSSIVE VOICE bviThomas Henry I I hope your soldering iron is the cymbals (as opposed to the ing the impact pitch control it is hot and you're all set to start sound of a drum body, for example) possible to go from dull thuds to building, because this time in follows immediately. We'll call b rig h t snaps. "Practical Circuitry” we’re going this parameter "clank". Finally The clatter is synthesized to develop a new circuit which is there is the sound of the two with white noise generated by a sure to appeal to lots of users! cymbals beating against each other pseudo-random noise generator. You will recall that here in the and this will be called the "clat­ The pitch control sets the clock pages of Polyphony we’ve already ter." Obviously the clatter will rate and hence the basic center seen how to synthesize fairly nice sound d i f f e r e n t d ep en d in g on frequency of the noise, while the snare drum and bass drum sounds whether the cymbals are open or sweep control adjusts the depth of (see my "Snare Plus Drum Voice," shut tightly against each other. envelope modulation. The effect September/October 1982, pp. 28-31 To distinguish between these two is similar to a lowpass filter and Craig Anderton’s "Build the cases, we'll refer to the clatter closing down, and in terms of a Hip Bass Drum," October 1983, for sounds as "open" and "closed." real hi-hat, the sound is not full details). This time we’re With these notions under control, unlike that created by shutting going to wrap up the drum k it with set's see what it takes to gener­ the two cymbals against one anoth­ the addition of a hi-hat synthe­ ate a hi-hat sound electronically. er. The clatter generator is fol­ sizing circuit. In fact, this lowed by a manually adjustable c ircu it does quite a bit more than lowpass f ilte r and volume control. just hi-hat type sounds, so I have Figure 1 shows a block d ia ­ The clank is created by means dubbed it the "Hi-Hat Plus"! If gram for the Hi-Hat Plus circuit. of two VCOs, with one frequency you're looking for a new drum In general terms, note that there modulating the other (FM). The sound, check this one out; it are three sound sources; one sound thus generated is indeed creates a number of sounds unat­ creates the impact, another the quite metallic in nature. The tainable with standard drum clank and the last generates the pitch 1 control adjusts the fre­ voices. clatter sound. The three sounds quency of the triangle wave gener­ Now I'm not'going to claim feed the master VCA, which is ator, and the output of this de­ that the Hi-Hat Plus exactly du­ modulated by one of two possible vice modulates the square wave plicates the sound of a standard envelopes. The envelope select generator. The pitch 2 control hi-hat, but it does suggest the logic determines whether the enve­ sets the center frequency of the sound more closely than any other lope should be that of the open square wave. By experimenting analog circuit that I've heard. sound or closed sound. It selects with the pitch 1 and pitch 2 con­ It does this by making available the proper envelope generator by trols it is possible to create a an "open” and a "closed" sound, means of an open trigger, closed variety of clangorous sounds, from tunable "clank" and several other trigger or by detecting what the the tinkle of thin shards to the exotic features. It can be trig­ foot pedal is doing at present. dull roar of boinging sheets of gered by a computer output but is If you're playing the circuit in m etal. As a bonus, SI le ts you equally usable with a manual trig ­ realtime, for instance, you would switch the modulation so that the gering system. A foot pedal can feed a series of triggers to the square wave is c o n tro lle d by an "open" and "close” the "cymbals" open trigger input, and then de­ envelope generator, thus creating just like a real hi-hat. If I press the pedal (which is nothing unearthly upward sweeping sounds. haven't enticed you sufficiently, more than an SPST footswitch) to The sweep control sets the read on and see what else this select the closed envelope genera­ strength of this effect. Finally, unusual drum circuit has to offer. tor. Alternatively, a computer notice how the clank sound has its To fully understand how the could send either open or closed own envelope generator. This al­ Hi-Hat Plus works, we first need triggers to the unit and these lows for the more re a listic effect to get some terminology out of the would automatically select the of the clank dying away before the way. Not being a drummer, I ju s t proper envelope. c la tte r (as in a real hi-hat). made up the words but they should Let's back up a bit and see If the block diagram makes be descriptive enough to convey how the three sounds are gener­ sense to you, then it's time to the ideas. A true hi-hat gener­ ated. The impact tone generator move on to the actual schematic. ates at least three distinct is identical to the one used in Since this is a big circuit, there sounds. The f ir s t is the sound of the "Snare Plus Drum Voice" (see simply isn't space to discuss the stick hitting the surface of reference above). Two parameters every little detail. However, by the cymbal; I call this the "im­ are available for twiddling, the referring back to the block dia­ pact" tone. The m etallic chime of pitch and the volume. By adjust­ gram for the "big picture," you

16 PoSyphouy August 1984 FIGURE 1 BLOCK DIAGRAM: HI—HAT PLUS

riving at a suitable way to imple­ ment it. The big problem was coming up with an R-S flip-flop which could sink a substantial amount of current. The 555 shines in th is respect; and a t the same should be able to keep the details the output, either D3 or D4 (but time provided all of the niceties in their proper place. Also, you not both) is pulled to ground, like a master reset (pin 4) and an might want to check out "The Snare thus providing a discharge path auxiliary output (pin 7) for the Plus Drum Voice" a rtic le mentioned for Cll through either R50 (the LED. earlier, as this sheds light on a open decay control) or R51 (the As mentioned above, the cur­ number of the ideas employed here. closed decay control). Pulling rently selected envelope is de­ Refer to the schematic in this a ll together then, an open or veloped across Cll, and the emit­ Figure 2. IC5, which is our old closed trigger either sets or te r fo llo w er made up of Q5 and frien d the 3080 transconductance resets the R-S flip-flop, and its associated components buffers the op-amp, is pressed into service as output selects one of two possible signal. This envelope voltage is the master VCA. Note how three discharge paths. Hence, we now converted to a current by Q7 which lines feed into this chip via R41, have the means to create the open then modulates the master VCA. R42 and R43; these lines come from and closed sounds. By the way, it Let's now look at the sound the clank, c la tte r and impact tone should be obvious that the attack sources. The impact tone is gen­ generators, respectively. Three is fixed, and is created by dump­ erated by the VCO and envelope pots, R27, R28 and R29, allow for ing a charge onto the timing cap, generator within IC6, the SN76477. setting the desired ratios of Cll, via diode D5. Notice that D5 The method in which this is done these sounds before the mix is passes cu rren t when e ith e r the is identical to that employed by amplitude modulated by the master open or closed triggers occur. "The Snare Plus Drum Voice," so VCA. This gives an instantaneous at­ not much more need be said about The VCA is co n tro lle d by one tack; it is the decay which is it (see above). R30 provides of two envelopes chosen by the adjustable by R50 or R51. control of the impact pitch. envelope select logic. Let's see Pin 4 of the 555 acts as a The c la tte r is created by the how this works. Jacks J1 and J2 master reset control. It will pseudo-random noise source within send open and close triggers to override whatever the chip is cur­ IC6. Normally a resistor from pin the unit. Op-amps A1 and A2 shape rently doing and pull the output 4 to ground sets the basic opera­ these up into standard 1 m illi­ to ground, thus closing the hi- ting range and hence the "color" second pulses which are then fed hat. An ordinary SPST footswitch of the sound, but to provide dy­ to the logic circuitry consisting can be plugged into jack J3 for namic control over this parameter, of the NOR gates and IC3, the 555 pedal control. Q6 is set up as a variable resis­ tim er. Now before you say, "I've By the way, two LEDs give an tor. Notice that the base of Q6 seen this all before," you might indication of which decay control is modulated by the envelope gen­ want to note that IC3 is not being is currently selected. D9 lights erator via R59. This, then, used as a timer! In this con­ when the open decay c o n tro l Is in creates the sweeping sound charac­ figuration, it is set up as high effect, while DIO indicates that t e r i s t i c of cymbals dying away. power R-S flip-flop. Pin 2 is the the closed decay control is in R55 sets the center pitch of the set input while pin 6 provides the operation. noise while R56 lets you dial in reset function. Pin 3 is the I really puzzled over this varying amounts of sweep. The output. Depending on the state of envelope select scheme before ar­ output of the noise generator then

Polyphony August 1984 17 goes to a simple one pole filter within IC6, and R57 sets the cut­ off frequency. The clatter sound is finally tapped off of Cl, at pin 6, and buffered by A4 before being sent to the clatter volume control, R28. The clank sound is generated by IC7, a simpler type of complex noise chip. This unit has many characteristics in common with IC6, but is available in an easi- er-to-use 16 pin package. R52 allows for frequency control of the triangle wave generator within IC7, while R53 sets the frequency of the square wave generator. With SI in the FM position, the triangle wave frequency modulates the square wave, thus generating a very convincing metallic clank. If SI is thrown to the sweep posi­ tion, however, the incoming enve­ lope modulates the VCO frequency, creating an upward sweep. The depth of the sweep can be set with R46. Notice that in this position of SI, R52 has no effect since the tr ia n g le wave g en erato r has been disabled. IC7 contains its own VCA, and a voltage of OV to +3.5V at pin 3 controls the gain. A simple enve­ lope generator comprising D6, R7, R54 and CIO creates the desired envelope and this is buffered by Q3. The final signal is chopped down by R15 and Rll to the r e ­ quired range and th is then modu­ lates the VCA within lC6 (and also creates the clank sweep effect mentioned above). All in all, a very simple a ffa ir — but it does work quite well. Both IC6 and IC7 require non­ standard supply voltages, but for­ tunately these chips contain their own internal Zener diodes. RI drops the supply accordingly to IC6, while R2 performs a similar role for IC7. Hence, we have been able to retain our normal bipolar power" supply voltage of +15 Volts. Since there is a lot of switching and noise going on in th is c i r ­ cuit, C17 through C20 provide a hefty amount of decoupling. Well, this pretty much covers the operation of the Hi-Hat Plus; I'll leave you to ponder the de­ tails. Now, however, we need to quickly cover how to actually build the thing. With a circuit this big, the easiest way to go is with a printed circuit board. To simplify the task of whipping a board up, Figure 3 shows a tested circu it board design, while Figure 4 presents the parts placement guide. Figure 5 shows the tran-

18 August 1984 > lOK <£ 220K <£ 180K <' . 05 IMPACT PITCH

HI-HAT PLUS

CLATTER resistors in ohms except where noted. “ FILTER capacitors in m-fd except where noted. NOR gates are 1/4 IC4, 4001. op—amps are 1/2 4739. Q (circle) keys schematic to circuit board. wiring to the panel and note that note the proper orientation of pin while only Q7 is a PNP. the circled le tte rs on the schema­ 1 in a ll cases. The circu it board After loading the circuit tic key the circu it board for this requires some jumpers (denoted by board, prepare a suitable front operation. Notice that a pad J); use excess resisto r clippings panel and secure the board to it labeled V+ is available for run­ for these. Finally, be certain with small angles and //4 hardware. ning to the two LEDs. Also, one that you have correctly installed Figure 6 shows a suggested panel subtle point is that R30, the the transistors, and have noted layout using a standard 3-1/2" by impact pitch control, should be that Q1 through Q6 are all NPNs 19" rack panel. Complete the wired in "reverse". This is be­

August 1984 19 cause the VCO within the SN76477 After checking for wiring errors, mind and ears wander through the gives decreasing frequency output power the circuit up and feed it fourteen (count them!) controls for increasing control voltage some trig g e rs . If a l l has gone and look for new and exciting per­ input. Therefore, while looking well, you're on the air! cussive e ffe c ts . This is one of at the back of the pot with the I 'l l turn you loose to play the biggest drum circuits I've terminals facing downward, the with the unit, but before doing ever seen, with the most controls, leftmost terminal is grounded so, let me give you a bit of warn­ so be prepared to spend some time while the rightmost is hot. ing. This circuit has a large w ith it. But I think y o u 'll find Concerning availability of number of parameters (translate: that your time has been well the SN76477 and the SN94281, knobs), and as a consequence will spent! you'll be glad to know that both take some practice to master. of these are available from Radio You'll find that it is very easy Shack, thus putting them within to create some hideous effects by reach of just about everyone. All improperly adjusting the controls. of the other parts are common and Your goal, then, is to find the may be obtained from a variety of good effects and keep a log of mail order houses. your results. Like any musical For the final hookup, apply instrument, practice is the key! +15V, -15V and ground to the ap­ A fter you have determ ined the propriate pads on the circuit basic setting which gives a con­ board (ground is denoted by "G"). vincing hi-hat sound, let your

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20 ftrfyphouy August 1984 1.5 1 1-5 | 1.5 | 1.5 | 1 75 1 1 75 | 1.5 | 1 75 | 1.5 | 1.5 1 1.1 '5 | 1.5 MASTER IMPACT CLATTER CLANK

FIGURE 6 # $ $ OPEN MASTER PITCH PITCH CUTOFF PITCHO 1 O o oo 1.5 TRIGGER DECAY . • 1.0 VOLUME DECAY VOLUME PITCHGoo 2 VOLUME SWEEP OUTPUT TRIGGER••(DO PEDAL OPEN CLOSED o OO

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I’Ofyphony — August 1984 21 64 SOUNDS, Part 2 by: James A. Lisowsk

(Editor's note: Last issue, James program. Line 300 POKEs the video screen; whatever appears in-be­ presented introductory material on screen background and border tween the quote marks (") is the Commodore 64 and on program­ colors to an easy on the eyes printed. Line 320 starts off with ming the C-64 for sound. In th is GRAY. Line 310 DIMensions (de­ two special characters: a "clear installment, he describes a "soft­ fines the program Variables WV and the video screen and start print­ ware breadboard" for testing out WS to be tables of 3 values that ing at the top" (SC in braces) and sounds in a more thorough manner. will be used later on to hold a "print the following lines of The concluding installment, sche­ Waveform and Waveform Sustain num­ text in DARK GRAY (black) color" duled for next issue, presents a bers). Lines 320 to 370 PRINT (G1 in braces) character. See the number of useful mini-programs some in s tru c tio n s on the video table of special characters to (metronome, guitar tuner, external audio filter, etc.). Special Characters Used in Program Listings Name Code Type this * * Screen Cl ear Hold SHIFT, press CLR HOME Gray •CGI > Hold Commodore Logo key, press 4 Cursor Down CCD> Press CRSR Down Arrow key Now it's time to explore some Home Cursor CHM> Press CLR HOME key of the Commodore 64's sound op­ tio n s w ith SOUND TEST. Load INIT (described last month), then type SOUND TEST the rest of the SOUND TEST program li s t i n g (Figure 1) so that both O REM SOUND TEST V3 —1THENP0KEAA,AV:AA=AA+1:B0T0220 gram was first listed in Part 1 as 229 REM FL FH PL PH W AD SR "Fig 2 (c o n t)" fo r th o s e who 230 DATA 000,000,000,000,000,000,000 235 DATA 000,000,000,000,000,000,000 wanted to get a head start on 240 DATA 000,000,000,000,000,000,000,-1 entering the program. It is re­ 300 POKEBD+1,15:PQKEBD,15 printed for your convenience as 310 DIM W V (3),W S (3) Figure 1 i n this installment.) 320 PRINT"(SC>CGI>SOUND TEST V3 JAL SOFTWARE" Once the program has been saved, 330 PRINT:PRINT“SET UP SOUND DATA THEN" 340 PRINT"PRESS SPACEBAR TO TRIGGER THE SOUND" RUN it. 350 PRINT“OR“:PRINT"PRESS RETURN TO END" One quick note: Easy-to-use 360 PRINT"THEN USE SCREEN EDITING TO MAKE NEW" programs are hard to design! Be­ 370 PRINT"CHANGES AND RE-RUN" cause of all of the "tricks" in­ 380 RESTORE:FORI=1T03 volved in this particular general 390 FORI1=1T07:READV:IFII=5THENWV(I)=V use program, it is the hardest 395 IF11=7THENWS(I)= W V (I) -M V >0) 400 NEXT II,I program of the lot to understand. 410 EF= (WS (1) +WS (2) +WS (3) < >0) If some of th is looks confusing, 500 GETIN*:IFIN*=""THEN500 just read through it and continue 510 IFIN*=CHR*(13)THENPRINT"CSC> CCD>CCD> CCD> CCD> CCD> CCD> on -- the remaining programs are CCD>RUN“:PRINT"CHM>";:LIST229-240 much easier. 515 POKET1,0:P0KET2,O:P0KET3,O Here's what happens in SOUND 520 POKET1,W V (1):P0KET2,WV(2):P0KET3,WV(3) 525 IFNOT

22 Polyphony ------A ugust 1984 find out which keystrokes produce is equal to the value of the these characters. Line 300 and String Function CHR$(13), which is the special characters in Line 320 the value you get when you press are optional but help insure that the RETURN key. If RETURN was the re-view the instructions will be legible. key th a t was typed, the IF condi­ The instructions tell you to tio n is TRUE and so the statem ent but their DMX seems to have a change the DATA values in the INIT following THEN is executed. In short. God love them, it's just section to create the desired this case something fancy happens: as invigorating as their last one sound effect; and unlike the other A PRINT statement clears the video (Aug '83), a co ld show er w ith programs, you must also se t a screen, moves down sev eral lin e s electrodes. Zow!* Waveform Value in the DATA. You from the top, p rin ts the word can change the DATA statements "RUN", moves back to the top of Steps Ahead Steps Ahead (Elektra before or a f te r you run the SOUND the screen, LISTs lines 229 Musician 60168-1); Modern Times TEST program. through 240 (the DATA statements), (E lektra M usician 60351-1). Like Continuing with the line-by­ and then the program stops. I'll Weather Report (whence cometh lin e explanation, Line 380 RE­ cover what to do next in a bit, drummer Peter Erskine), S.A. STORES the DATA statements so that but first, let's assume that when proves that jazz can be very up- the values will begin from the the program flow reached Line 510, to-the-minute, replete with modern first value, then starts a FOR the key that was typed was not the time signatures, open structures NEXT loop with the variable I that RETURN key — perhaps the spacebar and the latest in digital techno­ will perform the following state­ was pressed. In this case, the IF logy. The new record is the more ments (up to the Next II, I sta te ­ condition on Line 510 proves FALSE electronic of the two. ment) three times. Line 390 and the program flow goes on to starts another FOR NEXT loop with LINE 515. Line 515 does something Michael McNabb Computer Music the variable II and this loop simple: It POKES all three SID (1750 Arch 1800). Using the fa­ repeats the following statements voice Gate Trigger registers with cilities at Stanford University, (up to the NEXT II, I) seven zeroes (the voices are turned McNabb turns familiar instruments times. The statements that are OFF). Line 520 is next and it and voices into delicious digital done over and over again are the POKES Trigger 1 with Waveform 1 drones, and back again. I t was READ and IF THEN statem en ts. In (including a GATE bit), Trigger 2 dumped directly from computer to b rie f, Lines 390 through 400 READ w ith Wave 2, etc. The th ree SID master disc, showcasing the clar­ through the INIT DATA statem en ts voices make th e ir sounds at th is ity and dynamic range of full- and extract the Waveform values, point. Line 525 checks if SF digital production.* placing them in variables WV(1), signals the presence of a Sustain WV(2) and WV(3) for later use in value. _If SF re p re se n ts a FALSE Polkaholics Polkaholics (EP, triggering the voices. Line 395 logic condition, then a strange- Utility Grade Records). Despite extracts the Sustain/Release looking FOR NEXT loop seemingly being not entirely serious about values and uses the value of a does nothing 500 times. Since it it, the Polks play real music. Logic condition (V>0) to determine takes some time for BASIC to exe­ Seven jumpy, off-balance songs too whether the sound should be turned cute this loop 500 times, we well executed to dismiss offhand.* off w ith zero or Released (by create a time delay period for resetting the GATE bit). It then Sustain. When Line 530 is Emily I've Got a Steel Bar In My stores the results in the WS ta­ reached, the Voices are released Head (MDM-10, cassette). Dark, ble. Line 410 uses more logic to by POKEing them with their wave­ slightly scarey tunes with rhythm set a S ustain in d ic a to r (SF) for form values minus the GATE bit box, probably Korg synthesizers, later use if any Sustain or Re­ (the WS values). Finally, the and indecipherable nihilist ly­ lease values were called for. GOTO on Line 540 sends the program rics. It's lo-tech (Portastudio) (See your computer manual to see execution back to Line 500 for but imaginative and earnest. how the logic expressions used another round of "check the key­ $6.00 from Emily Faryna, Mo=Da=Mu, here are evaluated as numbers.) board." 374-810 West Broadway, Vancouver Line 500 GETs one character from Now, back to the case of what B ritish Columbia V5Z 1J8. the keyboard, without prompting, happens when you do h it RETURN. and stores it in string variable The C-64 has a very useful feature Executive Slacks Executive Slacks IN$. IF no keys have been called "Screen Editing" in which (Red 005, EP). This one isn't. I pressed, a null string (empty of the programmer can move the cursor think a review should tell you up contents) results and the IF com­ (a flashing box that indicates fro n t w hether the record is good parison of IN$ to "" (two quotes where the next character will be or not. These guys never got past with no blank space or other char­ printed on the video screen) any­ picking a name.* acter in-between them) is TRUE. where on screen, make changes to The THEN part of the statement any program line, and re-enter the Ralph Towner Blue Sun (ECM 23788- directs program execution back to line without having to actually 1). Meditative jazz from one of the start of Line 500, to GET and re-type any of the unaltered sec­ the great painters of sound. test again. This is a simple tions. As mentioned earlier, in Acoustic guitar and piano are "keyboard scan" routine that just this program pressing RETURN joined for the first time by Pro­ keeps looping on the same line prints RUN, LISTs the DATA lines, phet 5 colors. (500) until some key is pressed on and ends. The user can then use th e k eyboard. When a key i_s screen editing to alter the DATA Michel Redolfi Sonic Waters (hat pressed, the IF statement tests values to change the sound ef­ ART 2002). Music for underwater FALSE and the next Line (510) is fects, then press RETURN to enter — one disc dry and one actually executed. Line 510 checks to see recorded submerged. Academic IF the character stored in the IN$ cont. ... pg. 29 cont. pg. 29 I\>fy|)liony — August 1984 23 Remotely MIDI

PART II By: Kirk Austin

(Editor's Note: In the April travel, and also lets us set the allows the Port D pushbuttons 1984 Polyphony, Kirk covered the position of the center band to (which I call "SELECT” pushbut­ hardware for a remote MIDI key­ match the detent on the pot. Al­ tons) to switch between programs board controller. This simple but so, I've decided to use Port D for 0-7. However, they can be set up extremely useful project generates the function switches, and since to choose any arbitrary program the MIDI signals necessary to nobody seems to make a sequencer number by using the pushbutton drive MIDI controlled equipment th a t w ill accept MIDI commands wired to PA7 (which I call the such as the Prophet-600. For more yet, I've designed the switches to "PROGRAM" pushbutton). Here's how information on what's happening allow eight different program se­ i t works: w ith MIDI, see the re la te d sto ry lections from the remote keyboard. "On Location — Summer 1984 NAMM" Referring to Figure 2, this re­ 1. Hold down "PROGRAM". in this issue. (For parts kit quires adding eight 4.7K pullup ordering information, see the end resistors to the port D lines, 2. Hold down the desired "SELECT" of this article.) which are then wired to eight SPST button. pushbuttons. The remaining switch contacts connect to ground. 3. Press one of the top four AGO Figure 1 keys to select the desired bank Line PA7 is also wired to an (0-31, 32-63, 64-95, or 96-127), SPST pushbutton in a similar man­ then release. ner. On power-up, the software

In this concluding install­ ment of "Remotely MIDI", we're going to concentrate on the soft­ ware. First, though, I have to point out some hardware changes from the last article. To adjust- the full scale reading of the ADC0804 to make the p itch wheel work better, we have to add a couple of voltage dividers (see Figure 1). This gives a slight dead area at each end of the pot's Bolyptiony 4. Press one of the 32 lower AGO DNC0DE = %10010000 TXS keys to select the desired program UPCODE = nooooooo CLD number, then release a ll buttons. PWC0DE = Z11100000 ; SET MCR PGCODE = %11000000 LDA #$40 Now when you press the "SE­ ENCODE = %10110000 STA MCR LECT" button it will switch your C0N2HI = 1 ; SET SCCR synthesizer to the chosen program. VELCTY = 64 LDA #$80 Thus, the "SELECT" buttons can PORTA = 0 STA SCCR choose your eight favorite pro­ C0L0UT = 1 ; SET BIT RATE grams at the touch of a single ROWIN = 2 LDA //BITRLO button. With my Prophet 600 this P0RTD = 3 STA TALO is particularly useful, because IFR = $11 LDA //BITRHI otherwise I have to enter two IER = $12 STA TAHI digits on the membrane switch MCR = $14 ; SET DATA DIRECTION keypad — which is kind of clumsy SCCR = $15 LDA #$FF to do while playing. SCSR = $16 STA ROWIN SDR = $17 ; SET LOWKEY Also, you can change octaves TAL0 = $18 LDA #36 by holding down "PROGRAM" and TAHI = $1A STA LOWKEY pressing down the f i f t h AGO key BITRLO = 1 ; SET LPGM from the top. The f i r s t time you BITRHI = 0 LDA #$FF do this, the keyboard w ill change E0C = %00010000 STA LPGM up one octave. The next time you AT0D = $8000 ; SET PROGRAM TABLE press the key the keyboard will OCTAVE =57 LDX #0 drop down three octaves, then it SHIFT! = 58 TXA w ill move up one octave at a time SHIFT2 = 59 PGINIT on subsequent pressings. By the SHIFT3 = 60 STA PGTBLE,X way, the Prophet 600 does not SHIFT4 = 61 I NX respond to key numbers in the BANK1 = $E8 TXA highest octave, so if you are BANK2 = $08 CPX #8 using this particular synthesizer BANK3 = $28 BNE PGINIT you w ill probably not want to use BANK4 = $48 ; DUMMY SCAN the top octave position. JSR SCAN’ VARIABLES JSR WHEELS The software. The listing is XTEMP = $40 JSR DELTAX a p re tty good example for the R0WBUF = $41 LDA PTCH firs t time user of how to program C0LBUF = $42 STA LPTCH in 6502 assembly code; if you plan KEYNO = $43 LDA MOD to get into writing assembly lan­ XDATA = $44 STA LMOD guage, I would encourage you to PTCH = $45 ; SET INTERRUPT study this example. It makes use MOD = $46 LDA #%00001000 of loops, interrupts, and lookup LPTCH = $47 STA IER tables, yet it is really a pretty LMOD = $48 CLI simple bit of code. I will ex­ PABUF = $49 plain each section as we go along TPTCH = $4A This sets us up for the MAIN rou­ and try to make it as understand­ TM0D = $4B tine, an endless loop that actual­ able as possible without being too PBUF = $4C ly performs all of the work. tedious. However, it is beyond L0WKEY = $4D the scope of this a rtic le to teach PDBUF = $4E assembly language programming. To FNCDN = $4F MAIN find out more about programming FNCKEY = $50 JSR SCAN the 6511, pick up "Programming and LOWBUF = $51 JSR WHEELS In te rfa c in g the 6502" by Marvin LPGM = $52 JSR DELTAX DeJong. DEBNCE = $53 JSR XMIT MBUF = $54 JSR PROFNC Before we sta rt with the code JSR CNGEPG let's look at the symbol table. First, consider the RESET routine. CLC "$" means that the number is in This is where the 6511 sta rts from BCC MAIN hexadecimal. "%" means that the when power is applied. Since we number is in binary. Otherwise, are using a 2716 PROM, the program the number is a decimal represen­ s t a r ts at $F800. The in te rn a l Pretty simple, yes? This approach tation. registers are initialized, and a divides up the program into func­ dummy scan is performed just to tional modules, much like the get everything prepared. The ad­ higher level language FORTH. We CONSTANTS dress of the RESET routine must be will examine each subroutine se­ KEYSDN = $60 stored as the reset vector at parately. The SCAN routine, in KEYBUF = $70 memory locations $FFFA and $FFFB. conjunction with the DELTAX rou­ LSTSCN = $80 tine, maintains three lists -- PGTBLE = $90 ; SET STACK POINTER AND CLEAR THE KEYSDN, KEYBUF, & LSTSCN. The PWTBLE = $FE00 DECIMAL FLAG SCAN routine looks at the AGO keys TCODE = %11111000 LDX //$FF and stores all keys down in the I\>Sy|>lumy ------August 1984 l i s t KEYSDN. If no keys are down the mod information to a useable KEYBUF is a list of the keys that it stores 0 in each element of the maximum. I t also checks to make were held down on the previous l i s t KEYSDN. sure that there are no false read­ scan. Then the DELTAX routine ings by "debouncing" the A to D goes through these two l i s t s and SCAN re s u lts . eliminates (zeros) keys that are JSR FEEDOG common to both lists. This leaves LDA #0 WHEELS us with KEYSDN being a list of LDY #0 LDA #1 zeros and the keys that are newly CLEARO STA DEBNCE pressed, while KEYBUF is a list of STA KEYSDN,Y FLOW zeros and the keys that are newly I NY JSR FEEDOG released. LSTSCN is kept as a CPY #$10 ; PITCH WHEEL record of the current scan for use BNE CLEARO LDA #$F8 the next time around. DELTAX also ; CHECK FOR KEYS STA PABUF checks to see if the wheels have LDA #$FF STA PORTA been changed by more than two STA COLOUT JSR FEEDOG bits. This suppresses extraneous LDA ROWIN ; CONVERT transmissions of wheel information BEQ EXITO STA ATOD that hasn't significantly changed. ; SET UP COL SCAN DONEO LDA LOWKEY JSR FEEDOG DELTAX STA KEYNO LDA PORTA ; TRANSFER LSTSCN TO KEYBUF LDA #1 AND #EOC LDY #0 STA COLBUF BNE DONEO TRANSO STA COLOUT ; GET PITCH DATA LDA LSTSCN,Y LDX #8 LDA ATOD STA KEYBUF,Y LDY #0 STA PBUF INY ; SCAN COL ; MOD WHEEL CPY //$10 COLSCN LDA #$F9 BNE TRANSO LDA ROWIN STA PABUF ; TRANSFER KEYSDN TO LSTSCN BEQ NXTROW STA PORTA LDY #0 STA ROWBUF JSR FEEDOG TRANS1 ; SET UP ROW SCAN ; CONVERT LDA KEYSDN,Y STX XTEMP STA ATOD STA LSTSCN,Y LDX #8 DONE1 INY ; SCAN ROW JSR FEEDOG CPY #$10 ROWSCN LDA PORTA BNE TRANS1 LSR ROWBUF AND #EOC ; ZERO NOTES COMMON TO KEYSDN & BCC KEYUP BNE DONE1 KEYBUF LDA KEYNO ; GET MOD DATA AND SCALE DOWN LDY #0 STA KEYSDN,Y LDA ATOD LDX #0 INY LSR A MATCHO KEYUP LSR A LDA KEYSDN,Y INC KEYNO LSR A CMP KEYBUF,X ; LOOP TO ROWSCN STA MBUF BNE NEXTO DEX LDA PBUF LDA #0 BNE ROWSCN CMP PTHC STA KEYSDN, ; KEY UP OR DOWN ? BEQ GOODO STA KEYBUF,X LDX XTEMP CLC LDA PBUF CLC BCC NEXT1 STA PTCH BCC KEYDN NEXTO JMP FLOW ; IF NO KEYS DOWN ADD 8 TO KEYNO I NX GOODO CPX #$10 NXTROW LDA MBUF BNE MATCHO LDA KEYNO CMP MOD NEXT1 CLC BEQ GOODD1 LDX #0 ADC #8 LDA MBUF STA KEYNO STA MOD INY ; TAKE NEXT COL HI JMP FLOW CPY #$10 KEYDN GOODl BNE MATCHO LDA COLBUF DEC DEBNCE ; PITCH AND MOD DELTAX ASL A BNE FLOW LDA #0 STA TPTCH STA COLBUF RTS STA COLOUT STA TMOD ; LOOP TO COLSCN LDX LPTCH Now that we have a list of the DEX LDY LPTCH keys th a t are down (KEYSDN) we BNE COLSCN CPX PTCH need to extract the delta, or EXITO BEQ NOTPCH change, information. The routine RTS INX DELTAX transfers LSTSCN to KEYBUF, CPX PTCH and also transfers KEYSDN to The subroutine WHEELS performs the BEQ NOPTCH LSTSCN. At this point KEYSDN is a INX A to D conversion on the pitch and list of the keys that are held CPX PTCH modulation thumbwheels and scales down on th is cu rren t scan, and Polyphony - August 1984 BEQ NOTPCH ; LOOP LDA LOWKEY DEY NEXT2 STA LOWBUF CPY PTCH I NY LDA #1 BEQ NOTPCH CPY #$10 STA LOWKEY DEY BNE XMITD PFNC CPY PTCH ; KEYS UP JSR FEEDOG BEQ NOTPCH LDY #0 LDA #%10000000 LDA #$FF ; XMIT KEY UP CODE ORA PABUF STA TPTCH XMITU STA PABUF NOTPCH LDA KEYBUF,Y STA PORTA ; MOD WHEEL BEQ NEXT3 LDA PORTA LDX LMOD LDA #UPCODE ASL A LDY LMOD STA XDATA BCC KEEPON CPX MOD JSR OUTPUT LDA LOWBUF BEQ NOMOD ; TRANSMIT KEY NUM STA LOWKEY I NX LDA KEYBUF,Y RTS CPX MOD STA XDATA KEEPON BEQ NOMOD JSR OUTPUT JSR SCAN INX ; TRANSMIT VELOCITY LDA KEYSDN CPX MOD LDA #VELCTY BEQ OCTOUT BEQ NOMOD STA XDATA CMP #OCTAVE DEY JSR OUTPUT BNE OCTOUT CPY MOD ; LOOP LDA LOWBUF BEQ NOMOD NEXT 3 CMP #48 DEY INY BNE OCTUP CPY MOD CPY #$10 LDA #12 BEQ NOMOD BNE XMITU STA LOWBUF LDA #$FF ; XMIT PTCH & MOD JI1P OCTSET STA TMOD LDA TPTCH OCTUP NOMOD BEQ XPTCH LDA LOWBUF RTS LDX PTCH CLC STX LPTCH ADC #12 , At this point it is a simple mat­ LDA PWTBLE,X STA LOWBUF ter to transmit the necessary STA PBUF OCTSET information. The subroutine XMIT LDA #PWCODE LDA LOWBUF goes through the lis ts KEYSDN and STA XDATA STA LOWKEY KEYBUF, and transmits anything JSR OUTPUT GETOFF that is not a zero. Then it LDA #0 LDA #$FF checks the TPTCH and TMOD flags, LSR PBUF STA DEBNCE and transmits the wheel informa­ ROR A DBNCEO LSR A tion if the flags are true. When JSR SCAN STA XDATA the pitch wheel is transmitted the LDA KEYSDN JSR OUTPUT program uses the A to D value as BNE DBNCEO an index to select the actual LDA PBUF DEC DEBNCE pitch value from a lookup table STA XDATA BNE DBNCEO that is located from $FE00 to JSR OUTPUT RTS $FEFF. This technique lets us use XPTCH OCTOUT any arbitrary response for the LDA TMOD JSR FNCSCN wheel, so I have constructed the BEQ XMOD LDA FNCDN table to create a "dead band" at LDA #CNCODE BEQ PFNC the center of the pot. STA XDATA JSR SCAN JSR OUTPUT LDA KEYSDN LDA #CON2HI BEQ PFNC XMIT STA XDATA ; KEYS DOWN CMP #SHIFT1 JSR OUTPUT BNE NXTBT1 LDY #0 LDA MOD ; XMIT KEY DOWN CODE LDA #BANK1 STA XDATA STA LOWKEY XMITD JSR OUTPUT JMP NXTBT4 LDA KEYSDN,Y LDA MOD NXTBT1 BEQ NEXT2 STA LMOD LDA //DNCODE CMP #SHIFT2 XMOD BNE NXTBT2 STA XDATA RTS JSR OUTPUT LDA #BANK2 ; XMIT KEY NUM STA LOWKEY The subroutine PROFNC checks to JMP NXTBT4 LDA KEYSDN,Y see if the "PROGRAM" pushbutton is STA XDATA NXTBT2 being held down. If so, the rou­ CMP #SHIFT3 JSR OUTPUT tine either changes octaves or BNE NXTBT3 ; XMIT VELOCITY programs the "SELECT" pushbutton LDA #VELCTY LDA #BANK3 as described earlier. STA LOWKEY STA XDATA JMP NXTBT4 JSR OUTPUT PROFNC NXTBT3

Polyphony August 1984 27 CMP //SHIFT4 LDA PABUF BEQ SHFTOK AND #%00100000 JMP PFNC BEQ TOGLEO SHFTOK LDA m io in ii LDA //BANK4 AND PABUF STA LOWKEY STA PABUF in favor of a C-64 Micro-Drums; NXTBT4 CLC how do the rest of you feel? LDA //$ FF BCC T0GLE1 STA DEBNCE TOGLEO DBNCE1 INTERFACE BLUES, PART 4 LDA n o o io o o o o JSR SCAN ORA PABUF LDA KEYSDN I need to know how to inter­ STA PABUF BNE DBNCE1 face the Master Synchronizer with T0GLE1 LDA DEBNCE the TASCAM Model 144 Portastudio. LDA PABUF BNE DBNCE1 STA PORTA The problem is that the Porta- PICK RTS Studio has only stereo outputs JSR SCAN from the mixer, which means that LDA KEYSDN The OUTPUT subroutine takes the th ere is no way to is o la te the BEQ PICK variable XDATA and transmits it. click track from the other tracks. ASL A I t seems th a t I need a way of BCC INBNDS OUTPUT getting a straight feed out of one LDA #$FF JSR FEEDOG of the channels, and I don't have INBNDS a schematic to enable me to do LDA SCSR LSR A that. I would appreciate any help AND #$40 LDX FNCKEY you might be able to give. BEQ OUTPUT STA PGTBLE,X While I'm at it, I'd like to LDA XDATA LDA LOWBUF STA SDR thank you for the fine job you STA LOWKEY RTS have done with Polyphony. Keep up GT0FF1 the good work, I know a lo t of JSR FEEDOG The FNCSCN subroutine scans the people really appreciate it. LDA PORTA Port D pushbuttons. If a button ASL A is being held down, the subroutine Ted Kastelic BCC GT0FF1 exits with the pushbutton number Washington, DC RTS stored in the variable FNCKEY and the flag FNCDN true Ted — First, thanks for the compliments; I'll keep editing Since the "SELECT” pushbuttons are Polyphony for as long as the now programmed, the CNGEPG subrou­ FNCSCN readers will let me. Concerning tine looks at the "SELECT" push­ LDA #0 the Portastudio, your best bet is buttons and transmits a program STA FNCDN to feed the Master Synchronizer change if one is held down. LDA PORTD CMP #$FF input from the auoc buss output. CNGEPG BNE SCNFNC Yes, this is a mono output, but • JSR FNCSCN RTS a l l you need to do is turn up the LDA FNCDN SCNFNC fader for the channel receiving BNE CONTIN LDA PORTD the Master Synchronizer signal and RTS STA PDBUF leave the other channels turned CONTIN LDA //$FF down. You could also try the same LDX FNCKEY STA FNCDN trick with the cue buss if the aux LDA LPGM LDX # 0 buss is occupied. Incidentally, CMP PGTBLE,X BUTSCN th is is a u se fu l tr ic k to know if BNE ALLGO you want a separate output from LSR PDBUF BCS NXTFNC each track — feed one track into RTS ALLGO STX FNCKEY the L main output, one track into LDA //PGCODE NXTFNC the R main output, one track into STA XDATA INX the cue output, and one track into JSR OUTPUT CPX #8 the aux buss output. LDA PGTBLE,X BNE BUTSCN One caution: You may have STA LPBM RTS crosstalk problems with the Master STA XDATA Synchronizer from adjacent, high- JSR OUTPUT Finally, the CLICK subroutine le v e l sig n a ls. So, record the RTS transmits a MIDI timing code if a sync signal on an outside track (1 positive edge is detected on the or 4) and be c a re fu l when s e ttin g That's all there is to it — al­ lev els. external clock input line. This most. There are a few subroutines positive edge interrupts the pro­ A LETTER WHICH DOESN'T INVOLVE called by the previous code that cessor from its normal function­ INTERFACING! must be mentioned. The f ir s t one ing. The starting address of the is the FEEDOG routine. This sends CLICK routine must be stored as an I like the idea of the matrix a pulse to the watchdog timer to in te rru p t vector at memory lo ca­ system used in the ARP 2500, and keep i t from automatically reset­ tions $FFFE and $FFFF. would like to know who makes these ting the processor. cont. pg. 30 FEEDOG (cont. pg.30) 28 IVrfyplHMsy August 1984 The "Sound Test" program is (,4 S O U N D S . hard to describe, but easy to use. continued If it still seems to be too much work, JAL SOFTWARE offers a screen r e v ie w oriented sound effects editing the changed Line. The cursor then program called SOUND'ED that makes can be moved to the word "RUN” on noodling on Synclavier — to my experiments even easier: Just ear both records are a little screen and upon pressing RETURN, move around the screen and press dry.* the SOUND TEST program RUNs — the spacebar to advance the regis­ this time with the new sound ter values — it puts in all the values. Note also, a single press right numbers and you don't even of the spacebar will trigger the have to know how to count in bi­ sound once while holding it down nary! will cycle the sound repetitively. Next issue, we'll describe With this program, it is quite the final programs of this series. simple to try several different one to three voice sounds in the space of a few minutes. (Try the example data lines in Figure 2.)

Laurie Anderson Mister Heartbreak (Warner Bros. 25077-1). Between this, Thomas Dolby's new one (last month) and Mark Isham (Feb and Example DATA lines for this month), d ig ital synthesizers SOUND TEST are finally getting out of school and into the hands of working 230 DATA 000,090,000,000,017,088,000 musicians. One giant leap forward Medium ATTACK /DECAY Beep for Laurie, who moves from a nov­ elty act to somewhere in the realm of Peter Gabriel (who guests with several other notables). 230 DATA 000,090,000,000,129,008,000

Percussive Noise

230 DATA 000,090,000,000,129,009,000 235 DATA 000,004,000,000,033,005,000

Noise and Strike Sound Drum

230 DATA 073,004,000,000,033,004,255 235 DATA 103,005,000,000,033,005,255 240 DATA 108,006,000,004,065,004,255,-1 John Bender Pop Surgery (Record C Chord with Long RELEASE Sluts 004, EP). Rhythm box, cheap synthesizers and slurred talking — edited down from 15 longer 230 DATA OOO,004,000,008,065,176,000 tapes I hope to miss.* 235 DATA 003,004,000,008,065,182,000 240 DATA 009,004,000,008,065,180,000,-1 Martin Kornberger & Volker Kuhn Bal Macabre (Syntape 020, cas­ 3 Voice Pulse Sound with LF Offsets sette). Modal improvisations, for a Thick Phasing Sound usually over a sequenced backing, not unlike middle-period Tangerine Dream. Well done for an indepen­ dent. Syntape, C.L. Schleich Waveform Values for Sound Programs Str. 5, D-7518 B retten, West Ger­ Wave With Gate Without Bate many or from Eurock.

TRIANBLE 17 16 Jon English & Candace Natvig SAWTOOTH 33 32 Triptych (1750 Arch 1797). How PULSE 65 64 many sounds can one draw from NOISE 129 128 trombone, violin and voice? Let's see — you can take ap art the trombone and blow through each ______FIG. 2 cont. pg.42

Polyphony ------August 1984 29 ^REMOTELY MIDI. . .CONT. would leave the SCAN, WHEELS, DELTAX, and XMIT routines intact, CLICK concentrating instead on the push­ PHA buttons and/or the pitch wheel LDA XDATA lookup table. PHA LDA //TCODE Now all that's left is the matrix boards. I would very like STA XDATA pitch wheel table, which sta rts at to incorporate the matrix system JSR OUTPUT $FE00 (see Figure 3). The tab le into my home studio (in Malaysia) LDA #0 is in hexadecimal. to interconnect signal routes, STA $10 effects, etc. PLA In conclusion, I should point Second question: How about STA XDATA that this project was developed on an article on how to design a PLA a Rockwell Aim-65 microcomputer modular breadboard for building up RTI and tested with a Prophet-600 circuits from scratch — with synthesizer. Due to inconsisten­ power supply, clock circuitry, Some fun, huh? Well, it may cies in the way that manufacturers plug-in switches and pots, and so not be the most elegant piece of are currently implementing the on? code in the world, but it gets the MIDI standard it may not work with Last question: How much on job done. If you want to modify your particular synthesizer. If the average does an electronic the program it shouldn't be too you have a specific idea as to musician have to spend to make an hard; just remember to include a what modifications might prove album (solo m usician w ith drum JSR FEEDOG i f you do any loops u se fu l le t me know. machines, synths, effects, and that will take over a millisecond synchro-sonic devices) in a re­ or so. Probably any modifications cording studio? Well, that's it but before I Figure 3: Pitch Wheel Table end I'd like to say that Polyphony is a great publication but one 00 02 04 06 08 0A OC 0E 10 12 14 15 16 17 18 19 complaint — when are you going to 1A IB IC ID IE IF 20 21 22 23 24 25 26 27 28 29 make it monthly? 2A 2B 2C 2D 2E 2F 30 31 32 33 34 35 36 37 38 39 Khew Sin-Sun 3A 3B 3C 3D 3E 3F 40 41 42 43 44 45 46 47 48 49 4A 4B 4C 4D 4E 4F 50 51 52 53 54 55 56 57 58 59 Boston, MA 5A 5B 5C 5D 5E 5F 60 61 62 63 64 65 66 67 68 69 6A 6B 6C 6D 6E 6F 70 71 72 73 74 75 76 77 78 79 Khew — Matrix pin switches 7A 7B 7C 7D 7E 7F 80 80 80 80 80 80 80 80 80 80 are available from Sealectro 80 80 80 80 80 80 80 80 80 80 80 81 82 83 84 85 Corp., 225 Hoyt St., Mamaroneck, 86 87 88 89 8A 8B 8C 8D 8E 8F 90 91 92 93 94 95 NY 10543), but they are quite 96 97 98 99 9A 9B 9C 9D 9E 9F A0 A1 A2 A3 A4 A5 A6 A7 A8 A9 AA AB AC AD AE AF B0 B1 B2 B3 B4 B5 expensive (especially the pins B6 B7 B8 B9 BA BB BC BD BE BF CO Cl C2 C3 C4 C5 that go into the matrix). Also, although I have no personal ex­ C6 C7 C8 C9 CA CB CC CD CE CF DO D1 D2 D3 D4 D5 perience in this matter I have D6 D7 D8 D9 DA DB DC DD DE DF E0 El E2 E3 E4 E5 heard that there are crosstalk E6 E7 E8 E9 EA EB ED EF FI F3 F5 F7 F9 FB FD FF problems when running low-level and high-level signals next to each other with matrix switches; capacitance between lines could STEP OUT FRONT WITH THE REMOTE MIDI KEYBOARD also cause problems. You might be better off with a traditional A complete k it of parts for building a remote MIDI Keyboard patch bay/patch cord setup. is available from PAIA Electronics, Inc., 1020 West Wilshire Second question: We have no Blvd., Oklahoma City, OK 73116, (405) 843-9626, VISA and such article planned, but your Mastercard accepted. letter might inspire a reader to The complete kit includes all parts, keyboard, case, circuit come up with something for you. boards to build a finished remote MIDI keyboard and is available Third question: If you cut in two versions: an album at home with budget gear, KR-37 37 note MIDI Remote Universal Keyboard Kit $299.00 (16 lbs.) i t can cost under $1500 — in ­ cluding the recorder. If you cut KR-61 61 note MIDI Remote Universal keyboard Kit $375.00 (21 lbs.) an album in a 48 track pro studio with a top-name producer, i t could cost tens (or even hundreds) of (does not include power supply; 200 mA. at +5v. required) thousands of dollars. As far as going monthly, A printed circuit board only for the MIDI controller is right now it just isn't possible. available separately for those who wish to construct or modify However, this is a growing maga­ zine and you never know what to ­ their own controller. Diode matrix for the keyboard that you use morrow may bring. will have to be provided for separately. Specify MIDI REMOTE CONTROLLER CIRCUIT BOARD ONLY $19.95 postpaid. cont. pg.35

30 Polyphony August 1984 Sound Strategy

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(Vase Include S2.50/ldt for shipping Address ______TX RES. ADD 5% TOTAL AMOUNT ENCLOSED STATE SALES TAX Sony, C.O.D. not accepted C i t y ______1______State______Z ip ______I authorize the shipment of the above items under the terms listed here.

□ Send my FREE catalog Signature ______RODCAR ELECTRONIC SALES 9983 Monroe Dallas, Texas 75220 (214) 351-9895 VCA - Voltage Controlled Amplifier DATA BANK VCO - Voltage Controlled Oscillator 4740 - An ADSR synthesizer module available from PAIA for $25.95 (plus shipping/handling). Note on chip numbers : many chips of the same For more info write to PAIA for a cata­ number are available from different manufactu­ log. rers. The lettered prefix identifies the 8700+E - a 6502 based microprocessor computer manufacturer. with fu ll memory compliment once avail­ Note on IC substitution: as mentioned in able from PAIA Electronics. Stephen Hawk's article some chips of similar DAC Digital to Analog Converter. operation but slightly different character­ dB = 201og(V/Vr e f ) istics and specifications may be substitu­ dBm a dB zero reference level of lmW of power ted for each other. Refer to the manufacturers' across a 600 Ohm line (=0.775 Volts). databooks for more info. (+4dBm and +8dBm are two different stan­ CD - RCA (CMOS line of ICs) dard 0 VU readings for pro decks. Since LM - National Semiconductor these indicate system electronics hand­ LF - National Semiconductor ling 1.23 and 1.95 Volts respectively at (Bi-FET line of ICs) 0 VU they offer better signal-to-noise RC - Raytheon Semiconductor ratio than do -lOdBV decks which pass TL - Texas Instruments (Linear) smaller voltages through their system electronics.) dBV - a dB zero reference level of 1 Volt. LF351 Wide Bandwidth JFET-Input Op-Amp (-lOdBV is the standard 0 VU meter read­ 121356 (commercial grade) Series Monolithic ing for semi-pro decks.) LM741 Op-Amp JFET-Input Op-Amps DCB - DigitalControl Bus; a Roland communica­ tions bus that existed prior to MIDI. desk - British English term for mixer. FSK - Frequency Shift Keying; a method of data transfer by discrete, frequency modula­ INPUT C tions . INPUT C LFO - Low Frequency O scillator, hexadecimal numbers - are numbers specified in RC4136 Quad 741 High-Gain Op-Amps base 16 where A is the character repre­ senting 10, B=ll, C=12, D=13, E=14 and Q2 F=15 and 16 in decimal equals 10 in hex. Q2 Q1 3080 CL2 oi Operational Transconductance Amp To convert from hexadecimal to decimal RST2 CL1 apply this formula: D2 RST1 (OTA) ©SET2 D1 V... h3 h2 hi Hon6) = (16^ + ... + SET1 162H2 + 16!hi + 16°Ho)lO* For example, X ^ . A92B in hex equals (10xl62 + 9xl62 + CD4013 2X161 + ‘ llxl6°)=43307 in decimal. To Dual 'D'-Type Flip-Flop convert from hex to binary simply turn each hex digit into a four d ig it binary word. For example, F(i6 )= llll( 2 ) , There- C(i6)=1110(2) and 3(16)=0101(2) 1211458 fore, FC3(16)=i i i i 1110 0101(2) Dual Op-Amp RS flip-flop logic table: Q s R Qnext u u u U 0 1 0 0 4001 0 1 0 1 Quad NOR gate 0 1 1 unknown PHASE P U L S E S Q §)VDD 1 0 0 1 -M8V PHASE COMP1OUT0 §)VREF COMPARATOR 'N Q g jS lG N A L IN 1 0 1 0 d J VCO OUT 0 g)PHASE COMP 2 OUT 1 1 0 1 IN H IB I T 0 g ) R 2 to Vs s TRK3GEg(SCHARG£ 1 1 1 unknown - e z) C t ' 1 1 0 TT)R1 toVss C i l 2 l © ^DEMODULATOR OUT g)V C O IN (2 o u t p u 1 h r e s h

® RESET Cw a Z c k © CD4046 C0S/M0S Micropower Phase-Locked Loop 555 Timer OUTPUT| g)O U T P U T INVERTIN' INVERTING INPUT' INPUT 3>+v NON INVERTING* NON INVERTING * INPUT _ INPUT OUTPUT B VC C + @ 2 )vc c - INVERTING NON INVERTING g NC INPUT INPUT NON INVERTING, INVERTING © NC INPUT INPUT SPST - Single-Pole-Single-Throw switch *°NINV input* 9 NC OUTPUT OUTPUT INV INPUT A NON INV INPUT B [S) INV INPUT B TL084 Low Noise JFET-Input Quad Op-Amps o------— <3^* o------o 4739 Dual Low-Noise Op-Amp

32 PotyplMMsy August 1984 LINEARS RESISTORS 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 < 0 NE555...... Timer...... 39 10 each of same value...... 40 POTENTIOMETERS ....Compander...... 3.80 NE570.... 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...... Compander...... 4.95 ASSORTMENTS 854-501...... 100K Linear taper...... 1.09 UA741...... Comp. OpAmp...... 29 10 each of10 values (100)...... 3.00 854- 505..500K Linear taper...... 1.09 Q MC1456.. ...Low Noise OpAmp...... 90 25 each of10 values (250) ...... 6.50 ...... 1.48 855-401 .... 10K Audio taper...... 1.09 RC1556...... Low Noise OpAmp...... 50 each of20 values (1000)...... 16.00 CA3080...... OTA...... 94 855-501...... 100K Audio taper...... 1.09 CA3280...... Dual OTA...... 1.98 855- 505.500K Audio taper...... 1.09 CHORUS/DELAY KIT RC4136...... Quad OpAmp...... 1.10 856-401 .... 10K Audio taper with 0 , RC4739...... Dual Low Noise...... 1.19 This chorus/delay unit, designed by Craig Anderton on/off switch...... 1.25 NE5532...... Dual High Perf...... 3.70 and featured in Guitar Player magazine, provides NE5534...... High Performance...... 2.65 flanging, slapback echo, and automatic double tracking effects. The delay range is from 2 ms to 80 TRIM POTS (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 TOGGLE SWITCHES 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 SN76477...... Sound Generator...... 3.45 drilled, and legended) needed for the project. Not included is wire, solder, case, knobs, etc. The 403-40....DPDT (on/on) sub-mini (3A).... 1.50 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-1% jumbo diffused (20 m a .)...... 30 SSM 2012....VCA...... 9.50 magazine. Here's what Craig Anderton had to say 305-202.....Green T-13/< jumbo diffused (30 ma).. .40 SSM 2020....VCA...... 7.50 about the "SNARE + ” . “At last - an inexpensive drum 305-203.....Dual T-13/< 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-1% jufnbo 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....VCF...... 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.) *1 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 n. 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 JACKS THERMISTER (Temp Sensing Resistor) inches) available in black or blue (both with white 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 SNARE + 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 JACKS 701-100...... 100 pf polystyrene...... 25 701-180...... 180 pf polystyrene...... 25 THE "CLARIFIER" GUITAR 903- 351...Mono with n/closed contact..32 701-1000... .. 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 JACKS 701-3900... .. 3900 pf polystyrene...... 25 was first seen in the pages of GUITAR PLAYER magazine. Here’s what the CLARIFIER 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.... 702-22...... 22 uf mylar...... 33 911-201...Mono, black phone plug...... 48 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. 704-2.2...... 2.2 uf electrolytic...... 21 The CLARIFIER kit is available in two options, both 1 /8 In. MINI PLUGS 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 Lr 705-.1...... 1 uf ceramic disk...... 17 KIT 2450....Complete CLARIFIER kit . $18.95 independent switching sywtem that is controlled by KIT 2455....CLARIFIER less controls ..$14.95 the insertion of the plug. Jack 905-301 contains the IC SOCKETS (soldertail) equivalent of a DPST 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 IC-S-16...... 16 pin high quality socket... .34 supplies on and off in effects boxes, etc. 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 IC-C-28...... 28 pin economy socket..... 40 SA TISFACTION GUARANTEED! Terre Haute, IN 47802 REVIEW

ELECTROH ARMOINIX INSTANT REPLAY I by: C huck Pogan since the trig level is very sensitive). To record Hey...remember the guys who made those gizmos the sample, set the "Pitch" knob pretty much coun­ in the late 60s and 70s with names like "Screaming ter-clockwise (i.e. longest sampling time) and press Bird" and "Big Muff Pi"? Well, a f te r a lengthy the record button. The red record LED should light hiatus due to external union harassment (as reported and stay l i t to indicate that the Replay is waiting in Reader's Digest*) big wheel Mike Matthews has for a sound; as soon as the sound to be sampled tied the loose ends together and revamped Electro- begins, the Replay starts sampling (the LED then Harmonix. With the advent of their "Instant-Re­ flashes u n til the sampling time is over). The maxi­ play,"* Mike and E-H get my vote for "Comeback Player mum sampling time is 2 seconds with pitch fully of the Year". counter-clockwise. Turning pitch clockwise de­ The "Replay" d ig itally records any short sound, creases the sample time but increases fidelity. which can then be replayed a t the u sers' command. Features include drum pad triggering with dynamics Playback. Connect the external trigger pad (or use alternate controllers such as keyboards or provided with the Replay to its "ext. trig." input gate triggers), a repeat (loop) function, and AC jack, then start crashing on the pad. Since the pad power operation. has dynamics, the harder you hit, the louder the The unit is housed in the standard E-H sheet playback. You can also auto-trigger without a pad metal box, with knobs for "Mic Level", "Trig Level", (a repeat switch on the back repeats the event; the and "Pitch". There is also a "Record" button, along period is equal to the sampling time). Hint: When with LEDs to indicate "record" and "overload". recording a sound you expect to play back with the trigger pad, set the pitch knob at about 20-30% of Recording with the Replay. Begin by feeding maximum as this will give the widest pitch variation your signal into the mic input jack and adjusting range on playback. the mic level sensitivity pot until the "Overload" LED indicator just begins to flicker on peaks. Applications. The Replay's uses are limited Next, adjust the trigger level pot u n til the sampled only by your imagination (weirdness?). It's a real sound plays back at approximately the same volume as kick to record your voice and transpose it to a the input sound (this may require a few "test runs" different register. My "Lurch" impression is a dead

3 4 Polyphony August 1984 ringer...also, lowering the pitch of grunts and snarls sounds like the San Diego Zoo. Using the audio signal from an external key­ board as a trigger increases control possibilities, as it allows for transposing the sampled sound from s the keyboard. Try sampling an acoustic guitar strum or a fuzzed-out electric guitar note, and then trig­ gering the Replay with a typical synth (I'm current­ SHIFTY INFORMATION ly using a little M-10 and it works just fine). u Even a VL-Tone w ill work. Try dumping a two-handed I recently spoke to Michael chord from a polysynth into the box and play 10 note Iceberg, who showed me some of his leads on your VL-Tone...impressive or what? You can B gadgets. One thing that fas­ also prepare sounds in advance, like multi-tracked cinated and later confused me was sound effects or handclaps, for dumping into the this. He spoke into a microphone unit directly from tape. and, using a modulator, shifted the frequency of his voice down Pros. For me, the mere accessibility of a unit about a hundred cycles. What do that hints at sampling techniques is the major s you know about audio frequency breakthrough. Not too many of us in the real world shifting? Who knows, maybe some­ can afford the bigger machines that specialize in where in there is an interesting all facets of sampling, and as a low-cost alterna­ a rtic le for Polyphony. tive the Replay stands alone. Its sound reproduc­ c tio n q u a lity is q u ite good and not too noisy w ith John Piskulic proper level-setting. Also, the keyboard pitch R St. Louis, MO control capability, however lim ited, is a definite advantage. John — Frequency shifters Cons. For a device th a t packs so much w allop have been discussed extensively in into such a small box for such a low price, the I Electronotes, so there's no real Replay's shortcomings are of little real conse­ need to duplicate that material quence. My only real gripe is that they didn't put here. ‘ For information on reprints an on-off switch on the box so we wouldn't be yank­ of the pertinent articles, write ing on the AC cord all the time. I would also like B B. A. Hutchins at’1 Pheasant Lane, to see a souped-up Replay with some kind of program Ithaca, NY 14850. or patch storage in the future, since the present unit loses the stored sound when turned off. Another lim itation is that changing the pitch E control also changes the playback speed of the sam­ pled sound, and is thus not a true frequency shift. And alas, an external keyboard controller can only WIND PLAYERS transpose over a 2-octave range. s VOCALISTS Conclusions. I'm not usually one for getting overly excited about new boxes because most com­ You can use your own panies just produce the same basic devices and noth­ E instrument or voice to ing else. E-H, however, is one of the few companies control any standard synthesizer, that really takes chances — creating unique gizmos with more expressiveness than and presenting them at affordable prices. I think E <3 keyboard. the. Replay is a whole new ballgam e. I mean...a digital sampling device with pitch and trigger con­ tr o l for under $300 l i s t seems too good to be true! Don't expect the Replay to be "the poor man's Emula­ tor" but do expect it to be what it is: a crude P controller of real-world sounds. And that's plenty! You'll have to meet the u n it half-w ay to make THE GENTLE ELECTRIC! it work well, but a little practice will make load­ A PITCH AN D ENVELOPE ing any type of sound easy. For those of you with a SLOWER studio, the Replay can be a real "ace in the hole" m for solving creative blocks. Gr W rite for The Replay is the only device of its kind I know of in this price range, and because of this I brochure, unhesitatingly recommend the unit to anyone in te r­ E and app ested in music recording, theatrical events or just plain-ole lipped-out party toys. You're sure to A lto avai find many uses (some q u ite b izzare) for th is box. Serge synth The EH Instant Replay...you rang? * fkrcustofri 4 welcom e, *Reprints of the article appearing in Readers Digest gentle electric concerning Electro Harmonix are available from Elec­ V Dept p tro Harmonix, 27 W. 23rd St., New York, NY 10010. P.O Box 132, Delta, CO 81416 Tel. (212) 741-1770. 303-874-8054 7 303-874-7171 Polyphony ------August 1984 TellThem You Saw In Polyphony’ Cassette distribution. Lle­ wellyn Communications (213 E. Fourth St., St. Paul, MN 55101) offers a cassette distribution service that is said to link inde­ pendent tape and LP producers with a direct mail consumer market. Products chosen by Llewellyn for distribution are advertised and promoted in a bi-monthly tabloid that reaches approximately 30,000 subscribers. For more information write Llewellyn, or call 1 - 800/843-6666 (in Minnesota call 612/291-1970).

heavy duty toroidal choke f i l t e r ­ introduced the first alternate ing, and all-steel chassis. drum sound set for the DX. Re­ tailing for $249, the set includes analog e le c tro n ic drum sounds. Subsequent re le a se s w ill include alternate acoustic drum and cymbal sounds, plus a wide variety of percussion voices. Nine Zero In­ sertion Force sockets are avail­ able for $90 to facilitate chip insertion and removal.

Roland MIDI products. Roland (7200 Dominion C ircle, Los An­ E-Drum. The E-Drum by E-mu geles, „CA 90040) has introduced (2815 Chanticleer, Santa Cruz, CA the MM-4 MIDI Thru Box ($70 lis t), 95065-1891) combines digitally which expands one MIDI In signal recorded percussion sounds (avail­ to four MIDI Thru signals. The able as plug-in cartridges) with a Unicord floods us with press MD-8 ($295 l i s t ) is a MIDI to dynamically-responsive trigger pad releases. Unicord (89 Frost St., Roland DCB buss interface that in a sin g le package. The E-Drum Westbury, NY 11590 has a lo t allows DCB instruments (such as can be triggered from DC triggers, happening. 1) Their "Patches" the Jupiter-8 and Juno-60) to work gates, drum machines, and even n e w s le tte r covers Korg products, in a MIDI system. audio sources. personalities, and tech talk. 2) New PME40X effects modules include 16 bit DAC. The PCM53JP-V Dist-Wah (distortion, envelope See the light. ETA Lighting from Burr-Brown is a 16 bit DAC follower, multi-mode filter), Oc­ (1710 Enterprise Parkway, Twins- w ith 0.002% THD, 96 dB dynamic tave V octave d iv id e r, and Wave- burg, OH 44087) announces the range, 3 microsecond settling time shaper (converts guitar audio to Model 1661 (1200 W atts/channel) (typical), and a 100-piece price square/sawtooth waveforms). 3) and 1662 (2400 Watts/channel) dim­ of $19. The MKS-30 MIDI synchronizer puts mer packs for stage lighting. a sync track on tape and can syn­ Features include six channels per New drum sounds. Oberheim chronize MIDI and sync devices. pack, rack format, fan cooling, Electronics (2250 S. Barrington 4) The Poly-800 is now available low voltage DC remote control, Ave., Los Angeles, CA 90064) has in a limited edition with reversed 36 Polyphony August 1984 Moog software package. The New software. Metawave from Moog "Song Producer" music system, Paul D. Lehrman (31 Maple Avenue based around the Commodore-64, #1, Cambridge, MA 02139) enhances includes MIDI COMMAND (tu rn s any the alphaSyntauri system with MIDI keyboard into a split/layer real-sound sampling (requires a keyboard) and SONGSTEPPER. The Decillionix DX-1 digital recorder latter allows for pitch entry via card), w ave-building (for com­ MIDI keyboard in step mode or the bining waveforms), wave sp lic in g C-64 keyboard, and provides video and editing, and filtering. key colors (black keys, white display of every element of a $89.95 postpaid from the author. fla ts /s h a rp s ). The EX-800 ex­ composition including drum score, pander module is a MIDI control­ music voice score, and main score. lable Poly-800 without the key­ An optional printer produces score board. 5) The SDD-1000 delay is printouts. SONGSTEPPER also pro­ quiet and has interesting features vides 8 independent drum trigger such as record cancel, drum ma- outputs and software programmable chine/sequencer sync, and sample- clock division. and-trigger. $395 list. The hardware interface in­

P r o g r a m m a b l e piano tuner. Inventronics (70 Park Forest Drive, Carlisle, MA 01741) has introduced the Sanderson Accu- Tuner. Holding up to 54 complete 88-note piano tunings in 14K of memory, this portable unit indi­ cates tuning on a rotating LED display. Accurate to 1/1000 of a semitone, the Accu-Tuner allows for stretch tunings, pitch rais­ ing, and sto red tunings. From $950 li s t , depending on number of tuning programs.

cludes MIDI IN, THRU, and four full-bandwidth MIDI outputs. New from Fostex. The MN-15 Clock capabilities include CLOCK from Fostex (15431 Blackburn Ave., IN, CLOCK OUT, START, and STOP. Norwalk, CA 90650) is a 5-in, 1- The hardware/software package re­ out mixer with 4 line inputs, 1 tails for $395. mic/line selectable input, and a master compressor with variable release time. $55 retail. The New mic. Shure (222 H artrey 5030 eig h t-ch an n el lin e amp con­ Ave., Evanston, IL 60204) has Tester. The Port-A-Tone from verts eight -10 dBv signals to i n t r o d u c e d th e SM87 "Crow d Micropro Audio, 8150 SW 54 Ave., eight +4 dBm signals (or vice- Pleaser". This supercardioid mi­ Miami, FL 33143 has three 1 kHz versa), thus making for easy crophone is claimed to provide outputs (-40 dB, -10 dB, 1W speak­ transfer of tracks from home stu­ vocalists with a tailored frequen­ er level), tests phono and 1/4" dio to pro studio recorders. cy response for maximum gain be­ phone cables for shorts and opens, Transformerless design, switchable fore feedback. $329 list for the and tests 3-conductor mic cables balanced or unbalanced XLR out­ SM87-LC (less cable) and $355 li s t for shorts, open, and phasing (pin puts, balanced XLR inputs, S/N of for the SM87-CN (with 25' cable polarity). $129.95 list. 92 dB. $595 r e t a il . and pro audio connectors). ------* Polyphony August 1984 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 D Cl Guitar * photos, drawings and schematics. Chapters include: types of pickups, design and function of electronics hardware components, servicing electric guitar circuits, hot rodding electric guitars and more. *or Musicians Anyone who wants to increase his knowledge of guitar construction and function will benefit from reading this book. # G E M ...... 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 Guitar ...... $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 Home guide to outfitting and operating a budget studio for maximum results, includes mixer and other Recording audio processing circuits and a sound sheet demo recording. #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

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 KING' knowledge you need to keep afloat if you decide to pursue a recording contract. A fresh and prac­ tical approach to staying alive in the music business. From the publishers of Writer’s Digest. UV*> 2 #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

#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. OKLAHOI USE THE ORDER FORM

m. mmnmh dock of ON THE NEXT PAGE IlIXM IlW ? LI

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 $18.95

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 ar^ 'elf-explanatory — required reading for synthesists! ELECTRONIC PROJECTS FOR MUSI­ CIANS by Craig Anderton is almost in a Class Dy 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 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 $14.95 #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. #SLB STUDIO LOG BOOK $4.95 #AA CRAIG ANDERTON’S CONTEMPORARY KEYBOARD ARTICLES $5.95 #DEVICE COMPLETE SET (12) DEVICE BACK ISSUES $18.00 #CAMT CRAIG ANDERTON MUSIC TAPE $5.95 CITY. OK 73156 (405) 842-5480 bm #0705 Mar. /Apr. ' 82: Elec tronic Music Math, Analog Delay BACK 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 * * #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: 11/77: The Sensuous Envelope Follower, digital 2044, The PAL Filter, Bill Rhodes Applied synthesis: Bells, Pipe gates, LED wall art, build a bionic sax, data to music peripheral project, Apple II as a music controller, using the NE566 as a VCO, Organ, Harpsichord, Electronic piano; The Realistic MG-1 Reviewed. patches. b b #0801 Sept/Oct.'82: Ambience in Electronic Music,Tone #0303: 2/78: computer 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 ■ ■ #0304: April/May'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 software. Modules for Modular Synthesizers, Dynamic Touch Controller, ■ ■ #0402: Sept/Oct 78: electronic .music notation, notes Expanding Envelopes, MXR Limiter Review, New Age Music, An the recording of "Cords" by Larry Fast, sequencer software - part Overview, Synsonics Drum Review, Interface, Practical Circuitry: A one, rhythmic control of analog sequencers, touch switch projects, Patch Over Scheme for Small Synthesizers, Lab Notes: Shepard modular vocoder techniques. PET as a music controller, patches. Functions. bm #0404: January/March 79: add-ons for vocal F and V m b #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, conversion, graphic monitor project, George Russell, super VCA Voltage Controlled LFO. Rockman & Voyetra Eight Reviews. circuit, echo software, Vol. 4 index. ■ ■ #0804 June '83: MIDI Hardware Fundamentals, What MIDI Means bm #0502: July/August 79: hex VCA/mixer project, electronic 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 bm #0505: January/February 80: Joseph Byrd, Mort Garson, Digital Drums, Exploring Just Intonation, Build a simple Drum Larry Fast on 'Games', composing for 'live plus tape', using the CA3280. recording vocals, ADSR circuits. Synthesizer, Micro-Drums part I, The Penultimate Compressor, Why Spring Reverb Will Never Die, Gate/Sample & Hold Circuit. mb #0506: March/April 80: Computers 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 Math, Foxtex X-15 Review, Build the Hip Bass Drum, Applied index. Synthesis: Orchestral Voicings Using the Tenth Interval. bm #0601: May/June 80: Gary Numan, Microcomputers in .Real Time Audio, Build a Digital Audio Delay Line, writing ^m #0901: December '83 John Foxx Interview, Build: a Dual Documentation, Richard Hayman Composer/Performer Home Recording: Trigger Delay; Center Channel Reverb. Drum Machine Modifications Applying Harmonizing and Pitch Transposing Techniques by: Craig - PAIA, E-Mu, Roland; Polyphonic Keyboard Reviews, White noise. Anderton. ■ « #0602: July/August 80: Peter Gabriel, digital VCO #0902 February '84 Commodore Music Software Review, Build a project, Dream modules, optimum level settings, dynamic phrasing, Just Intonnation Generator, NE572 Noise Reduction Unit, 3D Video, patches. Vocal Basics, Build a Quadrature Function Generator. m b #0603: Sept/Oct combined with Nov/Dec 8U: alternate controllers, add "voices to Casio M-10, voltage controlled mm #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. mm #0604: January/February 81: Special Construction Edition; m m #0904: Wendy Carlos Interview, '64 Sounds Part I, Fostex 2050 Build: Audio Circuit Breaker, 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. mb #0605: March/April 81: Portable Music Issue, reviews of Remco's FX, E-H Mini-synthesizer, Casio's VL-Tone, plus mods for APPLIED SYNTHESIS the M-10, GR-500, mini-amp, and the Korg X-911. Introducing; NEW from POLYMART - Bill Rhodes "APPLIED SYNTHESIS" Practical Circuitry and On Location, new columns. ..••• a no nonsense guide to the mechanics of electronic mm #0606: May/June 81: Synthesizer: Hardware Mods and music for orchestral synthesis. Software. Modular Synthesizer Effects, Environmental music, Keyboard assignment for the 8700, new.columns; Details, Practical Order No. APSN APPLIED SYNTHESIS $3.75 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 HOT MUSIC HARDWARE: Programmer, Sample and Hold technique, Modular Synthesizer Effects, new column: Applied Synthesis, Marketing Your Records. NAMM ON VIDEO mm #0702: Sept./Oct.'81: Harald Bode Interview, Live Plus Tape MIDI, computers, digital sampling, synchronization, synthesizers, New Technique, Xenharmonics, Kraftwerk Live - Review, new stringed instruments ... although closed to the public, you can Psycho-Acoustic Experiments, Practical Circuitry - Super go behind the scenes at the largest music industry trade show in the Controller, Applied synthesis - Brass, Construction Tips For Beginners. U.S. with the Summer '84 NAMM-ON-VIDEO. Hosted by Polyphony editor Craig anderton, this 1 hour VHS video includes demos of the latest mm #0703: Nov./Dec.'81: Dave Rossum interview, Applied gear, interviews, commentary, and background on what changes in the Synthesis: Strings,Details: Series-parallel/Sum-Difference. The Sound Gizmo and Pro-One Reviews, Practical Circuitry: VCO Deluxe. industry mean for musicians. Send $49.95 ( plus $2.50 shipping/handling) to POLYMART. #0704 Jan./Feb.'82: Bob Moog interview, Chip Power - STK-050/070, Simple Square Wave Shaper, Tape Timer Ruler, ALSO available: The Winter '84 (January) NAMM-ON VIDEO (featuring Practical Circuitry: VCAs made simple. Details: Gozinda & Gozouta the Emulator II, Kurzweil 250, Chapman ’Stick", Yamaha DX7, and Tom Revisited, Korg Trident & Casiotone 202 Reviews. Coster with the Moog Liberation) for $49.95; or order both tapes for a special package price of $79.95 ( plus $2.50 shipping/handling).

ORDER FORM------Quantity Item price ea. amount ! We cannot invoice; payment must be enclosed with your order. I there is a flat $.50 handling fee per order plus postage costs. | MasterCharge and Visa are welcome, ($ 1 u.uu minimum I charqe ). Foreiqn 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. J SHIP lO: Name: ______Address: ______.—

State_____ Z ip ______n SUBSCRIPTION —n u.s. sna/VR. f o r e i g n $ 14 / y r .

------S hipping C h a rg e s ------sub total U.S.: add 10°/a of SubTatal handling .50 or $5.°°maximum Card #______shipping MasterCharge Bank # ______Expiration Date Foreign: 20°/oof Sublotal or $10P°maximum Signature______- total enclosed MAIL TO; POLYMART, PO BOX 203QS. OKLAHOMA CITY. OK 73156 Show. The New York G uitar & Music Expo, September 7-9 at Madi­ son Square Garden (exposition ro­ tunda), features demos of new equipment and exhibits by leading music industry manufacturers. For more information call Gerald Mar­ tin Associates Inc. at 914/723- 2581.

Sync. The TLS4000 synchro­ n iz e r from Studer Revox America (1425 Elm Hill Pike, Nashville, TN 37210) can control and slave one tape transport to SMPTE time

Super Replay. The "Super Replay" from E-H (27 W. 23rd St., NY, NY 10010) has a four second sample time, 12-bit sampling, dy­ namics, and click track to simpli­ fy playing with long sample times. $675 l i s t . ,

Audio interface. Valley Peo­ ple (2820 Erica Place, Nashville, TN 37204) has announced the two- channel HH 2 X 2B for matching -10 dBv g e a r ( i.e . s e m i-p r o audio equipment) to +4 and +8 dBm (i.e. pro level) gear, in either direc­ tion.

codes, reference frequencies, video composite signals, and bi­ phase signals. A local control unit accesses the different operating modes. $5190 lis t.

Electric violin. The Raad V iolin (Raad I n s tr u m e n ts , 109 Vaughn Rd., Toronto, Ontario, Canada M6C 2L9) is claim ed to maintain the dynamic, transient, and frequency response of quality acoustic instruments. Each in­ strument is individually voices and s p e c tra lly balanced; volume and tone controls are available by skillful bow manipulation.

New keyboard. The Synergy II Plus/GDS (DKI, 105 5th Ave., Gar­ den City Park, NY 11040) is the latest descendant of the Synergy I and General Development System. $7500 lis t includes a Kaypro com­ puter.

August 1984 41 GOUIPrTEnT EXCHflfKE

PUT POLYPHONY TO WORK FOR YOU. List equipmment for sale or trade, job openings, positions wanted, etc. Equipment exchange classified rates for individuals offering goods or services for sale or trade: 25c per word, 20 word ($5.00) minimum charge; Commercial establishments: 50c per word. Prices, zip, phone numbers count as one word each. DISPLAY CLASSIFIED: $15 per column inch, one inch minimum, camera ready art to be supplied by advertiser. All classified advertising must be prepaid. Advertisers using a Post Office Box number for responses must furnish Polyphony Publishing Co. with a complete street address and phone number. Readers should respond directly to advertiser. Polyphony is not responsible for claims made in ads, or for the results of any transactions. Polyphony reserves the right to edit or refuse any ads submitted. fTlusic equipment m isc.

PAIA Encoded Keyboard, 8700 re -v ie w Computer, Linear DAC, QuASH, Drum LISTS of Actual Electronic Buyers Card, Software. Package deal or for your business, for info send Cont. from pg. 29 separate. Best reasonable offers. 20c stamp: GAGco., 415 East Call Bob (717) 7550332. Austin, Luling, TX 78648. part separately, you can sing along with sustained violin notes, UNIQUE COMMODORE 64 Audio/Music EML 101, 200, and Catstick you can just barely blow or bow, Disk software including "64 Joystick controller all in very etc. Is this music or a masters Sounds" ( featured in POLYPHONY), good condition, $1,100.00. E-Drum thesis?* Guitar Pak and others. JAL w/5 sound cartridges, $350.00. SOFTWARE, Box 128, S. Milwaukee, Drumulator w/crash cymbal, mint WI 53172. $600.00. Yamaha MK-100 Digital Crusaders Ghetto Blaster (MCA synth (portasound) L.N. $300.00. 5429). Dripping with strings and LT Sound Stereo Reverb $350.00, session vocalists, these over­ Electro-Harmonix Super Replay wrought funk tunes say the $395.00. Call Walt Whitney (314) Crusaders juggernaut is coasting. 429-2858.

ARP 2600, Extras, $900. Trans-Millenia Consort Plot Zero Chorus/Leslie, $50. 5 octave PAIA (TMCR 2002). The TMC is actually 8782 w/computer, extras, $200. Pauline Anna Strom from San Fran­ Organtua Combo Organ, $250.00, parts, books instruments, more. AD cisco. She draws a large variety of sounds from her synthesizer (707) 778-6802, PDT. Keep trying. (many ADSR-triggered), and organ­ izes them into long, thoughtful INDEX journeys. Nothing earth-shatter­ LASER DISPLAY DATA. Worldwide ing, but i t 's good to see a woman sources. Synthesizerable! For in this male-dominated field.* sale: )B-DX, ARP 2600/AXXE, Synare III, s. circuits 800 Sequencer, Dickstein Distributing co. 21 Crumar Pedalbass. Remaissance! Box 687, Mercer island, WA 98040. Gentle Electric 35 Joan La Barbara As Lightning Comes, In Flashes (Wizard 2283). Oberheim 5 There's something about La Bar­ bara's "experimental" vocal work PAIA Electronics 20, 21 that I find incredibly preten­ tious. Unlike Group 87, the unu­ Recordings Peavey 7 sual sounds she comes up with (and some are great) are simply thrown PGS 33 out with no thought given to pre­ Rough order of Magnitude: The sentation. She should record her­ release of a new experience! Rodcar Electronics 31 self on an Emulator and le t Strom Synthetic music on cassette from play her.* SYNTHETIC FOUR MUSIC. $6.95 to: Synchronous Technologies 43 SYNTHETIC FOUR MUSIC, 6049 * Denotes records available from Butternut Dr., West Olive, MI TEAC 2 49460 New Music Distribution Service, TOA 44 500 Broadway, New York, NY 10012.

42 I\)Hyi»hoisy August 1984 . k$V- 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 berof tracks available, it allows these tracks to be mixed first gener­ ation to the mastertape. No more loss of quality from ping-ponging Synchronous Technologies’ SMPL 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 SMPL 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 your own 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 SMPL 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 SMPL 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, SMPL 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 ...... $9 9 5 .0 0 (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 SMPL 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 SM PL is a product of Com modore Business M achines, Inc.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.

/IIIIIII//II/I////////I/I//I I I SYNCHRONOUS TECHNOLOGIES 0 P.O.Box 14467 • 1020 West Wilshire Boulevard • Oklahoma City, Oklahoma 73113 • (405)842-0680 be

SYNTHABLE i ... - ; ■.

he software wizards s\w js stuck a 9-foot concert grand onto a tiny silicon T chip ... a world-class speaker is the way to hear it . Because a system designed only for “traditional” sounds can’t live up to the powerful levels and complex timbres of electronically- created music. That’s why we created the 380SE. Total Transparency—and Psychoacoustic Satisfaction, too. The 380SE is a clean and powerful three- way speaker system. Electronic reeds and strings, flutey and brassy tones, percussive accents, special effects .. .all sounds at all levels come through with exacting sonic accuracy. The 380SE illuminates subtle variations in pitch and level, whether handling one note at a time or a full synthesized chorus. Attention to Detail The digital wizards must master every detail of their technology. A speaker designed for electronic music gives them the freedom to concentrate on sound creation rather than sound reproduction. So we paid attention to every detail of the m w . sound system. That’s why the 380SE is constructed entirely from our own high- quality components. With continuous power handling of 360 watts. Full range inputs. Bi-amp and tri-amp connectors. Four bridging connectors. Mid- and high- frequency level controls, flush-mounted where you can get right to them. And as you can see, we didn’t overlook the visual details. The 380SE’s appearance is visual confirmation of its class. The 380SE’s performance proves its ability to -sCSV:SXftk handle electronic music.

That's what being synthable is all about

For complete technical data, call or write:

TOA Electronics, Inc. 480 Carlton Court So. San Francisco, CA 94080 (415) 588-2538 In Canada: TOA Electronics, Inc. 10712-181 Street Edmonton, Alberta T5S 1K8 (403) 489-5511

© 1984 TOA Electronics, Inc.