^ $lM -V Sept./Oct. 1978 4 ELECTRONIC MUSIC &RIOME RECORDING H

'1- • ^ . C ★ ^ . RECORDING NOTES ON SYNERGY'S "CORDS'

• l SEQUENCES - DIGITAL &' ANALOG' * V_ o * BUILD A VOCODER * C i ’ • O c . n o ta tio n - To u c h sv^ tc h e s : p a tc h e s ANALOG DELAY

INTRODUCING... TWO-CHANNEL ANALOG DELAY UNIT FOR AMBIENCE SYNTHESIS AND DELAY EFFECTS

FEATURES 2 dimensional. Without the mixture of di­ mance and yet still serve to create rect and delayed sounds that a large hall strikingly realistic spaciousness in your * TWO INDEPENDENT CHANNELS provides, almost all music reproduced in listening room. If you don't have 2 extra * 3072 STAGES OF DELAY PER the home is lifeless. Quadraphonics has power amp channels on hand, we offer CHANNEL not proved to be the solution to this several low cost, low power amps in kit problem. The recent developement of form that would be ideal for this pur­ * ADJUSTABLE INPUT AND OUTPUT bucket-brigade semiconductor techno­ pose. LEVELS WITH INPUT OVERLOAD logy has made it possible to offer a rea­ INDICATION ‘ Although the 2AS-A has been de­ sonably priced delay unit that can trans­ signed for use in music reproduction * INTERNAL OR EXTERNAL VOLT­ form your listening room into a con­ systems as an ambience synthesizer, its AGE CONTROLLED DELAY TIME cert hall. Using your present stereo voltage controlled clock and mixing capa­ * COMPANDOR IN EACH CHANNEL system, the 2AS-A, and whatever you bilities allow it to be .configured in a have in the way of 2 additional speakers number of ways for delay effects such as * 3 MODES/CHANNEL WITH ADJUST­ and 2 channels of power amplification— phasing, flaging, chorous, and vibrato. Ex­ ABLE MIX you have all the parts to put together an ternal voltage control for special effects * CONVENTIONAL REVERB OUTPUT ambience system that is capable of creat­ must be user supplied. FOR MUSIC EFFECTS ing the kind of 'space' you enjoy music The 2AS-A is sold in kit form only If you haven't heard what analog in. You don't need state-of-the-art com­ and includes the circuit boards, com­ delay can do for home music reproduc­ ponentry to enjoy an ambience system. ponents, chassis (1 iy2" x 10" x 4"), tion, you're missing something. Let's face The secondary power amplifiers and cover 120VAC power supply, assembly it, stereo in your living room is flat and speakers can be of very modest perfor­ instructions and application notes.

MAIL THIS COUPON TODAY 2AS-A Analog Delay Unit $250.00 ppd. Cont. U.S. □ Enclosed is $ ______or BAC ft______

□ or Master Charge ft. .Bank ft. Expire Date.

NAME______

ADDRESS

STATE. .ZIP. 219 W. Rhapsody, San Antonio, Texas 78216 CITY_____ SOUTHWEST TECHNICAL PRODUCTS CORPORATION London: Southwest Technical Products Co., Ltd. Box 32040, San Antonio, Texas 78284 Tokyo:Southwest Technical Products Corp./Japan STAFF CONTENTS EDITOR: Marvin Jones ISSN: 0163-4534 ASSISTANT EDITOR: Linda Kay Brumfield VOLUME 4, NO. 2, 1978 CONTRIBUTING EDITOR: John S. Simonton, Jr. FEATURES: Page No. PRODUCTION: Anita Jenkins Notes on the Recording of Synergy's "Cords" Donald Cooper by: Larry Fast ...... 6 Marcina Howard Electronic Music Notation POLYPHONY is published bi­ by: Brian Folkes ...... 9 monthly at 1020 W. Wilshire B lvd., Oklahoma City, OK 73116, by Poly­ Rhythmic Control of Analog Sequencers phony Publishing Co. Entire contents by: John Duesenberry ...... 26 copyright ©1978, Polyphony Publish- ing Co. , All rights reserved. No Magic Buttons - Touch Switch Theory portion of this publication may be by: Steve Wood ...... 30 reproduced in any manner without written permission from the publisher. Application to mail at second class postage rates is pending at Oklahoma City, OK. ADVERTISING rates and deadline CONSTRUCTION: schedules furnished upon request, contact: Marvin Jones or Linda Kay Build a Modular Vocoder Brumfield (405) 842-5480. by: JeffWurstner ...... 34 DEALERS & DISTRIBUTORS bulk purchase discount schedules available PET/ Muse; Interfacing Paia Synthesizers to PET Computers upon request, contact: Marvin Jones. by: Russell Grokett, Jr...... 40 SUBSCRIPTIONS: Accepted on a one year (6 issues) basis. Rates: Mailed in the USA - $8. 00/yr. ; Canada & Mexico - $9. 00/yr. ; Inter­ national - $10. 00/yr. DEPARTMENTS & COLUMNS:

BACK ISSUES: All back issues are Editorial (Guest Editorial by: Douglas Townsend) ...... 4 still available at $2. 00 per copy. Lab Notes: Seque and Ye Shall Find (Digital Sequencing Software) FOR CHANGE OF ADDRESS: Be by: John S. Simonton, Jr...... 15 sure to send in your form er address (enclose mailing label if possible) Polyphony Reviews along with your new address. Also in­ by: Marvin Jones ...... 19 clude the numbers at the top of your mailing label to enable us to make your Bookshelf ...... 20 address change as efficiently as possible. Patches -...... 36 POLYPHONY P. O. Box 20305 Industry Notes ...... 38 Oklahoma City, OK 73156 ADDRESS CORRECTIONS REQUESTED

n a t i o n a l ASSOCIATION OF MUSIC MERCHANTS c r ON THE COVER: LLJ \ Monkeying Around with Electronic Music Equipment 2 Q) graphically represented in art by Greg Schneck, Terre ^NAJVM Haute, Indiana. 3 POUPHONy September /October 1978 Guest Editorial Some Thoughts About Contemporary Music BY: Douglas Townsend

One phase of music that seems to and understood ( with its good and bad sensuous harmonies of Tristan, but in get the greatest (negative) response from respects) if viewed in the correct per­ the space of, say, 40 years, we are our readers, is the music (or comments spective. confronted with several radically differ­ relating to it) of today — or yesterday. It is generally accepted that the ent means of musical expression, each Lack of sympathy for the present state young artists of today are better equipped purporting to be an expression of our of music is not new, as the following than their counterparts were forty or so time! comments, written almost two hundred years ago. However, the function of the Most of us, I think, listen to one years apart indicate: teacher is to see that his students learn type of music or another. Unfortunately, 1791; " . . . modem composers resort as much as he has to offer, or as much too many people hear either "only with to arbitrary complexities in as they can accept. He is not respon­ their feet," as Sousa said, or only what order to conceal their inability sible for their inspiration. In other they want to hear. Verv few people are to write a good tune. Sometimes words, although the teacher may equip willing to put forth the same amount of the key is perfectly lost, by a student to write equally well for the effort in listening to music (whether wandering so far from it that string quartet as for the modem sym­ Beethoven or Berg) that they do when there is no road to return — phony orchestra, the aspiring compos­ they read Defoe or Faulkner. The but extremes meet at last of er simply may not have the talent equal reason for this is, I suspect, partly themselves... And when discords to his technique. This is not unique because music involves listening, get so entangled, that it is so with our age; the ability to express one­ feeling and thinking, while reading past the art of man to untie the self on paper or canvas has always rarely involves more than thinking. knot, something in place of been more prevalent than the ability to In general we are not used to Alexander's sword does the create a masterpiece. The important regarding the arts as anything but a business at once." thing is not the quantity of great works pleasant adjunct to the basic necessi­ which are produced, but the ability of ties of life. For example, we are 1952: "Almost all contemporary the artist and layman to express him­ taught to read almost as soon as we composers are producing music self creatively. Sean O'Casey summed enter grade school, but the arts are which is uninteresting, distress­ this up nicely when he wrote that "Only generally relegated to classes (usually ing, or positively repellent to a few great should come of time to live once a week), of "appreciation". In a the vast majority of the beyond it." society where we must take classes in American public." It is easy to criticize the compos­ order to "appreciate" even the most Obviously it is impossible to like ers of our own time as writing non-music, conservative and traditional art, it is all the music one hears, just as it is as agonizing in sounds, e tc ., but hardly surprising that today's com­ impossible to like everybody one meets. Monteverdi, too, was just as severely posers of serious music are frequently There is, however; a middle road, which criticized for his "modem" music as regarded as avant garde and experi­ is frequently overlooked. We refer to a Davidovsky, Powell, Shapey and mental. We may not like, "understand" sense of perspective, of history, if you Wuorinen are today. (dare I say "appreciate"?) the music of will. It also helps to have some under­ Virtually every "serious" compos­ Rochberg, Kupferman or Cage, because standing, however minimal, of the er, that is, those that we of the twentieth it is "new" (in the sense that it was creative process, since the artist, century consider "m asters", was written within the past few years instead although he is like everyone else in attacked by the conservative intellectuals, of a hundred and fifty years ago) —yet most respects, is always developing as less knowing, and ignorant factionalists, how many of us like to learn anything a creative personality. as musical radicals who were "so full new, even if it complements what we In this respect the artist is differ­ of oddities and personal caprice that already know" It is not always easy, ent from the average person; he is never they completely corrupted the quality or for that matter, pleasant, to bear satisfied with things as they are, but is of instrumental and vocal m usic." (So in mind that the experiments and always trying to broaden his intellectual wrote Rossini in 1817 concerning the innovations of one era have frequently horizon by study, and to enrich his art­ music of Haydn and Beethoven! The become the fashion if not the common­ istic and his emotional life by evolving entire quotation will be given later in place of another. This is as true of newer and more satisfactory idioms to this essay.) music as it is of the other arts, science work in. It is possible that this is In the past, musical evolution, and industry. Let's not forget that basically what is at the root of most of like social and political evolution, Schoenberg, Webern and Berg were the criticism of contemporary music. literally walked; now these influences condemned as musical barbarians; it Too frequently it is listened to with ears on our life travel faster than sound. A was said that they destroyed all the and mind attuned to the artistic past (or, hundred years ago it was difficult for beauty of harmony and melody in music in another sense, the traditional), and people to get used to the chromaticism and made of it an atonal hodge-podge. not as it should be, as a living, dynamic of Wagner and Mahler. Now not only Today these masters are looked up to force, which may easily be appreciated must the ear become used to the by increasing numbers of aspiring

^Reprinted with permission from the July 24 issue of Musical Heritage Review, 14 Park Road, Tinton Falls, NJ 07224

4 rouPHONy September/October 1978 . m — — — — | young composers because though their forth, showing how great he might SPEAKER music may not be an end itself, it be if he chose to control his furnishes to many that point at which luxuriant fancy." INFORMATION basically different musical temperaments 1817 (Gioacchino Rossini) "Formerly meet and go their own ways. Haydn began to corrupt purity of KIT. There is, of course, much more taste by introducing into his works which can be said regarding contempor­ (for cembalo) strange chords, ary music of their own time, just as artificial passages, and daring we discuss ours today: innovations. He still preserved 1600 (G. M. Artusi) "Instead of enrich­ so much sublimity and ancient Get 70 pages o f speaker facts in three fact-packed ing, augmenting, and ennobling beauty, however, that his errors publications. Speakerlab's Speaker Operating Manual covers harmony by various means, as could be forgiven. Then came everything you need to know to get the best perfor­ Cramer and Beethoven with their mance out of any loudspeaker, including placement so many noble spirits have done, wire gauges and allowable lengths, amp overloads, room they(Monteverdi, Rore, Gesualdo, compositions so lacking in unity acoustics, L-pad adjustments and impedences. Our 54-page color catalog covers enclosures, e tc., the composers of the new, and naturalness and so full of designing your own speakers and driver principles as oddities and personal caprice that well as our line o f nine easy-to-build speaker kits ranging 'modern' music) bring it to such from a miniature two-way system only ten inches high to they completely corrupted the a massive ali-hom com er system. a state that the beautiful style is " How To Hook U p Your System" spends twelve indistinguishable from the bar­ quality of instrumental m usic." pages o f text and diagrams really explaining system hookup. From where to place your electronics fo r maxi­ baric. ..." 1853 (Louis Spohr) "Yesterday they mum cooling to the intncacies o f installing a cartridge.- from elim inating hum to proper record care. 1651 (Samuel Scheidt) "I am astonished gave Tannhauser for the third Get all three fo r just a dollarfrom the folks who take speaker information seriously... at the foolish music written in time and we had a full house again these times. It is false and wrong . . . . Last night there was a lady in and no longer does any one pay the loge next to my wife who kept telling her heighbors what she had Dept PY-A 735 N. Northlake Way attention to what our beloved old Seattle, WA 98103 masters wrote about com position.. read in the paper, (the new Leipzig Musikzeitung) and she Here's a buck! I can really use 70 pages of .. I hope this worthless modem speaker information from the world's largest coinage will fall into disuse and remarked that in this work Richard manufacturer of speaker kits. Wagner had created a completely that new coins will be forged name according to the fine old stamp new catastrophe in music. Others and standard." said: ' This is no music at all,' address and left after the second act." ( A 1737 (J. A. Scheibe) "This great man little farther in the same letter city state zip (Bach) would be admired of the Spohr wrote that he "felt some­ whole nation, had he more agree­ what reconciled to the far-fetched ableness and did not keep natural­ and unnatural modulations. It is ADVANCING ness away from his compositions astonishing what the human ear by employing bombastic and can gradually get used to.") intricate devices and darkening beauty with over-elaborate art." 1883 (Eduard Hanslick) " Thus the over all impression of the work (Tristan), 1787 (anonymous) " . . . it is a pity that despite its outstanding individual in his (Mozart's) ingenious and beauties, remains one of oppressive really beautiful compositions he fatigue resulting from too much goes too far in has attempt to be unhealthy overstimulation — a new, so that feeling and sentiment condition unchanged by the fact are little cared for. His new that it has been occasioned by a quartets, dedicated to Haydn, are great genius." too strongly spiced and what palate PROGRAMMABLE DRUM SET Although some of us may never can stand that for long?" enjoy listening to the serious music features: score editing, bridges, intro’s, 1793 (anonymous)" Mozart was a great of our contemporaries, we do owe it to external sync, to sequencers or foot controls, genius, but he had no real taste, ourselves to try to understand it, if only memory save switch & much more. and little or perhaps no cultivated because it is as important to our way of Enter scores in seconds - NO PROGRAMMING KNOWLEDGE IS REQUIRED! High Fidelity taste. He missed, of course, any life as the automobile, television, and describes the kit as "an easy project. . . fun to do effect in his original operas.” the Concorde. Music is a part of our and yields delightful results. . . an excellent edu­ cational tool and versatile aid to the musician culture, but we must remember that it who can’t afford a live rhythm section. " 1810 (C. M. von Weber) "The fiery, nay, is difficult to understand something we Programmable Drum Set Kit . . . $84. 95 almost incredible, inventive experience once a week — usually on a -A lso available fully assembled . . $149. 95 - faculty that inspires him (Beeth­ from: ( plus $3 shipping) Sunday or Saturday afternoon. Art, oven) is attended by so many I M A ELECTRONICS 1020 W WILSHIRE OKLAHOMA CITY. OK 73116 along with economic and governmental complications in the arrangement {( ) Send Programmable Drum Set Kit . . . $84. 95 functions is one of the patterns found in i plus $3 shipping enclosed. of his ideas that it is only his almost all cultures, and until we regard I ( ) Send Fully Assembled Programmable Drum earlier compositions that interest | Set . . . $149. 95 plus $3 shipping enclosed. it with the latter two, as an essential me; the later ones, on the contrary, [ ( ) Send FREE catalog part of our everyday life, we can scarce­ j name:______appear to me only a confused chaos, ly hope to appreciate, understand and ! address:______an unintelligible struggle after l evaluate accurately that which is develop­ novelty, from which occasional j city:______state:______zip:______heavenly flashes of genius dart ing around us. ^ -p J R Q i A ELECTRONICS , DEPT 2 y .1020 W WILSHIRE OKLAHOMA CITY. OK 73116

nouPHONy September /October 1978 5 Larry Fast Photo by: Anne Albright "Doing” an electronic album is the piece around that sound ("Phobos and metronome and listening for the most best way to describe the process of com­ Demos Go To Mars" is an example of natural timing. The timing may be mitting a Synergy work to the recorded this). Initial composition of pieces, bits different for various sections of the medium. There is ah involved interplay and segments will go on for months. Any­ piece and this will be taken into account of every aspect of composition, electronic thing that sounds interesting will go on in order to keep the developing track music technique and the recording process a cassette for later reference. Every from sounding too rigid. For melody All three interact and all occur simul­ once in a while, though, a piece will based pieces I will work with a click taneously although in different propor­ either be made up of a "happy accident" track made up of a recorded metronome tions during the time the album is being patch that will be extremely difficult to and a simple pilot track that serves as created. For anyone used to recording duplicate at a later date or will simply a "scaffold" for the rest of the tracks to conventional multi-track records, the be as developed as I feel it needs to be. be built around. As soon as possible the way an electronic album is done breaks At that point things move right into scaffold-pilot track is removed so that a lot of the "rules". My way of doing recording. The synthesizer system is an accurate indication of how the track Synergy records is not the only way to set up to record onto an 8 track that I is developing is apparent. If a piece or record electronic music, but it is the have at home. The machine is an MCI section uses a sequencer as its core, way that I have found makes the best use JH-110/8 One inch recorder with however, I will usually try to get a of my electronic music techniques and remote controls and automatic return. sound that will be used in the piece right multi-track recording. This remote feature I have found to be on this "basic track" (rather than an The composition of the pieces on absolutely essential if you are to be your expendable pilot track). Most of the time the album may come from many sources. own engineer and tape machine operator. when using a sequencer I will also take The more melodic ones usually are Composition will continue until a track of clicks mirroring the sequence initially organized on a polyphonic instru­ there is enough material from which to timing. This becomes a great aid in ment (on"Cords", a Polymoog). I may pick and choose an LP's worth of music. resequencing to the partially completed set up various support sounds on other During this period I will be making notes track at a later date in order to alter synthesizers or groups of modules, but on how I am going to deal with the pieces the sound of the original sequence, add the idea is to simply construct a sketch in the more advanced stages of production. perfectly synched secondary sequences, ot what the piece or segment of a piece Another decision to be made is that of or percussion. should sound like. Sometimes a rhythmic tempo for those pieces that will not start It is difficult to write about all that patch or a particularly unusual sound with a sequencer. This is a simple goes down during the recording of an will come to life and I will generate a matter of playing the segments to an old album. The creative end of things is 6 rOUPHONU September/October 1978 something that seems more to happen involved in many areas of sound and This is the fun part, where the LP on a subliminal mental level than some­ recording who works in New York. Russ really begins to take shape. There is thing that occurs according to formula. delivered a paper at the Fall 1977 A. E. S. extensive use of effects (delays, flang­ The mechanics of the recording are (Audio Engineering Society) convention ing, e t c .) in order to add some life to easier to describe, so here goes — describing the theoretical basis for a the purely electronic sounds. I tend All 8 - track work is in the composition­ fast pitch detection system based on a to use the devices to add a sense of al period. Recording is on the MCI as digital analysis method worked out as "natural" ambience (i. e. the real world described. The rest of the Synergy- a somputer model ( AES preprint 1265, as we hear it as opposed to the totally Studio is very basic, not unlike what E-4). Pete Sobel (Associate Producer flat electronic sound the synthesizer most home synthesists seem to have. and resident guitarist) and I approached studio inherently produces). This isn't All signals are patched from the synthe­ Russ after his talk and found that he to say that dry electronic sound is bad - sizer's output mixer directly to the had constructed a working prototype of only that I prefer to have a range of MCI's inputs and record levels are a guitar synthesizer. Russ loaned us ambience fields at my disposal: from controlled from the machine panel. Play­ his prototype and became as much a flat and dry through over-accentuated. back is monitored through a Yamaha part of the Synergy team as we became The newest ambience toys are digital PM-400 Mixer, an old stereo amplifier a part of his guitar synthesizer develop­ echo systems and the Aphex Aural and a pair of homebuilt Electro Voice ment process. Because of his new Exciter - more about that when we get 3 way speakers. This equipment is system of pitch detection, Russ's to the mix. sufficient for what is mostly a thought system is far cheaper, more easily Once voicing groups or related gathering process. At this stage I use built and maintained and much more overdubs have fallen into place, they very little in the way of outboard equip­ accurate for the guitarist than any get "bounced" from the half-dozen or ment and ignore minor equalization (EQ) presently marketed guitar synthesizer. more tracks they may be occupying problems that can be corrected later at The unit really shines on "T erra down to a two-track sub-mix on the House of Music Studios. Since "Cords" Incognita" which is live guitar synthe­ 24 track. These sub-mixes are very was completed I have added DBX noise sizer, recorded directly to a 2 -track. useful for saving track space without reduction to the MCI. Eventually the day comes when the giving up sonic complexity, for not During all early recording, a good 8 - track is brought to House of Music tying up limited outboard equipment part of the Synergy synthesizer arsenal for 24 - track transfer. H. O. M. has later during the mix, and simplifying is present. For "C ords", the equipment two 24 - track control rooms that have the mix process by enabling time was substantially the same as for tie lines to each other. One 24 - track consuming and repetitive work to be "Sequencer" with the addition of the is set up with 8 track heads and 1 inch simplified before the final mix. By the Polymoog (mine is the last surviving tape mechanics. The original tape is end of the recording process there may design prototype - a mixed blessing of transferred to the 2 inch 24 - track be as many as six or eight sub-mixes extra features and non-standard parts), using DBX noise reduction. Recording already placed in their stereo perspect­ some PAIA Phlangers and sound process­ is done on Ampex 406 tape on an MCI ive with all effects already taken care ing modules that can work in conjunction 24 - track JH-16 machine at 15 IPS of, ready for the final mix where they with the rest of my 1 volt per octave aligned for elevated level recording will need only echos, Aphex, and maybe equipment, and of course the guitar (+3 vu ). Once this is done the main a little touch-up EQ. The rest of the synthesizer. On my equipment I have overdubbing can begin. tracks, obviously, contain the rest of adapted all triggers to be Moog type S-triggers. These are particularly easy to interface with most external devices including computers. This is a good place to bring up the use of computers on "Cords". During recording I made use of some elementary sequencer programs using first a KIM-1 and later an Apple-II. These programs were the early modules of a more extensive computer based compositional system ( hybrid analog/ digital control) not unlike the growing PAIA system or Roland and E-Mu hardwired systems. Unfortunately, during the time "Cords" was recorded, my system was still limited to nothing more than remembering, editing, and playing back single musical lines (though of greater length than commer­ cially available sequencers). This was helpful during the recording but nowhere near the aid it will be someday. The guitar synthesizer on "Cords" is the prototype of a developing system designed by Russ Hamm, an Engineer Pete Sobel Photo by: Larry Fast

PQUPHONy September /October 1978 7 creoloYour oum /ound the musical information that comprise the piece except for those tracks reser­ We have: ved for computer mix data. — Parts kits for Craig Anderton’s GP column projects — Individual circuit boards for the above The mix on "Cords", because of — Individual components (4739, CLM6000, etc.) the sub-mixes and the computer mix — Parts kits for the projects in “ Home Recording for Musicians” and “ Elec­ tronic Projects for Musicians" capabilities went very quickly - much less time than for most conventional Our parts kits contain electronic components, IC socket(s), circuit board, pots, and data (case, hardware, connectors not included). Look over any kit for 10 days; if not satisfied return for re­ albums. The computer mix at House fund. Here are some of our best-sellers . . . of Music is built into an MCI JH-528

NOISE GATE (project 27) $20.00 Eliminates .COMPRESSOR (project 8) $17.00 I ncrease console and is a firmware controlled low level hiss from effects or tape; voltage con­ sustain without distortion; adds gain if required. trolled attenuator cuts off signal below a variable 6502 based system. The computer threshold level. Data also describes special effects BASS BUZZ (project 7) $10.00 A fuzz scans the position of those controls usage. Includes SP6T rotary switch. designed specifically for bass (retains full bass sound). able to be digitized (levels and echo SPLUFFER (project 26) $10.00 Dual split- ter/buffer, with footswitch controlled outputs. Splits returns primarily), converts the levels instrument into two channels, select either (or both) to serial data streams and stores the with footswitches. Also buffers instrument for clearer, brighter sound. (Dual footswitch for above NEW! Hefty Power Supply data on an unused audio track. It's in sturdy rubber-like case — $6.95) possible to up-date data by reading the SUPER TONE CONTROL (project Parts Kit (as featured in Craig's old data, changing that information which 17) $14.00 High pass, low pass, bandpass, notch outputs. Ultra wide range. column Dec. Guitar Player) was incorrect and storing the new data BUDGET NOISE REDUCTION (project on a second track. This process can 34) $20 each, 4/$75 Simple pre-emphasis/de- be repeated between the two data tracks emphasis unit helps clean up echo units, tape *15.00 Order Project 13A. recorders, delay lines. See Craig's Oct/Nov ’78 until the mix is perfect. c o lu m n s. Certain tracks of the mix were processed through an Aphex Aural Exiter. TERMS: Add $1 to orders under $15. Allow 5% shipping, excess refunded. | OUR FREE FLYER GIVES DETAILS ON OUR OTHER VISA1 /Mastercharge’ call 24 hrs. (415) 562-0636. COD OK with street ad­ | MCJSIKITS™ AND COMPONENTS. SEND US YOUR dress for UPS. ■ NAME AND ADDRESS, WE LL TAKE CARE OF THE Aphex is very secretive about their | REST. process, but it seems to be an induced phase shift that corresponds to fre­ | STREET quency. It introduces a psychoacoustic I CITY___ sense of natural brightness into the recording ( a crystalline sparkle) with­ out the associated shrillness of top-end EQ. The Aphex won't make a bad recording good but it can enhance one that's already in good shape. The mix was monitored on J ohn Gardner Associates/House of Music designed speakers similar to modified Westlake Audio Monitors and a pair of Auratone 5 inch small speakers to A new, exciting discovery in great sound maintain a real-world perspective. awaits you in THE AUDIO AMATEUR Amplifiers were a pair of Crown DC- MAGAZINE. 300's strapped for mono, and Sony Audi* It’s delightfully easy to improve, maintain, and even build your own audio components. V FETs as biamp top end drivers. The Thorough articles—everything from amps to 24 track master was mixed down to a speakers, simple add-ons or improvements 1/4" 1/2 track Studer A 80 machine to intricate modifications—help even our running at 15 EPS with DBX noise re­ non-technical readers develop superior duction. sound equipment. With the Mix finished (the first mix completed at House of Music's Subscribe now on a guaranteed satisfaction Studio B which was under construction basis or send for our FREE prospectus. during most of the recording) the album was mastered ( disk-cut) at Sterling HANDY COUPON Sound in New York, pressing plant parts Fill in tne coupon, include a check or money order payable to cut, test pressings approved and the The A udio Am ateur and send to TAA Dept V 3 8 . Box 176 Peterborough NH 03458 USA. countdown for album release begun.

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8 POUPHONU September/October 1978 ELECTRONIC MUSIC NOTATION

by Brian Folkes

Why? Why is a system of notation to be performed live, or just copyrighted, 20th century "Art Music." This is for Electronic Music needed? After all, some form of notation must be devised. music consisting of and built upon what is the purpose of notation? Notation An unpublished electronic work is pro­ logical progressions of sounds. Not was devised to provide a means of com ­ tected against unauthorized use by the necessarily notes. The best way to munication from composer to conductor "Common Law" of the United States. To notate sound is by drawings, diagrams to player. In Electronic Music, conduct­ secure a statutory copyright protection, and explanatory text. You see, to be ors and players are normally eliminated, a claim must be made to the Copyright copyrighted a work must convey exactly (except in multi-media and live electronic Office by filing form "E" and one copy or approximately most of the actual w orks.) Electronic Music Notation is of the work. Recent changes in Copy­ sounds which constitute the work. therefore superfluous. Excepting, of right laws now allow recordings to be To get an idea of what I'm talking course, analysis or re-creation of a submitted. Previously, scores or about, try this experiment. Take any piece. For the most part, a composer notation were required. purely electronic work. Listen to it a of electronic music commits to tape the Consider, for a moment, the channel at a time. As you listen try, sounds in his head. Whereas, in writing possibilities. Seismograms, charts, as best you can, to diagram the sounds for conventional instruments, the com ­ graphs, alpha numerical indicia, even you hear. Yes, draw. It will take poser commits his thoughts to paper. a film of the oscilloscope tracings or several listenings to catch all of the The advantage is that no longer is the digital data. Perhaps you might even subtleties, but it is great practice for composer at the mercy of conductors consider an actual score. Now please when you notate your own scores. and performers in interpreting his work. understand, T m not talking about linear Before I go into ways and examples The writer now is the interpreter and music. Music composed mostly of of notating live and tape works, I want performer, only limited to his imagin­ pitches, rhythm and timbre - in other‘ s to delve into an easier style of Electronic ation (and perhaps keyboard ability). words pop/rock/jazz, etc...... I'm Music notation: Multi-media works. However, if a work is for multi-media, talking about what musicologists call Multi-media is a combination of tape and

POUPHONU - September/October 1978 9 ______. You fill in the blank. Cello, (In this case electric piano processed The Technique of Electronic Music by trumpet, percussion, clarinet, actor, with an envelope follower and filte rs .) Thomas Wells and Eric Vogel. This chorus, dancer, film, etc...... or any Example 4 shows synchronizing trombone book is a must for the serious electronic of these in combination. That's multi- to tape, which is followed by just a cue musician with a library - very technical. media. Now in your score you still for what is happening tape-wise (assort­ The book delves into physics, electronics want to visualize your sounds, but now ed balance modulated pops and pings over and trigonometry. I have no examples to the main thrust is to provide cues for a static drone). show of the various methods of notation - due in part to copyright laws, a disser­ your performers. As an example of These examples are just one vice to the many types of notation, and this I’ ll use a piece of mine. Intravission- solution to the problem of providing lack of time and space. However, a few 1975 for the trombone and tape. My visual cues to the perform er(s), (and to written descriptions may suffice. The score consists of trombone, a time line, the composition faculty). For more most detailed system of notation is by right and left tape channels. In example examples of tape and____ , take a look Karlheinz Stockhausen. His score for 1, the right channel begins with this at Electronic Music - A Listener's Guide Kontakte took seven years to prepare. particular sound of repeated rhythm, by Elliott Schwartz. This is a good all The score consists of a notated score then sustains with vibrato. As the sound around book on Electronic Music. It is and a realization of the score. The sustains another rhythm is heard beneath by no means a technical book, but it does actual score is footnoted and refers to it. This repeats for 20 seconds. At go into a histoxy of the art, a look at the the realization. This then contains 0 seconds (system 2) a ring modulated future and observations by composers. patches and information about how the chox’d is stiuick, and at 1 second the The book has examples of scores by sounds are constructed. trombone enters. At 12 seconds the left Davidovsky, Schwaxtz, Subotnick, Burge, channel sound glides downward, at 15 A score by Thomas Wells, 12. 27. 2, Bassett and Hiller, ( who is quite detailed Electronic Music , plots time versus seconds the right channel repeats seven as to the tape part which is quite linear amplitude, with numbers which refer you notes and also glides down. This is anyway). followed by a 2 second rest. Example 2 to patches. In a piece by Bruce Faulconer shows a bunch of squiggly lines, (actual­ Notating a strict tape piece is nearly called Electronic Music: 1973,he plots ly, a trombone was previously recorded impossible or at best a pain. Since most frequency and amplitude, amplitude being glissing all over the place and balance scores don't lend themselves to a note by a V. U. meter reading. (Good idea, that modulated). Example 3 shows synchron­ note transcription, a more visual route one!) On every score page are his patches izing tape to trombone. Tape doesn't is taken. The solutions to notation are Another score by Thomas Wells ( Why not, start until trombone plays G. The draw­ as varied as the composers. An excel­ it's his book) is called Systems of ings are just representative of the sounds. lent book which shows several scores is Electronic and Instrumental Music, The

10 POUPHONy September/October 1978 K tof 'k K IV LfliPb- fls I t Tft Rte 7 o CitftcflOIVd

work is for piano, cello and tam-tam just as valid as mine or Stockhaussen's. ideas and those of others in order to which are modified by a balanced modu­ Check out other composers' notational come up with a system of notation that lator and multi-modal VCF. The score systems besides the ones that I've is tailored to your style of composition. is notated more or less conventionally. mentioned. Experiment and find out This brings us to the last section— Underneath the instrumental parts is a which works for you. Another idea is - notation for live Electronic Music. This, graph showing the various timbre modi­ instead of plotting a VCA graph, how again, is just one solution. The piece is fiers, (cutoff frequency, amount of about plotting VU meter readings as an called Prelude and Conclude for two or modulation, frequency of modulations, indication of overall loudness contour. more synthesizers. e tc.). The key is to experiment with your own A method of scoring Electronic Music which I'm starting to use is a graph. As I see it, the most important modules are the VCO's, VCF's and VCA's. These are modulated by a variety of sources. (Keyboards, S/H, sequencer, LFO, e tc .). So, if I take a graph of each major module (VCO, VCF, VCA) and use the Y axis for voltage and the X axis for time, and superimpose each of the modulators on the same graph, I come up with example 5. Now the score is going to be gigantic as you can see. You will also have to stack above and/or below the VCF graph, those of the VCA and VCO. Also this is only one patch and one channel. As you add channels and patches of sound, the score becomes more and more bulky and complex. ** ------(Albeit a good and accurate realization £ a )\1 * * ------— . notation-wise of a work). Now this idea LfO * ------7 H1 VX is only one solution. Your solutions are

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Performance notes: The same should be all inputs pan right, right reduce activity immediately and pre­ basic patch is used on both synthe­ channel up full, left channel minimum. pare for the next events. sizers. (Ex. 6) Except on synthe­ Prelude; Event 1: sizer 2, substitute Hi pass for Low Use pots 1 and 2 only. Volume and Use only pot 3. Height of events pass VCF. Instead of a Sequencer activity crescendos for 60 seconds. indicates relative pitch. Tempo is controlling the VCF use the variable By activity I mean speed of LFO, at the discretion of the performer. output of the ADSR. Also VCOl will sequencer, VCF settings, are to All attacks are set to minimum. use a sine wave instead of a saw­ increase in speed and intensity along See example 7 for notation guide. tooth. (Triangle remains same). with an overall volume change over Mixer initially for both synthesizers this steady drone. After 60 seconds

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Event 2: there are no control voltages con­ After all three events are played Use pot 2. Synthesizer 1. Remove trolling the filter. Again, height of return to prelude and wait for other sequencer control of VCF use ADSR shape is to be interpreted as player to return also. The conclude instead - change back after event. relative pitch. Also, tempo and which is played next is the exact opposite Shapes represent settings of ADSR lengths of events are up to the of the prelude. Once players are together controls. Sine wave lines indicate performer. and begin their static drone, proceed to amount of LFO applied to the VCF. Event 3: bring up volume and activity levels to Speed of LFO is up to the performer. Use pot 3, pan fully right. Pot 1 maximum then gradually decrease The filled in shapes within the en­ and 2 up also with pan in middle. activity, intensity and volume until you velope indicate the initial filter Left output up full. Event 3 is end with the same drone that started the setting, which like the LFO is similar to 1 except for patch and piece. Finis. adjusted during each separate event. most of the rhythms are static One final note: Except for the It is advised to apply a bias of about pitch-wise. actual prelude and conclude, all of the . 5v. to the VCF inout since at times three events are to be played in what­

POUPHONU------Sept ember /October 1978 13 EXAMPLE 6

OUT

SYNTHESIZER #1 —V W - SEQ VCO #1 is tuned an O s ' ± BIAS augmented 5th above OUT VCO #2. VCO#3 tuned randomly. GATE ^ ADSR Sequencer tuned ran­ domly; recycling; run. SYNTHESIZER #2 VCO#l is tuned a per­ Except for section #2 of the composition, VCF frequency and Q controls, fect 4th above VCO#3. ADSR parameters, and LFO outputs are set per the perform er's taste. VCO#3 is tuned ran­ domly. ever order the players choose and not necessarily should the players play the events that the others are playing, (although that is also one of the possible permutations.) The hows and whys of the com ­ position is not the subject here. The piece is provided as an example for notating a live electronic work. It also SHORT ATTACK SHORT DECAY is provided for any group of synthesists |S looking for material to play. If after reading this and seeing my examples you r* SHORT ATTACK MODERATE DECAY decide I'm out of my gourd, and that you have a better solution, well great! That f - SHORT ATTACK LONG DECAY proves my point. There is no definitive way of scoring electronic music. There LONG ATTACK SHORT DECAY is no way, for that matter, of scoring t - avant-garde music. And for that matter, no real way for a composer writing a ■■H H i 1 1 1 • GRADUAL SPEEDING UP & SLOWING DOWN tonal string quartet in sonata allegro form to have it played exactly as he/she SLASHED NOTE(S) IS TREATED LIKE A GRACE NOTE(S) envisions it. It's all relative to the amount of control (or lack) that one wishes to convey to conductors and & A PAUSE - IN THIS CASE 2 SECONDS performers. So check out the reference books I have mentioned plus some of the books that Marvin has reviewed in past EXAMPLE 7 issues, and work on your own solutions. The possibilities are endless. •

14 POUPHONy September/October 1978 \ [LAB NOTES: SEQUE AND YE SHALL FIND

by JohnS. Si monton, Jr.

Now we're going to start a long ever produced). It has some features you simply enter the note sequence from discussion of sequencers. tailored for live performance and others the AGO keyboard. More specifically, It’ s going to be long because there that are primarily for studio use. Alto­ the operating mode that we're looking at is no single kind of sequencer that's gether, it's a larger program than we now is a completely "real time" perform­ best in every situation. Some will do can fully examine in a single story, so ance mode. You simply touch the "PRO­ better on stage and others wall be more we'll look at the live features this time GRAM SCORE" key and start playing. at home in a studio setting. Polyphonic and studio features next issue. The pro­ Except for the fact that we will be able sequencers should at times be struc­ gram listing and some additional notes to do much magic, the result is the same tured for storing and reproducing chord appear on page 18. as if there were a tape recorder some­ sequences while at other times each where recording what you're playing. COMMAND KEYS channel should be treated as a separate Whatever tempo you play in, including voice. The only really workable solu­ When SEQUE 1. 0 is running, the subtle timing nuances, are faithfully tion is to come up with an entire "family" command keys should be thought of as captured by SEQUE 1. 0 and stored in the of sequencers. being labeled like this: computer memory. When you reach the The common limitation of all pro­ point at which you want the sequence to gramming devices currently available repeat, touch REPEAT PLAY and it all is that none of them can offer this kind comes back. of versatility. But, this is an area PLAYING THE SEQUENCE where the system that we’ve developed, with its ability to accept a wide variety Since this is a real time mode, the of personality endowing programs, wall timing of punching up REPEAT PLAY is really come into its own. If we need a important. If you were storing a repeat­ studio sequencer (wdth click track ing bass line, for example, you would synchronization and full score editing play the single figure that characterizes features, etc.) we can load that program; the bass line and then, at the exact point when a chord sequencer is required, that (and on the beat) where the first note of software can be loaded. the figure was to be repeated, touch These programs will all be "com­ REPEAT. Perhaps this is difficult to plete" in that once they are running, the visualize (perhaps not, I've been living system loses any "computer personality” with it for so long that I can't tell any­ that it may have had. All of the features more) but the first time you ever use it, that the program offers will be available you'll see how simple and convenient it with one or two touches of the "command" is. (computer) keyboard. Whereas the com ­ There are other sequencers begin­ poser program that we did last time ning to appear that operate this way, and could only be changed by resetting the if real music was played wdth droning computer, using the Monitor to deposit bass lines that repeat unchanged, end­ data into memory, and running the pro­ lessly, they would all be perfectly gram again (very arcane stuff, I sym­ Figure 1 adequate. And the music would be per­ pathize), these programs accept all fectly boring. recognized commands and data "on the Keys that are not labeled are being Not that real music doesn't fre­ fly". You can forget that the computer's held in reserve for the studio operating quently have the characteristic of a there because its control keys are dedi­ modes. The old Monitor-as signed repeating bass figure, it does, but it's cated exclusively to functions assigned meanings of the keys (as shown in light also made to sound different by trans­ them by the program. "This key makes type) should be ignored. To help you posing the figure into different keys to it play - this key makes it play faster." ignore them, a self-adhesive overlay is follow key changes in the composition. Easy. While this fact seems to have been To illustrate these points, we'll available. Undoubtedly, some of the designa­ largely ignored by sequencer manufac­ begin with a program called SEQUE tions on the keys still seem a little on turers, we don't have to settle for that. 1. 0, a monotonic sequencer written to the cryptic side. Let's look at function run on a PAIA P-4700/C or its equiva­ and begin by pointing out some of the TRANSPOSING lent. It can also be easily patched to ways that SEQUE 1. 0 is different from run on a P-4700/J as outlined in the what you're accustomed to. SEQUE 1. 0 has a variety of pro­ box. SEQUE 1. 0 is an acceptable "general visions for transposing the programmed purpose" sequencer (acceptable from the PROGRAMMING A SEQUENCE sequence. The simplest of these is that standpoint of our new perspective - in while in a playback mode it can accept terms of the alternatives that are avail­ The first way that it's different is information on key changes directly from able it is the most sophisticated sequencer that you don't program it wdth knobs, the AGO keyboard. A little explanation.

POUPHONy September /October 1978 15 Since we will obviously want to be able to transpose both up and down in pitch, we need to decide that some arbi­ trary key represents no transposition (play the sequence as programmed). SEQUE 1. 0 assumes that the 2nd C on the keyboard is the "0 transpose" key. Keys up-scale and down-sc ale from this one, then, represent transpositions up and down scale respectively. Press the C# above the 2nd C, and the entire sequence plays with each note a semi­ tone higher than was originally pro­ grammed. Press the F below the 2nd C and then each note plays a fifth lower. As an example of this, suppose that we were going to want to play a walking is to say that it is not sensitive to the of transpositions, simply touch the bass line as shown in figure 2. tempo in which you enter the information. OPTION CANCEL pad. Because of the things we've talked W e'll talk more about EVENT sequences It is important to note that cancel­ about already, it should be relatively next time. ing the T-Seq. option simply keeps the obvious that we only need to really "play When the PROGRAM TRANS pad is system from invoking the T-sequence, this much of the entire bass line: first touched, it wipes out any previously and does not in any way alter the programmed T-sequence and starts a new sequence as stored. You can turn the one. Each subsequent AGO keyboard option on and off as many times during entry then represents a key change that a set as desired. the M-sequence will go through at the And still there's more. $3 p g i ^ i p l point at which it repeats. SINGLE PLAY t During the programming of a T - Repeat sequence, the displays count to show There will be times when we don't (NOTE; Do not hit this note! where we are in the sequence, and the want the sequence to repeat endlessly, Hit repeat at exactly the time note corresponding to the transposition but simply to play one time through and you would have played it .) will play while the key is held down. stop. A SINGLE PLAY mode. When the key is released, the note stops An important difference between the completely, so that there is no possibil­ Figure 3 two modes is that whereas REPEAT be­ ity of confusing this programming mode gins playing the sequence as soon as it with others. because from then on it simply repeats, is touched, SINGLE PLAY waits for an On playback, the M-sequence will transposed into different keys. As the AGO key to be pressed and then plays. riff from figure 3 plays, we can extend be played completely through, transposed to the key signature corresponding to the The T-sequence option may also be it out to the entire bass line simply by asserted in the SINGLE PLAY mode, but pressing keys on the AGO keyboard to first T-sequence entry; then completely through transposed by the second T - it has been my experience that it's not perform the appropriate transpositions tremendously useful. Much more useful at the proper time. Like that shown in sequence entry, then the third, etc. When the end of the T-sequence is is to have the T-Seq option cancelled figure 4. Pretty exciting. And we really (which selects the AGO keyboard as the haven't even started yet. reached, the whole thing starts over again with the first note and the first transposition source), so that pressing T-sequence entry. To go back to our an AGO key not only starts the sequence walking bass line for a moment, the T - playing, but causes it to play in the key THE TRANSPOSE SEQUENCE sequence would program like this: selected. Releasing the key which initiated the While being able to transpose the sequence will not cause it to stop (once programmed sequence with real time started it always plays to the end), but keyboard entries will be plenty useful pressing a different key in the middle of again and again, there are also going to the sequence will immediately transpose be times when it will be at best a pain in it to the new key signature. the neck. You'll be busy doing other things. For these times, SEQUE 1. 0 Figure 5 offers another feature, the ability to save TEMPO KEYS a programmed sequence of transpositions. In the terms which we will find Programming the T-sequence (as most useful, enabling the automatic The function of the TEMPO UP and we’ ll call it) is just as simple as program­ transpose is an OPTION which may be TEMPO DOWN keys is just what you would ming the melody sequence (M-sequence), selected along with one or more of the expect. Touch TEMPO UP and the tempo you simply touch the PROGRAM TRANS major operating MODES. If we want of the sequence being played doubles. pad and enter the sequence from the AGO to assert the T-sequence option during Touch it again and the tempo doubles keyboard. The major difference from a playback, we do so by touching the T - again. Touch TEMPO DOWN and the programming standpoint is that the T - Seq. OPTION key. To stop the T - tempo rate is divided in half. sequence is a sequence of events, which sequence and revert to the manual entry If not over-used, these two keys will

16 POUPHONy------— September /October 1978 increase and decrease tempo while still possible. SEQUE 1. Ohas several of these listing. keeping relative timing of notes unchanged; "show" features. REPEAT PLAY mode always starts however, raising the tempo too high will The ability to shift back and forth the M and T sequence from the beginning, cause some timing information to be lost between the various modes of operation making it an easy matter to use the first, and will cause the notes to be "jammed" (and specifically the availability of the few bars of the sequence again and again, together so that synchopation will change. NORMAL mode which doesn't mess up for introductions, bridges, and special Beware and be aware that this fact has programmed sequences) is definitely effects. special effects implications - there may one of these. Next time, we'll add studio features be times when you want to do just this. Others are less obvious, for to this basic sequencer program and example: we'll probably take a look at a D/A that TAPE SAVES AND LOADS When you have the T-sequence will allow all of our programs to be used option selected (so that transpositions with exponential response equipment, The TAPE pads control a couple of come from their programmed sequence) which should open a whole new world to operating modes which should also be and you go directly from the PROGRAM owners of MOOG's, ARP's, etc. useful. TAPE SAVE causes the M- SCORE mode to REPEAT Play without sequence and T-sequence information first asserting another operating mode, currently in the computer's memory to the first entry of the T-sequence will be SEQUE 1.0 be dumped to magnetic tape. When you skipped and the melody sequence will COMMAND SUMMARY come up with a "keeper", start your re­ begin playing immediately transposed by corder going (recording) and touch TAPE the second entry in the Transpose SAVE. After a short leader and synch­ Sequence. PROGRAM ronizing tone is generated, the displays Why? SCORE - Saves melody sequence will start to count and within a few Because, when you entered the in real time. seconds your complete composition will characteristic sequence it was equivalent TRANSPOSE - Saves transpose be stored as data on the tape (a hint - to its being played the first time through sequence as events. always save things twice). (which would have been done using the Loading a composition that was pre­ first T-sequence entry). When you hit PLAY viously saved on tape consists of playing REPEAT PLAY and the computer takes REPEAT - Plays sequence from be- the tape and touching the TAPE LOAD over, it is in effect playing the sequence ginning, cycles until command pad. As with the saving opera­ the second time - which should be done stopped. tion, the displays count as the data in the key of the second T-sequence entry. transfers from tape to memory. If, The major application here is to SINGLE - Waits for key on AGO after loading a tape, you punch up a P LAY allow you to enter (during set-up and then plays sequence from mode and nothing happens, it means that tuning) a T-Sequence for the number that the beginning. Stops at the load was unsuccessful. Try again you're going to be doing and then enter end of melody. with the second copy (and review the the actual sequenced figure extemporane­ "tape selection" section of PAIA's CS- ously. We all know how great it is when TAPE the magic is working and everybody's 87 POT-SHOT manual). SAVE - Dumps current Melody really cooking. This feature allows your and Transpose sequences automation equipment to tap into that energy NORMAL MODE to mag. tape. and the innovation that frequently results - Loads M & T sequences Of the MODE commands up for dis­ from it. LOAD from tape. cussion this month, only NORMAL is If for some reason you don't want to left, and this is simultaneously the most skip the first T-seq. entry, you simply straight-forward, and ubiquitous of terminate the PROGRAM SCORE mode with OPTIONS all. NORMAL is nothing more than a a command other than REPEAT PLAY normal monotonic synthesizer function, (NORMAL, for instance; or SINGLE PLAY), TABLE - Selects transpose sequence the important point is that asserting this then punch into REPEAT PLAY. Remember table as source of trans­ mode of operation does not alter previously always, though, that the termination of positions (otherwise AGO programmed M or T sequences. It simply PROGRAM SCORE mode must be done is source). "in tempo" if the timing of the playback is ignores them as long as this mode is CANCEL - Turns all selected to be correct. selected. At any time you can punch-up options off. SINGLE or REPEAT PLAY and do that Here's another special application: magic and with a touch of the NORMAL In most cases, the M-sequence is TEMPO pad be back to plain synthesizer. reserved for the melody, butthe UP TEMPO command allows you to enter some short UP - Doubles tempo of melody sequence. SUBTLETIES AND TRICKS riff (live, yet) then speed the sequence up to the point that it has the effect of being DOWN - Halves tempo of melody It seems to me that a sequencer for a "voice" of its own. By then punching sequence. use on stage should have two major design into SINGLE PLAY mode, the sequence goals: it should be easy to program and can then be used as you would a single note, MISC operate (which SEQUE 1. 0 certainly is) which you "play" by transposing it. NORMAL - The "normal synthesizer" and it should enable the user to do a Naturally, the T -seq option should be mode. Does not alter better job of the thing he's there to do - cancelled for this. stored sequences. put on a show. As theatrical a show as Just one more, then the program

POUPHONU September/October 1978 17 SEQUE 1.0

Below is a hexadecimal dump of SEQUE 1.0. Notice When the programming has been loaded and verified, it that the dump is divided into three sections with portions on may be dumped to tape as one continuous block, if precautions pages 0, 1, and 2 of an 8700 memory. Before loading the are taken to once again set the stack pointers and status program, the monitor stack pointer, User’ s stack pointer register as above. The tape should be dumped from $0000- and status register must be pre-set as below: $0280 as outlined in the Pot-Shot manual. These same locations should also always be pre-set when loading the tape. 0-0-E-D-Disp-F-F-Ent sets Monitor stack Location 0 on page 0 is the starting location for the 0-0-F-E-Disp-F-F-Ent-0-0-Ent sets user stack and program. status 0- 0-0-0-Run Setting of the stack pointer is necessary since some of the TO ALTER THE PROGRAM TO RUN ON A P-4700/J, SEQUE 1. 0 program is on the stack page (page 1). change locations $14B & $14C as follows: With these initial parameters set, the program may be 1- 4-B-Disp-F-F-Ent-0-9-Ent. loaded as outlined in the various 8700 manuals: A fully documented assembler listing of SEQUE 1. 0 will 0- 0-0-Disp-A-9-Ent-0-0-Ent-8-5-Ent-(etc.) appear in the next issue of POLYPHONY. for the programming on page 0, 1- 0-0-Disp-8-5-Ent-l~0-Ent-8-5-Ent-(etc.) Note: The following is available from PAIA Electronics, In c., Box 14359, Oklahoma City, OK 73114 - complete for the programming on page 1, and documentation, cassette tape and plastic keyboard overlay 2- 0-0-Disp-8-D-Ent-0-6-Ent-l-2-Ent-(etc.) for SEQUE 1. 0 for $6. 95 postpaid. for the final block on page 2.

PAGE 0 PAGE 1 PAGE 2

000- R9 00 85 E2 R9 0C 8D 78 100- 85 10 85 85 C2 BC 84 C8 200- 8D 06 12 R2 00 18 7E 02 008- 11 4C 18 11 80 05 85 E6 108- CF D4 80 7C DR D7 0C 0C 208- 03 E8 E8 E4 E8 D0 F6 R5 010- 8D 20 08 R5 EC D0 04 R5 110- 45 92 63 46 3F R3 IE 46 210- E3 8D 78 11 60 R2 07 BD 018- EB 29 2F 85 EB 60 B0 0R 118- R5 E2 48 0fi 10 22 C6 DF 218- El 11 95 F0 Cfi D0 F8 60 020- 85 E6 85 EB 85 E7 R9 80 120- 10 IE R6 El CR 86 DF R9 220- 20 15 12 R5 E8 8D 00 03 028- 85 E2 R6 E7 8E 20 08 R5 128- 80 RR 18 65 E0 85 E0 10 228- R5 E7 8D 01 03 R9 DD 20 020- EC F0 06 C5 EB F0 05 E6 130- 0C R5 EB 09 80 85 EB 18 220- 46 12 60 20 15 12 R9 11 028- E7 3D C0 02 85 EB 60 28 138- 20 25 IE R2 08 8E 20 08 228- 20 46 12 RD 00 02 85 E8 040- 84 11 E6 E5 60 28 20 RC 140- R5 E6 F0 03 18 69 R4 18 240- RD 01 02 85 E7 60 20 fifi 048- 11 RD 14 11 C5 E2 D0 02 148- 65 EB 8D 40 08 68 6R 90 248- IE RD 0F 11 8D 7B 11 18 050- E6 E9 24 E2 20 0ft R5 EC 150- 06 20 49 IE 4C 6D 11 2C 258- 20 22 IF 60 85 DF 66 El 058- F0 02 85 E4 R5 E4 85 E6 158- 10 08 10 FB RD 10 08 30 258- 90 02 66 El D0 B1 FF FF 060- E6 E5 60 90 04 R5 EC D0 160- FB 2C 10 08 30 05 50 F9 068- DD 20 46 10 R5 ER D0 0B 168- RD 10 08 85 EC 20 00 IF 070- R9 00 85 E5 R6 E8 BD 01 170- B0 06 B9 00 11 8D 7B 11 078- 02 85 EB 60 R9 7E D0 02 178- R9 00 20 03 00 RD 7B 11 080- R9 2E 4C 00 12 18 R5 E5 180- 85 E3 D0 94 B0 09 8D 01 088- 65 El 85 E5 R5 E2 8D 7B 188- 03 85 E8 85 E6 85 EB R5 090- 11 60 80 0E R9 FF 85 E5 190- E5 R6 E8 9D 00 03 20 13 038- 20 86 11 8E 20 08 R9 00 198- 10 29 7F DD 01 03 F0 0B 0H0- 85 E6 60 B0 02 85 E5 20 1R0- E8 E8 86 E8 9D 01 03 R9 0R8- 84 11 R5 E5 D0 05 18 65 1R8- 00 85 E5 60 80 88 85 E4 080- El 85 E5 60 85 E9 R5 E2 180- 85 E9 85 Efi 85 E5 R5 E5 088- 09 80 D0 0E R5 E2 09 40 1B8- R4 E9 R6 Efi DD 02 02 90 0C0— D0 08 R5 E2 09 01 D0 02 1C0- 15 R9 00 85 E5 E8 E8 86 0C8- R9 00 85 E2 4C 0F 12 18 1C8- Efi E4 E8 D0 89 C8 C4 E7 0D0- 20 25 IE 60 4C 54 12 4C 1D0- 80 DE 84 E9 D0 DC BD 03 0D8- 20 12 4C 22 12 FF FF 00 1D8- 03 85 EB 89 C0 02 85 E6 0E0- 00 04 00 00 00 00 00 00 1E0- 60 FF 00 FF 03 C0 02 C0 0E8- 00 00 00 00 00 FF FF FF 1E8- 02 FF FF FF FF FF FF FF

18 PQUPHONJ September/October 1978 as is a good bass guitar part with string bending. Harpsichord on "Disruption in World Communications" and "A Small Collection of Chords" is reminiscent of "Chateau". "Trellis" is full of 'Sequen­ cer' trademarks such as harpsichord, flutes, sequencing, bells, and so on. What seems to be the latest Synergy patch perfected is drums. Throughout By: Marvin Jones "Cords" are a number of excellent tom and bass drum sounds. Snare drum rolls are performed a number of times, also. But the tympani . . . . wowie zowie . . . this has to be a new standard for low frequency transient response tests on your stereo! ! The Hamm guitar synthe­ sizer on "T erra Incognita" is a good demonstration of the solid tracking of the Hamm system, but I feel the com­ position could have benefited from the use of some lighter voicings on the guitar controlled parts, especially where use of tape loops was a major processing element. The compounded heaviness of the repeating voices seems to obscure a lot of the subtleties of the guitar sys­ tem. It would have been quite nice to have parts of the guitar signal mixed in CORDS as well. "Cords" will probably be of ANGEL ALLEY By Synergy more interest to musicians in general By Linda Cohen Passport PB6000 than Larry's previous albums. This Tomato TOM-7010 could be good. But many of the early Larry Fast's music has undergone Synergy fans may fail to see the develop­ Synthesis techniques are becoming a great deal of change since his first two ments here. That would be a shame. Be quite accepted and are being used in an Synergy albums. Larry has always been sure to listen to it several times before increasing number of situations. Coupled much more intimate with music technology making your decision! ------• with that trend is another which sees than most of the popular synthesists. As synthesis being used in much more subtle a result, he is able to really make the contexts, sometimes to the point of not technology work for him in creating very knowing what it was that made the sound subtle, yet intricate, developments in or even that any type of processing or his music. During the (seemingly) exten­ synthesis is occurring. Such is the case sive time period between "Sequencer" and with "Angel Alley". Linda Cohen plays "C ords", Synergy was preparing a great a very refreshing style of acoustical deal of current technology for the next guitar which draws noticeable influences album. Polyphonies had arrived; m icro­ from classical, jazz and folk styles. processors provide alterable storage of Linda wrote all but one of the songs on extended event strings; and finally a this album. Craig Anderton was respon­ development in guitar synthesizer tech­ sible for production and occasional back­ nology that worked well enough to warrant ground, and this is where the subtle it's inclusion on such an album. While a processing comes in. Throughout "Angel great deal of technological development Alley", Craig processes Linda's guitar undoubtedly precipitated this album, it with envelope controlled filtering, phasing, is not initially so obvious. The techno­ flanging, chorusing and Leslie simulation, logy is primarily working to make the OPEN FIRE By Ronnie Montrose location modulation through delay line music more refined, layered, structured., Warner Brothers BSK 3134 processing, vibrato, and much more. . . . more coherent. The most apparent Additionally, Craig played synthesizer developments are in the composition. Ronnie Montrose could easily be and organ background for a few songs. Chord structures and progressions, thought of as the American answer to Jeff This should serve as a very educational counterpoint techniques, and theme Beck. His versatility ranges from hard album for many synthesists, for it spot­ manipulations definitely take a superior searing rock to mellow jazz and classical lights several unique and clever appli­ position to sound structures, special guitar pieces. This alone is good reason cations for the technologies originally effects, and diversity of patches which for buying this album. And that's what I inspired by a more aggressive electronic were so predominant in the previous did. It wasn't until I had the album home music. albums. But never fear; many of the Synergy trademark patches are here. Small bells are on "Phobos and Deimos...... continued on page 42

POUPHONy Septem ber /October 1978 19 A collection of books, recordings, and supplies that are a must for every active music experimenter's lab or studio bookshelf.

Craig has prepared two fine books to serve as continuous reference manuals in building, and using musical electronics. Electronic Projects for Musicians is a perfect introductoiy manual for the musician with no previous experience in elec­ tronics. Home Recording for Musicians outlines the selection and operation of recording equipment for the musician with BIG ideas and small budgets. The Craig Anderton Music Tape is a collection of original compositions recorded by Craig while he was writing HRFM. ORDER #EPFM $7.95 #HRFM $9.95 #CAMT $5. 95 Order CAMT with either book and deduct $1. 00!

Howard Sams' cook books are an excellent way to stock your library with materials that are not only heavy on theory, defini­ tions, 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. "Audio IC Op Amp Applications" is a smaller version of the Op Amp Cookbook. This edition contains only the sections which are pertinent to audio circuitry. ORDER #OACB Op-Amp Cookbook $12. 95 #AFCB Active Filter Cookbook $14. 95 #CMCB CMOS Cookbook $10. 50 #AUOA Audio Op-Amp $ 7. 95

V 20 POUPHONU Septem ber/October 1978 Jack Darr’ s Electric Guitar Amplifier Handbook is stuffed with schematics for popular amplifiers and effects units from major manufacturers. This book is an aid to service shops as well as the advanced experimenter. Contains thorough discussions of typical amplifier problems, locating them, and repairing them. ORDER #EGAH $10. 50

Audio Cyclopedia is subtitled "the most comprehensive and authoritative reference volume on audio ever published". With 1760 pages, 3650 entries, and hundreds of illustrations and schematics, that description can’t be too far off. ORDER #CYCLO Audio Cyclopedia $39. 95

ALSO: We have a few of our old style magazine binders left. These were designed for our 5. 5" X 8. 5" issues, but will serve well to hold other small publications, such as manuals from Paia, Strider, or old copies of Musicians Guide, etc. 1/2 AUDIOisr price while they last! ORDER CYCLOPEDIA #Bind-S $2.50

We have new binders to hold the large format Polyphony — or tke most exMprtzhen&ivB any other 8. 5" X 11" publication. Black vinyl over hardboard and outW&aftve reference volume on o in d lo ever p u b lish e d

is silkscreened with the Polyphony logo and a'spot to index the aovan :ftverg pkas# o f tke subject, contents. Wire-type magazine holder eliminates punching your tke infest cotitf.~statn and. tnf chafed cOcsmI s magazines for ring binders, and keeps issues like new for reference use. ORDER #Bind-L $4.95 ORDERING INFORMATION The Source is finally here! Over 125 pages of patches, synthe­ Use the handy order form in the center of this issue sizer notation, and computer software for music applications. or, if someone beat you to it, use the coupon below. Regardless of the synthesizer you own, these patches serve as All prices postpaid in U. S. Others add $1. 00 per item < an intense study of the capabilities of synthesizers. As an for additional postage. We are looking for other books inspirational guide or departure point for deriving your own that may be of interest and would appreciate any re­ patches, The Source can’ t be beat! Convenient thumb index commendations. Drop us a line, tell us the book leads you to the patch you're after! Tonal patches, sound (and publisher if you know it). With sufficient interest effects, patch techniques — it's all here! we will begin stocking the book. What other types of ORDER materials would you be interested in seeing presented #Source $4.00 here? Other home-produced albums? Circuit boards for Polyphony projects? Blank patch chart pads? Let us know your ideas!! ► ► Send to: Polyphony Bookpage ► P.O . Box 20305 Oklahoma City, OK 73156 ► ► Name: ______► Address: ______► City, State, Zip: ______

EPFM 7. 95 AUOA $ 7.95 HRFM $ 9. 95 CYCLO $39.95 CAMT $ 5.95 EGAH $10.50 OACB $12.95 Source $ 4. 00 AFCB $14.95 Bind-S $ 2.50 CMCB $10.50 Bind-L $ 4.95

TOTAL Foreign Postage ($1.00 per item)

p o u p h o m September/October 1978 25 Rhythmic Control of Analog Sequencers

By: John Duesenberry

This article will not be a general time, you would hear these two "click sec. If the frequency is 1Hz., its period discussion of sequencers and how they tempos" superimposed, in other words is 1 s e c ., and so on. From now on, the work. It will be confined to analog , a cross-rhythm like the one in figure 1. term duration will be substituted for as opposed to digital sequencers. ( Ex­ (Assuming the oscillators were synced period, since this is a more common amples of analog sequencers are the exactly into a 3/2 ratio). term in describing the relative lengths Arp 1027 and 1613; the Oberheim Mini- Looking at it from another stand­ of musical events. Sequencer, the Moog 960, and the Aries point: if you're playing 3 in your right From the above information, we AR-334.) We assume that the reader has hand against 2 in your left, your hands can now infer that durational ratios are a basic working knowledge of the general are tuned to a perfect fifth. Tell that to the inverse of frequency ratios . As an operating principles of the analog sequen­ your drummer. illustration, let us refer back to the cer, and of voltage-controlled synthesizers What we are getting at is simply previous example of a 3-against-2 in general. this: pitch and tempo, two musical cross-rhythm, (see figure 2) Specifically, we will be dealing with parameters which have been tradition­ We can say that the lower-frequency a question that, sooner or later, occurs ally considered unrelated, are actually oscillator has a frequency F, and the to most sequencer users, who quickly two perceptually different manifestations higher-frequency oscillator has a fre­ become bored with producing sequences of the same physical signal parameter: quency 3/2 F. Therefore, if the quarter of events of uniform duration. The frequency. As a corollary, pitch inter­ note has a duration D, the triplet quarter question is: How do you control the vals, whether successive or super­ note has a duration 2/3 D. duration of each step of the sequence? imposed, are a function of frequency To take another example: if the Exactly? (With the exception of a few of ratios of audio-range signals; the hypothetical subaudio oscillators are the masters of the art, such as Roger corresponding ratios in the subaudio tuned to a 2/1 frequency ratio (octave), Powell and Morton Subotnick, this range are perceived as sequences of the resultant clicks could be notated as question seems never to have occured events of varying durations (successions shown in figure 3. to most synthesists on re co rd .) of different frequency ratios) or as The translation from frequency to The answer to the question of cross-rhythms (superimposition of duration should be obvious. The 1st, rhythmic control boils down to finding different frequencies). 4th, and 5th columns of the chart shown a method for controlling the frequency This idea of the mathematical in figure 10 should clarify these, and of the sequencer's clock. The theo­ equivalence of pitch (and, if you think other, basic examples of the translation retical basis of the solution can best be about it, melody, harmony, and timbre) of frequency ratios into ratios of dura­ approached by clarifying what frequency and rhythm, which may seem novel at tions. ratios mean to us. first, is, in fact, not so new. At least This completes our theoretical To most musicians, frequency one composer - Henry Cowell - was exposition; now we can start talking ratios are equivalent to musical intervala speculating about these relationships and about sequencers. Ask the average synthesist what it means incorporating them into his work as far Until further notice, we will be when two oscillators are tuned to a 3/2 back as the Twenties. More recently, assuming that we are dealing with a frequency ratio, for example, and you in the Fifties, Stockhausen has utilized sequencer which - like the Moog 960, will probably get the answer: "It means some of the same ideas in his electronic for example - has a voltage controlled they're tuned a perfect fifth apart." music, most notably Kontakte . For those clock with 1 volt per octave sensitivity. This could be true, if the oscil­ interested, I suggest looking into Cowell's This is not something you can take for lators in question were operating in the book New Musical Resources, and granted about your sequencer, so make audio frequency range. But what if they Stockhausen's article in Perspectives note of the exceptions discussed later were in the sub audio range? (i. e . , below of Contemporary Music Theory. in this article. 20 H z.) If you listened to the outputs of Now, before dealing with the im ­ The simplest and most common­ these two oscillators, would you hear a plications of the above for the sequencer place application of a sequencer is to "fifth"? Would you hear anything? If user, there is another mathematical use it to create a repeating sequence of you were listening to the sine or triangle relationship we must consider: the rela­ varying voltages, which are used to outputs, you would hear exactly nothing. tionship of frequency, period, and control audio-range VCO's. The result If you were listening to the sawtooth duration. This relationship is quite is, of course, a sequence of varying outputs from the oscillators, you would simple; period is the inverse of frequency, pitches, since the frequency of the VCO hear each one emitting a series of even­ (P =l/F ) varies proportionally to the voltage out­ ly spaced clicks; one oscillator would be For example, if a waveform of any put of the sequencer. This typical patch clicking slightly faster than the other. If kind has a frequency of 100 H z., its is shown in figure 4. you listened to both signals at the same period (duration of a single cycle) is . 01 What is it, in this patch, that

John Duesenberry is a faculty member of the Boston School of Electronic Music.

26 POUPHONy September /October 1978 determines the tempo of the sequence? Obviously, the frequency of the clock. The clock is a subaudio pulse or square wave oscillator which may be internal or external to the sequencer, but which in either case is patched into the step input of the sequencer. If the clock can be voltage controlled, then we can vary the duration of each sequencer step by feeding a voltage output from the sequencer into the frequency control input of its own clock, (see figure 5) A voltage controlled internal clock 1— 3 — \ \— 3 i is standard on most analog sequencers. 3/2 F 2 / 3 D (= —!— ) There are certain problems, which we 3 /2 F JJJ JJJ will note shortly, which will make it necessary to use an external clock; in F 0 ( - 1 / F ) such cases a pulse or square wave out­ r r rr put from a voltage controlled subaudio Figure 2 oscillator should be used. Getting a sequence of varying durations is thus quite simple; no great discovery at all, in fact. In light of the consideration of the pitch-rhythm rela­

FREQ. FREQl r a t io DURATIONS tionships above, adjusting the sequencer voltage steps to produce a desired HIGHER FREQ. OSC. 1 / 2 0 n n 2 F 2 sequence of durations should be no problem.

LOWER FREQ. OSC F 1 D Before outlining a "rhythm tuning" r r procedure for analog sequencers, let us remember, again, that we are assuming a 1 v./octave control sensi­ Figure 3 tivity (known as exponential sensitivity) for our clock. The tuning procedure is as follows: 1) Write out the sequence of durations desired. 2) Translate this into ratios of dur­ ations. (i. e . , the ratio of each duration in the sequence to the longest duration in the sequence, to which we will refer as D_ from now o n .) 3) Translate the durational ratios into frequency ratios . (i. e . , invert the durational ra tios.) 4) Translate the frequency ratios into pitch intervals. 5) Patch a sequencer output voltage into an exponentially-controlled, audio range VCO, and tune the sequencer voltages to produce the pitch sequence you arrived at in step 4. 6) The sequencer voltages are now adjusted properly on the output channel you have just tuned up. Patch the same channel of voltage output into the clock's FM input, unattenuated. This procedure may seem like a pain. It is, at first; so are most syn­ thesizer patches which produce worth­ while results. However, once you get the hang of it, you will be able to pro­ gram any; rhythmic sequence (within the inherent limitation of the number of available sequencer steps) with super-

POUPHONy September/October 1978 27 always the case. Going down the list i o \ of manufacturers: ARP. Arp's 1027 sequencer mod­ ule (one of the 2500 series of modules) J 1 i j~ n J J has a voltage-controllable internal clock, but it is not exponentially controlled. S TE P NO: 1 2 3 4 5 6 7 8 A rp's model 1613, a self-contained Figure 6 sequencer, also has a voltage-controlled clock. Whether it is exponentially controlled or not is somewhat irrelevant, because of the presence of an attenuator on the FM input which has a gain of less than unity. In either case, an external clock should be used. Any Arp VCO, in its subaudio operating range, will do, since all Arp VCOs are lv. per octave. ARIES. The new Aries sequencer, soon to be released, does not have an internal clock at all. Use any of the Aries VCOs, or the internal clock of the Sample/Hold module if you have one. Do not use the dual LFO, since it's not voltage controllable. SEQUENCERS WITH QUANTIZED OUTPUTS. Some sequencers, such as the Arp 1613 and Electrocomp, have "quantizers" which digitally round off the voltage settings to the nearest 1/12 volt, to make equal-tempered tuning easier. In voltage-controlling the clocks, internal or external, of such units, don't use the quantized outputs. The un-quan- tized outputs are available, and should be used for rhythm tuning; otherwise inaccuracies will result. OBERHEIM. In dealing with the above mentioned sequencers, no adjust­ ment to our tuning method had to be made. The Oberheim Mini-Sequencer is an exception, however. If we wanted to get the same 8-step rhythm sequence as that in the example previously mentioned, and tuned the Mini-sequencer as we would ordinarily, human accuracy. We now have only to complete steps we would instead get the sequence shown To make things simpler, let's 5 and 6. in figure 8. consider a simple example. Suppose we The Rhythm Tuning Chart in figure Why? Because the control sensi­ have an 8-step sequencer, and we want 10 is intended as an aid to beginners in tivity of the internal clock is 2 octaves the 8- note rhythm pattern shown in making the necessary translations be­ per volt. There is no input for an figure 6. tween pitch and rhythm. Obviously it external clock on the Mini-sequencer; In step 2 of the tuning procedure, does not include all possible rhythmic otherwise that would be the best way we would get the following durational values, but, with practice and an under­ around this problem. (You could have ratios: standing of the theoretical basis of our your sequencer custom modified for this, D 3/4D 1/4D 1/3D 1/3D 1/3D 1/2D 1/2D method, it should be possible to tune up of course.) We therefore have to resort any rhythmic sequences desired. to a kludge. The method is: when you In step 3, these translate into In using the chart, keep in mind get to step 4, cut all the pitch intervals frequency ratios: that the choice of a whole note as D is in the sequence in half (Octaves become completely arbitrary; the same set of tritones, semitones become quarter F 4/3F 4F 3F 3F 3F 2F 2F rhythmic ratios may be notated in terms tones, etc.). of any basic unit. In step 4, these translate in turn The reason for this should be Having arrived at a general method into pitch intervals, from which we can obvious. All the voltages must be halved, for rhythmic control, we must now deal get the pitch sequence shown in figure 7. since a voltage that would ordinarily with exceptions and various quirks of cause a VCO's frequency to be multi­ (We start arbitrarily on C; we could particular types of sequencers. As we plied by some value n will now cause it start on any note, since only the intervals mentioned, the Moog 960 has an expo­ to be multiplied by 2n . m atter.) nentially controlled clock. This is not Another option would be to put an 28 POUPHOM September/October 1978 RHYTHM TUNING CHART FOR ANALOG SEQUENCERS

Clock Pitch Halved Duration Note Freq. Interval* Interval** Value

F D o

4/3F P4 2- 1/2 semi. 3/4D (bM3) J . 3/2F P5 3-1/2 semi. 2/3D o (bM3) 1-3 2F Oct. tritone 1/2D C 8/3F Oct. +P4 bM6 3/8D m 3F Oct. +P5 #M6 1/3D J L— 3 4F 2 Octs. Oct. 1/4D 0 5F 2 Octs. +M3 Oct. +M2 1/5D J •— 5 16/3F " +P4 " +bM3 3/16D Js 6F " +P5 " +bM3 1/6D 3-*

7F " +m7 " +P4 1/7D (_0. ____ 8F 3 octs. Oct. +tritone 1/8D 0 h 1/9D 9F " +M2 " +P5 i 4 L_ 10F " +M3 " +m6 1/10D L*t 32/3F " +P4 " +bM6 3/32D 4h

11F " +tri- " +M6 1 /llD 4 tone L 12F " +P5 " +bM7 1/12D lAL 13F " +M6 " +bM7 1/13D \ lA ia—>__ 14F " +m7 " +M7 1/14D s lA " +M7 " +#M7 1 /15D 15F , 4

16F 4 Octs. 2 Octs. 1/16D 4 b

* For exponentially controlled clocks (lv. /octave), internal or external

** For 2 oct. /v. clock (Oberheim Mini-Sequencer)

FIGURE 10

attenuator with a gain of 0. 5 between the column: Halved Interval) All intervals human ability to detect small pitch sequencer's 2nd voltage output and the which have been indicated as flat or deviations is much more accurate than clock's control input; this, however, sharp should be tuned a quarter-tone the ability to discriminate the equivalent would again involve some custom work. flat or sharp. Even if you aren't so hot deviations in duration. As an aid to users of the Mini- at timing quarter-tones, the resultant Now have some fun with this: What Sequencer, an extra interval column has rhythms will be perceived as accurate, chord is the equivalent of the complex been included in the tuning chart. (3rd as long as you're in the ball-park. The cross-rhythm shown in figure 9? •

POUPHCNy------September /October 1978 29 reach a value sufficient to switch the gate within one clock cycle. When the clock is in the low half cycle, the only discharge path available to the pad is MAGIC BUTTONS R2. D1 is now reverse biased and the gate input represents a very high Touch Switch Theory impedance. If the pad can discharge By Steve Wood completely on low half cycles of the clock it is of no consequence at this point because all we need is the I suppose that before long I’ll be sit­ ever it gets the urge to send a trigger inverted replica of the clock signal at ting in front of a typewriter like this not pulse to that box of modules, or what­ the output of gate "C ". Actually, the pushing down keys, but touching pads ever you want to trigger, (lights maybe?). arbitrary c apacitance of the touch pad that represent the keys and watching The particular touch switch circuit I assumed in this writing is exagerated to the print go down on paper. Not a parti­ have in mind is like that found in figure 1. aid in circuit analysis and, in reality, cularly exciting thought to me as I have We may need to add a simple differentia­ is significantly small in relation to the yet to master this ancient electro­ ting circuit that will provide us with a other values in the circuit. The high mechanical wonder I'm working with. pulse output. L et's take a look at these portion of this 50k Hz. square wave But the idea of touch pads in stead of circuits, shall we? Using the values forward biases D2 and causes a voltage mechanical switches is a downright shown here the clock should run at a drop across R3 charging C2 to a value nice thought when considering the many frequency of about 45k to 50k Hz. If we near supply. When the output of gate applications to which one might put pump this clock signal into the remain­ "C" goes low, D2 is reverse biased these "Magic Buttons". For instance, ing circuit as shown in fig. l,here is and the only discharge path available suppose you've got your guitar plugged what will happen. On the positive or to C2 is R3. The time required to into a box full of modules for some high half cycle of the clock, diode D1 discharge C2 is longer than the dur­ "special effects", and in order to get a will be forward biased and a positive ation of the low half cycle, so both certain effect you have to trigger one of voltage will appear at the junction of inputs of gate "D" (pins 1 & 2), are the modules. Well, you could step on a D l’ s cathode, R2, input pin 6 of gate held high, and it's output is low. This mechanical ( yuck) foot-switch on the "C ", and the touch pad. The second is the off condition of the switch. Now, floor, or you could set up an envelope input to gate "C" is connected directly if a finger is placed on the touch pad, follower that has a variable threshold to the clock output. This being a two the capacitance offered by the body trigger output and try to control the input NOR gate, both inputs must be at belonging to that finger is added to triggering with the pulse output of the ground before the output can switch to a that of the pad. The total (several envelope follow er. This is not too bad high state. If the inputs are in any other hundred pico-farad) is quickly (within a under the right conditions, but you condition the output will be low. The few clock cycles) charged to a value could put a "Magic Button" on your touch pad represents a very small capac­ near supply via D1 during positive clock guitar ( or any other electrical instru­ itance that has to be charged before the half cycles, but is more than can be ment you may be using), and accomplish voltage at the input (Pin 6), of gate C fully discharged through R2 in the 20 the effect much more easily. can rise to a value that will cause this microseconds or so allotted during the A single capacitive type touch switch gate to switch. With the very low "on negative half cycle of the clock. This can be constructed around one IC chip, resistance" of D1 during the positive phenomenon is somewhat dependent on (like a 4001 MOS quad NOR gate). It can half cycle of the clock as a current path the assumption that some part of the be made to take up very little room, and to the touch pad, the time required to body is at ground potential. So, with a be placed strategically on your ax so as charge this "capacitor" is very short. finger on the pad the voltage at the first to be convenient for your picking hand So short, in fact, that the voltage at input (Pin 6) of gate "C" never gets to a pinky to reach down and stroke when­ the input of the gate (Pin 6) can easily low value and the gates output cannot

TOUCH

Figure 1

30 POUPHOM September/October 1978 switch in accordance with the signal from the clock, but instead remains low. This leaves us with no means of charg­ ing capacitor C2. So it discharges through R3 allowing the inputs of gate "D" to be pulled down to ground, which in turn causes the output to switch to a high level. This is the "on” state of the switch. In case your clock must drive many touch switch circuits, there should be a buffer between the clock and the in­ puts to the switch circuits. This will reduce any interaction caused by the increased touch switch load on the clock circuit. Something else worth mentioning is that changes in clock frequency will cause corresponding changes in the sensitivity of the touch switch. That is, the higher the clock frequency the more sensitive the switch becomes, and vice versa. Fig. 2 shows a circuit which can be added to produce a differentiating cir ­ cuit that will provide pulse outputs. This is the circuit that would serve best as a "Magic Button" on a guitar, except Figure 3 that perhaps the RC pulse output section should be placed in whatever cabinetry houses the unit to be triggered, or somehow built into the end of the cord that will carry the trigger voltage from Are you thinking radio? Yeah that check out fig. 4. This chip serving the output of the touch switch to the would be neat, but if we 're going to do as a multiplexer will pass one of the receiving unit. If you're thinking about that let's just put the audio signal on the three output signals from the 4024 incorporating this line into the audio air too. And maybe a few effects, and clock frequency divider or the clock patch cord from your guitar, don't. The ...... No. Let's just keep output from ICGb, to the clock input of resulting snap, crackle, pop would be our dinky old patch cord so we can the MK50240 top octave generator. The more than you would be able to handle talk about touch switches. Besides, not lowest octave can be omitted without at any time of day ! It is too bad there everyone plays guitar! (Or do they? too great a loss. Selecting which channel has to be an extra cord running from Sometimes I wonder.) In fact one is activated is a function of the two your ax, which will no doubt hold some would expect that there are more key­ digit binary number applied to the folks in favor of the good old foot-switch board freaks reading this than guitar address inputs A 0 and A l. This num­ but I feel it's worth having an extra cord thrashers anyway. It would probably ber is a representation of the status of to tend in exchange for the extra control even be fair to say that a good number the touch pads since it is in fact com­ afforded by the touch switch. of those people are Oz owners. So, for posed of the voltages appearing at the those of you who presently fall in this category, as well as those of you who intend to join the club, here's a fun way to exploit the use of "Magic Buttons" on your Oz.

TOUCH SWITCH OCTAVE SELECTION FOR OZ

With three IC chips (two 4001 quad NOR gates and a 4052 dual four channel multiplexer), we can add a couple of "Magic Buttons" to Oz and have touch octave selection. Fig. 3 shows how the 4052 is incorporated into theOz octave selection circuitry so as to re­ place the 5 position rotary switch, S2. Figure 4 If you're not familiar with the 4052

POUPHONy September /October 1978 31 Figure 5

outputs of the two touch switch circuits. them in a third touch switch circuit, cuit into the address inputs of the Thus far we have described the action but we don't need another address bit multiplexer. The third switch is in 1/2 of the multiplexer. The other for the 4052. Maybe this third switch used to enable the counter. When half works in the same manner. The could serve as a trigger, second to and this switch is activated the output of two address inputs are common to both independent from the existing "key­ Touch 3 is switched high. IC 3 A in­ four channel multiplexer networks in board activated "trigger. Might be a verts this high state to a low. This the chip. That is, if the binary number handy thing to have if your Oz spends holds the one input of the clock buffer, 00 is presented to the address inputs , much of it's time as a pitch source for IC3D, at ground which enables the channel Y0 in the A section is connect­ a larger synthesizer system. Fig. 5 buffer to switch at the clock frequency. ed to the Za pin while channel Y0 in the shows how the circuitry looks with the IC3B and IC3C form a low frequency B section is connected to the Zb pin. third switch utilized as a trigger. clock which drives the counter circuitry. This B part of the multiplexer we can Another little goody that you may This, in turn, causes the automatic use to switch in the appropriate LED find interesting is shown in fig. 6 . arppegiation through 4 octaves of trans­ octave indicator for whatever octave The binary counter circuit can address position. The output of IC 3D is binary has been selected. So if you arrange the multiplexer so that neighboring bit 0 of the counter circuit and also the connections as shown in fig. 3, Oz octaves can be sequentially selected drives the Cp input of the flip flop. The will be in it's center or third octave automatically. This is a neat little flip flop divides the clock frequency by position when no "Magic Buttons" are cheater gadget because you can just two and output Ql is the second bit (bit 1) being touched. Under these conditions, hold a chord and do some fancy arpeg- of the two bit binary counter circuit. both touch switches will have low out­ giation by letting the counter run. This (By the way, there is an unused flip flop puts presenting a binary 00 to the two also gives us something else to do of this type on the Oz P. C. board. Half address inputs of the 4052, enabling with the third touch switch. Fig. 6 of IC1 is not committed and if you don't channel Y0. shows how the 4052 can be addressed mind cutting some foil and doing a little There are two gates left over in IC1. either by touch switches or the counter. point to point wiring, you can save your­ Waste is a drag. We ought to give Diodes are used to AND the outputs of self the cost of a 4013). Notice that the them something to do. We can use the touch switches and the counter cir­ first two touch switches are still func-

Steve Wood is Director of Technical Services at PAIA Electronics, In c., Oklahoma City.

32 POUPHONy September/October 1978 tional even when the counter is enabled Notes on the Recording of INTRODUCING so that they may be used in conjunction Synergy’s "CORDS” with the counter...... continued from page 8 When the third switch is released, it's inverted output at IC3A goes high 1975 Watercourse Way (Producer) pulling the input of TC3D high to dis­ Shadowfax able the switching action of this buffer Passport Records and hold it's output at ground. The 1975 Recycled Factory Representatives counter is stopped. This would be all Nektar that needed to be done except that we Passport PPS-9811 don't know whether the Q1 output of the Doug Slocum 1976 Sequencer 4013 will be high or low when we stop the Synthetic Sound Labs Synergy clock. In order to control address in­ 1 Gale Road Passport Records PPSD-98014 put A1 of the 4052 from the second Bricktown, NJ 08723 touch pad the Q1 output of the flip flop 1976 Peter Gabriel C201) 477-3319 must be low when the counter is not Atlantic SD36147 running. To insure that this is the case 1976 Dr. Buzzards Savannah Band the output of IC3A is also connected RCA Victor APL-1504 Gary Bannister to the "Cd" (clear direct) pin of the 4013. 1977 A Short Trip to Space 7208 New A ugusta R d When this line is high the Q1 output is Indianapolis, IN 46268 switched to ground regardless of other John Tropea T.K. MAR 2204 C317D 293 0 6 0 6 input status. With both outputs of the disabled counter at ground, diodes D3 1977/78 Cords and D4 serve to isolate the counter out­ Synergy puts so that the touch switches 1 and 2 Passport/Arista PD-6000 PAIA Factory Rep’s are people who have used PAIA equipment for years. Give them a can have complete control of the multi­ 1978 Peter Gabriel call, they’ll be happy to tell you all about plexer addressing. • Atlantic SD19181 PAIA gear and arrange for a demonstration.

POUPHOM September/October 1978 33 SPEECH SIDE

CARRIER SIDE

siO° Figure 1

analyzed and converted to a set of vary­ Intergalactic Touring Band used one ing control voltages which represent the throughout their recent album. Walter frequencies that the voice input is using Carlos "made" his own, which brings to express itself. us to the point here. Using synthesizer BY: Jeff Wurstner The bottom half of the diagram is modules, you can build a modular vocoder the "carrier" side ("synthesizer") of the for (at best) less than one tenth the price device, in which a signal from an inter­ of a commercial unit, depending on how nal VCO or from an external source is sophisticated you want to make yours. Have you ever heard of a "V ocoder"? passed through another series of band­ Store-bought vocoders are presently It is a device that enables you to impart pass filters tuned identically to the manufactured by: Bode Sound Company vocal inflections on a synthesizer (or analyzing filters. Ideally, several fil­ ( whose two models sell for $2995 and other) signal. It accomplishes this by ters timed one-half octave apart or less $4995), EMS, and Sennheiser. All are breaking down an incoming microphone would break the audio and voice signals very sophisticated units with access to signal into a series of frequency bands, into their components. This would allow no less than ten frequency fands of both and applying the strength of the signal individual access to a wide range of speech and carrier signals, and they at each band to another signal, at the harmonic structures and would allow offer a variety of other features. Bob same frequencies. In this way, much of reconstruction of the voice harmonics Moog's column in the May 1978 issue of the timbral characterization your mouth which are generally quite complex. Contemporary Keyboard fully explains and voice are capable of producing can The arrangement shown introduces these units and gives manufacturers' be used to "shape" the other signal, vocal "intonations" to the carrier by addresses. For the synthesizer hobbyist, which we will call the "ca rrier". placing the outputs from the envelope semi-professional or rising star these Figure 1 is a block diagram typical followers at the control voltage inputs prices are out of reach. of any commercially available vocoder. of the VCAs, whose audio inputs have the Thus, the modular vocoder, Of course, different manufacturers offer carrier side VCF outputs feeding them. designed with economy and versatility in different features, but the basic opera­ Other patching arrangements can be used mind. We'll outline a basic, no-frills tion is always the same. for special effects, however, we will approach, and offer suggestions as to The top half of the diagram com ­ stick with the basic application to begin how you can build an ultra-sophisticated prises the "speech side" ( "analyzer") with. system. of the device. This section separates Sounds great, doesn't it? And it's For a convenient point of reference the input signal into different frequency even better in action! You've probably PAIA module numbers were used, bands by passing it first through a series heard vocoder effects on records recent­ although sim ilar modules from any of bandpass filters. The outputs of these ly. Perhaps without knowing it! Alan manufacturer would work equally as filters are applied to envelope followers Parsons used one on "The Raven", Pink well. For a basic vocoder you will which use the signal content in each Floyd used one on their "Animals" album need; two - 4730 Multi-Modal VCFs, frequency band to generate a control to superimpose a barking/howling dog three - 2720-11 Envelope Followers, voltage proportional to the amount of over a string synthesizer, ELO used one 4720 VCO, three 2720-1 VCAs and audio activity in that band. Thus, at one to superimpose voice on thunder for one 4711 Mixer. If you total the cost this point, the voice input has been their "Out of the Blue" album, and the and tack on a wing cabinet to house the

34 PQUPHONy September/October 1978 modules, the cost comes to $270 which the three envelope followers to cover its run about $100 extra, but the intelligi­ is much less than you'd pay in any store. own frequency band. The control voltr- bility of the synthesized voice is in­ If you don't have a power supply to drive ages that interface the envelope follow­ creased with each additional frequency these modules, a 2720-7, at $24 should ers to the VC As should be taken from band used in the process...... Inter­ do the trick. That will still keep the the "envelope" outputs of the envelope change the VCF outputs, so some of price under $300 - a pretty good bargain. followers, however, envelope generators the original frequency bands in the Ready to start building? Good. You could also be triggered from a trigger speech input are now controlling differ­ can mount the modules any way you like, output of the envelope follower for ent frequency bands in the synthesized it's your system, but the configuration special effects and advanced voice signal...... Store control lines in a shown is designed to be somewhat logic­ synthesis experiments. sequencer...... Use a random volt­ al and to cut down on nerve-wracking The outputs of the carrier side VCF age to control one band of the synthesized patch cord traffic. This system will are applied to the audio inputs of the voice...... When you are using a fixed produce a "custom tailored" carrier VCAs; the envelope followers' outputs internal VCO for the basic voice signal, signal; however, if the carrier is to be are control voltages for the correspond­ use an envelope follower or generator a "ready-to-go" signal source provided ing (Lo, Wide, Hi) VCAs. The envel­ output at a very low level summed in by an external source ( synthesizer ope followers and envelope generators with the bias voltage you are using to patch, tape recorder, etc. ), the VCO have attenuators on them, so you can set the pitch of the "voice". This will can be eliminated with no pain, knocking mix and balance the synthesized speech cause the voice to deflect in pitch when $35 off the price. You can use any bands right at the envelope followers. triggered, giving the overall sound a signal, pre-processed or not, to drive That covers the basic operation. more "human" feeling with inflections, the VCF in the "synthesizer" section of Try starting with a harmonically rich accents, and so on. Also, try using a the vocoder. sawtooth wave as a carrier, and go bit of low frequency oscillation to add How will your vocoder work? The from there. Since this is a modular, some vibrato to the voice. miked speech signal enters the VCF, patchable system, the possibilities are Good luck -- the vocoder is an whose initial frequency should be tuned endless for expansion and advanced interesting and versatile device, ready­ to taste. If you have the resources, experimentation. made for the synthesist who isn't the use several VCFs, tuned to cover as .... Add two Low pass filters to hottest keyboard magician in town but many frequency bands throughout the both signal paths to further break down can get the sounds he/she wants from audio spectrum. The three outputs the speech and carrier signals. Of his/her voice. And imagine what the from the VCF are applied to the "L o", course, to do that you'll need another keyboard ace can do! "Wide", and "Hi" envelope followers as envelope follower, VC A, and more shown in figure 2. This causes each of mixing channels. This would probably ------•

Figure 2

PQUPHONy September /October 1978 35 PATCHES AQUATARKUS FROM THE ALBUM "TARKUS" by Emerson Lake & Palmer Keyboard; Anywhere sounds good. VCOs: Tune these to the chord C F G with narrow pulse. Later, try square wave for a "full"sound. Mixer: All 3 inputs equal amplitude. Filter: Low Pass output Mode: Track, "Q" at 50% ; Init. Freq. High at 75% AD SR 1: A - 5 to 10% D - 15% S - 10% R - 5 to 10% Var. Out: 75% AD SR 2; A - 0% D - 0% S - 100% R - 0% Submitted by: Robert Fly Jackson, TN

BLUE GRASS BANJO (VERY REALISTIC 5 STRING SOUND) Uses PAIA P4700/J IV Adjust D/A to low range, detune ~ VCOs just a pinch to get realistic 0 string sound. Use alternate tapping on M keys to get good blue grass sound or CV hit "C" chord (2nd C) and at same time ~ hit low "C" note (using both hands) 0 Also strum keys like you would if play­ M

CV _ r 0 M OUT IrCV 0 M CV

~ T O M C V ing with a pick to get a ukulele. VCF ~ £ _ is set on a low range with Init. Freq. and "Q" set to Max. 0 M C V I'm using (standard) settings for ~ r software ADSR parameters in MUS-1 at 3F/04/20/01. Also if you change 0 M Submitted by: percussive mode from 3F to BF (non- Jack Kingsley CV percussive) it sounds like old pump organ Portland, OR ~ T with some notes being just a little flat when chording. Sounds corny, but fun. 0 M

36 POUPHONy September/October 1978 3750 MAIN ROCK PATTERNS (bridges not included -use as melody patterns)

MAIN PATTERN 1 Prep. : Reset, program Main #1 data: AB, R, R, R, s , r , R, R, AB, R, B, R, s , R, R, R, AB, R, R, R, S, R, r , R, R, R, AB, R, s, R, S, s, AB, R, R, R, S, R, R, R, AB, R, B, R, S, R, R, R, AB, R, R, R, S, R, R, R, R, R, AB, R, S,' s , C O , CO,

Main #2 data: AB, R, R, R, S, R, R, R, AB,, R, AB, R, S, R, R, R, R, R, AB, R, S, R, S, R, R, R, AB, R, S, R, S, S, AB, R,, AB, R, S, R, c o , CO, AB, R, AB, R, S,, R , T, T, T, T, T, R, CO, CO, CO, R, T, CO, AB, R, CL., T, CO, T

Main #3 data: AB, R, R, R, S, R, R, R, AB, R, R, R, S, R, R, R, AB, R, AB, R, s, R, R, R, R, R, AB, R, R, R, S, R, AB, R, R, R, S, R, R, R, AB, R, R, R, S, R, CO, CO. AB, R, AB, R, S, R, R, R, R, R, AB, R, R, R, S, s ,

Main #4 data: AB, R, R, R, S, R, R, R, AB, R,, R,, R,, S, R, R, R, AB, R, AB, R, S, R, CO, T, AB, R, R, R, s, R, s, s, AB, R, CO, CO, S, R, T, T, AB, R, T, T, S, CO, T, R, T, T, T, T, CO, CO, CO, CO, S, s, S, s, CO, S, WB. S.

Each pattern requires 64 events.

Hit "Reset, Play" to play each program. No repeat required, due to use of the entire 64 event memory.

"Bridge" and "Score" switches may be changed during playback to move from one pattern to another.

— COMMENTS ------

DRUM PATCH BY: CRAIG ANDERTON

The drum abbreviations are a follows: AB - Accent Bass CO - Conga B - Bass CL - Clave S - Snare WB- Wood Block T - Tom Tom R - Rest Other programming steps are self-explanatory.

. more next issue POUPHOM September /October 1978 \ INDUSTRY NOTES ] ______T e l l them you saw it in POUPHOND

UPDATED KEYDOARD COMPUTER Power module kit. Designed to be used with their 2720 and 4700 series modular synthesizers, the double width module RMI announces the availability of will provide unregulated +18 volts, reg­ the new KC-H Keyboard Computer, an ulated positive and negative voltage which improved and easier to operate version are adjustable from 5 to 15 volts, and of their first Keyboard Computer releas­ two front panel accessable bias supplies ed in 1974. To aid the customer in un­ which can be trimmed to provide exactly derstanding the operation and features of 5 volts, positive and/or negative. The this new instrument, RMI has prepared 1 amp transformer provides enough two booklets entitled "KC-H Keyboard power to provide 200 mA per supply Computer: A Technical Explanation”, and line and still maintain stable operation. "KC-H Keyboard Computer: A Musical The 4771 will easily power a dual wing Explanation". The technical book des­ full of modules, or a fully populated cribes principles involved in digital keyboard/case system. The 4771 circuitry, digital -to-analog conversion, Regulated Power Supply Kit is priced waveform storage and reconstruction at $29. 95 plus shipping for 3 lbs. A ANALOG DIGITAL ASSOCIATES from memory, computer controlled freq­ fully assembled and tested version is INTRODUCE NEW PHASE SHIFTER uency multiplication and similar topics. also available and is priced at $39. 95. The musical booklet describes how the For more information contact: PAIA digital features relate to the musical Electronics, Inc., 1020 W. Wilshire A/DA has incorporated patented terms and features most musicians are B lvd., Oklahoma City, OK 73116. phase shift stages and a sweep modu­ familiar with from shopping for tradi­ lation scheme to achieve the ultimate in tional analog instruments. Additionally, phase shifting, the FINAL PHASE. RMI has prepared a demonstration album Fully adjustable sweep modulation which is available for $2. allows asymmetrical sweep patterns, Features of the new KC-H include modulated sweep and many other effects. twelve presets featuring the most popu­ Continuously variable Range and Inten­ lar of their card-programmable voices sity controls produce effects as subtle from the last several years, three in­ as rotating speakers or intense phasing dependent signal generator/processor that sounds like flanging. Overdrive systems for complex-multi-voice or footswitch introduces distortion to stereo output configurations, an enhance phasing or be used by itself. improved variable envelope control Final Phase is synthesizer com­ system, additional foot controls, and patible and may be triggered, swept the popular card reader for instant or modulated externally with a 0 to +5v. reprogramming of the voice capabilities control voltage. Optional A/DA Control of the instrument. Pedal A may be used to sweep the For more information, contact: DIMARZIO KEY MIX SYSTEM Final Phase to obtain Wah-phase effects. Rocky Mountain Instruments, Inc., A low noise FET input stage will Macungie, PA 18062. not load sensitive guitar pickups and The Key Mix System offers three assures clear, undamped high frequency distinctive functions: An accurate, low response. Low 3 milliamps current cost piano pick up, using three Acoustic consumption guarantees long battery Model Contact pickups, which are in­ life or an optional AC/DC converter is cluded; A mixing system for up to three available. Housed in a sand cast alum­ acoustic instruments; A deluxe pickup inum case with recessed knobs, the mixing system for the acoustic guitar­ A/DA Final Phase carries a one year ist wishing to utilize amplification to its fullest. warranty. Suggested retail prices: A/DA Final Phase $139. 95; Control The Key Mix unit features indi­ Pedal A $49. 95; AC/DC Converter $9. 95. vidual volume controls for each input, For more information contact: Sales as well as master volume, bass, and Dept. A/DA, 2316 Fourth St., Berkeley, treble controls. CA 94710. NEW REGULATED POWER SUPPLY For complete information, contact: PAIA Electronics announces the DiMarzio Pickups, Inc., 1388 Richmond availability of their new 4771 Regulated Terrace, Staten Island, NY 10310.

38 PQUPHONU September/October 1978 January 8 through February 2, 1979. Courses offered by BSEM range from introductory synthesis, electronics, and music theory, to intensive lab courses dealing with tape techniques, computer programming, psychoacoustics, composition, and performing ensemble groups. BSE M's teaching philosophy has always been based on extensive "hands-on" experience, and practical application of classroom material. The wide range of in-house equipment to back this philosophy includes: ARP 2600's, ROLAND POLYPHONIC SYNTHESIZER MiniMoogs, MicroMoogs, Oberheim, Roland Corp US is marketing a RMI, Aries, Polymoog, and Polyfusion computer controlled polyphonic synthesizers, two four channel and one synthesizer with 10 pre-sets and (8) eight channel recording studio (TEAC eight additional memory presets that 3340s and an 80-8) each with capabili­ can be programmed by the musician. ties for 1/2 track mixes onto Revoxes, The Jupiter 4 (JP-4) is a four- and a recently completed digital music voice variable synthesizer with a four- lab utilizing a TDL/ Digital Group Z-80 octave keyboard, bend/mod wheel, system with video and DEC writer com­ polyphonic portamento, four different munications. keyboard assign modes and pre-set/ For more information, and a memory. The 10 pre-sets include current catalog, contact: Boston School such commonly used keyboard synthe­ of Electronic Music, 28 Highgate Street, sizer sounds as strings, bass, voice, Allston, MA 02134. piano, trombone, sax ana trumpet, PORTABLE DRAWBAR ORGANS and less conventional sounds as funky AUDIO PITCH SHIFT MODULE clavi, synth and The Force. All 18 Music Technology Inc., distributors voices are instantly available while of Crumar Keyboards, have announced the A compact LSI m icroprocessor- playing. A memory protect switch addition of two portable organs, the T -l, based module for OEM's that shifts prevents erasure of programmed T-2 to their keyboard family. pitch in the voice audio spectrum is sounds. Both organs authentically recapture available from Lexicon, Inc. of The Jupiter 4 carries a suggested Waltham, Massachusetts. the classic tone wheel sound and feel of list of $2795.00. the Hammond B-3, but have been "m od­ The Lexicon Model 20, is an Unusual features include a special ernized" with a variety of innovative LSI-based pitch shift module that uses wide-range, multi-waveform LFO and a patented, digital "intelligent splicing" features. Examples are a completely an arpeggiator that arpeggiates variable synthesizer bass section, nine technique to provide speech time intervals in the order played: up, compression/expansion with noise free draw bars, independent percussion down, up and down, and randomly voicings, LED's and pitch bend. splicing. For all frequency components controlled. The VCFs are the 24 dB, The T -l features a 61 note key­ of the input, the module produces, in 4-pole type; they double as VCOs, and board, while the T-2 offers a double real time, a true multiplicative pitch they are controlled by the ADSR (regu­ manual version. Both organs are com ­ shift over the range of 0. 4 to 2. 0 times lar or inverted) Keyboard, arpeggiator, pletely portable (each weighs under 100 the input. It also has provisions for LFO and bend/mod wheel. lb s .) and come with individual carrying slaving the control of an external D. C. Roland points out that the single­ cases. motor to the selected pitch factor. panel control approach gives the Suggested list prices are: T -l Simple to use, the module requires only Jupiter 4 an accessibility and versa­ $1495; T-2 $2295. For more information D. C. voltage and audio input to function. tility not common in polyphonic contact Music Technology Inc., 105 Fifth Over its continuously adjustable synthesizers and also makes it a A ve., Garden City Park, NY 11040, X2. 0 to X0. 4 pitch shift range, the 3. 5" marvel in ease of performance and (516) 747-7890. X 5" Lexicon Model 20 provides a response. frequency response from 100 to 5000 Hz, For more information contact NEW COURSE LISTINGS +0/-3dB; a dynamic range greater than Roland Corp US, 2401 Saybrook A ve., 56 dB; and a total distortion and noise of Los Angeles, CA 90040, 213/685- The Boston School of Electronic 0. 6%. Operating on +12V @150 mA and 5141. Music has announced an expanded -12V @ 50 mA, it is ideal for use in curriculum for their 78-79 academic tape, disc and film sound reproducers IMPROVED MX-5050-B TWO- year. A new catalog is in the works, to provide off speed intelligibility, in CHANNEL RECORDER and interested readers should contact audio equipment for the entertainment them directly for more information. industry to produce special effects, and Recently released by Otari is a The Fall '78 semester started on in helium speech decoding. completely new version of its popular September 11, but the Spring semester For more information contact: MX-5050 series two channel profes­ starts February 5th, immediately Lexicon, Inc., Jack Letscher, Market­ sional recorder. The new model is called the MX-5050-B and sells at the following their intensive four week ing Manager, 60 Turner St., Waltham, Winter Session which runs from MA 02154...... continued on page 42

POUPHONy------— September/October 1978 39

\ PET-MUSE

Interfacing the Commodore PET

to PAIA Synthesizers

By: Russell Grokett, Jr.

Commodore has recently introduced ning programmers and is simple enough be done once at the beginning of the a new line of low-cost computer systems that even children can learn to write program). Then set the note with POKE for home users. Using over a quarter short programs. There are quite a few 59457, N (so the VCO can settle) then of a million transistors inside 70 ICs, books and magazine articles available trigger the flag with POKE 59457, N=64 the PET is probably one of the most on learning BASIC so F m not going into (sets flag #1 and keeps VCO at same note. complicated simple devices ever byj.lt the language itself here j only where it Hopefully, you have connected flag #1 to by man. Yet, even a child can operate applies to PET’s musical abilities. the ADSR trigger!). Then reset the it. Like PAIA, Commodore is making The output port on PET is soft­ trigger by POKE 59457, N (VCO still new technology available at a minimum ware accessible by the following BASIC holding). Then reset the note by POKE cost. commands: 59457, 0 and start all over again. NOTE: PET includes a keyboard, cassette The above does not take into account POKE 59459,255 (sets the in/out port recorder, and TV monitor all built into TIME . PET BASIC is a very fast to OUTPUT) one 44 lb. case. Like its forefathers, keyboardist, you have to slow things POKE 59457, N (sets the port DATA the Jolt and KIM, PET uses a 6502 down in order to hear them properly! lines to "1". N= a m icroprocessor. It has a 14K firmware Use the program in example #1 to play number (note) be­ system (including 8K BASIC, 4K opera­ a song (? ) with PET. ting system, IK machine language tween 0 and 255) MACHINE LANGUAGE monitor, and IK diagnostic routine) and If N=0 nothing comes out of the 8780 is available with either 4K or 8K of user D/A (rest). BASIC can play the 8780 fast but memory. For outside expansion, there IEN=1 to 63, a note is set on the output of is not nearly fast enough for a QuASH the 8780. are 4 plug-in connectors on the back (Quad Addressable Sample & Hold), so If N= 64, triggers flag #1. and side of PET, which include an IEEE- we switch to a lower level, but much 48 intelligent interface, a memory ex­ If N= 128, triggers flag #2. faster language called Assembly lan­ pansion connector, a second cassette guage. PET has the capability of run­ To play a note using the 8780 to interface, and an 8 bit parallel user ning both in BASIC and machine langu­ trigger a function generator and control port. It is the user port in which we will age in the same program by using the a VCO you first set the I/O to output USR and SYS commands. be most interested for interfacing PET using POKE 59459, 255 (this need only to PAIA. PAIA's Poly 1. 0 and MUSI should

HARDWARE INTERFACING PET PAIA PET/PAIA CONNECTIONS Simple! The PAIA 8780 Digital Parallel Port 8780 to Analog Converter module connects PIN easily to PET using a 12 and a 24 pin PET edge connector and a couple of feet of A GND 2nd cassette PAIA 10 conductor cable. The connectors are B CA1 interface 8780 available from most mail order houses C PA0 DO or can be fabricated by cutting a Radio D PA1 ■ D1 Pin Shack 44 pin connector into the proper E PA2 ■D2 I------RDY lengths. F PA3 ■ D3 A GND— J----- GND G PA4 -D4 B +5 — +5v CONTROL SOFTWARE H PA5 . D5 C Motor PET can talk in two "languages", I PA6 • D6 D Read BASIC ( the easier of the two to use) J PA7 . D7 E Write and machine (or Assembly) language. K CB2 F Sense BASIC is a high level language L GND designed to be learned quickly by begin-

4 0 PO U PH O N y- September/October 1978 / ------v be usable with some modification in PET plays infinite variety of "songs" (true since they were written in 6500 series computer music). Assembly Language. PET-MUSE - turns PET into a quality Jay Ellington Lee I am now in the process of con­ sequencer with over 500 note capability. verting them for PET and will cover Includes one classical song. the conversion in a future article. For “ Quality Music Systems” These and over 40 other PET pro­ now, BASIC is doing an exceptional job grams are available on cassette for in the performing arts. Definitely, the $2. 50 for the first program and $1. 50 ( ------'1 PAIA/PET combination is the way to go. for each additional program ($4. 00 * Bode Vocoder Listed below are descriptions of minimum order) postpaid from: three music programs available for PET LIBRARY the PET. c/o Russell Grokett 401 Monument Rd. #177 * Polyfusion - PET MUSE 1. 0 - designed for multi- Jacksonville, FL 32211 tracked sound effects. Send a SASE for a list of all programs Frequency Follower PET COMPOSER - PET composes and available.

* E-Mu Systems

EXAMPLE #1 * Ampersand Products 3 REM ** SIMPLE MUSE PROGRAM FOR PET ** 5 REM ** BY R. GROKETT 7/78 ** 10 POKE 59459,255 100 POKE 59457, N 110 POKE 59457, N+64 CUSTO/M DESIGN 120 FOR 1=1 TO 50: NEXT I 130 POKE 59457, N 140 N=N+1 of 150 FOR 1=1 TO 150: NEXT I 160 IF N 63 THEN N=0 Digital /Music Systems 170 GOTO 100 200 END over 4 0 lines Remove lines 120 and 150 to find out how fast PET-BASIC can play! available

“ Quality Music

MANUFACTURERS & INFO SOURCES Systems” Commodore Manufactures and sells 901 California Ave. PET 4K - $595 8K $795 V______J

Palo Alto, CA 94303 ^ i * ’ i

PET Users Notes Publishes excellent PET P. O. Box 371 info. $5/year- bi-monthly Jay Ellington Lee Montgomeryville, PA 18936

Rico Enterprises sells connectors needed 4517 Longridge Ave. 8J Lakeside Dr. for PET-PAIA connection. Ledyard, CT 06339 $6. 00 postpaid for both connectors. Sherman Oaks CA 91423 (213) 995-6869 ------

POUPHONa September/October 1978 41 HARDWARE REALIZATIONS FOR SYNTHESIS: Industry Notes The Voltage Controlled Analog D elay- .... continued from page 39 One of the new generation of devices that have extra long delays and cleaner sound. same price as the older machine, selective reproduce on all channels, front Voltage Controlled Phase-Filter — A Among these new features are: panel continuously adjustable bias and phase shifter and low pass filter in one mod­ Newly designed control circuitry record EQ, built-in 1 kHz test oscillator, ule; accurate exponential control and pro­ with TTL/IC logic for noise-free punch- quarter-track playback capability, built- grammable architecture. in and punch-out. in splicing block, and balanced 600 ohm The Digital Pattern Generator — For sequen­ 28 dBm maximum output to provide outputs as standard. cer control voltage subtleties, with some 24 db of headroom over the switchable Price of the MX-5050-B is $1795 unique properties. fixed output level of +4 dBm. (An alter­ complete with dc servo. The Frequency Divider — For those fat nate level of -10 dBm continues to be For full information contact Otari sounds - - plus frequency dependent event available as in the MX-5050, rear panel Corporation, 981 Industrial Road, San triggering. selectable ' Carlos, CA 94020. The Voltage Controlled Clock With Pro­ Capstan is driven by a dc servo grammable Event Arrangers — To main­ tain structure in complex sonic events. system that also provides —7% speed control during record and reproduce. If you're building your own synthesis equip­ Peak reading LED indicators (set ment or adding to commercial devices, one of our high-quality CMOS kits is just what you t o +10 VU, but also adjustable) are in­ need. All of them are designed to be compat­ corporated inside the standard VU ible with existing modular or prepatched meter housing. equipment. The Analog Delay and Phase- The record ready position is indi­ Filter make great effects boxes. For more cated by a pulsing LED. In addition, all information drop us a line along with a fifteen indicators are now LED's instead of cent stamp. We'd be glad to hear from you. lamps. Return to zero memory rewind BUHCET rVse'arc H feature, useful for locating selections 18405 OLD MONTE RIO RD. during mix down sessions. GUERNEVILLE, CA. Plug-in heads for ease of mainte­ 95446 nance and adjustment. All XLR connectors, line and micro­ phone in and out. Also, a 20 dB micro­ phone attenuator is included to accomo­ date high output condenser mikes. These new features are in addition to the standard MX-5050 series features such as front panel edit and cue controls,

Polyphony Reviews with Martenot accompaniment. Inter­ esting sounds from an obscure instru­ .... continued from page 19 ment. Side two is heavy on processing John Simonton’s time -proven of Montroses guitar work. Scattered throughout four songs is quite a bit of design provides two envelope that I realized that the recently transparent compression, clipping, echo, flanging generators VCA, VCO& VCF in Edgar Winter had done the production and and doubling, pre-echo and pre-reverb. a low cost, easy to use package. performed on many of the songs. He has The closing cut, "No Beginning/No End", Use alone with its built-in ribbon definitely had an influence on Montrose, starts with an extensive sound collage controller or modify to use with guitar, and adds some good touches to some electronic piano, poly tonic keyboards, etc. which fades into a processed acoustical already powerful material. '' Openers'', The perfect introduction to electronic guitar part. The transition is very music and best of all, the Gnome is only the intro orchestral piece, is a fairly smooth, considering the extensive change boring Hollywood-type fanfare for the $59.95 in easy to assemble kit form. Is it in styles. Overall, it is interesting to 1 any wonder why we’ve sold thousands? album, but offers some flanged orchestra hear Winters influences on Montrose and Theremin towards the end. Later J"( ) Send GNOME MICRO- SYNTHESIZER Kit"^ but Winter’ s work is still the basic | ($59.95 plus $2.00 postage) | on side one, "Mandolinia" starts off flashy bursts of technology which was I ( ) GNOME MICRO-SYNTHESIZER I with some heavy flanged sequencer bass I (Fully Assembled) $100.(K) plus $2 postage I characteristic of his synthesis with his work which pans from side to side through­ I ( ) Send FREE CATALOG own band. Better showmanship through j name:______i out the song. "Town Without Pity" is technology, or something like that. I probably the album1 s best example of J address:______J just thought some of you may be inter­ Montroses emotional masteiy of the | city:______state:_____ zip:______| ested in what Winters has been doing electric guitar — no flash here. "Leo during his absence from the pop charts. J BAC VISA_NIC____ cardno.______| Rising" offers some tasty classical l DEPT.y l I N H t 1020 W WILSHIRE, OKLAHOMA CITY. OK 73116 guitar work, which is later backed up

42 POUPHONU September/October 1978 A place for our readers to offer for sale or WANTED: Assembled Paia kits in good “Equipment Exchange trade equipment related to music and elect­ condition. Please write and list the ronics. Keep listings as brief as possible items you have, and your offer. Best and enclose $1. 00 for each listing. Persons responding to ads should write direct­ offers taken. Pte. Unger R. W. , 2 ly to the other party. DO NOT write to POLYPHONY. Polyphony is not responsible Field Ambulance, CFB Petawawa, for any claims made in ads or results of transactions. We reserve the right to re­ fuse or edit any ads submitted. Ontario, Canada K8H-2X3. For Sale: Tektronix T-922 portable For Sale: Synthesystems 8 in-4 out For Sale: All 2720 series modules in oscilloscope. 15 MHz, dual trace. mixer with EQ, 2 and 4 channel panning, custom case, most 4700's in road case, $700, including probes and manual. Bill 2 channel echo send and return. $250. 8700 keyboard with encoder. All in Boydstun, 2207 NW 20th, Okla. City, Dwight Gatwood, 161 Meadowbrook Dr. , good condition. Also, Synthaspin. OK 73107.______Please send SASE for more info and Martin, TN 38237. E-Z Way to keep Gnome and 2720 prices. Prefer to sell as package, but For Sale: EML 200, contains 2)VCOs, patches. Blank programming sheets. will deal. Brian Parks, 342 Highland LP and HP filters, reverb, electronic 100 for $7. 50. Send SASE and $1. 00 Ave. , Johnstown, PA 15902. switch, 6 in stereo mixer with pan pots, (refundable) for free sample. mic amp, 2) balanced modulators, For Sale: 2720-1, (3) -2A, -4, -3B, (Please specify Gnome or 2720) envelope generator, master (multi­ -3L, -5, -7, -11, -12, -14, 4710, 4711, Peter Dlugokencky, 9 Russet Lane, waveform) oscillator, noise source, 4740, (2) 4770, 4781, all in excellent Wantagh, NY 11793. and sample/hold. Lists at $950, now shape. Fully calibrated and tested. In For Sale or Trade: Gnome with ex­ asking $300. Synthetic Sound Labs, custom travel cabinet. Going to college, ternal input switching jack plus PO Box 668, Bricktown, NJ 08723, must sacrifice for $195. Call 609-625- 2-4018 and 2-4011 for "Super Gnome" Phone (201) 477-3319.______7141. Norm Nealy, 11 Rundle Ave. , circuits in Polyphony July '77. $40. LOOKING FOR: Bionic Sax (Polyphony Mays Landing, NJ 08330. Eico Alpha Brainwave Monitor $35. Nov. '77) or someone who'll build me For Sale: Paia 2720R plus 4710, 4760, Both fully assembled, working fine, one. I've built kits before, but don't -9, 4720, 4711 circuit board, plus include instructions, postage, etc. understand enough electronics to build lots of miscellaneous extra jacks, low Ron Minemier, 414-748-2793. from author's schematics. How much? cost AR generators, etc. All control For Sale: Paia 4700S with 2720-12, works Sid Berger, 3853 Deerrun Lane, voltage jacks converted to banana to specs. TEAC 3340S 4 track recorder Harvey, LA 70053. jacks. Only $300. Professionally with sync, still under transferrably war­ For Sale: 2720A, used little, some built and calibrated. Frank Waters, ranty. All equipment with original modules need work. $180. Bill Frank, 129 Canal St. , Apt. 210, San manuals, wish to sell together. $1500. Bonar Hall, Room 313, WLSC, West Rafael, CA 94901, Phone 415-457- K. McDonald, PO Box 1006, Sedona, AZ Liberty, West Virginia 26074.______1736. ______86336, 602-282-7479 evenings.______Subscribe to

For the people, the music, the instruments, and the ideas that make up the electronic music world. Featured in each issue are interviews with the most famous and the most obscure musicians, designers, and composers. You’ll also find performance and disc reviews, construction projects, technical articles and more. People involved in all aspects of synthesis have been reading Synapse for nearly two years. Send your subscription order to:Synapse, Subscription Dept. PM__ , 2829 Hyans Street. Los Angeles, California 90026 Find out what USA. All orders must be prepaid in US funds. you’ve been Name missing. Address City State/Country Zip If you live in the US: □ One year/six issues is $8.00. □ Two years/twelve issues is $14.00. □ One year/six issues by First Class Mail is $14.00. If you live outside the US: □ One year/six issues by surface mail is $10.00. □ Two years/twelve issues by surface mail is $18.00. □ One year/six issues by Air Mail is $20.00.

\ BliAP 4700/J POLYPHONIC...Of Course! SYNTHESIZER/COMPUTER

But that’s just the beginning, because only PAIA Synthesizer/Computers ----- ^ ( ^ Allow you to use any of a growing number of personality programs. SCORE EVENT TRANS REPT Including: V J POLY SEQUE - a 4 voice sequencer. PLAY POLYPHONIC COMPOSERS r STOP/ MUS 1.0 - a 16 voice polyphonic PINK TUNES- Composes 4 part harmonies CONT S1NGL synthesizer with software transient STEP PINK FREUD - Composes 4 part canons. V generators. J SPECIAL EFFECTS ------NORMAL SEQUENCERS SHAZAM - Multiple keyboard split and SEQUE 1. 0 - a general purpose mono­ chorusing. LOAD SAVE NORMAL tonic sequencer. AND MANY MORE COMING SOON! - T E IF 5 7 : D The P -4700/J Synthesizer/Computer package Intelligent Keyboard with 8700 Computer Controller includes the following module complement: two housed in sturdy vinyl covered road cases. 4710 Balanced Modulator VCAs, 4711 Stereo CLIK M E TR D O W N UP System firmware includes: PIE BUG - system mon­ Mixer, 4712 Reverb, three 4720 Wide Range VCOs, itor; POT- SHOT - cassette interface and MUS 1. 0 two 4730 Multi-Modal VCFs, 4740 ADSR Envelope synthesizer operating system. OPTION ------ZT" Generator, 2720-5 Control Oscillator/Noise Source, P-4700/J Synthesizer/Computer K it ...... $749. 00 8780 Digital to Analog Converter, 8781 QuASH SYNC METR T-SEQ CNCL (Quad Addressable Sample & Hold), and the 8782 Includes all listed software (shipped freight collect)

( ) Sounds intriguing, but I need a lot more information. Please send the most recent edition of your "Friendly Stories About Computers/Synthesizers"...... $3. 00 postpaid / ------A ( ) Please also send complete instruction manual set for the P -4 7 0 0 /J ...... $10. 00 REST (refundable upon purchase of P-4700/J Kit) ■ ( ) I've been with you all along. Please send complete P-4700/J Synthesizer/Computer Kit. L j ______J ...... $749. 00 ...... shipped freight c o llec t...... Typical control panel configuration Name;______

Address:

City:______State:______Zip:______^ I U ELECTRONICS. INC.

V isa/B A C ______Master Charge______Card N o.______0^V 1020 WEST WILSHIRE BLVD.

Expiration date:______OKLAHOMA CITY, OKLAHOMA 73116 B l i A ELECTRONICS DEPT.Y 1020 W. WILSHIRE BLVD.. OKLAHOMA CITY. OK 73116 (signature) ______(405) 8 4 3 - 9 6 2 6 ______