SYNTHESIZING STRINGS PRO-ONE REVIEW

CIRCUITS: VCO DELUXE

. 3 s , v P ® o^ e THE ULTIMATE KEYBOARD

The Prophet-10 is the most complete keyboard instrument available today. The Prophet is a true polyphonic programmable synthesizer with 10 complete voices and 2 manuals. Each 5 voice keyboard has its own programmer allowing two completely different sounds to be played simultaneously. All ten voices can also be played from one keyboard program. Each voice has 2 voltage controlled oscillators, a mixer, a four pole low pass filter, two ADSR envelope generators, a final VC A and independent modula­ tion capabilities.

The Prophet-10’s total capabilities are too The Prophet-10 has an optional polyphonic numerous to mention here, but some of the sequencer that can be installed when the Prophet features include: is ordered, or at a later date in the field. It fits * Assignable voice modes (normal, single, completely within the main unit and operates on double, alternate) the lower manual. Various features of the * Stereo and mono balanced and unbalanced sequencer are: outputs * Simplicity; just play normally & record ex­ * Pitch bend and modulation wheels actly what you play. * Polyphonic modulation section * 2500 note capability, and 6 memory banks. * Voice defeat system * Built-in micro-cassette deck for both se­ * Two assignable & programmable control quence and program storage. voltage pedals which can act on each man­ * Extensive editing & overdubbing facilities. ual independently * Exact timing can be programmed, and an * Three-band programmable equalization external clock can be used. * Program increment footswitch * Ability to change programs automatically in * Programmable volume control and a master the sequence. volume control * Transpose facilities for instant pitch * Octave transposition switches changes. * Upper & lower manual balance control * A-440 reference tone The Prophet-10 comes complete with a high quality flight case, two voltage pedals and two foot- switches. It’s now available; see your local dealer. Play the Prophet-10 today-It’s your ULTIMATE KEYBOARD.

For more information write to: SEQUENTIAL CIRCUITS, INC. 3051 North First Street Dept. K San Jose, California 95134 ------STAFF------CONTENTS PUBLISHER John S. Simonton, Jr. ISSN: 0163-4534 EDITOR Craig Anderton

MANAGING EDITOR Linda Kay Brumfield Volume 7, Number 3 November/December 1981 ART DIRECTOR/ PRODUCTION MGR. Cynthia Rueb

CIRCULATION Ramona French Peggy Walker FEATURES BOOKKEEPING The Sound Gizmo: The Pop Musicians Helen Chalos Very Portable Noisemaker by Andrew Gelt...... 22 PRINT PRODUCTION Kay Schwartz SEMCO Color Press Instrument Review: The Pro-One by Chuck Pogan...... 32 POLYPHONY (ISSN 0163-4534) is published bimonthly at 1020 W. Wilshire Blvd., Oklahoma City, OK 73116, by Polyphony Publishing Co. Entire contents copyright (c) 1981 by Polyphony Publishing Co. All rights reserved. No portion of this COLUMNS publication may be reproduced in any manner without written permission from the publisher. No patent lia b ility is Details: Series-Parallel/Sum-Difference assumed with respect to the use of the by Dennis Bohn...... 14 information contained herein. Second Class postage is paid at Oklahoma City, OK 73125. Applied Synthesis: Strings ADVERTISING rate card and deadline by Bill Rhodes...... 18 schedule is available upon request. Contact Linda Brumfield at (405) 842-5480. Interview: Dave Rossum DEALERS & DISTRIBUTORS bulk prices are available upon request. Contact Linda by Jay Lee...... 23 Brumfield at (405) 842-5480. SUBSCRIPTION rates: American 1 year $12.00 On Location: New York City, 2 years $22.00 Foreign 1 year $14.00 The 70th AES Convention 2 years $26.00 by Karen Petersen...... 26 We now___ accept____MasterCharge and Visa payment for subscriptions, back issues, ana PolyMart items. Foreign payments must be by charge card, money order, or Practical Circuitry: VCO Deluxe certified check in US funds drawn on a US bank. by Thomas Henry...... 28 BACK ISSUES are available at $2.50 each ppd. Send SASE and request our 'Back Issue List' for a complete index of issues and their features, or see the back issue ad in this issue. REGULARS CHANGE OF ADDRESS notifications must include your former address and zip code, and any numbers from the mailing Editor's Note...... 4 label, as well as your new address. When you move, be sure to notify your Letters...... 6 post office that you DO want second class and controlled circulation ublications forwarded. This w ill save Review...... 10 fost or returned issues. Polyphony is not responsible for replacement of lost or returned issues when we have not been Equipment Exchange...... 36 supplied# with change of address information. Advertiser * s Index...... 36

TO POSTMASTER, send address changes to: POLYPHONY PO Box 20305 Oklahoma City, OK 73156 Ph. (405) 842-5480

pcuPHOfyy November/ December 1981 3 I talked to several people who had set up local independent distribution, specifically designed tp get the right kind of people and the right kind of music together. I was surprised when one indepen­ dent distributor mentioned that he specialized in "electronic music, free jazz, and blues" records. What do these forms of music have in common? Argua­ bly, not very much. But the people making these records have a lot in common. These are the self- reliant folks, the ones who don't roll over and play dead when the major labels don't return their calls (or their cassettes). They recognize that driving a limo doesn't make for better music, that record company parties where everybody gets smashed doesn't make for better music, that full page ads in the music trades don't make for better music. In fact, a $20,000 synthesizer isn't going to make better music than a $1,000 synthesizer...it's the musician, and the musician alone, who determines whether the I just got back from the 70th AES show in New music w ill be good or not. York. No, I'm not going to t e ll you about a ll the The beneficial effect of marketing your own fabulous new toys; what impressed me most about the music is incalculable. For one thing, you're gen­ show was the many musicians I talked to. If they're erally freed of the legal hassles, producer hassles, representative of where musical electronics is and will-it-get-airplay-and-does-it-last-less-than- going, we're in good shape. In fact, we may even be 3-minutes hassles that can sap your artistic v ita li­ on the threshold of something very exciting. ty. Sure, it's hard work to pound the pavement and The biggest change I fe lt was an openness, a bug the local DJs, but it's work that needs to be "we're all in this together" attitude that contrasts done and no one is going to do it for you. In ter­ sharply with the "I have a bigger synthesizer than estingly, I have yet to meet a musician who has put you do" attitude so often evidenced in the past. out a self-produced record that didn't eventually Perhaps as musicians, we allowed ourselves to become break even...which is more than the big labels can seduced by technology; people now seem much less say. I've seen far too many musicians lose their interested in what kind of instrument you play, soul as they saw control over their music slip away preferring instead to analyze the music. from them. The do-it-yourselfer doesn't have that Maybe this emphasis on music is due to our problem. being comfortable with the technology. I'm sure Another beneficial effect is the feeling of co­ when you heard your first synthesizer record, your operation this whole situation creates. When I reaction - like mine - was "how do they do that?!?" mentioned that I would be releasing an album soon, But after you've heard your 100th synthesizer re­ people willingly offered me advice, turned me on to cord, you know how they do that and now the concern radio stations that play independent music, and the becomes "is this good music?" That's a healthy like. I think people rea lize that the success of sign. In essence, the novelty has worn off, and now ANY self-made music helps us all. Some independents we can see musical electronics for what it is: An have said to me that they feel like they've been additional set of tools for musical expression. beating their heads against a brick wall in trying Perhaps some of the co-operative attitude was to get their music marketed. Well, I think so many also spawned by the lack of public acceptance of of us have beaten our heads against the wall that electronic music. While some people s till believe some real cracks are showing, and several musicians that the public is dense and doesn't "appreciate" have even punched a hole in the wall and come out what we're doing, the fact is that various pieces of the other side. electronic music have reached people emotionally The future? Simple. Major record labels have over the years (through movie soundtracks as well as proven that they are incapable of identifying, records). So, we know that public acceptance analyzing, and cap italizin g on trends. Boston's possible. The bottleneck appears to be distribution first album sold 8 million copies, and yet it almost - matching the right records with the right audi­ didn't get released; the most successful Peter ence. Most record companies simply don't know how Gabriel album so far was the one judged as having to market music that doesn't fit into easily defina­ the least commercial potential by his label; and ble categories (rock/jazz/folk/classical), which there are plenty of other examples. I can easily indeed presents a marketing problem. picture a time when it's the do-it-yourselfers who Once musicians came to grips with this problem are generating the talent, with the major labels and realized they weren't going to be signed by the principally serving as distributors, which seems to "biggies" (possibly a blessing in disguise, but be what they do best. I also see the independents that's another story), they dealt with the situation virtually taking over the market on albums selling in a variety of ways. They pressed their own al­ 100,000 copies or less, a market which the majors bums, and did their own marketing. They made the have more or less written off. required "trillions of calls", as Bill Rhodes said a We may be on the threshold of something very couple of issues ago, to record stores and radio exciting. Keep your eyes on these pages in the stations. months ahead. M

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rouPHONy November/December 1981 5 couple of pennies per copy. LETTERS The device might seem over­ priced but I think it's worth it. It's available for $69.96 from: TAPE TOY TIP sounds on tape caused a time prob­ lem in indexing and retrieving, VOXCOM I've come across an extremely which made that alternative im­ PO Box 2520 helpful device - one of those that practical . Peachtree City, GA 30269 makes you wonder how you ever got Well, you've probably guessed 404-487-7575 along without it. It's called the what I did. With a piece of mag­ VOXCOM photo recorder, and its netic tape on the index card, each advertised purpose is to record patch has a 10 second (longer i f The modification for computer sound on photographs via s e lf- larger cards are used) sample of input is $17.80 and rolled tape sticking magnetic tape (or magne­ the patch. When I am looking for costs $12.50 for three rolls (180 tic tape tabs recorded when the a particular sound or effect, I inches per tape r o ll), or $2.95 picture is taken). find the category in my index file per r o ll from Edmund S cien tific I've found this very useful and run a few cards through the (Edmund also sells the recorder, when f ilin g patches. For some photo recorder until I find what I but for $89.95). time now I've been filin g patches need. for my P-4700/J, and a ll its nu­ Another application is with Mike Bailey merous modifications, on index computer software. Cassette in­ Creative Rediffusions cards. I had the cards printed terface has always been a time Panama City Beach, FL with a graphic representation of consuming problem to me - not so the front of my fiv e road cases. much the actual loading time, but When I find a useful patch, I draw the cueing time for multiple pro­ Mike - Thanks for the tip. in the patch placement and control grams on one cassette - and put­ For yet another use, how about knob settings. The problem has ting each program on a separate storage of special effects, sound always been describing the sound cassette creates a cost problem. effects, and the like for theater well enough in words so that three Recording the program on index or film projects? months later I would know what I cards using the magnetic strip is was talking about. Recording the much faster, and only costs a ------_qa

REVIEWER REVIEWED

In the July/August issue re­ TL061CP .. a .72 RETICON SSM ------view section, my name was men­ TL062CP .. a .99 ANALOG DELAY Solid State Micro-Technology TL064CN .. d .1.95 ‘ (TIGHT SPEC IC’s) tioned in reference to a recording TL071CP .. a . .54 SAD-1024A..16.50 2000 VCA...... 7.50 2040 VCF...... 7.50 by Randall McClellan. The context 2010 VCA...... 7.50 2044 VCF...... 5.75 TL072CP .. a . .96 SAD-4096....31.00 in which it was used was entirely 2020 VCA...... 7.50 2050 VCTG...... 7.50 TL074CN .. d the opinion of the reviewer, and .1.89 TSR-Q81 ... 3.30 2030 VCO...... 7.50 2055 VCTG...... 6.50 NE555P...a . .39 Tel Labs Temp. Sensing Resistor 2033 VCO...... 10.00 2056 VCTG...... 5.75 definitely not mine. To critique NE570N... e .... 3.50 a composer's very early works ten SN76477 ... 2.48 SSM DATA for all devices, 30 pgs. 1.00 (Free with SSM order) NE571N... e .... 2.60 Complex Sound Generator (with data) SSM application notes, projects, ideas, etc 54 pages. 2.00 years later, in the manner of NE572N... e ... 4.95 MK50240 ... 5.47 comparison to a (then) future UA741CP .... a ....29 Top Octive Generator (with data) OSBORNE/McGraw-Hill BOOKS student, is of questionable bene­ RC1556NB . a .... 1.48 An Introduction to Microcomputers fit. MC1556G ... r .... 1.48 CLM6000 Opto-lsolator 2.35 Volume 0: The Beginners Book...... BK268, $4.95 a In general, I enjoy Polyphony CA3080E ...... 94 RESISTORS 'U watt, 5% An Introduction to Microcomputers CA3280G .... e .... 1.98 All EIA values available. Volume 1: Basic Concepts...... BK349, $12.99 very much, including the reviews. XR4136CP . o.... 1.10 100 same value 1.50 A P P LE II™ User’s Guide...... BK462, $15.00 Thanks for your continued support XR4739CP . d .... 1.19 50 same value .98 PET™/CBM™ Personal of independent musicians. 25 same value .75 Computer Guide (2nd edition)...... BK306, $15.00 Cases: A =8 pin IC 10 same value .40 Your Atari® Computer: A Guide D=14 pin IC, E=16 pin IC 5 same value .25 to Atari® 400/800™ Computers...... BK659, $15.00 Michael William Gilbert K=28 pin IC,R= 8 pin Can 10 ea of 10 values (100) 3.00 PET™ Fun and Gam es...... BK705, $10.00 Amherst, MA We also offer data sheets 10 ea of 20 values (200) 5.75 6502 Assembly Language Subroutines...... BK594, $12.99 Call or write for flyer! 50 ea of 20 values (1000) 16.00 6502 Assembly Language Programming ....BK276, $16.99 6800 Assembly Language Programming ....BK128, $15.99 Switching Jacks Stereo phone jacks (enclosed type) that contain an independent Z80 Assembly Language Programming...... BK217, $16.99 switching system that is controlled by the insertion of the plug. Jack PJ301 contains the 8080A/8085 Assembly Language equivalent of a DPST switch and PJ302 contains an DPDT switch. PJ301 - .90 Programming...... B K 101, $15.99 Michael - Your point is well H*if! Use these jacks for turning bipolar supplies on and off! PJ302 -1.00 ADDITIONAL SHIPPING- $1.50 per book taken. However, I think that Robert was trying to be construc­ For our complete line and more information- Send For Our Free Flyer! tive in his criticism, and simply

TERMS: CHECK, MONEY ORDER, MASTERCARD, VISA. No minimum on check or money orders, but if less than $10, ADD .75 PROCESSING CHARGE. pointed to your works as an exam­ $10 MINIMUM on charge orders (Mastercard and Visa). Give card number and exp. date. Indiana residents add state sales tax. ple of what he meant. He certain­ SHIPPING and Handling: $1.00 plus 5% ot purchase. We will credit any amount over our standard rate. (NOTE: See Shipping Notice Above for Books) ly did not mean to imply that you SATISFACTION GUARANTEED! MONEY BACK IF NOT SATISFIED! Prices and availability subject to change without notice. Not responsible for typos. shared his views. In any event, 24 Hr Order/Message Phone ELECTRONICS P.0. BOX 735-C thanks for w riting and giving us 812 894-2839 TERRE HAUTE, IN 47808 an opportunity to clear up any possible misunderstandings. ------

6 P0LUPH0NU November/December MORE REMCO COMMENTS PATCHES? did your own a rtic le in the Sep- tember/October issue. Rather than I was happy to see so many One comment I have about giving specific turn-these-knobs- small electronic instruments re­ Polyphony in general is that I've this-way patches for specific syn­ viewed in the March/April issue as been noticing the "Patches" sec­ thesizers, these articles have I need one. While reading the tion getting smaller and smaller presented a more "background" ap­ description of REMCO's FX machine, over the months. Is the problem proach that w ill (hopefully) allow though, I noticed an apparent simply a lack of patch contribu­ musicians to patch creatively. similarity (control names, func­ tions from the readers or is it It's like the old saying, "give a tions, internal patching, etc.) something else? I enjoy this man a fish and he'll be fed for a between the FX and the SN76477 section very much and would like day, but teach a man to fish and (see Thomas Henry's recent columns to see it grow. I have loads of he'll never be hungry again". for more information about this patches that I could submit, but If you have loads of patches, chip - Ed.) It seems more than i f the magazine doesn't want this perhaps’ you could wrap an article remotely possible that the 76477 sort of thing anymore, I won't around them (as you did with the is the heart of the FX. I can't send them in. Let me know, OK? "Psycho-Acoustic Experiments" ar­ be 100% sure of this since I have ticle) so that whether the reader never used or taken apart an FX, Charles J. Lauria has a minimoog, Pro-1, 2600, or but i f someone out there with an Towaco, NJ PAIA 4700 they'll be able to put FX could check this out, that your information to good use. How might open up many possible modi­ about it, readers? Is this a good fications to make the unit even Charles - Actually, there are approach, or would you rather have better. probably as many patches as ever, patches oriented towards specific just that the packaging is a lit ­ machines? Let us know your feel­ tle d ifferen t. For example, Jim ings and w e'll do the best we can Dave Wilson Aikin's a rtic le in the May/June to keep everybody happy. The Cheerleaders Corp. and July/August issues had a Fairfield, CT wealth of patching information, as ------

GIL TRYTHALL'S In the March/April issue LUXIKON II / ECHOSPACE (0605) the name of Rare But Fair Tape Service was inadvertently MULTl-TFXTURLD AND UNIQUE.” omitted, and the description of Robert Girihurg in POLYPHONY their service was listed under IJGHTNING QUICK KEYBOARD IMPROVISATIONS" James E. Pinch in SYNE Passport Imports. RBF is at 7514 SYNTHESIST TO KEEP AN EAR OUT TOR. W. Indianola, phoenix, AZ 85033 - /.on Vern Pyles in SYNF.X tel 602-247-1778 and they are the REALLY BEAUTIFUL SEGMENTS” tape distributor. Passport is Jim Aikin in CONTEMPORAR Y KEYBOARD another record distributor. NOW Gil's “ SW ITCHED ON N A SH V ILLE " is back! Twelve fully synthesized classics. In the July/August issue (0701), page 24, figure 3, the unlabelled resistor at pin 7 is rajMTnvinaoG the one that's supposed to be removed according to instructions ■' i ;; given in the text.

Also in the July/August issue, page 12, "Tube Tip", after "...paid is some crossover distor­ tion" add the following: "First, check if there is any connection using pin 1 of the output tube m e, HI. Y RECOMMENDED ' sockets as a tie point. If any, Tom Rhea in CONTEMPORARY KEYBOARD lift. Then bridge pin 1 and pin 8 LU X IKO N II / ECHOSPACE $7.95 postpaid with a short piece of wire, or CO U N TR Y MOOG $7.95 postpaid better yet, with a 1 Ohm, half BOTH ALBUMS FOR O NLY $12.96 postpaid. Watt resistor." PANDORA P. O. BOX 2281 Please make these corrections in your issues WESTOVER, WV 26505

POUPHONU November/December 1981 7 PORTASTUDIO.

LEARN ON IT. REHEARSE ON IT. CREATE ON IT.

8 POUPHONy------November/December Portastudio gives every signal can be metered. you all the essential Coming or going. functions o f multitrack TEAC engineers created a recording in one com­ totally unique format for Porta­ pact, self-contained unit. studio. Four tracks in sync on You can work cassette tape at 3-3/4 ips. It’s anywhere you have an fast, simple, reliable and electrical outlet. Con­ economical. nect electronic instru­ Portastudio s drive system ments directly And try is built specifically for the rug­ out new musical ged needs o f multitrack record­ ideas. Will a keyboard ing. Transport controls are all work well in the solenoid-operated for faster, break? Do you want a easier switching. And you get a chorus behind the built-in variable speed control vocal? With Porta­ that lets you add special effects, studio, you can find out fix a flat note or solve timing before you put out hard and cueing problems. cash for studio time. You can work with Porta­ Whether you’re studio using nothing more than recording basic tracks, headphones and a microphone. overdubbing, punching- Or send the output through your in or mixing down to home audio system. You’ll also another cassette deck, find the patch points and con­ Portastudio helps you trols that let you use Portastudio get all the signals to the right places. with other equipment like echo units, Portastudio s versatile 4 x 2 equalizers and additional mixers. mixer section gives you mic/line/tape ^ P H O N E S A U X O U T L IN E O U T A U X IN TAPE AUX switching, trim control, high and low R L R . L R L CUE SEND o EQ, fader, pan and Aux Send for each 0 o o © jCl^ .. d o o input. The failsafe group switching matrix lets you record on up to two Nothing else in the world hands tracks at the same time. And the mas­ you so much multitrack function in ter fader gives you overall level con­ such a sensible w ay So see your dealer trol during recording and mixdown. today for a demonstration of the very The full-logic cue system in affordable Portastudio. Eortastudio lets you hear everything you’re doing all the time. Input and tape cueing, monitoring for recording TASCAM SERIES^ or m ixdown are all available. And TEAC Professional Products

© 1980 TEAC Corporation of America, 7733 Telegraph Road, Montebello, CA 90640.

POUPHOM November/ December 9

f a t i o n s . 2 t f m & u j f m

• by Robert Carlberg Jean-Michel Jarre Magnet ng on re a lly memorable musical moments (Polydor 1-6325). Like Jarre's around him, but also his willing­ for me, but Lustwandel has a num­ two previous solo albums, Magnetic ness as an a rtis t to keep moving. ber of very nice moments. It's as Fields consists of two long suites I admire that. i f Roedelius is te llin g us "Look, combining several shorter pieces. elaborate sound is secondary, the Like his previous albums he builds Hans-Joachim Roedelius Lustwandel music is the reason why we're up lush, hummable melodies using (Sky 058). Having fin a lly com­ here". string-synthesizer like voices. pleted the housecleaning represen­ Unlike his other discs, though, ted by his Selfportrait series, Borbetomagus Borbetonagus Magnetic Fields builds these tunes Roedelius once again gets down to (Agaric 1980). First o ff, I don't on a base of electronic percus­ some new composing. Happily, the like this record. I can try to be sion. interlude seems to have been used as fair as I want, but chances are Probably this is the influ­ to advantage. you'll know I don't like it any­ ence of the new wave/electrobeat As on Cluster's Grosses Was- way. There's just no way to re­ artists such as John Foxx, Gary ser, Roedelius once again seems to view it without spilling the beans Numan, Joy Division, Orchestral be exploring the textural possibi­ - but maybe that's a reason to Manoevres, Duran Duran, Spandau lities of standard instrument review it. Ballet, etc. But despite this new voices. Close-miked piano and Borbetomagus is a 4-piece element lending a somewhat harder percussion are common enough, but band: two reedmen, electric gui­ edge to his music, Jarre s t i l l today direct-into-the-board Mello- tar, and "electronics". The elec­ retains much of his lyrical, Ro­ tron, Clavinet, and string ensem­ tronics sound like a Buchla, but mantic quality. ble sound almost revolutionary. it really doesn't matter because There is another change in This technique encourages the lis ­ there isn't much room to hear the Magnetic F ield s, too. Equinox, tener to hear these instruments as electronics. You see, everyone is Jarre's previous album, opened self-entities, as instruments in feeding back and overdriven at side two with a clap of thunder their own rights and not neces­ 100% distortion, so you have to and featured a thunderstorm on the sarily imitative of anything else. listen very carefully to hear what last track. Magnetic Fields puts In fact, the whole electronic is electronic and what is simply much more emphasis on this inter­ music fie ld seems to be growing distorted beyond recognition. est in Musique Concrete, with out of the imitative stage - but I don't know what they did to subway trains, voices, lots of that's another discussion for an­ the saxophones - either played mechanical and water noises, and other time. them very close into a cheap mic­ vocoder all used to effect. These Lustwandel is sparse, with rophone or processed them through occur not only in the segues be­ just these few unprocessed instru­ the electronics - but they don't tween tracks, but also sometimes ments (plus synthesizer) playing sound very comfortable. Raspy, in the middle of a track, when the against each other. Where percus­ raucous, raped and very rude, but instruments drop the melody, "get sion occurs it is occasional, not not "lik e a dry martini". The weird", and the effects float in. regular. Roedelius' composing, as guitar mostly sounds like Hendrix Jarre, who has always been the it often does, consists mostly of burning his Strat at Monterey, and synthesist for non-electronic mu­ one instrument gently improvising the elec tronics...well, it's hard sic fans, takes a bold step - the over a repeated phrase on another to te ll. AM radio housewives w ill probably instrument, with a third adding Taking a step outwards from like this album less (indeed, if "color". In fact, with piano the instruments being used, let me i t gets a ir p la y ), but diehard being the dominant voice, it is try to describe the music. All synthesists are sure to like it easy to view Lustwandel as a suite tracks appear to be made up on the more than his previous discs. To of small chamber pieces for key­ spot - there is no discernable top it o ff, with a ll the hard boards, of which synthesizer just organization to the tracks, and no sounds this is the best recorded happens to be one. discernible interrelation between Jarre disc to date. The sparseness and naked to­ the instruments...except possibly I find Magnetic Fields parti­ nalities leave Roedelius' compo­ processing (see above). There are cularly gratifyin g because Jarre sing as the only focal point, and limited notes used, mostly two has carefully integrated new ele­ luckily the material holds up. (rapidly alternating), except when ments into his already successful Grosses Wasser, which was in many the reed players accidentally formula. This proves not only his ways sim ilar, included too few lapse into octaves, giving them- 10 rouPHONy November/ December 1981 Strings

* 1* § m # * ¥ w w ■i-li * ' • TRILOGY

Crumar's Trilogy combines polyphonic synthesizer, orchestral strings, and cathedral organ in one instru­ ment, then lets you combine them in any proportion for limitless creative potentials. Just as the primary colors are combined by the artist to produce all the textures we see, the Ttilogy allows you to combine the primary sounds to produce all the textures you’ll want to hear and perform. THE TRILOGY LETS YOU MIX OUND LIKE COLOR TO CREATE A MUSICAL MASTERPIECE.

POLYPHONIC SYNTHESIZER Special Keyboard Control Feature For years, synthesists have pointed out the advan­ WITH 8 PRESETS tages of single and multiple triggering. The Trilogy is the The Trilogy combines the power of a fully polyphonic only synthesizer that lets you choose several triggering synthesizer with the performance features of the modes at the same time, each assigned to a different world’s best lead line synthesizers, the result of its musical effect. For example, multi-triggering can be Unique Circuitry. Six separate, 24 dB lowpass filters, six used so that each key resets the delayed entry of vibra­ independent, 4 parameter envelope generators, and six tos and filter sweeps from the LFO. It's like having a high performance VCA’s span the keyboard, controlling delayed vibrato on each key. Very musical! the two independent oscillators and convincing you at least six lead line synthesizers are all playing at the same ORCHESTRAL STRINGS The general consensus throughout the music industry is that the Crumar Performer and Orchestrator produce the finest string sounds on the market. This same technology is used in the Trilogy. There are two selectable footages, 8' and 16', and separate volume, timbre, attack and release controls. CATHEDRAL ORGAN Anyone who’s kept current on the music scene has obviously noticed the resurgence of the organ as a prime component. That’s why we incorporated a tradi­ Unlike many polyphonic synthesizers that limit you to tional pipe organ 4 or 5 keys, you’re not limited to even the six we just sound into the Trilogy mentioned. Lay 10 fingers across the keyboard and all 10 % " = = ; as a separate feature. keys will sound! There are four differ­ ^ k m r \ A A A A ent footages, and a Oscillator/Pitch Control Network Sawtooth volume control for the The oscillators can produce sawtooth, square and section. The four footages can actually be combined to mixed waveforms, be tuned to a unison or perfect fifth, generate different waveforms. Each footage is a square or be detuned to anything in the middle. You can even wave. When these squarewaves are mixed in the right see the degree of detuning with the LED tuning indica­ proportion, new waveforms are produced. This gives tor, so you can tune by sight, on stage, before you even you an array of possible sonic foundations upon which play a note. you can add strings and polyphonic synthesizer. Preset Selection OUTPUTS: AN EXPANDED REAR PANEL On the back of the Trilogy, you'll find separate out­ □ □ □ □ □ □ a □ puts for polyphonic synthesizer, organ, strings, and a Variable 2 3 a s e 7 s special one called Signal Out, designed for connection to any effects or process­ The Trilogy's Presets utilize one variable to let you ing devices. Collectively, explore your own sounds, and seven of what we con­ these outputs offer the sider the most popular synthesizer sounds, from acous­ musician maximum flexi­ tic piano to polyphonic brass to synthesizer variations. bility for setup (Stereo or After familiarizing yourself with the Trilogy’s variable Quad systems), with the mode, you may want to create your own presets. See added ability to have individual equalization and signal your Crumar dealer for details on re-programming. processing per output.

See your local Crumar dealer or write to: Music Technology, Inc., 105 Fifth Ave., Garden City Park, N.Y. 11040 could name "dreamy metal beat" or rre -v ie w "new wave academic". Whatever name you give it , it would be an selves away. interesting effort if only for the Inside the record cover was fact that it's not easily classi­ (as i f in explanation) a favorable fied. The fascinating sounds (and review from Cadence magazine, but eye-popping hot pink and lime- I confess I couldn't have assem­ green cover) are an unexpected bled this disc from that recipe. bonus. I have successfully "gotten into" some free jazz before, but there's Ixna Mi Ne Parolas/lxna Portal just nothing here on which to hang Exo (Dumb PJ101). This is a my hat. I w ill admit that this s in g le sung in Esperanto (the disc afforded me several minutes "universal language" that never of entertainment in trying to quite caught on) on side one and a figure out exactly what was being made-up language on side two. It played for this review, but I was proves once again that lyrics are also nagged with the question of rarely heard for their meaning, WHY they did it. Perhaps I missed and do not suffer at a ll from the point of the music, or perhaps being essentially meaningless there isn't any, but my gut reac­ (most are anyway). tion is that this emperor's disha­ The imagination displayed in bille. the lyrics carries over into the music, too. "Mi Ne Parolas" is Asmus Tietchens B i o t o p (Sky given sort of a surf-song treat­ 057). Then there are the records ment, with atyp ically ponderous that you ultimately like, but for FOR A COMPLETE SET OF DATA drum line supporting a bass, gui­ SHEETS ON THE COMPREHENSIVE reasons which are difficu lt to pin tar, and synthesizer (or is it LINE OF SERGE SYNTHESIZER down. Biotop is not a ground­ double-speed guitar?). At the MODULES SEND $3 TO: breaking album, not even an unusu­ center of the song, where Jan & ally intelligent one. But there's Dean or the brothers Wilson would Serge Modular Music Systems something about the spirit behind insert a guitar solo, Ixna have 572 Haight Street it. collaged multiple tracks of the San Francisco, CA 94117 Biotop consists of 16 ap­ immediately-identifiable guitar (415)621 6898 proximately two-and-a-half minute opening of the surfer's anthem, instrumentals. Helping out Tiet­ "Surfing USA". Far from being a chens (on "elektronik") are three parody or venomous putdown, "Mi Ne other synthesists, a rhythm box Parolas" is an affectionate tri­ operator, a flanger operator and a bute, capturing a ll of the fun- ring modulator operator. Perhaps loving innocence of surf-music in consequently, all of the sounds on a modern package. With lyrics to the album - and there are a great match. number - are unique. Some are The flip side, "Ixna Portal positively brilliant, especially a Exo", is supposed to be in a lot of the electronic percussion "counterfeit language", but with which sounds like no acoustic lines like "Cookie frei bin choco- percussion ever invented. late/shonuf two" you get the feel­ But the way in which these ing that it really does mean some­ sounds are organized - the music - thing. It reminds me of the Rus- is the real selling point. The sian/English Nadsat language in "A tracks themselves are not re a lly Clockwork Orange" or the future earth-shattering - just little 5 English in Russell Hoban's "Ridley note patterns over electronic per­ Walker". But pondering the lyrics cussion and 3 or 4 backing synthe­ is only half the fun. sizer tracks. But each is pretty This side is constructed of a vastly d ifferen t from the one S/H synthesizer bassline, a couple before it, and each is carefully warning/air raid sirens, a bell crafted to blend a variety of very tree and, in the last half, a bass different sounds. Together they guitar. It sounds, as you might make up a manifesto for diversity guess, s lig h tly apocalyptic, but By: Diane Sward Rapaport in metallic electronic new wave. the lyrics and their varied deli­ Except this isn't rea lly new very (whispered, sung, recited) THE COMPLETE GUIDE wave, either. In spite of the makes it fascinating. TO INDEPENDENT metal beat sound, the tracks are Ixna is made up of Marina mostly contemplative and unhur­ LaPalma (singing and composition) RECORDING ried, sounding closer to the Eno/- and Jay Cloidt, and unless I miss Cluster collaborations, though my bet we'll be hearing more from NOW AVAILABLE THROUGH shorter. them in the future. Dumb Records POLYMART Like I said, the album does may not be widely distributed; not lean in any one direction to their address is 625 Post Street Use order form on page 21. make ray job easier. It tends to Suite 129, San Francisco, CA #MASR ...... $11.95 define its own territory, which I 94109. e ------—

POUPHQNU November/ December 1981 13 Series-Para //el))■ Details:

by Dennis Bohn ( (sum-Difference

Most musicians know that ef­ output is inverted in either Electronic switching for the fects boxes sound d ifferen t when switch position. The inversion is m i l l i o n s . There is a lot to be you hook them up in series or in easy to see, since the output said about electronic switching. parallel; fewer musicians are summer is an inverting op amp. But I am not going to say it. At aware that parallel effects sound The 6 dB difference can best be least, not here. Maybe, if there different depending on whether you seen by assuming a +1V input level is sufficient interest, I w ill do add or subtract their outputs. and also assuming that each box a DETAILS column on the various Two phase sh ifters, for example, has unity gain; therefore, there methods of electronic switching in produce dramatically different is +1V at each of the two 10k Ohm the future. For now, only one effects depending on whether resistors. So, the output of the method w ill be introduced, and they're in series or parallel, or inverting summing amplifier is -2V used to generate the series/paral­ summed/differenced in the parallel - twice as much as went in, or an le l box. mode. The problem, of course, is increase of 6 dB. Now, in the The most effective method of figuring out some universal elec­ series position, the +1V input electronic switching, that tronic device that lets you ex­ comes out of e ffe c t 1 as +1V and achieves the best performance and periment with these different com­ back into effect 2, where it again specifications, is to take a field binations . emerges as +1V. This is inverted effect transistor (FET) and put it Former DEVICE readers may by the mixer to produce a final into the summing junction of an recall one solution, written up in output of -IV; hence, a level inverting op amp as shown in fig­ an article by Craig entitled difference between the two modes ure 2. As drawn, this is a junc­ "Generalized Series/Para 11e 1 of 6 dB. The half-thing that tion FET, or JFET, but it could Switching" (VI, #7, page 7), where bothered me is that the figure 1 also be a MOS or CMOS device and he showed how to w ire a DPDT circuit cannot be operated remote­ work just as well (for this pro­ switch, in conjunction with an ly by a DC voltage; i.e., it is ject, w e'll be using CMOS). The inverting summing amplifier, to not electronically switched. sex of the FET makes no difference create a series/parallel switching Okay, so I got to thinking e ith e r; p- or n-channel, it box. For convenience, and as a about how to create a switching doesn't matter. jumping o ff point for this a r t i­ box that doesn't have these objec­ The key to success in ap­ cle, Figure 1 sho^s his original tions, and the following is the plying FETs as switches in audio schematic. The circuit is pretty result. circuits is to keep the drain to source voltage as small as possi­ ble. This is why the FET is lo­ cated in the summing mode of an inverting amplifier. When the FET is off, it represents an arbi­ trarily large resistor, say, 1010 Ohms - in effect, an open circuit. When the FET is on, it h£s less than 200 Ohms across it. Let's say that the input resistor, R2, of figure 2 is 100k Ohms, and that the input signal is +1V; then, there is only 2 mV across the FET when it is on, if its on resis­ tance is 200 Ohms. This complete­ ly satisfies out requirement of keeping the voltage across drain straightforward and quite useful. In the parallel position, the outputs of both effe c t units are summed together by the op amp mixer, and in the series position the output of e ffe c t 1 feeds e f­ fect 2 which is then passed, with unity gain, by the mixer. Two and one-half things bothered me about this circuit. First, there is a 6 dB level dif­ ference between the parallel and series positions. Second, the

POLFHONU November/ December to source at a minimum. Operation of the switch is simple. Apply a positive voltage to the gate to turn it o ff, and ground the gate to turn it on. For CMOS, apply a positive voltage to turn it on, and a negative voltage to turn it off. CMOS transmission gate. Take two complementary MOS devices, one p-channel and one n-channel, glue them face-to-face, tie their tails together through an inverter and you get a transmiss ion gate as shown in figure 3. This is the cheapest form of analog switch this reduces the on resistance by available today, being less than one-half, since they are in paral­ $0.23 per switch. The most popu­ lel. lar versions are the 4016 and 4066 Sum-difference switch. One ICs made by just about every semi­ more diversion, then I will tie conductor house in the business. all this together into our present There are four switches in each project. I hope. package, and they are pin compati­ Figure 4 shows an interesting ble. They differ only in that the use of an SPDT switch. In the SUM 4066 has lower on-resistance and position, the output is the sum of less resistance modulation due to VI and V2, and in the DIFF posi­ input voltage variation. (If used tion the output is the difference in a summing mode, the 4066 offers between VI and V2. Thus, i f VI no improvement over the cheaper and V2 represent the outputs of 4016.) The idea of a transmission two e ffe c t boxes, you can either gate is to create a bilateral add or subtract* them at the throw switch, namely one that w ill pass of a switch. Notice that the signals in either direction. This switch is in the summing mode. is why complementary devices are Smell it coming? used and tied together. Also, ...... continued on next page r A INTRODUCING THE INFINITE PHASING IS HERE! BARBERPOLE PHASER ™

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BEFORE YOU DECIDE ON ANY PURCHASE, FIND OUT EVERYTHING ABOUT THIS REVOLUTIONARY NEW PRODUCT

POUPHOIW November/December 15 continued from preceding page

Input + l ( 1 k S a v 10 1 uF

+" B1 9V

Figure 5.

Series-parallel/sum-difference box. Figure 5 tive voltage means a switch is on; negative voltage shows the schematic of a series-parallel/sum -dif- means a switch is o ff. Signals go through "on" ference construction project that is both fun to switches only. build, and convenient to have around for creating So much for basics, let's walk. Remember as new and unusual effects. It is sim ilar to Craig’s you look at the schematic that all points labelled switch box of figure 1, except it brings some new "P", "S", "A+B", and "A-B" connect together. Ditto tricks to the party. All switching is electronic, the +9V, -9V, +4.5V, and -4.5V connections. and it eliminates the inversion and 6 dB level Assume we have selected "p a ra llel" and " d if ­ difference. In addition, the user has the option in ference" modes. The +1V input signal is buffered by the parallel mode of either adding or subtracting IC1A and fed out to effect box "A", where it returns the outputs. All that is required is one quad op as +1V to the input of IC1B which is an inverting amp and two 4016 quad switch packages. And, before am plifier with a gain of -2. The output at pin 7 you write, a printed circu.it board is available (see is, therefore, -2V. Since both switches of IC2 with the parts list). "P" on their gates are on, and those with "S" are The simplest way to understand this circuit is o ff, the -2V signal is blocked from IC1C and only to walk through it in each of its various modes. To goes to ICID. Meanwhile, the +1V input signal goes make this easier, I have put voltages in parenthesis through IC1C and comes out as -IV, since it is an at several key spots in the circu it. These are not inverting amplifier with a gain of -1. After going operating voltages; they are the result of an as­ through effe c t box "B", it returns as a -IV input sumed + 1V sine wave input. But, before we walk, signal to IC1D via resistor R8. Since we have let's look around a bit. selected the "difference" mode, then the "A-B" There are two external switches (either panel switch is on and the "A+B" switch is off; this means mount or footswitches) which control the DC levels IC1D is configured as a difference amp whose output routed to the 4016 switches. I have labelled these is the difference between -IV and -2V, or +1V, since DC levels, P and S for parallel and series, and A+B -IV - (-2V) = +1V. So, in parallel, +1V input and A-B for sum and difference. If the voltage is equals +1V output. positive, then the function is active; i f negative, Now, we select "series" and "difference" modes. then it is not active. So, for example, P = +4.5V Our +1V input s till presents -2V at resistors R4 and means that the unit is in parallel operation. Posi­ R7, but this time the +1V at resistor R6 is blocked

16 rourHONy------November/ Deeember 1981 Details...... Series-Para))el ((sum-Difference and the output of IC1C becomes + 2V, due to the -2V PARTS LIST signal at R4. The +2V comes back in from effect box "B" to resistor R8. IC1D is still configured as a Bl, B2 9V battery difference amp, except that R7 is grounded, preven­ Cl - C4 10 uF, 16V electrolytic ting the -2V signal from going anywhere. Resistors IC1 TL074 quad op amp R8 and RIO now form a voltage divider such that +1V IC2, IC3 CD4016 quad bilateral switch is applied to the positive input port. IC1D simply Ql, Q2 2N5210 or equivalent NPN transistor acts as a non-inverting, unity gain buffer to pro­ duce + 1V output. Therefore, in series, + 1V input The following, unless otherwise stated, are 1/4 equals + 1V output - as in parallel. So, whether in Watt, 5%, carbon-composition or carbon-film series, or parallel, the output is unity and non­ resistors: inverting. Hooray! Now, in addition to the above, when in the RI, R2, R4-R6, "p arallel" mode, we can also choose "sum". With RI1, R12, R14 100k Ohm "sum" selected, the "A+B" switch is on, and the "A- R7 - R10 100k, 1% metal-film B" switch is off. So the output is the inverted sum R13, R13 1 Meg Ohm of -IV and -2V, or +3V. R16 - R19 3.3k Ohm (If "series" and "sum" are simultaneously se­ lected, IC1D reverts to an inverting unity gain Misc. (4) mono 1/4" phone jacks, (2) stereo 1/4" am plifier and the output is -2V. While it may not phone jacks, (2) SPDT switches, (3) 14 pin IC make conceptual sense, it does work and can be sockets, battery holders, suitable enclosure, wire, useful as an additional 6 dB of gain and inversion solder, hardware, etc. stage, if desired.) The table shown near IC1D summarizes the vari­ Parts kit available: The follow ing is available ous modes and respective outputs for quick re fe r­ from TOLECO Systems, Box 401, Kingston, WA 98346: ence . Complete kit of parts (less batteries and all "misc" Construction details. The printed circuit items), plus plated, d rilled glass-epoxy PC board, board makes things quite easy, but is not required. for $14.00 plus $1 postage and handling in U.S. and The circuit can be hard-wired using perf board or Canada. Order kit #SW-1. Also available separately similar material. Layout is not overly critical as is the etched, drilled, and plated glass-epoxy long as leads are kept short and neat. Neatness is printed circuit board, #SW-2, for $6.00 postpaid in everything in good construction jobs. Use good the U.S. and Canada. Washington state residents add soldering techniques and clean the flux afterward. 5.3% sales tax. Sorry, no COD orders. © I used two 9 Volt batteries to power the c ir ­ cuit, letting the stereo input/output jacks act as power switches (you would use these with mono plugs, of course). However, there are always pros and cons regarding battery use. They are certainly not re­ quired. The PC board is laid out to accept plus, BY PROFESSIONAL DEMAND minus, and ground wires. These could be battery DDC OFFERS FREE ADVICE, PERSONAL SERVICE wires or DC supply leads. The circu it works fine AND ONE-DAY SHIPPING OF THE FINEST MUSIC when powered from a standard +_15V supply, but do not AND SOUND EQUIPMENT AVAILABLE ANYWHERE: use more than +_18V or you w ill damage the ICs. On the other extreme, do not use less than +4V. Within © CrO UJn uraynor this window, everything w ill work fine. pol^ypjsion rgjssy I used a simple folded sheet metal box as a K0RG chassis with panel mounted switches. The most use­ K€LS€Y. ful configuration for the switches is to make them footswitches and add two more stereo jacks to accom­ TEAC^ Tuner [ m x r ] i S c modate them. Of course, that is the fun of DIY - i t is your project, so be sure to put some of you in it. (ft) (ft ^^^ODiMar^k) Bye until next issue. \f_V V l|l Q ^ j t p E M Q

W>CO M ©YAMAHA SPECIFICATIONS C H U M A. R OhcriKim Input resistance H»-i»fi-i-i ^ [whirlwind! Main & input A: 100k Ohms Input B (sum): 100k Ohms prophet WO//A Input B (d iff): 200k Ohms A K R A M E R S Output resistance 'm t All outputs: less than 1 Ohm inn te rso u n d PLEASE CALL OR WRITE FOR PRICES & ORDERING THD+N (20 Hz - 20 KHz): less than 0.02% INFORMATION - YOU'LL BE GLAD YOU DID! DICKSTEIN DISTRIBUTING COMPANY S/N ratio: -82 dBV re 1.0V output level 1120 QUINCY PPY —SCRANTON, PA 18510 (A-weighted) DSC PHONE ORDERS WELCOME (717)344 7469

POUPHOM November/ December 17 cTLpptied Synt M Stringm

classical rock sound (i.e. Ye.s, UK, etc.), play polyphonically and ***** 1 ayat" as wftt&y fc&g&gg*&' £* , sound at hi r fingertips. Many synthesizer companies offer string units, either as constituent ,t%w raauys;^||itSl|::-: ¥ ¥ separate machines. | l| p | must; II I W&&. ^tWlishes thair own ^&y- p td ertq raafe- sounds ..that;.', keyboards Csdeh -aa f a ire sym phonic and not ; n:s.;ih ' thiedCr^mer .iOrciieaMaior or •'Elka Rhapsody) sound more Vj photiic1*y |i| .. :.• ••; ;.*l • :.elccnew Korg Trident nr : Delta : i l l ;. . ■ •' i 1 £ ;|||: At tack aiid De^'. synthesizers.-. As With the human voice, and in this • ;cay*:y The . f ftll |Afi-SE mode on the "■ vl.a $ a-' eye ft ’: ed^ljoiiCni: ftfc * > no rfyo . pe rso na 1 tile s :af e" ■ i synthesizer is not needed to • exactly alike, y:§t-:-; create good string sounds. Use ' ■ • .the" •.: re a; s-pnd :Wh.y:; one . y e© ram ere i a 1 j y ava i t able the attack and release modes (as ; string" iynihesizer.' sounds- different from the others well as a full sustain for trig­ • occurs because of many factors*.: T|e “ lush" string gering) according to the phrasing sound usually is associated with the machine's cho­ you desire. Pizzicato strings, rusing facilities. The chorus feature gives the for example, are very short in effect of two or more oscillators playing Mdesin~ attack (staccato), while decay is fanado11 or s lig h tly out of tune. The wider the set according to the musical con­ frequency between the two tones, the greater the text. Multiple triggering is fullness of modulation; however, too much chorusing nice, but not always available on will make interval 1ic relationships between the most units. Try to listen to the oscillators macrotonic instead of microtonic. Some string players, classical and pop, units use bucket brigade circuits to add delay upon and their characteristic delay to the sound, while other keyboards depend on phrasings. the cascading effect of multiple chorusing oscilla­ Sustaining releases are good tors to create richness. when you want to create reverber- There are many parameters we need to look at ent-type string ambiences. Vange- when trying to obtain convincing string sounds. If lis uses a considerable amount of ypu want to record a classical string quartet sound, reverb and release to create very consider playing one track or one voice at a time nice lush string sonorities in his and eliminating multiple oscillators. Pay careful music. He is a great one to l i s ­ attention to your phrasing and vibrato as well. But ten to (as well as Larry Fast and if you want a full, heavily chorused orchestral neo­ Carlos) for ideas in string syn-

18 POUPHONU November/December 1981 thesis. zertm or delay to animate the sounds over the harmonies of other The attack characteristic upper end of the sound. Playing instruments. For example, i f a depends to ta lly on the type of live is a different story, depend­ chord progression goes G, D, Em, B string sound you need. The Korg ing on room acoustics, delay, (G: I V Vi III#3), use a sustain­ Trident Poly-Synth has an interes­ reflections, auxiliary signal pro­ ing "b" note over the progression. ting "bowing*' circuit that retrig­ cessing, and the like. Additional The "b" is the third of the G gers your envelope while you play; chorusing or doubling via elec­ triad, the sixth of the D chord its overall action depends on the tronic means can also be useful at (which is slightly dissonant but setting of an associated "sen­ times. works), the fifth of the Em chord, s it iv it y " control. Remember, a Parameter 4: Playing style. and the root of the B chord. I f real string section does not have Do not play the string synthesizer you use a lower register sound each player playing with the same like an organ. Try to voice such as a cello, use the "G" as a attack characteristics. If you chords openly, allowing rather pedal throughout the same progres­ have several envelopes of volume wide intervals in the notes of sion. Other procedures and exam­ (VCA) and f i l t e r (VCF) used to­ your left hand. Block type chords ples of string technique will be gether, you'll hear a very human do not sound orchestrated. The explained in my forthcoming book, and intriguing sound. Experiment. interval of a tenth in the left due to be published by Christmas. Parameter 2: Waveform. We hand is very useful. The lowest Right now we are just scratching all know waveforms are the l i f e note can be thought of as the (add some rosin!) the surface. blood of a synthesizer's imitative bass, while the upper tenth (or Param eter 5: P r a c tic e . You abilities. The sawtooth wave is third an 8va away) acts as a cel- and your knowledge of string ar­ generally most desirable for lo-like member of your synthetic rangement are the most important strings, but a combination of orchestra. Chord clusters can factor in string synthesis. Re­ pulse wave (and pulse width modu­ work, but remember that simplicity search and analyze the ranges of lation) and other waveforms can is just as effective. Long sus­ cello, violin, viola, etc. What simulate the resonant idiosyncra- taining single notes over the kinds of figures do they play? cies of wood. A real violin is measures (ligatures) work just as What is their voicing in the ar­ not a keyboard, VCO, LFO, VCA, and well in synthetic situations as in rangement? What are their timbral VCF, but it does have complex the real string world. Animate characteristics (waveform/filtra­ waveforms that can be reproduced both your hands (piano exercises tion)? Hopefully with that know­ electronically. At some point to and scales w ill help drastically) ledge and the help from this col­ aid your synthesis, you might want as i f they are both im itating the umn you'll turn into a symphonic to invest in an oscilloscope; this bow bouncing or phrasing qualities keyboard player - with no strings piece of test equipment enables of the string orchestra. Use the attached. you to "see" various waveforms and notes that d ifferen t chords have Well, everfriends, until next their importance in shaping sound. in common to sustain high string issue... © Also, registration of an instru­ ment (the location of the notes high or low on the s ta ff) deter­ mines the waveform that is heard. The higher "harmonic" single vio­ lin voices are thin and more akin to a sine or triangle wave, while the low cello or double-bass sounds are darker with a higher harmonic content. Combining these harmonics and waveforms creates the orchestral sound that we iden­ tify as strings playing "en ensem­ ble". Parameter 3: Filter Set­ t in g s . The amount of low pass filtering determines the bright­ ness of the strings. Most commer­ cial units have a control for timbre to create an overall equalization (EQ) of the sound. The Korg Delta and Trident have bass and treble EQ, while the Crumar Orchestrator has an overall timbre control, the Crumar Per­ former has a three band tone con­ tro l, the Moog Opus has a f i l t e r ­ ing control, the Rolands have brightness or emphasis controls, and so on. Avoid nasal sounding strings, unless you want on oboe to be present in the ranks some­ where; piercing string sounds are Jhs pAoq/tBAAiVc koyboaJid Atylinq o f (Bill (RhodcA and $6.98 for LP Album to also undesirable. Generally a fcusfyfhijMd th a t l&Alifij muAic iA asaw ua buAmsAA. Jazzical Records fla t EQ setting works best in the ON J lZZICAL 845 # 2 Foresteria Dr Lake Park, FL 33403 studio, with a touch of Harmoni- ■ the progressive independent«

POUPHONU- November/December 1981 19 POLYMART SCIENCE

The physical and psycho-acoustical background to music is an important part of musical synthesis. Helmhotz's Sensations of Tone is, a century after its publication, still the standard text for physiological acoustics. P s y c h o lo g y of M u s ic by Carl Seashore, developer of the Seashore Music Test, provides an in-depth analysis of musical style and performance characteristics of many instruments. Music, Physics, and Engineering by Harry Olson, who worked on the first RCA synthesizer, is a thorough discussion of the physical properties and design of traditional musical instruments (plus a chapter on electronic music] M usic, Sound and Sensation by Winckel is much like the Helmholtz work, with a bit less detail and more concentration on psycho-acoustics.

#SENS On The Sensation Of Tone $7.50 #PSYCH Psychology of Music $5.00 # M P E Music, Physics & Engineering $ 6 .0 0 # M S S Music, Sound and Sensation $ 3 .5 0

TECHNIQUE Synthesists m ust be well versed in a number of techniques and principles. ‘‘How to" and project oriented books are a great way to pick up these skills easily. H o w to M a k e E le c tro n ic M u s ic by Drake, Herder and Modugno is a standard introductory text for music systhesis classes, with chapters on equipment, tape technique, composition projects, and more. M u ltitrack Prim er byTeac isa step-by-step guide to building, outfitting, and operating your home studio. The Byte book of C o m p u te r M u s ic describes computer control of electro-mechanical instruments, Fourier analysis, circuits and loads of software. Hom e R e c o rd in g F o r M u s ic ia n s is the original guide to outfitting and operating a budget studio for maximum results, including mixer and audio processing circuits and a demo recording.

#HMEM How to Make Electronic Music $3.95 #TEAC Multi-Track Primer $4.95 #BYTE Byte Book of Computer Music $10.00 #HRFM Home Recording $9.95

ELECTRONICS Electronic cookbooks are a great way to stock your library with materials that are not only heavy on theory, definitions, and educational material, but chock full of practical applications as well! These books can easily replace stacks of m anufacturers data sheets and applications notes all in an easy to use reference. Walt Jung’s Op-Amp and Don Lancaster’s Active Filter books are self-explanatory — required reading for synthesists! A u dio O p -A m p is an edited version of OACB, containing only audio applications. Lancaster’s C M O S book is much more than a digital reference — phase lock loops, top octave generators, touch switches, and other things you need! E le c tro n ic P ro je c ts discusses electronic construction technique for the novice and provides 27 projects with PC patterns and a demo recording of the effects.

# O A C B Op-Amp Cookbook $ 15.95 # C M C B C M O S Cookbook $ 12.95 #AFCB Active Filter Cookbook $14.95 #EPFM Electronic Projects 2nd edition $14.95 #AUOA Audio Op-Amp Applications $8.95

REFERENCE Often used reference materials to answer the many questions encountered in everyday synthesisf?)... The Source is over 125 pages of patches in universal flow chart notation; the largest publication of its type. A u d io C y clo p ed ia has 1 76Q pages with 3 6 5 0 entries and hundreds of drawings and schematics to answer any questions about audio. P o lyp h o n y B in d e rs hold up to 12 issues of any 8 V2" x 11 ” publication without punching holes; keeps issues like new for unending service. E le c tro n ic M u s ic Synthesizers devotes the first half of features and functions of commercial equipment (Moog, Arp, Paia, Oberheim, EML, and RMI); the second section provides schematics and projects for the experimenter. #SOURCE The Source $4.00 # C Y C L O Audio Cyclopedia $ 4 4 .9 5 #EMS Music Synthesizers $6.95 #BIIMD Binders $4.95

USE ORDER FORM ON NEXT PAGE...

4 /8 Track Studio Log Book provides a place to keep all the important information on your tape library. Log in timing, type of tape used, record patches, make notes and use the expanded track sheet to list sequential changes in tape tracks relating to the settings of the index counter. Craig Anderton’s Contemporary Keyboard Articles is a reprint of all the articles from June 1977 through February 1981, covers tips, technique, theory, maintenance, and numerous construction projects. Device Back Issues — during the year that this newsletter was published, it featured almost 200 pages of technical information for the guitarist/musician. A wealth of articles on; design, product reviews, and modification and’construction projects. Sold in complete set, individual issues not available. Limited number available, order yours now. #SLB Studio Log Book $4.95 #AA Craig Anderton’s Keyboard Articles $5.95 #DEVICE Complete set (12) Device Back Issues $18.00

RECORDINGS #CORDS Cords - Synergy $ 7 .9 5 #ERRO Electronic Realizations - Synergy $ 7 .9 5 #SEQU Sequencer - Synergy $ 7 .9 5 #GAMES Games - Synergy $ 7 .9 5 #ELEM Elements - Mychael Danna $ 6 .9 5 #CAMT Craig Anderton Music Tape $ 5 .9 5 #ARPT Music For A irpo rts - Brian Eno $ 7 .9 5 #DELTA Rainbow Delta - Pat Gleeson $ 7 .9 5 «

20 POUPHONU November/December NEW LISTINGS FROM POLYMARlj BACK ISSUES" HOW TO DESIGN, BUILD,& TEST COMPLETE SPEAKER SYSTEMS The wide variety of practical applications and by David B. Weems construction projects in past issues makes a binder full A complete Do-It-Yourself guide for audio buffs who want the ultimate in of POLYPHONYs a frequently used reference to keep near sound quality. EVERYTHING about your synthesizer , home studio or workbench. Most back speakers, with charts and diagrams to issues are still available for $2.50 each postpaid. Check help you develope the ABSOLUTE sound system. the issues you wish to order on this coupon and add the #CSS...... $7.95 total to your POLYMART order.(other side), or order by HOW TO BUILD A SMALL BUDGET volume and issue number (0304,0402, etc.) on the POLYMART RECORDING STUDIO FROM SCRATCH by F. Alton Everest order form. Details of design, construction treatment of twelve actual studio suites are included. Acoustical principles are elucidated along the way in the context O #0204: 4/76: music notation - timing, external of real life projects and problems. inputs for Gnome, Programmable Drums, Equally Tempered D/A, Everything you need to design, build, low cost AR project, digitally encoding keyboards, patches, and operate your own recording studio! Volume 1 & 2 index. #BRS...... $9.95 □ #0301: 7/77: frequency^divider project, random tone is provided to help Polyphony readers find the generator project, normalizing synthesizer controls, PO LY M A R T eliminating patch cords, computer control of analog modules, special supplies their projects require. The items we stock are Chord Egg modification, adding pitch bending, patches. a m ust for every active music experimenter’s lab or studio □_ _ #0302: 11/77: The Sensuous Envelope Follower, digital gates, LED wall art, build a bionic sax, data to bookshelf. Not all of PolyMart’s offerings are shown in each music peripheral project, Apple II as a music controller, issue. Refer to back issues if you don’t see what you want. Your using the NE566 as a VCO, patches. suggestions for additional items are welcomed. 1__I # #0303: < 2/78: computer controled Gnome, using joysticks, build a bionic trumpet, ultra-VCO modifications, voltage control the Mu-Tron Bi-Phase, oral joystick, TO ORDER: Tear out this half page order blank; note that there is patches. a back issue list on the other side. We cannot invoice; payment - #0304: April/May 78: Minimoog modifications, must be enclosed with your order. To help defray shipping and non-keyboard□ module use, phasing and flanging (theory ana circuits), memory expansion for programmable drums, packaging costs, there is a flat $.50 handling fee per order plus digitally addressed transposer project, polyphonic software (with software transient generators), patches, Volume 3 payment of postage costs. MasterCharge and Visa are index. welcome, but there is a $10.00 minimum on charge orders. □ #0401: July/August 78: analog delay lines (theory Foreign orders must be paid by certified check or money order and projects), composing for electronic music, note to frequency (and visa versa) conversions, build a trigger in U.S. $ drawn on a U.S. bank (or by charge card). Phone orders delay, software for computer composition, low cost VCO circuit, patches. are welcomed for charge card orders only. EL #0402: Sept/Oct 78: electronic music notation, notes on the recording of "Cords" by Larry Fast, sequencer Name: ______software^ ^ - partpal i. ^ one, 1 rhythmic uj t 11111JL V— L.UUL1 control Ui.of dllalUganalog OC1JUCUsequencers, switch projects, modular vocoder techniques, PET Address: ______music controller, patches. □ #0404: January/March 79: add-ons for vocal F and V City __ State . .Zip converter, shorthand patch notation, more on note to frequency conversion, graphic monitor project, George Card #_ Russell, super VCA circuit, echo software, Vol. 4 index. MasterCharge Bank # Expiration Date □ #0502: July/August 79: hex VCA/mixer project, electronic music schools and studios, modify the Oberheim Signature______Expander Module, profile of Ernest Garthwaite, budget microphones, digitizer projects and software, bar grapg ICs. Quantity Item Price □___ #0505: January/February , „ 80: _ Joseph Byrd, Mort Garson, Larry Fastast on ' ’Games',''Games', composing __ w for 'live plus af-ano1e using'the noinn o CA3280,rAlOQ" recording ** vocals7 ’ ADSR----- circuits*. #0506: March/April 80: Computers in Music: real time audio processing hardware, Powell___ sequencer system, Max Mathews, advanced STG software, PortaStudio, phase modulation, Volume 5 index.

#0602: July/August 80: Peter Gabriel, digital VCO project, dream modules, optimum level settings, dynamic phrasing, patches. □ #0603: Sept/Oct combined with Nov/Dec 80: alternate controllers, add voices to Casio M-10, voltage controlled quadrature oscillator project, cordless patch Day, recording rules, patches. _# of items Sub Total __□_ # #0604: January/February 81: Special Construction Edition; Build: Audio Circuit Breaker, Pulse Width - Shipping Charges - Handling Multiplier, Magnetic Harp, 50 Watt/Channel Stereo Power Amp, d Sequential Switch, DOD Mods, patches. US.: add 10°/o of SubTotal or $5.°°maximum #0605: March/April 81: Portable Music Issue, reviews Foreign: 20°/oof Sublotal Remco's FX, E-H Mini-synthesizer, Casio's VL-Tone, plus Shipping . mods for the M-10, GR-500, mini-amp, and the Korg X-911. or $10.°°nnaximum Introducing; Practical Circuitry and On Location, new »columns. -n SUBSCRIPTION I 1 #0606: May/June 81: Synthesizer: Hardware Mods and U.S. S12/YR. S22/2YRS. Software. Modular Synthesizer Effects, Environmental music, FOREIGN $ia/YR. S2B/YR. Keyboard assignment for the 8700, new columns; Details, Practical Circuitry, and On Location. Volume 6 index.

I I #0701: July/August: Guitar Electronics: Modify; Back Issues (from other side)_ Fender Amp, MXR Phase 100, GR-500. Input/Output Structures, $5 Analog Programmer, Sample and Hold technique, Modular Synthesizer Effects, new column: Applied Synthesis, Total Enclosed. Marketing Your Records. Return This Half Page □ #0702: Sept./Oct. '81: Harald Bode Interview, Live Plus l Practical Circuitry - l HHBHI Brass, Construction 1 VISA P.O. Box 20305 Tips for Beginners. 1 l m i siiiii Oklahoma City, OK 73156 POUPHONU - November/December 21 THE POP MUSICIANS'VERY . , , PORTABLE NOISCMAKtfl The MSound Gizmo" (trademark of Fundimensions) is about the size of a small walkie-talkie and is made of very durable plastic (almost "kid-proof"). The back panel has a large metal insert (with Morse code printed on it ) and despite the approximate $20 price, there appears to have been no deliberate attempt to compro­ mise or cut costs. The controls of actuation are labelled "Constant" and "Fade". ANDREW GELT "Constant" is merely an on-off switch which allows any of the This is my fourth published presets to sound when depressed article on electronic musical and held. The "Fade" button, when toys; these have covered subjects depressed and held, causes any of from educational applications to the sounds to begin and then fade sobriety testing. As my primary out entirely. In e ffe c t, "Fade" interest lies in eclecticism in is an envelope generator (control­ m u sic, and the com position ling a VCA) of the AR type, where thereof, perhaps it would be a A = 0 seconds and R = 1.5 seconds. good idea to stop and examine the value of this new Both "Constant" and "Fade" can be and seemingly frivolous pursuit. depressed simultaneously (with First, large scale integration has allowed a "Constant" overriding) to produce new family of low cost, high performance products. a sustained sound, then "Constant" These small sound toys and musical games exhibit a can be released (while still de­ relatively current state of the art in electronics pressing "Fade") to activate a that provides a glimpse into a future of increased release. In this respect an en­ miniaturization, as well as decreased expense. And, velope generation of an "ASR" type what w ill happen when the new VLSI - very large can be produced where A is s t i l l 0 seconds, S is scale integration - technology becomes equally pre­ variable, and R = 1.5 seconds. Perhaps due to the valent? current consumption of the built-in power amp/speak- Secondly, "...perhaps the most important aspect er combination, the "Fade" paddle causes a marked of portable music has nothing to do with technology, pitch fluctuation in the primary oscillator (when but instead with the social implications..." engaged) during the in itial portion of the envelope "Clearly, portable music isn’t just music; i t ’s generation. This is not totally disadvantageous, people, a social 4thing." (Craig Anderton, "Editor’s however, as it provides for another different yet Note", March/April 1981 issue of Polyphony.) These totally predictable effect. devices show us that music composition and elec­ Figure 1 shows the modules and controls which tronic synthesis is now universally accessible, and are in operation for each of the main preset sounds. for everyone. Additionally, the product's accompanying pamphlet As there are several more a rticles planned on has instructions on how to produce the follow ing this subject, I hope that these short statements "secondary sounds": Snare Drum, Bird Call, Rocket w ill reaffirm that the value of these new devices Launch, Steam Release, Machine is both intrinsic, and indeed, multifaceted. Gun, Electronic Shaver, Busy Sig­ nal, and Airboat. These are es­ sen tia lly the main preset sounds *The sub-audio Square Wave Modulator with d ifferen t control positions. is used as the sound oscillator and As the battle between perfor­ can be attenuated to low audio sound mance versus modular synthesis with the "Speed" Control. continues, the "Sound Gizmo" may be thought of as performance oriented (as opposed to, say, the Remco FX's more modular orienta­ tion). With its quickly change­ JET PLANE • • • • able presets, it can be carried to PHASER • • • • • a rock job and used to make the somewhat impeachably placed sound EXPLOSION • • effects heard in rap music and GUN SHOT • • similar musical styles. This is a significant and usable first. TRAIN • • • • Parents w ill also be thankful for the inclusion of a volume TONE • • • control. MOTOR * • • • The "Sound Gizmo" is operated by one nine Volt battery and is an SIREN • • • • • excellent product. And remember - HELICOPTER • • • • • • it's priced around $20!

22 POUPHONU- November/ December 1981 INTERVIEW: DAVE ROSSUM

This month's interview is modules and test them out. I did, with Dave Rossum of E-mu Systems, and I was hooked. Inc. Jay sent the follow ing in­ Dave is an original. His E- troductory comments along with the mu modular system 'has set the interview: . standard by which all other modu­ lar systems can be judged. B r il­ "My first encounter, with Dave liant and w itty, Dave is a new Rossum was over the telephone some breed of electronic music pioneer nine years ago, when he prevented whose contribution to the design me from purchasing sight-unseen of equipment for other manufac­ thousands of dollars worth of E-mu turers may have shaped the nature equipment. Dave instead encour­ of the synthesizer as much as did aged me to purchase a few sub­ Robert Moog's original thinking." by Jay Lee

Jay Lee: Isn't it true that your instrument as well as encouraging cheap one, a fine one, or what. formal training was as a biolo­ them to experiment with the syn­ We decided to» make the best we gist? thesizer. When people ask me how could possibly make; any time we biology relates to electronic mu­ found a component, a design, or Dave Rossum: Yes, that's pretty sic, I simply reply that the whole anything that would make it bet­ much true. I did my undergraduate world is negative feedback. ter, we put it in unless it was work at Cal Tech in Pasadena star­ just totally cost-prohibitive. tin g out as a chem ist, then JL: Your modular E-mu system is And this attitude kind of shows. changed to physics, and then considered by many to be the When we go around to demonstrate (about the end of my sophomore Rolls-Royce of analog/digital mu­ modular systems, we take prototype year) changed again to biology sic equipment. How would you #1 - most people simply won't because it seemed that the neatest describe your system, or modular believe that the instrument is 10 people were in biology. In the systems in general? years old. We clean the dirt off end it didn't really matter what I and wash it up before we show it, studied; I guess my career shows DR: Well, in fact you're but that's about a ll we do. that. I graduated in 1970 with a wrong...many people say that The reason we can do this is Bachelor of Science in biology, Rolls-Royce is the E-mu of the because we use such parts as ex­ and went to University of Califor­ automotive industry (laughs). pensive controls and knobs. We nia at Santa Cruz for graduate When we decided to design the pay maybe $1.50 a piece for the school. modular system, we had to make a knobs on the synthesizer, because decision concerning the level of we want them to last. That kind JL: Who, or what, changed the the ins truraent...would we make a of caring attitude comes through direction of your career? particularly with the panel com­ ponents; we want everything to DR: At U. C. Santa Cruz I worked last 10 or 20 years, down to the on the biochemistry of ribosomes, 1/8 inch panels that won't bend and my adviser was a man named when you push on them. Harry Noller. One day I came into In terms of design, I've the lab and he asked "Have you looked at a lot of other circuit ever seen a Moog synthesizer?", designs, and I think that our and I said no. He mentioned that approach is substantially more they were unpacking a Moog 12 sophisticated than anyone else's. (predecessor of the Moog 15) over But the perfectionist attitude at the music department, and would also has some drawbacks: We often probably need some help. As peo­ get c ritic iz e d because we update ple there started playing it, I our circu itry, and someone w ill realized that I in tu itiv e ly knew buy an E-mu system only to have us as much about it as anybody else come up with a replacement sub- in the room...it just seemed natu­ module a year later that performs ral to me. I helped one of the better than the original. We professors there, Eric Regener, in usually keep it pin-for-pin compa­ teaching students how to use the tible to allow for upgrading, but

POUPHONLJ------November/December 23 very often people do get upset because our instruments are con­ stantly evolving and improving. I don’ t know what to do about that problem - if we find a better way to do something, then that’ s the way it has to be done. Even our decisions as to what products to build show this influence. We built modular systems fir s t be­ cause with a big enough modular system, you can do anything. We have a huge variety of modules - i f we think of something that can't be done with our system, we'll add the modules necessary to do it. For example, we have fiv e different kinds of filters.

JL: How did your partnership with Scott Wedge get started, and who does what in your company? HOME OF E-mu

DR: After Harry Noller and Eric money to buy parts), and would lifestyle. In the beginning syn­ Regener introduced me to synthesi­ then spend another eight hours thesizers were my life: I'd spend zers, I got together with a group working at E-mu. Paula provided 16 hours a day on them, and also, of Cal Tech people and we spent life support and cheerful company my time was less structured. So, the summer of 1971 building a for us all; she also had a nine- i f somebody walked in the door, synthesizer. Towards the end of to-five job, so it was just the I'd chew the fat with them for an that summer, Scott Wedge showed up three of us working at first and hour or two; now i t m atters at our door in Santa Cruz - we had supporting ourselves with other whether or not something gets done a sign out front that said "Star- jobs. by next week, so I don't have that ships and Synthesizers, since We bounced ideas o ff of each freedom anymore. I also have more 1984". I'd known Scott since other, and nobody wore a single hobbies now that also take time. junior high school, although after hat back then. When E-mu became I mountain climb and teach scuba I went away to college, we didn't incorporated in 1979, we tossed a diving, and my life is real full see each other that much. Scott coin and Scott lost, so he became so I can't allow myself so much had hurt his back jumping out of president and I got to be vice- time to relax with people. That airplanes and didn't have anything president and chief engineer. doesn't mean I'm any less friend­ to do, so he came over to see what Since that time he's been taking ly, a ll it means is that you have I was up to. Just as in my case, over the financial and management to come scuba diving with me he became intrigued with synthesi­ end of things, but also attends to rather than talk synthesizers. zers. After that summer, a ll the a number of engineering functions As far as the company philo­ Cal Tech fo lk s went back to - he's great at d ig ita l and s o ft­ sophy goes, we very definitely various places, but Scott, myself, ware stu ff, and can hold his own hold an attitude that is lacking INTERVIEW: DAVE ROSSUM and my girlfriend at the time, in analog. I help out with man­ in other companies, namely,# even Paula Butler, continued working in agement too sometimes, so we s till if you don't want to buy something our spare time building a synthe­ share tasks, but S cott's less from us we'll t e ll you about what sizer. We called it the E-mu-25 involved in the engineering than I we do and try to help you out. (named after our favorite drug), am now. It's not so much a selfless atti­ and spent much time improving it tude as the fact that when we do and learning more about the best JL: Your company started out people a favor, they'll talk to way to do things. Eventually we humbly, coupled with a frien dly their friends or when they are sold that first unit, and used the philosophy. Has that changed over ready to buy, they'll come back money we got from it to build a the last eight years, and i f so, because they have a good feelin g second one. We sold the second why? about us. We're s t i l l a small one, and used that money to start company, and I hope it stays that designing a modular system. By DR: Well, I think we're all a way. All of our employees are now it was November 1972, and we l i t t l e less humble than when we friends; we do other things than decided to form a real company. started; I don't think we're any electronic music together. That's We became a general partnership, less friendly, although changes in real important to me - I want to file d our papers, opened our bank our lifestyles may make it appear keep the company so there isn't accounts, and E-mu systems was that way to some poeple. I've any "elite" management department formed. Back when it started, sort of become a bit of a recluse. or so that engineering doesn't Scott worked full-time at E-mu. I It's hard to get to talk to me, I hide from the production people worked at a lit t le company called don't come out and meet everybody and so on. Internally, that's Santa Clara Systems as an engineer that comes in the door anymore, important to me...more important (which enabled me to earn enough and that's a change in my own than the size of the company. 24 POUPHONy — November/Deeember 1981 JL: You were involved in the pretty well decided that we're co­ Smith had come to us for design design of the first electronic designers on what we do, because help with other projects; when he music chips (SSM). To what extent you just can't separate where an decided to get into a synthesizer, were you involved in this? idea came from. Ron might suggest he came over and basically started something to me for a filter de­ picking our brains from the begin­ DR: The story goes something like sign, but I ' l l end up using the ning, which was an intelligent th is. Back in 1975, Ron Dow idea with something like a tran­ thing to do. We did some specific dropped by E-mu and had this idea sient generator instead. circuit designs for the Prophen 5, for a VCA design on a custom chip. reviewed v irtu a lly everything\in He wanted us to kick in the $1000 JL: Your influence in the design it, and gave him access to lots f or so it took to integrate it, of both the Prophet 5 and the E-mu documenation. Again, we had because he didn't have the money. equipment of Oberheim Electronics a royalty arrangement, the product It sounded interesting, but then have been grossly overlooked. went over w ell, and we made a lot he said the power supplies Would you care to comment on what of money...but of course had the couldn't be any higher than _+12V. you've done for both companies? Prophet not gone over, we wouldn't Since the E-mu system was based on have gotten anything for our time +15 and I didn't want to change DR: Let me talk fir s t about Tom so essentially, we again invested the whole system standards for one Oberheim, whom I met at an AES in the company. Still, royalties IC, the idea no longer made sense convention in the spring of 1974. are not a trouble-free way to con­ to me. So we turned Ron down and We both liked each other immedi­ duct business. One reason why we he then got connected with SSM, ately and started talking about have a bit of trouble right now in and they were the ones to inte­ ideas. He was talking about his our relationship with Oberheim and grate and start selling the phase shifter, and said something Sequential Circuits - I can't say SSM2000. About a year later I ran to the e ffe c t that he knew it I'm close friends with, or see a into Ron again, and he mentioned could be done with a 3080 trans­ lot of, either company - is be­ an improved VCA they were working conductance amp, but didn't know cause of this arrangement where on with _+15V supplies. With my exactly how to do it. So I scrib­ they're s t i l l paying us royalties major objection gone, I became bled out a circuit and said here's for things we did a long time ago. interested again. I contributed how you do it. He said "I bet Sometimes people forget how much some ideas to the SSM2010 (low that's patentable", and I said they appreciated you a long time distortion VCA); then Ron started "I'm sure it is". He asked how ago. So we've learned that royal­ frequenting E-mu and used our lab would I feel about patenting it ties aren't always best, not so to develop the chips - fir s t the and sharing the rights under the much because they're not finan­ 2020 voltage controlled amplifier, patent? I thought it was a great cially lucrative, but because they then the 2030 voltage controlled idea, and that was the beginning destroy friendships - and as far oscillator (which was a very hard of our association. Incidentally, I'm concerned, friendships are project and took about a year), I don't think he ever used that probably more important than the the 2040 voltage controlled filter design in anything he built. money itself. which went pretty quickly as did Towards the fall of that same the 2050 transient generator, and year he visited E-mu to see our JL: Who or what was your greatest we've kept up the collaboration prototype polyphonic keyboard, and influence in designing electronic since then. My involvement varies decided that he liked that design music equipment? from chip to chip; with the 2020 I too. He felt that it too was helped Ron design the control patentable, and wanted to use it DR: I can't say there was one stage, while he did the VCA cell in a product. So we worked out an greatest influence, but here are a entirely by himself. The oscilla­ arrangement whereby he'd pay us f e w . tor was definitely a joint effort, royalties, and could use the cir­ While we were designing E- w hile the 2040 and 2050 were cuit, and we would share in the mu's Universal Active Filter for largely my designs. All of the benefits of the patent. The ar­ the modular system, we'd scrape SSM chip vary like that. We've rangement worked well in the sense around and see what other people that it was profitable for E-mu; were doing - I'm not proud, I 'l l we were essentially putting an steal anybody's idea whenever investment into Tom's company with they've got a good one (laughs) - our work, and the payments (in the and came across the ARP multi-mode form of roya lties) came later. I filte r spec sheet. The specifica­ know Tom was happy with the ar­ tions were pretty amazing; I rangement too. worked and worked and worked to The involvement with the Pro­ get a circu it that would meet phet 5 was very sim ilar. Dave those specifications, analyzed the thing, and found out a ll kinds of obscure information about parts. For example, the final design had to be re-designed because of the capacitance from one trace to another on the circuit board, which affected the performance of the whole thing. I was just totally beat designing that thing...I'd dream about it every night. When I fin a lly got ray hands on an ARP multi-mode resonant Dave Rossum and Scott Wedge with Audity continued on...... page 34 POUPHONU November/December 1981 25 70th AES CONVENTION ■pete* s e » o o its®w * ateTV NEW YORK CITY I

One’s first Audio Engineering faders, pre- and post-sends, and an amplifying device. With this Society convention is like one’s the lik e, it was over to the EMT new technology, s till in the pro­ first love: there may be others stereo reverb generator, which was totype stage, problems such as hum later on, but you never forget the an incredible machine. The d i f ­ pick-up and induced noise would be impact of the fir s t. This year ferent reverb parameters and vari­ eliminated. Synchro-sonic record­ the 70th AES show was held at the ous settings each produced a ing, aside from being a philosophy Waldorf-Astoria in New York City; unique sound, and i f any readers of music, is a process that op­ the four days of workshops and can get to a demonstration of this tionally ties all instruments, exhibits encompassed a convention machine I strongly recommend it. processors, and rhythmic events (vibrato, tremolo, envelope gen­ comprehensive enough to su it One of the big hits of the erator sweeps, etc.) into one everyone’s taste, and then some. show was the Sony D igita l Audio rhythmic framework, traceable to My first reaction upon hear­ Disc System. It was based on a one master clock. Craig Anderton, ing it would be held at the Wal­ linear 16 bit quantization scheme who presented the paper, gave some dorf, one of New York’s swankiest per channel for encoding, with a very convincing examples from the and most expensive hotels, was to sampling frequency of 44.1 kHz. last 30 years of popular music to picture swarms of either frizzy It utilizes a laser stylus and a haired, wild-eyed inventors or illustrate the evolution of this 4-3/4” disc, which offers 60 to 80 long haired, t-shirted, pale, I- percussive principle, and closed minutes of two channel recording out the presentation with excerpts haven’ t-had-a-wink-of-sleep-in- per side or 30 to 40 minutes of from his upcoming synchro-sonical- 200-hours studio types earnestly four channel. This was quite a ly recorded album. For those who discussing VCOs and low pass f i l ­ machine to see, i f only because of wish to read further about the ters among the potted palms and the disc’s tiny size, and natural­ Fiber-Optic guitar or Synchro- oriental rugs. But actually, even ly its presence helped to intensi­ Sonic recording, preprints are though there was some of that, put fy the digital/analog recording available (preprints #1828 and us a ll together and we were a battles that were going on cons­ pretty conservative looking tantly at the convention. (Hint: #1821 respectively) from the AES. lot...just a friendly bunch of for a taste of the fray, the For more information on these and people, from a ll over the world, other preprints, write the AES at musicians in the audience can out to share ideas and enjoy the 60 East 42nd St., New York, NY compare the advantages and disad­ plethora of events and stimulating 10165. Other papers included vantages of the New England Digit­ minds. ’’Anomalies in the V iolin -S trin g- al synth vs. the new McLeyvier Upon registration you re­ synth.) Length/Frequency Relationship” ceived a schedule of events and from Norman C. Pickering, ”A Pro­ In retrospect however, one of exhibitors, along with a map to posal for a Standard Electronic the nicer highlights of the con­ help you find your way around Music Synthesizer Interface” by vention was the many lectures and (realize that the AES convention David Smith and Steve Salani from workshops that you could attend is no street fair - it’s four full Sequential Circuits, and ’’Modular (albeit for a price). It was floors of a very BIG hotel). You Software Design for a Synthesizer there that you could meet the also got these plastic shopping System” by Ellen Lapham from Syn- Pickerings and the Bodes of the bags to pick up the various spec tauri. audio age, and a lo t of very in­ sheets and free g ifts that the Another interesting workshop exhibitors had on hand. The funny teresting discussions developed as a result. I attended the more was chaired by John Simonton (PAIA thing about having those bags was musically oriented lectures, such Electronics), with Hal Chamberlin, that when you walked into the Larry Fast, Craig Anderton, David fir s t floor of exhibitions, your as the ones on ’’Sound Modification Devices” and ’’Electronic Music and Smith, and David McLey participat­ immediate reaction to the immensi­ Musical Instruments”. ing in a panel discussion loosely ty of it a ll was to rush around devoted to the future.of synthe­ with them as if you were in one of At the former, I not only sis. Early in the workshop any those 10 minute, all-you-can-grab heard about the history of the barriers between the panel and supermarket races. Of .course, subject (from Harald Bode) and audience more or less disappeared, after about fiv e minutes of that generalized effects systems as comments bounced back and forth madness you saw how hopeless it (Michael Beigel), but also demon­ between both elements. As a re­ was and ended up saying to your­ strations of effects hooked up in sult, in addition to comments from self: ”Hey, wait a minute! series, in parallel and so forth the panel we also heard the views There’s four floors of this stuff! (Craig Anderton), and applications of many musicians, including com­ Time to slow down and develop a of delay lines (Richard Factor and posers such as Laurie Spiegel, plan of action.” Anthony Agnello). The "Electronic M ichael G ilb e r t, and Suzanne In my case that meant heading Music” lectures covered everything Ciani. Topics not only covered through the wonderful maze of from fib er-o p tic guitars to syn­ the inevitable analog/digital dis­ Neve, MCI, Trident, and SSL con­ chro-sonic recording. Basically, cussions, but also whether there soles tyring to decide which one the fiber-optic guitar (developed are ways to make electronic music to sit down at and try first. by George A. Bowley) utilizes the more widely distributed to the (Yes folks, these were not just principle of modulation of light general public, and the state of there for display. The AES con­ within optical fibers, strung on the music business in general. vention was a hands-on event.) the guitar just like regular Then, having had my f i l l of flying strings, optically transmitted to Continued on page 35. 26 POUPHQNU- November/December 1981 THE VOICE 400 The Fastest, Most Versatile and Musical Synthesizer Voice Available Oscillator A Oscillator B continuous waveshaping, continuous waveshaping variable pulse width, mod­ from saw to sine, AR enve­ ulation by S/H or LFO, low ­ lope generator or LFO er octave, linear F.M. modulation, hard sync to VCO A. Keypad and Bank Sw itch F ilte r Selects one o f thirty-two High pass, Low pass, Band presets. pass all modes are 24db/ oct. Controls include Reso­ O p e ra tin g M o d e nance, Response (continu­ Sw itch es ously variable) db ADSR control Live, Memory and modulation, S/H or LFO Edit functions. mod, Noise source, Key­ board tracking. Output Section mixes your external signal Voltage Controlled into the delay, mixes Dry/ A m p lifie r Delay, and output volume has its own ADSR and fea­ control. tures low noise and wide dynamic range. A n a lo g D e la y wide range low noise delay line operates from flanging to multiple wide range Low Frequency Oscillator with continuous waveshap­ repeats. Regeneration and LFO depth control w ill create a w ide ing of three waveforms. LFO may be modulated by the Attack range o f effects. Release envelope generator.

The Voice 400 answers the need for a programmable syn­ * A voice for a sequencer or computer. thesizer that’s versatile enough to be all these things: * A complete synthesizer for wind or string controllers. * A complete keyboard instrument with the optional SMS * A programmable filter and/or a programmable delay Model 430 Digital Keyboard. line. * An expander for your present synthesizer whether Quality components have been carefully selected for this mono or poly. instrument. Great effort has been taken to insure that the ef­ fects of temperature and vibration are minimal. When * An acoustic instrument-controlled synthesizer when used with a pitch-to-voltage converter. you’re ready to play, the Voice will be too. . . accurately, and every time. #430 Digital Keyboard Sequencer

•16 sequences o f up to 64 notes each programmable from the k eyboa rd —1000 notes total •3 axis joystick fo r pitch bendy filter and mod depth *New Note assignment fo r ultimate lead “feel” •Built in LFO with two waveshapes and rate LED •Digital circuitry fo r drift-free performance •Portamento •3 position octave switch (digitally implemented) •Full length 61 note keyboard *Instant transposition to any key fo r both keyboard and sequences •Sequences may recycle, play once and end or advance from one sequence to the next •Footswitch input to start and resyne sequences •Remote selection o f Voice 400 presets •Fine cabinetry with genuine walnut finish

P.O. Box 40267 San Francisco Ca., 94140 Tel (415) 824-4837 East Coast Office: 8 Tyler, Norwell Ma., 02061 (617) 659-2618

POUPHONy November/December 1981 27 /-PRACTICAL c ir c u it r y

NOTES

A1 - A4 = k 4136, IC2 Ql, Q2 = 2N4124 Dl, D2 = 1N4148

All capacitors in u F , except where noted. For dual unit, repeat all parts except for R31, R29, CIO, C7, and IC3. IC3 is a dual flip- flop, and the other half may be used independently. Power to IC2: V+ = pin 11 V- = pin 7 EXPONENTIAL 1V/0CTAVE LINEAR FM INPUT INPUT FM INPUT R47 100k

figurel

28 POUPHONy November/ December It’s time to start building again! This issue we’re going to work on a VCO with lots of fea­ tures; in fact, I call it ”VC0 Deluxe". Since this is a fa irly big project I won’t be able to dwell on any point in great de­ tail. However, since the circuit is based o-n the CEM3340 VCO chip, and since that chip is supplied with an excellent data sheet, I don’ t think you'll have any trou­ TRIANGLE OUT R24 10k SINE 0UT ble fillin g in the details. There are a number of fea­ R52 300k tures in this circu it that pop up — v w - again and again, so to save space, Table I summarizes these common features in the form of a "spec sheet". These specs w ill make many facets of the design easier to understand. We can breeze through the circuit description now, especial­ (2) ly since the CEM3340 does most of R33 LA/W the hard work for us. Refer to 47k SOFT SYNC IN s ine 4 *^4 the schematic in figure 1. J1 and - v w symmetry 50k J2 are the two exponential control trim^ voltage inputs. The voltage ap­ R30 plied to J1 can be attenuated by 18k R46, while the voltage at J2 is R51 300k left alone and is simply the 1 Volt per octave input. J3 and its associated at­ tenuator R47 form the input for linear frequency modulation. This would commonly be used for vibrato (FM by an LFO), or for creating gong sounds (FM by another VCO). This input is AC coupled which makes it very easy to use, since you don't have to worry about any DC offsets shifting the fundamen­ TABLE Is Specs for the VCO Deluxe tal pitch. PWM INPUT OUTPUTS: Sine, triangle, ramp, pulse R44 and R45 are the coarse and sub-octave pulse and fine tuning controls. R44 r ^ i j 7 All output impedence lk. Pulse and sub-octave covers a very wide range; in the l R48 f continuously mixable to farthest counterclockwise posi­ a single output. P 100k tion, oscillation is well below Pulse .—i— All outputs DC coupled. P Width 0.5 Hz. At the other extreme of INPUTS: All input impedences, © r o ta tio n , the o s c illa t io n is except hard and soft around 35 kHz. The fine tuning >R16 sync, are greater >4. 7k < R31 than 50k. control has a much more restricted C 22k range and covers a musical inter­ CONTROL lV/octave. val of about a fifth. VOLTAGE Exponential FM. INPUTS: Linear FM (AC coupled). We've now overed the entire PULSE/SUB OUT ^ [+ Coarse and fine tuning. frequency control input structure 12k « comprising two tuning controls, J8 SYNC Soft sync (set for 10%). R29 the exponential FM input, the I T cCIO INPUTS: Hard sync (switch 33/16V selectable for reset on lV/octave input, and the linear FM rising edges, falling input. Now let's take a look at edges, or both). the sync inputs. PWM Manual or voltage The soft sync signal is in­ INPUT: controlled. jected at J10 and should be some sort of rectangular pulse. This ■THOMAS HENRY. POUPHONy November /December 29 KEYBOARD, founded in 1975, is a monthly publication devoted to the needs of all musicians who play keyboard instruments.

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Monthly columns include On Synthesizers by Dr. Robert Moog, Contem­ porary Piano by David Burge, Practical Synthesis by Roger Powell, Master Class by Garrick Ohlsson, and Keyboardisf s Manual by George Duke. More than a dozen regular columns to help you play better, sooner.

Plus a regular quarterly equipment feature article by Craig Anderton, along with reviews of latest albums and books, in depth product analyses, and an introduction to the newest electronic instruments and accessories.

Recent interviews included: Brian Eno, Bernie Krause, Patrick Moraz, Andre Watts, Steve Reich, George Shearing, Martha Argerich, Craig Hundley, McCoy Tyner, and Elton John. Feature articles: Digital Synthesis, Contemporary Piano Music For Teaching, The Columbia/Princeton Elec­ tronic Music Center, Evaluating Effects Devices, Parametric EQ’s.

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30 POUPHOM November/December 1981 sync input responds only to nega­ justs the even order harmonic form. While performing both of tive going triggers. Resistor R33 distortion. these trims, listen to the sine is installed to limit the amount The ramp wave makes its exit wave on an am plifier and speaker of synching to about 10%. This via J6. It should be obvious how (at around 500 Hz), and note the seems about right to my ear, be­ A1 level shifts the ramp output at relationship between waveshape and cause more synching causes greater pin 8 of the CEM3340. timbre. Believe it or not, your distortion and starts to sound The pulse wave is available ear will allow you to tweak up the like hard sync, while less sync at pin 4 of the CEM3340. R23 is a sine wave for very low distortion. gives in fe r io r phase lockin g. pull-down resistor for the emitter However, if you have a distortion However, feel free to experiment of the internal transistor. The analyzer... with R33. pulse developed across this resis­ Well, it's too bad that The hard sync signal is in­ tor then splits off in two direc­ there's not enough space to dis­ jected at J9. Now to understand tions. First it feeds pot R54, cuss every point of this VCO, for SI and its associated circuitry, which is the Pulse/Sub-octave I think it's a really good one. we rausbe aware that the CEM3340 blend control. Then the pulse However, i f you take the time to -Iratd^sync input responds to either goes to the clock input of a CMOS study the CEM3340 data sheet, I'm positive or negative going pulses. 4013, configured as a binary divi­ certain that this will clear up This being the case, it is easy to der. The output of the binary many of the fine points. In the see that if the switch is in posi­ divider goes to a voltage divider meantime, enjoy the VCO Deluxe and tion 1, only positive sync pulses comprising R10 and R19. This we'll discuss something new in are transferred to the sync input resistor string chops the sub­ this space next issue. at pin 6. Negative pulses are octave wave down to about a 13V References blocked by Dl. Likewise, when the level, which is the level of the 1. The CEM3340 and spec sheet are switch is in position 3, only original pulse. This means that both available from PAIA Elec­ negative pulses are transmitted to both sides of R34, the blend con­ tronics . pin 6. When the switch is in trol, see signals of the same 2. T. Henry, "Two Hints on Using position 2, both positive and ampli-tude, allowing smooth blend the CEM3340 VCO IC", ELECTRONOTES, negative pulses are coupled to the transitions. The wiper of R54 is Volume 13, Number 121, January sync input of the chip. The up­ buffered, amplified, and level 1981, pp. 13-16. shot is that we have three types shifted by A4, which is configured 3. For more information on dis­ of sync sounds. For more details in a rather unusual way. I f you crete triangle to sine converters, on this sync-switch structure, see imagine that R49 goes to ground, refer to W. Jupg, "Triangle to my recent article in Electro- it is easy to see that A4 becomes Sine Wave Converter", _IC Op Amp notes2. just an ordinary non-inverting Cookbook, Howard W. Sams and Co. , The pulse width modulation am plifier. However, pulling R49 Indianapolis, 1979, pp. 386- 388. input is at J7. In the absence of to the positive supply instead of 4. This method presupposes that any plug being inserted in J7, pot ground le v e l s h ifts the input you are using a well regulated signal and at the same time re­ R48 manually controls the pulse power supply. © width via a fixed voltage supplied tains the non-inverting amplifier by voltage divider R31 and R29. characteristic4. The result is an EXPERIMENT WITH However, inserting a plug into J7 output that is 20V p-p centered removes the fixed bias voltage and about ground, which is then E K x S eries allows for voltage controlled chopped down to 10V p-p by divider pulse width modulation. R12 and R13. This combination of EXPONENTIAL Well, we've covered a ll the 2.2k resistors gives approximately input considerations; now it's a lk output impedance at the same MODULE CARDS time to talk about the outputs. time. Remember, our "standard" is to So, by u tiliz in g this some­ EKx 10 ADSR envelope generator with exponential control have 10V p-p outputs, centered what strange configuration, we can of Attack, Decay and Release times over a about ground, with a lk output see that rotating R54 in one d i­ guaranteed .002 to 20 second range. No con trol impedance. With that in mind, rection gives full pulse wave, voltage feed-through.. $24.95 plus $2 postage let's look at the triangle wave with no sub-octave. Rotating it EKx 20 VCF in the other direction adds an with exponential control of pole frequency output fir s t. over a 10 octave range. Jumper programmable The triangle is available at increasing amount of sub-octave fo r 24 dB /O ct. LP, HP, BP or A ll Pass response. pin 10 of the CEM3340, however it wave, until the pot has been ro­ Voltage controlled resonance. Low noise, 86 dB is a non-standard voltage. A2 tated a ll the way, at which point below max. output. $26.95 l$2.00) level shifts and amplifies this the output is fu ll sub-octave. EKx 30 DUAL VCA signal by a factor of 2, making it And we've kept a 10V p-p signal low noise, low distortion, wide bandwidth, low standard. the whole way around the rotation! control voltage feedthrough. Both exponential Calibration. Tweaking the and linear control voltage inputs simultaneously The triangle wave also feeds a v a ila b le ...... $24.95 1$2.00| the sine converter formed by Q1 module isn't all that hard, but it and Q2. I f you're used to the old does take patience. The spec EKx 40 FULL FEATURE VCO Full feature VCO with ramp, triangle and 3080 type sine converters, this sheet gives the details on how to voltage controlled pulse. Exponential control one will give you quite a sur­ tune up trimmers R17 (the V/octave o f frequency over accurate and s ta b le prise. Distortion is incredibly trim) and R28 (the high frequency 100,000:1 range. Linear FM Input and hard and s o ft sync...... $29.95 l$2.00l low, even with garden variety error trim), so I won't say any­

transistors. What makes this con­ thing about theml. The sine trim­ Each kit features the Curtis Electromusic | verter superior to the 3080 type mers, R43 and R34, are best ad­ I.C^'s to implement a full function is the inclusion of feedback via justed with an oscilloscope, with Voltage Controlled Card. All connections are R3, which p ractically nulls out your ear serving as the final brought to the card edge in a configuration compatible with Molex or 22 pin .156 center the "pip" on the extreme end arbiter. While watching the wave­ edge connectors. points of the sine wave3. Trimmer form, tweak R43 until a nicely R43 minimizes the odd harmonic rounded sinusoid is formed. Then B liA Electronics, Inc. distortion, while trimmer R34 ad­ adjust R34 for a symmetric wave­ 1020 W. W ilshire , O klahom a City, OK 73116 (405)843-9626

POUPHONy— November/December 31 INSTRUMENT THE

s t ie s . Computer functions in the Pro One rea lly make it stand out from other mono synthesizers. A built-in digital sequencer has a 40 note memory which can store two individual sequences at once. These can be selected at any time by simply flip p in g a 3 position switch from "o ff" to The Pro-One is a small monophonic performance "seq #1" or "seq #2". If nothing is stored in a synthesizer based on circu itry made famous by its memory, seq #1 gives an uphill cascade of 20 notes poplyphonic parents, the Prophet-5 and Prophet-10. and seq #2 gives a downhill r iff. Sequence speed is The Pro incorporates many features that make it a controlled by the LFO rate or by the gate input on real value in its price range. These include a 40 the rear panel. The programming method is quite note sequencer function (true sequencing, not FM unusual; to memorize a sequence, you select either wave-shaping) with the ability to add rests in the the seq #1 or seq #2 mode. Next to this is a re- program, an arpeggiator, and an external audio input cord/play switch. You put this switch in the record for instrument treatments and processing. position and enter the notes via the keyboard. In Like most mono synths, the Pro has two oscilla­ order to get a rest in the sequence, the record tors with a variety of waveforms (these include switch is flipped from record to play and back to sawtooth, square, and modulated pulse). The two record again to get one rest. All notes entered are oscillators can be offset to any interval using of equal duration, so it doesn't matter how fast or rotary pots, and can also be set at one to three how slow you program the sequence. To play back the octave spreads using the preset octave control. A sequence, you switch the record/play switch to master tune control, on the far right of the instru­ "play", the three position switch to "off", and then ment, allows quick and easy tuning to other instru­ select either seq #1 or seq #2 with the same three- ments. Also included is a sync switch for creation position switch. All signal processing pots (VCO, of complex waveforms, and each oscillator also has VCA, VCF) are s till active, so treating a recorded its own volume level pot. Other oscillator related sequence is no problem. The sequence can also be functions consist of a two position glide switch transposed at any time by hitting a different key that gives you a choice of auto-glide (continuous (the default setting is low C). until the VCA dies out), or regular (normal) glide Another neat fu n ction is the a rp eggia tor that stops when your finger leaves the key. switch. Notes can be arpped up or up and down by The 24 dB/octave low pass filte r is par for the holding down any number of keys. The Pro One w ill course, but the Pro's f i l t e r has its very own ADSR sequence each of the keys held down at the rate set along with four controls (resonance, cutoff, key­ by the LFO speed. These notes can be "latched" by board amount, and amount of envelope generator modu­ the computer so that you can take your hand(s) off lation). The VCA also has its own ADSR generator of the keyboard. The arpeggiated notes cannot be and a bypass switch. The keyboard has provisions transposed like the sequencer, but new notes can be for single or multiple triggering, plus a repeat added at any time by holding down extra keys. Un­ function whose rate is controlled by the LFO speed. like the sequencer, the arpped r iff cannot be stored One outstanding feature of the Pro is the con­ in memory; once the "latch" is turned o ff, you lose trol voltage routing system. All oscillators, VCA, the arpeggio completely. and VCF functions can be routed to a thumbwheel Those jacks on the back. The Pro has back (with variable depths of change) or directly to the panel jacks that are a definite plus. Control volt­ ADSRs. The oscillators can also modulate each other age in, out, f i l t e r in and gate in/out are to be for an extra LFO, or for a ring modulation effect (a expected nowadays, but the Pro also owns an audio low frequency switch converts oscillator B to the input jack that can be used to process other instru­ sub-audible range to obtain the LFO function). ments through its VCA and VCF o_r can trigger a There is also a thumbwheel for pitch-bend with a sequence stored in memory. This lends it s e lf to center notch for easy return to the original note. many unusual alternate controllers, such as voice,

32 POUPHONU November/ December DIGITAL INTERFACE by GREG ARMBRUSTER

Since Polyphony deals with a more educated and experimentally-oriented readership, the following information might be very useful to those working with the Sequential Circuits Pro-One. For example, I think it would be possible to create an "orches­ tration" machine using a home computer as the se- quencer/controller for several Pro-Ones. Each Pro- One could be patched for d ifferen t instrumental timbres and the entire array conducted by the compu­ ter. The more clever programmers could add the visual notation as part of the computer's duties, Chuck Pogan but it's the sound that would be impressive. Be­ sides, the cost of five Pro-Ones is much cheaper than a Prophet-5. Adding a digital interface for external compu- guitar, other synths, or almost any signal. An ^ ter control requires both some simple hardware modi- audio sensitivity pot is located on the front panel : fications to the Pro-One and the creation of so ft­ and also doubles as the noise source when this ware for your system. I f you doubt your technical ability to install the interface, please see an SCI function is not being used. One such unusual con­ tro lle r is what I like to call the PAST system Authorized Service Center or contact our Service Department. However, please note that we must leave (primitive, Analog, Sequential Triggering system). a ll questions of programming your system to you. It consists of nothing more than a cheapo microphone in a coffee can. By playing the*can like a bongo, a Now for the modification... successive note store in the memory can be triggered S 1. Remove the front panel, and then remove the every time it is struck. This allows for real time I 8021 microcomputer (U113) from its socket. Store it sequence manipulation, and is a lot of fun for | in conductive foam and keep it ’in a safe place; budding or non-keyboardists who want to hear flashy avoid excessive handling of this chip. Note that r if f s but don’ t have the dexterity to play them with the 8021 removed, the Pro-One's keyboard cannot "keyboard-style” . operate. Pro One Cons. The Pro, for all its obvious 2. Jumper pin 2 of the 8021's socket to J101- trick functions, has a few shortcomings. Unless the $ 7. Pads are provided on the printed circuit board unit has been warmed up for a considerable time, the for this purpose. sequencer, while loading, may stutter a note even 3. Locate the area between the trigger switch though the selected key is depressed only once. ; and the repeat/external switch (in the mode sec­ When this happens, the memory w ill record the same tion). You'll see a diode, a resistor, and between note two times (or more). Perhaps this is just a these two parts, space for a resistor (this is problem with my particular unit; knowing the stan­ I labelled optional CPU). Add a 10k Ohm, 1/4 Watt, 5% dards of excellence Sequential is famous for, this resistor in the space between the existing diode and is probably the case. resistor. Also, I wish that the audio input s e n s itiv ity 4. The accompanying table lis ts pin assign­ pot and noise source were two d ifferen t controls ments for J101. Mate J101 with a 14 wire ribbon instead of sharing two functions at once. This cable terminated in a DIP plug. would have allowed the Pro to double as a percussion synth using alternate controllers. As it stands DIGITAL INTERFACE PINS (J101) now, white noise cannot be added when using the audio input jack. Pin Signal Pin Signal Finally, the unit's construction is not exactly heavy-duty. The front panel is of thin plastic and 1 D5 6 DO the pot and switch quality is only average. I f you 2 D4 7 Gate intend to carry the Pro around, then an anvil case 3 D3 8 DAC enable is highly recommended or else handle it with kid 4 D2 9-14 Ground gloves. 5 D1 Pro One Pros. The most important aspect of any musical instrument is the quality of sound and play­ The interface is compatible with standard TTL a b ility . The Pro stands out in these respects. logic, where less than 0.8V signifies 0 and greater Like most synths, the bass register is very good, than 2.5V signifies 1. It accepts six data bits (DO but the Pro really shines as a high-end screamer through D5). This allows the numbers 0 through 63 (something not normally found on an inexpensive (decimal) to convert to over five octaves of "key­ synth). The oscillators are very stable, and the board" control when latched to the internal digital- front panel is laid out logically and intelligently. to-analog converter (DAC) by the positive going DAC Overall evaluation. The Pro One is a very well Enable (DAC EN) pulse. The Gate is exercised via a designed synth in general. Even without the compu­ bit at pin 7. ter functions, it still would be an excellent per­ To play notes on the Pro-One, the system d ri­ formance device for the money. But considering that ving it w ill have to do something like the following it does so much more than many other units in its (the way in which these events occur is not as ballpark, I feel the Pro should be one of your first important as their sequence). At the start, the considerations when shopping for a mono synth. 6 Continued on page 35...... POUPHONU — November/December 1981 33 and what it's all about. When you look around at I can remember Scott coming d ig ita l synthesizers, you hear in once and pointing out an ad to some pretty incredible sounds, but me that said in capital letters, they're still really limited. "Digital is Better". Scott says When we get into that multiple this is what people think, but we algorithm instrument, you'll real­ both know it's BS. A lousy ly have some power. On the other digital synthesizer is a hell of a hand, I don't think the analog lot worse than a good analog syn­ instruments are ever going to be thesizer, but somehow people got outdated or obsolete; they do what this brainwashed idea that digital they do, and what they do is pret­ is better. Actually, digital is ty neat. I think that eventually different, not necessarily better. we we w ill translate the concept But let's look first at analogies of voltage into variable algorithm between digital and analog systems in the d i g i t a l machines, but - and there always are analogies, that's in the future. since both technologies are trying to accomplish the same goal. JL: E-mu's Emulator (Ed. note: a Voltage control is considered keyboard instrument that repro­ a big thing, but as most circuit duces, rather than synthesizes, designers know it's really current the sounds of other instruments control. There's nothing magic and sounds - sim ilar to the idea about voltage control; what's of a solid-state Mellotron) is a magic is that you can take a hand­ radical departure from your other ful of modules and because any work. What prompted you to take output can control any input, the this direction? number of different patches - the number of ways of making sounds - DR: In the sense of the product goes up exponentially with the concept, I guess it is a pretty number of inputs and outputs. So radical departure. But in the with a relatively small number of sense of the inside design, it's identical modules, absolutely in­ amazingly sim ilar to what we've credible things can be done...and done before. that's what's so neat about At a certain point our finan­ voltage control. Look at the cial picture made it clear to us little pre-patched synthesizers: that we needed to get into some ...... continued from page 25 sure they're voltage controlled higher volume work i f we were f i l t e r , it didn’ t come anywhere inside, but who cares? They don't going to stay alive. Scott and I near to the specs they had listed make much use of the voltage con­ were getting tired of starving to on the spec ;sheet! Sometimes trol. A modular system does a lot death and not having any extra believing that it's possible to do more. money to play with, when we could something can inspire you to ex­ Looking at digital systems, have worked in a silicon gulch ceed what really is possible. the analogy to the patch is the industry and made at least five Anyother great influence on algorithm - the way that you push times times what we're earning me was Joe Parmalee, for whom I numbers around inside the compu­ right now. So to some extent, it worked at Santa Clara Systems. ter. For example, Fourier synthe­ was a financial decision that made Joe was an absolute perfectionist; sis is one algorithm, FM synthesis us go in the direction of a high if there was any conceivable way is another algorithm, a digital volume instrument. The actual to improve a circuit, he'd make me filter is yet another algorithm, idfea came from the fact that I was do it. That was real good train­ and you can combine algorithms kind of amazed that something like ing, as it taught me to be very ju st lik e you would combine the Fairlight could sell for thorough and do my best work. patches. Hence, voltage control $35,000 - or whatever it is - Other influences exist a ll would be analogous to a variable since I knew that it could be done around us. We call up a lot of algorithm digital synthesizer, a lot cheaper with a proper de­ people and ask them what they where it didn't just compute in sign. I think I've been quoted think, and remain open to what one way, but you could actually go before as saying that anybody can they say. So, anybody can in­ in there and write the micropro­ design d ig ita l, and I kind of put fluence us and they won't even grams and get the thing to compute my money where my mouth was and know when they've done i t . I the sound in whatever way you designed the thing. I think it's don't always like an idea when I wanted. The problem with that a really neat instrument. It does hear it , but after it sets for a approach is you have to be an something the electronic music few days I may decide that it's incredible computer jock - writing community wants, and it does it all right after all. microcode is hard stuff - and well and simply. The hardware in second, you have to find a general there is exceptionally flexible, JL: Voltage control is an impor­ purpose microcoded computer that's so despite the instrument's ap­ tant aspect of the modular system. fast enough to generate sound in parent simplicity, it's pretty What is its future, if any, with real time. That's a total bitch; in c r e d ib le what i t can do. I the advent of digital synthesis? it just can't be done economically could spend an entire interview right now. So, I would say that talking about the Emulator...but DR: Well, I think there is a lot the analogy of voltage control is that's not really what we're sup­ of misunderstanding about digital s till a goal in digital synthesis, posed to be doing here, so let's synthesis - what it really means and it's not here yet. continue.

34 PQWPHQNU- November/December JL: What do you see in the future called GEM which makes electronic for electronic music, and are you organs, Lyricon, Octave Electron­ the Pro-One working towards that end? ics, and I'm also doing some work with a few other companies whose DR: I see a lot of different names I unfortunately can't men­ INTERFACE things in the future of electronic tion due to marketing considera­ continued from...... page 33 music. You can look at the Casio tions. E-mu is actually two com­ machines, and that's one future of panies; there's E-mu Systems In­ sequence). At the s ta r t, the electronic music - getting it into corporated which makes the modu- analog Keyboard Control Voltage every home, making it cheaper, and lars and Emulators and so on, and (KYBD CV) output from the DAC kind of throwing away the fact E-mu Design which is the con­ (which controls the oscillators that it wants to be high fidelity. sulting and designing service. and f i l t e r ) is unknown. Nothing That's one future of electronic There we do virtually anything is now heard from the Pro-One music, but I don't really feel I'm anybody wants us to do as consul­ because the envelope generators working towards that end so much. tants. And yes, we are available. are not being gated. First the In another sense, I see making the system somehow decides what key existing concepts - programmable JL: Would you care to share your (out of 63) it wants to play. It synthesizers - more affordable. secret of accomplishing so much then sets up the key number in We're also working towards more work...does it have something to binary form on D0-D5. (This might utility for a given amount of do with your style of work? be done with a six -b it output money, which shows in an instru­ You're certain ly not a nine-to- port.) Next DAC EN must be forced ment like the Emulator. In the fiv e r, but more of a marathon high, latching the key data. For future you're going to see more type. How does this help you practical purposes a delay of 20 and more digital instruments, not work? microseconds w ill allow the DAC because digital is inherently bet­ time to settle (worst-case). At ter but because digital technology DR: Well, I think that the thing this p oin t, GATE can go high, is going to be getting cheaper and I can share with people is a con­ triggering the envelope genera­ cheaper, which w ill make it more cept called intention. Basically, tors. When the note is to be cost-competitive with the analog when you have an intention to do turned o ff, it is likewise ad­ stuff. We're d e fin ite ly working something, you direct your entire visable to turn the GATE off (low) towards that. attention - all of your conscious­ before again strobing the DAC. I think that E-mu w ill always ness is just focussed - on what To return the Pro-One to be at the forefront of research, you want to do. You have to have normal operation, unplug your sys­ too; I'm a curious person and I've really clear goals, go one step at tem from J101, remove the 10k got some pretty off-the-wall ideas a time, and keep a truly open mind resistor mentioned previously in that I'm working on right now. - don't bang your head against the step 3, cut the jumper installed But I don't think you'll see E-mu wall trying to get through, be in step 2, and carefully re-in­ come out with any more real expen­ aware enough to rea lize that you stall the 8021 (U113). sive dream machines, that's more can often walk around the wall. The technical staff of se­ for beginning companies. When I'm kind of a tornado around work, quential circuits would, of you're first starting out in elec­ I leave little piles of mess be­ course, be interested ip the re­ tronic music you're kind of ideal­ hind me. My intention is more to sults of any successful experi­ is tic and w illin g to work for get the job done than clean up ments using the digital interface. nothing, and that's when you can after myself, and the people that Write to Sequential Circuits, 3051 go work for an artist or people work with me realize that. North 1st Street, San Jose, CA The other thing that's real who want special gadgets. You 95134; or call (408) 946-5240. e work for l i t t l e money, spending important to me is being complete­ lots of their money, to make in­ ly wherever I am. When I'm at credible machines. As you go on work, I'm com p letely here.. I On Location: 7 0 t h A E S in l i f e you tend to think more of don't think at a ll of what I'm your own needs and want to produce going to do tonight, or what I'm ...... continued from page 26. more volume items...and end up going to do tomorrow: I think Other than the exhibits, pre­ making Emulators and things like about e x a c tly what i t is I'm sentations of papers, and work­ that. Again, fine instruments; trying to accomplish. On the shops, in the evening many of us but more for the masses. other hand when I go away, like spent long hours in bars and smoky when I spent last week getting hotel rooms talking about the JL: Besides doing design work for certified as a scuba diving in­ future of audio and music, while Oberheim and Sequential, have you structor, I didn't think about E- swapping tapes back and forth on done design work for others? rau for a second. That intensity the nearest available Walkman. is what helps me to do as much as The conversation turned to such DRs Yes, I have done design work I do. topics as stereo implants, humans for a lot of different people, Well, I can see we're running and machines, new musical concepts some of them not in the electronic out of time so that should just - crazy, visionary things that one music community. I'm s till close­ about do it for the interview. gets to thinking about after in­ ly associated with SSM, and con­ Thanks for the chance to say some gesting a few drinks or other sult on almost all of their de­ things, and for the good ques­ chemicals - you all know the feel­ signs. I've done consulting for tions . ing. my previous employer, Santa Clara Those four days were rea lly Systems, as well as some d ig ita l JL: On behalf of the readers of some of the best days I've had in memory te s te rs and VCAs for Polyphony, thank you. a long while. But then again, National Semiconductor, some syn­ remember what I said about fir s t thesizer design for a company ------— e loves. — - — ■ 0

roudPHOiMa- November/December 1981 35 GOUIPmEHT EXCHflflGE

PUT POLYPHONY TO WORK FOR YOU. List equipment for sale or trade, job openings, positions wanted etc. Equipment exchange classified rates for individuals offering goods or services for sale or trade: 25c per word, 20 word ($5.00) minimum charge; Commercial establishments: 50c per word. Prices, zip, phone numbers count as one word each. DISPLAY CLASSIFIED: $15.00/inch, one inch minimum, camera ready art to be supplied by advertiser. All classified advertising must be prepaid. Advertisers using a Post Office Box for responses must furnish Polyphony Publishing Co. with a complete street address and phone number. Readers should respond directly to advertiser. Polyphony is not responsible for claims made in ads, or the result of any transactions. Polyphony reserves the right to edit or refuse any ads submitted.

PAIA 1550 Stringz 'n' Thingz with Equipm ent 1551 Stereo option. Excellent Su p p lie s condition, professionally BLANK AUDIO TAPE: AMPEX AND SCOTCH SEQUENTIAL CIRCUITS model 800 assembled, factory adjusted. MUST Digital Sequencer $400; Modular (reel-reel). Also empty reels and SELL, $525.00 or offer. Dave boxes. Send for information: Moog Analog Sequencer, Sequential Garfield, 1105 Clayton Lane #105, RECORDING SUPPLIES Switch, Multiple, Interface with Austin, TX 78723 (512) 458-1731. 1058 Oakview Drive power supply in studio cabinet Cleveland, Ohio 44143 $600; RMI Keyboard Computer (216) 442-2467 Digital synthesizer with all voice OBERHEIM Four Voice Polyohonic cards $1500. Duane Decker (801) Synthesizer, with programmer, 969-8731.______1-1/2 years old, like new. Lite ra tu re $2975.00 or best offer, Craig SYNTHESIZER CALIBRATORS, kits or Markley, 292 Hane Ave. Marion, OH PROGRESSIVE, Experimental, assembled. 1/3 octave pink noise 43302 (614) 387-6632. Electronic, Avante-Garde, and test tapes with warble tones. Microtonal Music is covered in TEAC 2A upgrade mods. Write to: depth in SURFACE NOISE magazine. ARCAS Engineering, RFD #3, PAIA P-4700/J, assembled, plus $2.00 for current issue or $8.00 Burthill Rd., Winchester, NH extra 4761, (3) 4770, 4712, 4710, for one year subscription. 03470. ______2720-11, 2720-12, 4740, EK-2, 1500 SURFACE NOISE, 428 Citrus Road, Phlanger, cords, manuals, Melbourne, FL 32935 fTiusic equipment software. Excellent condition. $1100 new, $600 takes all. Robert EXPANDED P-4700/J factory Sorel, 393 Ninth Avenue, Recordings assembled, IK RAM, MUS-1, 4 VCO, 2 Woonsocket, RI 02895 (401) VCF, 3 ADSR, 1 REVERB, 1 LFO, 1 767-3349. TECHNO DE-FACTO the new 60 minute Mixer, 2 Balanced Modulators, 2 cassette by Walt Whitney, 14 Transposers, 1 multiple/attenuator Avante/Rock songs guaranteed to panel, 2 pedals, 2 extra wing ELECTRO-HARMONIX entertain. Send $5.00 ppd. to: cabinets, Realistic cassette for Mini-Synthesizers, 2 octave board, Sub Sound, P.0. Box 2411, software, cords, manuals, 5 octave range, self-contained Overland, MO 63114. Money back excellent condition $1400 invested Speaker/Amp. pitch bend, phase guarantee. $700.00 or offer. Must sell! Ron control, weights 2 lbs. $150.00. Slabe, 26351 Lakeshore Blvd., Runs off 2 nine volt batteries or Euclid, OH 44132 (216) 261-1072. E.H. AC adaptor, $15.00. 1 year BEACON STAR - synthesizer/space warranty. Money order, cashier's music on cassette tape. $5.00 YAMAHA CS-50 4-note touch check or cash o.d. Sound Electra, check/money order to: Chuck responsive synthesizer, noiseless, P. 0. Box 17206, Minneapolis, MN Larrieu, Box 294 Corte Madera, CA $1200. PAIA 4700/J including all 55417 (612) 727-1482. 94925. " it's good stuff!" components minus QuASH and one filter, plus 2720-4 AR and 4740 ADSR. VCA's hum, otherwise great shape, $400. Stephen Mizer, 122 Lillard, Belton, MO 64012.(816) 331-3072. Advertiser Index Bode Sound Company...... 15 PAiA Electronics...... 31,38 FOR SALE: PAIA modules, all PGS Electronics...... 6 operable and calibrated: 2720-1, Contempory Keyboard...... 30 ’-3B, *-3L, '-4, '-5, '-7, $10 Dickstein Distributing...... 17 PolyMart...... 20 each; 2720-2A (needs repair) $5.00; 4710, $15; 4720 $25; 4740 E-mu...... 37 Polyphony Back Issues...... 21 $17; 4770 $11; 8780 $25. Direct inquiries to: D. R. Cool, 7421 Gil Trythall...... 7 Sequential Circuits...... 2 Troy Manor Rd., Dayton, OH 45424. Imagineering Audio...... 5 Serge Modular Music...... 13

Jazzical Records...... 19 SMS...... 27 PAIA Gnome and Oz $60. Needs work. Jim hardy, 1676 E. 4th, St. Paul, Music Technology, Inc...... 11,12 TEAC (Tascam)...... 8,9 MN 55106 (612) 771-7995.

36 pouphonu November/ December "Any sufficiently advanced technology is indistinguishable from magic.” —Arthur C. Clarke

E-mu Systems, Inc. 417 Broadway, Santa Cruz, CA 95060 (408) 429-9147 Veloci-Touch” Controller

* INDEPENDENT CONTROL VOLTAGES FOR VELOCITY AND PRESSURE

* VELOCITY SENSITIVE TRANSIENT GENERATOR

* USE WITH PRACTICALLY ANY KEYBOARD, ANY SYNTHESIZER

* PAIA 4700 SERIES MODULE OR RETRO FIT PACKAGING AVAILABLE

* LOW COST

The new Veloci-Touch controller from PAIA adds time and an output control that’s continuously what may be the two most important parameters variable from normal to inverted transients. Use any electronic keyboard can have - Velocity and as a filter parameter control for the most natural Pressure. t timbral changes ever.

Velocity is a control voltage proportional to how Even that’s not all. The Veloci-Touch controller hard you play. Pianissimo and the voltage is low. also provides an output proportional to the Fortissimo and it’s high. Use this parameter with pressure you apply to the key after it’s down. a VCA and presto...output level changes that Imagine - tremolo the natural way. follow your playing. The best part of this minor miracle from PAIA is But, since “loud” and “soft” mean more in that it’s non-denominational. You can retro-fit it human terms than just level changes, the Veloci- to essentially any synthesizer from any manufac­ Touch controller also provides a velocity sen­ turer. At a price that’s so low you won’t believe sitive transient generator with variable decay it’s possible.

Get the full story today by dropping a line to: RBiA Electronics, Inc. Dept. VT, Box 14359, Oklahoma City, OK 73116