October 1983

BASIC FILM SCORING MATH

LARRY FAST INTERVIEW

FOSTEX X-15 REVIEW

ISSN : 0163-4534 T H G O B G R H G I M SYSTGM

“ Let me overturn a “The system inspires “ In truth,these “There's no other way “The interface with myth here—this is creativity and three little boxes to record a symphony the DSX exponentially the greatest drum box experimentation on (DMX, DSX&OB-8) by yourself... enlarges the possibilities of for sound and every level.” will do far more than Sting (The Police) programmability....” we yet know how to what I can do.” David Sancious Musician/ June 1983 make use of musically.” Stewart Copeland May 27,1983 Jeff Lorber (The Police) Jim Aikin Obernotes/Fall 1982 Melody Maker Keyboard/IkprW 1983 June 18,1983

'Jf

/

OB6RH6IM GLGCTRONICS, INC. Some things are better than others 2250 So Barrington Ave. Los Angoles. CA 90064

DX Digital DMX Digital DSX Digital OB-8 Polyphonic 700 Professional Drum Machine Drum Machine Polyphonic Programmable Stereo $1395.00 $2895.00 Sequencer Synthesizer Power Amplifier Suggested retail Suggested retail $1995.00 $4395.00 $895.00 Suggested retail Suggested retail Suggested retail STAFF ISSN: 0163-4534

PUBLISHER John S. Simonton, Jr. VOLUME 8, NUMBER 6 EDITOR Craig Anderton OCTOBER, 1983

MANAGING EDITOR Linda Kay Brumfield

TECHNICAL ILLLUSTRATOR Caroline Wood Basic Film Scoring Math By: Dr. Maury Deutsch ...... 24 CIRCULATION Ramona French Build the Hip Bass Drum Peggy Walker By: Craig Anderton...... 13 BOOKEEPING Cathi Boggs E-Mu Systems Drumulator Trigger Modification By: Kevin Monahan...... 28 PRINT PRODUCTION Phuong Nguyen Fostex X-15 Review SEMCO Color Press By: Tom Mulhern ...... 22

POLYPHONY (ISSN 0163-4534) is published Index to Volume 8...... 33 bimonthly at 1020 W. Wilshire Blvd., Oklahoma City, OK 73116, by Polyphony Publishing Co. Entire contents copyright Larry Fast, Interview (c) 1982 by Polyphony Publishing Co. All By: Craig Anderton ...... 8 rights reserved. No portion of this publication may be reproduced in any manner without written permission frpm the publisher. Second Class postage is paid at Oklahoma City, OK 73125. ADVERTISING rate card and deadline schedule is available upon request. Contact Linda Brumfield at (405) 842-5480. DEALERS & DISTRIBUTORS bulk prices are Applied Synthesis: available upon request. Contact Linda > Orchestral Voicings Using the Tenth Interval Brumfield at (405) 842-5480. By: Bill Rhodes ...... 16 SUBSCRIPTION rates: American 1 year $12.00 Practical Circuitry: Micro Drums part II 2 years $22.00 Foreign 1 year $14.00 By: Tom Henry ...... 18 2 years $26.00 We now accept MasterCharge and Visa Review payment for subscriptions, back issues, ana PolyMart items. Foreign payments By: Robert Carlberg...... 6 must be by charge card, money order, or certified check in US funds drawn on a US bank. BACK ISSUES are available at $2.50 each ppd. Send SASE and request o u r 'Back Issue List' for a complete index of issues and their features, or see the back issue ad in this issue. Ad I n d e x ...... 34 CHANGE OF ADDRESS notifications must include your former address and zip Current Events ...... 29 code, and any numbers from the mailing label, as well as your new address. When you move, be sure to notify your Equipment Exchange Classified ...... 34 post office that you DO want second class and controlled circulation Letters ...... 4 publications forwarded. This will save lost or returned issues. Polyphony is not responsible for replacement of lost or returned issues when we have not been supplied with change of address information. ON THE COVER: The Gleeman Pentaphonic Clear - visible TO POSTMASTER, send address changes to: electronics. POLYPHONY PO Box 20305 Oklahoma City, OK 73156 COVER PHOTOGRAPH by: Vesta Copestakes - Vesta Advertising, Inc. Ph. (405) 842-5480 Santa Rosa, CA

Fofyphoity October 1983 3 CALLING ALL TAPES... CORRECTION

I currently produce a weekly, Re the "Log Response LF0" three hour radio program here in (April 1983 issue of Polyphony), California that is dedicated to pin 7 of the 2209 should be pulled new electronic/acoustic musics. I up to 15V through a resistor. The encourage any Polyphony readers to exact value depends on the desired send me air quality reel-to-reel output impedance; lk is about the tapes (no cassettes!) for consi­ lowest you can go. Without this Need an amazing source of synthesized sounds a t an ab­ deration. resistor the triangle wave will surd price? Here you go . . . a noise oriented pre­ patched minisynthesizer built around a powerful LSI chip. come out fine, but the square wave The Dark Star provides a digital noise source with Jon Iverson amplitude will be real low - about variable clock, plus a noise filter, LFD, VCO, VCA and 1931 Nancy Avenue envelope generator; a whole panel of synthesizer half a Volt, if that. modules in just a tiny 6 "x 4 "x 3 " package. It can be Los Osos, CA 93402 powered from +5, +15, or +9 volts [battery], is a Ole Kvern nice beginner kit and requires only an external amp. You can use it to simulate all those surf, wind, rain, cym­ Seattle, WA bal, explosion, spaceships hurtling across the void and EDR MODS? warping out type sounds. Careful design and wide range controls give you a real sound exploration tool; don't be fooled by the low price. Try it as a percussion kit addi­ I own an Echo Digital Recor­ In the April '83 issue, page tion, a drone voice, even as a CV source. The Dark Star der (made by Imaginearing Audio, 35, "Meet Sid": The table 1 re­ just doesn't sound like anything else—we guarantee it! PRICE: $ 4 9 PPO since out of business) and have gister map is incomplete. For BLACET RESEARCH, 18 4 0 5 Old Monte Rio Rd. heard that there is someone who is registers $04, $0B, and $12, D6 Guerneville, CA 95 4 4 6 modifying them for improved fi­ should be a square wave, D5 should delity. Also, I'm trying to lo­ be a sawtooth wave, and D4 should cate a pedal to sweep the EDR VCO be a triangle wave. for flanging, as well as foot controls for live use. I also Lon O'Bannon need a schematic! I am not the Columbia, MO only EDR owner in the Seattle area with these needs, and we are col­ lectively seeking this informa­ AMS-200? tion. I know you are busy but Polyphony is my last hope. A few months ago I ran into an issue of Polyphony and ordered Jim Billington the 12 back issues of DEVICE. I The new Series V Digital/Analog Keyboard Carnation, WA was quite pleased with what I got. Controllers from PAIA offer enough stan­ Is DEVICE still being run? dard features and options to fill every need Jim — The person you have Also, I'd like to know how from stage to studio. Standard features heard of is probably Keith McMil­ include Pitch & Modulation Wheels, Gate you solved the problem of convert­ and Re-trigger outputs, Low Note Rule lan from Zeta Systems (1122 Uni­ ing a guitar's hex pickup signals Priority, Smooth Pratt-Read Action, Light versity, Berkeley, CA 94702). from frequency to voltage. When I weight and only 2” high. While not affiliated with the saw your articles in DEVICE on the You have your choice of: company that made the units, he is AMS—100, I decided to go poly­ very familiar with the circuitry phonic and order a hex pickup from • 37 or 61 Note Actions and has come up with some acces­ Roland; I like the AMS-100 ap­ • Exponential Or Linear C.V. proach to signal processing, and • MIDI or Parallel Digital sories (such as foot controls) for • Mono or Poly the EDR. A control voltage pedal would like to add VCOs to my set­ • Factory Assm. or Low Cost Kits is simple: plug a 9 volt battery up. I also intend to integrate into the input of a standard vol­ Best of all, prices start at less than $180 PAIA's Shepard Function Generator ume pedal (+ to hot, - to ground; into my guitar synth by multiplex­ call our toll-free line if you're using a battery connec­ ing the pre-processed hex pickup 1-800-654-8657 tor, red goes to hot and black signals through a series of VCFs 9AM to 5PM CST MON FRI goes to ground). Run a cord from and VCAs. And, whatever happened for price & ordering details the pedal output to the VCO input. to the polyphonic AMS-200? Sweeping the pedal will present a & get your free RAiA catalog! 0 to +9V voltage change at the Mark Davis Direct mail orders and inquiries to: Dept.11 pedal output, sufficient to sweep Marquette, MI the VCO over close to an octave BWV Electronics, Inc. range. 1020 W. W ils h ire , O kla ho m a C ity, OK 73116 ( 405)843 9626 4 Polyphony October 1983 Mark — I am always amazed by as the AMS-200 polyphonic version. and sawtooth wave works? the continuing interest in the I certainly couldn't predict when AMS-100, which was intended as an all this will come about, but it Ronald Parker experimental system. Several peo­ is something I want to do, and I'm Norcross, GA ple have urged me to update and sure will eventually get done. redesign the AMS-100. While time Ronald — Glad you like the limitations have prevented me from Hyperflange + Chorus, I blew up taking on this large a project, I plenty in the design process so hope to return to it soon. SID AGAIN you wouldn't have to! As far as VCOs go, I really Re SID, you're right about see no need to re-invent the Ro­ Having built only a handful timbre — it is independent of land GR-300 — it really does just of kits, and having read about pitch or volume. Re logical- about everything I want a guitar analog delay circuits ("not for ANDing, this means that the sig­ synthesizer to do. However, a hex the beginner", "this circuit nals are not mixed in an analog processor like the AMS-200 remains should not be attempted by the fashion, but rather, that they to be invented; I would base one novice", "do not remove under modulate one another to produce a on one of the existing GR-series penalty of law", etc.), I never­ more complex overall timbre. guitars. I would not use VCOs, theless decided to burn up one of but rather, extract the fundamen­ your Hyperflange + Chorus kits tal through the compressor/fil- (cheaper than burning one up from M odify ter/dynamics generating circuitry somewhere else). I put it togeth­ featured in PAIA's "Roctave Divi­ er in three nights' work, cali­ M IA Programmable Drum Set der", then apply VCFs and VCAs. brated it by ear, and I am very Basically, what happened with pleased with it — no trouble at Roland Drumatix the AMS-100 was that after build­ all, very quiet and lots of fun. ing the thing, I started using it Regarding the SID 6581 arti­ E-Mu Drumulator Tuning Mod extensively in the studio. Over cle, it seems to me that Mr. Li- the past few years, I've found out sowski equates timbre with ampli­ which sounds, controls, and fea­ tude (twice!). I thought timbre tures seem most musically useful. NEXT depends on the relative harmonic Now I'd like to take what I've content of a tone. learned and make a more stream­ Also, would you explain how lined, easy-to-use system as well the "logical ANDing" of a triangle in Fotyphony ELECTRONIC MUSIC d! HOME RECORDING

Be Creative With Real Sound If you own an Apple or Apple compatible computer you can be creative with real sound in a new way. DX-1 is a hardware/software product for your Apple computer that lets you record, process, playback, save to disk, and generally modify ordinary sound in ways never before possible. DX-1 has certain musical abilities, and many creative sound manipulating abilities.

★ ★ ★ Features ★ ★ ★ ★ Record, Process, Reproduce Real Sound Under Computer Control. ★ Includes Many Software Routines for Creative Sound Processing. ★ Includes Programmability of Sound Sequence, Length, Duration, Direction & Volume. ★ Includes Random & Preset Software Routines. ★ 8 Bit "Sound Sampling" Technique Used. ★ On Board High Fidelity Pre-Amp Lets You Interface to Almost Any Signal Source. ★ Includes P.C. Board, Diskette, Manual, and Connecting Cable. ★ Includes Pre-Recorded Drum Sounds, Miscellaneous Sounds, and Electronic Sounds. ★ Excellent Frequency Response, Hear it to Believe it.

Call For a Pre-Recorded Demo: (408) 735-0410

See DX-1 at your Apple dealer or order direct from Decillionix. Call or write for more info. Send $239.00 check or money order -I- $3.00 shipping & handling (CA res. add 6.5% sales tax). Decillionix P.O. Box 70985, Sunnyvale, CA 94086 (408) 732-7758 a p p le is a registered trademark of a p p le COMPUTER INC. Dealer Inquiries Invited

Polyphony October 1983 5 Robert Carlberg’s | re -v ie w ______i

Various The Musician's Tapes sion (Cleopatra 203). From Aus­ (cassette). This project started tralia, one of the first groups to out as a Serge demonstration tape, combine synthesizers with a rock but according to the notes so much beat. The first and live albums good music was submitted that are as a duo (synth and synth/sax) there wasn't any room left for the plus a rhythm box, and tend toward sales pitch. So we get 75 min­ phase shifted chords and simple utes, 22 selections, from a Bach tunes over a mechanical beat. The Concerto to rhythmic dances to next two take a big step forward left field bumps in the night. In by going to a real drummer and the process it clearly demon­ more complex song structures. The strates there is no "Serge sound" sax trades off with the synths in — real testimony of their flexi­ carrying the lead for sort of a bility. Complete notes by the hard-rocking camel. composers, the appearance of sev­ eral other instruments, and of course the lack of a sales pitch The Police Synchronicity (A&M make this more than a demo tape 3735). The best-selling album though — it's a full-fledged an­ ever by the most popular band in thology. $6 plus postage from the world. Like the Beatles, the Serge, 572 Haight St., San Fran­ Police know exactly what they're cisco, CA 94117. doing, and do it so well that we don't feel manipulated (or cheated). The comparison works on Brian Eno Apollo (Editions EG several levels. Eno 5). Subtitled "Atmospheres and Soundtracks", this is the PLUG INTO score to a documentary on the moon Bernard Szajner Brute Reason landings. Motionless sound por­ (Island 9735). In the best of all traits, consisting of unrecogniza­ possible worlds, this is the kind P o ly p h o n y ble slowed-down shapes and sha­ of stuff that would go platinum. dows, these must be a perfect Like his earlier discs (Jan/Feb FOR complement to the NASA footage. '81, M a y/Aug '82), it's chal­ In the silence of space, the only lenging and beautifully logical ELECTRIFYING IDEAS! sounds are the internal symphonies all at the same time. DON’T MISS AN ISSUE of the mind. One imagines Eno captures them well. Geoffrey Landers Habitual Fea­ SUBSCRIBE TODAY! tures (Local Anaesthetic 02). A Cybotron Enter (Fantasy 9625). slightly edgy collection of elec­ This is the Detroit Cybotron, not ( ) One year $12 US/$14 foreign tronic rock tunes makes up side the Australian one (who have four one, and a 20-minute piano and (6 issues) albums of their own). This one jutting synthesizer piece fills ( ) Two years $22 US/$24 foreign consists of Juan Atkins on synthe­ side two. Both rely on the ten­ sizers and vocals, and two asso­ sion of the angular synthesis to Name:. ciates who may or may not be hu­ allay any fears of its becoming Address: man: Jon-5 on electric guitar and "ambient" — so enjoy the irony of Citv: state: zip: 3070 on electronics and vocals. the label name. 116 S. Lincoln The music is pretty straightfor­ St., Denver, CO 80209. ward electropop built on rhythm VISA/ Mastercharge accepted. box, keyboard synthesizers, and Card No. Lauri Paisley MemorExodus (cas­ Expiration date: vocoded vocals. Most of the tracks might qualify as "dance sette). Neo-classical themes and (signature) mixes". flourishes on keyboard synthe­ sizers somewhat like Larry Fast Mail to: Cybotron Cybotron (Clear Light without the extended development. POLYPHONY, P. 0. Box 20305 of Jupiter 782); Sunday Night at $6 from Lauri at 947 James Street Oklahoma city, OK 73116 the Total Theatre (CY-6542); Co­ #1, Syracuse, NY 13203. lossus (Champagne 7004); Implo­ continued on page 12 6 Polyphony October 1983 PLAY DRUMS AND GUITAR-AT THE SAME TIME?

of any sound you want into the The INSTANT REPLAY isn’t Yes!! with Electro-Harmonix’ unit’s digital memory. That same limited just to drummers. new INSTANT REPLAY you sound can then be instantly Guitarists and keyboard players can accent your playing with replayed by hitting the external can trigger the replay with a tap any sound under the sun. drum pad that comes with the of the hand or foot, INSTANTLY Glass breaking, a chord or lick INSTANT REPLAY. The pad is generating the creative, unique from a guitar or synth, real touch-sensitive, so a harder beat sounds that have been stored in handclaps, vocal sounds like produces a louder sound, and the unit. burps, yells or singing-ANY the pitch of the sound can be The INSTANT REPLAY, sound that can be picked up by transposed if you like-make available at leading music stores a microphone, produced by a your voice sound like Darth throughout the world, gives you guitar or other electronic Vader or The Chipmunks! A access to sounds and effects instrument or transferred from continuously looping replay of the previously obtainable only on the tape!! sound is also possible, providing Fairlight or Emulator, but at a Push a button on the INSTANT an opportunity for sequenced or small fraction of their cost. It REPLAY, a red LED comes on metronomic effects. comes with all necessary and you’re ready to record. hardware to mount on Roto-Tom You can now input up and most brands of to 2 seconds cymbal stands.

ELECTRO HARMONIX The Best Sounding Effects In The World!! 27 West 23rd St. • NYC, NY 10010 • (212) 741-1770 Larry Fast probably doesn't need much of an introduction to Polyphony readers, as he has con­ sistently been in the forefront of musical electronics. His solo albums under the "Synergy" name, his daring work with Peter Gabri­ el, and his many sessions with artists as diverse as Foreigner, Hall and Oates, and Joan Armatrad- ing have established him as a com­ mercial and artistic force in the field of synthesis. As if that wasn't enough, he has recently branched out into film scoring and video production. Larry brings a very profes­ sional attitude to his music, but anyone who takes Larry's music too seriously would be missing a lot of what makes him tick. Those who feel his Synergy albums have, on occasion, tended towards excess would probably feel differently upon meeting Larry in person; his sound is not the product of trying to impress anybody, but rather, the result of what happens when you turn someone with his level of excitement and enthusiasm loose in the studio and impose few — if any — commercial restraints. Yet there is more than one musical attitude to Larry Fast. On his work with Gabriel, for example, Larry is always extremely tasteful and supportive — almost underplayed. In fact, the more you get to know Larry, the more you recognize that there are many facets to his personality, and that any given piece of his work is only one glimpse of a larger whole. In this interview — the LARKY FA first full-length interview with Larry in several years — he talks at length about the diverse ele­ ments that make up his musical personality and style.

CA: How did you get from being a college student to working with Peter Gabriel? Interviewed by LF: I was working in college radio, which naturally put me in contact with the record business. Craig Anderton The connections that existed from the college radio days and the outgrowths of those connections helped lead to the Synergy albums, which led me to Gabriel. CA: What exactly do you mean by connections? LF: In those days, the people who were just starting out at record companies were generally put in f t ’# very nive to record at home college radio promotion depart­ ments. Many of them moved up

8 Polyphony October 1983 within their companies to posi­ those work is more important. The Their light show also displayed tions in talent acquisition and A art will always be there — that Synergy graphics, which was pretty & R, and are now the people I deal happens independent of business. blatant advertising but it worked. with when I work as a session The business is about distributing CA: Did you like touring? musician with acts on their la­ that art. LF: Oh yeah, even if it wasn't my bels. Basically, a sort of "old CA: When did you feel secure music. boy" network was established back enough in your musical career to CA: After completing the second then between the eager people leave your job? Synergy album in 1976, you met trying to get into the record LF: The funny, thing is that I Peter Gabriel. How did that come industry on the performing side, never formally resigned. I took a about? like me, and those that had just leave of absence to do the first LF: Again, a variety of connec­ entered it on the promotion side. Synergy album, and then over a tions. First, Passport was han­ I ended up signing with one of the period of time I began taking more dling Brand X and some of the young hungry companies — JEM re­ lengthy leaves, and worked things other Genesis spin-off material. cords — and they released the down to a very part time position. Second, Bob Ezrin, who was produc­ first Synergy album on their Pass­ It was a gradual drifting out of ing Peter's first album, was port label. one money making venture into friends with one of the main another as the new one was able to equipment suppliers for House of f had been working in an elee- take up the slack. As the first Music studios, and I was rapidly ironies eompang and doing royalties started coming in from becoming part of that organiza­ musie on the side ... gradually Synergy, I found I could start tion. Also, I had a growing repu­ living off my music. the musie beeame a more and tation in electronic music and CA: When did you record the first Peter was aware of that. We had more important part of mg life. Synergy album? an exploratory meeting as he was LF: It was begun right at the preparing production on the album, The reason why connections beginning of 1975 and released and hit it off right away. Never are important is that people very about six months later. looked back — we're still doing rarely get signed from sending CA: It was recorded with pretty it. tapes to companies; since I was minimal equipment, wasn't it? CA: What is your exact function already a bit known within the LF: Yes, especially by today's with Gabriel? industry, instead of having to go standards. LF: Actually, it's a very hard through the whole bit of submit­ CA: How did the album do initial­ thing to put a handle on. In the ting demos there were specific ly? shows, I'm really just one of the people to whom I could say "here, LF: Pretty well — it got up to members of the band. Peter's I've got some tapes of what I've number 60 on the Billboard charts. style of music is heavily based in been doing — would you care to This was a little bit better then electronics so I do have a rather have a listen?" Even signing for I expected, since I was pretty important role, but not necessari­ the first album didn't change my cynical about the way the record ly any more important than any of life overnight or anything; I had industry power structure operated. the other players. When record­ been working in an electronics I was definitely surprised it did ing, Peter's got a very good elec­ company and doing the music on the as well as it did. tronic mind and is well-grounded side, and gradually, the music CA: To what do you attribute in many electronic techniques; I became a more and more important that? guess what I bring to the process part of my life. LF: It's hard to say but (laughs) is some additional experience in CA: What kind of electronics it was probably due to good promo­ electronics. I'll give a second company did you work for? tion. opinion, or sometimes, a first LF: An importer of Japanese manu- CA: Where you playing live at opinion to which he can give a second opinion. There is also an factured goods for chain that point to promote the album? stores...stereo equipment, that LF: No, it was mostly interviews element of production in what I do — my credits, on the last two kind of thing. I worked for them along with radio station visits albums have been for electronic during summers while in high with promotion people. Also, production, which covers anything school, through college, and then shortly after the album was re­ from processing the sound of con­ after graduating from college leased, but before the promotion ventional instruments to patching lived off the job whil? preparing really got going, I went to France the Synergy project. to work with Nektar on their "Re­ a synthesizer. CA: I'm sure that will encourage cycled" album. They were just CA: Did you have any influence in some people... coming off the top 20 in 1974, so getting Gabriel to his more rhyth- LF: ...and probably discourage there was also the added connec­ mic/ethnic musical orientation? others! It doesn't really happen tion there, and we were sort of LF: Well, Peter was beginning to that you're playing in a bar with promoting each other as they were make noises about working with a a hard working band, and the re­ just beginning their touring ca­ drum machine — the kind of drum cord company guy comes in and sees reer in the U.S. machine where you could pattern you, and says "This is going to CA: Did you tour with them? the sounds yourself. At the time change the world, we'll sign you LF: I did my first touring in there really wasn't anything like on the spot". It just doesn't 1976 with Nektar to promote their that except for the PAIA drum box, so I put Peter in touch with one happen like that. There are chan­ album, and we worked out a cross­ nels of power that flow in the promotion where the Synergy albums of those machines. That lead to a lot of the rhythms that showed up record industry, and knowing how were the play-in/play-out music.

Fotyphony October 1983 9 on the third album, especially torted and hissy but still sounds "Biko"; subsequently, machines The Fairliyhl is no! ju s ! a biy great; and a Roland Dimension D, like the Linn appeared and Peter which I like because it adds a moved on to those more sophisti­ Mellalran. very subtle effect. It doesn't cated devices. But the PAIA drum hit you over the head with its box was the real genesis of phasing and flanging...it's good Peter's interest is new rhythms. 8700 computer as a sequencer, but for synthesized ambience. Final­ now I have a Moog Source — it has It led to a whole approach to ly, there's a little mixer panel battery back-up on the sequencer writing. and a bus routing structure that I memory, which makes it much easier CA: I noticed that the band is designed. On stage I add my own for the crew to set up every day. heavily into wireless technology. effects to the instruments, and The more complicated sequencing is Did you have any input into that? then send the stereo submix down LF: Well, we all kick ideas done on the Fairlight. to the main house mixer. around — whoever thinks of some­ CA: What is the Fairlight's main CA: You mentioned a couple of thing will mention it. I believe function? devices you made yourself. Do you the wireless was Peter's idea. LF: I use it on about half the do much custom building? CA: So the band is pretty much a songs, primarily for stored sounds LF: Yes, quite a bit. With the free, give and take situation? and manipulated stored sounds. I Moog modular system — which LF: Yeah. It really is. Peter's do a lot of sampling (digitizing doesn't tour anymore because it's the focus of it, but the whole and storing) of sounds, but very not as practical these days as few of the sampled things are left package is closer to a true band some of the other things — I went situation. In comparison to peo­ as is. They're manipulated on so far as to order one of the Moog "Page and other related pages ple that I know who work with housings with a whole bunch of within the Fairlight operating other acts — such as David Bowie blank panels, and built several system, so they don't really re­ or others — we are a more of a modules to supplement the commer­ semble the sounds that were stored democratic band. cially manufactured items. CA: Do you think that's the way originally. The Fairlight is not to go? just a big Mellotron. LF: I think it depends on the CA: Is the Fairlight reliable? i yrarilaled toward eleelranie artist. For the Peter Gabriel Does it hold up on the road? masie in llie first plaee beeanse Band the democratic approach makes LF: It's been remarkable. Only af my haekyraand as a tinkerer. the the best use of everybody's once did we ever think we had a bobby is! and yenera! eleelranie talents. Then again, we all have serious problem with it; it turned weirda. fairly significant careers outside out that the power in the hall was of the Peter Gabriel Band — Tony very low, about 94 Volts, and the Levin (bass) also plays in King Fairlight was the first instrument CA: How did you get into build­ Crimson, and we all do lots of to show any symptoms. The elec­ ing? Was that an outgrowth of the session work for other people. tricians tried to jury-rig the music, or was necessity the mother Besides, Peter is one of the easi­ electrical system to make it work, of invention? est people to get along with. but it still failed about two- LF: A little bit of both, actual­ ly. I think I gravitated toward He's got very definite ideas, and thirds of the way through the electronic music in the first he gets stubborn about them some­ show. The voltage dropped down to place because of my background as times, but he's very open to new about 80 Volts, and just about a tinkerer, hobbyist, and general thinking. You couldn't ask for everything packed up at that point somebody better to work with. — the lights and all the synthe­ electronic weirdo. It's hard to CA: What kind of equipment have sizers, except, surprisingly say whether music or electronics you been using on the current enough, for the Memorymoog. I is the dominant interest — I have Gabriel tour? don't know how it survived so very strong feelings for both. LF: The big showpiece is the well. Luckily the low power CA: Do you think that it's impor­ Fairlight, but I'm also using a didn't do any permanent damage to tant for musicians to be able to Memorymoog and Prophet-5. Hope­ anything. do their own building, and other­ fully sometime during the tour CA: Are power problems common wise develop some electronic they will be retro-fitted with enough that you have to use de­ "chops"? MIDI interfaces. (See the June vices such as uninterruptible pow­ LF: No, I actually think that 1983 issue of Polyphony for more er sources? understanding computers is going on MIDI -- Ed.) I'm really look­ LF: They sure help. It's a lit­ to be more important. I find I've ing forward to MIDI because both tle better nowadays thanks to been doing less and less hardware the Memorymoog and Prophet-5 are battery back-up instruments; it customizing or building things strong in different areas due to used to be a little dangerous when like delays, trigger delays, and slightly different design ap­ you could only load memory from all of that. Rather than imple­ proaches, and I want to be able to data cassettes, because if the ment hardware changes in analog, blend them in an intelligent sort power went down, you had to re­ it's easier to do software changes of way. I had been using the PAIA load everything and start over. in a digital synthesizer, provid­ CA: What kind of signal proces­ ing of course that you can get sors do you use? into the system. i'm really laakiny forward la LF: I've got a rack of proces­ sors, including an old MXR graphic M i i H ... i want la be able la ttalher than implement hard­ equalizer; Delta Lab DL-2 acoustic ware ehanyes in analay, it's blend (m y ins!rumenIs/ in an computer with one extra memory inlelliyent sari af way. module in it; an old Eventide easier la da software ehanyes Harmonizertm which is nasty, dis­ in a diyHa! synthesizer.

10 Polyphony October 1983 CA: How did you get your computer LF: Yes. Interestingly enough, CA: What's the status of "The programming expertise? there was an article in Polyphony Jupiter Menace" soundtrack you LF: In college. I was probably a few issues back (the "Snare+", completed some time ago? the only history major taking by Thomas Henry — Ed.), and I was LF: It's in limbo. VHS and BETA cassette versions of the movie electives in engineering and com­ very surprised to see a lot of the puters. I got through BASIC and techniques that I use covered in have been released domestically, FORTRAN in the early seventies, there. but they're not being promoted. but when single chip micros became CA: Let's talk a bit about you As for theatrical release, I've available they were ideal for what and the studio. How is your home heard so many mythological dates I wanted to do. Since higher studio set up, and what role does about when the movie is supposed level programming did not exist it play in developing your music? to actually hit the streets that I for the early micros, I was forced LF: The home studio is more a have no real idea when it's coming to learn machine code on one spe­ part of Synergy than anything out. cific processor. That forced me else. It's pretty well-equipped, CA: Do you enjoy film scoring to get good at programming, and and has an MCI one-inch/8 track work? everything else was easy after recorder with dbx that can put out LF: I found it to be quite a that. master quality tapes. There are challenge, but a very enjoyable CA: Are you pretty much in favor lots of tables an.d shelves in the challenge. You're working with of the trend towards computerized room, and all the equipment is some pretty severe constraints on instruments, or do you think it's ready to go at all times — which time, musical styles, timing cue6, taking things too far away from I find to be a great way for me to and all the other things that have the human element to have elec­ work out compositionally. Every­ to do with making a movie -- as tronic drum machines and similar thing is in one place, so I can well as the more common problems devices? work out my ideas, get pieces associated with making a record. LF: Pretty much in favor, as long started on tape, and in some Yet these constraints also force as the musicians using this stuff cases, complete them on the 8 you to focus on what you're doing, are still able to maintain good track or be ready to do a 24 track and be very precise. artistic taste about what they're transfer that will be studio qual­ CA: Will it get to the point doing. I can't really fault the ity. where people would buy a Synergy machinery if it's used in an un- video cassette instead of a Syner­ tasteful manner. it's very niee to record at home. gy album? CA: Despite the fact that digital LF: That's a possibility, because drums are pretty trendy right now, I've been dabbling with video it seems to me that analog drum CA: Why don't you just start out editing and shooting, and I've sounds still have lots of poten­ with 24 ^track from the beginning? done still photography for years. tial. For example, you get some LF: For one thing, it's very nice I have my own darkroom and the good synthetic analog drum sounds to record at home. The nearest 24 visual arts have interested me for on the Synergy albums, particular­ tracks are at House of Music, a long time. I think I do have a ly on the cut "Alien Earth" from which is a twenty minute drive and good sense of visual imagery, but the Jupiter Menace soundtrack. To besides, I would have to work this is something I'm still work­ what do you attribute the quality around other clients. At home I ing on and I wouldn't subject don't even have to take the tape of these drum sounds? anybody in the public to it until LF: To tell you the truth, I off the machine. Another aspect I feel it's right. don't really know. The sounds are is that two-inch 24 track tape CA: What else lies in your fu­ shuttles rather slowly compared to all patched up, primarily with ture? Moog modular equipment. There's one-inch tape, which eats up a lot LF: The immediate future is a lot nothing there that hasn't existed of time. of touring, since we haven't commercially since 1967, so there CA: Since you do touring, studio toured Europe or England or any of are no "secrets" or anything. It work, and film scoring, which do Peter's major markets since 1980 takes a little bit of work you like to do best? and that's not fair to the public. precise tuning, careful filter LF: It's hard to say. Live per­ In the more distant future, there settings, and careful approaches formance is exciting, what with will be more Synergy albums as to envelope control or whatever travelling and touring; it's fun, well as film and video sound but nothing that couldn't be done and I really enjoy it, but you tracks. And there will be con­ with an off-the-shelf minimoog. can't explore new areas when tinued exploration at the techni­ CA: There's no special filtering you're on the road. You can ex­ cal level, especially digital plore slightly new arrangements on or anything? electronic sound and use of compu­ a given night, but you're doing LF: Well, I will go overboard on ters . pretty much the same thing over the EQ and bang the bottom end way CA: What are your interests out­ and over and over again, which up, and perhaps put a little extra side of music? top end on the sound to catch some limits your musical and intellec­ LF: Well, having a degree in of the strike tone but there's tual growth. With session work, history ties me into political nothing mysterious about the you're a little bit more at the science and governmental struc­ sounds. They're just made out of whim of the producer or the art­ tures. I'm very interested in noise and LFOs. ist, and have to give them what current events. CA: Do you synthesize the various they want. Sometimes, if they're CA: Will those interests show up sound components of the drum se­ real good about it, they'll listen more in your music, or do you tend parately — like synthesizing the to what you have to say — but in to keep music and politics sepa­ strike tone separately from the any case "the client is always rate? right". shell tone? LF: The connections probably

Pofyptxwiy dctober 1983 11 exist on a very subliminal level, with me for as long as I can re­ but I think they're kind of sepa­ member, and has always been very rate entities for me. I don't important in my life. I'm not think I'd end up putting even sure know what the physical mani­ re-view strong political feelings into a festations would be if I ever had song. I think I'd make a better to "withdraw" from making music, continued from page 6 political writer or pamphleteer; I but I'm sure they would be pretty Steve Roach Now (cassette). feel that would make a stronger severe. Steve Roach was a writer for Syn­ impact than simply putting things apse and a member of Moebius, to music. /’m not sure 1 know what the their house band. Aside from a CA: One last question. Is music physical manifestations track on "Music for the 21st Cen­ a diversion, or escape, for you, would be if 1 ever hud to tury" (reviewed May/Aug '82), this or are you driven to make m u ­ 66withdraw99 from making is his first solo release. Track sic...almost like a biological two is a real nice free-form ring- need? music, but I'm sure they would modulator piece, track four has LF: It's a pretty strong need. be pretty severe. some lovely voice-like synthesis Music is something that has been over very ethnic-sounding elec­ tronic percussion, and track five is backwards sax and flute which The Digital also contains: somehow manages to sound surpris­ Electro-Harmonix • DIGITAL CHORUS which can ingly unhackneyed. The other be used at the SAME TIME three tracks are improvised solo­ as the delay and flange. ing over a rhythmic background of Digital Delay the sort made famous by T. Dream, • REVERSE SW ITCH-Not only Klaus Schulze, Michael Hoenig, I The new Electro-Harmonix Digital Delay is the can you lay down up to a 16 Michael Garrison, and many others. first offering by the newly reorganized E-H, and if they continue in this vein, the company will really second track, but with the Even these tracks are extremely V ' give the Japanese something to worry about. flick of the reverse switch well done, with imagination and First of all, this is the smallest long delay unit I’ve ever everything you played will taste. An auspicious debut. $7 seen— you don't even need a rack for it. Secondly, because it has such a long delay time, which can be used to store instantly play BACKWARDS from Eurock Distributing, PO Box sounds and play them back, you have, in essence, a without losing a beat. And, 4141, Torrance, CA 90510. “ Fripp-in-the-Box," if you will— meaning that you can use this box to stimulate the tape loop effects that have made Mr. you can then lay forward Robert Fripp famous, without two tape machines. Because tracks on top of the Various International Friendship you have such a long time beween the time you play and the backwards track— all while (Syncord 002). From Italy, Den­ time it comes around again (from eight to sixteen seconds, mark, Holland, U.S.A., Germany, maximum), you can sound like more than one player at any you’re playing LIVE! given moment. and Japan, a diverse sampler on As a matter of fact, one of the important functions of the • DOUBLE SWITCH-Anything Rudiger Lorenz's label. One track E-H digital delay line is to overdub yourself live using the freeze function that takes whatever is in the “circuits’’ at the you lay down can play at half by Rudiger, some minor involvement time and stores it. Then it plays it back right away. So you can or double speed. And— you by Conrad Schnitzler, and it is can lay down a normal speed not, shall we say, dance music. track on top of the halved or Also from Eurock Distribution. double speed track— while you’ re playing LIVE!! Peter Baumann Strangers in the • You can sing through the Night (CBS 38903). A new ap­ Digital, laying down multiple proach for new times — gone for­ harmonies on top of each ever are the dramatic instrumen­ other each time the unit tals of the first two solos. Vo­ passes through its 16 second cal i s t / c o-wr i t er Eli Holland brings a much more polished sound cycle where it instantly starts than on "Repeat Repeat" (panned looping at the beginning again— all without losing a Sep/Oct '82). I miss the old beat— all while you’re stuff, but this album's really pretty nice — and yes, the title playing LIVE!!! track really is the old Sinatra • You can invent a gigantic vehicle. dub over that part, and layer it up. The designers have included variety of unusual new sound a click track that you can hear, but which doesn't get recorded, effects of your own with Jon Hassell Aka/Darbari/Java to allow you to synchronize yourself. This unit also interfaces (Editions E.G. 31). "Aka/Darba- to the E-H line of deluxe rhythm boxes (and perhaps to some combinations of settings. others) so that you can automatically sync the repeats to the ri/Java" is a proposal for 'cof­ tempo. Try the 16 Second Digital Delay fee-colored' classical music of The E-H Digital Delay is also capable of producing a digital at your favorite music store. If the future — both in terms of flange, which I like a lot. In sum, there is a lot that you can do with this unit, and in traditional E-H fashion it is priced at a they don’t have it in stock, adoption of entirely new modes of half or a third of any similar unit. The unit is quiet, easy to use they can get one shipped _ structural organization and in and easy to stow away in a shoulderbag. within 24 hours. — Peter Mengaziol terms of an expansion of the 'al­ March, 1983/Guitar World Mike Matthews lowable' musical vocabulary in Electro-Harmonix which one may speak". Not appre­ ciably different from his other 27 West 23rd Street records, but that's fine with me. New York, N.Y. 10010 electro-harm onix (212) 741-1770 continued on page 28

12 Potyphony ------October 1983 Build the Hip Bass Drum

By: Craig Anderton

Getting a good bass drum whether used as a stand-alone en the head (thus raising the sound in the studio is difficult unit, or paralleled with a digit­ pitch), and when the beater is enough, but getting it to "print" ally recorded drum sound to add released, the head falls back to well on tape is even harder. The extra body and/or high frequency its natural resonant frequency. problem is simple: a bass drum, content (thus freeing you from Thus, this pitch change circuit by definition, occupies the lower having to use as much equalization helps to more accurately model an regions of the audio spectrum — on the digital bass drum sound). acoustic bass drum sound. the regions where transducers Still, a frequency change is (such as speakers) work least How it works. IC1A accepts a not enough to create a strong efficiently, where tape recorders positive-going input pulse (+10V attack sound (for more on this, is best, but +5V will do). For have fairly severe response anoma­ see Thomas Henry's "Snare+" cir­ example, PAIA's "Master Synchroni­ lies, and where it is most diffi­ cuit in the Sept/Oct 1982 issue of zer" generates pulses which are cult for the ear to judge relative P o l y p h o n y ). So, to create an compatible with this device. Cl levels. attack "click" that greatly in­ With respect to electronic turns the pulse into a narrow creases the ability of the HBD to pulse which becomes broader at its drums, there are two popular ways cut well on tape, we send the base. R8 is a pulse width control to create a bass drum sound. One trigger pulse into IClB's (+) which varies the overall width of is analog synthesis, the other input as well as into the other digital recording of a drum sound the pulse. Varying R8 alters the sub-circuits mentioned above. RIO (a la Linn). While it might seem "thud" of^the bass drum; a wider acts like a simple tone control that digital recording techniques pulse width gives a heavier sound, which varies the tonal quality of would produce the perfect bass as if you're slamming the beater the click from muted to bright. drum sound, in practice quantiza­ into a bass drum, while a narrower Rll varies the level of the click, tion noise is more of a problem pulse width sounds like the drum­ so that you can mix it in promin­ with low frequency sounds, and of mer has a lighter foot. ently or let it ride a bit in the course, you are locked into what­ IC1B is your basic damped, back. This click is a very impor­ sine wave oscillator, which is ever bass drum sound the manufac­ tant component of the HBD sound, turer thought sounded best (al­ momentarily kicked into oscilla­ as it produces harmonics which cue tion when a pulse hits IC1B via D2 though some units, like the MXR your ear that a bass drum is being and R21; however, there are also Drum Computer, offer alternate hit — even if the frequency res­ some significant differences from sounds; and the tunability of ponse of the playback system the norm. First, there's a tuning devices such as the Oberheim and doesn't pass much of the fundamen­ cohtrol (R9). But that tuning Linn units can also add welcome tal tone produced by the damped variations). Analog bass drum control is further augmented by a oscillator. units present even more problems, circuit that changes the resonant Resonance control R12 varies as they are often simple damped frequency dynamically over time. (not surprisingly) the resonance sine wave oscillators which put This occurs because the pulse of the drum. I usually leave this out very few harmonics and hardly appearing at IClA's output passes fairly "flat", but if you get "cut" through a track at all. The through D1 and charges C2. R18 adventurous and start using the discharges C2 after the pulse goes solution? After a lot of work, I HBD to synthesize low tom sounds, came up with the "Hip Bass Drum" away, which produces a short decay adding resonance produces a more (HBD for short). That may sound envelope. This causes Q1 to con­ satisfying simulation. like an immodest title, but I duct, and since Q1 is paralleled wanted to make sure it was under­ with R9, the bass drum frequency "Hard limiting" switch SI is stood this drum unit does not transitions rapidly from a higher perhaps the most interesting (and sound like most analog bass drums frequency down to the initial most important) control in the — nor does it sound like most frequency set by tune pot R9. HBD. LEDs D6 through DIO act as digital bass drums, either. It This happens so fast, however, clippers for the positive, but not has enough controls so that you that you do not perceive the fre­ the negative, part of the drum's can dial in just about any kind of quency shift as a pitch change, audio signal. Note that these bass drum sound, from low and but rather, as a highly complex LEDs are not panel LEDs, but are resonant to high and " d i c k y " attack sound. If you think about used for their clipping character­ (perfect for the techno-poppers). it a bit, pushing a beater into a istics. The purpose of clipping The HBD gives excellent results bass drum head does in fact tight­ is to add harmonics, while not

Fotyphonp October 1983 13 altering the "bottom" too much. it's quiet but also because it adjustments while listening to the Depending upon how much clipping seemed to have a "meatier" sound bass drum coming directly off the you use, the effect can be subtle than bifet type amps (circuit tape (in other words, monitor the or drastic. This is the feature design sure gets subjective some­ tape, not the input, while you are that is most responsible for times ... ) . recording). Tape alters the char­ giving a good bass drum sound on Other tips: Use good quality acter of the sound, and that must tape; try recording the bass drum capacitors (polystyrene or mylar) be taken into account for a good with and without the hard limiter, for Cl through C6 to ensure sta­ overall sound. Also, remember and play the results over a system bility and high sound quality, use that many home studios are not with poor low frequency response. red LEDs for D6 - DIO, and try to constructed so as to allow for The hard limited drum will sound provide a good, regulated +15V good bass response from the moni­ more prominent and cut through a supply. All circuits like a clean tor speakers. So, make sure you track better. source of power, and the HBD is no aren't overloading the tape with Concerning the monitor cir­ exception. lots of bass; this will come back cuit built around Q2, C7 stretches and bite you later when you hear the trigger pulse. This turns on Using the Hip Bass Drum. your tape on a good system (or try Q2, which lights LED D5 (the only Because there are so many varia­ to get it mastered). panel LED), and this indicates bles, don't expect to hit on the Other than the general guide­ that the bass drum has been trig­ hot sounds right away. Experi­ lines given above, you're on your gered. ment! Generally, I would recom­ own. But whether you use the HBD Construction tips. The cir­ mend not tuning the drum too low, by itself, or mixed in with digi­ cuit is non-critical; a parts kit keeping the resonance down, adding tal drums, I think you'll be im­ is also available (see parts a fair amount of click, and going pressed with how much sound it list). You can use just about any for a medium degree of "thud" delivers for a pretty minimal kind of op amp for IC1A and IC1B, (pulse width). For best results, investment. but I used a 4739 not just because when recording make your control ------>

voltage

voltage

14 Polyphony October 1983 Parts list Poorest: Resistors (5% tolerance preferred) RI 470 Ohms the Hip Bass Drum R2 lk R3, R4 2.2k by Thomas Henry R5 - R7 10k R8 10k linear taper (Editor's note: since I obviously was not pot (pulse width or going to do a Polytest on one of my own designs, I "thud") asked Thomas Henry — the first person other than me R9 10k linear taper to build the unit — to write the Polytest. He sub­ pot (tuning) mitted the following:) RIO 10k linear taper pot (click tone) After seeing this circuit, I eagerly built a RI 1 10k linear or audio prototype of the Hip Bass Drum to go with my com­ taper pot (click puter controlled drum set (see related story in this level) issue — Ed.). I say eagerly, since bass drum R12 10k linear taper sounds had been giving me quite a bit of trouble, pot (resonance) especially in the recording studio. All that has R13 12k changed now! In one sentence, I can say quite R14 15k honestly that the Hip Bass Drum is the most realis­ R15, R16 100k tic sounding percussive instrument in my setup. R17 - R21 1M It's equally easy to use for live or studio work, R22, R23 10 Ohms and surprisingly, was quite simple to build. All of the controls basically work as you would expect them to. However, there are a couple of Capacitors (15 or more working small points that should be mentioned. A quick look Volts) at the schematic shows that not many components make up this circuit; and there are always tradeoffs Cl 1000 pF between low parts count and lack of interaction C2 0.01 uF between the controls. One example of this concerns C3 0.02 uF the click level and click tone pots. With the click C4 0.05 uF level pot beyond half volume, the click tone pot C5, C6 0.1 uF ceases to have much effect. My solution to this is C7 0.22 uF that I always try to keep the click level no higher C8 2.2 uF than half way. Within this constraint, the click C9, CIO 10 uF tone pot does a great job and really offers a broad T a n g e of "thuds", "pops", and "clicks". Another fine point is that as the tuning con­ Semiconduc tors trol is raised, the resonance seems to increase as well. Thus, it takes longer for the drum sound to D1 - D4 1N914 or equivalent die out. Again, the solution is simple: turn down diodes the resonance control to compensate. D5 - D10 Red LEDs Of course, these are tiny quibbles. Like all IC1 4739 (see text) musical instruments, time must be spent learning the controls. I found it easy (and fun) to get familiar with the Hip Bass Drum. After only twenty minutes I Mechanical parts was getting sounds unlike any I had gotten before; for the first time the bass drum really conveyed SI SP6T rotary switch what a bass drum is supposed to convey! (Who says Misc. Sockets, circuit music is subjective?) board, LED panel What's the bottom line, then? Simply, you will clip for D5, etc. be hard pressed to find a more realistic bass drum anywhere. I genuinely feel that this circuit has no commercial equivalent. And if you're after a broad range of sounds, consider that the unit is very good Note: A parts kit for the Hip Bass Drum, including all parts at tom-tom sounds as well. Readers of Polyphony who listed above, is available for are after the bizarre will also be relieved to know $19.95 from PGS Electronics (Route that a number of exotic sounds are available too; 25 - Box 304, Terre Haute, IN just play with those controls, and you'll find them. 47802). Add $1.95 postage/handl- I've saved the best endorsement for last. Af­ ing, and $1.75 extra for COD or­ ter building the Hip Bass Drum, I played an original ders. Call the PGS 24 hour order recording exploiting it for Thomas Leonard, the line at 812/894-2839 to place VISA drummer in my band. He said (and this is a quote), or Mastercard orders. "I wish my bass drum sounded as good." That's quite a compliment coming from someone who has spent a lifetime playing acoustic drums!

Polyphony October 1983 15 Applied Synthesis:

Orchestral Voieings Using The Tenth Interval

By Bill Rhodes

The reason why symphonic mu­ sic seems so full and lush is 113 lE H 11x5 because of the many components which make up orchestration. These include the number of in­ struments, their varied timbres (tonal qualities), and how the personalities of individual per­ formers influence the overall zz J2L sound. However, one of the most ------important factors relating to or­ -G- chestration is far more tangible C chord 110th in L.H.I C maj 7110th in L.H., C 7 noth in L.H., than the other factors mentioned tetrachord* in R.H.I tetrachord in R.H.I above, and can also be written out: voicing. Ex.4 Ex.5

What is voicing? Voicing can make or break the sound of any orchestral or synthi-orchestral composition. Since in many cases <1 we will be wanting to duplicate, by synthesis, traditional acoustic instruments, the same basic voicing concepts apply to both ZEE acoustic and electronic realiza­ tions . How many times have you heard C 9 110th in L.H., C11110th in L.H., a string synthesizer that doesn't tetrachord in R.H. tetrachord in R.H.I sound like strings at all, but like an old Emenee organ (or Har­ i n Ex.7 monium)? The problem does not necessarily lie with the the in­ strument, but rather, with the player's knowledge of chord con­ ¥ struction and application. In­ M deed, with the correct knowledge v w of string synthesis (see Polyphony Nov/Dec 81) a more advanced string synth player can: z • Sustain single note lines over moving chords (legatures), C 13110th in L.H., C 13#11 110th in L.H., • Play chordally with dele­ tetrachord in R.H. tetrachord in R.H. tions of harmonic members, or • Block chord like crazy. synthesis textures since it sounds string players play in ensemble, The latter is perhaps the too much like an organist playing the music they create stretches most irritating of all string strings. Remember that when over many octaves and inversions;

16 Fobphony October 1983 also, their integral intervallic but these skills will help you get Next time, we'll cover more relationships are very complex. good results when working with any about the art and science of keyboard. voicing...so stay tuned. Therefore, with simple block chording the voicings in both hands are too "closed" and don't create the illusion the player wants to create: namely, that of a symphonically tempered orches­ tra. Despite the fact that or­ chestral sounds are quite complex — comprising a bass viol section, cello regiment, and a viola and violin subsection — with proper voicing knowledge a lush, orches­ trated sound can be duplicated in 17 real-time with just our two hands : ...... — G and a good synthesizer. C chord 110th in L.H., Meet the Tenth. The interval 10th in R.H.I C ma^ 7/G 110th in R.H. G in bass in L.H.) of the 10th in the left hand (such as C to E — see example 1) is extremely important in lending an orchestrated sound. I know some of you will complain about at­ tempting this interval, because it may seem that the human hand just can't stretch that far. Granted, in certain instances where black and white keys are involved in less than proximinal position, the stretch is difficult. But I guar­ antee you will be happy with the C 7 (10th in L.H., 0 7 / results when you make the effort C7 in Root Position in R.H.) E(Wide Voicing R.H. & L.H.) to learn the various positions for this interval. (I have small hands for a keyboard player, but my ability to stretch from little finger to thumb has become in­ creasingly better with practice. To increase your stretch you can buy hand grips from your local spa or sporting goods store, squeeze a tennis ball, or stretch your hands 17 on a flat surface.) 7 * -G- Examples 2 through 15 show chords — some altered, some poly- tonal, some jazzy — using the C maj 7 110th in L.H., C11 (10th in L.H., 9th stretch in R.H.) 10th in the left hand (L.H.) or 9th stretch in R.H.) right hand (R.H.). When you apply these chord concepts to the syn­ [B d4l Ex.15 thesizer, you will notice a more orchestrated (and at times a mod- al/jazzy inflected) sound and feeling to your music. I have referenced all examples to the key of C to save paper and simplify sight reading, but make sure you practice transposing to all keys 7 * a if you want to derive the most ------< 9 ------benefit from this technique. Fi­ nally, please do not think these C13 ^m it 7th & 9th C13$11 (tetrachord I ^7 in L.H., II * in R.H.) concepts are restricted exclusive­ 110th in L.H., IV maj 7 ly to string arranging; they also tetrachord in R.H.) work great with horn, Rhodes, true synthi-sounds, and piano. Note The combinations are endless, try all keys, octaves, etc. that to use this interval with the piano you will need to develop strength as well as equal distri­ * Tetrachord: 4 note chord bution of pressure of the fingers;

Bobflhony October 1983 17 Practical Circuitry MICRO DRUMS PART II

By: Tom Henry

Last time in "Practical Cir­ Micro-Drums. (3) Using the standard load­ cuitry" we discussed the hardware ing procedure, load the Micro- needed to implement Micro-Drums, a (3) Get ready to start load­ Drums software. The start address computer controlled drum unit. In ing data at $0120, by punching in is $0120, the end address is $028B this installment we will consider this address and hitting the DISP and the identifier is $01. the software side of things. key. Since a lot needs to be said, (4) Run the program by typing let's jump right in and see how to (4) Using Figure 1 as a $025F and hitting the RUN key. If punch up the program required to guide, start entering the data. everything has gone well, you will get Micro-Drums off and drumming! The first few bytes are $20, $34, hear a long beep. This long beep $0F, A5, etc. indicates that you are in the main Entering the program. Figure loop, and the computer is awaiting 1 shows the complete listing for (5) Keep entering data until your instructions. Micro-Drums software. Since I you hit the last byte in the list­ used the PAIA 8700 computer, the ing. This is $02 (at location When in the main loop (as you code is written in 6502 assembly $028B). Use the PCH and PCL keys now are), you have a choice of language. Those of you who plan to confirm that you're at the four commands. They are COARSE to use Micro-Drums with some com­ right place. EDIT, FINE EDIT, TAPE and PLAY. puter other than the PAIA unit After any of these commands have will need to change the appropri­ (6) You're now ready to save been executed, you will always be ate equates (at the start of the the program to tape. Follow the ushered back to the main loop. program) and may also need to normal 8700 Cassette Interface Even though the 8700 has limited alter the starting address. The protocol for saving a program. display capabilities, you can al­ source code in Figure 1 is heavily The start address in $1020, the ways tell when you are back in the annotated, so you should be able end address is $028B, and you can main loop by the long beep. Also, to figure out how it works quite use $01 for an identifier. if you hit an invalid key when in easily. the main loop, a long beep will 8700 users can ignore the If all has gone well, you now occur. By listening for this line numbers, labels, mnemonics have a working copy of the Micro- beep, you can always tell what's and comments if desired, since all Drums program. After debugging happening at any moment. that is needed to enter the pro­ your work (if needed), make a few Here follows a description of gram is the start address and the backup copies as well. Now, let's the four main commands. Note that required code (under the heading see how to use the complete Micro- when within the four main com­ "CODE", in the listing). Refer to Drums system. mands, there are other minor sub­ your 8700 Computer/Controller commands possible. manual for help in deciphering an Using Micro-Drums. To use assembler listing if you experi­ Micro-Drums, follow these instruc­ FINE EDIT. The fine edit ence any difficulty. tions: command defines measures of pat­ Follow these steps to enter terns which will be used as the the program: (1) Reset the 8700 computer. basis for the entire song. You may define up to eight different (1) Turn on the computer and (2) Load location $ED with patterns, each one up to 32 beats hit the reset button. the byte $1F. This sets the stack long. Or you may partition this to a known condition needed by in other ways; for example, four (2) Load location $ED with Micro-Drums. Do not forget this patterns of 64 beats each. the byte $1F. This sets the stack step; the program will not load or Each pattern is given a num­ to a known condition needed by run correctly if it is left out! ber-name. The numbers 0 through 7

18 Polyphony October 1983 are used for this purpose. To OOOOl OOOO ;***•••*•#«•*••*••**•***•**••••*****•**** 00002 OOOO J* * start editing a given pattern, 00003 OOOO 1* MICRO-DRUMS * when in the main loop type the 00004 OOOO 5* MICROCOMPUTER CONTROLLED DRUM UNIT * 00005 OOOO ;* * number-name and then hit the PCL 00006 OOOO 5* (C) 1983 THOMAS HENRY * key. (Mnemonic: think of PCL as 00007 OOOO J* VERSION 2.1 FEBRUARY 5, 1983 * "low", for lowest level of edit­ 00008 OOOO ;* * 00009 OOOO ;**************************************** ing, the pattern.) So to start OOOIO OOOO » editing pattern zero, type $00 and OOOll OOOO i then hit the PCL key. 00012 OOOO IRQVEC = *oo ;IRQ VECTOR. 00013 OOOO PATTER = *03 5PATTERN POINTER BASE. You will now be sent from the 00014 OOOO SELECT = *05 {d r u m SELECT b i t p a t t e r n s . main loop to the FINE EDIT rou­ 00015 OOOO PARAMS = *0D $ TAPE PARAMETERS. tine. The display will show the 00016 OOOO BEAT = *14 JCURRENT BEAT POINTER. 00017 OOOO SPOINT = *15 5 CURRENT EVENT SELECTED. current beat number, and the drum 00018 OOOO REPEAT = *16 ;CURRENT REPEAT COUNTER. LEDs will show the drums to be 00019 OOOO BUFFER = *F0 5 KEYBOARD BUFFER. played during that beat. To turn 00020 OOOO SCORE - *0280 5 DRUM SCORE AREA. 00021 OOOO DISPLA = *0820 ;DISPLAY ADDRESS. a drum on for the beat, touch one 00022 OOOO DRUMS = *0880 5DRUM OUTPUT ADDRESS. of the keys from 0 to 7. The 00023 OOOO RELAYS = *OE25 jTliRN ON TAPE RELAYS. corresponding LED will light up, 00024 OOOO CASS = *OEAA ;PERFORM CASSETTE OPERATION. 00025 OOOO DECODE = *OFOO 5 INPUT A BYTE. and all of the currently selected 00026 OOOO GETKEY = *OFlF ;g e t A BYTE. drums will be played as a test. 00027 OOOO BEEP = *OF22 5BEEP THE BEEPER. 00028 OOOO LBEEP = *OF24 5WITH SETUP, GIVES LONG BEEP, You can turn a drum off by touch­ 00029 OOOO SHIFT = *OF34 ;SHIFT BUFFER BY ONE DIGIT. ing the corresponding drum key 00030 OOOO ; again. Thus, the drum keys are 00031 OOOO ; 00032 OOOO {*** MAIN LOOP *** like toggle switches and may be 00033 OOOO i used to turn drums either on or 00034 OOOO 5 off. There is one limitation, 00036 OOOO * = *0120 00037 0120 ; though: you may not have a parti­ 00038 0120 20 34 OF NUMBER JSR SHIFT ;SHIFT IN NEW DIGIT. cular beat play all eight drums at 00039 0123 A3 FO LDA BUFFER 5F ETCH PACKED ENTRY. once. You can have up to seven 00040 0125 8D 20 08 STA DISPLA 5THEN UPDATE THE DISPLAY. 00041 0128 4C 31 01 JMP INPUT {GO GET NEXT INPUT. drums playing at once, but not all 00042 012B A2 FF MAIN LDX #*FF ;GET READY FOR LONG BEEP. of them. (The software uses the 00043 Ot2D 18 CLC all-eight condition as an end-of- 00044 0 1 2E 20 24 OF JSR LBEEP ;DO LONG BEEP. 00045 0131 20 IF OF INPUT JSR GETKEY {WAIT FOR KEYSTROKE. the-pattern marker.) 00046 0134 C9 io CMP #*10 {IS IT A NUMBER? When you have achieved the 00047 0136 90 E8 BCC NUMBER {YES, BRANCH BACK AND GET 00048 0138* C9 10 FIND CMP #*io {IS IT 'PLAY'? selection of drums desired, touch 00049 013A FO OF BEQ PCMD the ENTER key. This will store 00050 013C C9 14 CMP #*14 {IS IT 'COARSE'? the selection, then increment the 00051 013E FO 52 BEQ COARSE 00052 0140 C9 15 CMP #*15 {IS IT 'FINE'? beat pointer. The display will 00053 0142 FO OA BEQ FINE show the next beat number, and you 00054 0144 C9 16 CMP #*16 {IS IT 'TAPE'? are all set to enter the next 00055 0146 DO E3 BNE MAIN {RAN OUT OF COMMANDS. 00056 0148 4C 37 02 JMP TAPE selection. Also, when the display 00057 014B 4C E3 Ol PCMD JMP PLAY increments, the drums currently 00058 014E : selected for the new beat will be 00059 014E ; 00060 0 1 4E J*** FINE EDIT COMMAND *** triggered once. Thus you can 00061 014E 5 single step through a pattern, for 00062 014E ; trial purposes, just by touching 00063 014E A5 FO FINE LDA BUFFER {GET PATTERN NUMBER. 00064 0150 20 57 02 JSR OFFSET {GET PATTERN OFFSET. the ENTER key repeatedly. You can 00065 0153 AO OO LDY #*oo {ZERO OUT THE BEAT POINTER. back step with the BACK key just 00066 0155 C8 SHOWIT I NY as easily. And if you want to 00067 0156 88 BACKUP DEY 00068 0157 8C 20 08 STY DISPLA {DISPLAY IT. hear the current beat several 00069 015A B1 03 LDA (PATTER) ,Y {GET SELECTED BEAT, times, touch the DISP key. This 00070 015C 8D 80 08 STA DRUMS {AND PLAY IT. will sound the current drum selec­ 00071 015E 20 4F 02 FEDIT JSR FETCH {GET EDIT KEYSTROKE. 00072 0162 C9 12 CMP #*12 {IS IT A 'BACK'? tion. 00073 0164 FO FO BEQ BACKUP {YES, BACKSPACE ONCE. As mentioned, keys 0 to 7 00074 0166 C 9 11 CMP #*11 {IS IT A ’D I S P ’? 00075 0168 FO EB BEQ SHOWIT {YES, PLAY CURRENT BEAT. stand for drums 0 to 7. Key 8 00076 016A C9 OA CMP #*OA {IS IT A DRUM NUMBER (0-9)? stands for a rest. This clears 00077 016C 90 08 BCC DENTER {YES, GO ENTER DRUM BEAT. out the drums selected for that 00078 016E C9 13 CMP #*13 {IS IT AN 'ENTER'? 00079 0170 DO ED BNE FEDIT {NO, RAN OUT OF COMMANDS. beat. When you are done editing a 00080 0172 C8 I NY {YES, ADVANCE TO NEXT BEAT. pattern, touch the 9 key and you 00081 0173 4C 55 Ol JMP SHOWIT will be ushered back to the main 00082 0176 C9 09 DENTER CMP #*09 {#*09 MEANS END OF PATTERN. 00083 0178 DO 06 BNE NEXT1 loop. Note that even though the 00084 017A A9 FF LDA #*FF {END OF PATTERN MARKER. pattern may be up to 32 beats 00085 017C 91 03 STA (PATTER),Y 00086 017E DO AB BNE MAIN {BRANCH ALWAYS. long, you are not obligated to use 00087 0180 C9 08 NEXT1 CMP #*08 {#*08 MEANS 'REST' all of the beats. For example, 00088 0182 DO 04 BNE NEXT2 with 5/4 time you might want to 00089 0184 A9 00 LDA #*oo 00090 0186 FO 05 BEQ STORE {BRANCH ALWAYS. only use 10 beats. 00091 0188 AA NEXT2 TAX {INDEX INTO BIT PATTERN. 00092 0189 B5 05 LDA SELECT,X {GET PROPER BIT PATTERN. COARSE EDIT. After creating 00093 OISB 51 03 EOR (PATTER),Y {ADD IN NEW BEAT. 00094 018D 91 03 STORE STA (PATTER),Y {AND SAVE IT. some patterns (see above), you 00095 OIBF 4C 55 Ol JMP SHOWIT {SOUND THE DRUM BEAT.

Fo^phonp October 1983 19 00096 0192 ( will then string them together in 00097 0192 l 00098 0192 (*** COARSE EDIT COMMAND *** various arrangements to form the 00099 0192 * complete song. This is COARSE OOIOO 0192 1 editing. You will create a score OOlOl 0 192 A6 FO COARSE LDX BUFFER (GET DESIRED EVENT NUMBER. 00102 0194 8 6 15 STX SPOINT (STORE AT CURRENT EVENT. by entering some events; each 00103 0196 A6 15 REVEAL LDX SPOINT event consists of two entries. 00104 0 198 BD 80 02 LDA SCORE,X ;GET CONTENTS OF EVENT. The first entry is the number of 00105 0198 85 FO STA BUFFER fPUT IN BUFFER AND 00106 019D 88 20 08 VIEW STA DISPLA 5SHOW IT TOO. times you wish a pattern to re­ 00107 OlAO 2 0 IF OF LOOP JSR 6ETKEY (GET KEYSTROKE. peat, and the second entry is the 00108 01 A3 C9 io CMP #410 JCHECK FOR NUMBER. number-name of the pattern which 00109 01A5 BO 08 ECS NONUM 1 NOT A NUMBER, BRANCH. OOllO 01A7 20 34 OF JSR SHIFT I SHIFT IN NEW DIBIT. is to be repeated. There is room OOlli OlAA A5 FO LDA BUFFER 5 FETCH PACKED ENTRY. for 64 events total. This will 00112 01 AC 4C 9D 01 JMP VIEW $ AND UPDATE DISPLAY. allow songs up to fifteen minutes 00113 OlAF C9 13 NONUM CMP #*13 (IS IT AN 'ENTER'? 00114 OlBl DO OC BNE NEXT3 5NO, 60 ON. long to be programmed! To g°t 00115 01B3 A6 15 LDX SPOINT ( RE-GET EVENT NUMBER. into the COARSE EDIT mode from the 00116 0 1 B5 A5 FO LDA BUFFER ;FETCH INPUT NUMBER. main loop, type the number of the 00117 01B7 9D 80 02 STA SCORE,X 1 STORE IN SCORE. 00118 OIBA E6 15 INC SPOINT JUPDATE EVENT NUMBER. event you wish to start at (usual­ 00119 OIBC 4C 96 Ol JMP REVEAL JUPDATE DISPLAY. ly a $00) and then the PCH key. 00120 OIBF C9 12 NEXT3 CMP #*12 (IS IT A BACKSPACE? 00121 OlCl DO 05 BNE NEXT4 (NO, BRANCH ON. (Mnemonic: think of PCH as "high", 00122 01C3 C6 15 DEC SPOINT (DECREMENT EVENT COUNTER. the highest level of editing.) 00123 01C5 4C 96 Ol JMP REVEAL ;SHOW CONTENTS OF EVENT. The display will now show the 00124 01C 8 C9 14 NEXT4 CMP #*14 } IS IT A ’P CH'? 00125 01C A DO 05 BNE NE X T 5 JNO, BRANCH ON. contents of the current event. To 00126 OICC A5 15 LDA SPOINT ? BET CURRENT EVENT NUMBER. enter a new event, type the de­ 00127 OICE 4C 9D Ol JMP VIEW )AND SHO W IT. sired number and hit the ENTER 00128 OlDl C9 11 IMEXT5 CMP #*11 (IS IT A 'D I S P ’? 00129 01D3 FO Cl BEQ REVEAL (IF SO, SHOW CONTENTS. key. The event will be recorded, 00130 01D5 C9 17 CMP •*17 (’REL’ STANDS FOR ALL DONE. and the score pointer is incre­ 00131 01D7 DO C7 BNE LOOP 5 RAN OUT OF COMMANDS. mented once. For example, start­ 00132 01D9 A6 15 LDX SPOINT 5 RE-GET EVENT NUMBER. 00133 OIDB A9 00 LDA #*oo (END OF SCORE MARKER. ing at event zero, to get sixteen 00134 OIDD 9D 80 02 STA SCORE,X repeats of one, type $10, ENTER, 00135 OlEO 4C 2B Ol JMP MAIN (RETURN TO MAIN LOOP. $01, ENTER. Note that all numbers 00136 01E 3 1 00137 01E3 1 are in hexadecimal and that each 00138 01E3 (*** ’PLAY' COMMAND ENTRY *** entry must be followed by an EN­ 00139 01E 3 I TER. 00140 01E 3 ; 00141 01E3 A9 OO PLAY LDA #*oo (ZERO OUT REPEAT AND You can backspace through a 00142 01E5 85 16 STA REPEAT (SCORE POINTER. score with the BACK key. Also, to 00143 01E7 A9 FF LDA #*FF 00144 01E9 as 15 STA SPOINT see the current event number, 00145 01EB 58 CLI (PREPARE FOR IRQ. touch the PCH key at any time. To 00146 OlEC C 9 FF TI8HT CMP #*FF (#*FF MEANS KEEP PLAYING. see the contents of the event, 00147 01EE FO FC BEQ TISHT (STAY IN TIGHT LOOP. 00148 OlF O 4C 28 01 JMP MAIN (ABORT 'PLAY' NOW. type DISP. Using the keys just 00149 01F3 ( mentioned, you can step through an 0 0150 01F3 ! entire score in a matter of min­ 00151 01F3 20 OO OF IRQRTN JSR DECODE (SEE IF ZERO KEY IS PUSHED. 00152 01F6 C9 OO CMP #*oo utes and change or update it as 00153 01F8 DO 04 BNE PLAMOR (IT ISN’T, SO PLAY MORE. needed. 00154 01FA 2 8 FINISH PLP (SET INTERRUPT FLAG To finish off a score, touch 00155 01FB 78 SEI (SO NO MORE OCCUR. 00156 OlFC 08 PHP the REL key. This puts in an end 00157 01FD 40 RETURN RTI of score marker and returns you to 00158 OlFE ; 00159 OlFE ; the main loop. A long beep will 00160 OlFE A 5 16 PLAMOR LDA REPEAT (REPEATED OLD PATTERN ENOUGH? occur. 00161 0200 DO 19 BNE MORE (NO, KEEP GOING WITH OLD ONE. 00162 0202 E6 15 INC SPOINT (YES, UPDATE SCORE POINTER. 00163 0204 A6 15 LDX SPOINT PLAY. Playing a score is 00164 0206 BD 80 02 LDA SCORE,X (GET REPEAT TIME DATA. easy. First make sure that the 00165 0209 FO EF BEQ FINISH (DONE PLAYING WHOLE SCORE. SYNC INPUT jack has some source of 00166 O20B 85 16 STA REPEAT (CONTAINS NUMBER OF REPEATS. 00167 020D E6 15 INC SPOINT 5 UPDATE SCORE POINTER. triggers. You may sync the drum 00168 020F A6 15 LDX SPOINT score off of the internal variable 0 0169 0211 BD 80 02 LDA SCORE,X (GET PATTERN NAME DATA. clock, an external clock, keyboard 00170 0214 20 57 02 JSR OFFSET (GET PATTERN ADDRESS OFFSET. 00171 0217 A9 OO LDA #*oo triggers, sequencer triggers, or 00172 0219 85 14 STA BEAT (ZERO OUT BEAT POINTER. click tracks from a tape deck. 00173 021B A4 14 MORE LDY BEAT (Y INDEXES TO PROPER BEAT. 00174 02 ID B1 03 LDA (PATTER), Y (SET OUTPUT DATA. The input pulses should be +5V in 00175 021F C9 FF CMP #*FF (END OF PATTERN? magnitude. Note that Micro-Drums' 00176 0221 DO 08 BNE OKAY (NO, GO PLAY THE BEAT. internal variable clock meets this 00177 0223 tb 16 DEC REPEAT (DECREMENT REPEAT TIME. 00178 0225 A9 OO LDA #*oo (YES, RESET BEAT COUNTER. need and is perhaps the easiest to 00179 0227 85 14 STA BEAT (THEN TRY AGAIN. use. In addition it allows easy 0 0180 0229 FO CB BEQ IRQRTN (BRANCH ALWAYS. adjustment of the tempo: just 00181 0228 8D 80 08 OKAY STA DRUMS 00182 0 22E Be 20 08 STY DISPLA dial in the desired speed. This 00183 0231 E6 14 INC BEAT (UPDATE BEAT POINTER. may not seem like much, but consi­ 00184 0233 A9 FF LDA #*FF der what we've just done: a poten­ 00185 0235 DO C6 BNE RETURN (BRANCH ALWAYS. 00186 0237 ( tiometer controls the tempo, con­ 00187 0237 ( tinuously, without the interven­ 00188 0237 ; *** ’LOAD' AND 'SAVE’ COMMAND *** tion of an analog to digital con- 00189 0237 ;

20 P o lyp h «V October 1983 verter. How's that for saving 00190 0237 5 money and keeping things simple! 00191 0237 A2 07 TAPE LDX 4*07 •.PREPARE TAPE PARAMETERS. ;GET PARAMETERS. After providing some source 00192 0239 B5 OC SETFIL LDA PARAMS—1. X 00193 023B 95 FO STA BUFFER,X ;AND STUFF IN PLACE. of sync pulses, you may start 00194 023D CA DEX playing the score simply by touch­ 00195 023E DO F9 BNE SETFIL ;KEEP STUFFING IF NEEDED. 5GET LOAD/SAVE TOKEN. ing the RUN key. When the song is 00196 0240 A5 FO LDA BUFFER 00197 0242 20 25 OE JSR RELAYS ;t u r n ON RELAYS. finished, you will be sent back to 00198 0245 20 AA OE JSR CASS ;PERFORM LOAD OR SAVE. the main loop and a long beep will 00199 0248 18 CLC 5 TURN OFF RELAYS AND BEEP. occur. You can also abort a song 00200 0249 20 22 ■OF JSR BEEP 00201 024C 4C 2B 01 JMP MAIN ;ALL DONE! while it is playing by touching 00202 024F ; the 0 key. Once again, you will 00203 024F f 00204 024F 84 14 FETCH STY BEAT ;g e t a k e y , b u t s a v e return to the main loop. 00205 0251 20 IF OF JSR BETKEY ;CURRENT Y-REGISTER. As you can see, the SYNC 00206 0254 A4 14 LDY BEAT INPUT (alias the IRQ) is the key 00207 0256 60 RTS 00208 0257 ; to the power of Micro-Drums. Any 00209 0257 ; circuit which can put out a series 00210 0257 OA OFFSET ASL A ;FIND OFFSET BY of pulses can cause Micro-Drums to 00211 0258 OA ASL A 5 MULTIPLYING ACCUMULATOR 00212 0259 OA ASL A ;BY SIXTEEN. step through the song, beat after 00213 025A OA ASL A beat. You are not constrained to 00214 025B OA ASL A ;OFFSET ADDRESS IS HERE. meet this or that condition, and 00215 025C 85 03 STA PATTER 00216 025E 60 RTS the circuitry is perfectly gen­ 00217 025F 9 eral. Simply send the computer 00218 025F ; ;*** INITIALIZATION ROUTINE *** some pulses and the song commen­ 00219 025F 00220 025F ces! And don't forget the SYNC 00221 025F 5 OUTPUT jack either. You can cause 00222 025F 78 SEI some other circuit (like a sequen­ 00223 0260 A2 OO LDX 4*00 00224 0262 BD 78 02 MOVE LDA DATA,X ;GET DATA BYTE. cer) to follow Micro-Drums just as 00225 0265 95 OO STA IRQVEC,X 5STUFF IT INTO O-PAGE. easily, so Micro-Drums can thus 00226 0267 E8 I NX 00227 0268 EO 14 CPX 4*14 ;NUMBER OF BYTES+1. play the role of master or slave 00228 0 26A DO F6 BNE MOVE with equal ease. 00229 026C AO OO LDY 4*00 SCLEAR PATTERN AREA. 00230 026E A9 OO LDA 4*00 00231 0270 91 03 CLEAR STA

so don't be alarmed if the opera­ ERRORS « OOOOO tion takes up to a minute or so. If you experience any trouble, END OF ASSEMBLY refer to the 8700 Cassette Inter­ face manual and review how to set volume levels and so on. eight). This is just one example sequencer interfaces with Micro- The future. Well, that just of one of the musical considera­ Drums. The procedure is actually about wraps up how to use Micro- tions that must be taken into quite simple due to the "magical" Drums. Of course, all we have account with Micro-Drums. How­ way in which the SYNC INPUT works. done here is talk about the me­ ever, you will find that the more Then consider synchro-sonic re­ chanics of using the unit; it's up you play with Micro-Drums, the cording; how would you do this to you to think about the musical better you will become at visuali­ with Micro-Drums? Once again, the side of things. For example, if zing what needs to be done. basic principle is quite simple. you know that a particular pattern Well, we've run out of room Think about these things and per­ is to contain both eighth notes and need to start planning other haps later on in the pages of and triplets, then you will need projects. But in the meanwhile, "Practical Circuitry" we can com­ to divide the pattern into groups as you play with the unit, think pare notes. ______of twenty-four (three times about how you would implement

Fotyphonp October 1983 21 REVIEWED By: Tom M ulhern punch-in and punch-out "footswitches" (more on these lor years, TEAC has dominated the consumer 4- later) cost $12.00 each. Considering the high price track tape recorder market; most of the reel-to-reel of batteries today, the optional $30.00 AC adapter (or multitrack cassette) machines installed in home is highly recommended. Also, take the cost of good studios have a TEAC or TASCAM nameplate. But this tape into the cost of playing with the X-15, since summer, Fostex — one of the newcomers to multitrack Fostex suggests using high-bias tape in order to manufacturing — introduced the X-15, a "personal" optimize performance. sized 4-channel cassette-based recorder. It's small Naturally, there are certain limitations due to (7 1/2" x 11" x 2 3/4"), light (the X-15 itself the X-15's diminutive size and low price. The power weighs 4 lbs. 9 oz; adding the 10 C cell battery switch is located on the battery pack; there's also pack increases the weight to 6 lbs. 3 oz.), easy-to- an on/off switch on the AC adapter. Unusual loca­ use, and inexpensive ($495.00 list price). For tions, but no major obstacles. Also, the transport field use, the X-15 includes an easily-removed, mechanism has only one speed: 1 7/8 ips (standard heavy-duty nylon strap at no extra cost; optional cassette speed). But the main limitation of the

22 Fofyphofty ------October 1983 unit is that only two tracks of the four tracks can mic/line/remix, slide-pot input level control (with be recorded on simultaneously. In other words, you a 2 3/4" travel and adjacent LED ladder calibrated can record on one pair of tracks, and then the from -20dB to +6dB), treble control (j^l2dB at 10 second pair of tracks, but not all four tracks at kHz), and bass control (^12dB at 100 Hz). Channel A once. Those wishing to record, say, a band in a has a selector for tracks 1 and 3; channel B has a live situation and expecting to place each instru­ selector for tracks 2 and 4. Placing either switch ment on its own track will not be able to do so with in its middle position puts it in a "safety" mode, the X-15. It's intended primarily as a tool for which prevents accidental record-overs. Two 1/4" creating demos, and it serves as a very good aid to mic inputs (labelled Chan A and Chan B) are located songwriters who want to make more music than two on the front of the X-15, while RCA-type line inputs hands and one voice will allow at one time. and line outputs are located on the side — right So much for the basic philosophy behind the X- next to the four separate tape outputs. 15's design, now for the features. The right half The monitoring and mixing section, logically of the top panel contains the tape recorder. There labelled Monmix, has a gain pot and pan pot for each is a 3-digit mechanical counter with a reset button, of the four channels. The gain knobs have 0-10 and a clear, orange door protects the tape compart­ printed on them, while the pan pots have a 0 point ment from dust. A green LED and a red LED indicate and go +10 units. This is helpful for recalling "power on" and "record on" modes, respectively. The mixes when you're making a '2-track master of several X-15 has Dolby B noise reduction, which, incidental­ songs. The gain and pan controls allow you to ly, is always engaged and cannot be turned off. monitor any or all previous tracks when overdubbing, However, this type of noise reduction works well and and you can do a rough mix into your headphones — because it can't be deactivated, you can't, for great for getting a feel for the final product while instance, inadvertently encode three tracks then you're recording. forget to encode the last one. The Dolby B cir­ By using the mic/line/remix selector, the pan cuitry makes for more consistent recordings, and pots, and track selectors, you can combine two contributes to surprisingly low noise operation. tracks onto a third. The process is complicated to The recorder section's controls, from left to explain, but fairly easy to do. The book that comes right, are Record, Play, Rewind, Fast Forward, Stop, with the X-15 has good graphics and text to guide and Pause. The Record control can be activated you. However, I crave stereo imaging, and when two while the machine is in "play" mode. This is great, channels are mixed to one, you do get a mix but it because you can punch in a solo or a passage by is a mono mix. I found that I could retain my pressing just one button. The Record button is stereo separation by mixing all four channels via conveniently about an inch wide; I found it easy to the gain and pan pots, and sending the stereo mix leave the recorder sitting on the floor while I into a standard cassette deck. I could then take listened to a playback, and when the spot came for the 2-channel mixdown cassette from the standard adding a solo, I simply pressed Record with my big deck and place it in the Fostex, thereby giving me a toe. Crude but effective! For the more cultured, good stereo mix on channels 1 and 2 and leaving or those who insist on wearing shoes during home channels 3 and 4 open for more dubs. (Note: If you taping sessions, there are optional punch-in and use stereo effects devices that employ 180 degree punch-out switches. These connect to the front of out-of-phase outputs, it's a good idea to not put the X-15 through two ports (these "switches" aren't their outputs on adjacent tracks, since any bleed really switches at all; they're actually rubber from one track to an adjacent track might cause bulbs with cables that connect to plungers at the cancellation. (I didn't experience this problem, other end — much like the remote squeeze mechanisms however.) for use with 35mm cameras). Unfortunately, though, Regardless of how you overdub and mix, you if the Play switch isn't engaged, and you depress can't keep adding material upon material forever — the Record button, both the Record and Play buttons any analog recording machine has that limitation. are switched on. Thus, while setting levels you However, I found that I could ping-pong at least must have the Pause switch on, but this means that twice before getting horrendous degradation, and by the motor is running while you're setting your tones careful planning (a must for any recorder with less and levels. than 10,000 tracks) and using restraint (you don't A stereo headphone jack, with accompanying really need 63 guitars on that song, do you?), it volume control, is located near the punch-in and was easy to turn out a relatively quiet, nicely EQ'd punch-out ports. Next is a pitch control, which demo. allows you to alter the recorder's speed +15% in I can only think of a couple of places where order to match the tuning of previous recordings to Fostex might improve the X-15. First, it would be a new overdubs. So, if you have recorded a bunch of very useful feature to have at least two headphone overdubs and then suddenly find that your piano is outputs. Second, making the Record and Play buttons tuned sharp or flat compared to your original tuning independent so that the motor wouldn't get so much reference, no sweat. wear and tear between takes would also be a sensible A sneaky but useful application of the variable alteration. Finally, I also found that by going speed control involves lengthening echoes beyond back over one section over and over, the tape tight­ your delay unit's normal range. Want a longer echo? ened too much, causing it to stop dead in its tracks Just record a track at normal speed, play it back a few times. A word to the wise: Rewind and fast- through your echo device with the pitch adjustment forward the tape every few minutes if you are going increased, then record the results on to another to be punching in a lot of little parts. channel. When you return the pitch control to its Like many people who will likely be purchasing neutral position and play back the newly recorded an X-15, this is my first multitrack recorder, and I channel, the echoes will be much longer in duration. wouldn't part with it for anything. It affords The X-15's tracks can be sent to two basic freedom and versatility, and best of all, it doesn't channels: A and B. Each has a selector switch for break your bank account.

P o ly p h o n y October 1983 23 Formula (a) is most suited to solving this problem:

(60 TM) / 90 = (30 2/3) / 3

TM = 15 1/3

BASIC The answer is 15 1/3 measures in 3/4 time, or 15 measures and 1 beat.

Very often the time signature will vary during FILM SCORING a sequence, e.g., 3/4 to 12/8 to 5/4, etc. Slight modifications of the above equations will accommo­ date this change. MATH (a) (60 Tb) / S = Ts (b) Tb / S = Tm

(c) Tb / (60 S) = Th

T = total S = metronomic speed b = beats s = seconds m = minutes h = hours By: Dr. Maury Deutsch If once again the elapsed time was 30 2/3 seconds, the total number of beats would be 46:

(60 Tb) / 90 = 30 2/3

Tb = 46 i Scoring films is a highly exacting art; the free timing of a musical segment requires a know­ These 46 beats could be grouped in a variety of ledge of both tempo and duration. To allow for a meters, as shown in figure 1. This elemental sketch proper correlation between music and video, timing is the basis for eventual orchestration. cues placed in appropriate measures of a score allow the conductor to keep check with a stop watch and Click Track formulas. A click track is neces­ anticipate cues relating to specific dialogue or sary for exact synchronization of music and action. changes of locale. Although 35 mm. is the usual standard, it is not the only size of film available. All sizes of film are Formulas for time duration/tempo/total mea­ projected at 245 frames per second; however, the sures. The following formulas enable composers to number of frames per foot varies. To determine determine the number of measures, time duration, or projection time, divide the frames per foot by 24. metronomic speed of a sequence when two of the three* (Also see the section "Correspondences".) quantities are known. Ritardando, fermato, and A metronomic marking can be translated to a accelerando (changes in tempo) need to be written click track and vice versa. out exactly or considered separately. (a) (24/C.T.) 60 = S or 1440 / C.T. = S (a) (60 TM) / S = Ts / B (b) (60/S) 24 = C.T. or 1440 / S = C.T. (b) TM / S = Tm / B S = Metronomic tempo (c) TM / (60 S) = Th / B' C.T. = Click Track

T = total Example: What click track is equivalent to a S = metronomic speed metronomic marking of 100? B = beats in a measure M = measures (60/100) X 24 = C.T.; 14 2/5 = fr. C.T. s = seconds m = minutes The answer is a 14 2/5 frame click track. h = hours Example: What metronomic speed is equivalent Example: The elapsed time of a particular to a 24 3/4 frame click track? sequence is 30 and 2/3 (30 2/3) seconds. How many measures are needed in 3/4 time if the metronomic (24 / (24 3/4)) X 60 - S; 58 2/11 = S speed is 90 beats per minute? I 24 Polyphony October 1983 The approximate answer is a metronomic speed of C.T. = click track 58+ beats per minute. T = Total M = measures Click track subdivisions. Click tracks are the B = beats in a measure result of perforations introduced into the sound b = beats film track. The clicks are frequently transmitted s = seconds to the conductor and musicians through single head­ m = minutes phones. A click track can be subdivided into h = hours eighths: Example: Find the duration of 32 measures in 4/4 if the frame-click beat is 18-3. 16 fr. C.T. 16 1/8 = 16.125 = 16-1 fr. C.T. 16 2/8 = 16.25 = 16-2 " (18 3/8)(32) / 24 = Ts/4; Ts = 98 16 3/8 = 16.375 = 16-3 " " 16 4/8 = 16.50 = 16-4 " (18 3/8)(32) / 24 = (60 Tm) / 4; Tm = 1 19/30; 16 5/8 = 16.625 = 16-5 " " (19/30 = 38) Tm = 1 minute 38 seconds. 16 6/8 = 16.75 = 16-6 " Example: Find the duration of 64 beats if the 16 7/8 = 16.875 = 16-7 " " frame-click beat is 14-2. 17 fr. C.T. Example: A 14 2/5 fr. C.T. would of necessity (14 2/8X64) / 24 = Ts; Ts = 38 seconds. be notated as a 14-3 fr. C.T. (with the "-3" repre­ senting the 3rd eighth note of the measure). Footage versus timing. Footage can be trans­ lated into timing and vice versa. Time duration/click track/total measures/total beats. Following are the most useful formulas cor­ relating the above quantities: Tf = 3/2 Ts

(a) (C.T.KTM) / 24 = Ts/B Ts = 2/3 Tf (a') (C.T.)(Tb) / 24 = Ts T = Total (b) (C.T.)(TM) / 24 = (60 TM) / B f = feet (b') (C.T.)(Tb) / 24 = Tm s = seconds

(c) (C.T.KTM) / 24 = (60)2 Th / B Example: 126 feet of film is equivalent to how (c1) (C.T.KTb) / 24 = (60) Th many seconds? ~ ^

M .M .-9G I16 frame clickl

:00 I Joe and Rose are walking hand in hand. I /_ r r. L r .r r j i r _r_L /_ r _r_. . s_ r_ r

:10 iThey see children dancing. I J=J. J. J. 2 3 4 5 6 % % % % %

■18 IThey join in. I

12 ' 8 1 J. J. J. jj] jjj m sn % J .J ^ J J J ;23 1/3 [Close up, aigry father--Rose’s--approaching.

% JJJtSSJ. u j :28 IThey all meet. Dialogue: |1/4) 4 4 A r r r :30 2/3 |4/4 I o

figure 1

Polyphony October 1983 25 Ts = 2/3 X 126 = 84 seconds (or 1' 24"). (2) C.T. = 9-1 (Metronomic speed = 157.81)

Example: 2 minutes 54 seconds of film is equi­ Frame Number Beat Number Seconds valent to how much footage? 0 1 .00 Tf = 3/2 X 174 = 261 ft. 9-1 2 .38 18-2 3 .76 When scoring to footage, the timing cues are 27-3 4 1.14 multiples of 2/3 (film runs at 1 ft. per 2/3 sec.) 36-4 5 1.52 45-5 6 1.90 Table of Correspondences. The following table 54-6 7 2.28 relates film size, frames per ft., projection time, 63-7 8 2.66 and ft./minute: 73 9 3.04 82-1 10 3.42 etc. etc. etc. Film Size Frames/ Projection time Ft./ (mm) Ft. min. (3) C.T. = 12 (Metronomic speed = 120) 35 16 2/3 sec. (16/24) 90 70 8 1/3 sec. (8/24) 180 Frame Number Beat Number Seconds 16 40 1 2/3 sec. (40/24) 36 8 80 3 1/3 sec. (80/24) 18 0 1 .00 Super 8 72 3 sec. (72/24) 20 12 2 .50 17 1/2 32 1 1/3 sec. (32/24) 45 24 3 1.00 36 4 1.50 48 5 2.00 Determination of a specific click track. At 60 6 2.50 times, it may be necessary to determine a specific 72 7 3.00 click track (where the time duration and number of 84 8 3.50 beats are known) in order to reach an exact attack 96 9 4.00 point. 108 10 4.50 Example: Determine the click track needed to etc. etc. etc. meet a musical cue at 15 seconds, beat 17. The attack on the 17th beat occurs after 16 beats have (4) C.T. = 14--3 (Metronomic speed = 100.17) been completed. The net result is to subtract one for the total number of beats; in this example, Tb = Frame Number Beat Number Seconds 16. (C.T.)(Tb) / 24 = Ts can be written as C.T. = 0 1 .00 (24 Ts) / Tb. C.T. = (24 X 15) / 16 = 22 1/2 (22- 14-3 2 .60 4). The 22-4 click track will enable the composer 28-6 3 1.20 to meet a picture obligation exactly at 15 seconds 43-1 4 1.80 on beat 17. 57-4 5 2.40 71-7 6 2.99 Click track charts. Click track charts are 86-2 7 3.59 commercially available for the film and television 100-5 8 4.19 composer; however, they can be worked out as needed. 115 9 4.79 Review equation: (C.T.)(Tb) / 24 = Ts 129-3 10 _ 5.39 etc. etc. etc. C.T. = click track T = total A second type of duration chart relates click b = beats tracks with a variety of phrase and period group- s = seconds ings. Tb is equal to the "beat number" minus one Example: Examples: Four Measures (Duration time in seconds) (1) C.T. = 11-2 (Metronomic speed = 128) C.T. Metro Duple Triple Quadruple Quintuple Frame Number Beat Number Seconds speed meter 0 1 .00 11-2 2 .47 9 160.00 3.00 4.50 6.00 7.50 22-4 3 .94 9-1 157.81 3.04 4.56 6.08 7.60 33-6 4 1.41 9-2 155.68 3.08 4.62 6.17 7.71 45 (44-8) 5 1.87 9-3 153.60 3.12 4.68 6.25 7.81 56-2 6 2.34 9-4 151.58 3.17 4.74 6.33 7.92 67-4 7 2.81 9-5 149.61 3.20 4.80 6.42 8.02 78-6 8 3.28 9-6 147.69 3.25 4.87 6.50 8.13 90 (89-8) 9 3.75 9-7 145.82 3.29 4.93 6.58 8.23 101-2 10 4.22 10 144.00 3.33 5.00 6.67 8.33 etc. etc. etc. 10-1 142.22 3.38 5.06 6.75 8.44

26 October 1983 FIG. 2

111 12-4 12-5 12-6 12-7 13 . 13-1 13-2 13-3 13-4 * rrrr rrrr r r r r I r r r r

13-5 13-6 13-7 14 ^r r r r rr etc.

I2l 12 -4 12-5 12-6 12-7 12-8 13 13-1 13-2 *rrrr rrrr rr rr rr rr rr rr

13-3 13-4 13-5 13-6 13-7 14 frr rr rr rr I rr rr etc.

I3l 12-4 12-5 . 12-6 12-7 13 ^ r r r r rrrr rrrr I rrrr I rrrr rrrr I

13-1 13-2 13-3 13-4 13-5 ^ rrrr rrrr rrrr I rrrr I rrrr

13-6 13-7 14 ______I: Streamer IvisuaF aid to catch cuel *rrrr rrrr rrrr etc.

BY PROFESSIONAL DEMAND 10-2 140.49 3.42 5.13 6.83 8.54 10-3 138.80 3.46 5.19 6.92 8.64 DDC OFFERS FREE ADVICE, PERSONAL SERVICE AND ONE-DAY SHIPPING OF THE FINEST MUSIC 10-4 137.14 3.50 5.25 7.00 8.75 AND SOUND EQUIPMENT AVAILABLE ANYWHERE: 10-5 135.53 3.54 5.31 7.08 8.85 10-6 133.95 3.58 5.38 7.17 8.96 ^JCrOLUn Lraynor 10-7 132.41 3.63 5.44 7.25 9.06 11 130.91 3.67 5.50 7.33 9.17 ^71 KORG polxypfjsfon etc. etc. etc. etc. etc. etc. Z £ j KELSEY

(To review the appropriate equations, see the T E A C ^ ^ w [ m x r ] formulas for time duration/click track/total mea­ sures/total beats.) (ft 0DiMar5o Variable click track. With a variable click track the basic time unit varies. A situation may LU REMO arise where the tempo of a marching band or a dance M \S0 B ©YAMAHA routing increases or decreases to a barely percepti­ C R U M A R < HMTllcilll ble degree during a particular sequence. The change of tempo in the final scoring may be distributed H id S H id J ' 98888=^ [whirlwind] over a number of beats or measures depending on the time available. pRophet » PO//A

Example: The following shows how one would score going from a click track of 12-4 (metronomic £ T S " * " C S3 speed = 115.20) to a click track of 14 (metronomic (©io LaI-^ intersound speed = 102.857). PLEASE CALL OR WRITE FOR PRICES 8< ORDERING This concludes a basic discussion of film scor­ INFORMATION - YOU'LL BE GLAD YOU DID! ing math. The same principles can also be used in m m dickstein distributing company jingle work, demonstration tapes and records, and * ^ 1 | | 1120 QUINCY PPY —SCRANTON, PA 18510 the like. m L S PHONE ORDERS WELCOME (7171 344 7469

Polyphony October 1983 27 E-M u Systems DRUMULATOR WIND PLAYERS VOCALISTS TRIGGER MODIFICATION

You can use your own By: Kevin Monahan instrument or voice to While the Drumulator's AC- the Drumulator. You will need to control any standard synthesizer, coupled output trigger pulse works drill a hole to do this; a good with more expressiveness than with many devices (Sequential Cir­ place is right below the word MIX a keyboard. cuits Poly Sequencer, Prophet-10 OUT. Of course, make sure that an sequencer, and Pro-One arpeggia- errant drill bit doesn't cause tor; Roland MC-4; etc.), for some problems and drill through more applications the pulse is not wide than what you had intended. enough. This is because poly­ phonic keyboards, which use digi­ Solder a 0.2 uF capacitor tal circuitry to scan the keyboard across both wipers of the switch THE GENTLE ELECTRIC (this process checks for key clo­ (see figure 1), then solder two PITCH A N D ENVELOPE sures), typically need a minimum lengths of wire to the remaining FOLLOWER 10 ms wide pulse. Devices which switch contacts. Solder the other ML require a wider pulse width in­ end of one of the wires to pin 6 W rite for ree detailed clude the Prophet-600 and the of IC 15E, and the other end of brochure,patch diagrar Roland JP-4, JP-8, Juno 6, and the remaining wire to pin 7 of IC and application notes. Juno 60 arpeggiators. 15E. It doesn't matter which wire goes to which pin. The best place Fortunately, there's a simple to connect these wires is the Also available as modules for Aries and mod which DC-couples the pulse feedthrough holes next to both Serge synthesizers, or os Circuit b o a rd s for custom systems. Dealers inquiries output and also stretches the pins 6 and 7 of IC 15E. When you ' W e lc o m e / pulse width if desired. First, close the switch, the new 0.2 uF make sure that the AC power cord capacitor is in parallel with an gentle electric is unplugged. Next, unscrew the existing 0.02 uF capacitor (C76), ...V' .. . . ■ Dept P case's bottom plate, then the which stretches the pulse width. P .0 , Box 132, D e lta , CO 81416 screws which hold the circuit (303) Q74-7171 board in place. To DC-couple the Note that changing the capa­ pulse, locate C75 (towards the citor value affects the sound of row-of-jacks side of the board); the metronome, which is why we've remove it, then replace it with a included a switch. When creating jumper. Note that the Drumulator segments, it's better to use the re-view board is a double-sided circuit original value (0.02 uF) as this board with extremely tight traces. gives the tightest metronome click continued from page 12 So, use a solder wick or solder sound. Switch the 0.22 uF capaci­ sucker to absorb the solder around tor in parallel when synching to Ricky Starbuster ESP (cassette). C75's connections, and remove the other machines. Another hour and a half with a capacitor very gingerly. If you star of the future, introduced don't want to go to the trouble of Re-mount the circuit board in here August '83. This time the removing C75, just add the jumper the case (checking that none of whole first side features 6-year across its terminals. Solder with the play buttons chafe against the old Anna Fleer on improvised vo­ a fine-tip, low wattage iron and case), then re-mount the bottom cals, and she might end up being a be careful — a modification like plate. Your Drumulator should now bigger star than Ricky! For now this voids the warranty. work properly with virtually any she's most effective in small scanned polyphonic keyboard, as doses. The second side is divided Next, install a double pole, well as with other devices having into "Music for Relaxation" and single throw switch on the back of similar pulse width requirements. "Music for Crazyness" (sic), and as before, Ricky's synthesizer 0 .2 2 u f work is an inspiration. $8.50 postpaid from Starbuster Produc­ tions, PO Box 5582, Madison, WI 53705. DPST Switch

Danna & Clement A Gradual Awaken­ ing (cassette). The subtitle says it all: "Gentle electronic environmental music". The former classical wiz Mychael Danna teams up with Tim Clement to produce a dreamy, very beautiful set. $9 postpaid from Summerland Music, 361 Valanna Crest, Burlington, Ontario, Canada L7L 2K7.

28 Fofyphony October 1983 ‘ Tell Them You Saw It In Polyphony ’

stored on diskette. The DX-1 lists for $239 and requires an Apple II or lie, DOS 3.3, and Applesoft BASIC. Call 408/735-0410 for a 24 hour demo.

Monolithic peak detector. PMI (1500 Space Park Drive, Santa Clara, CA 95050) has introduced the PKD-01 peak detector with reset and hold mode. The chip includes two gated transconduc­ tance amps feeding an output buf­ fer and an uncommitted comparator. Just a Minute... The latest obtain the music. For ad rates delay from Electro-Harmonix (27 and further info, write Jazzical Singing speech synthesizer. West 23rd St., New York, NY Records, 6707 Victoria Ct., Edi­ The Alien Group (27 West 23rd St., 10010) can delay up to a minute son, NJ 08817. A sample issue is New York City, NY 10010) has total, and up to 8 seconds with 12 available for $1.00. released the VOICEBOX speech syn­ kHz bandwidth. It includes click thesizer for VIC 20 and Commodore track, sound-on-sound with infi­ Wireless mic. Nady (1145 64 computers. It not only synthe­ nite hold, reverse playback, echo 65th St., Oakland, CA 94608) has sizes speech but "sings" in tune taps, readout, and so on. The 64 introduced the Nady 49 VR, a as well. $95 list. Second Digital Looping Recorder miniature receiver that attaches lists for $1195. to video or movie cameras. When used with the Nady 49 LT wireless Music software. Passport lavalier mic transmitter or the Designs (116 North Cabrillo Hwy, Nady 49 HT handheld wireless mic, Half Moon Bay, CA 94019) has the 49 VR provides audio for any announced several new software model camera without the bother of packages. THE MIDI NETWORK soft­ long cords. Typical operating ware consists of an interface card range is up to 100 feet. and drum timing generator; it works like a multi-track recorder, Apple II Sound Digitizing. with "punch in" and "punch out" Decillionix (PO Box 70985, Sunny­ capabilities for editing. It re­ vale, CA 94086) has introduced Dolphin talk. Syntauri (4962 quires an Apple II or equivalent, the DX-1 sound processing system for the Apple II. With the DX-1 El Camino Real, Los Altos, CA 48 or 64K RAM, one disk drive, 94022) has introduced Dolphin Dia­ monitor, and of course, a MIDI up to 10 seconds of sound can be logue, which allows Syntauri/Apple equipped synthesizer. entered, saved, processed, se­ quenced, and generally modified systems to create dolphin-like Passport's other software sounds. $39 list; profits go to packages are for music business. under computer control; additional the Cetuman Foundation, which These include PICKERS (for singers software allows for echo, reverb, funds the Institute for Delphinid and musicians who earn their liv­ and other real time sound process­ ing features. Research human/dolphin communica­ ing through studio and live per­ tions project. forming), WRITERS (for composers One of the six software "menus" allows a collection of and songwriters who earn their A Lofty liwiter. Loft (91 living through royalties), TOUR pre-recorded drum sounds to be Elm St., Manchester, CT 06040) played on the Apple keyboard. (for touring musicians and bands); has introduced the Model 400 quad enhanced versions of all three Another menu provides "random" limiter and noise gate for record­ packages are also available. reproduction of real sounds. ing and sound reinforcement appli­ Sounds can be played in reverse or cations. $649 list. New newsletter. Polyphony author Bill Rhodes has started "Approach", which is a medium for information about tapes, EPs, LPs, and videos from independent record companies. "Approach" currently covers the NY, NJ and CT tri-state area, and includes reviews of local and/or national indy re­ leases along with info on how to PoSyphony------October 1983 29 POLYMART BOOKS SCIENCE OF SOUND The physical and psycho-acoustical background to music is an important part of musical syn­ thesis. Helmholtz’s SENSATION OF TONE is, a century after its publication, still the standard text for the physiological acoustics. PSYCHOLOGY OF MUSIC by Carl Seashore, developer of the Seashore Music Test, provides an in-depth analysis of musical style and performance characteristics of many instruments. MUSIC, PHYSICS AND ENGINEERING by Harry Olson, who worked on the first RCA synthesizer, is a thorough discussion of the physical properties and design of traditional musical instruments (plus a chapter on electronic music). MUSIC, SOUND AND SENSATION by Winckel is much like the Helmotz work, with a bit less detail and more con­ centration on psycho-acoustics. #PSYCH PHYCHOLOGY OF MUSIC $6.00 #SENS ON THE SENSATIONS OF TONE $8.95 #MSS MUSIC, SOUND AND SENSATION $4.50 #MPE MUSIC PHYSICS AND ENGINEERING $6.50

REFERENCE Often used reference materials to answer the many questions encountered in everyday synthesis. THE SOURCE Book of Patching and Programming from Polyphony has over 125 pages of patches in universal flow chart notation; the largest publication of its type. AUDIO CYCLOPEDIA has 1760 pages with 3650 entries and hundreds of dawings and schematics to answer any question about ratio. Hardbound. ELECTRONIC MUSIC SYNTHESIZERS by Delton Horn devotes the first half to descriptions and functions of commercial electronic music synthesizers (Moog, Arp, PAIA, Oberheim, EML, and RMI); the second section provides schematics and projects for the ex­ perimenter. #SOURCE THE SOURCE $4.00 #CYCLO AUDIO CYCLOPEDIA (hardbound) $44.95 ELECTRONIC MUSIC SYNTHESIZERS $6.95

TECHNIQUE Synthesists must be well versed in a number of techniques and principles. “ How To” and project oriented books are a great way to pick up these skills. MULTITRACK PRIMER by TEAC is a step- by-step guide to building, outfitting and operating your home studio. The Byte Book of COM­ PUTER MUSIC describes computer control of electro-mechanical instruments, Fourier analysis, circuits and loads of software. HOME RECORDING FOR MUSICIANS is Craig Anderton’s original guide to outfitting and operating a budget studio for maximum results, includes mixer and other audio processing circuits and a sound sheet demo recording. #TEAC TEAC MULTITRACK PRIMER $4.95 #BYTE BYTE BOOK OF COMPUTER MUSIC $10.00 #HRFM HOME RECORDING FOR MUSICIANS $11.95

"HOW TO” GUIDES HOW TO BUILD A SMALL BUDGET RECORDING STUDIO FROM SCRATCH by F. Alton Everest covers twelve tested designs. HOW TO DESIGN TEST AND BUILD COMPLETE SPEAKER SYSTEMS BY David Weems is a do-it-yourself guide for the ultimate in sound quality. HOW TO MAKE AND SELL YOUR OWN RECORD — With the major lables having severe economic pro­ blems, many insiders feel that the future of the music industry may be in independent record pro­ duction. Learn the ropes with Diane Sward Rapaport’s indispensable handbook of how to get started. MAKING MONEY MAKING MUSIC by James Dearing — Everyong dreams of being at the top, but there’s an enormous amount of “ middle money” out there for the taking. This is not a book about how to become a Millionaire Rock Star, but the strategies revealed will give you the knowledge you need to keep afloat if you decide to pursue a recording contract. A fresh and prac­ tical approach to staying alive in the music business. From the publishers of Writer’s Digest. #BRS BUDGET RECORDING STUIDO $9.95 #MASR MAKE & SELL YOUR OWN RECORD $11.95 #CSS COMPLETE SPEAKER SYSTEMS $7.95 #MMM MAKING MONEY MAKING MUSIC $12.95 ORDER FROM: POLYMART, POBOX 20305, OKLAHOR USE THE ORDER FORM ON THE NEXT PAGE ELECTRONICS Electronic Cookbooks are a great way to stock your library with materials that are not only heavy on theory, definitions and educational material but chock full of practical applications as well. These books can easily replace stacks of manufacturers data sheets and applications notes all in an easy to use reference. Walt Jung’s OP-AMP and Don Lancaster’s ACTIVE FILTER Cookbooks are self-explanatory — required reading for synthesists! AUDIO OP AMP APPLICATIONS is an edited version of the Op Amp Cookbook by Walter Jung, containing only audio applications. Lan­ caster’s CMOS book is much more than a digital reference — phase lock loops, top octave generators, touch switches, and other things you need. ELECTRONIC PROJECTS FOR MUSI­ CIANS by Craig Anderton is almost in a class by itself. It discusses electronic construction technique for the novice and provides 27 projects with printed circuit board patterns and a demo recording of the effects. Even if you’re an old hand at musical electronics, you’ll appreciate that all of these processors, from Tube sound Fuzz to Phase shifter are compatible and work together without creating noise, signal loss, bandwidth compression or any of the problems common to in­ terconnecting effects from different manufacturers. There’s even a complete chapter on how to modify and combine effects to produce your own custom pedalboard. ELECTRONIC MUSIC CIR­ CUITS by Barry Klein covers synthesizer system design, power supplies, control voltage generators, VCOs, Filters, analog multipliers and more. Lots of schematics and data sheets on the most popular music oriented ICs. An excellent technical reference. #OACB OP-AMP COOKBOOK $15.95 #EPFM ELECTRONIC PROJECTS FOR MUSICIANS $14.95 #AFCB ACTIVE FILTER COOKBOOK $14.95 #EMCR ELECTRONIC MUSIC CIRCUITS $16.95 #AUOA AUDIO OP-AMP APPLICATIONS $9.95 #CMCB CMOS COOKBOOK $12.95

EXCITING NEW BOOKS! MUSICAL APPLICATIONS OF MICRO-PROCESSORS by Hal Chamberlain — If you only have space in your library for one book on music synthesis, this is the book. The easily read text is entertaining and enlightening and teaches both basics and advanced theory without plowing through pages of equations. Liberal examples illustrate theory and practice of both digital and analog signal generation and processing. #MAM MUSICAL APPLICATIONS OF MICRO PROCESSORS $19.95

THE COMPLETE GUIDE TO SYNTHESIZERS by Devarahi — An extraordinarily thorough treat­ ment of the subject of analog synthesizers. Covers everything clearly, and the suggested ex­ periments are excellent. Well organized and leaves nothing out. #CGS THE COMPLETE GUIDE TO SYNTHESIZERS $15.95

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

& MORE FROM POLYPHONY 4/8TRACK STUDIO LOG BOOK designed by Craig Anderton provides a place to keep all the impor­ tant information on your tape library. Log in timing, type of tape used, record patches, make notes and use the expanded track sheet to list sequential changes in tape tracks relating to the settings of the indes counter. Craig Anderton’s CONTEMPORARY KEYBOARD ARTICLES is a collecte 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 this newsletter was published, it featured almost 200 pages of technical information for guitarist/musician. A wealth of articles on design, product reviews, and modification and con struction projects. Sold in complete set, individual issues not available. Limited number available CRAIG ANDERTON MUSIC TAPE — Delightful listening plus a booklet explaining how the were achieved. #SLB STUDIO LOG BOOK $4.95 #AA CRAIG ANDERTON’S CONTEMPORARY KEYBOARD ARTICLES $5.95 #DEVICE COMPLETE SET (12) DEVICE BACK ISSUES $18.00 #CAMT CRAIG ANDERTON MUSIC TAPE $5.95 A CITY, OK 73156 (405) 842-5480 $2.50 each ppd #0701: July/August: Guitar Electronics: Modify: Fender Amp, MXR Phase 100, GR-500. Input/Output Structures, §5 Analog Programmer, Sample and Hold technique, Modular Synthesizer Find out what you’ve missed! Effects, new column: Applied Synthesis, Marketing Your Records. #0303: 2/78: computer controled Gnome, using joysticks build a bionic trumpet, ultra-VCO modifications, voltage contro ■ ■ #0702: Sept./Oct.'81: Harald Bode Interview, Live Plus Tape the Mu-Tron Bi-Phase, oral joystick, patches. New Technique, Xenharmonics, Kraftwerk Live - Review, Psycho-Acoustic Experiments, Practical Circuitry - Super ■ ■ #0304: April/May 78: Minimoog modifications, non-keyboard Controller, Applied synthesis - Brass, Construction Tips For module use, phasing and flanging (theory and circuits), memory Beginners. t expansion for programmable drunfs, digitally addressed transposer project, polyphonic software (with software transient generators), #0703: Nov./Dec.'81: Dave Rossum interview, Applied patches, Volume 3 index. Synthesis: Strings,Details: Series-parallel/Sum-Difference. The Sound Gizmo and Pro-One Reviews, Practical Circuitry: VCO Deluxe. ■ ■ #0402: Sept/Oct 78: electronic music notation, notes on the recording of "Cords" by Larry Fast, sequencer spftware 7 part #0704 Jan./Feb.'82: Bob Moog interview, Chip Power - one, rhythmic control of analog sequencers, touch switch projects, STK-050/070, Simple Square Wave Shaper, Tape Timer Ruler, modular vocoder techniques, PET as a music controller, patches. Practical Circuitry: VCAs made simple. Details: Gozinda & Gozouta Revisited, Korg Trident & Casiotone 202 Reviews. ■ ■ #0404: January/March 79: add-ons for vocal F and V converter, shorthand patch notation, more on note to frequency ■ ■ #0705 Mar./Apr.'82: Electronic Music Math, Analog Delay conversion, graphic monitor project, George Russell, super VCA Clock / Modulation; Frequency Domain Modifiers; Screen-Wave for circuit, echo software, Vol. 4 index. the TRS-80; Touch Switches Revisited; Practical Circuitry: ADSR #0502: July/August 79: hex VCA/mixer project*, electronic the Easy Way; Getting the most out of a Cheapo (Guitar). music schools and studios, modify the Oberheim Expander Module, profile of Ernest Garthwaite, budget microphones, digitizer #0706 May/August '82: Anatomy of a Private record, Don projects and software, bar graph ICs. Slepian Interview, Understanding Digital Synthesizers: A Digital Filter, Syn-Bow Review, Optical Audio, Profiles of SSM 2033 & #0505: January/February 80: Joseph Byrd, Mort Garson, 2044, The PAL Filter, Bill Rhodes Applied synthesis: Bells, Pipe Larry Fast on 'Games', composing for 'live plus tape', using the Organ, Harpsichord, Electronic piano; The Realistic MG-1 Reviewed. CA3280, recording vocals, ADSR circuits. h i #0506: March/April 80: Computers in Music: real time audio ■h #0801 Sept/Oct.'82: Ambience in Electronic Music,Tone processing hardware, Powell sequencer system, Max Mathews, advanced STG software, PortaStudio, phase modulation, Volume 5 Bypass for Fender Amps, 8 Track Reviews, Parametric EQ Tips, index. Solo/Cut Circuit for TASCAM Model 3, The SSM 2011, Tube Preamp, Snare + Drum Voice Circuit, Triple Pick-up Switcher, Simulated h . #0601: May/June 80: Gary Numan, Microcomputers in Real Time Audio, Build a Digital Audio Delay Line, writing Stereo, When Quality Reocrd Mfg. Counts, Independent Record Mfg. Documentation, Richard Hayman Composer/Performer Home Recording: Convention report. Applying Harmonizing and Pitch Transposing Techniques by: Craig Anaerton. ■ ■ #0802 February '83: AMS-100 Gate Output, Bus Distribution ■ n #0602: July/August 80: Peter Gabriel, digital VCO Modules for Modular Synthesizers, Dynamic Touch Controller, project, ream modules, optimum level settings, dynamic phrasing, Expanding Envelopes, MXR Limiter Review, New Age Music, An patches. Overview, Synsonics Drum Review, Interface, Practical Circuitry: A w m #0603: Sept/Oct combined with Nov/Dec 80: alternate Patch Over Scheme for Small Synthesizers, Lab Notes: Shepard controllers, add voices to Casio M-10, voltage controlled Functions. quadrature oscillator project, cordless patch bay, recording rules, patches. h i #0803 April '83: Sound Interface Device, Build a Bass Pedal H i #0604: January/February 81: Special Construction Edition; System, Dr. Rhythm Mod., Switched Capacitance/Transversal Filters, Build: Audio Circuit Breaker, Pulse Width Multiplier, Magnetic Voltage Controlled LFO, Rockman & Voyetra Eight Reviews. Harp, 50 Watt/Channel Stereo Power Amp, Quad Sequential -Switch, DOD Mods, patches. #0804 June '83: MIDI Hardware Fundamentals, What MIDI Means ■h #0605: March/April 81: Portable Music Issue, reviews of for Musicians, The Vangelis Interview, Creative Recording on a Remco's FX, E-H Mini-synthesizer, Casio's VL-Tone, plus mods for Shoestring Budget, A One Chip ADSR, An Electronic Switch. the M7 IO, GR-500, mini-amp, and the Korg X-911. Introducing; Practical Circuitry and On Location, new columns. #0806 August '83; Donald Buchla Interview, An Overview of J H #0606: May/June 81: Synthesizer: Hardware Mods and Digital Drums, Exploring Just Intonation, Build a simple Drum Software. Modular Synthesizer Effects, Environmental music. Synthesizer, Micro-Drums part I, The Penultimate Compressor, Why Keyboard assignment for the 8700, new_columns; Details, Practical Spring Reverb Will Never Die, Gate/Sample & Hold Circuit. Circuitry, and On Location. Volume 6 index. CASIO M-10 OWNERS...... RACK PANEL SPECIAL! Did you realize that; your pride and joy has unseen powers? That there are voices and effects that you can add for the Easily machined 1/8 inch unfinished aluminum rack panels as cost of a switch' and a piece of wire? This latest booklet low as $3.95 each in quantities of 3 or more, (you may mix from POLYPHONY gives you the info that you need to transform sizes for discount prices) your mini-axe and gives details on adding a "stunt box", computer interfacing and much,,much more. Quantity 1 3 or more No. CMOD 16 pages ...... $3.50 single size - 1-3/4" .$5.25 $3.95 each double size - 3-1/2" .$9.25 $7.95 each S S M 2 0 1 1 CHIPS triple size - 5-1/4" $12.95 $11.95 each As a special service to readers interested in evaluating this exciting new chip, for a limited time POLYMART offers the SSM 2011 Microphone Preamp/Level Detector IC. No. 2011 .... $5.75 each plus postage ($1.00)

ORDER FORM------Quantity Item price ea. amount J We cannot invoice: payment must be enclosed with your order. I there is a flat $.50 handling fee per order plus postage costs. | MasterCharge and Visa are welcome, (S1D.00 minimum charge ). Foreign orders must be paid by certified check or , money order in U.S. $ drawn on a U.S. bank (or by charge card ). „ Phone orders welcomed for charge card orders. SHIP TO: Name: ______Address: ______

S ta te _____ Z ip ______r-> SUBSCRIPTION u.s. $ i 2 /y p . foreign S1«/y r .

------Shipping C h an ges ------sub total US.: add 10°/o of SublbGal handling .5 0 I Card #______or EB5P°maximum - MasterCharge Bank # ______Expiration Date Foreign: 20°/oof Sublotal shipping or $10P°maximum Signature______loiai enclosed # MAIL TO: POLYMART, PO BOX 20305, OKLAHOMA CITY, OK 73156 INDEX TO VOLUME EIGHT OCTOBER 1982 OCTOBER 1983

FEATURES: Vol,Iss:pg. Ambience in Electronic Music, Arney 0801:36 Practical Circuitry:, Henry AMS-100 Gate Output, Orman 0802:07 Micro-Drums part I 0805:32 An Inteview With Donald Buchla,Diliberto 0805:14 Micro-Drums part II 0806:18 Attention Independent Musicians, One Chip ADSR 0804:30 Carlberg/Anderton 0801 25 Transistor Circuits 0803:26 Basic Film Scoring Math, Deutsch 0806 24 Patch Over Scheme For Small Synthesizers 0802:26 Build A Bass Pedal System, Hawk 0803 17 Snare Plus Drum Voice Circuit 0801:28 Build a Simple Drum Synthesizer, Young 0806 36 Build the Hip Bass Drum, Anderton 0806 13 Bus Distribution for Modular Synth's,Lauria 0802 47 Re-View, Carlberg Digital Drums, An Overview, Anderton 0805 22 0806: 6, 0805:04, 0804: 6, 0803:6, 0802: 6, 0801: 5 Dynamic Touch Controller, Beausoleil 0802 30 Dr. Rhythm Modification, Anderton 0803 29 Eight-Track Reviews, Aikin & Styles 0801 8 Book Review, Doty Expanding Envelopes, Vosh 0802 28 Electronic Music systems, techniques and controls Creative Recording on a Budget, Horn 0804 16 0805:09 Electronic Switch for Musicians, DiFrancesco0804 19 The Complete Synthesizer 0804:32 E-Mu Drumulator Trigger ModjMonahan 0806 28 Exploring Just Intonation, Doty 0805 38 On Location: Fender's Triad Interface 0805 43 Alaska, Stirling 0804:05 Fostex X-15 Review, Mulhern 0806 22 Concerts, US Festival,NAMM; Anderton 0805:05 Gate-Sample/Hold Circuit, Rogalski 0805 20 Northern CA, Anderton 0802:36 Independent Record Mfg. Convention, Trythal 0801 32 Larry Fast Interview, Anderton 0806 8 Meet SID Sound Interface Device, Lisowski 0803 33 MIDI Hardware Fundamentals, Junglieb 0804 34 MXR Limiter Review, Anderton 0802 19 MXR Omni Effects System a Review, Montgomery0804 39 New Age Music Overview, Schwartz 0802 17 Parametric EQ Tips, Doty 0801 18 Pedal Board Tip, Figuerido 0801 19 Simulated Stereo, Deleersnyder 0801 26 Solo/Cut Circuit for TASCAM Model 3, Haisley0801 27 Sources in Acoustics, Doty 0803 30 SSM 2011, Dow 0801 34 Switched Capacitance/Transversal Filters, Quiroga 0803 12 The Penultimate Compressor, Figueiredo 0805 10 The Rockman Cometh, Austin 0803 10 The Vangelis Interview, Diliberto 0804 20 Tone By-pass For Fender Amps, Morrison 0801 12 Triple Pick-up Switcher, Suggs 0801 7 Tube Preamp, Orman 0801 24 Veloci-Touch/Pro-One Interface, Wood 0802 12 Voltage Controlled LFO, Anderton 0803 36 Voyetra Eight Review, Styles 0803 8 What MIDI Means For Musicians, Wright 0804 08 When quality Record Mfg. Counts, Rapaport 0801 15 Why Spring Reverb Will Never Die, O'Donnell 0805 18

COLUMNS: Applied Synthesis:, Rhodes Orchestral Voicings using Tenth Interval 0806:16 Poly-61 Review 0804:41 Synthetic Choir 0802:10

Lab Notes:, Simonton Shepard Functions 0802:42

Details:, Bohn The Audio Connection, 0803:16

Polyphony October 1983 33 EOUIPmEflT eXCHflflGE

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

SALE Great synthesizer introduction - ★ NEW ★ music equipment PAIA OZ mini-organ 3760 with Moog MEM0RYM00G ‘ PLUS’ : Dual Sequencer, i matching PAIA micro-synthesizer MIDI, Drum Machine Interface, $2950 ppd. 10 YEAR INVENTORY, must go. Name 3740. Custom built battery MOOG SL-8 DIGITAL SYNTHESIZER: Call for price. synths, custom equipment, parts, eliminator, "Super-Gnome" CASIO CT-7000: 8-voice Poly, internal sequencer manuals, bound magazines - EN, multi-triggering. Excellent & drum machine, cassette interface, $665 ppd. CMJ. Much more; send want lists; condition, fully documented. SIMMONS DRUMS’ CLAPTRAP: Handclap synthe­ make offers. Send SASE for list. Patch book included. $175.00 or sizer, with external trigger, $255 ppd. SYNTHESIST, Box 1453, Novato, CA best offer, Don Vaillancourt, 18 Electro-Harmonix FREQUENCY ANALYZER: Ring 94948. Grove Street, Hopkinton, MA 01748. Modulator. Quiet, AC-Powered, $139 ppd. DECILLIONIX DX-1 Apple Audio Recorder: Use KORG X911 Guitar Synthesizer $600 your Apple-compatible computer as a digital audio list, make offer or trade. Jim recorder, $239 ppd. Billington, 4739 - 326th Ave. N. Recordings DIGITAL E. Carnation, WA 98014, (206) CASIO CT-610: Scaled-down CT-7000, $475 ppd. 333-6167. The best music "The Sunshine 360 SYSTEMS DIGITAL KEYBOARD: Incl. Anvil State" has to offer: PROJEKT ATA case, 16 instrument sounds, $3995 ppd. FOR SALE: PAIA P4700/J complete ELECTRONIC SOUTH FLORIDA. A 45 ELECTRO-HARMONIX: with software, manuals, EK-2 minute cassette with nine artists. Drums, Shepard Function Gen. Best 16 SEC DIGITAL DELAY: With looping, $395 ppd. Ranging from EVERFRIEND (pseudo 64 SEC DIGITAL DELAY: Rack-mount, $995 ppd. offer over $1,200. K. Meyer, classical) to RADIO BERLIN ‘ INSTANT REPLAY’ : 2 second digital recorder w/ P.U.B. #753, Cheney, WA 99004, (Euro-Dance) to BOB RUPE looping, triggered by percussion controller (incl.), (509) 235-8109. (Enoesque). Send $4.50 check or or transposed by synthesizer control, $195 ppd. money order to: Sam Rosenthal, c/o 8785 Linear DAC, 8781 Quash and 25 COMPUTER PESF; 8951 SW 53rd St., Cooper Polyphony's (1/76 thru 8/81) all City, FL 33328. S0UNDCHASER II: Complete system including for $60. Excellent shape. I'll Turbo Traks, Demo disk, $1350 ppd. Plus one ad­ pay shipping. Ken Winograd, 2039 ditional Software Title free. Country Club, Manchester, NH MOUNTAIN COMPUTER MUSIC SYSTEM: Complete, 03102. for all Apple-compatible computers, $349 ppd. A D I N D E X MOOG ELECTRONIC MUSIC KITS: Memory expansion units for Jupiter 4 and MEM0RYM00G: $2500 ppd. Blacet Music Research ..... 4 ROGUE Synthesizer: $322 ppd. Promars synthesizers. Two versions available, 32 or 64 variable VINTAGE MOOG: Minimoog, Multimoog, Polymoog, Decillionix ...... 5 Prodigy— new and reconditioned units in stock. programs. Imported from West Germany. Also: Voice Modular SERVICE System consisting of polyphonic Dickstein Distributing .... 27 All items carry a full factory warranty. computerized keyboard, voice Musitech™ is an factory-authorized Service Cen­ cards, expansion card and computer Electro-Harmonix...... 7, 12 ter for Moog, 360 Systems, E-mu, Simmons interface. Compatible with most Equipment Exchange classified 34 Drums, and others. We service what we sell. We home computers. Send $5.00 for do custom mods. brochures and demo cassette. Cedos SHIPPING Corp., 378 W. Main St., Waukesha, Gentle Electric ...... 28 WA 53186. All items are now shipped via UPS or PRIORITY PAIA ...... 36, 4, 6 Mail. Free shipping on prepaid orders. It’s an exciting time ta be involved in electronic KORG PS-3300 Polyphonic modular PGS Electronics ...... 35 music. studio synth w/2 keyboards E.C. Musitech™ 2500, Korg Vocoder 675.00, Electro Polymart ...... 30, 31, 32 1631-A East 25th Street comp 200 modular synth 300.00, ARP P.O. Box 3717 2600 - late model E.C. 850.00. Polyphony ...... 6 Chattanooga, TN 37404 Walt Whitney (314) 429-2858. (615)624-5600 ______Oberheim...... 2

34 POfyptionp October 1983 LINEARS RESISTORS 5%, 1/4 watt SIGNAL DIODE T L 0 6 1 ...... B iF e t...... 72 All El A values available from 2.0 ohm to 5.1 Meg. 601-60...1N914 (1N4148) signal diode . 51.35 T L 0 6 2 ...... Dual BiFet...... 99 Also availble is 10 Meg. T L 0 6 4 ...... 1.95 TRANSISTORS T L 0 7 1 ...... B iF e t...... 65 100 each o f sam e v a lu e ...... $1.50 2N3904.....2N3904 NPN Transistor...... 25 T L 0 7 2 ...... Dual BiFet...... 1.15 50 each o f sam e v a lu e ...... 98 2 N 3906..... 2N2906 PNP Transistor...... 25 T L 0 7 4 ...... Q uad B iF e t...... 1.95 25 each o f sam e v a lu e ...... 75 N E 555...... T im e r...... 39 10 each of sam e v a lu e ...... 40 POTENTIOMETERS <0 N E 570...... Compander...... 3.80 (3/8 long shaft, 5/16 mounting hole) 5 each o f sam e v a lu e ...... 25 N E 571...... Compander...... 2.95 8 5 4 -4 0 1 ..... 10K Linear taper ...... 1.09 N E 572...... Compander...... 4.95 ASSORTMENTS 8 5 4 -5 0 1 ..... 100K Linear t a p e r ...... 1.09 U A 741...... Comp. OpAmp ...... 29 10 each of 10 values (100)...... 3.00 8 5 4 - 5 0 5 .500K Linear taper ...... 1.09 © M C1456.... .Low Noise O p A m p ...... 90 25 each of 10 values (250) ...... 6.50 R C 1556...... Low Noise O p A m p ...... 1.48 8 5 5 - 4 0 1 .10K A u d io ta p e r ...... 1.09 50 each of 20 values (1000). 16.00 C A 3080...... OTA ...... 94 8 5 5 -5 0 1 ..... 100K Audio taper ...... 1.09 C A 3280...... Dual O T A ...... 1.98 8 5 5 - 5 0 5 .500K A u d io ta p e r ...... 1.09 CHORUS/DELAY KIT R C 4136...... Quad OpAmp ...... 1.10 8 5 6 - 40 1 ...... 10K Audio taper with This chorus/delay unit, designed by Craig Anderton R C 4739...... Dual Low N o is e ...... 1.19 o n /o ff s w itc h ...... 1.25 a N E 5532...... Dual High P erf ...... 3.70 and featured in Guitar Player magazine, provides N E 5534...... High Performance ...... 2.65 flanging, slapback echo, and automatic double tracking effects. The delay range is from 2 ms to 80 TRIM POTS (vertical mount) ms. Due to the use of compression and expansion 8 0 2 -2 5 1 .....250 ohm trimmer...... 40 SPECIAL PURPOSE techniques, the unit has dead-quiet operation up to 8 0 2 -1 0 3 .....10K trim m er ...... 40 □ □ SA D -1024...... Analog Delay...... 17.50 about 50 ms and only minimal noise out the full 80 ms. SA D -4096...... A nalog D e la y...... 37.50 This project kit consists of all electronics, pots, jacks, MINI TOGGLE SWITCHES M K 50240...... Top Octave Div...... 5.95 etc. Also included are the two circuit boards (etched, 403-20....SPDT (on/on) sub-mini (3A).... 1.20 SN 76477...... S ound G e n e ra to r...... 3.45 drilled, and legended) needed for the project. Not included is wire, solder, case, knobs, etc. The 403-40....DPDT (on/on) sub-mini (3A).... 1.50 Chorus/Delay unit also needs a well regulated 405-10....SPST (on/off) bat handle (6A). 1.85 SANYO HYBRID POWER AMPS bi-polar 15 volt power supply (not included). (A S T K 050...... 50 Watt Power Am p ...... 19.40 punched and legended rack mount panel will soon be LED's S T K 070...... 70 Watt Power Am p ...... 24.20 available for this project.) Please note that the typical DC forward current (l-fwd) Order KT-CD777...... $78.00 SSM- SOLID STATE of these LED’s is less than those offered elsewhere MICRO-TECHNOLOGY making these LED’s ideal for battery circuits or others "SNARE + " DRUM VOICE KIT where current consumption is a factor. SSM 2 01 0...... VCA ...... 7.50 SSM 201 1...... P re A m p ...... 5.75 This percussion synthesizer was designed by Thomas Henry and appeared in POLYPHONY 305-201....Red T-1% jumbo diffused (20 ma.)...... 30 SSM 2 01 2...... VCA ...... 9.50 magazine. Here’s what Craig Anderton had to say 305-202....Green T-13/« jumbo diffused (30 ma).. .40 SSM 2 02 0...... V C A ...... 7.50 about the “SNARE + ”. “At last - an inexpensive drum 305-203....Dual T-13/* jumbo diffused (50 ma)...... 90 SSM 2 02 2...... V C A ...... 7.50 voice that has a punchy, full sound...... All in all, the SSM 2 03 0...... VCO ...... 7.50 Snare + delivers a lot of drum sounds, and I would 305-204....Tri T-13/, jumbo diffused (20 ma)..... 1.50 SSM 203 3...... VCO ...... 10.00 unhesitatingly recommend it to anybody who’s tired Note: 305-204 is a three lead, tri-color (green, red, SSM 2 04 0...... V C F ...... 7.50 of the thin sound found in most electronic drum yellow) device. It is essentially two separate LED’s in SSM 2 04 4...... V C F ...... 7.50 units.” one package. (The yellow is obtained by turning on We offer the kit with or without a panel. Kit 3770 both green and yellow.) SS M 2 05 0...... V C T G ...... 7.50 contains all electronic parts, switches, jacks, pots, SSM 2 05 6...... V C T G ...... 5.75 etc, as well well as etched, drilled, and legended i circuit board. Kit 3772 includes all this plus a punched JACKS and PLUGS and legended rack mount panel (standard 1 3/4 by 19 1 /4 In. PHONE JACKS THERMISTER (Temp. Sensing Resistor) inches) available in black or blue (both with white i 901-101...Mono standard phone jack ...... 45 TS R -Q 81....Tel Labs Q81 1k ...... $3.50 legends). Not included with either kit is wire, solder, mounting 901-103...Mono with n/closed contact...... 52 hardware, etc. The SNARE + also needs a bi-polar 15 901- 105...Mono end. jack (open back)... 55 OPTO-ISOLATOR volt power supply (not supplied). 902- 211...Stereo standard phone ja ck ...... 70 CLM6000....Clairex CLM6000 ...... $2.85 KIT 3770 Basic SNARE + kit...... $33.95 902- 213...Stereo end. jack (open back).. .77 CAPACITORS (25 volt) KIT 3772 SNARE + with rack panel... $44.94 1 / 8 In. MINI JACKS 7 0 1 -1 0 0 ...... 100 p f p o ly s ty re n e ...... 25 903- 351...Mono with n/closed contact...... 32 7 01 -18 0...... 180 p f p o ly s ty re n e ...... 25 THE "CLARIFIER” GUITAR 7 0 1 -1 0 0 0 ..... 1000 pf polystyrene ...... 25 EQ/PREAMP 903-353...Mono end. (open back)...... 26 701 -2 2 0 0 ..... 2200 pf polystyrene ...... 25 The “CLARIFIER” is an onboard preamp/EQ 903-355...Mono enclosed with contact...... 35 7 0 1 -2 2 0 0 ..... 3300 pf polystyrene ...... 25 module for guitar. This design, by Craig Anderton, RCA JACKS 701 - 3 9 0 0 ...... 3900 pf polystyrene . 25 was first seen in the pages of GUITAR PLAYER magazine. Here’s what the CLARIFIER will do: 921-100...RCA jack, chassis m ount...... 34 702 - 0 0 5 ...005 uf mylar...... 12 Replace the guitar’s standard passive tone control 921-200...RCA jack on phenolic mount... .25 with a two control, active circuit which provides over 7 0 2 -0 1 ...... 01 uf mylar...... 12 921-300...Dual RCA on phenolic mount... .43 7 0 2 -0 5 ...... 05 uf mylar...... 16 12 db of bass and treble boost and up to 6 db cut.... 1 /4 In. PHONE PLUGS 7 0 2 -1 ...... 1 uf m y la r...... 21 Buffer your pickups from external loading, giving additional output and improve high freq response.... 911-201...Mono, black phone plug ...... 48 702 - 22 ...... 22 uf m y la r...... 33 Add a nominal 6 db of gain to give your signal a bit 911-203...Mono, red phone plug ...... 48 more punch, as well as improve the signal/noise ratio 7 0 3 - 1.0... 1.0 uf ta n ta lu m ...... 39 911-205...Mono, chrome (metal) plug... .1.20 7 0 3 -3 .3 ...... 3.3 uf ta n ta lu m ...... 49 in multiple effects systems... make your guitar immune to the high freq loss caused by long cable 911-211...Stereo, black phone plug ...... 65 runs. 1 /8 In. MINI PLUGS 7 0 4 -2 .2 ...... 2.2 uf e le c tro ly tic ...... 21 The CLARIFIER kit is available in two options, both of which include a high quality drilled, legended, and 7 0 4 -4 .7 ...... 4.7 uf e le c tro ly tic ...... 21 913-251...Mono, black mini plug ...... 38 masked circuit board, as well as complete step by 913-253...Mono, red mini plug ...... 38 7 0 4 -1 0 ...... 10 uf e le c tro ly tic ...... 21 step instructions. Kit 2450 contains everything 704-100...... 100 uf e le c tro ly tic ...... 31 needed for a complete unit.. Kit 2455 contains 913-255...Mono, chrome (metal) plug ...... 56 7 0 5 -1 0 ...... 10 pf c e ra m ic d is k ...... 15 everything execpt the pots (for those who prefer a particluar brand of potentiometer). Batteries are not SWITCHING JACKS 7 0 5 -.0 1 ...... 01 uf ce ra m ic d is k ...... 12 included with either kit. These are stereo phone jacks that contain an LT 7 0 5 -.1 ...... 1 uf ceram ic d is k ...... 17 KIT 2450....Complete CLARIFIER k it. $18.95 independent switching sywtem that is controlled by the insertion of the plug. Jack 905-301 contains the KIT 2 4 5 5 .....CLARIFIER less controls ..$14.95 IC SOCKETS (soldertail) equivalent of a DPST normally on switch. Jack IC -S -0 8 ...... 8 pin high quality socket...... 27 905-302 contains the equivent of a DPDT on/on TERMS: (Check, Money Order, Cashiers Check - IC -S -1 4 ...... 14 pin high quality socket.. . .30 switch making it ideal for switching bi-polar power Add .75 if under $10.00)— ($10.00 minimum on IC -S -1 6 ...... 16 pin high quality socket.. . .34 supplies on and off in effects boxes, etc. C.O.D. (UPS only) add $1.50)— (Mastercard and IC -S -1 8 ...... 18 pin high quality socket.. . .40 905-301...Stereo jack with SPST switch.. .90 Visa: $10.00 minimum. You must supply exp. IC -S -2 8 ...... 28 pin hgih quality socket.. . .60 date.)— (Indiana residents add sales tax.) 905-302...Stereo jack with DPDT sw ...... 1.00

IC -C -0 8 ...... 8 pin economy socket...... 13 SHIPPING AND HANDLING: $1.00 plus 5% of IC -C -1 4 ...... 14 pin economy socket...... 15 purchase. We will credit any amount over our PGS ELECTRONICS IC -C -1 6 ...... 16 pin economy socket...... 17 standard rate. Route 25 - Box 304 IC -C -1 8 ...... 18 pin economy socket...... 20 SA TISFACTI0N GUARANTEED! IC -C -2 8 ...... 28 pin e con om y s o c k e t...... 40 Terre Haute, IN 47802 MOTION FILTER H liA STOMP BOX EFFECTS An envelope follower/filter combination translates the normal dynamic properties of your axe into modulated timbral AT LOWER THAN 1980 PRICES changes as well, the effect is like a wah-wah pedal being used These new stomp boxes from PAIA are designed to give elec­ by someone with magic feet. The first time you get your tronic guitarists the highest quality effect at the lowest possible MOTION FILTER working you won’t believe that so much funk price. Cases are formed of heavy steel and covered with the and soul can be squeezed into such a tiny box. most scuff-resistant baked-on finish available. All feature Independent Initial Frequency and Sensitivity knobs give heavy duty switches for long life and electronic effect switching you the control you need to realize a wide range of effects for pop-free punch-in and punch-out. All are high input and allow the MOTION FILTER to be used with either electric impedance, low output impedance, non-inverting, low noise bass or guitar. No. 5720 MOTION Filter Kit.. $29.95 (3 lbs.) devices designed to meet all proposed FX standards. Each provides hour after hour of operation from a single 9 volt GATOR™ Noise Gate/Envelope Controller battery and provide automatic power switching; you’ll never The almost un-noticeable “hiss or swish” that each unit have to worry about forgetting to turn them off. in a multiple-effects system adds to your music can sum to annoyingly noticeable background noise just when things are supposed to be quiet. GATOR listens while you play, and HOT LYX SUSTAIN when you stop, electronically isolates your effects from your Probably the most used effect by any electronic guitarist, amplifier, zapping noise completely. a sustain unit is essentially an amplifier that automatically And despite its low cost, GATOR has added features that increases its gain to compensate for a guitar’s normal decay let you do more than just make other effects sound good. characteristics. The result is the ability to hold notes and chords It’s an important effect in its own right. much longer than would otherwise be possible. The ATTACK control lets you re-shape the normal percussive Hot Lyx gives you all the control you need, continuously envelope of your guitar for bowed string and organ effects variable sustain from just enough to make your Silvertone with attack times up to 1.5 sec. and an AUXILIARY TRIGGER sound like a Les Paul to “pedal to the metal” controlled SIGNAL INPUT allows the dynamics of one instrument to be feed-back settings that give rock-guitar its “all-out” quality. gated by another (drums, for example) to impart unique Level control allows for either lower or higher volume levels “synchro sonic” rhythmic characteristics to your sound. when you’re punched into the effect and can also be used as Other features include High Impedance In/Low Impedance an over-drive control to give you the sweetest fuzz/sustain Out, Electronic Footswitch for quiet punch in/out, wide range sounds you’ve ever heard. Threshold Control, Single 9v. battery supply (not included). No. 5710 HOT LYX Sustain...... $34.95 (3 lbs.) GATOR (tm) Cat. No. 5730...... $34.95...... 3 lbs. MIDRANGER™ Midrange Equalizer Sure, your amp has bass and treble controls — but what about the all important midrange? When you need more sound from your axe than most amps can give, but don’t have the bucks for a fancy equalizer, the MID-RANGER is for you. Featured in Craig Anderton’s June 1982 Guitar Player column, this special purpose equalizer gives more presence and ‘“punch” by providing continuously variable boosts of up to 12 db. at switch selectable frequencies of 90, 200, 1000, 2000 or 4000 Hz. Designed for guitars, voice, rhythm boxes and keyboards, the MIDRANGER features High Input/Low Output Impedance, quiet electronic switching and single 9v. battery supply (not included). MIDRANGER (tm) Cat. No. 5740...... $32.95...... 3 lbs. 5750 — AXE GRINDER(tm) A classic fuzz to FX standards. The AXE GRINDER might be a pretty routine fuzz if it weren’t for a couple of subtle but significant features. Like a Distortion Intensity Knob that provides smooth control of clipping from just a hint when you really get it on to pure square waves when you even think of picking. And the Distortion Tone, Distortion Level, and Clean Level controls are like having a built in mixer and E.Q., letting you precisely set the amount of distortion and its tone as well as the mix of clean and distorted signal. You probably never realized you could get so many sounds from a ‘“simple” fuzz. The AXE-GRINDER also features totally pop-free electronic switching and adherence to uniform FX standards that allow any Effect to work with any other without concern for mismatch noises or phase incoherence. 9 volt battery power (not supplied). 5750 Axe Grinder(tm) Kit... $29.95...... 3 lbs. 5760 ROCKTAVE DIVIDER(tm) Whereas most effects that alter the harmonic content of a signal can only produce or accentuate frequencies higher than the fundamental frequency produced by the instrument, the ROCKTAVE DIVIDER fills out your sound by adding in wave­ forms that are sub-harmonics of those produced by your axe. Compandor stages are used to stabilize input for reliable triggering of the divider circuitry and to impress the original dynamics of your playing onto the newly created subharmonics. Independent level controls on the extracted fundamental and first and second sub-octaves allow you to produce just the mix you're after and master tone control lets you round the square wave sub-octaves off to near-sinusoidal purity. The ROCKTAVE DIVIDER also features automatic power switching when in use, pop-free electronic cancel function and single 9 volt battery power source (battery not supplied). 5760 Rocktave Divider(tm)...... $39.95...... 3 lbs. ORDER TOLL FREE WITH VISA OR MASTERCARD 1- 800 - 654-8657 DIRECT MAIL ORDERS & INQUIRIES TO: B tiA Electronics, Inc. 1020 W. Wilshire , Oklahoma City, OK 73116 - (405)843-9626