J u n e 1 9 8 4

WENDY CARLOS INTERVIEW

♦iminnW** • lllllllt* M .f? '64 SOUNDS

PHIGS

NAPLPS DSX TO DRUM PMIGS

N0VA*GKS

ISSN: 0163-4534 t TASCAM, we’re obsessed with your music. We’re Adriven to providing the technology that will give you back everything you put into your sound. With advanced recorder/reproducers that focus on your At Tascam, specific needs, delivering the ultimate in signal quality, dependability and multi-track versatility. We built our 8-track 38 for the professional who demands uncompromising quality at a very economical Your Music price. You get full 8-track flexibility, plus the exacting precision of TASCAM-built heads, with sync response equal to repro response. If your next step in audio is video, our SMPTE- Drives Us to compatible 8-track 48 can move your music right into the picture. Balanced/unbalanced, the hard-working 48 features full microprocessor 3-motor servo control for fast recording and editing. E xtrem es. For rugged sophistication, our SMPTE-compatible 58 is built for rapid, high-torque tape shuttling. The 58 is the industry’s first V2” 8-track with the engineering depth of a 1” machine. Its unique Omega Drive provides the ultimate in tape to head contact, assures superb tape path stability and eliminates tape stretch and bounce. Each TASCAM 8-track is part of its own series, allowing you to easily build a complete system with outstanding half-tracks and four-tracks engineered to the same stringent TASCAM standards. For even broader needs, our 85-16B moves you into full 16 track production. We’ve carried our technology to extremes, so that wherever you want to go with your music, we’ve got a system to take you there. See your TASCAM dealer today, or write TASCAM, TEAC Professional Division, 7733 Telegraph Road, Montebello, CA 90640, (213) 726-0303. Copyright 1984-TEAC Corporation of America

Nobody makes a broader line of professional recorder/reproducers than TASCAM. ------STAFF------PUBLISHER ISSN: 0163-4534 John S. Simonton, Jr.

EDITOR — FoS>phorff Craig Anderton Volume 9, Number 4 EDITORIAL ASSISTANT Vanessa Else JUNE, 1984

MANAGING EDITOR Linda Kay Brumfield

TECHNICAL ILLLUSTRATOR Caroline Wood CIRCULATION An Interview with Wendy Carlos Ramona French By: John K. Diliberto ...... 10 Peggy Walker '64 Sounds, Part I BOOKEEPING By: James A. Lisowski ...... 18 Cathi Boggs PRINT PRODUCTION DSX to Drumulator Adaptor Phuong Nguyen By: Craig Anderton...... 16 SEMCO Color Press Fostex 2050 Review POLYPHONY (ISSN 0163-4534) is published By: Craig O'Donnell ...... 14 bimonthly at 1020 W. Wilshire Blvd., Oklahoma City, OK 73116, by Polyphony Publishing Co. Entire contents copyright Micro Project (c) 1982 by Polyphony Publishing Co. All By: Michael Bienholz ...... 36 rights reserved. No portion of this publication may be reproduced in any manner without written permission frprn 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 available upon request. Contact Linda Applied Synthesis: Brumfield at (405) 842-5480. Overdubbing & Licking the Envelope Problem By: Bill Rhodes ...... 8 SUBSCRIPTION rates: American 1 year $12.00 2 years $22.00 Practical Circuitry Foreign 1 year $14.00 Build a Synthesizer Delay Line 2 years $26.00 We now accept MasterCharge and Visa By: Tom H e n r y ...... 30 payment for subscriptions, back issues, ana PolyMart items. Foreign payments 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 pur 'Back Issue List' for a complete index of issues and their features, or see the 38 back issue ad in this issue. Ad Index ...... CHANGE OF ADDRESS notifications must Databank ...... 36 include your former address and zip code, and any numbers from the mailing label, as well as your new address. Editor's Notes .. . 6 When you move, be sure to notify your post office that you DO want second 38 class and controlled circulation Equipment Exchange ublications forwarded. This will save Post or returned issues. Polyphony is Current Events ... 24 not responsible for replacement of lost or returned issues when we have not been supplied with change of address Letters ...... 4 information.

TO POSTMASTER, send address changes to: POLYPHONY PO Box 20305 On The Cover: Computer Graphics generated by the NOVA GKS Oklahoma City, OK 73156 Details in Editor's Notes - Page 6. Ph. (405) 842-5480

Polyplicmy June 1984 3 WIND PLAYERS VOCALISTS

You can use your own instrument or voice to control any standard synthesizer, with more expressiveness than a keyboard. CORRECTIONS & UPDATES Tim — I checked into SYNTEX and would recommend that readers In the October 1983 issue, avoid this company until we see page 24, under "Click Track Formu­ some evidence that they are indeed m m \ \ las": Film is projected at 24 "real". I'd also like to empha­ THE GENTLE ELECTRIC frames per second, not 245 frames size that the vast majority of PITCH AND ENVELOPE per second as given in the arti­ companies are honest; however, FOLLOWER cle. every now and then a scam pops up. XN\J Mi 9 M Z % In Robert Carlberg's February If any readers have problems with a t fjlV. review, there were a couple of Write for our free detailed particular companies, be sure to missed numbers. Mark Isham's Va­ write and we'll see what we can do brochure, patch diagrams, por Drawings is Windham Hill for you. and application notes. #1027, and K. Leimer's Imposed Order stock number is POL .17. A /so available os mo0u /es for A r*es and , Also, in the review of Brian Eno's GUITAR SYNTHESIS S erge synth estzers, or as circuit boards Working Backwards, the word "un­ % custom systems. Dealers inquiries realised" should read "unre­ Are there are articles giving ** w e lc o m e . leased" . an overview of polyphonic guitar Several errors crept into the synthesizers? And, do you know of qerrfle electric artwork for Ron Oberholtzer's DIY any particular artist/musician who U Dept p creates their music wholly or P.O Box 132, D e lta , CO 81416 Compander project in the February 303-874-8054 7 303-874-7171 1984 issue. Sorry! Page 11, Fig. mostly with a guitar synthesizer, 2: The input to the gain cell to whom I might listen? After from R7,8 pin numbers should be reading your reference in the 5,11 and not 7,9. Page 12, Fig. December issue of Polyphony to GR- 3: The op amps listed as 1/2 IC3 300 modifications that you had should be 1/4 IC3. The unlabelled made, I'm starting to feel that I resistor going to pins 3,13 or 1/2 might consider concentrating on a IC4 should be R17,18. Page 12, guitar rather than keyboard syn­ Fig. 4: The polarity of diodes D5 thesizer system. Can you offer and D6 are incorrect and should be any comments? reversed. Finally, due to parts kit Glynn Black production delays the second part Waynesboro, GA The new Series V Digital/Analog Keyboard of Kirk Austin's article on a Controllers from PAIA offer enough stan­ remote MIDI controller has been Glynn — Guitar synthesizers dard features and options tofill every need postponed until next issue. have had a somewhat unfortunate from stage to studio. Standard features history since ARP's Avatar pro­ include Pitch & Modulation Wheels, Gate SCAM? mised the moon and delivered con­ and Re-trigger outputs, Low Note Rule Priority, Smooth Pratt-Read Action, Light siderably less. Many models This letter serves a dual weight and only 2” high. didn't work right, were over­ purpose. First, I would like to priced, or sacrificed those quali­ You have your choice of: express my thanks for Polyphony ties which make guitarists want to • 37 or 61 Note Actions magazine. Its concepts, contents, play guitar in the first place. • Exponential Or Linear C.V. and all-round presentation make it The only remaining major guitar • MIDI or Parallel Digital a superb magazine. synthesizer company is Roland, who • Mono or Poly Second, I wrote to a company are doing quite well with their • Factory Assm. or Low Cost Kits called SYNTEX (702 117th Pi. SW, GR-300 guitar synthesizer system Best of all,’prices start at less than $180 Everest, WA 98204) that had of­ and have just introduced the GR- call our toll-free line fered plans for a variety of syn­ 700 system (see Current Events in thesizers after seeing an ad in an this issue). Write them for 1-800-654-8657 electronics magazine. I sent off literature on what they offer. 9AM to 5PM CST MON-FRI a check for the plans plus postage To hear guitar synthesizers for price & ordering details over a year ago, and have not in action, check out Chuck Ham­ & get your free RAiA catalog! heard anything since. Could you mer's Guitarchitecture. I haven't Direct mail orders and inquiries to: Dept.11 please look into this for me? heard the record myself, but un­ derstand that it is mostly guitar Tim Corfield synthesizer. Also, Robert Fripp 1020 W. W ilshire , Oklahom a City, OK 73114 (405)843 9624 Wiley Park, N.S.W. Australia (of King Crimson) and Andy Summers lYrtyphony June 1984 (of the Police) use the GR-300 a lot in their music. ONETS-1 = FREQUENCY COUNTER + SINE WAVE GENERATOR Comments? To me, a guitar is AUDIO TEST SET TS-1 + A C. VOLTMETER (dB) a very different instrument from a keyboard, and what I want out of a guitar synthesizer is different from what I want out of a keyboard synthesizer. Although I play both guitar and keyboard, I generally use keyboard synthesizer more than guitar synthesizer; nonetheless, there are times when it seems that only the GR-300, and not a key­ $249.oo board synthesizer, can do the job. (203) 643-4484 (And the hex fuzz capability of r Y PHOENIX SYSTEMS,INC. the guitar synth is a joy.) JL \ P. O. Box 628 Manchester, CT 06040

MIDI

First, congratulations on a terrific magazine, one I look forward to constantly. My inter­ S e n d Us Your Ideas! ests lie in the areas of computer interfaces with both digital and for projects, interviews, columns, analog synthesizer. One project I reviews, or ...?... Polyphony can would like to see is a MIDI to provide all the material you need; CV/GATE converter for use with older monophonic synthesizers. give us the raw ideas - we'll find I built the Snare+ a couple people with info! Our increasing of months ago and use it constant­ scope and space for coverage make ly. I am also looking forward to Polyphony your #1 source of info building the Hip Bass Drum. One on experimental music technique. modification for these two pro­ jects I have thought of, but need someone else to design, is voltage control of the drum pitch. This would allow the playing of tuned drums from a keyboard, computer, or MIDI. EKx Series

Dwight Hawes EXPONENTIAL North Vancouver, Canada MODULE CARDS Dwight — The Snare+ and Hip EKx 10 ADSR Bass Drum are not easily modified envelope generator with exponential control of Attack, Decay and Release times over a for voltage control; they are guaranteed .002 to 20 second range. No control designed primarily with cost-ef­ voltaqe feed-throuqh.. $24.95 plus $2 postage fectiveness in mind, which pre­ It’s ironic that while the electronics of your syn­ thesizer is capable of sublety of tone and color EKx 20 VCF cludes precision voltage control. that are unprecedented in the history of music, with exponential control of pole frequency Re a MIDI to CV converter, you would be better off playing a typewriter for over a 10 octave range. Jumper programmable try J. L. Cooper Electronics (2800 all the control of dynamics and expression you for 24 dB/Oct. LP, HP, BP or All Pass response. have from the keyboard. Now you can change Voltage controlled resonance. Low noise, 86 dB S. Washington Blvd., Marina Del that with PAIA’s new Veloci-Touch Controller. below max. output. $26.95 l$2.00l Rey, CA 90292). They make a This simple to build and install retro-fit for most variety of interface units that electronic keyboards adds three important con­ EKx 30 DUAL VCA low noise, low distortion, wide bandwidth, low adapt MIDI to non-MIDI products. trol parameters: ■ Second Touch Pressure — pitch bends and control voltage feedthrough. Both exponential vibrato the natural way. and linear control voltage Inputs simultaneously available..... $24.95 IS2.00) DATABANK CORRECTION ■ Velocity — as you play harder, output signal level increases. EKx 40 FULL FEATURE VCO ■ Velocity Transient — apply to filter or voltage Full feature VCO with ramp, triangle and At least you can't bounce a controlled distortion device for dynamic timbral voltage controlled pulse. Exponential control check at the Databank, but there changes. of frequency over accurate and stable And best of all is the incredibly low cost. Retro­ was a pretty glaring error on Page 100,000:1 range. Linear FM Input and hard and fit versions are available from less than $45.00. soft sync..... $29.95 IS2.00I 23 of the April '84 issue: The Stand-alone package with case and power supp­ 741 pinout bears no relationship ly (shown in the photo) less than $70.00. Each kit features the Curtis Electromusic to reality as we know it. For the Get the full details from our latest catalog of electronic kits for stage and studio. It’s yours I.C.'s to implement a full function correct pinout, refer to the LF351 FREE by calling:______Voltage Controlled Card. All connections are pinout on the same page, which is brought to the card edge in a configuration 1- 8 0 0 - 6 5 4 -8 6 5 7 compatible with Molex or 22 pin .156 center pin-for-pin compatible with the edge connectors. 741. Our apologies for any incon­ BHA Electronics, Inc. venience or confusion this may 1020 W. W ilshire , Oklahom a City, OK 73116 - (405)843 9626 m m Electronics, Inc. have caused. 1020 W. Wilshire , Oklahoma City, OK 731.16 - (405)843-9626 IW y p h o n y — -J u n e 19Q4 Editor’s Notes

This month's cover comes to us courtesy of the industry as a whole. And it looks like we'll be people at Nova Graphics International Corporation. getting more advertisers soon, so we're definitely Assistant Editor Vanessa Else spotted some of their moving up in the world. work in IEEE COMPUTER magazine, and thought it would make a great cover for a technically-oriented maga­ What can you do to show your appreciation for zine such as Polyphony. They were kind enough to their support? Simple: If you see something in the let us use their graphics for the cover; all they magazine (either an ad or Current Events mention) asked in return was that we talk a bit about their that catches your eye, when you write away for latest development, NOVA*GKS. That seemed fair to information be sure to say that you saw it in Poly­ us, and since many of you are into computers and phony. That lets the advertisers know their message graphics, here's the scoop. is getting through, and also gives them some feed­ back on what ads are most effective (as well as Nova produces the NOVA*GKS Operating Systems which products draw the most attention). If they Software and Applications Software, which is a full don't know you're reading their ads, they won't implementation of the Graphical Kernel System (GKS) continue to advertise...so make sure you mention international programming standard. It provides Polyphony when you ask for information. It helps programmers with an international, common graphics them, it helps us, and it helps you by letting us language; and since it describes graphics generical- put out a better magazine. ly, applications can be both computer and device independent. The software itself uses a unique ***** distributed architecture which prevents having to tie the graphics application software to specific Omission time: In our hurry to get the April operating environments and individual graphics de­ issue out, we forgot to include photo credits on the vices. As a result, computer graphics hardware NAMM show pictures. So, a belated thank you to manufacturers can construct new products which ad­ Vanessa Else for coming through with the photos that here to the GKS standard and be assured that all really helped to dress up the article. features of both current and future products will be operable in any GKS-compatible environment. Another omission: Because we're working hard NOVA*GKS also streamlines the programming process to get the magazine on schedule, there was only a for applications developers, and systems integrators few weeks between the time we finished the April and who use NOVA*GKS! can create systems with different June issues — which left Robert Carlberg without brands of graphics input and output devices since enough time to gather the records necessary for NOVA*GKS is device independent. another installment of Re:View. Our apologies to Robert and his many fans; Re:View will be back next Perhaps of even greater interest to Polyphony issue. And by the way, thanks to Robert for pro­ readers is that a microcomputer version of NOVA*GKS viding us with photos of the albums being reviewed. is scheduled for release in July. Written in "C", this new version of NOVA*GKS is compatible with ***** Nova's mainframe/host version, and runs on virtually any 16-bit microcomputer as well as the new 32-bit We just got back from the Summer 84 NAMM show, supermicros. Like the original NOVA*GKS, the micro­ so expect a full report next issue. As usual, there computer version features multilayer, distributed were quite a few exciting new products, people to architecture that is both hardware and application talk to, and things to see. Also, video producer tuneable. To find out more about what Nova Graphics David Karr and I did a one-hour NAMM show video is up to, write them at 1015 Bee Cave Woods, Austin, report which will be offered through this and other TX 78746. magazines in VHS format. The NAMM videotape is the next best thing to being there, so * * * * * watch for it.

As you've probably noticed, there are more and more advertisers in Polyphony these days. And why not? We've got a great, technically sophisticated readership, and because the magazine is so special­ ized, our rates are very inexpensive compared to larger, more general circulation magazines.

But what's most important from my standpoint is Craig Anderton that these are quality advertisers. They advertise musically useful products, don't try to interfere with editorial policy and are very supportive of the 6 PoSyphony------June 1984 A FANTASY REAL Z E D

...... • •

OlwHw'im

Imagine six of the most amazing syn­ boards, Sequencers, Guitars, Comput­ thesizer voices you've ever heard with ers, MIDI and CVs simultaneously, and 2 Oscillators, 15 VCAs, 5 LFOs, 5 Enve­ of course, the Oberheim System. lope Generators, 4 Ramp Generators, We've had these fantasies, too. 3 Tracking Generators, Lag Processor, 15 Mode Filter, and FM on every single The Oberheim Xpander... the fantasy voice. realized. Realize your fantasy at your local Oberheim dealer or write for more Imagine being able to control each of information. these voices easily and independently. A Matrix M odulationtM system that lets you connect 27 sources to any of 47 destinations per voice, with an interac­ tive block diagram and 120 display characters to make it easy to use. Imagine being able to interface all of® this to anything you wish,-Velocity Key­ Los Angeles, C A 9 0 0 6 4 Applied Synthesis: Overdubbing & Licking the Envelope Problem By Bill Rhodes

When we speak of studio multi-track recording lines togetner tneir combined envelopes must sound we automatically involve ourselves with the science correct. We know that every instrument has its own of overdubbing (0/D). Overdubbing can be a pain or envelope characteristic so we must be aware of that a joy; this depends upon the musician's ability to when recording each instrument. (Refer to past deal with this important process through the use of Applied Synthesis columns for examples.) The reason precise playing and proper envelope selection. We why a great deal of synthesized music sounds fake or can approach synthesis overdubbing in three basic too mechanical is because all the tracks of all the ways: a) chordal or polyphonic 0/D, b) linear 0/D instruments have one basic envelope. If all (or (melodic or counterpuntal) and, c) effect 0/D. many) of the tracks have the same fast melody se­ quence and therefore must be played simultaneously, Chordal 0/D. Chordal or polyphonic 0/D re­ make sure the final mix of all those lines does not quires a less tedious technique than multi-tracking have a single envelope or organ "feel." Each in­ many single lines. Basic tracks involve the use of strument must sound and "feel" independent of each chords (of two, three, four, or more individual other or it will be a monophonic clutter of sound. notes) and can be thought of as the sonic foundation Proper stereo placement and processing during mix- from which the other types of 0/D are added. Thanks down is also important to give each voice its own to polyphonic synthesizers, it is much easier to identity. layer multiple parts today than it was a few years ago, when mono synthesizers were in vogue and every B. Use of headphones: No matter how much some line had to be recorded individually. Remember people complain about using headphones when record­ "Switched on Bach" by Wendy Carlos or "Realization ing, headphones are necessary. If you are listening For Rock Orchestra" by Larry Fast? Every single to monitor speakers but are located at some distance line that was recorded (except the mellotron in the from them, two phenomena occur. First, there is a case of Fast's album) had to be recorded one-at-a- minute but noticeable time delay between what you time. Even adjusting separate oscillators to play and what you hear, thereby distorting the con­ different intervals didn't help much. cept of envelope in your playing. Since envelope is Polyphonic 0/D is not only a basic track tech­ a simple function of time versus volume, if the 0/D nique, but can be used for brass or string ensemble is complex you might not sync that 0/D correctly dubs, chord clusters, or background ambience ef­ with the previous tracks because of this delay. fects. However, unless you have multiple triggering Secondly, objects in the studio tend to rattle and on your synth, the envelopes will be non-independent give off other sounds that distract you while re­ when your fingers hit the keyboard. Multiple trig­ cording. How many times have you heard the snares gering allows each finger to execute an individual ring, or the windows rattle, or strings vibrate when envelope characteristic, which is more controllable you are recording without headphones? Once again, a than single triggering. Single triggering responds distraction can cause a time delay element when to groups of notes only if they are played simul­ overdubbing. Most headphones (good ones) reproduce taneously, and does not allow individual finger your sound with considerable quality and put the control of envelope. Therefore, polyphonic 0/D is sounds directly in your ear — not in the air! easiest because many notes are played together and there is no need to worry about individual oscilla­ C. Crescendo and decrescendo: The rising and tor tunings (as required to make a chord with mono falling action of sound once again involves the synths) or separate envelope hassles. envelope. If you have many tracks that are cres- cendoing simultaneously, make sure the settings for Linear 0/D. Careful technique and approach is each instrument and track have the correct attack of the utmost importance when layering single-note- characteristic. You may want to have a staggered or at-a-time structures. If we want to play a classi­ cascaded envelope of attack in some instances; ad­ cal piece, for example, and use one track for each just your envelope accordingly. The same goes for non-polyphonic (monophonic) instrument, we must decrescendo (fading away) of volume. consider the following factors. You can approach the crescendo problem in an­ other way by mechanically riding each fader in the A. Tempo vs. envelope: If the piece is rather final mix. This is difficult because if you have difficult to play due to a fast tempo, any 0/D must multiple tracks, you are going to need that many be played precisely in time with existing parts. fingers just to control each individual track in the All the tracks that are of a linear (melodic) quali­ mix. However, you could submix those instruments ty must be played articulately and sound clean. having the same attack characteristics into two (L + Remember too that if we are playing, for ex­ R) st ereo faders. The same comments apply to de­ ample, string, brass, french horn, flute, and oboe crescendo.

a FoSyphoi^------June 1984 D. Recording instruments in sequence. Always record the basic track (whether it be a polyphonic synthesizer foundation or rhythmic structure) as BY PROFESSIONAL DEMAND cleanly and precisely as possible. You will kill DDC OFFERS FREE ADVICE, PERSONAL SERVICE yourself trying to overdub to a track that is out- AND ONE-DAY SHIPPING OF THE FINEST MUSIC of-time, played sloppily, or poorly recorded. AND SOUND EQUIPMENT AVAILABLE ANYWHERE:

I have found the following order of recording 3 CfOLLin iraynor to be quite efficient when using an eight track to KORG PolxypJS'on record keyboards and voices. ev 1. Basic tracks (if premix, left track) KELSEY 2. Basic tracks (if premix, right track) TEAC ^ X X S S S a ( ______7 3. Bass m x r J a x 4. Rhythm structures for drive or continuity, or harmonic polyphonic brass or keyboard ^ ilty u o x ^D iM arzio textures for rhythm. 5. Lead lines V III REMO 6. Contrapuntal or counter melodies 7. Special effects, such as filter whistles, m P C O hi^ q YAMAHA explosions, bells, cymbals, etc. C R [ / M A R (Mx'riiHin __/|us\_r|i_« _m, 8. Voices —g—— [whirl wind ]

p R o p U e t 1 3 0 5 m / / £ Tracks 1 and 2 are premixed basic tracks that could contain sequencers, digital or analog drums, and a polyphonic foundation mixed down to a stereo 2 OSQ G E 3 . track format from a multi-track preliminary record­ ing. You may want to have more voices, so you in te rso u n d should probably double up on certain tracks where PLEASE CALL OR WRITE FOR PRICES & ORDERING you can. If you have 16 - 24 tracks free for re­ INFORMATION - YOU'LL BE GLAD YOU DID!

cording you have less to worry about — except for M M d ic k s t e in distributing c o m p a n y the bigger recording bill! 1120 QUINCY PPY- SCRANTON, PA 18510 PHONE ORDERS WELCOME (7171 344 7469 Effect overdubbing. Usually the effects are put on next to last or last because they are the "icing" on the recording. Envelope would be impor­ tant in certain crescendoing filter sweeps, or fil­ ter modulated trills and whistle. For example, rWhat’s New & Exciting percussive sounds such as synthesized gongs, drums, About a Fuzz Sound? bombs, explosions, +7 dB spikes(!), cymbals, etc. would be easier to perform because they are not extremely precise musical or melodic devices at all times. The envelope is important for proper attack decay and release, but the passages need not be thought of as individual notes that must be correct in pitch as well as timing with respect to previous­ ly recorded parts. We are not avoiding the envelope problem altogether, but these sounds require less overall precision. QUADRAFUZZ

As you can see, envelope is yet another para­ meter to consider when recording synthesizers. A In an easy to assemble kit good way to practice overdubbing and envelope tech­ from PAIA nique is: a) Rent time at your local studio and The Quadrafuzz, designed by Craig Anderton, is an entirely new bring your American Express Card or, b) practice the and highly sophisticated type of fuzz. It splits the guitar signal into music you want to record at home using different four specially equalized channels and fuzzes each one separately for a smooth, clean, sustaining sound with minimum harshness. In­ instrument sounds and envelopes. If a piece re­ cludes separate level and resonance controls for each channel, quires a synthesized flute to play along with cello two pole tunable low pass filter, loop send and receive jacks, tap­ and trumpets, practice the passages on each indivi­ ped channel audio outputs, line or low level operation and electron­ dual "instrument" at home, with the correct envelope ic switching with status indicator. If you’ve been looking fora new and exciting fuzz sound.... here it is! Requires external supply from for each sound, before you spend your money in the ±5 to ±20 volts. Featured in the June 1984 issue of Guitar Player studio...the only envelopes a studio knows about are Magazine. the ones that contain bills for you! No. 6720 Quadrafuzz k it...... $39.88 (3 lbs) CHARGE TO VISA OR MC TOLL- FREE 1-800 654 8657 9 a m i o 5 p m c s t m on fri Direct Mail orders and inquiries to 1020 W. W ilshire Blvd., Oklahoma City, OK 73116 - (405)843-'143-9626 l cBMA Electronics, Inc J Pbfyphotiy June 1984 9 An Interview With WENDY CARLOS By: JohnK . Diliberto In every art form there are Unfortunately, few of Wendy ti-track recording studio; yet one dividing lines, points of demarca­ Carlos's own compositions have suspects that it will occupy less tion that illuminate the shift been committed to vinyl, so the space in her future work. from one style to the next. Char­ general public is still unaware of lie Parker neatly divided Be-Bop how far-reaching her conception of from Swing. Jack Kerouac clearly making music electronically John Diliberto: When did you set off the Beat generation and stretches. A hint was gleamed first start playing electronic Delacroix etched the cut from from Kubrick's The Shining, but he instruments? Romanticism to Impressionism. In only used two pieces from what was Wendy Carlos: I think a fair date the brief history of electronic to be an entire film score. would be '56, '57. By '57 I was music, Wendy Carlos is such a Then there was the soundtrack already playing around with my own divider. Her importance approach­ to Tron, Disney's science-fiction home-brewed stereo tape machine, es that of Robert Moog, with whom computer epic. Here, Carlos al­ and by '61 my own home-brewed quad she is inextricably intwined. loyed electronic and acoustic machine. Usually the things that Carlos's 1968 hit record, sounds in a merger as complete as I would put on those machines were Switched-On Bach, propelled elec­ chromium. Using the digital syn­ some form of musique concrete with tronic music into popular con­ thesis of the GDS (General Devel­ a few oscillators added in. So sciousness. While many electronic opment System) synthesizer, Carlos it's the real American way of purists cringe at the thought of had the orchestra and synthesizer combining both the German and the imitative synthesis and the now reinforcing each other. To the French classic styles that even­ cliched "Switched-On" approach, casual listener, it sounded or­ tually led to the traditional there can be little doubt that chestral; and in fact, many Carlos synthesizer, which seems to be electronic synthesis would not be fans were disappointed that it more of an American invention in where it is now without it. Her wasn't an overtly electronic its own way. Switched-On albums were master- score. To be sure, the Tron JD: What inspired you to go in works of electronic craft, forcing soundtrack was not as striking that direction? the synthesizer into the rigorous musically as other works by Car­ WC: Records! The Brown Universi­ terrain of Baroque and Classical los, but it did open up the possi­ ty music department had collec­ masters (especially Bach). Break­ bilities of electronic sound for tions of quite a few records. ing the rules is an important her. She could make it sound There were also silly myths going statement, but doing it after electronic, acoustic, or like around that Brown had an audio­ you've shown that you can play by sounds you've never heard and she research laboratory, which now them is profound. After proving could do it with a full orchestra they do have, but at that time it that the synthesizer could be or the most advanced computer was a hoax. I was naive enough to musical, Carlos wrenched the clas­ synthesis. As she showed on her believe that they did have some­ sical standards into the elec­ Sonic Seasonings LP, the possibil­ thing like that, and that I was tronic age with her horrifying ities of music are as wide as going to do something which would score to Stanley Kubrick's equally nature permits. convince them that maybe they'd horrifying movie, A Clockwork Carlos employs the GDS syn­ want me as a student when the time Orange. The vocoded voices of thesizer not only to make music came for me to look for a college. Beethoven1s 9th and the metallic but to create the basic sounds, The impetus was that funny turn-on decay of Purcell's Music for the the actual "clay" from which she to find ways of making sounds that Funeral of Queen Mary (The Clock­ forms her compositions. She es­ would be exciting, using the new work Orange Theme) signalled Car­ chews the pre-programmed approach technology of stereo taping. los's and electronic music's shift of most synthesists, instead seek­ from the past into the future, ing out new sounds and forms that •*...# suppose in one sense whether Tomita wanted to come offer her the timbral richness and along or not. Her own composi­ texture that she loves in acoustic nip buekyround is utmost tion, Timesteps, proved that no instruments. Her modular Moog stuffily ueudemie . y e t m y further questions needed to be system, custom designed and modi­ attitude is unti-ueudeni#V. asked about the validity of elec­ fied by Robert Moog, still occu­ muybe ns u reuetion.99 tronic music. pies a prominent spot in her mul-

10 P o iy p h o i^ June 1984 JD: So you were just in high of more or less serious works, the attention, which you get auto­ school and doing this on your own limited very greatly by the avail­ matically with a live performance. with no academic background. able technology. If you want to So we just put the two together. WC: Nothing in this field, al­ talk about composition in a more With Tron, it didn't matter though I'd been studying piano serious manner you'd have to talk one wit how you obtained any par­ since first grade and went through about when I got involved with the ticular sound. It was the final organ lessons as well. I had read Columbia-Princeton Electronic product that counted. I was look­ a lot of books on counterpoint and Music Center. I came here (New ing for the gradation of color harmony, so I suppose in one sense York) in 1962 and did my first that you can get by going from the my background is almost stuffily serious composition with the tech­ most synthesized sounding elec­ academic, yet my attitude is anti­ nology they had there. It in­ tronic effects to the most orches­ academic, maybe as a reaction. volved an awful lot of splicing, tral and everything in between. JD: In 1958, all of your friends but it allowed you to compose in a In those earlier pieces you'd play must have been listening to Elvis sense that was composition and not up the contrast between the two — Presley and Bill Haley. improvisation. the mechanistic portions of the WC: Oh yes indeed! Were they JD: As you look back on that rhythm that you would get from the ever! Funny thing is that music whole era from the late 50s and tape, v.ersus the live performer in the popular side of things the 60s with your music, Otto who could be more rhapsodic feel­ during that particular period Luening's and Vladimir Ussachev- ing and improvisatory. I simply couldn't have bored me more. I sky's, do you see it as people wrote a score with two lines for just loathed 1-4-5 harmonies, even experimenting and trying to find the left loudspeaker, two lines in other forms of music, or the something or do you see these for the right, two lines for the simple chugga-chugga-chugga of a works as fully realized composi­ solo instrument or in a four- 4/4 beat. I was just simply in­ tions and performances? channel piece, a few more lines as tolerant as you are best able to WC: I'd say the latter. There well. And then I'd tediously do when you're that age. You can was experimentation, for sure. realize that portion on tape until never quite pull it off as well Even those who had been working at I had all the notes and timbres later on. it for years, and had their tech­ and everything was specified on niques more or less perfected, the score. The performer would still had some elements of experi­ practice and synchronize with the mentation going on. The process tape and invent techniques to itself was unremoveable from that, allow some freedom between where in the same way that a jazz musi­ the synchronization points were. “(Electronic music) wan cian is always experimenting. But It was experimental in the execu­ my any of mahiny some­ more than in traditional composi­ tion, but the music was less ex­ thin!/ that was more time - tion, there was a great deal of perimental than the pure electron­ experimentation that went on in ic music. ly than iteethoren or all of these works. They color JD: How have multi-tracking tech­ M o za rt. and yet iras not a the way you look at it now. You niques affected your music? part of this horiny staff see them as something that arose WC: The kind of control you get from that period of history that with multi-tracking is that of a that all m y friends listened cannot be removed, as well from live performer. You can actually to,. 99 that period as music that came spend the time worrying about both before and after, at least in each individual note, as a perfor­ other styles. mer does on the cello. You're JD: When I listen to your early turning knobs and moving and shap­ works like "Music For Flute and ing sound as you play it. You Then when pop music shifted Magnetic Tape" and "Dialogue For actually perform in your best and became filled with all kinds Piano and Two Loudspeakers", performance of each line, line-by­ of meaty things I suddenly was there's a clear distinction be­ line, note-by-note. With some of fascinated and wanted to make a tween the electronic sound and the today's devices where you're hit­ hit in that area. Then when it live musician. But with the Tron ting chords you're more like an reverted back in the mid-seventies soundtrack, the acoustic and elec­ organist. There's less of this to that same chugga-chugga, once tronic sounds are much more inter- (individual sound-shaping) and in again I said "Oh that's right! I meshed. my opinion the music suffers. It used to hate that stuff then and I WC: Yeah, they came out of dif­ doesn't have quite the human side hate it now." So this (electronic ferent things. Are you aware that of it that I was excited about music) was my way of making some­ at that time it was a deadly thing hearing in multi-track music, be thing that was more timely than to play a tape at a concert? We it electronic, rock and roll of Beethoven or Mozart, and yet was all had our four-track tapes and the time in the 60s which pushed not a part of this boring stuff we thought we'd just dim the house the music from two, to four to that all my friends listened to. lights and leave a little light on sixteen tracks and upwards, adding JD: When did you get involved in the stage, announce the piece, on tracks ad infinitum. an academic sense? step back and hit the start button JD: I notice that you have a WC: When I was going for my and play the tape. It was hor­ modified quadraphonic set-up in Bachelors Degree in music composi­ rible. No audience was ever able your studio, and that a lot of tion, I talked the faculty advi­ to get through more than a couple your music is also concerned with sors at Brown University into of minutes with feeling uncomfor­ the placement of sound in space. allowing me to do a special re­ table and you could feel it for WC: Yes, antiphony. It's an search seminar as one of my music them if you sat out there. We had important parameter and the truth courses. I put together a couple to find something to do to focus is there hasn't been that much

Polyphony— - June 1984 « done, although they fooled around Again, this recalls my old with it years ago. The most re­ rule that for every parameter you cent example is Bartok's "Music "To me. synthesizers are can control, you must control. A For Strings, Percussion and Ce­ lot of people aren't willing to leste." Antiphony is another axis like eatiny bland food like get into that amount of work. of freedom. The idea is that part most Americans eat. ” JD: With Tron, there's a merger of electronic and acoustic sounds. WC: Well don't you think that's kind of the reason for continuing WC: Yeah! If you look on a graph "(Antiphony) is an impor­ in this direction? If you're they look like a computer plot. tant parameter and thr Live instruments look like someone going to make instrumental colors on a digital synthesizer that tied a pen to a kitty's tail and truth is there hasn’t hern sound more and more acoustic and it scrawled this plot while play­ that marh done... so nturh if you keep your finger in the pie ing with a ball or something. of all the contemporary things one of rlassiral m asir does a V Acoustic instruments have a wealth can do with orchestras that sound of detail, some of which is unim­ explore this other eolor on more and more electronic, I think the palette . 99 portant to the ear, but a lot of it is subtle stuff that impor­ the two overlap and start blurring tant to the ear and produces a very violently. You're ending up little friction in the ear that with something that, as a compo­ of the excitement of the electron­ spices up what you're hearing. To ser, you need to face honestly and ic medium is that it gives you me, synthesizers are like eating say, "OK, I've got two regions now possibilities that you couldn't bland food like most Americans that used to sit apart, but now have before. Distributing the eat. Once you get turned on to they're two circles that are over­ sounds all around you is a nice ethnic food it's like acoustic lapping." I have to face that I'm way of making it clear what's instruments. You start blending working in this double range of happening in a piece of music. all kinds of exotic spices and possibilities in which some of my You could repeat a sound exactly herbs, and you miss that when colors can be done with either the except place it in a different suddenly you don't have it. It is orchestra or an electronic device location, which would create a important and it does make a dif­ and no one will tell the differ­ different reaction in you than it ference . ence, even me. Other colors would if it were all collapsed could only be done by the orches­ down to a couple of musicians tra and yet others by only the sitting on stage a couple of hun­ electronic device. It's like a dred feet away from you. So much “The CDS is the only in­ multi-media event. You've got of classical music doesn't explore strument built that a!loirs performers on stage, motion pic­ this other color on the palette. ture film, and you can do things JD: Do you think this is because you to do thinys with the by causing the two to interact. your music is of a recorded medium s u b tle ty • precision and Tron was the first score to my instead of live performance? nuanee — and the eom- knowledge that blurs the distinc­ tion with such a vengeance. I plexity — that exists in wanted a score where you couldn't * 7 / I did a lire perfor- acoustic instruments. 99 tell one from the other and Tron was a perfect vehicle, being a m a n ee l md do a h at a lo t o f film that explores the ambiguity avant-yarde composers Until the G^S came along between the real world and the do - # iron Id r e q u e st th a t there was nothing on the market to electronic world. eertain instrmentalists sit allow you to cook with exotic JD: The music released from The herbs and spices. The GDS is the Shining was mostly electronic, in eertain loeations.99 only instrument built that allows wasn't it? you to do things with the subtle­ WC; No, much of that was musique ty, precision and nuance — and concrete. That's one of the WC: No, °I don't think so. If I the complexity — that exists in things I miss about not working did a live performance I'd do what acoustic instruments. But no one with Rachel Elkind. The other a lot of avant-garde composers do has been able to fully realize thing that can be added into the — I would request that certain that yet, including me. It's a melting pot is musique concrete; instrumentalists sit in certain ton and ton of work and specifica­ it hasn't died. Because it seemed locations. In fact, in the or­ tion to get the instrument to be that electronic music grew up and chestra for Tron, we had a re­ able to do that. forgot about it doesn't mean that seating to pull off an antiphonal we still can't go in with micro­ effect, which got ruined because phones, and take a bow with rosin of an ignorant engineer who col­ and rub it against a trumpet lapsed it all down to mono. But “...for every parameter mouthpiece or something and get a it's nice, as long as you have two y o u ca n c o n tro l9 y o u m u st squeak and record it, process it ears and a good acoustic environ­ and do something with it. You ment, to be able to pull things control. A lot of people might come up with sounds that we apart that might otherwise blur aren’t williny to yet into can't presently make. together. that amount of work . 99 JD: When you use the GDS, is it JD: Do you think that electronic like you're creating a whole new instrument sounds are not as rich instrument or do you create a line as acoustic ones? note-by-note? 12 Polyphony— -June 1984 WC: You're creating a note at the rigor that these devices, like the WC: Music is always that way. moment. You try and make it so digital computers of today, re­ Beethoven would not have written it's broad enough to be several quire. You can do it for an ac­ quite the same music had he been notes at least, so you try to counting job because you can teach born a hundred years later. His create an octave out of it if you somebody how to calculate an ex- music is stylistically dated. can. Then in a compositional Mozart is particularly so. He sense you don't want to think wrote very much in the accepted about that. So you put those down •*# think the problem with style of the time and he did it on a floppy disk and call up the most eleetronie musie is brilliantly. But the style is sounds that you've worked on still there. hours, days, weeks, or maybe years that the instruments don’t These instruments are defi­ ago*, and start playing with them alloir you to express: they nitely dating when they were done the way a composer plays with require that you eoneoet and so is the music that was done flute, oboe, sine-wave oscillator, in those years, because it was it doesn't matter. So there are the expressieveness in done at a particular time in his­ two hats you have to wear. It's your head where it doesn’t tory. You're probably getting hard doing a composing step and a he tony... ” yourself into big trouble if you digital synthesis step at the same think you can get away from the time. When you're making sounds dateability and try to write in a on the GDS, very often it's both more cosmological sense. I doubt intuitive and logical. You're trapolated regression, but it's that that can be done since we're using the full brain pretty com­ hard to teach a task that you calling upon resources within our pletely — just as when you're can't describe very well, namely, humanness and our humanness is composing you're involved with the the tasks that you do more from very much more temporal, very non- drama, the tempo, the moment, the muscular, physical things, or au­ cosmological. loudness and the line. dible feedback tactile things JD: Do you think, that even on ing on the touch sensitive key­ JD: Where is it all going? WC: It's obvious that the tech­ the GDS, you can get the freedom board like the GDS or the Moog nology is moving in directions due of spontaneous expression you keyboard that Bob (Moog) custom would obtain with a conventional built for me. These allow you to to a lot of things like NASA — specifically, more and more micro- instrument? stop thinking about the expres­ sivity a little bit and stait just circuits that are allowing us to feeling it. I think the problem do things cheaply that were diffi­ with most electronic music is that cult to do eariier. So, instru­ i t "I eome down hard on the instruments don't allow you to ments like the GDS will be on one the artifieial intelliyensia . express: they require that you chip and you'll be able to have I just don’t believe that ire concoct the expressiveness in your eight GDSs on one little inexpen­ head where it doesn't belong, in sive machine. If I had my way, ean deserihe what we em­ the left hemisphere. The verbal, there will be people who will do body as a performer.99 descriptive side of your brain is it with wonderful keyboard-type now doing a right hemisphere task, controllers for people like me or and it isn't capable of doing that guitar-like controllers for gui­ very well. It will try its best, tarists, or wind-type controllers WC: At the moment that you're and some people come out with in order to allow musicians who performing, you're likely to do things that sound okay. It's sort have spend many years learning things that you can't specify. of like the dancing dog; it's a their skills and art form to run It's a spontaneous natural reac­ miracle that it happens at all, this fancy new way of making tion. In fact, as a performer you not how well it happens. sounds with nuance and subtlety. train yourself to depend on that seat-of-the-pants instinctive way ------* * * ------of working; if you had to think This interview with Wendy about every muscle you were mov­ "...riifht mar the field is Carlos is taken from TOTALLY ing, you'd never get anywhere. depend iny more on era ft WIRED: ARTISTS IN ELECTRONIC It's like driving an automobile. and less on art , le t’s he SOUND, a 26-part radio documentary That kind of thing has got to be examining the artistic development instinctive. Could you write a h on est. 99 of electronic music through inter­ program to drive the car the way views and music of the artists. you do, or walk? It's why I've The series is currently running in come down hard on the artificial Your question suggests that I most major markets on public radio intelligensia. I just don't be­ should be able to craft together stations through the fall and lieve that we can describe what we all of the nuance and performance winter of '83 - '84. TOTALLY embody as a performer. I embody a value I might want with these WIRED was produced by John Dili- human being that took years of instruments. And I'm saying to berto and Kimberly Haas. It was practice and training and feedback you that I can't do that. I chal­ funded by Sequential Circuits, with other human beings as part of lenge anyone to do that. You Inc., Yamaha Corp., the Pennsyl­ something that has been passed can't program the art. But you vania Humanities Council, and the from generations over centuries. can program the craft and right Pennsylvania Council for the Arts. But you don't really know what now the field is depending more on For more information about TOTALLY that "thing" underneath me on craft and less on art, let's be WIRED, or to obtain cassettes of which I'm standing really consists honest. the programs, write to: TOTALLY of. So how can you specify it JD: Do you think that the techno­ WIRED, Box 5426, Philadelphia, PA with the thoroughness and the logy will date the music? 19143.

PoSyphony — - June 1984 13 BLOCK DIAGRAM Fostex 20S0 FIG.1 GAIN ------® ------PAN

R eview |-30dB MINI A Y-> M INPUT t \ A r \ M\ m v — i yLs INPUT 2 0---- >

GAIN ------(•) ------PAN

by: Craig O’Donnell |-20dB MIN] TAPE - ° " IEFFECTS) FOLDBACK 1 IU i i i i i i i i i TAPE 8 0 ------IEFFECTS] FOLDBACK 8 Q When we installed our 16- track machine some months ago at L 0 ------Acme Recording (a 16/8/4-track BUSS IN professional recording studio in |-10dB) R o------Chicago), we needed another 16x2 stereo mix available at the patch- bay. Our Neotek 18x8 console could only cope with 8 monitored a versatile little gem. The 2050 Next come eight vertical tracks, and replacing it was not Line Mixer typically sells for pairs of Line Inputs (the lower an option. What to do? Simple. under $190.00 "on the street". It one is called "Foldback" and is We spent a minimum of cash (less provides eight channels of line really a parallel). At the ex­ than $335) on a pair of Fostex level mixing at the -10 dB semipro treme right, Aux In 1 lies above 2050 Line Mixers. These small standard, and two Auxiliary inputs Aux In 2. When used, the front- mixers sit daintily atop the Neo­ at -30 dB for synthesizer or pre- panel phone jacks disconnect any­ tek meter bridge. Now, as far as amped guitar. Each channel has a thing plugged into these rear our main mixer knows, the two- volume knob with concentric pan inputs. channel monitor mix is a stereo control. Looking at the 2050 from Fostex is wisely not compet­ tape deck; actually, of course, it the front, there are two 1/4" ing with the Peaveys, Biamps, and is the 16-track machine. Line inputs for the Aux channels, the Tascams that do nightly gigwork or inputs enter the Fostex mixers and two Aux volume/pan controls, eight session duties as small-studio connect via Foldback jacks (paral­ channel volume/pan controls, a mixers. There is no Gain set, EQ, lel built-in "Y" connectors) to large knob called "REMIX", a phone LED display, or channel patching; our console line inputs. jack with volume pot, and the but this unique box i_s four mixers phone-amp input select button. in one. Use it, as Acme did, to Foldback? FOSTEX? Sixteen Flip it around and you'll see supply another stereo submix; to track? What...! a phalanx of RCA connectors a- submix effects or drumboxes and ligned in vertical pairs. At the syndrums; or with PA to give an No, we don't use a Fostex left side, we have the Output extra stereo effects send, rec­ 1/2" 16-track machine -- we use section with Cue, Line "1/5", ording buss, or monitor mixer. the industry-standard Tascam 1" "2/6", "3/7", "4/8" and Buss In. Plus it's a small-studio work­ 85-16B with Autolocator. Still, If you're stacking for more than 8 horse. the folks that made 1/4" 8-track channels, connect the Line Out on For overdubbing in the home and feather-weight four-track cas­ mixer "A" to the Buss In on mixer studio, the Aux inputs can be fed sette recorders have come up with "B". directly into a tape deck while Polyphony June 1984 slightly more noise, but not much. The outputs produce up to about +18 dBm without clipping — more than enough for the applications # Features and/or specifications may change without notice. this mixer sees. Don't overlook the 2050 for live submixing into a bigger con­ sole. The soundman for our band, the "Scientific Americans", had two tape echoes, two DDLs, a flan- ger/doubler, a reverb, and a syn­ thesizer jammed into every extra input on our Biamp 1621. A 2050 would have eased things a lot! In fact, a tinkerer can come up with a couple mic preamps for those situations where most recording is done direct at home — or get an MXR Micro-Amp with a cannon-to- 1/4" adapter to inject a mic sig­ nal into the Aux inputs. The 2050 is only 14" wide, 6- 1/2" deep, and one rack space (1- 3/4") high. Compact. One quib­ ble, though: why no rack ears? They're $20 extra...for that price, buy some panels from Poly­ mart and have a metal-worker friend cobble a custom panel to suit. You can put a patchbay or other module in the remaining 5" of panel space. The phone output cranks rea­ sonably loud and distortion-free and drives a pair of phones with­ out too much fuss (I use Yamahas or Koss Sound Partners). Two pair sound fine if levels are within reason. Conclusion? Highly rec­ ommended for the home studio, beginners, or those on a tight budget. In the case of the rugged and compact Fostex 2050, cheap inputs 1-8 are used for a cue mix. gives all ten inputs while "CUE" cost does not mean cheap perfor­ Or, the 2050 can be a track­ accesses only the eight line in­ mance . bouncing mixer to take six tracks puts . down to two on an eight-track Fostex means for the "L/R" machine. Obviously, it will outputs to feed a mixdown deck; bounce three tracks to one on a "Cue" out should hit your monitor amplifier for overdub mixes; and FIG. 2 “MUTE" MODIFICATION four-track machine. If you're on Typical Channel - Fostex 2 0 5 0 a tight budget, the 2050 can be the "1/5", etc., outputs are for your entire mixing console: The your multitrack tape recorder. eight line inputs mix to stereo, Doubling outputs saves space and SOURCE with the REMIX pot acting as mas­ dollars. ter fader. The foldback outputs Acme pressed a third 2050 can be your effects sends and the into service as a reverb submixer two Aux Ins your effects returns. to take ten effects inputs (a Not bad for under two bills! stereo chorus, three DDLS, and 2K -5K SPST I've included the company's five reverb returns) into a stereo block diagram of the mixer (see effects return on the Neotek con­ Figure 1), which explains in no sole. A simple mod (see Figure 2) time how this little box pulls off allowed us to add Mute toggles. all these various feats. You'll The 2050s easily match the see that the Remix pot gradually semipro -10 dB level standard. Switch grounds Input through adds the eight line inputs into Since there are no mic inputs 2K - 5K resistor, muting. the L/R outputs as it's advanced. parts are at a minimum, and so is Note : Chassis and PCB If REMIX is shut down, the eight noise. Test-by-ear discerned no design makes it extremely line ins are isolated from the two important difference in the sound difficult to install mutes Aux Ins used to route material to of a tape track (snare) monitored any other way. whichever tracks you might have in through the 2050 and also through record mode. On the phones, "PGM" the Neotek. Of course there is

Polyphony — June 1984 15 One solution is to add a pull-up resistor at the unit being driven, however, since I use the DSX to drive a variety of devices this would have meant installing DSX- to -DRUMULATOR several pull-up resistors in sev­ eral pieces of equipment. As a result, I added a "master" pull-up resistor at the DSX itself. The ADAPTER modification is simple: 1. Screw up the courage to void your DSX warranty. 2. Facing the front of the DSX, open it up by remov­ ing the two screws on the front of the unit and lifting up the top panel. 3. Note the ribbon connector that connects the main chassis circuit board to the top panel circuit board. Also note that there is a 4.7k resistor by: Craig Anderton right in front of where the ribbon connector meets the chassis circuit board. 4. Tack-solder one end of a 2.7k resistor to the right-hand side of the 4.7k resistor mentioned in step (3). This con­ nects the 2.7k resistor to +5V. Connect the oth­ er end of the 2.7k resis­ The Oberheim "System", one of The DSX clock output is ba­ tor to the bottom lug of the first (if not the first) inte­ sically an open-collector transis­ the CLOCK OUT jack. grated synthesizer/sequencer/drum tor (see Figure 1), with a pull-up 5. Close up the DSX. Con­ machine setups, has been extremely resistor inside the DMX serving as nect the DSX clock output popular since its inception. How­ a load for this transistor. This to the Drumulator CLK/CAS ever, for those who want to use kind of structure is standard IN, set the Drumulator drum machines other than the Ober­ practice in the computer industry external clock for divide heim DMX or DX with the DSX, there for optimizing a transmission by 4 (as described in the are some problems which must be line, and since the DSX and DMX/DX manual), and you should overcome. First, the "System" were specifically designed to work be ready to go. uses a high-resolution clock that together, it makes sense to take runs at 96 pulses-per-quarter note this approach. However, if you There you have it: A simple (which is generally not compatible try to use the DSX clock to drive way to get the DSX and Drumulator with the majority of other drum some other device, unless the to "talk" to each other. And, I units), and second, the output other unit includes a pull-up think you're going to like the way structure of the DSX is designed resistor to provide a load for the they converse. specifically for the Oberheim DMX DSX clock output transistor you or DX and not other drum machines. will not be able to interface the two. The first problem can be overcome by using E-mu's Drumula- ‘ FIG. 1 tor, which can be user-programmed r to accept 96 pulses-per-quarter note clock signals. Other drum units can also be used if you build an appropriate divider cir­ cuit (divide-by-two for drums which accept 48 pulses-per-quarter note clock signals, or a divide- by-four circuit for drums which accept 24 pulses-per-quarter note clock signals). The second prob­ lem can also be overcome, but -J L requires a simple mod to the DSX.

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b y : James A. Lisowski

Editor's note: James' last ar­ profession uses: MIDI controllers Hardware. I'll start out ticle, "Meet SID Sound Interface (as implemented by Sequential Cir­ with a few hardware and software Device" (April 1983 Polyphony), cuits with their C-64 compatible pointers. Concerning additional was extremely popular. His sequencer cartridge and by Wave­ hardware, I recommend buying or latest, "64 Sounds" describes a form, the makers of MusiCalc), making a good shielded, 4 wire number of useful programs you can timebase generators, digital os­ audio input/output/video output (5 enter into the Commodore-64 that cilloscopes, music tutorial sys­ pin DIN) cord so that you can use take good advantage of the SID tems, videodisk controllers and the direct audio output connector chip's capabilities. Part 1, pre­ general business uses such as on the C-64. This allows you to sented this issue, covers intro­ databases, accounting, word pro­ route the sound directly into a ductory material which is a pre­ cessing and electronic communica­ high quality amplifier or tape requisite for subsequent instal­ tion. AND don't forget about deck (instead of getting the sound lments. Part 2, scheduled for the computer literacy! Owning and from the TV speaker), and also August issue, covers a Sound Test programming a C-64 helps develop lets you route signals into SID's "software breadboard" (along with or maintain an understanding of external input for processing ex­ some sound effects) that will help computer skills that have become ternal audio sources such as mic­ you explore the SID chip while survival tools of the Later 20th rophones, guitars and synthesiz­ Part 3 (scheduled for October) Century — as well as providing a ers. If a commercially available presents a number of useful mini­ means for the music experimenter cord looks low grade or lacks the programs (metronome, guitar tuner, to do innovative and ground-break­ audio connection, check Figure 1 hand clap/percussion unit, exter­ ing research without major funding and make your own. If you don't nal audio filter, etc.). Have — all with the same investment! have a cord yet, the TV is still fun! So, fire up your amp, flip the okay — all of the programs listed ------* * * ------computer's power switch to ON, and here were prototyped on a TV set I mentioned in "Meet SID" start punching the keys as we and sound great that way. (While that purchasing the Commodore 64 explore and define the expanding recording, I often use both a microcomputer (C-64 for short) was frontiers of computer assisted closely mic'ed amp speaker AND a one of the easiest ways to obtain sound. TV placed a few feet away in an and control the SID (Sound Inter­ This article is intended for open air microphone recording set­ face Device). The C-64 now sells an intermediate level of difficul­ up to get a good ambient stereo for less the $200 in mass market ty. It will help if the reader is effect.) If you do have the cord, outlets in America as well as familiar with the BASIC program­ a generous amount of frequency Europe. "Sells" is too light a ming language as implemented on equalization, reverb or digital word — because of its outstanding the C-64. Although I will try to delay can make otherwise flat or value in memory, 6502 microproces­ make the program operations clear thin sounds quite a bit better. sor compatibility, multiple inter­ and point out details of special However, there are some pitfalls face ports, breakthrough sound interest, this is not a BASIC to obtaining higher quality sound. quality and graphics features, the tutorial. Even so, anyone should Computers are notorious high fre­ C-64 has been deservedly topping be able to type in these programs quency (RF) noise emitters. Al­ the charts. Its snowballing popu­ verbatim and get useful results. though models that meet FCC specs larity has also created some of If you do not trust your typing or (like the C-64) are relatively the lowest cost m i c r o c o m p u t e r BASIC, fear not — a preprogrammed quiet; good shields and grounds software and hardware yet, much of disk is available, as mentioned at are a must so that your other it from Commodore itself. Need­ the end of this article. (Pricing audio effects do not pick up com­ less to say, all this has had a and availability will also be puter noise. Since the audio significant impact on electronic mentioned at the end of Parts 2 connector also has video and com­ experimenters and musicians. SID and 3). On the other hand, if puter lines nearby, there is some is an amazing digitally controlled you are fluent with BASIC, don't low level noise present. External audio chip whose sound producing stop here: Use these examples as audio filters, companders or noise and processing capabilities make groundwork for your own experi­ gates should be used for critical many less flexible synthesizers ments. Either way, if you have recording uses. The C-64 SID and music effect boxes blush in problems or want to trade some inputs and outputs are capacitor envy. The C-64's other ingre­ good programs, feel free to write coupled, as recommended by the dients make it an attractive low or call me and I'll do what I can manufacturer, so most electronic cost candidate for numerous audio to help. re FoJyphot^!— -June 1984 PADDLES! The keyboard and joy­ stick are great for other input FIG. 1 uses but they do not come close to the ease of turning a knob to get different input values for real­ COMMADORE 64 time control or experimentation. AUDIO IN/OUT PLUG Even though paddles may not be a stock item at your local computer DIAGRAM store, they cost less than $10 and can be ordered from the store or by mail. Most of my programs use paddles. It is not difficult to AUDIO alter the programs to use other OUT input forms but I feel that pad­ dles give simple, fast, and flex­ ible control operation.

SID-in short. Let's take a brief look at SID to see what it will do. If you have the "Meet SID" article at hand, you might review it for a more in-depth look. In any case, for any serious work with SID, the Com­ modore 64 Programmer's Reference Guide is essential for the exam­ ples, charts, (including the en­ tire C-64 computer schematic), and specs that it contains. This 400+ page book is available from your local computer store or Howard W. effects can be connected to your Although I record my programs Sams Books. computer audio plug without fear on magnetic disk, the programs SID is a digitally controlled of damage. However, when in presented here are short enough to single LSI sound production and modification chip that requires doubt, use optical isolators to be loaded from cassette tape with­ keep voltage spikes or high level out unduly trying your patience. few external components for opera­ signals out of the computer. If For ease of transportation to a tion. SID has 3 independent your sound means more to you than live performance, the Datasette voices, each consisting of an your computer warranty, you might tape storage device takes up less oscillator and an Attack/Decay/ choose to modify the insides of space than the disk drive and Sustain/Release (2ms to 24 second your computer for lower noise, since it gets power from the com­ exponential ADSR) envelope gener­ better shielding, improved fre­ puter, one less AC plug is needed. ator. Each oscillator can gener­ quency response, and/or direct or You might also consider placing ate Sawtooth, Triangle, Pseudo- balanced audio connections. your program into EPROM other non­ Random Digital Noise and Pulse The TV set itself also gener­ volatile (data retaining) elec­ (Square wave with variable duty ates quite a bit of noise, es­ tronic memory. A custom EPROM cycle) waveforms over an 8 octave pecially in proximity to magnetic cartridge with on-board LED indi­ (0 to 4 kHz) range. It is pos­ guitar pickups. Either turn off cators, controls and jacks might sible to use any two oscillators the TV during your performance or be the best of all worlds — just to create Hard Sync and Ring Modu­ orient the guitar for the least plug it into the 64's cartridge lation effects. Each oscillator's amount of noise pickup. Note that port and you are ready to play, waveform may be reset to a known turning the TV off won't alter with no bulky TV or disk drive to initial state for the synthesis of your computer program, and you can carry around. If you do take your complex real-time waveforms. Any program your controls to be pre­ system on the road and want the or all voices may be filtered by sets, thus negating the need for TV, I suggest using one of the an internal variable frequency (30 visual feedback. You might also miniature, 5" screen, battery op­ Hz to 12 kHz, 12 dB/octave), var­ decide to design a special hard­ erated portables and add wire mesh iable resonance audio filter. The ware control/indicator interface or transparent conductor screening filter can assume high pass, low that uses LEDs or some other dis­ to reduce EMI. Computer text and pass, band pass, or combinations play technology instead of the TV. graphics are readable on those LCD (such as notch) modes. Two slow The C-64 has many I/O ports, and based "pocket" televisions — the Analog to Digital (A/D) converters all it takes is the proper connec­ ultimate in video portables. Al­ can read the value of external tor adapters and some programming so, you might consider using the potentiometer controls (i.e. game to use your existing footswitches Executive 64, Commodore's all-in- paddles) and these values can be used by the computer to set the and pedals for controls. For one C-64 portable that contains example, if you plug paddles or a computer, monitor and disk drive, values of any SID control or for joystick into Game Port 1, the but costs more than a standard C- other program use. Oscillator 3 FIRE button acts just like a com­ 64 setup. Finally, I have one has some special features: The puter keyboard keypress — great more strong suggestion: If you instantaneous value of its current for a quick footswitch applica­ are going to experiment with music waveform and envelope can be read tion. effects on the C-64, BUY THE GAME and used by the computer (for

Polyphony — - June 1984 1 Q example, for LFO modulation of an or write the value into one or Unless told otherwise, program oscillator), and its output can be more of SID's WRITE-ONLY control execution starts at line zero and excluded from the audio output yet registers to change a control continues to the next higher num­ retained as a control waveform. without external storage. bered line. Multiple statements One very significant feature is It may seem that all of this can be place on a single line if the presence of an External Input is very complicated and that mak­ they are separated by a colon (:). whereby external signals (from ing SID do tricks would be a major Floating point program variables guitars, other SID chips, etc.) undertaking, but actually one store numbers (including decimal can be filtered alone or in con­ rarely uses all of the controls point and fractional portion) and junction with the other SID and options at once. In fact, the are identified by two letters, or voices. A programmable Master short length of the programs pre­ one letter and one number, names Output Level control can set the sented in Parts 2 and 3 attest to (ex. AU, FI). Other types of combined external and internal the fact that it takes little variables represent items in an output levels from full on to full effort to make SID do a lot. And, indexed table of values (ex. WV(3) off in real-time, computer-con­ since most of the hard programming ), store integer numbers (ex. FF%), trolled steps. The paddle and work has already been done, it's or strings of characters for audio inputs and the SID output even easier to input a few numbers titles or information sorting (ex. (as well as RF modulated sound and get instant results. In fact IN$)). The value of a variable output for TV reception) are some of these programs run with no can be changed via numerical con­ available at external connectors input selection at all, just like stants, math operations or special in the Commodore 64 computer. punching up a preset on your fa­ command functions. Examples: The computer treats SID as a vorite synth! The gist of all AU=54272 stores the constant num­ series of 29 memory locations this explanation is that SID and ber 54272 in variable AU, AA=AA+1 (registers). Control information the C-64 can do some very compli­ adds 1 to the current value saved is written to WRITE-ONLY regis­ cated computer audio processing in AA (AA is incremented by 1), ters. Unlike ordinary computer with a very fine degree of control II=INT(RL) calculates the integer RAM (read/write program and infor­ and repeatability, whether you're portion of the number saved in mation storage Memory) or ROM looking to create a simple metro­ variable RL via the INTO function (Read Only Memory, for fixed pro­ nome or a multi-voice sequencer. and then stores the result in gram storage), the information can And you can either use programs variable II. DO NOT use the var­ not be re-read from these regis­ others have written, without any iable names ST and TI for your own ters. If you want to use the programming on your part, or do number storage; these are special value of a certain SID control in some programming and customize an variable names used by Commodore a later calculation, (for in­ existing application for your own BASIC to reflect the status of stance, increase the frequency of special needs — all without buy­ input/output operations and a run­ an oscillator from its present ing a new instrument or picking up ning clock timer, respectively. state), you must write the value a soldering iron. Most programs use just a to the SID register and also store Software. For those who are handful of command statements to it as a BASIC variable (or other not familiar with programming or perform the bulk of the work. place in RAM memory). The number the Commodore dialect, we'll dis­ Here are the most used BASIC com­ of different digital information cuss some of the essential ele­ mand s: states available!to operate each ments of BASIC. Please consult REM statements serve as com­ SID control over its entire range your manual or other tutorial book ments (REMarks) for note taking or varies from 1 bit (Binary digit, 1 for greater detail. While most of special instructions that will not or 0, on or off) for selection of this will make sense if you are be printed or executed. the type of waveform to 16 bits even slightly familiar with BASIC, PRINT statements print a mes­ for selection of the oscillator's it helps to refer to existing sage or the current value of a frequency. All the registers are programs (such as INIT, published program variable on the TV screen 8 bits in length. Thus, to sweep towards the end of this article) (or other device). an oscillator's frequency through so that you can see how these INPUT statements print a its entire range two registers statements work in context. If question mark (?) on the TV must be written to (one 8 bit all this seems hopelessly compli­ screen, then wait for data to be coarse control, along with one 8 cated I suggest putting your brain entered from the computer keyboard bit fine control, to cover the "on hold" until Parts 2 and 3 are (or other device). This data is entire 16 bit range). Because of published, at which point there then stored into a variable for the very wide 16 bit range, the will be more programs to which you later use. INPUT statements al­ oscillators may be swept in ex­ may refer. ways wait for you to indicate that tremely fine steps — so fine that BASIC is an easy to use com­ you have finished typing by ending even though the change is in dis­ puter programming language. BASIC your data with a press of the crete steps (quantization), the itself is a program. BASIC pro­ RETURN key. Program operation change is perceived as smooth and gram statements all start with will not continue until this has linear by the human ear. SID line numbers (ex. 100) and contain been done. The last number or registers that provide information information (data) or instructions letter of your INPUT data can be (Oscillator 3 waveform, envelope, for doing some calculation or erased (deleted) with a press of and paddles) are all 8 bits wide process with the data. The line the DEL key. Optionally, INPUT (256 different binary values) and numbers act as reference points so statements can also act as both a are READ-ONLY. Writing to them that the program operation can PRINT and INPUT to prompt the will not alter their values. When jump from one line in the program program user with a message that they are read, the computer can to another (ex. GOTO 100 tells the describes the type of information save their values in RAM memory or program to jump to line 100 and do to be entered. as BASIC variables for later use, whatever that line instructs). cont. ------* 20 Polyphony — ■June 1984 GET statements are similar to FOR will be executed, until NEXT ATTACK and DECAY values occupy INPUT statements except that they is encountered and the process is different parts of the same regis­ do not print a message or question repeated with I counting upward ter. If you want to set the AT­ mark, and take only 1 character until the value of I is greater TACK value you must also include without waiting for RETURN. than 5. When this happens program the DECAY value (add the two val­ READ statements are similar execution continues with the ues then set the register with the to INPUT statements except that statement after NEXT. If the STEP sum). If you are not familiar they get the information from a command is included on the FOR with this operation look at Table fixed list of values that are line, the number following step is 1 to help select the desired found in DATA statements. DATA used instead of 1 to increment I. values. statements are read in line number The FOR statement is used to per­ The next important thing to sequence, from lowest to highest. form a set of commands several remember (and one that gave me a Several values can be included in times. (Ex. FOR 1=1 TO lot of trouble until I learned it) a DATA statement if they are sepa­ 5:PRINT:NEXT I will PRINT 5 blank is that _th£ voices have to be rated by commas (,). READ state­ lines, FOR 1=0 TO 6 STEP 2:PRINT turned OFF in order to turn them ments start with the first value I:NEXT I will PRINT the numbers ON. The WAVEFORM and ENVELOPE in the first DATA statement and 0,2,4,6 on successive lines.) GATE ,(°r trigger), as well as select subsequent values each time The GOSUB and RETURN state­ other controls of a voice, all another READ is performed. The ments are also used for repeating reside in the same register and RESTORE statement resets the DATA the action of one or more program all of these parameters must be to the first item in the first lines. When a GOSUB statement is taken into account. When a voice DATA statement in order to re-READ encountered program execution con­ is first triggered it goes through the same values after several tinues, starting at the line num­ its AD envelope cycle, and then READs have already been done. ber specified in the GOSUB state­ remains at a very low audio volume The PEEK() statement looks at ment, until a RETURN statement is until turned OFF when the WAVEFORM a specified place (address) and encountered. Execution then con­ REGISTER is reset to zero. Note returns the value it finds as an tinues with the statement follow­ that if you want a Sustain/Release integer number. PEEK is often ing the GOSUB. This allows long, cycle DO NOT turn the voice off used to get a value from a READ­ often used SUBroutines to be in­ with zero; instead, send the same ONLY SID register. cluded in IF THEN statements or value you used to trigger the The POKE statement takes the other places. All the programs sound minus 1 (this leaves the integer portion of a specified presented in this series (and many waveform intact but resets the number and stores the result into other BASIC programs) use only GATE bit). Also be sure to have a specified memory location. POKE these few statements in various some noticeable time delay period is often used to write information combinations to achieve a spectrum so that the Sustain will last for to a SID WRITE-ONLY register. of different applications. a certain period of time.) If a The GOTO statement indicates Programming tricks. At this voice works as expected the first that program execution should not point I have been programming the time you play it, but then doesn't continue with the next line but C-64 for over a year and thus have seem to work or sounds very faint should instead GOTO the line a number of techniques and pro­ on the second and subsequent specified in the GOTO statement. grams that can save the sound times, you are probably not turn­ IF and THEN statements allow experimenter much time and ing the voice OFF in-between. One the program to do something only trouble. The first important way to assure that the voice will IF a specified logical condition thing a sound program should do is work as expected, no matter what or equation is evaluated to be set all the SID registers to a the rest of your program does to truei If the condition is not known, zero state. Since a pre­ it, is to send the WAVEFORM/GATE true, the program continues with viously run program may have (un­ register a zero and then send it the next line. If the condition known to you) altered a register's the desired wave value. is true, the statement following value or turned on a filter, your Words of Caution: since the the THEN command is executed and program may be working just fine POKES used to change SID registers the program continues with the but you won't hear the results can also alter the RAM memory your next line. If a line number fol­ because of the way the other reg­ program resides in or disrupt lows the THEN statement and the isters are set. The next step is BASIC if misdirected, always be condition is true, the IF acts as to set the Master Volume Register sure that you POKE the right loca­ a GOTO. to full ON. (Usually this means tions and that you enter the exam­ The FOR, TO, STEP and NEXT sending it a value of 15, but ple programs correctly. The best statements all work together as a since this register serves several procedure is to type the program counting and repeating structure. functions, the number sent may be in and double check it against the For instance, the statement FOR greater than 15.) When the volume LISTing. Besides checking the 1=0 TO 5 will first set variable I goes from 0 to 15, the TV speaker POKEs, make sure that the variable to zero and then continue on with will emit a pop or click and this names have been spelled correctly the rest of the following program should serve as a check — if you and that a zero is not mistaken lines, until the NEXT I statement don't hear it, something is wrong. for the letter "0" (and vice ver­ is reached. When this happens, Next, send SID all the frequency sa), and then SAVE A COPY of the execution goes back to the FOR and ADSR values for the sound you program on tape or disk BEFORE you statement, the variable I is in­ want e x c e p t for the WAVEFORM RUN the program. That way, if the cremented by one (I would go from values. Be careful, as many of program IS accidentally altered, 0 to 1, in the example) and the the SID registers have multiple you just have to re-load, not re­ result would be compared to the functions and all functions for type it. And, as you experiment, value 5. If I is less than or that register have to be set at remember to save occasional backup equal to 5, the statements after the same time. For instance, the copies, as one typing mistake

PoSyphony — - June 1984 21 c o n t. T A B L E 1 could ruin hours of work in a flash. One way to avoid mistakes Table of Values for Dual Position Registers is to always use the same variable ATTACK/DECAY name to do the same thing in all SUSTAIN/RELEASE of your programs. Consistent var­ iable use will lessen POKE errors 0 0 Minimum and make the program action clear­ 16 1 er . 32 2 48 3 Program #1: IHIT. I use a 64 4 modular approach to my BASIC pro­ 80 5 gramming. The sound module INIT 96 6 SOUND S200, hereafter referred to 112 7 as INIT, sets a consistent, mne- 128 8 monically selected group of vari­ 144 9 ables to the most used sound and 160 10 utility memory locations. Next, 176 11 it clears all of the SID registers 192 12 to a zero value and then reloads 208 13 the SID voices to the values found 224 14 in the INIT DATA statements. Var­ 240 15 Max i mum iable AU contains the value 54272 Examples: which corresponds to the memory _ location of the first register of 0 the SID AUdio chip. FI, F2 and F3 5 = reference the HI (coarse) FREQUEN­ 208 = :K / Minimum DECAY CY registers of SID VOICES 1, 2, 85 = Medium ATTACK / Medium DECAY and 3 respectively. Likewise, Tl, T2, and T3 point to the TRIGGER GATE/WAVEFORM registers of the three voices. PI and P3 are the SID A/D converter locations that Table of Special Characters indicate the values of game pad­ dles when the paddles are plugged Name Code Type this into Game Port 1. B1 shows the status of the paddle FIRE buttons. BD is set to the location of the Screen Clear -CSC} Hold SHIFT, press CLR HOME register in the VIC II video chip Gray Hold Commodore Logo key, press 4 that controls the color of the Cursor Down fCD> Press CRSR Down Arrow key border of the video screen. The Home Cursor IHM> Press CLR HOME key next VIC II location (BD+1), con­ trols the background video color. The rest of the variables in INIT only serve temporary uses and can 200 AU=54272sFl=AU+l:F2=AU+8:F3=AU+15:REM INIT SOUND 8200 be reused later in the program. 210 T 1=54276s T2=54283:T3=54290sAA=AU Follow the program LISTing of 212 P 1=54297s P3=P1 +1 s B1=56321s BD=53280 INIT in Figure 2 to see, line by 215 FORII=AUT054300sPOKE11,Os NEXT11s POKEAU+24,15s REM ZERO line, how this entire routine REGISTERS, FULL VOL INITializes the SID chip and sets 220 READAVsIFAV>—1THENPOKEAA,AV:AA=AA+1s G0T0220 the sound registers to the DATA 229 REM FL FH PL PH W AD SR values. LINES 200 through 212 set 230 DATA 000,000,000,000,000,000,000 up the most used variables. Re­ 235 DATA 000,000,000,000,000,000,000 member, these variables are set up 240 DATA 000,000,000,000,000,000,000,-1 to contain the ADDRESS locations of the registers, not the CONTENTS READY. FIG .2 of the registers. Line 215 uses a FOR NEXT loop (repeating struc­ ture) to POKE all of the addresses 15). In line 220, INIT READS a uing with the rest of the THEN starting from 54272 (the value of value from the following DATA statement, AA is incremented by AU) up to and including 54300 (the statements into a temporary vari­ one (AA=AA+1) so that next time last SID location) with a value of able named AV. IF the value of AB around, the next SID register will zero. These addresses are where is greater < than minus 1 ( AV>- get the next DATA value and final­ the SID registers are located in 1). Then that value will be POKEd ly, the GOTO 220 starts the pro­ the computer's memory and thus, into the memory location to which cess over again from the start of SID is reset to all zero values. variable AA points. AA had been Line 220. This process continues Also on Line 215, the SID Master set to 54272 (the first SID reg­ to READ and POKE DATA values into Volume control register (located ister location) back in Line 200, sequential SID registers until the at AU+23, or 54272+24=54296) is so the first DATA value is sent to -1 DATA value is READ, at which POKED to full volume (a value of the first SID register. Contin­ point the IF condition is NOT true 22 PoJyphony— ■June 1984 O REM SOUND TEST V3 (C)1983 JAL SOFTWARE 200 AU=54272 s F1=AU+1s F2=AU+8:F3=AU+15 210 T 1=54276s T2=542833 T3=54290s AA=AU 212 P 1=54297s P3=P1 +1s B1=56321s BD=53280 215 FORII=AUT054300:POKEII,Os NEXTIIs POKEAU+24,15 When writing to change the address on your POLYPHONY subscription 220 READAV sIFAV >-1THENPOKEAA,AV t AA=AA+1s G0T0220 it is important that you enclose the 229 REM FL FH PL PH W AD SR mailing label. Our computer cannot 230 DATA 000,000,000,000,000,000,000 locate your name on the subscription 235 DATA 000,000,000,000,000,000,000 list without it. 240 DATA 000,000,000,000,000,000,000,-1 300 PQKEBD+1,15s POKEBD,15 310 DIM WV<3),WS<3) 320 PRINT" SOUND TEST V3 JAL SOFTWARE" ATTACH OLD LABEL HERE 330 PRINTSPRINT"SET UP SOUND DATA THEN" 340 PRINT"PRESS SPACEBAR TO TRIGGER THE SOUND" 350 PRINT"OR"SPRINT"PRESS RETURN TO END" NEW ADDRESS 360 PRINT"THEN USE SCREEN EDITING TO MAKE NEW" 370 PRINT"CHANGES AND RE-RUN" 380 RESTORES FORI = 1T03 Name______390 FOR11 = 1T07s READV sIF11=5THENWV(I)=V A ddress______395 IFII=7THENWS(I)=WV(I> + 0) City------State------Zip------400 NEXT II,I 410 SF= 0) 500 GETIN* sIFIN*=""THEN500 mail to: PoSyphory 510 IFIN*=CHR* <13)THENPRINT" fCD> f CD> fCD> €CDJ PO BOX 20305 RUN"s PRINT"CHM>";s LIST229-240 Oklahoma City,OK 73156 515 POKET1,0s P0KET2,O s P0KET3,O 520 POKET1,W V (1)s P0KET2,WV(2)s P0KET3,WV(3) 525 IFNOTCSF)THENF0RD=1T0500:NEXTD 530 P0KET1,W S (1)s P0KET2,WS(2)s P0KET3,WS(3) PLUG INTO 540 G0T0500 READY. P o ^ p h o n y FIG. 2 Icont.)

(AV=-1 therefore AV is equal to periments. So, the first thing to the comparison value -1, not do is: type in INIT, double check greater than it, as were all of it and save a copy on tape or the previous zero or positive disk. Then, when it is needed, numbers) and program execution load INIT back in and add the rest continues with the next line of the program lines that are (without doing the statements fol­ required to complete that particu­ lowing THEN). Line 229 is a lar program, and finally, check REMark that provides SID register and save the finished program — FOR name labels for the data value before you try to RUN it. One ELECTRIFYING IDEAS! positions on the following DATA note: Normally the W (Waveform) lines: FL (oscillator Frequency DATA values should be left as DON’T MISS AN ISSUE Ll value), FH (oscillator Frequen­ zeroes so that the voice will cy Hi value), PL (Pulse width Lo initially be turned off. The SUBSCRIBE TODAY! value), PH (Pulse width Hi val­ SOUND TEST program presented next ue), W (Waveform/trigger gate), AD issue is an exception to this. ( ) One year $12 US/$14 foreign (envelope Attach and Decay values) and SR (envelope Sustain and Re­ Well, we're out of space for (6 issues) lease values). The DATA state­ this issue; see you next time with ( ) Two years $22 US/$26 foreign ments in Lines 230 to 240 have more information on programming their data items ordered to coin­ the C-64. If you want to get a N a m e :______cide with the registers that con­ head start by ordering a postpaid Address:______trol the three SID voices with diskette containing all 15 pro­ City:______state:_____ zip:______VOICE 1 data on line 230, VOICE 2 grams used in this series, send data on Line 235 and VOICE 3 data $20.00 in money order or cashier's VISA/ Mastercharge accepted. (plus the end of data indicator, - check (Wisconsin residents, please Card No.______1), in Line 240. Thus, for our add $1 for state tax) to: JAL Expiration date: experiments, all we have to do is Software, Box 128, S. Milwaukee, change the values in the DATA WI 53172. An audio demo tape of (signature) lines and the SID voices will be the various sounds is also avail­ setup accordingly when INIT is able for $5.00 (Wisconsin resi­ Mail to: RUN. As such, INIT provides a dents add $0.25 tax) in case you POLYPHONY, P. 0. Box 20305 basic "breadboard" or workshop want to hear the sounds by them­ Oklahoma city, OK 73116 table on which to base audio ex­ selves . Polyphony — June 1984 * Tell Them You Saw It In Polyphony ’

Graphic EQ on a chip. Na­ of 0.04%. The SSM2200 requires tional Semiconductor (PO Box few outboard components: two op 70818, Sunnyvale, CA 94086) con­ amps (for input/output condition­ tinues to develop interesting ing), and a couple dozen other linear ICs. Their latest, the components. Target price is $6 in linear CMOS LMC835, is a digitally thousands. Although the SSM2200 controlled equalizer that packs 14 is not slated to be available to frequency bands of 24 steps each hobbyists in small quantities, on a single chip. It also deliv­ rumors are that RODCAR Electronic ers all the logic necessary for Sales (9983 Monroe Drive, Dallas, serial data control from a 3-wire TX 75220) will be offering a microprocessor interface. With reasonably priced noise reduction respect to external components, kit based on the SSM2200. the LMC835 requires only simple op The SSM2014, another new SSM amp buffers and active inductors chip, is an operational voltage to make a complete, digitally controlled element. This general­ controlled, stereo 7-band graphic ized VCA building block will sub­ equalizer. National claims total stitute for any VCA circuit pre­ harmonic distortion of 0.0015% sently available, and may be con­ (measured at 1 kHz), and typical figured as a voltage-in or cur­ signal-to-noise ratio of 114 dB rent-in VCA or VCP (voltage con­ (controls flat). Typical step trolled potentiometer). Class A error is 0.1%. The LMC835 also or class AB operation may be se­ contains the equivalent of 43 lected at the user's option. CD4066s to implement the micropro­ Finally, SSM is now a second Roland guitar synth. The cessor interface, and allows for a source for the popular 5534A low- MIDI-compatible GR-700 features 12 boost/cut range of either +12 or noise op amp. DCOs (2 per string, thus allowing + 6 dB. for sync), 6 VCFs, VCAs, and en­ National has .also announced velope generators, plus LFO modu­ the LF13006 and LF13007 CMOS dig­ lation and stereo chorus. On­ ital gain sets. These precision board memory stores 64 patches, ( m a x i m u m gain error of 0.5%) expandable to 128 patches; the switching networks are designed optional PG-200 programmer is re­ for 3-wire microprocessor control quired for synthesizing sounds of op amp gain. The LF13006 sets from scratch. Roland has also binary gains of 1, 2, 4, 8, 16, introduced the matching G-707 gui­ 32, 64, and 128, while the LF13007 tar, which features a graphite sets gains of 1, 2, 5, 10, 20, 50, support bar. This is claimed to and 100. Both versions include lower the guitar's resonance point two uncommitted matched resistors below the frequency of its lowest for customizing the gain and note, resulting in no dead spots operate from +5 to +18V DC. or unwanted resonances. The GR- 700 lists for $1,995 and the G-707 for $1,150. Noise reduction on a chip. Solid State Micro Technology for Music, Inc. (2076B Walsh Avenue, Low-cost stereo imager. The Santa Clara, CA 95050) has intro­ New reverb. Furman has an­ Radio Shack "Video Sound Proces­ duced two exciting new chips. The nounced the RV-2 stereo reverb, sor" (stock #15-1277), while in­ SSM2200 integrates the popular which like the RV-1 includes lim­ tended for enhancing the audio Dynafextm noise reduction system, iting and EQ facilities. A unique quality of video devices, is also developed by MICMIX Audio Prod­ stereo-mono switch generates excellent for stereo imaging and ucts, on to a single chip. This stereo reverb from a mono source ambience synthesis. For a retail single-ended system provides up to in the "stereo" position, while in price of under $80, the VSP in­ 30 dB of noise reduction and does the "mono" position, the two chan­ cludes a stereo synthesizer, delay not require any kind of encoding/- nels can be used independently or line with short variable delay, decoding process. The claimed patched in series for extremely and an LM1894-based single-ended dynamic range is 110 dB with a THD dense mono reverb. noise reduction system. 24 PoSyphony— -June 1984 Phoenix Systems address change. Phoenix Systems, Inc. is now located at 71 Old Farm Road, Tolland, CT 06084 (tel. 203/643- 4484).

Network feeder. Opamp Labs Inc. (1033 Sycamore Ave., Los Angeles, CA 90038) has introduced the Model VA-16 l-in/16-out Video/Audio Distribution System. This device is useful as a network feed for up to 16 monitors and audio amplifiers and lists for $600. Analog to MIDI. Yes, you can frequency response is 40 Hz to 5 talk to MIDI with an analog synth kHz. AMP (9829 Independence Ave., via the Digi-Atom 800 from Talk Chatsworth, CA 91311). Studio (1-26-3 Zenpukuji, Sugina- mi-ku, Tokyo, Japan 167). This Precision tools. Jensen device converts up to eight con­ Tools (7815 S. 46th St., Phoenix, trol voltages and gates into MIDI AZ 85040) has released their new, key data. Additional inputs in­ 80 page free catalog of more than clude velocity control, pitch 1,000 tool of interest to engi­ bend, modulation amount, release, neers and technicians. And the and sound program select; there cover is excellent! are also limited synchronization capabilities. J G N S e N Clever bass amp. Normally »84 WINTER CATALOG Current Events doesn't find bass amps all that interesting, but this one is too hip to ignore. The AMP XB-15 is a "box within a box" (see picture) that packs an upper cabinet and lower cabinet into an easily transportable box (shown at right of picture). When set-up (at left of picture), the New delay. ADA (2316 Fourth St., Berkeley, CA 94710) has introduced the 2FX digital multi­ effects box, which allows the flanger/chorus section to be used simultaneously with the delay sec­ tion. Other features include over 1 second of delay at 17 kHz band­ width, 10:1 flanger sweep, and optional footswitch controller for calling up presets. The 2FX lists for $599.95, the footswitch for $99.00.

upper cabinet is open at the bot­ tom and sits on top of the ported lower cabinet, which is open at the top. The two enclosures auto­ matically seal and the connected air space provides an internal volume of 7.7 cubic feet. Claimed

Polyphony June 1984 25 POLVMART NEW BOOKS!

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

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

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

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

HOME RECORDING FOR MUSICIANS is Craig Anderton’s original H o m e guide to outfitting and operating a budget studio for maximum results, includes mixer and other R e c o rd in g audio processing circuits and a sound sheet demo recording. forHusiaans. #HRFM HOME RECORDING FOR MUSICIANS $14.95 Synthesists must be well versed in a number of techniques and principles. “ How To” and project oriented books are a great way to pick up these skills. MULTITRACK PRIMER by TEAC is a step- by-step guide to building, outfitting and operating your home studio. #TEAC TEAC MULTITRACK PRIMER $4.95 **«*f-m r-t , MAK.IJSIG MAKING MONEY MAKING MUSIC by James Dearing — Everyong dreams of being at the l 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 "1 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. #MMM MAKING MONEYMAKING MUSIC $12.95 REFERENCE Often used reference materials to answer the many questions encountered in everyday synthesis. THE SOURCE Book of Patching and Programming from Polyphony has over 125 pages of patches in universal flow chart notation; the largest publication of its type. ELECTRONIC MUSIC SYNTHESIZERS by Delton Horn devotes the first half to descriptions and functions of commercial electronic music synthesizers (Moog, Arp, PAIA, Oberheim, EML, and RMI); the second section provides schematics and projects for the ex­ perimenter. #SOURCE THE SOURCE $4.00

#EMS ELECTRONIC MUSIC SYNTHESIZERS $6.95

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

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

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

THE COMPLETE GUIDE TO SYNTHESIZERS by Devarahi — An extraordinarily thorough treat­ ment of the subject of analog synthesizers. Covers everything clearly, and the suggested ex­ periments are excellent. Well organized and leaves nothing out. #CGS THE COMPLETE GUIDE TO SYNTHESIZERS $18.95

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

ELECTRONICS Electronic Cookbooks are a great way to stock your library with materials that are not only heavy on theory, definitions and educational material but chock full of practical applications as well. These books can easily replace stacks of manufacturers data sheets and applications notes all in an easy to use reference. Walt Jung’s OP-AMP and Don Lancaster’s ACTIVE FILTER Cookbooks are self-explanatory — required reading for synthesists! ELECTRONIC PROJECTS FOR MUSI­ CIANS by uraig anaerton is almost in a class oy itselt. It discusses electronic construction technique for the novice and provides 27 projects with printed circuit board patterns and a demo recording of the effects. Even if you’re an old hand at musical electronics, you’ll appreciate that all of these processors, from Tube sound Fuzz to Phase shifter are compatible and work together without creating noise, signal loss, bandwidth compression or any of the problems common to in­ terconnecting effects from different manufacturers. There’s even a complete chapter on how to modify and combine effects to produce your own custom pedalboard. ELECTRONIC MUSIC CIR­ CUITS by Barry Klein covers synthesizer system design, power supplies, control voltage generators, VCOs, Filters, analog multipliers and more. Lots of schematics and data sheets on the most popular music oriented ICs. An excellent technical reference. #EPFM ELECTRONIC PROJECTS FOR MUSICIANS $14.95 #OACB OP-AMP COOKBOOK $15.95 #EMCR ELECTRONIC MUSIC CIRCUITS $16.95 #AFCB ACTIVE FILTER COOKBOOK $14.95 #CMCB CMOS COOKBOOK $13.95 &MORE FROM POLYPHONY 4/8TRACK STUDIO LOG BOOK designed by Craig Anderton provides a place to keep all the impor­ tant information on your tape library. Log in timing, type of tape used, record patches, make notes and use the expanded track sheet to list sequential changes in tape tracks relating to the settings of the indes counter. Craig Anderton’s CONTEMPORARY KEYBOARD ARTICLES is a collected reprint of all the articles from June 1977 through February 1981, covers tips, technique, theory, maintenance, and numerous construction projects. DEVICE BACK ISSUES — during the year that this newsletter was published, it featured almost 200 pages of technical information for the guitarist/musician. A wealth of articles on design, product reviews, and modification and con­ struction projects. Sold in complete set, individual issues not available. Limited number available. CRAIG ANDERTON MUSIC TAPE — Delightful listening plus a booklet explaining how the effects were achieved. #SLB STUDIO LOG BOOK $4.95 #AA CRAIG ANDERTON’S CONTEMPORARY KEYBOARD ARTICLES $5.95 #DEVICE COMPLETE SET (12) DEVICE BACK ISSUES $18.00 #CAMT CRAIG ANDERTON MUSIC TAPE $5.95 CITY. OK 73156 (405) 842-5480 ■ ■ #0701: July/August: Guitar Electronics: Modify; Fender SACK ISSUES $ 2.50 each ppd 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. #0301: 7/77: frequency divider project, random tone #0702: Sept./Oct.'81: Harald Bode Interview, Live Plus Tape generator project, normalizing synthesizer controls, eliminating New Technique, Xenharmonics, Kraftwerk Live - Review, patch cords, computer control of analog modules, Chord Egg Psycho-Acoustic Experiments, Practical Circuitry - Super Controller, Applied synthesis - Brass, Construction Tips For #0302: 11/77: The Sensuous Envelope Follower, digital Beginners. gates, LED wall art, build a bionic sax, data to music peripheral project, Apple II as a music controller, using the NE566 as a VCO, #0703: Nov./Dec.'81 Dave Rossum interview, Applied patches. Synthesis: Strings,Details_ , Series-parallel/Sum-Difference. The Sound Gizmo and Pro-One Reviews, Practical Circuitry: VCO Deluxe. #0303: 2/78: computer controled Gnome, using joysticks, build a bionic trumpet, ultra-VCO modifications, voltage control a m #0704 Jan./Feb.'82: Bob Moog interview, Chip Power the Mu-Tron Bi-Phase, oral joystick, patches. STK-050/070, Simple Square Wave Shaper, Tape Timer Ruler, ■ ■ #0304: April/May 78: Minimoog modifications, non-keyboard Practical Circuitry: VCAs made simple. Details: Gozinda & Gozouta module use, phasing and flanging (theory and circuits), memory Revisited, Korg Trident & Casiotone 202 Reviews. expansion for programmable drum's, digitally addressed transposer h i #0705 Mar./Apr.'82: Electronic Music Math, Analog Delay project, polyphonic software (with software transient generators), Clock / Modulation; Frequency Domain Modifiers; Screen-Wave for patches, Volume 3 index. the TRS-80; Touch Switches Revisited; Practical Circuitry: ADSR #0402: Sept/Oct 78: electronic music notation, notes on the Easy Way; Getting the most out of a Cheapo (Guitar). the recording of "Cords" by Larry Fast, sequencer software - part one, rhythmic control of analog sequencers, touch switch projects, ■ ■ #0706 May/August '82: Anatomy of a Private record, Don modular vocoder techniques, PET as a music controller, patches. Slepian Interview, Understanding Digital Synthesizers: A Digital Filter, Syn-Bow Review, Optical Audio, Profiles of SSM 2033 & iH #0404: January/March 79: add-ons for vocal F and V converter, shorthand patch notation, more on note to frequency 2044, The PAL Filter, Bill Rhodes Applied synthesis: Bells, Pipe conversion, graphic monitor project, George Russell, super VCA Organ, Harpsichord, Electronic piano; The Realistic MG-1 Reviewed. circuit, echo software, Vol. 4 index. ■h #0801 Sept/Oct.'82: Ambience in Electronic Music,Tone #0502: July/August 79: hex VCA/mixer project, electronic Bypass for Fender Amps, 8 Track Reviews, Parametric EQ Tips, music schools and studios, modify the Oberheim Expander Module, Solo/Cut Circuit for TASCAM Model 3, The SSM 2011, Tube Preamp, profile of Ernest Garthwaite, budget microphones, digitizer Snare + Drum Voice Circuit, Triple Pick-up Switcher, Simulated projects and software, bar graph ICs. Stereo, When Quality Reocrd Mfg. Counts, Independent Record Mfg. rrdbUb: January/reuL uaLy 80: Joseph Byrd, Mort Garson, Convention report. Larry Fast on 'Games', composing for 'live plus tape', using the CA3280, recording vocals, ADSR circuits. #0802 February '83: AMS-100 Gate Output, Bus Distribution H i #0506: March/April 80: Computers in Music: real time audio Modules for Modular Synthesizers, Dynamic Touch Controller, processing hardware, Powell sequencer system, Max Mathews, Expanding Envelopes, MXR Limiter Review, New Age Music, An advanced STG software, PortaStudio, phase modulation, Volume 5 Overview, Synsonics Drum Review, Interface, Practical Circuitry: A index. Patch Over Scheme for Small Synthesizers, Lab Notes: Shepard #0601: May/June 80: Gary Numan, Microcomputers in .Real Functions. Time Audio, Build a Digital Audio Delay Line, writing #0803 April '83: Sound Interface Device, Build a Bass Pedal Documentation, Richard Hayman Composer/Performer Hpme Recording: Applying Harmonizing and Pitch Transposing Techniques by: Craig System, Dr. Rhythm Mod., Switched Capacitance/Transversal Filters, Anderton. Voltage Controlled LFO, Rockman & Voyetra Eight Reviews. mm #0602: July/August 80: Peter Gabriel, digital VCO #0804 June '83: MIDI Hardware Fundamentals, What MIDI Means project, Dream modules, optimum level settings, dynamic phrasing, for Musicians, The Vangelis Interview, Creative Recording on a patches. Shoestring Budget, A One Chip ADSR, An Electronic Switch. ■ ■ #0603: Sept/Oct combined with Nov/Dec 8U: alternate controllers, add voices to Casio M—10, voltage controlled #0805 August '83; Donald Buchla Interview, An Overview of quadrature oscillator project, cordless patch bay, recording Digital Drums, Exploring Just Intonation, Build a simple Drum rules, patches. Synthesizer, Micro-Drums part I, The Penultimate Compressor, Why M #0604: January/February 81: Special Construction Edition; Spring Reverb Will Never Die, Gate/Sample & Hold Circuit. Build: Audio Circuit Breaker, Pulse Width Multiplier, Magnetic Harp, 50 Watt/Channel Stereo Power Amp, Quad Sequential Switch, #0806 October *83 Larry Fast Interview, Basic Film Scoring DOD Mods, patches. Math, Foxtex X-15 Review, Build the Hip Bass Drum, Applied Synthesis: Orchestral Voicings Using the Tenth Interval. ■ ■ #0605: March/April 81: Portable Music Issue, reviews of Remco's FX, E-H Mini-synthesizer, Casio's VL-Tone, plus mods for ■ ■ #0901: December ’83 John Foxx Interview, Build: a Dual the M-10, GR-500, mini-amp, and the Korg X-911. Introducing; Trigger Delay; Center Channel Reverb. Drum Machine Modifications Practical Circuitry and On Location, new columns. - PAIA, E-Mu, Roland; Polyphonic Keyboard Reviews, White noise. #0606: May/June 81: Synthesizer: Hardware Mods and Software. Mpdular Synthesizer Effects. Environmental music. #0902 February '84 Commodore Music Software Review, Build a Keyboard assignment for the 8700, new.columns; Details, Practical Just Intonnation Generator, NE572 Noise Reduction Unit, 3D Video, Circuitry, and On Location. Volume 6 index. Vocal Basics, Build a Quadrature Function Generator. 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", Quantity computer interFacing and much,,much more. T 3 or more single size - 1-3/4"...... $5.25 $3.95 each No. CMOD 16 pages ...... $3.50 double size - 3-1/2"...... $9.25 $7.95 each SSM 2011 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 We cannot invoice; payment must be enclosed with your order, there is a flat $.50 handling fee per order plus postage costs. MasterCharge and Visa are welcome, ($10.00 minimum charge ). Foreign orders must be paid by certified check or money order in U.S. $ drawn on a U.S. bank lor by charge card) . Phone orders welcomed for charge card orders. SHIP TO : Name: ______Address: ------_------—

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VISA ------Shipping Changes ------sub total .’•OH U.5.:add 10°/oef Subldtal handling .5 0 Card #______or $5.°°maximum Feneign: 20°/o ef Sublbtal shipping M asterCharge Bank # Expiration Date pp $10.°°maximum S ig n a tu re______total enclosed MAIL TO: POLYMART, POBOX 20305. OKLAHOMA CITY. OK 73156 Sound Strategy

*1550 $19.95 *1650 $19.95 The *1 5 5 0 is a special signal processing card similar in function and A unique signal processing circuit, the *1 6 5 0 Image Enhancer widens the principle to what is commonly called an “aural exciter." The circuit analyzes and stereo image to surround you with sound and heighten your sense of “being amplifies the usable portion of the upper harmonic segment of the input signal there.” All program material, stereo or mono, will benefit from the increased and mixes it back into the original. This technique restores the brightness that is ambience and depth provided. A perfect way to bring concert hall realism to lost in recording, signal processing and broadcasting while simultaneously small rooms and acoustically dead environments. This dramatic effect is not enhancing depth and definition. restricted to playback, but may be utilized in the recording process as well.

*1580 $24.95 *1500C $54.95 THE *1 5 80 Dynamic Noise Reduction kit is ideal for those seeking the The * 1 500C is a complete three band Parametric Equalizer kit designed to versatility of a single-ended, non-encode/decode system. Its two channels of provide the ultimate in custom tailoring of your audio system. The three cards filtering provide effective noise reduction of 14 db and may be connected in cover a frequency range of 20 Hz - 23 KHz waith 12 db of boost and cut. In stereo, mono, or in parallel for even greater noise reduction. Although design addition, the instructions include theories and formulas enabling you to and performance are similar to many professional dynamic filters, their customize this equalizer to suit your specific needs. respective prices are worlds apart.

All of the kits described, as well as the entire line of Rodcar modular kits, are designed to function optimally when integrated with our *1560 Motherboard. This 3” X 15” board will accept up to ten cards and may be set up for stereo, mono, or any combination. Features include on-board power switch, LED “on” indicator, and a professional quality power supply (transformer not included). The Rodcar modular kit series and Motherboard provides a freedom of design and versatility of function unavailable until now. Every Rodcar kit features premium grade components, state-of-the-art design technology, and is easily combined with existing consumer or pro-audio systems. Detailed, simple instructions are provided along with data sheets and theoretical discussions which offer ideas for broadening the applications of your new equipment. There is also a complete warranty program with service and technical assistance upon request. If you want the finest audio gear available, and like the idea of saving money while you learn and have fun, place your order today! Send for free catalogue.

Other Available Kits:

• Headphone Amp • RMS Detector • Stereo Synthesizer • Summing Card • Phono Preamp • Stereo Equalizer a Lo-Z Mic Preamp • Limiter • VCA • 20 Watt/ Channel Power Amp • Input/Output Stage • Companding Noise Reduction Money - back Guarantee _ _ _ _ _ QTY. MODEL * DESCRIPTION PRICE Form of Payment: CD Check CD Money Order CD MC or Visa Card * ______Exp. Date ______

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□ Send my FREE catalog Signature RODCAR ELECTRONIC SALES 9983 Monroe Dallas, Texas 75220 (214) 351-9895 Practical Circuitry

BUILD A SYNTHESIZER DELAY LINE

by:Thomas Henry

A lot of people tend to think There are basically three of flangers and chorus units as differences between this synthe­ being strictly suited to guitars, sizer delay line and the typical and not of any real value for guitar flanger. First, a synthe­ synthesizers. After all, a syn­ sizer delay line must allow for a thesizer has many more control variety of generalized control options available and scores of options (as opposed to the single VCFs and VCAs to alter the sound; triangle wave generator control what more could a flanger possibly found in most guitar-oriented add to a synthesizer's already units). Secondly, the assumed large repertoire of tonal colors? signal levels are considerably Well, lots! A delay line capable different (synthesizer oscillators of flanging and chorusing opens up put out far stronger signals than a whole new world of sonic capa­ guitar pickups). Finally, noise bilities. Considered as a "timbre considerations (all analog delay modulator", a delay line can line chips suffer from some noise transform traditional VCO wave­ problems) may be relaxed somewhat. forms into a spectacular spectrum This is because with a guitar of harmonics that would be impos­ unit, the output always connects sible to achieve with standard to the amplifier. Any noise is methods. I used to be skeptical always present, so most circuits about combining flangers and syn­ use compansion or noise gating to thesizers, but changed my mind reduce noise. With a synthesizer, when I heard dozens of new sounds however, matters are simpler since coming forth from this simple the last module in the signal homebrew unit. chain (before going to the ampli­ fier) is usually a VCA. When no A delay line for synthesiz­ keys are held down, the VCA is cut ers. This issue's "Practical Cir­ off (closed) and this gates out cuitry" describes a delay line the noise. Pressing a key down which has been especially designed opens the VCA, but remember that to work with synthesizers. While the signal going through the VCA not offering long enough delays is much greater in amplitude than for echo and reverberation, it is the background noise. Therefore, suitable for a whole range of in either case background noise is flanging, chorusing and vibrato simply not apparent. effects. Best of all, it's easy Now I'm not going to claim to build and align, and uses com­ that this delay line is the quiet­ monly available parts to boot. If est unit around, but if (as des­ you've been thinking about getting cribed above) it's inserted into into analog delay projects, this the signal chain before the final might be a good place to start VCA in a patch, then it will per­ since the design is straightfor­ form quite admirably and noise ward and relatively goof-proof. will not be a problem. There are

30 PoSyphorsy June 1984 always tradeoffs involved in elec­ The audio signal is presumed to be is the polarity switch. In the tronic design, and the factors I 10V peak-to-peak, and the control positive position, the delayed tried to balance here were noise signal OV to +5V. The input im­ signal is added to the dry signal; $ and cost. By assuming that the pedances are 100k and the output in the negative position, it's s delay line would be followed by a impedance is lk. One standard subtracted. The two sounds are VCA, I was able to trim the cost that isn't obeyed is DC coupling; quite different, with the positive and complexity of the circuit by a the extra complexity involved in having a more metallic scrape to large factor. The result is a maintaining DC response throughout it and the negative generating a delay line which is more than didn't seem worthwhile since smooth bassy sound. Best of all, adequate for most synthesis and flanging and chorus effects are unlike many other designs that doesn't cost an arm and a leg. generally applied to audio signals require a DPDT switch, the polari­ One of the goals I had in mind was only. ty switching requires only an making banks of two to four delay The synthesizer delay line ordinary SPST switch. Finally, lines economically feasible, and incorporates a number of useful two LED indicators keep a tab on the present design satisfies this options. For example, a continu­ any possible signal conditions goal. Using multiple delay lines ously variable blend control tail­ which could overload the delay opens up many possibilities for ors the mix between straight and line. Shepard function aind quadrature delayed sounds. I like this "pan­ All'in all, while this is a function generators 1 ,2 m pot" type of control much more simple delay line circuit, it than the individual level mixer nonetheless incorporates the kind Delay line features. Let's controls found on most delay of features that make using it a quickly sketch out the salient lines; a fringe benefit is that breeze. Now let's take a look at features of the synthesizer delay you don't need a separate vibrato the schematic and see how it line. As with previous projects mode switch (for vibrato, simply works. presented in this column, the turn the blend control to the full flanger follows certain standards. delay position). Another option How it works. Refer to

PO{>plioiiy June 1984 31 Figure 1. The audio input enters stairstep to a more linear form, its control pin. D1 shunts any the circuit via Jl, then AC- and,at the same time, removes any reverse current to ground, and R9 couples through C9 to attenuator residual clock garbage. Since the limits the current flow to a safe R35. A1 buffers the signal, which filter has a gain of about 2, level for Dl. is then attenuated by a factor of resistor divider R8-R11 chops the In addition to safety con­ ten by divider R13 - RIO. (The signal back down to size, where­ siderations, it's useful to know SAD-1024 distortion increases rap­ upon it goes to the polarity if the control pin "sees" a re­ idly with signal levels above IV switcher (composed of A4 and re­ verse voltage since the control peak-to-peak.) The signal next lated components). With SI open, voltage will have no effect under goes to regeneration mixer A2, the signal is left unchanged; with these conditions. Comparator A8 where C3 limits the high end to SI closed, the signal is inverted. turns on the "CV reverse" LED when about 16 kHz. Restricting the Using this particular signal in­ this happens; adjust initial delay response in this way keeps high version circuit makes it possible control R17, or CV attenuator R36, frequency energy out of the SAD- to get by with a single SPST to get into a more appropriate 1024, thereby minimizing foldover switch and at the same time keep region of the clock's operating distortion. the audio signal close to the range. At this point the signal circuit board. Note that the As mentioned earlier IC6 is a splits into two paths. One path signal is inverted or not inverted phase locked loop, but we are only goes to the clip detector formed to both the output blend control using the VCO section of the chip. around comparator A6 and as­ and to the regeneration loop; this Pin 9 is the control voltage in­ sociated components. Adjust trim­ is essential in order to obtain put, while pin 4 is the logic mer R20 so that the LED comes on the full benefits of phase switch­ level output. R16 and C2 set the when the SAD-1024's input signal ing. (Incidentally, you may re­ basic operating range. With res­ exceeds IV peak-to-peak. This not cognize this polarity changer pect to driving the SAD-1024 clock only lets you monitor potentially since it appeared in the "Quadra­ inputs, there are two major re­ harmful conditions, but also, ture Function Generator" cir­ quirements: First, the SAD-1024 gives some indication of the onset cuit . 2) inputs want complementary wave­ of clipping. While this is a The audio signal then heads forms so that when one clock pulse quick-and-dirty design for the off to one side of blend control is high, the other is low. Sec­ clip detector, it does work! R42, which allows you to dial in ond, the clock inputs can absorb The other path couples to the the desired amount of delayed lots of current since they have a SAD-1024 via electrolytic capaci­ signal. One-extreme of the pot's rather stiff input capacitance tor CIO. Since the delay chip throw gives full dry signal, the (typically 100 pF per input). To requires a DC bias to properly other extreme gives full delayed drive this capacitive load, we use pass a signal, R19, Cll and R29 signal, and in-between settings TTL buffer IC7 to provide a bi­ provide an adjustable bias volt­ blend the two signals to varying phase clock output with plenty of age. By the way, the delay chip degrees. This versatile structure "oomph". If you've never seen is wired in the parallel-multiplex is described in "The Musical Engi­ this chip before, you might want configuration, which tends to give neer's Handbook."4 Note that the to look it up in the "CMOS Cook- the cleanest results when only signal coming from A4 can also be book"5 since it is a strange one short delays are needed. R2 and fed back into the audio path — it looks like CMOS on the input C14 serve to decouple the SAD-1024 (thereby producing a more intense and TTL on the output! Of course, from the rest of the circuitry. effect) via regeneration control a TTL output has plenty of drive, After passing through the R18. and so keeps the clock signals delay stages, the signal is ap­ The final mixed signal is going to IC5 nice and clean. plied differentially to trimmer brought up to full synthesizer (However, note that unlike stan­ R6, which can then be used to null level (10V peak-to-peak) by ampli­ dard TTL you can parallel the out any clock glitches. The re­ fier A5. Cl stabilizes the output 4041's outputs together for even constructed delayed signal deve­ by rolling off the response above more current drive.) lops a voltage across R12; C12 16 kHz. Finally, R3 and C13 pre­ then couples the signal to a sec­ sent a nominal IK output impe­ Building the Synthesizer De­ ond order Chebyshev low pass fil­ dance . l a y Line. Building the ter with a cutoff of about 14 kHz We've hit all of the major synthesizer delay line is quite (the filter comprises A3 and its points concerning the audio path; straightforward, but only if you associated components). This type now let's switch gears and examine employ good construction tech­ of filter has a steep initial the control voltage path. R17, niques. Since this circuit has rolloff at the expense of a slight the initial delay control, lets not only audio but some hefty you dial in a specific fixed peak in the pass band. In this radio frequency signals floating amount of delay. However, you can application, a fast rolloff is around, it is essential that you crucial for good fidelity while also control the delay by inject­ pay close attention to the circuit any small response peaks really ing a variable control signal from board layout. In the final analy­ don't matter -- in fact, this can other synthesizer modules (such as sis, a printed circuit board is add some more complexity to the LFOs and ADSRs) into J3 and R36. really the only way to go, since timbre. Bernie Hutchins' excel­ A7 sums the initial delay and the this minimizes the interaction lent manual, "Laboratory Problems variable control signal and ap­ between the various critical sec­ and Examples in Active, Voltage- plies the result to voltage con­ tions. Figure 2 shows a tested Controlled And Delay Line Net­ trolled clock IC6. Note that IC6, circuit board layout for the syn­ works" made the design of this which is a CMOS phase locked loop thesizer delay line, whiie Figure filter a snap.^ chip, operates from the +15V sup­ 3 gives the parts placement guide. ply only and can be damaged if The low pass filter serves to As anyone who has ever de­ smooth the delayed signal from a negative voltages are applied to signed an analog delay line will Fofyphony ■June 1984 Figure 4 shows the layout I used O in my prototype. Everything fits comfortably behind a single width rack panel (1-3/4" by 19") and there was enough room left over to mount two paralleled output jacks. The circuit board mounts on little angle brackets behind the front panel, and #4 hardware secures everything in place. At this point you can com­ plete the final wiring to the panel. Again, using the parts placement guide in Figure 3, con­ nect the various wires as needed. Since delay circuits are suscept­ ible to hum pickup, shielded wire must be-used for the connections to points A, B, C, D, E, F, H and N. There is a ground contact for the braid next to each of these lettered locations on the board; here's how to use it. Strip one end of a shielded cable, exposing ™ t h e braid and the hot wire. Tin both of these, then solder the hot FIG. 2 PO BOARD FOIL PATTERN ( not actual size ) wire into hole A and the shield into the ground hole (lettered G) _ next to this point. Run this cable to input pot R35 and connect attest, the layout of the circuit nonetheless be installed on the the hot wire to the appropriate board is no trivial matter. This circuit board. Be certain to lug on the pot. The shield wire observe the polarity of these and board employs several exotic tech­ is left floating at the front niques to minimize hum and clock other electrolytic capacitors. panel. Complete all of the other Finally, use sockets for all the noise feedthrough. For example, hookups in the same way. Again, ICs, since the SAD-1024 and CMOS each major sub-section of the the eight connections mentioned circuit must have its own path chips can be damaged by static above must use shielded cable for back to ground (preferably through electricity. Install the ICs in hookup to the front panel. The their sockets only when all sol­ a large trace). Similarly, the braided shield wire connects to clock outputs from the 4041 must dering is completed and do not the circuit board only; the panel go through hefty traces to the handle them unnecessarily. side of the shield is left float­ delay chip, since this minimizes After loading the board, pre- ing. This prevents any ground the effects of inductance and pare a suitable front panel. resistance. Finally, attention* must be paid to the actual parts placement and op amp configura­ F IG .3 COMPONENT LAYOUT tion. This design uses dual op- amps and situates them well away from any clock circuitry. Because of these unusual layout considera­ DELAY LINE G G tions, the circuit board may look • • a bit strange with its redundant • • ground lines and different size C I traces, but believe me, they're • R22 • • R 7 • all necessary for good operation! rv j ~ R We're all set to stuff the IC3 3 IC2 8 • • • circuit board now, so refer to the R • R parts list at the end of this 30* 25 Cl 3, • • • article. Note the special re­ • R41 • • • • • quirements on capacitors and pots; R R R C6 if a mylar cap is specified, then use one! If no special mention is made, then you may use whatever • R4 • IC6 • you have handy. Load the board, IC7 ? t using Figures 1 and 3 as a guide. IC4 J • -1 5 V Notice that C9, the input capaci­ i tor, doesn't mount on the board, • — J but is wired between J1 and R35 # ■15V • R39 • right on the front panel. Also, 100 uF decoupling capacitors C15 and C16 aren't shown in the sche­ ©1984 by THOMAS HENRY matic for clarity, but should_

Fofyphoity June 1984 33 I I I 1.5 | I.S | 1.5 | 1.5 | l.S | 1.5 | 1.5 | 1.5 | 1.0 | 1.5 POLARITY

AUDIO•0*0*0® v— AUDIO CONTROL --y CV ^ o o-- INPUT GAIN CLIP INITIAL VOLTAGE ATTEN REVERSE______REGEN BLEND

SYNTHESIZER DELAY LINE: FRONT PANEL LAYOUT 1 / 4 " JACK DESIGNER: THOMAS HENRY

A H measurements in inches o = CONTROL KNOB

® = l e d

of = TOGGLE SWITCH

FIG. 4 loops, which can be a nasty source Calibrating the synthesiser so that the two signals converge. of hum. One exception here is the delay line. Tweaking the synthe­ Finally adjust the clip trim wire coming from point N; the sizer delay line is fairly easy. so that the audio clip indicator shield hooks up to one terminal of Begin by double checking your work comes on as you slightly increase the polarity switch while the hot and when you are satisfied, apply the 10V peak-to-peak signal to, wire hooks up to the other. Inci­ power to the unit. Confirm that say, 12V peak-to-peak. This pro­ dentally, Radio Shack makes a good it doesn't belch smoke or flames! vides visual indication that you shielded cable which is perfect Next, turn gain control R35 up are exceeding the nominal 10V for front panel work since it is fully, regeneration control R18 peak-to-peak input requirements barely larger than normal hookup down fully, blend control R42 to and may be getting into clipping. wire and very flexible as well. full delay signal and the initial If needed, you can also cali­ The wiring to the other con- delay control R17 to about a 1/3 brate the unit without a scope. rols is non-critical, so use position. Inject a 10V peak-to- Instead of monitoring the output rdinary stranded hookup wire. As peak 1 kHz sine wave into J1 and with an oscilloscope, patch in an final step, run a single ground monitor J2 with an oscilloscope. audio amplifier. Adjust the bias rire from the circuit board to the Adjust the bias trim, R19, for trim for the least amount of dis­ ront panel. I ran mine to the minimum sine wave distortion. Ad­ tortion, as perceived by your {round lug of the output jack, as justing R19 takes a little pa­ ears. R6 isn't all that critical ill of the ground connections to tience, since if you trim too far, and may be just left at mid-rota­ :he other controls and jacks ended the waveform will go flat on one tion. And of course, you can at this point. Thus, the front side and not going far enough adjust R20 simply by viewing the panel has a single ground connec­ flattens it on the other side. LED. So don't let the lack of an tion in common with the circuit Also, Cll adds a time constant, so oscilloscope stop you from build­ board, which minimizes ground loop turn the control slowly so that ing this circuit! and instability problems. To com­ the waveform "catches up" with the After calibration, play with plete the construction, use some trim adjustment. If you can't the delay line for a week or so to ties to bunch the cables and wires obtain a clean waveform for any allow the components to break together into a neat harness. setting of R19, decrease the input themselves in, then give the unit We're now ready to power up signal amplitude a bit and try one final tweak. This should be the circuit. Your supply must be again. After a few minutes of the last adjustment you'll have to well-regulated and operating with­ tweaking, you should have a fairly give it for quite a while. in its power limits (the circuit clean replica of the input. Note draws about -15 mA and +50 mA). that this adjustment requires Using the synthesizer delay It's also best if the wires run­ somewhat of a compromise as the line. If all has gone well, you ning from the supply to the cir­ SAD-1024's bias requirements now have a synthesizer delay line cuit board are short and direct. change with clock frequency. If up and running. Since there are a On my system, this wasn't pos­ you wish, trim R19 to give the lot of controls, be sure to really sible; the result was hum prob­ best possible waveform for various get familiar with them before lems, which could only be elimi­ settings of R17. assuming anything is wrong. For nated by sticking a 100 Ohm resis­ Next clip the scope probe to example, the control voltage input tor in series with the +15V line the wiper of clock null trim R6, and the initial delay time give just as it entered the circuit and set the timebase of the scope much more range than you'll be board. Short, hefty wires should up fairly high (enough to see a able to use in most situations, so prevent any problems, but if you cycle or so of the sine wave). As be sure to tone these down if do experience hum, try the extra you vary R6 from its midpoint, you you're getting weird results. Al­ resistor trick just mentioned. will see two waveforms. Adjust R6 so, the initial delay pot has a 34 Polyphony— ■June 1984 lot of "oomph" in case you're References R2 100 Ohms modulating the clock with a bi­ R3 - R5 lk polar signal and need to offset (1) John S. Simonton, Jr., "Lab R6 lk trimpot the negative portions of the wave­ Notes: Shepard Functions", Poly­ R7 - R9 1.5k form. Similarly, the control phony, February 1983, pp. 42-46. R10 2.2k voltage input has a certain amount RI 1 3.3k 4.7k of gain, so pull back on R36 if (2) Thomas Henry, "Build A Quad­ R12 8.2k the clock is coming down into the rature Function Generator", Poly­ R13 10k audio range. Remember, this abil­ phony, February 1984, pp. 26, 27, R14 - R16 10k audio pot ity to handle a wide variety of 30. R17, R18 control signals means that you can R19, R20 10k trimpot create some ugly sounds if you're R21 18k R22 27k not careful, so experiment. (3) Bernie Hutchins, "Laboratory Don't forget to play with the R23, R24 39k Problems and Examples in Active, R25 82k blend, regeneration and polarity Voltage-Controlled, and Delay Line controls as well. With a little R26, R28-R34 100k Networks", (published by Electro­ practice you should be able to get R27 150k notes, 1 Pheasant Lane, Ithaca, NY some very nice flanging, chorusing R35, R36 100k audio pot 14850). and vibrato effects. If the audio R37 200k clip indicator comes on at some R38 220k settings of the regeneration con­ R39, R40 300k ( 4 ) ______, "Musical trol, reduce either input attenua­ R41 470k Engineer's Handbook", pp. 3a-4 R42 500k linear pot tor R35 or regeneration control through 3a-5. (see address R18. above). Are you interested in exper­ iencing "hypertriangular" flang­ ing? Nothing could be simpler, Capacitors providing that you have a wide- (5) Don Lancaster, "CMOS Cook­ range, voltage-controlled, trian­ book", (Indianapolis: Howard W. Cl 20 pF Sams and Co., 1977), p. 99. gle wave generator. Modulate the C2 47 pF polystyrene delay line with a low frequency C3 100 pF polystyrene triangle wave from a VCO (like my C4 470 pF VCO Deluxe circuit previously pub­ (6) Thomas Henry, "VCO Deluxe", C5, C6 * 0.001 uF mylar lished in Polyphony), taking care Polyphony, Nov./Dec. 1981, pp. 28, C7, C8 0.1 uF to adjust R36 and R17 so that the 29, 30. C9 0.22 uF mylar clock is in the proper range. CIO - C13 4.7 uF electrolytic Now feed some of the triangle wave C14 - C16 100 uF electrolytic back into the attenuated exponen­ (7) ______, "Snare+ Drum tial control input of the VCO, Voice", Polyphony, Sept./Oct. 1982, pp. 28-31. which transforms the triangle wave Semiconductors into a "hypertriangular" wave­ shape. Adjust the exponential (8) Craig Anderton, "Pedal Flang- D1 1N4148 (or equiv.) voltage attenuator on the VCO as D2, D3 LED needed to bring in the hypertrian­ er", Guitar Player, February 1980, p. 123; March 1980, p. 124; April IC1 - IC4 4739 dual op amp gular effect. 1980, p. 116. IC5 SAD-1024 delay chip IC6 4046 CMOS PLL IC7 4041 TTL buffer For other exotic sounds, put (9) ______,"The Flanger", the synthesizer delay line under DEVICE, Volume 1, Number 9, pp. 1- control of an envelope generator. 6. This is especially neat when used Mechanical parts with the "Snare+ Drum Voice".7 Or how about using the Shepard func­ (10) /'Building the Jl - J3 1/4" phone jack tion generator with multiple delay Hyperflange + Chorus", Modern Re­ SI SPST mini-toggle lines for some truly spacey ef­ cording, July 1983, pp. 36-40 and Misc. Wire,knobs, fects?! Don't delay using delays September 1983, 56-60. sockets, solder, any more! LED clips, etc.

Acknowledgment: Many thanks ( 1 1 ) ______, "Build a go out to Craig Anderton whose Chorus Delay", Guitar Player, several excellent analog delay Note: C9 mounts on the front January 1982, pp. 26-30, 33, 34 line circuits provided ideas which panel between the hot side of R35 and February 1982, p. 116. simplified the design of this one. and Jl. C15 and C16 decouple the Craig is truly a delay line guru, +15V and -15V supply respectively, so refer to his articles on this where these lines first enter the subject for the real dope on get­ board. Although they aren't shown PARTS LIST ting these sometimes unruly chips on the schematic, provision has been made for them on the circuit to do remarkable things! (8), Resistors (9), (10), (11) board. RI 10 Ohms

F o f y p h o r ^ J u n e 19Q4 3 5 D A T A BANK MICRO Q2 Q2 Q1 r * CL2 I Qi © RST2 I CL1 © D2 I RST1 © SET2 1 D1 PROJECT SET1 1 — 1— 4013 DUAL D FLIP FLOP

INPUT B INV( INPUT B' INPUT C INV INPUT C

4136 QUAD OP AMP by: Michael Bienholz

If you play piano, you have probably noticed the distressing lack of a legato (sustain) pedal on a synthesizer. Fortunately, it is very easy to r ------7)°UTPUTB

build one, as shown in Figure 1. This circuit hooks INPUT B T T __ ^ IN V INPUT B into an existing envelope generator, as shown in 0 2 B Figure 2. The best way is probably to unsolder the OUTPUTA OUTPUT I wires at the decay pot and insert the footswitch OUT PUT A' OUTPUT I 1458 circuit. +V IVd q I 01 B DUAL OP-AMP 0 1A IVdqI

SAD 1024 DUAL ANALOG DEUW LB FIG. 1

To Envelope Normally Closed Momentary Generator Contact Switch I Radio Shack 275-15481 IN D INV OUT D

— t i y N0 * INV OUT D

COMP IN SIG.IN v L ^ inc g )lN V OUT C VCO OUT ) l _____g N O N INV OUT C MIN FREQ © FIG. 2 MAX FREQ. © Ml 4041 0CA! TEST VCO QUAD TTL BUFFER For PAIA 2720-4 GNO VCO IN © Envelope Generator 4046 PLL PHASE LOCKED LOOP

^ T o Pedal

NC © For PAIA 4740 NC ® Envelope Generator NON INV INPUT A INV INPUT

With the momentary switch closed, the envelope 4739 generator operates normally. By opening up the DUAL LOW-NOISE OP-AMP switch, the 470k resistor increases the sustain time to give a sustain effect. I used a closed circuit jack to connect the pedal to the envelope generator, so that it will function normally with the pedal disconnected. One could also try putting a 500K pot in place of the 470K resistor for a variable sustain time.

3 6 Polyphony June 1984 LINEARS RESISTORS 5 % , 1 /4 watt SIGNAL DIODE ...... 72 TL061...... BiFet...... All EIA values available from 2.0 ohm to 5.1 Meg. 601-60...1N914 (1N4148) signal diode . 5/.35 TL062...... Dual BiFet ...... 99 Also availble is 10 Meg. TL064...... Quad BiFet...... 1.95 TRANSISTORS TL071...... 65 100 each of same value...... $1.50 2N3904....2N3904 NPN Transistor...... 25 TL072...... Dual BiFet...... 1.15 50 each of same value...... 98 2N3906.:...2N2906 PNP Transistor...... 25 TL074...... Quad BiFet...... 1.95 25 each of same value...... 75 NE555...... Timer...... 39 10 each of same value...... 40 POTENTIOMETERS < 0 NE570...... Compander...... 3.80 (3/8 long shaft. 5/1 6 mounting hole) 5 each of same value...... 25 NE571...... Compander...... 2.95 854-401... 10K Linear taper...... 1.09 NE572...... Compander...... 4.95 ASSORTMENTS 854-501... 100K Linear taper...... 1.09 UA741...... Comp. OpAmp...... 29 10 each of 10 values (100)..... 3.00 854- 505.500K Linear taper...... 1.09 MC1456...... Low Noise OpAmp...... 90 25 each of 10 values (250) ...... 6.50 o RC1556...... Low Noise OpAmp...... 1.48 855- 401.10K Audio taper...... 1.09 50 each of 20 values (1000). 16.00 CA3080.. ..OTA...... 94 855-501... 100K Audio taper...... 1.09 CA3280...... Dual OTA...... 1.98 855- 505.500K Audio taper...... 1.09 CHORUS/DELAY KIT RC4136...... Quad OpAmp...... 1.10 856-401 .... 10K Audio taper with RC4739...... Dual Low Noise...... 1.19 This chorus/delay unit, designed by Craig Anderton on/off switch...... 1.25 NE5532...... Dual High Porf...... 3.70 and featured in Guitar Player magazine, provides ...High Performance...... 2.65 flanging, slapback echo, and automatic double NE5534... tracking effects. The delay range is from 2 ms to 80 TRIM POTS (vertical mount) ms. Due to the use of compression and expansion 802-251...250 ohm trimmer...... 40 SPECIAL PURPOSE techniques, the unit has dead-quiet operation up to 802-103...10K trimmer...... 40 □ □ SAD-1024. ....Analog Delay...... 17.50 about 50 ms and only minimal noise out the full 80 ms. SAD-4096. ....Analog Delay...... 37.50 This project kit consists of all electronics, pots, jacks, MINI TOGGLE SWITCHES MK50240...... Top Octave Div...... 5.95 etc. Also included are the two circuit boards (etched, 403-20....SPDT (on/on) sub-mini (3A).... 1.20 SN76477...... Sound Generator...... 3.45 drilled, and legended) needed for the project. Not included is wire, solder, case, knobs, etc. The 403-40....DPDT (on/on) sub-mini (3A).... 1.50 Chorus/Delay unit also needs a well regulated 405-10....SPST (on/off) bat handle (6A). 1.85 SANYO HYBRID POWER AMPS bi-polar 15 volt power supply (not included). (A STK050.... .50 Watt Power Amp...... 19.40 punched and legended rack mount panel will soon be LED s STK070.... .70 Watt Power Amp...... 24.20 available for this project.) Please note that the typical DC forward current (l-fwd) Order KT-CD777...... $78.00 of these LED’s is less than those offered elsewhere SSM- SOLID STATE making these LED’s ideal for battery circuits or others MICRO-TECHNOLOGY "SNARE + " DRUM VOICE KIT where current consumption is a factor. SSM 2010. ....VCA...... 7.50 .....PreAmp...... 5.75 This percussion synthesizer was designed by SSM 2011. Thomas Henry and appeared in POLYPHONY 305-201.... Red T-1% jumbo diffused (20 m a.)...... 30 SSM 2012.....VCA...... 9.50 magazine. Here’s what Craig Anderton had to say 305-202.... Green T-1% jumbo diffused (30 ma).. .40 SSM 2020. ....VCA...... 7.50 about the “ SNARE + ” . “ At last - an inexpensive drum 305-203.... Dual T-1% jumbo diffused (50 ma)...... 90 SSM 2022.....VCA...... 7.50 voice that has a punchy, full sound...... All in all, the SSM 2030.....VCO...... 7.50 Snare + delivers a lot of drum sounds, and I would 305-204....Tri T-1% jum^o diffused (20 ma)...... 1.50 SSM 2033. ....VCO...... 10.00 unhesitatingly recommend it to anybody who’s tired Note: 305-204 is a three lead, tri-color (green, red, SSM 2040. ....VCF...... 7.50 of the thin sound found in most electronic drum yellow) device. It is essentially two separate LED's in SSM 2044. ....VCF...... 7.50 units.” one package. (The yellow is obtained by turning on We offer the kit with or without a panel. Kit 3770 both green and yellow.) SSM 2050. ....VCTG...... 7.50 contains all electronic parts, switches, jacks, pots, SSM 2056. ....VCTG...... 5.75 etc, as well well as etched, drilled, and legended 1 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 J 901-101...Mono standard phone jack...... 45 $3.50 legends). TSR-Q81.. ..Tel Labs Q81 1k ...... 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). CLM6000.. ..Clairex CLM6000...... $2.85 902- 211...Stereo standard phone jack..70 KIT 3770 Basic SNARE + kit...... $33.95 902- 213...Stereo end. jack (open back).. .77 KIT 3772 SNARE + with rack panel... $44.94 CAPACITORS (25 volt) 1 / 8 In. MINI JACKS 701-100...... 100 pf polystyrene...... 25 903- 351...Mono with n/closed contact..... 32 701-180...... 180 pf polystyrene...... 25 THE "CLARIFIER" GUITAR 701-1000..... 1000 pf polystyrene...... 25 EQ/PREAMP 903-353...Mono end. (open back)...... 26 701-2200..... 2200 pf polystyrene...... 25 The "CLARIFIER" is an onboard preamp/EQ 903-355...Mono enclosed with contact...... 35 ... 3300 pf polystyrene...... 25 module for guitar. This design, by Craig Anderton, 701-2200.. RCA JA C K S 701-3900..... 3900 pf polystyrene...... 25 was first seen in the pages of GUITAR PLAYER magazine. Here’s what the CLARIFIER will do: 921-100...RCA jack, chassis mount...... 34 702-005...... 005 uf mylar...... 12 Replace the guitar's standard passive tone control 921-200...RCA jack on phenolic mount... .25 702-01...... 01 uf mylar...... 12 with a two control, active circuit which provides over 921-300...Dual RCA on phenolic mount... .43 ... .16 12 db of bass and treble boost and up to 6 db cut.... 702-05...... 05 uf mylar...... 1 /4 In. PHONE PLUGS 702-1...... 1 uf mylar...... 21 Buffer your pickups from external loading, giving additional output and improve high freq response.... 911-201...Mono, black phone plug...... 48 702-22...... 22 uf mylar...... 33 Add a nominal 6 db of gain to give your signal a bit 911-203...Mono, red phone plug...... 48 more punch, as well as improve the signal/noise ratio 703-1.0...... 1.0 uf tantalum...... 39 911-205...Mono, chrome (metal) plug... .1.20 ... .49 in multiple effects systems... make your guitar 703-3.3...... 3.3 uf tantalum...... immune to the high freq loss caused by long cable 911-211...Stereo, black phone plug...... 65 703-4.7...... 4.7 uf tantalum...... 59 runs. 704-2.2...... 2.2 uf electrolytic...... 21 The CLARIFIER kit is available in two options, both 1 /8 In. MINI PLUGS 704-4.7...... 4.7 uf electrolytic...... 21 of which include a high quality drilled, legended, and 913-251...Mono, black mini plug...... 38 masked circuit board, as well as complete step by 913-253...Mono, red mini plug...... 38 704-10...... 10 uf electrolytic...... 21 step instructions. Kit 2450 contains everything 704-100...... 100 uf electrolytic...... 31 needed for a complete unit.. Kit 2455 contains 913-255...Mono, chrome (metal) plug...... 56 everything execpt the pots (for those who prefer a .... 10 pf ceramic disk...... 15 SWITCHING JACKS 705-10..... particluar brand of potentiometer). Batteries are not 705-.01...... 01 uf ceramic disk...... 12 included with either kit. These are stereo phone jacks that contain an ..... 17 Lr 705-.1...... 1 uf ceramic disk...... 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 2455....CLARIFIER less controls ..$14.95 IC SO CKETS (soldertail) equivalent of a DPST normally on switch. Jack IC-S-08...... 8 pin high quality socket...... 27 905-302 contains the equivent of a DPDT on/on IC-S-14...... 14 pin high quality socket ... .30 TERMS: (Check, Money Order, Cashiers Check - switch making it ideal for switching bi-polar power Add .75 if under $10.00)— ($10.00 minimum on IC-S-16...... 16 pin high quality socket ... .34 supplies on and off in effects boxes, etc. C.O.D. (UPS only) add $1.50)— (Mastercard and 905-301...Stereo jack with SPST switch.. .90 IC-S-18...... 18 pin high quality socket ... .40 Visa: $10.00 minimum. You must supply exp. IC-S-28...... 28 pin hgih quality socket ... .60 date.)— (Indiana residents add sales tax.) 905-302...Stereo jack with DPDT sw..... 1.00 IC-C-08...... 8 pin economy socket...... 13 SHIPPING AND HANDLING: $1.00 plus 5% of IC-C-14...... 14 pin economy socket...... 15 purchase. We will credit any amount over our PGS ELECTRONICS IC-C-16...... 16 pin economy socket...... 17 standard rate. Route 25 - Box 304 IC-C-18...... 18 pin economy socket...... 20 IC-C-28...... 28 pin economy socket...... 40 SA TISFACTION GUARANTEED! Terre Haute, IN 47802 eouiPfTEnr exchroge

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.

FOR SALE: PAIA Synth - (4) 4780 music equipment sequencers, (5) 4720 VC0,s (4) ftlisc. 4730 VCFs, (4) 4740 ADSRs, (4) VCAs, (2) 4710 Balanced SYNERGY keyboard. Digitally ACME REAL-TIME CASSETTES Modulators, (2) 4711 Mixers, (2) generated sounds, built in 4 track Copies affordably priced up to 4712 Reverb, 8780 D/AC, (2) 8781 sequencer. Excellent condition, C-92. TDK SA/AD Equivalent Tape, Quash, VC phaser, 3 octave never left home. $2700. Call Joe Dolby, Audiophile specs. Better keyboard w/glide, and Stringz 'n' at (609) 927-4100. sound than many LPs! Rates, Free Thingz in custom cabinet - $700. Sample: Acme, 3821 N. southport, PAIA Phlanger - $30. Aries 15 unit Chicago, IL 60613 (312) 477-7333. case, power supply, AR-318 Large PAIA Synthesizer for sale. S&H/clock/Noise, AR-324 Dual Many modules have been modified LFO/Lag/Inverter, AR-328 Stereo for improved performance. 4 wing Reverb & output - $300. Recordings cabinets include 3 VCO, 4 VCF, Sequential Circuits Pro-One D/A, Seq., 2 VCA, RM, RVRB, 2 Env. $300. ADC 12 band stereo graphic Rough Order of Magnitude: The Gen., 2 Mix, Etc. cost $1200 will equalizer - $100. TEAC A-3340S 4 release of a new experience! sacrifice for $400 O.B.O. Brian track tape deck - $500. Each with Synthetic music on cassette from Folkes, 25712 #52 Le Parc Blvd., all cables and documentation. SYNTHETIC FOUR MUSIC. $6.95 to: El Toro, CA 92630 (713) 380-9447. Mark harper, 4761 Kings River Ct., SYNTHETIC FOUR MUSIC, 6049 San Jose, CA 95136, (408) 265-8043 Butternut Dr., West Olive, MI evenings. 49460. FOR SALE: 1. Alpha Syntauri System. Includes Apple II+, all cards, software drive, monitor OLD TECHNOLOGY STILL GOOD. etc. $2900; 2. Syntauri recased Micromoog $300, ARP String in PAIA 5-octdve series-V Ensemble $400, Sounderaftsman controller with all cards, Preamp/Equalizer $200, TEAC model software, drive monitor and lone 2 mixer $200. P.0. Box 16211, AD apple: $2450; Both selections Seattle, WA 98116. I'll pay include free business, games, word shipping. processors, utilities software. INDEX 3. Vantage cherry sunburst Les-paul copy with case, strap: COMPUTER/SYNTHESIZERS FOR SALE. $95; 4.” Assembled and tested PGS Dickstein Distributing Co... 9 AIM-65 6502 based computer; Chorus/Delay unit with labelled cassette storage and tapes; Gentle Electric ...... 4 rack mount panel: $75. Tarik excellent 4 output power supply, Qureshi, 2530 McKay Ave., Windsor, Custom 5 oct polytonic Ontario, Canada, N9E-2P5 (519) Modern Recording & Music ... 17 synthesizer. Very large 966-2673. PAIA/custom modular synthesizer. Oberheim ...... 7 Synthesizers are less than perfect KORG, Mono/Poly synth Korg SQ-10 but operational. Computer is PAIA Electronics, Inc. ... 4, 5 Analog Sequencer both in prime, make offer. Call Steve at excellent condition. Used only at 616-399-3775 or 616-392-1491 Ext. PGS Electronics ...... 37 home. Best offer. Nick Toth, 78 290. Milldale Ave. Plantsville, CT Phoenix Systems ...... 5 06479. Rodcar Electronic Sales .... 29 TWO CHANNEL ANALOG DELAY UNIT. Port/ Made by Southwest Technical Synchronous Technologies ... 39 Products. Ambience Synthesis and Delay effects. $100 or trade for SID CHIPS $20.00 TEAC Corp. of America..... 2 D. Paul, P.0. Box 391, Center Casio keyboard. Gerard (415) Valley, PA 18034 527-4026. TOA ...... 40

38 PoSyphony June 1984 COMPUTER AUTOMATION FOR THE SMALL STUDIO

THE SMPL SYSTEM BREAKS THE PRICE BARRIER corded as audio. Not only does this effectively increase the num­ FOR SMPTE TIME CODE ber of tracks available, it allows these tracks to be m ixed first gener­ ation to the master tape. No more loss of quality from ping-ponging Synchronous Technologies’ SMPL System is the only time and dubbing. code device specifically designed to solve the problems of the smaller recording studio. In one integrated package it provides AN OFF LINE TERMINAL FOR THE ENTERTAINMENT functions and features which can’t be duplicated with existing time INDUSTRY’S SYNCHRONIZING NETWORK code equipment even at many times the system’s low price. Func­ The benefits of using industry standard non-drop format SM PTE tions include: Time Code can’t be overstated. With the SMPL System, tapes pro­ SMPTE Time Code generator duced in the small studio will transport to larger studios and be SMPTE Time Code reader compatible with automatic mix-down and chase-locking equip­ Automatic Punch In/Out ment. Drum and Synth Sychronizer Even if you never need to sync audio to video, this compatibility Programmable 8 event sequencer has compelling economic advantages. Tapes produced on ma­ Autolocator chines with limited tracks can be “pyramided” to 24 and 40 track Time Code Metronome studio machines, allowing you to create in your own environment at Recorder Remote Control your own pace and still have easy access to expensive studio facili­ ties on an as-needed basis. In many cases, your savings in billed studio time will quickly pay for the SMPL System.

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

IT’S A COMPLETE, LOW COST SYSTEM IT’S THE ENGINEER YOU ALWAYS WANTED Not only is the SMPL System itself low in price, it’s designed to With the SMPL System, insert editing no longer requires the be used with lower cost multi-channel cassette or open reel re­ combined skills of engineer, musician and juggler. During review, corders by simply plugging into their normal remote control jacks. Punch In and Punch Out points are set on the fly and saved in the Neither tachometer output nor speed control input are required. computer's memory. Separate Rehearse and Take modes allow Even recorders without remote control jacks can usually be modi­ you to rehearse and preview the edit points as many times as fied for use with the system. necessary before committing to tape. The complete SMPL System consists of: Personal Computer Eight programmable event outputs are useful for triggering with keyboard modified for SMPL functions, SMPL System Soft- effects, changing instrument presets, fractional measure channel ware/lnterfacecartridge, VHFchannel3/4 modulator,power muting and much more. supply and Using and Installation manual. The eight autolocator points let you get from section to section SMPL System ...... $9 9 5 .0 0 (12 lbs) with a minimum of hassle and wasted time. And a separately pro­ grammable CUE point controls the recorder for a looping function CALL OR WRITE FOR THE NAME OF YOUR NEAREST DEALER. at the end of rehearsals and takes. You concentrate on the art, the system attends to details.

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

MORE, HIGHER QUALITY “TRACKS” Since much of today’s commercial music involves digital drums and sequencer controlled polyphonic synthesizers, the SMPTE No representation that SMPL is a product of Com modore Business M achines. Inc.or an affiliated or related com pany is intended; nor is there any representation that there is any source of origin of Commodore Computers other than track can replace numerous tracks which might otherwise be re­ Commodore Business Macnines, Inc. or its affiliated or related companies. III/I//IIIIIIII/II///I/I/II/ // SYNCHRONOUS TECHNOLOGIES 0 P.O.Box 14467 • 1020 West Wilshire Boulevard • Oklahoma City, Oklahoma 73113 • (405)842-0680 A speaker design with your ears in mind

When we designed the Acoustics is the science So we designed a three- handling. . .a very sensitive “SD” Speaker Series, our of sound. But psycho­ way system, not two-way, 102 dB efficiency goal wasn’t to produce acoustics goes deeper. It’s for an all-around sound. For rating. . .and smooth impressive specs — we the science of how the brain a punchy, tight bottom end, response over a wide 50 Hz wanted to produce great perceives sound. We we incorporated acoustic to 20 kHz bandwidth.* sound. wanted a speaker that filtering on the front panel. The Thiele-Small aligned pleases the brain, so And we put in a moving coil bass reflex cabinets are a we focused on the tweeter for a clean high end Sure — extended real plus. So is the high- characteristics that affect with lots of definition. In frequency response was frequency attenuation that your ears, not our speakers. total: great sound. important. So was a lets you tailor the SD’s smooth crossover between Characteristics like And great sound means output to your performing lows and highs. But most tonality . . . transparency great specs. requirements and the room important was psycho­ . . . and faithfulness to the Specs like 360 watts acoustics. acoustic satisfaction. original sound. continuous power

*Model 38SD © 1983 TO A Electronics, I

Then re’s ergonomics: □ a protective steel mesh □ recessed handles □ interlocking corners for easy stacking □ a built-in adaptor for stand-mounting Small. Lightweight. Built to take the abuse ;OA Electronics, Inc., 480 Carlton Court of the road. Sold with a two-year warranty. omplete technical So. San Francisco, CA 94080 data call or write: (415) 588-2538 What else is there? In Canada: TOA Electronics, Inc 10712-181 Street, Edmonton TQA Alberta T5S IK8 Besides psycho-acoustics, that is. Communications (403)489-5511