ELECTRONICS-MUSIC-HOME RECORDING February 1984

COMMODORE 64 MUSIC SOFTWARE REVIEWS

BUILD: A JUST INTONATION GENERATOR

A NOISE REDUCTION UNIT

VOCAL BASICS

3-D VIDEO

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

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

OBGRHGM eieCTRONICS.INC. Some things are better than others 2 2 5 0 So Barrington Avt. Los Angeles. CA 9 0 0 6 4

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

PUBLISHER ISSN: 0163-4534 John S. Simonton, Jr. I \ % p h o r ^ EDITOR Craig Anderton VOLUME 9, NUMBER 2 EDITORIAL ASSISTANT Vanessa Else FEBRUARY, 1984

MANAGING EDITOR Linda Kay Brumfield

TECHNICAL ILLLUSTRATOR Caroline Wood 3-D Viedo CIRCULATION By: Dr. Maury Deutsch...... 8 Ramona French Peggy Walker Build A Just Intonnation Generator By: Vanessa E l s e ...... 19 BOOKEEPING Cathi Boggs Music Software Review Commodore -64/CBM-64 PRINT PRODUCTION By: Craig O'Donnell ...... 14 Phuong Nguyen SEMCO Color Press NE572 Noise Reduction Unit By: Ron Oberholtzer ...... 10 POLYPHONY (ISSN 0163-4534) is published bimonthly at 1020 W. Wilshire Blvd., PAIA PatchMod Oklahoma City, OK 73116, by Polyphony Publishing Co. Entire contents copyright By: Scott Lee ...... 28 (c) 1982 by Polyphony Publishing Co. All rights reserved. No portion of this Product Review: Korg EPS-1 publication may be reproduced in any manner without written permission from By: Bill Rhodes ...... •...... 13 the publisher. Second Class postage is paid at Oklahoma City, OK 73125. Vocal Basics ADVERTISING rate card and deadline By: Danna Sorensen ...... 17 schedule is available upon request. Contact Linda Brumfield at (405) 842-5480. DEALERS & DISTRIBUTORS bulk prices are available upon request. Contact Linda Brumfield at (405) 842-5480. SUBSCRIPTION rates: American 1 year $12.00 2 years $22.00 Foreign 1 year $14.00 Practical Circuitry: Build a Quadrature Function 2 years $26.00 Generator We now accept MasterCharge and Visa By: Tom Henry ...... 26 payment for subscriptions, back issues, and PolyMart items. Foreign payments must be by charge card, money order, or Re-View certified check in US funds drawn on a By: Robert Carlberg ...... 5 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 back issue ad in this issue.

CHANGE OF ADDRESS notifications must include your former address and_ zip code, and any numbers from the mailing label, as well as your new address. Ad Index: ...... 38 When you move, be sure to notify your post office that you DO want second class and controlled circulation Current Events: ...... 32 publications forwarded. This will save Lost or returned issues. Polyphony is Letters: ...... 4 not responsible for replacement of lost or returned issues when we have not been supplied with change of address Equipment Exchange ...... 38 information.

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

F o fy p h o i^ February, 1984 3 W IND PLAYERS VOCALISTS

You can use your own instrument or voice to control any standard synthesizer, with more expressiveness than a keyboard. PENULTIMATE TO ULTIMATE COMPRES­ With these modifications, the SOR: CORRECTIONS AND MODIFICATIONS output noise is e s s e n t ia lly a trace of the input noise generated I included a couple of errors by Al. A TL071 gives good per­ formance, and even better results \ W A f l M in in the schematic for the Penulti­ mate Compressor; sorry i f I caused can be obtained with an OP-15. Please remember too that any wire THE GENTLE ELECTRIC any anguish. Here are the correc­ traveling for more than 1 - 2" PITCH AN D ENVELOPE tions : FOLLOWER 1. Change the value of R18, inches between the 572 and 5534s and any other audio signal must be R19 to 10k. shielded. Good single point Write for our free detailed 2. Add a 10k resistor be­ tween pin 7 of the NE572 and Cll, grounding is also very important. , brochure patch diagrams, C12. You can also add output capa­ and application notes. 3. Take four 10 Meg resis­ citors to the crossover outputs, tors, and connect one each to pins and bring the crossover outputs as

Also available os modules for A rie s and 2, 4, 14, and 12 of the NE572. well as the high and low frequency S erge synthesizers, or as circuit boards • Connect the other ends of the compressed outputs to the front for custqrh systems. Dealers inquiries resistors to the positive supply. panel. You can then use the unit w elcom e. This adds a small bias current as a crossover or to process high which causes the compressor to and low frequencies separately, gentle electric turn on only after an input and mix them together further down W Dept P threshold is reached. The com­ the line. Another possibility is P.O. Box 132, Delta, CO 81416 to replace the 10 Meg bias resis­ (303) 874-7171 pressor then acts like a unity gain amplifier when there is no tors with pots for a variable input signal and dramatically re­ threshold control. With these EXPERIMENT WITH duces noise. changes, I think that a ll in all 4. Another m odification is this device is quiet, accurate, EKx Series to change C20, 21 from 10 uF to and clean-sounding and is truly 4.7 uF. I made an erroneous the Ultimate Compressor. statement that these caps control EXPONENTIAL Thomas Figueiredo the sustain, thus implying that MODULE CARDS larger caps give more sustain. San Francisco, CA This is not the case. These capa­ EKx 10 ADSR citors control the release time of envelope generator with exponential control TR-606 SYNC? of Attack, Decay and Release times over a the gain reduction action of the guaranteed .002 to 20 second range. No control compressor on signal peaks. A 4.7 voltaqe feed-throuqh.. $24.95 plus $2 postage It seems to me that since the uF capacitor gives faster response Roland TR-606 Programmable Drum EKx 20 VCF and a more "natural" sound. (Ed. with exponential control of pole frequency note: Many of you have asked Machine can sync up to other Ro­ over a 10 octave range. Jumper programmable land units, you should be able to for 24 dB/Oct. LP, HP, BP or A ll Pass response. about the polarity of these parts. Voltage controlled resonance. Low noise, 86 dB The + end of C20, C21, C22, and derive a sync output from the TR- below max. output. $26.95 l$2.00! C23 connect to the 572, while the 606's DIN connector. I f you re­ EKx 30 DUAL VCA - end connects to the outboard op corded this on tape, then you low noise, low distortion, wide bandwidth, low amp outputs.) could sync the TR-606 to the click control voltage feedthrough. Both exponential 5. There is a typo in Fig. track and thus synchronize over­ and linear control voltage Inputs simultaneously dubs. This would help make the available...... $24.95 1$2.00| 3; C33 should be 5 uF, not 2.2 pF as shown. Also, C33 is not listed unit much more flexible, for exam­ EKx 40 FULL FEATURE VCO on the parts list. ple, this would overcome the prob­ Full feature VCO with ramp, triangle and lem of having the trigger out tied ; voltage controlled pulse. Exponential control 6. I f you want an output of frequency over accurate and stable level control, replace R34 with a up with the tom-toms. Does anyone 100,000:1 range. Linear FM Input and hard and 10k pot, and connect the wiper of out there know how to do this? soft sync...... $29.95 I$2.OOI the pot to the output jack. John Herzfeld Each kit features the Curtis Electromusic 7. You can also change the Belmont, MA I. C . 's to implement a fu ll function 5534's compensation caps from 22 Voltage Controlled Card. All connections are pF to 10 pF; this gives better brought to the card edge in a configuration John — The main problem with compatible with Molex or 22 pin .156 center high frequency response and higher simply recording the click track edge connectors. slew rate. I f you have problems with oscillation or squeals, go on tape is that you need to condi­ RBiA Electronics, Inc. back to 22 pF. tion the analog signal coming from 1020 W. W ilshire , Oklahoma City, OK 73116 - (405)843-9626

4 February, 1984 the tape into a nice, clean, digi­ tal pulse capable of driving the Robert Carlberg’s TR-606. However, you might try recording the signal appearing at pin 3 of the DIN connector. You w ill probably need some kind of comparator to shape this signal up as it comes o ff the tape. Feed the comparator output into DIN pin re-view 3 when syncing from tape. To sync to tape, with the sync in/out switch set to in , Michael Rother Lust (Polydor David Sanborn Backstreet (Warner bring the RUN/STOP line (pin 1 of 815469-1). His fir s t solo with Bros. 23906-1). An impressive the DIN connector) low and then Linn instead of Jaki on drums. arsenal of keyboards is listed, high. The TR-606 is now ready to Some nice synthi voicing, less but these formula tunes are receive timing pulses; run the guitar, and a little lower key dominated by Marcus Miller's burp­ tape and see i f it starts up okay than usual. ing bass and Sanborn's sax, which and syncs. Note that you w ill sounds like someone lettin g air have to fiddle with the level out of a balloon. coming off the tape, the threshold of the comparator, and so on be­ The Pern Proiect Halo of Flux fore you achieve reliable results. (cassette). It's nice to know Drop Polyphony a line to le t us that people s t i l l do the corny know if this works or not. things we all did with our first Also, I designed a sync pulse 4-tracks. $5 from Rick Burgmeier, recording/recovery system for PAIA 947 James Street #1, Syracuse, NY Electronics called the "Master 13203. Synchronizer" (see the February Lauri Paisley Real to Reel (cas­ issue of Keyboard). This device Happy the Man 3rd — "Better sette). Whiney synthesizers in 4- includes a run/stop output and la t e ..." (Azimuth 1003). Pro­ track patterns/tunes. Given a also follows the 24 pulses per gressive rock of the flute-and- chance, the ideas could go a few quarter note standard, thus making string-synthesizer variety. This rounds in a larger studio. $4 it compatible with Roland equip­ was a demo made in '79 to attract ment. Check out this a rtic le for from Lauri, 947 James Street #1, Syracuse, NY 13203. a new label — it didn't and they more on the subject of recording disbanded. HTM was too sophisti­ and recovering sync tracks from cated for a world gone back to tape. Several people have re­ basics. $7.95 from Kit Watkins, ported connecting up the PAIA Box 3495, Arlington, VA 22203. "Master Syncrhonizer" to a TR-606 in order to do exactly what you Tod Dockstader Luna Park — Tra­ describe. veling Music — Apocalypse (Owl 6). These are compositions from 1960-1 of "organized sound". The method seems a l i t t l e prim itive D.I.Y. SYNTH KEYBOARD after 20 years (tape speed tricks Various Projekt Electronic South and audio gen era to rs), but he I have been reading Polyphony F lo r id a (cassette). Regional rea lly does create moods. (See for a couple of years and now, as compilations rarely have any glue also May/June '81 but ignore the there have been so many synthesi­ besides gravity to hold them to­ last line.) $9 from Owl, PO Box zer projects presented, I have gether, and this one is no excep­ 4536, Boulder, CO 80306. decided to build a synthesizer. tion. It's a good selection from But I don't know how to wire up an active community in all styles. the keyboard it s e lf -- triggers, $3.50 from Sam Rosenthal, 8951 SW voltage control outputs, gate vol­ 53rd St., Cooper City, FL 33328. tages, and so on. Could you pub­ lish such a project in an upcoming issue of Polyphony? Also, where can I get the fo llo w in g ICs: XR2209 VCO, CEM3320 VC f ilt e r , CEM3330 dual VCA, and CEM3340 VCO? And how much do they cost? Henry Aronson/Michael Starobin Jan Erikkson Kite (cassette). Commissioned by Vasteras, Sweden the Jennifer Muller Dance Company, Paul Simon Hearts and Bones this 32-minute work pits an organ­ Jan — Thomas Henry present­ (Warner Bros. 23906-1). Even with ist and a synthesist in a race to ed an excellent design for a low- all his success, Simon retains a the finish. Maybe you had to be cost digital keyboard (with analog measure of disillusionment. Maybe there. $7.98 from Henry Aronson, CV outputs too) in Electronotes nobody speaks for a generation, 1204 Avenue 'U' Suite 1112, Brook­ but he comes close. lyn, NY 11229.

IHrfyjriioity February, 1984 5 Computer Music from the Outside In (Folkways 37465). Funded by Fair- light and the University of Texas, re -v ie w this disc introduces itself as four "major works" and repeats such platitudes as "the only limit is the imagination". Let's just Tangerine Dream White Eagle say the lim it s aren't in the (Virgin 2226); L o g o s (V irg in equipment. 2257); Hyperborea (Virgin 2292). The new Series V ' 'igital/'Analog Keyboard The arrival of Johannes Schmoel- Controllers from PAIA offer enough stan­ ling in 1981 seems to have given dard features and options to fill every need the Tangs a new lease on life. He from stage to studio, Standard features brought a classical training; en­ include Pitch & Modulation Wheels, Gate and Re-trigger outputs, Low Note Rule couraging semi-formal song struc­ Priority, Smooth Pratt-Read Action, Light tures, genuinely amazing program­ weight and only 2” high. ming, and the taming of Froese's errant guitar. This is the high­ You have your choice of: est vantage of their careers. • 37 or 61 Note Actions • Exponential Or Linear C.V. Port Said and Anton Tibbe Cros­ • MIDI or Parallel Digital • Mono or Poly sings (cassette). With the addi­ • Factory Assm. or Low Cost Kits tion of guitarist Tibbe, Port Best of all, prices start at less than $180 Said's rhythms of acoustic percus­ sion and unusual synthesis take on call our toll-free line new vibrancy. $6 from 132 West 24th St., New York, NY 10011. 1- 800 - 654-8657 9AM to 5PM CST MON FRI for price & ordering details & get your free RAiA ca ta lo g! Mark Isham Vapor Drawings Isham Direct mail orders and inquiries to: Dept.11 was brassman with Art Lande's HOiA Electronics, Inc. forward-looking jazz group, Rubisa ,1020 W W ils h ire , O kla ho m a C ity . OK 73116 (405)843 9626 Patrol. Here he surfaces as a digital synthesist, with only the occasional horn line or jazz lick. This is a surprisingly mature and Ricky Starbuster Protosyn (cas­ assured debut, best described as a sette). On his third tape, Ricky PLUG INTO cross between Tangerine Dream and explores the outer reach of sounds Jon Hassell (who've both been at in his Prophet. The structures i t a long time). vary from free-form sound por­ P o f > p h o n > ’ traits to rhythmic patterns with a William Ackerman P a s t L i g h t Drumatix, and on side two he gets FOR (Windham Hill 1028). Windham Hill some intentionally humorous vo­ is Ackerman's label, and nearly coder. $8.50 from P0 Box 5582, ELECTRIFYING IDEAS! everything they've done has bal­ Madison, WI 53705. anced between New Age and virtuo­ DON’T MISS AN ISSUE si. I've been a fan of Ackerman's Emerald Web Nocturne (Fortuna SUBSCRIBE TODAY! beautiful acoustic guitarwork for 012, cassette). Flutes, digital years, and I'm glad he has finally synthesizers, and electronic birds done a few tracks with a Lyricon- & crickets in slow mournful ( ) One year $12 US/$14 foreign ist so I can mention him here. suites. $8.98 from P0 Box 5503, (6 issues) Berkeley, CA 94705. Jack Lancaster Skinningrove Bay ( ) Two years $22 US/$24 foreign (Kamera 003). Lancaster (of Blod- Other Music In c id e n ts Out of wyn Pig and associated with Brand Context (Flying Fish 302). The Name:______X) plays synthesizers and saxes, liner notes bemoan the difficulty Address:______specializing in the Lyricon. It of summarizing their music. If City:______state:______zip:______has a marvelous reedy tone, much they can't capsulize after 8 years better than his rather bland vo­ of trying, what chance does a VISA/ Mastercharge accepted. cals. lowly reviewer have? It doesn't Card No. help that since their first record Expiration datei Mark Anthony Heide New Music for of modern gamelan music (see Ju- Use (Distant Cloud 001). Rhythm ly/Aug '81) they've added a bewil­ (signature) box constructions for synthesizer, dering array of percussion instru­ Mail to: bass, and acoustic guitar. The ments (dulcimer, marimba, metallo- synthesizer sounds inexpensive. POLYPHONY, P. 0. Box 20305 phones) and non-percussion (French The "use" is probably mousing. $8 horns, trombones, saxophones, and Oklahoma city, OK 73116 from PO Box 857, Homewood, IL synthesizers). 60430.

6 IVrJvjJloiiy February, 1984 B ill Nelson Savage Gestures for great. Now for my problem: I Charm's Sake (Cocteau JCM3). An instrumental "mini-LP" (27 min­ have a device called an "Auto- utes) with Nelson playing every­ Orchestra" which produces rhythm, thing: synthesizers, guitar, bass, string, and organ chord bass, and drum unit. Even without accompaniment. I use it with a vocals, his music is heated and Roland JX-3P which has provisions #138. Write Electronotes at 1 human. for an external sync input to Pheasant Lane, Ithaca, NY 14850 drive the sequencer, but the Auto- for information on reprints and Orchestra has no trigger output. Bunny Brunei Touch (Inner City back issues. Also, PAIA Electron­ What can I do? 1102); Ivanhoe (inner City 1162). ics makes both 3 octave and 5 Brunei makes the records one would octave synthesizer keyboard con­ Larry Deneau have expected from Jaco Pastorius. tr o lle r kits ($188 and $289, res­ Stambaugh, MI 49964 They share a sim ilar style on pectively). These both include fretless bass, but Brunei's writ­ pitch bend and modulation wheel Larry -- I get quite a few ing is fast, devious, and very controllers; an exponential con­ questions relating to specific jazzy. verter add-on ($15.95) translates pieces of equipment; unfortunate­ the six bit digital output into an ly, I can't do anything without a Joan Armatrading Track Record analog CV capable of driving 1 schematic (and even having a sche­ (A&M 4987). A greatest hits com­ Volt/octave oscillators. matic doesn't always guarantee pilation in which the unknown The Curtis chips you men­ results). While I'm flattered tracks outshine the hits. I f you tioned are also available through that you think I know everything, thought Armatrading was just a PAIA; average cost is about $8. I don't! Best bet is to write the balladeer, listen again. Write PAIA for further information manufacturers involved and see if at 1020 West Wilshire Blvd., Okla­ they have any specific sugges­ homa City, OK 73116. The XR2209 tions. I f not, try to get your K. Leimer Imposed Order (POL is available from Jameco Electron­ hands on a schematic and send me a rich synthi chords, meticulous ics, 1355 Shoreway Road, Belmont, photocopy; sometimes I can be of treatments, and Hassell-like CA 94002 for approximately $3. help, although of course I can't rhythmic pulses -- superimposed make any promises. over each other like some Peter SYNC OR SWIM REVISITED Gabriel album that never jelled . There is no "order" except coinci­ I just received my first copy dence, so one assumes the title is tongue-in-cheek. This is mature of Polyphony, and I think it's ambient music — all dressed up to go no place. BY PROFESSIONAL DEMAND Moebius-Plank-Neumeier Zero Set S DDC OFFERS FREE ADVICE, PERSONAL SERVICE (Sky 085). I had a ll but written AND ONE-DAY SHIPPING OF THE FINEST MUSIC AND SOUND EQUIPMENT AVAILABLE ANYWHERE: o ff Dieter Moebius (Aug ’82) but u prematurely. Mani Neumeier, drum­ gcrOLUn iraynor mer of Guru Guru, provides a rhythmic platform for synchro- B K0RG pol^pusiorj sonic synthi and assorted weird­ ness. It is absurd and entertain­ KELSEY ing. S T E A C ^ S & tu n ir ( m x r ) fS i Brian Eno Working Backwards 1983- 1973 (Virgin EGBS-2). The per­ c fect gift for someone new to this ( f t ) 0 0 DiMa"^ planet. Includes all 9 of his R l|J QrtfcREM O solo albums plus an unrealised 2nd disc of airport music and an EP of T7VPCO M 'g jjg j ©YAMAHA unfinished pieces. Notably mis­ I sing are his collaborations with IIir=fwn i= u nnn=^ 1 w hirlw ind 1 Fripp, Byrne and 801, and early Roxy Music. B pRophet & RO# A

Vox Populi Ectoplasmies (VP 231; E e.p.). 8 short tracks of Dada £KJS??"e ’ 083 synth & echoed vocal. These are (fcXaiy-^ in te rs o u n d small productions. $4 from Axel PLEASE CALL OR WRITE FOR PRICES & ORDERING Kyrou, 191 Avenue Du Maine, 75014 INFORMATION - YOU'LL BE GLAD YOU DID! Paris, France. page DICKSTEIN DISTRIBUTING COMPANY k k t k I 1120 QUINCY PPY —SCRANTON, PA 18510 6 PHONE ORDERS WELCOME (717) 344 7469

ftrfyphony February, 1984 7 3-D Video

3-D Viewing Without Glasses

By: Dr. Maury Deutsch

i)ne method of obtaining three-dimensional when the left eye is normally used alone; likewise, vision is by u tiliz in g two photographs taken from the images of Camera 2 transmit a similar sensation slightly different angles (corresponding to the to the brain as when the right eye is normally used natural vision as experienced by each individual alone. eye), and then viewing these photos through a device It requires approximately 24 successive images arranged to superimpose the images. In three-dimen­ per second for the eye to experience a continuous sional motion pictures, each eye sees a continuous picture. It is therefore necessary that Cameras 1 picture shot at slightly d ifferen t angles (corres­ and 2 photograph the same scene but at approximately ponding to the natural vision of each eye). Pola­ 48 frames per second. The composite film of Cameras roid glasses then separate the superimposed images 1 and 2 is also projected at 48 frames per second. on the motion picture film. This is necessary for the brain to experience the images of Cameras 1 and 2 as existing simultaneously The alternating image process: motion pictures. and continuously. The above w ill result in three- Another method of obtaining three-dimensional vision dimensional motion pictures without glasses, regard­ involves the alternating image process. As applied less of whether you use two separate cameras or a to motion pictures, i f two motion picture cameras single camera projecting the composite film. The 3- shoot a scene at slightly different angles (corres­ D effect will not be lost if viewed with one eye ponding to the natural vision as experienced by the only. eyes), and are computerized so that each camera alternately shoots one image of the scene and then The alternating image process: television. leaves one frame blank (where the blank frame of one Taped or filmed television programs can utilize the camera occurs simultaneously with the image of the same techniques described above; "live" television other camera and vice versa), then the resultant shows require the simultaneous use of twin tele­ films w ill have the following appearance: vision transmitters. These are placed at slightly different angles with respect to the scene being Camera Camera 2 shot (corresponding to the natural vision as experi­ enced by both eyes). These transmitters need to be Image ...... Blank synchronized in such a manner that each transmitter Blank ...... Image alternately transmits the scanned scene to the view­ Image ...... Blank ing audience. When approximately 48 of these images etc. etc. per second (altern ately produced by the transmit­ ters) are experienced by the television audience on The films of Camera 1 and Camera 2 may then be their screens, the effect w ill be that of 3-D view­ re-shot on to a single film, yielding: ing.

Image of Camera 1 While several methods have been proposed for 3- Image of Camera 2 D viewing, the alternating image process has the Image of Camera 1 advantage of not requiring any special glasses or etc. video playback equipment. Video is a rapidly de­ veloping art form; hopefully this article will in­ The images of Camera 1 (representing the le ft spire you to develop it even further. eye) transmit a similar sensation to the brain as

8 jftrfypliofty February, 1984 PLAY DRUMS AND GUITAR-AT THG SAME TIME?

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

ELECTRO HARMONIX The Best Sounding Effects In The World!! 27 West 23rd St. • NYC, NY 10010 • (212) 741-1770 amount of gain (or attenuation) in an external op amp to compress (or expand) the dynamic level of the audio signal. Suitable control voltages to the gain c e ll are provided by (1) a r e c t ifie r using NE572 an op amp, (2) a diode, (3) two transistors, and (4) three current sources. A second set of current sources drives a buffer system to provide smooth voltage control to Noise Reduction the gain cell. A regulated power supply promotes stable operation from the complete system. The block diagram also shows how to provide external control of the Unit attack (pins 4, 12) and release (pins 2, 14) times. Pins 6 and 10 provide an accurate external ref­ erence v o lta g e to other com­ ponents .

Connecting the gain c e ll in the gain loop of an external op By: Ron Oberholtzer amp produces a compressor (see figure 2). Capacitors C13 and C14 determine the attack time, while capacitors Cll and C12 set the release time. These two values are a compromise between fastest operation and adding as little as possible breathing or pumping to the audio signal. The op amp should be a low noise type, such Since its inception, the expanding the signal's dynamic as the NE5534, although other electronics industry has actively range on playback, it is possible types will do (as discussed later pursued circuits that reduce to achieve a very noticeable im­ in this article). The reference noise. While going from the tube, provement in the noise level. The voltage outputs (pins 6, 10) drive to the transistor, to today's compander described in this arti­ the (+) inputs of the correspond­ integrated circuits has helped to cle can give a dynamic range of up ing op amps (IC1A and IC1B). greatly reduce noise, several to 109 dB, with very little dis­ Zener Diodes D1-D4 clamp any out­ pieces of hardware are available tortion produced by the compander. put transient peaks to below 6 to give that last bit of noise Simple companders give good re­ Volts. reduction necessary to greatly sults at reasonable cost, but improve audio performance. This those looking for the very best For the expander function, article will cover a simple com­ results should s p lit the audio the gain c e ll is in series with pander system, which is one of the into several frequency bands and the audio input and an op amp (see more popular types of noise reduc­ compand each band separately. Un­ figure 3). To insure that the tion hardware now available. fortunately, multi-band noise re­ gain c e ll is fed from a constant duction systems are quite compli­ output impedance, a unity gain op While comparatively new to cated to design and build, so this amp supplies the audio signal to the audio industry, companders article w ill concentrate on build­ the gain cell and the rectifier have been used for many years in ing a single-band compander suit­ system (IC4A and IC4B in figure the telephone industry to upgrade able for use with h i-fi systems, 3). Capacitors C23 and C24 deter­ telecommunications circu its. We signal processors, and multi-track mine the attack time and capaci­ owe a great debt to Signetics for recorders. tors C25 and C26 set the release manufacturing the NE570/571 and time. Op amps IC3A through IC3D NE572 series of chips that make Compander lo g ic . The NE572 should be high quality, low noise companders easy to build by every­ chip contains two separate systems types. one. The NE572 o ffers the best which can be wired to provide ei­ performance of the series, is ther two compressors, two expand- System Logic. For a stereo readily available at a reasonable ors, or one compressor and one system it is desirable to use one price, and is easy to use. expander. Good internal filtering NE572 for both compressors and allows for operation from a stan­ another NE572 for both expanders. Basic system. The word 'com­ dard, single-voltage power supply. The dual compressor circuit in­ pander' is a combination of the Cross talk is almost unmeasurable. cludes a dual op amp (one for each words compressor and expander. By channel), while the dual expander compressing the dynamic range of Basic functions depend on a circu it includes a quad op amp the audio signal, processing (or gain cell (& g; see figure 1, (two op amps for each channel). recording) the compressed signal which shows a block diagram of the (Ed. note: It may be preferable through a noisy channel, and then NE572). The gain cell adjusts the to build a compressor and its

I\>ta)liony ------February, 1984 matching expander from one chip, since the characteristics of both GAIN R1 - GAIN CELL 7,9 sections would be closely matched L 2 J iCELL INPUT —W V and this would probably result in 6.8K OUTPUT better tracking.) REF 6,10 A G — I OUT ~ The compressor output would feed a signal processor, delay line, tape channel, or other noisy circu it. With tape, a ll signal GAIN CELL levels are well above the tape noise "floor" but also well below 1A5 TRACK the overload threshold of the tape TRIM recorder. On tape playback, the expander doubles the dB level of a ll signals over a nominal 0 dB and negatively doubles (halves) a ll signals under 0 dB. The re­ sult is a virtually noise-free 109 dB dynamic output range. Of course, the less noisy the origin­ al signal, the more dramatic the results of the noise reduction.

Construction. I built the compander and power supply into an 4,12 2,14 8"W X 3.5"H X 5.25"D metal case ATTACK CAP RELEASE CAP from Radio Shack, with all compan­ dor components mounted on a Radio FIG. 1 BLOCK DIAGRAM NE572 CHIP Shack experimenter's PC board. It took a bit of planning to squeeze everything into the box, but even­ tually it all fit with some space to spare.

The experimenter's PC board has 45 rows of five interconnected holes on both sides of a center island. A standard DIP socket fits the center island space, giving four additional connection points for each socket pin. A 5mfd *• ground strip runs along each side © (------•------OOUT of the board. I used an LM353 dual b ife t for the compressor op 100K * amps, but the TL072, TL082, and ©•••+12 TL092 op amps w ill also work (with ©•••-12 the TL072 contributing the lowest — recommended noise). For the expander I used optional components an LM324 to provide the required to handle worst-case four op amps simply because I had coupling situations. one available; a TL074, TL084, or TL094 would also be suitable, with the TL074 contributing the least. C1,2 \ l+ R7'8 (However, i f you substitute op IN O—♦------j ------WV amps always check the pinout of any substitute op amp before you • C11,12 o start wiring.) The board was • 100K* RELEASE^ J_ 14 mounted on the case bottom using #4/40 screws, nuts, and 1/8" ATTACK spacers.

The power supply (figure 4) was assembled on one-half of a Radio Shack dual IC board (R.S. stock #276-159). The 24 Volt center-tapped power transformer FIG. 2 was mounted d irectly on the base COMPRESSOR SCHEMATIC of the case. The front panel includes the power on/off switch

February, 1984 11 Semiconductors and LED "power on" in d ic a to r light. Eight RCA phono type jacks NE572, which in cidentally are a D1-D4 1N746 3V Zener diode were mounted on the rear panel for wealth of information on the de­ D5 -D8 1N4001 power diode audio interconnections, while a sign and proper application of LED1 LED three-lug terminal strip provided this chip. IC1 LM353 (see text) interconnections for power and the IC2, IC4 NE572 LED indicator light. IC3 LM324 (see text) Parts List Mechanical parts Conclusion/Acknowledgement. J1-J8 RCA phono jack Try this c ircu it with your tape Resistors (5% tolerance, 1/4 Watt) SI SPST toggle switch recorder, and you will be sur­ RI, R2, R13-16, R19, R20 100k T1 24V CT transformer prised by the wide dynamic range R3-6 10k IC5 7812 +12V regulator and virtually noise-free opera­ R7, R8, R21, R22 18k IC6 7912 -12V regulator tion. For another surprise, try R9, R10, R23, R24 lk Misc. Cabinet (R.S. #270- the compressor by i t s e l f with RI1, R12, R17, R18 3.3k 274), circuit board audio signals or musical instru­ R25 4.7k (R.S. #276-170), dual ments! Remember, though, that IC board (R.S. #276- this is the simplest possible Capacitors (35V or greater WV) 159) design -- so if you like to ex­ Cl, C2, C7, C8, C9, CIO, periment with variations on this Other parts sources: The NE572, C15-C22, C27, C28 2.2 uF basic circuit, go right ahead. TL072, and TL074 are available C3, C4 0.1 uF Splitting the signal into d iffer­ from PGS Electronics (Route 25 — C5, C6, Cll, C12, C25, C26 ent channels via filt e r in g w ill > Box 304, Terre Haute, IN 47802) C31, C32 10 uF improve operation, but expect to and Jameco E le c tro n ic s (1355 C13, C14, C23, C24 1 uF spend some time getting the filte r Shoreway Road, Belmont, CA C29, C30 1000 uF values just right. 94002).

Acknowledgement: The c ir-

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12 ftrfypliony February, 1984 PRODUCT Korg EPS-1 REVIEW:

By: Bill Rhodes

The EPS-1 polyphonic string section is very Somebody has finally decided that a string authentic, and does not have the reedy or heavily synth/electric piano keyboard should be longer than chorused "robotic" sound of some other string the normal 54 or so keys found on typical designs: machines. It is great for classical rock, neo­ The Korg E lectric Piano Springs ensemble (re ta il classical music, or any application requiring a price, $1595) features a fu ll 76 note keyboard. highly "human" sound. There are no registration Since string (and piano) sounds depend so much on switches on the EPS-1, but having the longer key­ voicing and registration, it seems only natural that board helps compensate for this. The overall sound a keyboard should exist which accommodates these of the strings can be equalized with bass and treble needs. controls; while some people might complain that there is no midrange control, you can always add an As with most electronic pianos, the "acoustic" outboard parametric i f necessary. The EPS-1 also piano sounds of the EPS-1 are adequate but nothing includes attack and release controls; however, there phenomenal. Besides two "acoustic" type piano is no de-chorusing control, nor is there an "anima­ sounds on the instrument, there are two "Rhodes" or tion" (chorus intensity) control, so the strings are "Wurlitzer" type settings, and two clavichord/harp- basically a preset sound. Additionally, the string sichord type settings. The harpsichord sounds are and piano sections of the instrument include inde­ very nice, but then again, these sounds have always pendent volume controls and on-off switches so that been fa ir ly easy to synthesize. The piano section you can easily balance these two sections. of the keyboard has a three band equalizer, a sepa­ rate volume control, a touch sensitivity (dynamics) The overall sound of the strings*, the ability control, and a "presence" control. This push-pull to voice string parts over a much larger keyboard control voices the piano with different degrees of area, and the stereo abilities of the EPS-1 make it intensity; thus, the piano can take on a "feathered" quite an instrument. The top of the keyboard is (muted) tone, or have more bite. The touch sensi­ flat so you can easily stack other instruments on tivity works rather well and is adjustable, but of top of it. There is a slidin g pitch transpose course it is not an exact duplication of the acous­ switch (for those who can't transpose), a nice wood tic action of a real piano. cabinet, and cleats for the AC cord so that any extra length can be taken up (if you've ever tripped A unique stereo chorus and tremolo circu it over a slack AC cord, this is a feature to appre­ controls both the electronic and "acoustic" piano ciate). The price is a little steep, but you are sounds on the EPS-1. The chorus function gives a getting good sound for your money. While there seem pleasing dimension to the overall sound of the elec­ to be tons of string units available on the market tronic piano, especially when mixed together with these days, I feel that the EPS-1 is one of the the strings. The tremolo causes the sound of the best. piano to bounce back and forth between the right and left side of the stereo output and gives a wonderful * Listen to "They Fall From The Skies", the third sense of spaciousness. The EPS-1 also includes a track of my "Key Essentials" album; the strings and damper pedal; this works the damper of the piano, harpsichord were recorded using the EPS-1. and can also control the release of the string section.______

PoSyphoity February, 1984 13 some of the sound examples in­ cluded in the CBM — 64's owner's manual some evening just to see bow absurd POKEing a ra ft of v a l­ Music Software Review ues into memory locations can be. Mind you, the native approach can be good for certain 'sound instal­ lation' events where a simple idea Commodore-64 CBM-64 mutates through randomized values, but to actually realize a serial or trio chamber music composition is pretty close to impossible.

This review covers three software packages: Music Machine and Music Composer, two widely a v a ila b le Commodore ROM car­ tridges; and Synthy-64, available from Abacus Software (Box 7211, Grand Rapids, MI, 49510). Future reviews w ill cover other software, such as Music Construction Set and Vanilla Pilot/Pilot II. Bear in mind, though, that making direct comparisons is d iffic u lt since software is highly idiosyncratic in nature and is always designed to a specific purpose influenced by it s c re a to r's preferen ces. Comparing software isn't like com­ paring a Les Paul to a Strat; it's like comparing a trumpet, sax, whistle, and bassoon...al 1 four use the resonating air column principle, but all four yield very different sonic results! Consider The April '83 issue of Poly­ your own needs and preferences phony includes a comprehensive before buying, and sample whenever article on the SID chip's capabil­ possible prior to purchase. Do How would you like a three- itie s ; obtain it and read James you want step programming (Synthy- voice minimoog customized with a Lisowski's w ell-w ritten descrip­ 64) or a s t a f f with notes and nine-octave digital .sequencer — tion of its operation. While the icons (Music Construction Set)? for $600? I can't give you the software reviewed here makes it Do you want a traditional musical name of a store for that deal, but easy to access the SID chip's syntax (Synthy-64) or an abstract some home computers — notably the functions, knowing what goes on algorithmic approach with randomi­ Commodore 64 (or CBM—64) — can in sid e makes co n c e p tu a lizin g zation and interactive potential come close. Atari and Mattel sounds easier — much the same way (Vanilla Pilot/ Pilot II)? Remem­ o ffer music and sound generators that growing up on modular Moogs ber, a raw CBM-64 is potentially in their new computers as w ell, and ARPs makes it easier for us all things to all folks; what you but so far the CBM-64 seems to pre-digital dinosaurs to program feed it affects the results and have the most flexible features of the new breed of machine. Figure how much fun you have. I f you any synthesizer/home computer com­ 1 is a simplified block diagram of don't like one composition pack­ bination. For those who are not SID's inner workings, along with a age's approach, w ell, heck, try fam iliar with this machine, the minimoog block diagram for com­ another until you find one that's CBM-64 includes 64k of RAM and a parison. right. 6510 CPU. The 6510 is Commodore's proprietary 6502 (the same CPU Unfortunately, Commodore did S u rp ris in g ly , I fe e l the used in the Apple and Franklin not provide simple sound commands 'stinker' of the batch is Commo­ computers), and I think the Commo­ in the b u ilt-in Kernal BASIC, so dore's Music Composer ROM car­ dore 64 is 'every byte' as good as you need music interpreters (pro­ tridge. Usually ROM cartridges the Apple. You can add-on 'smart' gramming tools which work with are a good choice because they are disc drives, and unlike the Apple BASIC or machine language). These almost indestructable and, since (which requires extra o s c illa to r let you talk to the computer in they're programmed in machine code boards to make meaningful noises), simple, musician-oriented com­ instead of BASIC, run very fast. the CBM-64's b u ilt-in "Sound In­ mands, rather than having to POKE However, the least of its problems terface Device" (SID) chip lets numeric values into what seems is that it thinks its name is you make neat sounds right out of like an endless series of regis­ MUSIC MAKER, as announced on the the box. Best of a ll, the CBM-64 ters. Music interpreters are ab­ screen when you f i r s t run it . is the cheapest 64k home computer solutely necessary to preserve Music Composer's disastrous menu- that is also suitable for 'seri­ one's musical sanity; it is a driven approach (a menu allows ous' applications. useful exercise to try programming choosing among alternatives that

14 h^pliony February, 1984 usually lead to further alterna­ suspect this is a quick fix of across a musical s ta ff occupying tives) is not adequate to SID's something originally developed for the screen's bottom half. While demands. Songs are written in the VIC-20 or PET. this program will NOT save compo­ clumsy mumbo-jumbo code, save only sitions or allow three-part play­ onto cassette, and your saved A better choice, especially ing (except in a drone-like fash­ songs (programs) cannot be named. i f your kid wants to make sound ion), it's a gass to watch the The choices of tempo are few, and too, is the Music Machine car­ notes fly by on the monitor! For playback tempos seem approximate tridge ($29.95 list). It gives about $30, then, you can turn your and uneven (I found it impossible sw ift access to a few SID sounds CBM-64 into a Casiotone. to get accurate syncopation be­ by converting the typewriter key­ cause the tempo is nowhere close board into a piano-like keyboard Abacus Software's Synthy-64 that uses the "Q" through "(up- to metronomic). And, a set of is the only serious-and-profes- arrow)" keys, thereby spanning an "rhythms" controlled by the brown sional music interpreter I have octave and a fifth. "Q" repre­ Function keys sends synthesized seen so far,although I'm sure sents the piano C and "black keys" drum sound reeling back into the there must be others out there in are in the digits row above the Dark Ages. Need that? Worst of hackerland somewhere (the recently le tte r row. The program also a ll, a tyro might pick this up introduced "M usiCalc" program provides octave-shift and tuning thinking it would be a good intro­ looks very promising -- Ed.). It keys. Mode, waveform, number-of- duction to electronic music, and was developed by one Roy Wain- voices, and effects are selected wind up frustrated. Why fight wright, who may or may not be a your tools? Yes, I re a lly think by stepping through alternatives musician; whichever, he has done it is that bad, and the documenta­ that show on the screen using an amazing job devising a musical­ tion isn't too good either. Bet­ several d ifferen t keys. As you ly useful set of commands that ter options exist at $29.95; I play, cute colored notes dash gives full control over every function on the SID chip — and includes some bonuses as well. P ric e is $29.95 (c a s s e tte ) or $32.95 (diskette). Diskette is SID CHIP BLOCK DIAGRAM preferred because storage and housekeeping chores go something like 20 times faster on a disk drive, but i f pri,ce is a big con­ straint note that $300-$350 w ill get you started with a 64, a "Da- tasette" recorder (cassette stor­ age device), and the cassette version of Synthy-64. Throw in your TV and/or home stereo or portable tape player and you're ready to go. Either version comes with an exhaustive 39-page manual which explains commands, command formats, and takes the novice through a tutorial. Synthy-64's structure seems 'inherently musi­ cal' since it considers SID as a three-voice ensemble; thus, it is particularly suited to three-part contrapuntal composition whether tonal, atonal, or serial. SID's exotica can be used within compo­ sitions, but your writing will be MINIMOOG BLOCK DIAGRAM done in a soundworld of beats-per- minute tempo, repeats nestable to 27 levels, repeat-except-for op­ tions, and conventional note val­ ues with ties, dots, and double­ dots. One concession to swing: a ! gives a triplet time value. However, you cannot randomize parameters or interact with joy­ sticks or input ports.

Full-screen editing makes scoring very simple. A 'score' resembles a program in Fortran or FIG. 1 APL; line numbers are followed by mnemonic commands (le tte rs ) and parameters (numbers). To edit, you move the cursor about the screen and overwrite any errors or

------February, 1984 15 obsolete parts using INSERT and and so on can be 'sculpted' in that voices stay silent so that DELETE commands where necessary. almost-real time, but don't envi­ you don't have to code hundreds of Move the cursor to the end of the sion playing a synthe-sax with the Rs into a score that alternates lo g ic a l lin e , h it RETURN, and prolixity of a Charlie Parker or between one and more voices. Two voila, the score is changed. GOTO Jimi Hendrix, improvising while chords would score out as: +C4/2 and GOSUB commands are used within the computer 'remembers'; it ain't -C3/2 LC2/2 +R -R LR +C -G a score as in BASIC. If several done here. Go MIDI. LD#. This would play three oc­ songs are grouped within one taves of C, followed by a half­ 'score' (i.e., program) a certain Five preset instrument sounds note rest in all three voices, selection can be called using a live at the top of the music memo­ followed by a chromatic C-minor simple combination of INPUT and ry space, lines 63010 to 63050. half-note chord. Knowing this GOTO commands at the beginning of Use them as-is or a lter them. much you're ready to go! the program. GOTO sends the pro­ "Piano" is a default sound on all gram to a specified line number, three sound generators, and until The manual is very clear on while GOSUB sends the program to you've grasped the scoring process tricks like repeat, repeat-except- and through a subroutine for more it's best to stick with the pre­ for, and the like, so I w ill not data or music. (RETURN then sets. Later on, you can create delve into this further. However, shoots it back to the line number your own voicings and edit them I would like to b r ie fly outline follow ing GOSUB.) Sounds confus­ into a score. Since the five some of the Advanced Features ing, but i t 's sim ple, r e a lly . instruments reside on the disk or (voice setting, modulation, f il­ Subroutines can also reset sound tape they are never lost. Use te rin g , portamento) using the parameters in the different them to develop a piece, and when manual's own example. voices, change them completely, or you're sa tisfied , give your trio supply a repeating chorus; a sub­ different instruments later. This Scoring simplicity is only routine might even be a single saves a lot of composition time. half the power of the Synthy-64 complex part that comes up over interpreter. The sign de­ and over again. Wherever you'd Synthy-64 is intended to save limits a voice-setting command. like to repeat, use a GOSUB to time and keystrokes. The whole The manual refers to these as save scoring time and editing. shebang revolves around a b r i l ­ 'tone generator control commands' Usually a logical line w ill repre­ lian t idea: C4/8 means "play a and I'll agree that's the accurate sent one, two, or four bars of 'C' in the fourth octave for an thing to call 'em. The tone gen­ music (consistency here means less eighth-note duration" (tempo de­ erator parameters being controlled confusion!) and a subroutine can faults to 100 BPM but w ill run are: Attack (An), Decay (Dn), take as many lines as you want -- much slower or faster i f desired). Sustain (Sn), Release (Rn), Gate even more than the main routine. A program line which reads C4/8 R (Gn), Pulse Duty Cycle (Pn), Sync Comments (REMarks) and screen D E R D E R plays C, D, and E (Yn), and Waveform (Wn, where n = text manipulations can be inserted notes, and rests (R), a ll in oc­ S/T/P or a combination for Saw- into the score without affecting tave four and all with an eighth- tooth/Triangle/Pulse; you can also the music. You cannot display note value. Note that subsequent specify N for White Noise). That's on each generator! Most of graphics, but you can announce notes 'inherit' timing and octave the settings w ill be obvious to titles, show lyrics, or similar values until changed. This saves simple text. Comments lines se­ many, many keystrokes and typo­ Polyphony readers; Sync generates complex waveforms in FM synthesis; parate a score into parts for easy graphical errors, while compacting reading without affecting play­ scores and keeping them readable waveforms (except Noise) are mixed back. too. The rhythm from the bar i f more than one is specified. above, incidentally, is: You could, for example, mix narrow What is an actual song like? pulse and triangle. Making up a Abacus includes sample tunes as chart of parameter values and the "Music-64" program. They show ranges will help a great deal here the agility you might develop, and as you invent sounds. Even with­ source listin g s are included in } i d i n i out such a chart, though, you the” manual. One example illu s ­ \ * should see that -@WN @Q500 @D12 @A0 @S0 @R0 @G1 translates to trates the TRACE command, which CRDERDER displays a real-time parameter Noise with fastest Attack ("zero rise time") and a medium Decay, no chart onscreen; the various num­ S or R, and Gate "On" - - this bers and letters change, as the Serialists and chromatic im­ gives a percussion sound. @Q500 sound plays. Initially intimi­ pressionists w ill love the #/$/%, sets generator #2 frequency. dating to watch, the chart sped up or sharp/flat/natural designators. my learning process since I saw SGN#2 sets the key signature to D- One filter setting will af­ and heard how d ifferen t values major (two sharps), to save even fect all three voices since affect the sound. more keystroking. SGN can be set on any sharp or fla t key center. they're either passing through the f i l t e r or around it (SID even Complex pieces must be pre­ Multiple voices are designated by includes a bypass option!). Voice scored somehow on paper. You can +/-/L (English pound symbol), three can be shut o ff at the f i l ­ RUN passages in edit mode to hear which are thoughtfully grouped in them if you enjoy working by ear, the top right to speed up scoring. ter and rerouted as a Mod oscilla­ tor, just like a minimoog. Vibra­ but in any case, organization is Synthy-64 w ill scan ahead during to, FM, and Ring Modulation (@Mn) critical. It's almost impossible polyphonic passages and sound to improvise in Synthy-64 com­ grouped voices as chords, or s i­ are easily accomplished. The f i l ­ ter has HP, BP, and LP options mands! Actually, abstract sounds multaneities in klangfarbenmelo- which can also be combined for using Sync, Mod, Noise, Filter, die. There are ways to ensure 16 h^filioity ------February, 1984 oddball slopes. Xn sets the fre­ quency (values are 0 to 15); Yn sets the "Q" (0-15), and Zn sets HP/LP/BP.

When checking out the ad­ vanced features (which I'm sure Vocal Basics are of the greatest interest to Polyphony readers), the key word By: Danna Sorensen is 'play'. Experiment with the examples in the manual, then with (back), and costal (rib). Now sit As more musicians put togeth­ your own ideas. See how single up with back straight and chest er home studios and play a ll the parameters can be shifted (you high, and repeat the breathing don't have to rewrite the entire parts on their compositions, many exercise in this position. Stand tone generator command line). Go players are acquiring new skills. and place the back of your hands crazy! Guitarists are learning synthesi­ on your ribs and concentrate on zer to flesh out their composi­ moving your hands out and in as "Okay," you say, "I'm sold. tions, it seems everybody is you inhale and exhale. Inhale I'll buy it. Isn't there anything learning how to program electronic deeply; then exhale slowly with a the matter with it?" Well, yes. drum machines, and many musicians steady hissing sound for 24 It is very picky about spacing are opening up their mouths and counts. Continue to use abdomi­ singing for the first time. between commands, and w ill return nal, dorsal, and costal muscles to error messages i f you've put any push the air out, creating a loud­ Singing is a very natural spaces in the wrong places. When er and louder hissing sound. Now act; just open your mouth and push Synthy-64 hits an error, the music stand up with back straight, chest the air out. But, singing right stops, the trace chart appears high, feet apart, with one foot is a lit t le more complicated. You onscreen, and the error message slightly in front of the other. prompts you to take 'corrective have to be careful not to abuse The weight is on the forward foot. measures' (ho-ho-ho). Also, Syn- your vocal cords, which can be a Place hands on ribs, and do the thy-64 does not provide sync in or problem with inexperienced sing­ following: out. It would be helpful if ers. I have seen many prospective Inhale: inhale deeply, allow someone devised a hardware/soft- singers ruin (or at least very ware fix to allow at least sync- seriously damage) their voices the abdominal, dorsal, and costal muscles to expand. out at "n" pu1ses- per-quarter from unintentional misuse of the note. The Abacus folks indicated vocal mechanism. My intention in Exhale: contract (pull in) that they are working to link a this a rtic le is to clear up a few the abdominal, dorsal, and costal pair of 64's to a llo w stereo misconceptions about singing, as muscles. This is your support. three-part music, so sync can be well as provide a guideline to Without it you w ill have a whis­ done. Just don't ask your friend­ further development of the voice pering tone quality in your voice for those who want to get into ly reviewer to explain how! instead of a clear fu ll bodied singing on a more serious level. tone. All the CBM-64 software You should have a feelin g of Getting started. For the be­ stands or fa lls on the 5-pin DIN " l i f t " from the abdomen upward. ginning singer, the best place to jack* used to send the audio to Do not raise the shoulders. h i- fi, tape, or anything but a TV start is with your posture; good speaker. You won't hear the posture is the foundation of con­ Your tone should be rounded quality of SID's sounds without trolled breathing, and controlled by the mouth and lips. Lips and it. You w ill also hear a Casio- breathing is the foundation of tongue should never be tense; the like 'graininess', but remember singing. Hold your head comforta­ jaw should be loose, and the that you're spending $300, not bly erect, with your shoulders tongue in a forward position with three grand. remaining down. Carry your chest the tip resting against the back comfortably high, but not too high of bottom row of the teeth. If In sum, for the bucks the — certainly not like a soldier's the tongue slips back it w ill CBM-64 can open a lot of doors for posture. Keep your back straight. block the flow of air and create you whether you want to make mu­ You can get into this position by too much tension on the throat. Correct tongue positioning w ill sic, process words, manage money, standing against a wall, and mak­ ing sure that your body contacts open up the air passage. or play games. I would recommend Synthy-64 for the serious composer the wall from heels to head. Directing vocal energy. You and the student or beginner alike. have a soft and hard palate. Put I encourage you to try it out; After becoming aware of your your tongue to the roof of your soon w e'll look at more music­ posture, it's a good idea to be­ mouth and go back as far as you making software for our Commo­ come aware of your breathing. can. The soft tissue you feel dore's helpful SID. From a s ittin g position, lean forward and place the forearms on there is your soft palate. Bring the knees. Take a slow, deep, your tongue forward a bit and you can feel a hard lump. This is the *DIN cable source: J.J. Meshna noiseless breath through the Inc, 19 Allerton St., Lynn, MA mouth. Expand the w a is tlin e hard palate. 01904. Tel. 617/595-2275 or write around its entire circumference, for catalog. $10.00 minimum or­ but do not raise the shoulders. Even though we know that the der . The muscles you are using are the air goes down into your lungs, abdominal (stomach), dorsal imagine the air fillin g up the top

February, 1984 17 is the most closed sound; "AY", as Once these concepts are clear the throat as little as in "ate", is an open sound; "OH", clearly understood and put into possible — it is much better to as in "rose", is an open sound; practice, the vocal mechanism w ill sing the mucous off. I f you ever "AH", as in "law", is the most begin to work wonders with very need surgery such as to n s ille c ­ open. All vowels must eventually lit t le effort. Don't expect mira­ tomy, or other operations that be modified (by changing to more cles overnight: Correct singing require a tube down the throat, of an open "AH" sound) as the is difficult and takes time, but make sure your doctors know you pitch gets higher. For instance, your voice w ill be stronger and are a singer and must be careful. "EE" almost always has to be modi­ last much longer than i f it were Do not overwork the voice; stop fied in the upper range. Singing untrained. when the voice begins to feel fatigued, and do not speak on a it straight puts too much tension Caring for the voice. Your pitch higher or lower than the and stress on your throat, so it voice should be treated properly. optimum one for you. Many drugs closes up and you w ill not be able Get plenty of rest and exercise, (alcohol, marijuana, amphetamines, to hit the note. (it also takes do not scream or belt, and do not coffee, cocaine, etc.) dehydrate more push from the abdomen to sing talk, sing, or practice when the you and are bad for the voice. in the upper range.) You modify throat is irritated. To prevent Cigarettes, of course, are also the sound by dropping the jaw and dry throat, drink at least six opening the mouth wider. glasses of water a day. Cough or terrible for your voice.

Singing is fun and exciting and well worth the effo rt. Good The Digital also contains: luck, and most of a ll, have fun! Electro-Harmonix • DIGITAL CHORUS which cam In closing, here are some words be used at the SAME TIME from the great teacher of acting, Digital Delay as the delay and flange.. Stanislavski: • REVERSE SWITCH-Not only "Love the art in you, not you I The new Electro-Harmonix Digital Delay is the can you lay down up to a 16 in the art. Artists of colors, first offering by the newly reorganized E-H, and if second track, but with the they continue in this vein, the company will really sounds, chisels, and words choose V * give the Japanese something to worry about. flick of the reverse switch their art in order to communicate First of all, this is the smallest long delay unit I've ever everything you played will seen—you don’t even need a rack for it. Secondly, because it through their works with other instantly play BACKWARDS has such a long delay time, which can be used to store people. The inner process must be sounds and play them back, you have, in essence; a without losing a beat. And, “ Fripp-in-the-Box," if you will— meaning that you can use this conveyed to the audience. The box to stimulate the tape loop effects that have made Mr. you can then lay forward most important thing is to build Robert Fripp famous, without two tape machines. Because tracks on top of the you have such a long time beween the time you play and the the life of the human spirit." time it comes around again (from eight to sixteen seconds, backwards track— all while maximum), you can sound like more than one player at any you’ re playing LIVE! given moment. As a matter of fact, one of the important functions of the • 'DOUBLE SWITCH-Anything E-H digital delay line is to overdub yourself live using the freeze function that takes whatever is in the "circuits” at the you lay down can play at half References for further study: time and stores it. Then it plays it back right away. So you can or double speed. And— you can lay down a normal speed Monahan, Brent Jeffery, The Art of track on top of the halved or Singing: a Compendium of Thoughts double speed track— while on Singing, New Jersey and London, you’re playing LIVE!! 1978. Scarecrow Press.

• You can sing through the Pearl Shinn Wormhoudt Building the Digital, laying down multiple Voice as an Instrument, (Oskaloosa harmonies on top of each Iowa, 1981) other each time the unit Caruso, Enrico, How to Sing, re­ passes through its 16 second published in New York, The Opera cycle where it instantly starts Box: originally published in Lon­ looping at the beginning don, The John Church Company. again— all without losing a beat— all while you’re Fuchs, Viktor, The Art of Singing and Voice Technique, London, John playing LIVE!!! Calder (Publishers) Ltd., 1963. • You can invent a gigantic Miller, Richard, English, French, dub over that part, and layer it up. The designers have included variety of unusual new sound German and Ita lia n Techniques of a click track that you can hear, but which doesn't get recorded, effects of your own with to allow you to synchronize yourself. This unit also interfaces Singing, New Jersey, The Scare combinations of settings. to the E-H line of deluxe rhythm boxes (and perhaps to some Crow Press. others) so that you can automatically sync the repeats to the tempo. Try the 16 Second Digital Delay Functional Lessons In Singing, The E-H Digital Delay is also capable of producing a digital at your favorite music store. If Evan Trusler and Walter Egret. flange, which I like a lot. In sum, there is a lot that you can do they don’t have it in stock, with this unit, and in traditional E-H fashion it is priced at a Also, Manuel Garcia achieved fame half or a third of any similar unit. The unit is quiet, easy to use they can get one shipped as a teacher and has written some and easy to stow away in a shoulderbag. within 24 hours. — Peter Mengaziol excellent books. Venard and Cof­ March, 1983/Guitar World Mike Matthews fin have done some very in-depth Electro-Harmonix studies as well. Their books are 27 West 23rd Street very helpful i f you really want to New York, N.Y. 10010 study the voice, and can be found (212) 741-1770 in most libraries. elecfro-barmonix ------•

18 I\>Sypliony February, 1984 irtually all of the music we hear is tuned to the even-tempered Build scale. In fact, this scale is so common that many people forget that alternate scales exist. How­ ever, even-tempered tuning is a relatively recent development (it traces back to Bach's time, around A Just Intonation 1600). The reason it was devel­ oped is that other forms of tuning (such as just intonation), while more physically "precise" (see Generator David Doty's article in the August 1983 Polyphony, pp. 38-42), could not modulate easily from key to key. Over many years, it was discovered that i f a ll the tones of a scale had the same numeric relationship to one another — not By: Vanessa Else an acoustic relation sh ip to a specific fundamental frequency as tempered tuning? Then, JIG is for quencies than others; sixths and is the case with just intonation you. minor thirds are particularly no­ — then any tone of that scale ticeable. A common example of could compositionally function as "JIG" is an acronym for Just- this even-tempered discrepancy is the fundamental at any time. Intoned-Generator. Based on one known to guitarists — trying to Therefore, even-tempered instru­ of the most commonly known just tune a fretted guitar with string ments could modulate to many d if­ intoned scales, it is a top octave harmonics w ill never be success­ ferent keys within the framework generator board (available in kit ful, since the acoustically pure of a single piece. form from PAIA Electronics) that overtones are nqt coherent with r e tro fits any 50240-based elec­ the fretted tones. Some acoustic instruments tronic musical instrument to just produce a discrete set of frequen­ intonation, or can form the basis Western culture's even-tem­ cies (wind instruments with key­ for custom instrum ents. (The pered system, based on the rela ­ pads, fretted string instruments, 50240 is an even-tempered top tionship of an irrational number, piano, etc.). Others have a v i r ­ octave divider chip used in many cannot avoid creating a multitude tually infinite set of playable keyboards, including PAIA's Organ- of beat frequencies with combina­ frequencies between a maximum and tua, Stringz & Thingz, the Chord tions of one or more notes. As minimum point specified by the Egg, and Oz. For more information some people theorize, this might instruments' size (trombone, tim­ on this chip, see Polyphony 2/76). be unhealthy to our nervous sys­ pani, voice, any fretless string tems for reasons sim ilar to the instrument, etc.). Since acoustic The subject of just intona­ problems caused by fluorescent instruments were the only ones tion is becoming a hotter and light: the constant optical beat­ available in Bach's era (yes, some hotter issue as technology ad­ ing (fluorescent light is a con­ of you may find it hard to imagine vances and we are therefore better tinuous stream of light pulses) is but there was a time when AC cur­ equipped to deal with the com­ alleged to drain the human body of rent flowed not from yonder wall plexities of modulation within energy, and has been known on sockets), the even-tempered tuning "pure" tuning systems. By the occasion to induce eye infections. of the discrete type of instrument "purity" of just intoned music, I Who knows what the nearly imper­ locked almost all of Western music mean that combinations of notes ceptible -- yet unavoidable -- into the even-tempered standard. which have whole number mathe­ beatings in even-tempered tuning matical relationships to each oth­ have done to the psyche of Western Luckily, the second type of er have fewer discordant qualities man? Just intonation just might instruments described above (those (im purities) than combinations of be a partial antidote to the cata­ not committed to any particular notes whose relationship is de­ strophic cacaphony of Western cul­ scale) are abundant and diverse fined by an irrational number (as ture — i f our music becomes more enough that you could be playing with even-tempered tuning; again, soothing, perhaps our culture will in just intonation tomorrow. You refer to David Doty's a rtic le ). become more peaceful and coopera­ and your friends can pull out your In other words, playing two or tive as well. cellos and violins and start vi­ more notes simultaneously (other brating to the resonant harmonics. than octaves) in even-tempered Circuit Design: Basic math. Then again, you might want to pull tuning will generate beat frequen­ The just intonation scale is de­ out your electronic just-intoned cies. This is because harmonics fined by a set of ratios all re­ devices (such as fretless bass and are not even-tempered, and the lated to a base, or fundamental, synthesizer) and charge the air higher note(s) of the interval is frequency. For example, the note with some of those rediscovered lik e ly to beat with an harmonic represented by the ratio 3/2 is resonances. Ahhh, you say your from the lower note(s). Some 1.5 times the fundamental frequen­ synthesizer only plays in even- intervals produce higher beat fre­ cy. Our set is a diatonic (12

February, 1984 19 note) expans ion of one of the scales discussed in David's arti- PRIME NUMBER “NOTE” X c 1e. The ratios (RATIO 720 1 ' 1 RESULTING DIVISOR used to derive COMPONENTS this scale are: C lo X ' / 720 I -1 720 5 x 32 x 24 C5 1 16/15 X 1/ 720 1-1 675 52 x 3 3 1/1 16/15 9/8 6/5 5/4 4/3 D X 1/ 720 I -1 45/32 3/2 8/5 l % 6 40 5 x 27 5/3 9/5 15/8 D2 X 2/1 l % 1/ 720 I -1 6 00 5 2 x 3 x 23 E l 5 / 4 X V 720 I -1 576 32 x 26 F l % X V 720 I -1 5 40 5 x 33 x 22 The JIG circuit starts with a F“ l 45/32 X V 720 l -1 512 29 single, very high frequency clock G i 3/ 2 X V 720 I -1 480 and sends it through several d if­ 5 x 3 x 25 g 3 l 8/ 5 X 1/ 720 I -1 4 50 52 x 3 2 x 2 ferent frequency dividers; tapping A i 5/ 3 X V 720 I -1 432 3 3 x 24 d ifferen t output points of the A$ !% X 1/ 720 I -1 4 0 0 5 2 x 2 4 circuit provides a correct set of B I 15/18 X 1/ 720 I -1 384 3 x 27 tones. Since there is only one C hi ! 2/ i X 1/ 720 I -1 360 5 x 3 2 x 23 driving clock frequency for the entire block of dividers, we want FIG. 1: BASIC MATH FOR DIVIDER NETWORK to find the lowest number by which a ll these ratios are related in order to keep the clock frequency reasonably low. That number turns out to be the lowest common multi­ ple of the numerators of the above ratios. The lowest common multi­ ple of the numbers 2, 3, 4, 5, 6, 8, 9, 15, 16, and 45 is 720. This is the largest divisor so it gen­ erates the lowest note of our scale — the root, which w e'll call Clo* Note, however, that the general use of "C" in this article and the accompanying diagrams is irrelevant to the frequency of C in contemporary, United States, standard, even-tempered tuning ( = 16.35 Hz, 32.7 Hz, 65.4 Hz, 130.8 Hz, or 261.8 Hz, etc.). In this discussion "C" merely indicates the fundamental frequency, or ton­ ic, of a just scale.,

Beyond semantics... since we're dividing the clock by 720, our clock frequency must be 720 times higher than the fundamental of our scale because:

clock freq (divided by) 720 = actual Hz of tone

Therefore i f we wanted the scale's fundamental to be 220 Hz (an octave below concert A-440) our clock frequency must be 158.4 kHz (= 720 x 220).

Now that we know the value of the numerator of the transform ratio (the least common multiple) we can figure out the divisors (of the clock frequency) for each of the other eleven tones. Refer to figure 1. Because 720 is the least common multiple of the numerators of the ratios we see X = 720/ratio that divisors, we break them into their where X is the resulting clock prime numeric components which the given ratio = 720/X divisor required to obtain each easily translate into a network of note. Once we have our set of dividers (see figure 2).

20 IVrfypIioity February, 1984 Since all just scales are not created equal, figure 3 shows the mathematics and block diagram for lo PRIME NUMBER ‘NOTE” I RATIO X RESULTING DIVISOR an alternate, seven-tone Pytha­ COMPONENTS gorean scale (described in David C lo 1% X Doty's a rtic le ). There are many V 972 I -1 972 3 5 x 22 D 1 % X / 972 l -1 8 64 3 3 x 2 5 different possible scales, so if E X 1/ 972 I -1 768 28 you fully understand the procedure 3 x F |4/3 X V 972 I -1 729 of using dividers to create scales 36 G l 3/2 X V 972 I ‘ I 6 4 8 34 x 23 from a high frequency clock, you A l 2^16 X V 972 I -1 5 76 3 2 x 26 w ill be able to design your own B | 243/128 X y 972 I -1 512 29 top octave divider derived from C hi | 2/1 X / 972 I '1 4 8 6 35 x 2 your favorite scale. In case you would like to experiment with Common denominator of 9 ,8 1 ,4 , 3 , 27 & 243 = 972 other just scales, those in figure 4 were also provided by David Doty (note that our JIG scale is the same as #2). His comments were, "I am not certain (these) are the best ones available, although thev may well be. The possibilities are enormous and, in any case, what makes a good scale is as much in the hearing as in the numbers. #1 has the lowest numbers of any 7-lim it chromatic I have found. #2 is a 5 limit scale with the maximum number of consonant triads. This is what many theo­ rists consider the proper form for a chromatic scale. #3 is 0MJ12, the 12 tone version of our (Other Music's) current scale, and the one we would probably prefer on a keyboard. Note that it d iffe rs from #1 by only 1 note (D), but that this one note raises the divisor by a factor of 3. #4, the "Inverse Helix" has the lowest divisors of all, but definitely falls into the category of exotic scales; not something that you could substitute for a normal chromatic scale without bizzare FIG. 3: PROCEDURE FOR ANOTHER JUST SCALE results."

NOTE" RATIO DIVISOR NOTE" RATIO DIVISOR NOTE RATIO DIVISOR NOTE RATIO DIVISOR

C|o 1/1 420 C|o V i 720 C|o V i 1260 C|o 1/1 48 C2 2%7 405 C 8 16/15 675 C 8 28/27 1215 C 8 12/11 44 D 1% 378 D % 6 40 D 9/e 1120 D 8/7 42 6 / D 8 % 360 D 8 '5 6 0 0 D 8 7/6 1080 D 8 6/s 40 E 5/4 336 E 5/4 576 E 5/4 1008 E 16/13 39

F 4/3 315 F 4/3 540 F 4/3 9 4 5 F % 36 F 8 7/s 330 F 8 45/32 512 F 8 V s 9 00 F 8 16/11 33 G 3/2 280 G 3/ 2 480 G 3/2 840 G 3/2 32

G8 1% 270 G8 % 450 G8 1% 810 G8 8/s 30 A 5/3 252 A 5/3 432 A 5/3 756 A 12/7 28

A 8 7/4 240 A 8 9/5 4 0 0 A 8 7/4 720 A 8 1% 27 24/ B 15/8 224 B 1% 384 B 1% 672 B '13 26 210 2/ l C hi 2/ l Chi V i 360 Chi 6 3 0 C hi 2/ l 24

1 2 3 4

FIG. 4: SEVERAL JUST SCALES

I\riy|)lioitv February, 1981 21 Circuit design: Circuit des­ fore, on any count, the decoded c r ip t io n . Refer to the circu it output goes p ositive, while the diagram (figure 5), which shows a others remain at ground. This conglomeration of dividers with a w ill furnish a pulse output wave­ NOTE: All 16 pin ICs, connect pin 16 to +V. Master Clock. These dividers, as form at the pin where you tap the All 14 pin ICs, connect pin 14 to +V. you might suspect by now, are the note. Recommended supply voltage =12-15. circuit equivalents of the block Bypass capacitors not shown. diagram we constructed above For a ll divides (other than (figure 2). ten) you can tap the output at any of the points that trigger before We begin with the Master the pin to which reset connects. Clock, which is a 4001 (Quad 2- For example, to construct a di- input NOR Gate) CMOS chip con­ vide-bv-seven module connect pin 6 figured to provide a pulse wave to the reset (pin 15) and tap the output with an approximate 50% output at pins 1-5, 7 or 10. To OCTAVE SELECT duty cycle. The 47 pF capacitor construct a divide-by-eight module assures an extremely high clock connect pin 9 to pin 15 and tap frequency. For lower clock output the output signal at any of the frequencies, use a larger capaci­ same places as with the divide-by­ tor. seven (with the addition of pin 6 as one of the choices). However, The clock output feeds an it is safest to avoid confusion octave select section which pro­ and to always tap o ff the 0-point vides three switch-selectable oc­ output (pin 3). That way your tave ranges. Resistors RI and R2 finished board is easier to read provide protection for the inputs and debug if necessary and you are of IC12and IC3; i f these resistors less apt to make mistakes during lower the clock voltage too much construction. Note, however, that (all clock voltages must swing to for divide-by-ten the output must greater than half the power sup­ be tapped at pin 12. ply), lower their values or short them out after the unit is wired. It is necessary to tap a The divider stages following the divide-by-ten output at pin 12 octave select switch are simply because during "normal" operation the exact realization of figure 2, the OUT terminal (pin 12) is high the divider network. And here, for counts 0 through 4 and low for folks, with this concise and sim­ counts 5 through 9. Tapping the ple design we have another shining output at any of the other output example of the simplicity of life pins produces a constant output achieved through CMOS! voltage that is either high or at ground. The minor problem with Now let's delve into some this is that when using a divide- specific points of interest re­ by-10 at the fin al output stage garding circuit design. Divide- for a note, the resultant waveform by-two, and divide-by-four can be is a square wave (the same thing accomplished with a 4017 (another occurs if you have a divide-by-two CMOS IC -- a Synchronous Divide- or divide-by-four final stage for by-10 counter with l-of-10 out­ a note.) Uh-oh, we see that we puts). However, since this chip have square waves for some notes is more expensive than a 4013 CMOS and pulse waves for others. Have Dual D Flip-Flop, and each D flip - no fear! I f the in it ia l clock flop “on the chip can perform bi­ frequency is high enough, the stitute a 4017 divide-by-ten mod­ nary divide, we use 4013s wherever output frequencies from our board ule with a two-chip configuration possible. can be wave-shaped. There is not of divide-by-two and -five. Also, enough room for us to discuss we could use a 4017 when the final 4017s provide all signal di­ waveshaping here so I refer you to output stage is a divide—by-two or visions other than 2 or 4. The Don Lancaster's CMC^S Cookbook -four to avoid the square wave 4017 has a few operational quirks (available through Polymart; see output problem, but these are which I encountered during JIG's page 34. Look in the Applications solutions which are not warranted development. For normal operation Catalog section of Chapter 5, because of cost considerations. ("normal" for this chip being where it discusses the use of D Besides, this is a terrific oppor­ divide-by-ten division) the clock flip-flops to make digital-to- tunity to experiment with wave­ enable and reset pins (see figure analog converters -- p. 288 in my shaping i f you haven't so far. 6) should be at ground. To wire edition of the book). I wonder, (Editor's note: After playing up any divider between 0 and 9 tnough, how much the harmonic with JIG, I did not find the blend inclusive, the reset pin (#15) complexity of the varied waveforms of three square wave outputs and should not be grounded but should supports or detracts from just nine pulse outputs with varied be connected to the appropriate intonation's sonic uniformity. duty cycles objectionable -- in output pin for the required d i­ fact, to me the combination vide. The counter w ill advanced Of course, to avoid an output sounded more appealing than a ll one count each clock pulse; there­ stage square wave we could sub- square or all pulse waves.)

22 February, 1984 0 + 6 7 5

0 + 4 5 0

0 + 40 0

£ la -o0 + 7 2 0

2 ---- 0 + 640

0 + 5 7 6

13 5 4 6 D Q D Q T 12 0 0 0 + 5 1 2 A A

IC 3 4 6 7 8 10

S— 0 + 3 8 4

14 4 6 7 8 10 -0 + 4 3 2 8 IC 13 19

- 0 + 480

(+3)

IC 25 © - 0 + 540 IC 21 (*5)

Construction. JIG is avail­ IC 24 able from PAIA as a parts kit with 15 -0 + 6 0 0 circuit board for $49.95 (the circu it board is also available separately for $15.00). Using a circuit board greatly simplifies The JIG c ir c u it board is construction when you consider designed so that by cutting along Chi that this is a twenty-six chip a dashed line, the divider network 0 + 3 6 0 creation. If you're building the c ircu itry can be separated from kit, note that there are only the Master Clock, Octave Select, fifteen jumper wires which need to and 50240 socket (used for retro­ be installed. fitting existing instruments to

IVriyphoity February, 1984 23 50240. Remove the 50240 from the instrument you want to retrofit, and run a DIP header cable from the JIG "50240" socket over to the instrument's 50240 socket. This arrangement picks up power for the JIG board from the instrument's 50240 socket, and sends the JIG outputs back into the instrument through the 50240 socket. How­ ever, make sure the instrument's power supply has enough reserve capacity to pow-er the JIG, which draws 15-30 mA (over the maximum to minimum available output fre ­ 5 0 2 4 0 quencies) . TOP OCTAVE MUSIC GENERATOR I f you want to hook up the JIG to a keyboard, refer to figure 7. This is based on John Simon- ton's design in the 2/76 issue of Polyphony for use with the 50240. This circuit is essentially a passive mixer that sums the JIG outputs through 22k resistors to a point that equals one-half of the supply voltage (as set by the voltage divider network consisting of the 10k, 4.7k, and 5k resis­ tances). Switching the outputs to the one-half supply voltage point minimizes thumping and popping, FIG. 6: CHIP PIN-OUTS since the JIG outputs alternate between the positive supply and ground. just intonation; see below). This than ceramic types, so that your means that should you desire a scale w ill not "wander around" Expanding the JIG. One of different just scale for your w ithout you. A lso, the w ire the reasons why just intonation sonic creations (which requires a length from the clock output to f e l l into disfavor is because it different divider network) you the divider network should be as is d iffic u lt to modulate to d if­ need not replicate the clock and short as possible to avoid stray ferent keys. However, with elec­ octave select circuits. You could capacitance, inductance, reac­ tronic instruments you can modu­ even insert a switch for rapid tance, and other transmission line late simply by changing the clock change from one scale to another. problems. Use IC sockets so that frequency, and since all dividers in case you create other JIG d i­ are locked to this frequency, the Here are a few tips for those vider networks, you can swap ICs scale w ill remain in tune regard­ of you who are going to build a from an existing JIG board. Of less of what key you select. The JIG from scratch. CMOS inputs are course it would be more convenient problem now becomes to calibrate particularly susceptible to damage to have a complete set of chips the Master Clock in a just intoned from static electricity; there­ for each scale but convenience is scale. The simplest, and least fore, after you've shuffled across an economic luxury not a ll can accurate, solution would be to use the carpet, be sure to touch a afford. Invest in the sockets. a calibrated dial to select the ground connection before working appropriate key. Another solution on your circuit. Also, if you're The next question is how to would be to use a rotary switch to breadboarding the JIG on a socket wire up the outputs; this will select d ifferen t preset tuning strip and are going to be connect­ vary, depending on whether you pots, which would need to be tuned ing wires to holes in the socket want to retrofit a 50240-based to just intervals. Unfortunately, strip that connect to CMOS input instrument or build a custom in­ none of these methods is highly pins, be sure to provide input strument around the JIG. accurate. protection. Placing a lk Ohm resistor in series with the CMOS Retrofitting is pretty sim­ Other approaches are pos­ input (in other words, between the ple. I f you obtain one of PAIA's sible, however. One option would place where you keep jumpering to JIG boards you w ill notice that be to use one of the JIG boards in the input and the actual input pin there is a 16 pin socket on the the feedback loop of a phase- of the chip) provides adequate board with a bunch of pads. By locked loop, and try for frequency protection. (Again, refer to Don wiring the positive supply, ground multiplication of a relatively low Lancaster's CMOS Cookbook.) connections and JIG outputs to the Master Clock frequency. While indicated pads (C to C, C# to C#, this hasn't been tried, it seems The Master Clock should use a D to D, etc.), the JIG outputs like the best — although also the polystyrene or mica capacitor, w ill appear at this socket con­ most expensive — way to create a either of which is more stable figured like the outputs of a just intoned Master Clock. Anoth-

24 Poi^iliony February, 1984 er p o s s ib ility would be to use a very linear VCO such as a 566, and select different precision timing resistors (with values calculated to produce a just intoned scale) selected with a rotary switch. There would be a slight amount of error, but this approach would represent a good compromise be­ tween cost and precision.

Some might wonder about the merits of cascading two boards — in other words, driving one JIG board with a very high frequency clock, and using one of its out­ puts (whichever would correspond to the desired key) to drive another JIG board. However, in order for this approach to work, the Master Clock would have to be a higher frequency than present- day CMOS can handle unless you (Components marked with * are not wanted lim ited modulation capa­ Mechanical parts included in the JIG parts kit.) bilities. As always, there are as many different solutions to a SI SP3T rotary switch problem as there are minds think­ Misc. Six 14 pin sockets and ing about it. twenty 16 pin sockets Acknowledgement. I extend (one for header socket), many thanks to Craig Anderton. Since there has been so much circuit board, power Only with his expertise and assis­ interest in the subject of just supply*, wire, solder*, tance could this article have been intonation, we're planning on pub­ knobs, etc. written. lishing follow-up articles on ap­ plications, alternate scales, and how to create a just intoned/easi- ly modulatable clock; but first, we need you to send in the a r t i­ cles! So i f you have any in ter­ esting ideas or experiments in­ volving the JIG, w rite Polyphony S M D CUSTOM CIRCUITS at P.0. Box 20305, Oklahoma City, Circuit Boards For The OK 73156. U Experimenter Parts lis t B Products For The Audio Resistors (5%, 1/4 Watt except as noted) S Technician RI, R2 lk (seetext) 8-Channel Glide/Sample § Hold R3 lk 8-Channel Envelope Follower R4 10k C R5 10k linear pot 4-Channel F To V Converter R EXP to LIN/LIN to EXP Converter Capacitors (15 or greater working 4 Input 8 Output Pan Pot Volts) I High Quality PC Boards Bypass capacitors: B Low Noise Parts Cl 47 pF (polystyrene preferred) More Products On The Way C2-C5 0.01 uF ceramic disc E C6-C9 10 uF electrolytic For Free Information Contact Our Sales Rep: Semiconductors page Eric Falkenhan IC1 CD4001 quad NOR gate 31 Elm Drive IC2-IC7 CD4013 dual D flip-flop Baltimore. MD 21220 301-357-4197 IC8-IC25 CD4017 divide-by-10 6 counter

ftrfyiiliony February, 1984 25 Practical Circuitry

Build A Quadrature Function Generator

By: Tom Henry

What exactly is a quadrature erates triangle waves (or some­ a 4070 EX—OR gate. Note the unu­ function generator? To answer times ramp waves). sual power supply hookup for this that, we must first understand the chip. Since th is part of the concept of a quadrature o s c illa ­ How it works. To fu lly un­ circuit drives the gate of an N- tor. An oscillator is said to derstand the workings of a quadra­ channel FET, we need a swing from have quadrature outputs if it ture function generator, we must negative to ground. produces simultaneous sine, co­ resort to some mathematics. sine, negative sine, and negative There's hardly room to do that IC1D, Ql, and their asso­ cosine outputs. Such an oscilla­ here, so if you're interested in ciated circuitry comprise a sign tor can be created quite easily by the math behind the circuit, changer. This circuit will invert setting a four pole lowpass filte r please refer to another article of or not invert the input, depending into oscillation, and tapping the mine which gives the complete upon the control voltage at the required outputs from consecutive analysis of a quadrature function gate of Ql. Once again, see (2) stagesl. I f trigonometry alarms generator?. (Actually, the cir­ for more details on the function you, just consider the outputs to cuit presented here is more com­ of this sub-circuit. be four sine waves, each one nine­ pact and uses fewer parts than the ty degrees out of phase with the earlier version, but the circuit Note that, so far, a ll of the previous output. action is very similar.) But even op amps have each been 1/4 of a though we can't go through the TL084 quad bi —fet op amp package. Despite the interesting mathematics here, we can s till get This particular chip must be used patches possible with a quadrature an intuitive feel for how the (instead of 741s, for example), oscillator, it does have one main circu it works. Referring to the since this circuit requires an ex­ drawback: Sine wavfe oscillators schematic, op amps IC1A and IC1B tremely high slew rate — we want are fa ir ly touchy, and you w ill form a Schmitt trigger/integrator all of the switching to be as often find that the amplitude w ill function generator, an old friend clean as possible. But now we're change as the frequency is swept from way back. C3 sets the basic going to reverse this philosophy over a wide range. In addition, frequency range, with R21 allowing and specify as slow an op amp as under some conditions the oscilla­ for an adjustable rate. It is possible for IC2A and IC2B! IC2A tor may fail to oscillate; or, at important to note that the output sums together the various line the other extreme, hard clipping of IC1A is a triangle wave, and segments to form a new triangle may bring about some undesirable the output of IC2B is a square wave which is ninety degrees out distortion. wave. The triangle wave goes of phase with the original. By directly to the "Primary Triangle specifying a low slew rate for That's where the quadrature Output" via R2. In addition, this amp, any of the discontinui­ function generator comes in, since various line segments of the t r i­ ties in the derived triangle will we w ill throw out the o s c illa to r angle wave are used in conjunction be masked by the op amp's inabili­ completely and replace it with a with Quadrature Function Genera­ ty to slew fast enough. Pretty function generator. Oscillators tor's other circuitry to construct sneaky! In addition, IC2B is set are reactive; they depend on a a new triangle wave ninety degrees up as a lowpass f i l t e r with a resonating RC network. Function out of phase with the first — and cutoff frequency of 1.5 kHz, which generators are non-reactive (in that's where the square wave out­ also helps smooth out the new the sense that they don't reso­ put from IC1B comes in. This triangle output. nate); their timing depends solely output te lls the circu it when to on the charging and discharging of grab the various segments needed Adjusting the trimpots is a capacitor. With this circu it, in the construction of the new fa ir ly easy. To sim plify the the outputs are very stable in triangle wave. process, temporarily replace C3 amplitude and purity over a very with a 0.05 uF capacitor. This wide range. Finally, one more IC3 is configured as an EX- w ill increase the frequency to a distinction between o scilla to rs CLUSIVE-OR gate; it seemed more more easily observable range. Now and function generators is that c o s t-e ffe c tiv e to use the dirt monitor the "Derived Triangle Out­ the former generates sinusoidal cheap 4001 quad gate for this, put" on an oscilloscope. While outputs, while the la tter gen­ rather than using one gate out of watching the waveform, go back and

26 February, 1984 QUADRATURE FUNCTION GENERATOR

All Resistors in Ohms. All Capacitors in Mfd. Power Supply Connections Assumed on Op-Amps: IC1: Pin 4-+15V Pin 11=—15V Rate IC2: Pin 4 = -15V R21 Pin 8= +15V 100K Note Unusual Power Supply Connections to IC3.

Primary Triangle 0------VW—' Output 1K

111 ( .01 Derived L R3 IC2B^>— __0 Triangle R7 a Output 15k' l -* -0 1 ^ .0 0 5

d ifferen t channel in your quad tion generator going; you should system, and the result is circular hear an incredibly dense and lush location modulation. What?!? You sound. This is especially good don't have a quad system? Then for full-bodied instruments, such forth between trimmers Rll and R12 you can s t i l l use the quadrature as rhythm guitar. until the waveform "comes to­ function generator for some neat gether" and connects to form a stereo effects. For a really You may think I'm getting smooth triangle wave. This pro­ bizarre sound, try this patch: ridiculous, but what do you do i f cess is quite magical; I think the Gang the inputs of VCAs 1 and 3 you don't have any synthesizer at sight on the scope w ill rea lly and apply a dry signal to these all? (I'm serious now!) Well, amaze you! I f you have a dual VCAs. VCA 1 should feed the le ft you can create some great Lissa- channel scope, compare the two channel and VCA 3 the right chan­ jous figures on an oscilloscope waveforms ("Primary" versus "De­ nel. Now gang the inputs of VCA 2 screen, or better yet, hook the rived") and confirm that they are and VCA 4, and apply an echoed unit up to your laser art show for indeed ninety degrees out of phase signal to these inputs. VCA 2 a far out display. (What?! No with respect to each other. should mix into the left channel, laser? Well...) There's quite a while VCA 4 mixes into the right. lot this little black box can do. To round out the circu it you Now really crank up the delay time w ill probably want to provide and feedback and hit some staccato I've had a real blast design­ inverted versions of the "Primary" notes — but don't get seasick! ing and building the quadrature and "Derived" triangle outputs. function generator. The circuit This w ill give you a total of four What?! You say you don't has a real "that's neat!" aspect outputs, each one ninety degrees have a stereo rig either? That to it, and is lots of fun to play out of phase with the previous. makes i t harder to think up with. I f you come up with some patches, but here's a good one to interesting applications be sure Applications. Well, what try. Apply an audio signal to to jot me a line c/o Polyphony. shall we use it for? For a start, four different flangers, with each how about automatic quadraphonic one set for a slightly different (Editor's note: Splitting a panning: Gang the inputs of four initial delay time. Then send signal into four filters, whose VCAs together, and control each each flanger output to a VCA, and one by a d ifferen t triangle wave. outputs feed four VCAs controlled finally sum the VCAs together into by the Quadrature Function Genera- Send each output of the VCAs to a a monaural output. Set the func­ -continued on page 30

IVrfyphony February, 1984 27 (the P8782 is normally configured with connections to the data buss, port Jl). Wiring the DB-25 con­ nectors is comparable to creating a piece of jewelry or performing surgery on a robot -- it is very intricate work. Prepare for the task by obtaining a length of M IA Patch mod ribbon cable, the DB-25 connec­ tors, a lk resistor, a 0.01 uF capacitor, and all necessary tools (fine point soldering pencil, wet sponge to keep the soldering tip clean, quality 60/40 rosin core solder, wire strippers, diagonal cutters, and needle-nose pliers).

Begin by selecting the appro­ priate length of ribbon cable. By: Scott Lee With the 8750 positioned to sit on top of the P8782, you w ill need approximately 24 to 30 inches of cable. Prepare the cable by sepa­ rating the individual ribbon cable The following describes a so, I devised an alternative hard­ wires, then stripping approximate­ set-up used in the PAIA demo stu­ ware-based approach. The best ly 1/4" of insulation from each dios to synchronize a number of choice is to tap data bit 7 from lead. Twist the strands together, devices together. Although it the P8782's keyboard encoder and and tin the wires by adding a took several months to come up send it to the 6770's FROM TAPE small amount of solder to the with this patch, only eight to ten input. DB7, the most significant soldering iron's tip and the wire hours were involved in actually bit from the encoder, functions as being tinned. Don't let an exces­ performing all required modifi­ a status bit. It indicates key­ sive amount of solder enlarge the cations (Patchmod necessitates board scans to the sequencer pro­ diameter of the wire; the solder some custom patch cords and a bit gram's keyboard reading routine should only f i l l the gaps and act of wiring) and physically patching and also serves as a timing refer­ to hold the strands together until the units together. ence. With the P8782 and the 6770 a permanent connection is made. connected, the 5700's triggers Cut the tinned leads to a length Background: Evolution of a could now be in time with the se­ of 1/8" to prevent overly long patch. The f ir s t step was to quence being played on the 8750, leads at the connector's terminals connect the P8782's keyboard data thus giving me synchronized drums ( i f too long, they could short to output to the Proteiis data input and sequencer; as the 8750 pumped each other). out a transposing bass line, the so that the two of them could Prepare the connector by "talk" to each other. This was 5700 kept a steady (but integral) heating and fillin g the recepta­ accomplished by joining their res­ beat, allowing me to try my chops cles (terminals) with solder. pective I/O ports. But while on the other keyboards in the Check and double-check the termi­ testing the interface between the studio. Incidently, since I hap­ nal numbers you w ill be using on two devices, I decided to add some pened to have the 8750 running each connector as you make each drums in to accompany my jam; so, through the 6750 Hyperflange + Chorus, I decided it would only be connection (see figure 1); orient I got the 6770 Master Synchronizer natural to patch one of the t r ig ­ the connector the way it will going and patched a couple of its ger outputs from the 6770 to the connect with its mate, and get a trigger outputs to the trigger 6750's LFO sync input. This patch mental picture of the general inputs on the 5700 Drum. A fter had the best feel to it with the location of where the wires w ill setting the 6770 to RUN, I ad­ sweep rate set two to three times connect. With pre-tinned termi­ justed the 5700 to sound like a faster than the tempo of the se­ nals and wires, it is necessary kick drum and snare while listen­ quence being played. Another pos­ only to heat the connector termi­ ing to each channel individually. sibility that I didn't try would nal and insert the wire, holding A fter tweaking the controls for have been to patch a signal into both steady until the joint cools. the desired voicings, I got back the control voltage input on the Once all connections are made, you to the jamming. While using the Hyperflange + Chorus; the patch can continue with the other end of P8782 as a sequencer for the 8750, points on the 8750's rear panel the cable. Again, prepare the the 5700 droned on, providing an would also o ffe r numerous possi­ cable by stripping and tinning the interesting percussive voice to b ilities . wires and prepare the connector by the overall sound. fillin g the terminals that w ill be using with solder (see figure 2). My next idea was to see about Making the adapter cables. However, before the wires are interfacing the P8782 to the 6770. The interface between the P8782 soldered, install the indicated Using the click track option of and .8750 ports requires a cable resistor, capacitor, and jumper the sequencer program was one with DB-25 connectors at each end. wires (figure 3). Finally, con­ p o ssib ility , but this would have At the P8782 end, the 8700's DB-25 nect the wires to the connector required software m odifications; was re-wired to output port J2 terminals.

28 I ^ d i o n y February, 1984 The interface between the Note that i f you attempt to use data bit on the encoder was made P8782 and the 8750 can be tested this program, the memory locations between an unused pin on the statically by entering a hex num­ at address $014B and $014C should 8700's DB-25 connector and pin 3 ber greater than $3F at address be changed to $40 and $08, respec­ of IC1, the CD4024 IC on the en­ $0840 (0840-DISP-55-ENT). To test tively (the computer reads addres­ coder. This wire could be sol­ the interface dynamically (under ses backwards in the program dered to a trace connecting to pin software control), you can enter flow ); this w ill send the data 3 of IC1, or d irectly to pin 3 of and run the K-test program in output to the proper 8750 port. IC1 (be careful about overheating Table 1. the chip, though). Another wire I f any problems show up dur­ should connect from the power ing the test, check the cable supply ground to another unused wiring for any misplaced wires or terminal on the 8700's DB-25 con­ Table 1 bad connections. If everything nector . looks okay, check the wiring at the 8750's computer port and the Now we can prepare the patch 0000 KTEST E8 I NX 8700's output port. Also, be sure cord connecting the P8782 to the 0001 8E 20 08 STX DISP that the program you are using for 6770. One end of the cable w ill 0004 LOOP 0 2C 10 08 BIT KBD the testing doesn't have any bugs connect to the DB-25 connector 0007 30 FB BMI LOOP 0 — compare each memory location used for the 8750's interface, and 0009 LOOP 1 AD 10 08 LDA KBD with the listing for the program, the other to a 1/4" phone plug. oooc 30 F2 BMI KTEST and remember that the status Prepare the two leads of the cable 000E 2A ROL register and the monitor stack by s trip p in g and tin n in g the 000F 10 F8 BPL LOOP 1 should always be set before load­ leads. Again, be careful not to 0011 6A ROR ing the programs on the 8700 get too much solder on the wires 0012 8D 20 08 STA DISP (00ED-DISP-FF-ENT-00FE-DISP-FF-ENT or they w ill not f i t into the 0015 8D FF 09 STA DAC -00-ENT). receptacles on the DB-25's termi­ 0018 LOOP 2 2C 10 08 BIT KBD nals. Also trim the tinned leads 001B 10 FB BPL LOOP 2 The second part of Patchmod, to about 1/8" for the reason given 001D 30 E8 BMI LOOP 0 connecting the P8782 to the 6770, earlier. Solder the two cable requires connecting DB7 from the leads to the DB-25 terminals that P8782's keyboard encoder circu it match up with the two wires pre­ to the 6770's "FROM TAPE" input viously wired to the 8700's DB-25. jack. The materials necessary for The Seque 1.0 program (a this interface include a two con­ The other end of the cable monophonic sequencer program used ductor length of shielded wire connects to the 1/4" phone plug. by many 8700 computer owners) lets (long enough to reach from the Prepare this end by stripping and the P8782 serve as a versa tile P8782 to the 6770) and a 1/4" tinning the wires and sliding the real-time or event mode sequencer. phone plug. The connection to the cover for the plug, un-threaded

FIG. 1 FIG. 3 FIG. 2

(from solder sidel Ifrom solder side] Connector for 8700 Output Port Connector for Proteus Port Connector for Proteus Port

IHrfypllOUy February, 1984 29 end first, over the cable. The wire carrying DB7 should be sol­ Practical Circuitry PARTS LIST, QUADRATURE FUNCTION dered to the "hot", or tip, lug of ------continued from page 27 GENERATOR the plug. The remaining wire, tor, can make for fascinating ground, should be soldered to the timbral changes. Also, for those remaining, or ground, lug of the Resistors (1/4 Watt, 5% tolerance of you who are into synchro-sonic plug. After the connection has preferred) recording techniques, adding a cooled down, bend the tabs at the RI 470 CMOS switch in parallel with C3, end of the plug ground around the R2,R3 IK and feeding the switch control cable, and screw the cover on to R4 10K terminal with an appropriate trig­ the plug. R5 12k ger pulse, w ill reset the oscilla­ R6,R7 15K The interface between the tor at the rate of the trigger. R8,R9 27K 6770 and the P8782 can now be All in all, for those experimen­ R10 33K tested. Patch the 1/4" phone plug ters who don't quite need the RI I ,R12 50K trim pot end of the new cable into FROM sophistication or versatility of R13-R20 100K TAPE on the 6770, plug the DB-25 John Simonton's "Shepard Function R21 100K potentiometer interface connector into the 8700, Generator" presented in the Feb­ R22 150K and apply power to both units. ruary 1982 issue of Polyphony, the Since the encoder clock on the Quadrature Function Generator pro­ Capacitors (15 or greater working P8782 is running constantly, it is vides a low-cost way to experiment Volts) not necessary to load a program with voltage controlled panning, Cl 0.005 uF, mylar pre for testing. On the 6770, set the cross-fading, channel-splitting, ferred SENSITIVITY control to minimum, and the like.) the +5/+10 switch to +5, the INT.- C2 0.01 uF, mylar preferred /EXT. switch to EXT., and RUN/STOP NOTES C3 0.33 uF, mylar preferred to RUN. Now, advance the SENSITI­ (1) For example, see J. Patchell, Semiconductors VITY control and you should notice "Build a Voltage-Controlled Quad­ IC1 TL084 quad bi-fet op amp that the LEDs w ill begin to flash, rature Oscillator", Polyphony, IC2 1458 dual op amp which indicates the synchronizer Nov/Dec 1980, pp. 26-27. IC3 4001 CMOS quad NOR gate is accepting the 8700's data bit Ql MPF-102 N-channel FET (2) T. Henry, "A Funct ion Genera­ as a clock signal. If the LEDs do D1,D2 1N4148 or equivalent not flash, the trouble could be in tor With 'Quadrature' T ria n g le switching diode the patch cord, the encoder c ir ­ Wave Outputs", Electronotes #122, cuit, or the 6770. The encoder pp. 13-20. can be checked by loading and running the 8700's K-test program. I f this program works correctly, then the encoder is probably func­ tioning properly. If not, unplug GARAGE BANDS the patch cord to the 6700 and try WE WANT TO HEAR YOUR MUSIC! again. This w i l l , isolate the trouble to either the encoder or Send us your records and tapes to entitle you to the cable. I f the program runs be on the GOLDMINE/ROIR with the cable disconnected, the garage band cassette tape! PLEASE READ INSTRUCTIONS BEFORE MAILING TAPES trouble could be a miswired cable, One of the most exciting Now, we know you’re excited can transfer the material to our developments in rock ’n’ roll in recent about this, but before you pack up tape. or perhaps a problem at the input years has been the return of the garage your records and tapes, you must • Before you send us your tapes band. Just like in the 1960s, rockin’ follow these instructions: and records, you must send for an of the 6770 such as a miswired regional bands are making music that • You must be able to give us the application from GOLDMINE and defies the commercial mainstream yet legal rights to use your material on be willing to agree to the terms set jack, improper solder connection, packs local clubs and ballrooms across a one-time basis on our cassette forth on the form. the nation with enthusiastic fans! and to use your name in promoting • No requests for an application etc. will be accepted after April 1,1984 Some of these ‘‘garage bands” have • If we choose your material, you and we must receive all tapes and And now the rewards... been lucky enough to release their own must be able to provide a master records for consideration by April independent singles and albums. Others tape or clean disk from which we 15, 1984. Finally, everything can be patched are still waiting to be heard by the masses. together and tested as a system. G O L D M IN E and ROIR With all the gear running in time C a ssettes will be bringing together Farfisa, fuzz box, Barbarians, Chocolate RO IR has already released nearly 30 the best of the previously released and Watch Band, Blues Magoos, Seeds, excellent cassettes featuring such and synchronized, you can easily unreleased recordings of contemporary Standells and the Sonics, then we want diverse artists as the MC5, Fleshtones, garage bands on a cassette tape to be to hear your music. Dictators, Television, N.Y. Dolls and create a m ulti-layered recording released in the summer o f 1984. many more. G O L D M IN E will join the If you believe “ Pushin' T oo Hard” , critically-praised R O IR catalog with If you have a band (or know o f one) “ Louie Louie” and “ 96 Tears” are more this contemporary garage bands tape. using only one track. (inciden­ that plays ’60s-style important than the entire output of Yes Your band will be receiving excellent garage/punk/psychedelic/teenage music and Jethro T ull combined, then let’s exposure through R O IR ’s distribution tally, I often record that one and would like to be included on our hear your records and tapes! system as well as GOLDMINE’S compilation tape, we’d like to hear your promotional efforts. track onto a cheapo portable tape music! We're looking for material that G O L D M IN E will listen to the best recorder and save the tape for hasn’t appeared on a major label and records and tapes submitted to us and The sooner you send in your request has been recorded within the last five will compile the chosen music — for an application, the better your years. representing bands from all over the chances o f being chosen for this historic future inspiration.) You could country — on a cassette to be released project. So get out of the garage for just also record Patchmod's sounds for If your band plays brutal garage on Reachout International a minute and get on down to your music and you don't mind words like Records (ROIR). mailbox! an introduction or "fill" in a Please read the above instructions before sending us your tapes. Send your request for an application along with a stamped, song to be recorded at a later self-addressed envelope to: date. But aside from recording, Patchmod is just plain fun — and /ROIR synchronizing a bunch of units Garage Bands Tape together in a rhythmic fashion P.O. Box 9 makes for a more complete sound Cathedral Station New York, NY 10025 when jamming or coming up with new ideas. # REMEMBER: Deadline to receive an application is April 1,1984.

30 IVrfyplioity February, 1984 Plug In To Something Hot!

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• Image Enhancer — Dramatically widens the stereo image while increasing am­ bience for “ concert hall” realism.

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• Limiter — Ideal recording tool for control­ ling extreme peaks in program material.

• Brilliance Controller — Regenerates high frequencies lost in signal processing while simultaneously increasing depth and def­ inition.

Many additional modules presently • Power Amplifiers — Distortion-free power offered with more on the way. for all your amplification needs.

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RODCAR ELECTRONIC SALES 214-351-9895 9983 Monroe Dr. Dallas, TX 75220 g i m m ] K f f f ]E ^ fl11 ‘ Tell Them You Saw It In Polyphony ’

synthesizers, the SMPTE track can replace numerous tracks which might otherwise be recorded as audio. Not only does this effectively increase the number of tracks available to the musician, it also allows these tracks, which are susceptible to the loss of fid elity which results -from ping-ponging and conventional dubbing techniques, to be mixed first generation to the master tape. SMPL uses the "user bits" in the Time Code to provide an indelible SLATE which becomes part of the control track and can be used as a cross reference for lead and track sheets, billing notes, etc. The SMPL system lists for $995.00 and is available from major music and pro-audio retailers across the country or direct from Synchronous Technologies, P.0. Box 14467, Oklahoma City, OK 73113 ( 405) Synchronous Technologies has Many benefits result from the 842-0680. introduced The SMPL system, the system being based on industry first low cost computer based standard non-drop format SMPTE More delays. RolandCorp US automation system designed Time Code. Unlike simple tone or (1022 South La Cienega Blvd., Los specifically for the smaller click-track based instrument Angeles, CA 90035) has introduced recording studio. The SMPL System synchronizing systems, the SMPL the SDE-3000 delay ($1,095 lis t ), provides in one package a SMPTE System need not be started from with 4.5 seconds of maximum delay Time Code generator, SMPTE Time the beginning of the work in and 8 user-programmable presets. Code reader, Autolocator, process in order for the metronome The SDE-1000 ($499 lis t ) gives automatic record In/Out insert and synchronizing signals to be in 1.125 seconds of delay and 4 user- editing system, Time Code derived correct time-phase with the music. programmable presets. metronome, 24 Tick/Beat Drum and The work can be started at any MXR (740 Driving Park Ave., synthesizer synchronizing system arbitrary position and the R ochester, NY 14613) has an­ and recorder remote control. computer instantly calculates the nounced the Model 1500 d ig ita l Designed to be used with lower correct phase of both metronome delay ($500 list) with 20 kHz cost multi-channel cassette or beat and synchronizing signal. bandwidth at its fu ll 1.5 second open reel recorders, it simply With the SMPL System, tapes delay, and 10:1 sweep ratio for plugs into the normal remote produced in the small studio will wider-range flanging sounds. control jack. Neither tachometer transport to larger studios and be ADA (2316 Fourth St., Ber­ output nor speed control input to compatible with the automatic keley, CA 94710) now makes the the recorder are required. mix-down and sync—locking 2.56i D ig it a l Delay ($799.95 During rehearsal,Punch In and equipment found there. Tapes list), which features delays from Punch out points can be set on the produced on machines with limited 0.3 ms to 2.56 seconds at 16 kHz fly and saved in the computer's channels can be "pyramided" to 24 bandwidth, 8:1 sweep range for memory to be repeated as many and 40 track studio machines, wide flanging effects, and varia­ times as necessary before allowing the artist to work in his ble modulation waveform. committing to tape. A own environment at his own pace programmable CUE point provides and s t ill have access to expensive both looping type return to CUE studio facilities. Buyer beware! Polyphony has function at the end of the insert Since much of today's been asked by Korg and Yamaha to and also provides a known, commercial music involves advise our readers that some repeatable starting point for electronic digital drums and dealers are selling products made instrument synchronizing signals. sequencer controlled polyphonic by these companies which are not

32 Pofyphoiiy February, 1984 intended for U.S. markets (i.e. lator from Digidrums (100 South tions, external drum programming incorrect line voltage settings Ellsworth, Ninth Floor, San Mateo, pads, and trigger output options. etc.). To recognize legitimate CA 94401). Each set lis ts for New features have also been added models intended for the U.S. mar­ $250; choices include Electronic to stock drum machines, namely a ket, check for safety testing Drums #1 and Electronic Drums #2 "Next Song" feature and new hand­ approval stickers common to this (Simmons-like sounds), Latin Per­ clap sounds. New sounds for the country (FCC, UL, etc.), and also cussion (12 percussive sounds), open hi-hat and snare w ill follow check the intended line voltage. African Percussion/Miscellaneous soon. Any readers who are not sure of (12 more percussion sounds, all of A lso new from MXR is the the authenticity of a piece of which are real winners), and Rock "Junior" portable sound box, de­ equipment can check with either Drums. The la tte r have a lot of signed to provide popular drum/- company for assistance. ambience-plus-limiting-plus-noise- percussion sounds, as w ell as gating effect a la Led Zeppelin, special effects. The first "Jun­ Commodore-64 music software. Phil Collins, etc. ior" features four voices: laser Waveform, Inc. (1912 Bonita Way, Oberheim Electronics (2250 S. blast, hand claps, shaker, and Berkeley, CA 94704; tel. 415/841- Barrington Avenue, Los Angeles, CA drum. A switch selects between 9866) has introduced MusiCalc 1, 90064) has introduced an Update the voices, while separate con­ available on diskette for $74.95. Expansion for their DMX d ig ita l trols adjust output level and This program turns the C-64 into a drum machine. This hardware/soft- tempo. The Junior may be t r ig ­ 3-voice synthesizer with fully ware combination allows for over gered by an internal clock or interactive real-time sequencing, 45 new features including 5000+ external trigger. modulation, and transposition. event internal programming capaci­ Sequential Circuits has an­ Users can to play along with pre­ ty, 200 sequence patterns, 100 nounced Drumtraks, a programmable programmed melodies or create and songs, programmable tempo dis­ drum machine that re ta ils for store their own melodies for later played in frames per beat, elapsed $1295 and includes a MIDI in ter­ playback. time indications for song and face. Features include: program­ Sequential Circuits has fi­ sequence, and selective cassette mable level and tuning for each of nally announced their Commodore 64 interface for loading single se­ the 13 digitally recorded drum and Midi Sequencer cartridge ($195 quences or songs from tape. The cymbal sounds; 3300 note memory; lis t ); this plugs into the C-64's update costs $150, including in­ 24, 48, or 96 pulses-per-quarter- memory expansion port and may be stallation at an Oberheim Service note clock input; and sync-to- used with or without a monitor. Center. Oberheim has also added tape. Up to 4000 notes can be recorded, several new drum sounds to their as well as velocity, pitch bend, drum card library, including con­ and modulation information (if the gas, timbales, cowbe11/cla ve, a Keyboard recorder. Sequen­ synthesizer is so equipped). complete set of electronic drums, tial Circuits has also introduced Digital recording capabilities and sound effects. Most voice the Six-Trak, a combination 6 simulate multi-track recording cards retail for $100. voice polyphonic synthesizer and (overdubbing, duplication, e d it­ MXR has introduced a library sequencer. The la tter includes ing, etc.). Sequences can also be of op tion a l sounds for th e ir auto correct, programmable track transposed, chained, and synced to d ig ita l Drum Computer. The Drum level changes, track duplication, drum parts. Library includes four packages of and over 800 note storage capaci­ unique drum sounds that replace ty. You can stack several voices existing ICs in the Drum Computer: on one note, or record into the Roto (Roto 1, 2, and 3), Conga sequencer one voice at a time. (Conga 1 and 2), Percussion I Recording less than all six voices (Bell 1, Bell 2, and Clave), Per­ leaves other voices free for real­ cussion II (Cabassa, Guiro, and a time playing. Six-track also in­ sharp-attack Kick). MXR is also cludes a MIDI interface and re­ working on remote footswitch op­ tails for $1095.

Drum U pdate. E-mu (2815 Chanticleer, Santa Cruz, CA 95062) has updated the Drumulator with a new PROM that increases the number of songs from 8 to 64, and also provides a "song write pro­ tect" feature to prevent acciden­ tal erasure of song steps. Also, five new sets of custom drum sound chips are available for the Drumu­

flofypliorsy —------February, 1984 33 POLVMART

NEW BOOKS!

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 Custom izing your Electric G u ita r ...... $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 M u sicia n s...... $14.95

H om e HOME RECORDING FOR MUSICIANS is Craig Anderton’s original R eco rd in g guide to outfitting and operating a budget studio for maximum results, includes mixer and other audio processing circuits and a sound sheet demo recordinq. for Musicians. #HRFM HOME RECORDING FOR MUSICIANS $14.95

Synthesists must be well versed in a number of techniques and principles. “ How To” and project oriented books are a great way to pick up these skills. MULTITRACK PRIMER by TEAC is a step- by-step guide to building, outfitting and operating your home studio. #TEAC TEAC MULTITRACK PRIMER $4.95

MAKING MONEY MAKING MUSIC by James Dearing — Everyong dreams of being at the top, but there’s an enormous amount of “ middle money” out there for the taking. This is not a book about how to become a Millionaire Rock Star, but the strategies revealed will give you the 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 #CYCLO AUDIO CYCLOPEDIA (hardbound) $44.95 #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

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! AUDIO OP AMP APPLICATIONS is an edited version of the Op Amp Cookbook by Walter Jung, containing only audio applications. Lan­ caster’s CMOS book is much more than a digital reference — phase lock loops, top octave generators, touch switches, and other things you need. ELECTRONIC PROJECTS FOR MUSI­ CIANS by Craig Anderton is almost in a class by itself. It discusses electronic construction technique for the novice and provides 27 projects with printed circuit board patterns and a demo recording of the effects. Even if you’re an old hand at musical electronics, you'll appreciate that all of these processors, from Tube sound Fuzz to Phase shifter are compatible and work together without creating noise, signal loss, bandwidth compression or any of the problems common to in­ terconnecting effects from different manufacturers. There’s even a complete chapter on how to modify and combine effects to produce your own custom pedalboard. ELECTRONIC MUSIC CIR­ CUITS by Barry Klein covers synthesizer system design, power supplies, control voltage generators, VCOs, Filters, analog multipliers and more. Lots of schematics and data sheets on the most popular music oriented ICs. An excellent technical reference. #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 #AUOA AUDIO OP-AMP APPLICATIONS $9.95 & 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 P A C K 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 w m #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 modification, adding pitch bending, patches. Controller, Applied synthesis - Brass, Construction Tips For Beginners. #0303: 2/78: computer controled Gnome, using joysticks, build a bionic trumpet, ultra-VCO modifications, voltage control a m #0703: Nov./Dec.]81: Dave Ros sum interview, Applied the Mu-Tron Bi-Phase, oral joystick, patches. Synthesis: Strings,Details: Series-parallel/Sum-Difference. The wmm #0304: April/May 78: Minimoog modifications, non-keyboard Sound Gizmo and Pro-One Reviews, Practical Circuitry: VCO Deluxe. module use, phasing and flanging (theory and circuits), memory mm #0704 Jan./Feb.'82: Bob Moog interview, Chip Power - expansion for programmable drunfs, digitally addressed transposer STK-050/070, Simple Square Wave Shaper, Tape Timer Ruler, project, polyphonic software (with software transient generators), Practical Circuitry: VCAs made simple. Details: Gozinda & Gozouta patches, Volume 3 index. Revisited, Korg Trident & Casiotone 202 Reviews. mm #0402: Sept/Oct 78: electronic music notation, notes on #0705 Mar./Apr.'82: Electronic Music Math, Analog Delay the recording of "Cords" by Larry Fast, sequencer spftware 7 part Clock / Modulation; Frequency Domain Modifiers; Screen-Wave for one, rhythmic control of analog sequencers, touch switch projects, modular vocoder techniques, PET as a music controller, patches. the TRS-80; Touch Switches Revisited; Practical Circuitry: ADSR the Easy Way; Getting the most out of a Cheapo (Guitar). mm #0404: January/March 79: add-ons for vocal F and V converter, shorthand patch notation, more on note to frequency mm #0706 May/August '82: Anatomy of a Private record, Don conversion, graphic monitor project, George Russell, super VCA Slepian Interview, Understanding Digital Synthesizers: A Digital circuit, echo software, Vol. 4 index. Filter, Syn-Bow Review, Optical Audio, Profiles of SSM 2033 & w m ' #0502: July/August 79: hex VCA/mixer project, electronic 2044, The PAL Filter, Bill Rhodes Applied synthesis: Bells, Pipe music schools and studios, modify the Oberheim Expander Module, Organ, Harpsichord, Electronic piano; The Realistic MG-1 Reviewed. profile of Ernest Garthwaite, budget microphones, digitizer projects and software, bar graph ICs. #0801 Sept/Oct.'82: Ambience in Electronic Music,Tone ■ ■ #0505: January/February 80: Joseph Byrd, Mort Garson, Bypass for Fender Amps, 8 Track Reviews, Parametric EQ Tips, Larry Fast on 'Games', composing fpr 'live plus tape', using the Solo/Cut Circuit for TASCAM Model 3, The SSM 2011, Tube Preamp, CA3280, recording vocals, ADSR circuits. Snare + Drum Voice Circuit, Triple Pick-up Switcher, Simulated mm #0506: March/April 80: Computers in Music: real time audio Stereo, When Quality Reocrd Mfg. Counts, Independent Record Mfg. processing hardware, Powell sequencer system, Max Mathews, Convention report. advanced STG software, PortaStudio, phase modulation, Volume 5 #0802 February '83: AMS-100 Gate Output, Bus Distribution index. Modules for Modular Synthesizers, Dynamic Touch Controller, mm #0601: May/June 80: Gary Numan, Microcomputers in Real Expanding Envelopes, MXR Limiter Review, New Age Music, An Time Audio, Build a Digital Audio Delay Line, writing Documentation, Richard Hayman Composer/Performer Home Recording: Overview, Synsonics Drum Review, Interface, Practical Circuitry: A Applying Harmonizing and Pitch Transposing Techniques by: Craig Patch Over Scheme for Small Synthesizers, Lab Notes: Shepard Anaerton. Functions. mm #0602: July/August 80: Peter Gabriel, digital VCO mm #0803 April '83: Sound Interface Device, Build a Bass Pedal project, Dream modules, optimum level settings, dynamic phrasing, System, Dr. Rhythm Mod., Switched Capacitance/Transversal Filters, patches. Voltage Controlled LFO, Rockman & Voyetra Eight Reviews. mm #0603: Sept/Oct combined with Nov/Dec (JU: alternate #0804 June '83: MIDI Hardware Fundamentals, What MIDI Means controllers, add voices to Casio M-10, voltage controlled quadrature oscillator project, cordless patch bay, recording for Musicians, The Vangelis Interview, Creative Recording on a rules, patches. Shoestring Budget, A One Chip ADSR, An Electronic Switch. mm #0604: January/February 81: Special Construction Edition; mm #0805 August '83; Donald Buchla Interview, An Overview of Build: Audio Circuit Breaker, Pulse Width Multiplier, Magnetic Digital Drums, Exploring Just Intonation, Build a simple Drum Harp, 50 Watt/Channel Stereo Power Amp, Quad Sequential Switch, Synthesizer, Micro-Drums part I, The Penultimate Compressor, Why DOD Mods, patches. Spring Reverb Will Never Die, Gate/Sample & Hold Circuit. ■ ■ #0605: March/April 81: Portable Music Issue, reviews of Remco's FX, E-H Mini-synthesizer, Casio's VL-Tone, plus mods for #0806 October '83 Larry Fast Interview, Basic Film Scoring the M7 IO, GR-500, mini-amp, and the Korg X-911. Introducing; Math, Foxtex X-15 Review, Build the Hip Bass Drum, Applied Practical Circuitry and On Location, new columns. Synthesis: Orchestral Voicings Using the Tenth Interval. ■ ■ #0606: May/June 81: Synthesizer: Hardware Mods and Software. Modular Synthesizer Effects. Environmental music. #0901: December '83 John Foxx Interview, Build: a Dual Keyboard assignment for the 8700, new columns; Details, Practical Trigger Delay; Center Channel Reverb. Drum Machine Modifications Circuitry, and On Location. Volume 6 index. - PAIA, E-Mu, Roland; Polyphonic Keyboard Reviews, White noise. CASIO M-10 OWNERS ...... RACK PANEL SPECIAL! Did you realize that your pride and joy has unseen powers? That there are voices and effects that you can add for the Easily machined 1/8 inch unfinished aluminum rack panels as cost of a switch and a piece of wire? This latest booklet low as $3.95 each in quantities of 3 or more, (you may mix from POLYPHONY gives 'you the info that you need to transform sizes for discount prices) your mini-axe and gives details on adding a "stunt box", computer interlacing and much,,much more. Quantity 1 3 or more No. CMOD 16 pages ...... $3.50 single size - 1-3/4" .$5.25 $3.95 each double size - 3-1/2" .$9.25 $7.95 each 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. ■I 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 (or by charge card) . Phone orders welcomed for charge card orders. SHIP TO: Name: ______Address: ______City ______S ta te ______Z ip ______n SUBSCRIPTION T ' u . s . $ i 2/ y r . f o r e i g n s i a / Y R . sub total O "TST .—>1 il| j|- Jll l y Cl tcJi * y l —!i_) 0 1

U.S.: add 1 0 °/oof Sublotal handling ■ Card 4______— o r EB5 .00maximum MasterCharge Bank # ______Expiration D a te ______Foreign: 2 0 °/aof Sublotal shipping o r $ 1 0 P°maximum Signature ______total enclosed MAILTOS POLYMART, POBOX 20305, OKLAHOMA CITY, OK 73156 Nodular signal processor k it s . RODCAR Electronic Sales (9983 Monroe, Dallas, TX 75220) has released a very interesting set of products: signal proces­ sing module kits that plug into a motherboard and can form the basis of a custom processing system. Kits (board/parts) include mother­ board ($29.95), parametric stage

Graphic stuff. Ibanez (1716 W inchester Rd., Bensalem, PA 19020) has introduced the GE1502 dual 2/3 octave and GE3101 1/3 octave graphic EQs. Each model retails for $325.

Bassically. AMP (9829 In­ dependence Ave., Chatsworth, CA 91311) has announced the SL-1 bass preamp with integral lim iter, bass/treble EQ, four-band semi- parametric equalizer, balanced connectors, and other features suitable for both studio and stage use. ($24.95), lo-z mic preamp Kurzweil update. Kurzweil ($24.95), "b rillia n ce" controller New Korg stuff. The Poly 800 (411 Waverly Oaks Road, Waltham, to regenerate high frequencies ($795 retail) stores 64 programs, MA 02154), whose prototype K-250 includes six-stage envelope gen­ lost through processing ($19.95), d ig ita l keyboard caused quite a erators and stereo chorus, allows summing card ($12.95), and several s tir at last June's NAMM show, for "layering" (two sounds per others (limiter, noise reduction, have finalized their production note), has a MIDI port, sequencer, etc.). A catalog is available model. Features include 26 resi­ and joystick modulation control. from the above address. dent instrument voices, m ulti­ The instrument weighs 13 lb. (good track performance sequencer, and for strapping around your neck) the ability to store 100 keyboard and can be AC or battery powered. setups (including splits, doubles, The PSS 50 Programmable "Su­ and transpositions). Planned op­ per Section" is basically a preset tions include ROMs for extra rhythm machine (with d ig ita lly voices, a digitizer for sound recorded drum and high-hat sounds) sampling, and disk drive for addi­ plus a chord sequencer with pre­ tional storage. Customer deliv­ programmed bass lines and various eries are scheduled for the 2nd instrument accompaniment patterns. quarter of 1984. It's designed for practice, liv e performance, and songwriting. Finally, Analog Delay, Noise Gate, and Phaser modules are now available for the PME-40X effects 7(7/ Them You Saw It In Polyphony system. IVAMM Report

Easy Firing AD SR

Don't Miss It ! NEXT in Fotyahn^ ELECTRONIC MUSIC & HOME RECORDING

Rrfypliony February, 1984 37 AD GOUIPfTEfYT EXCHROGG

PUT POLYPHONY TO WORK FOR YOU. Equipment Exchange classified rates for individuals offering goods or services for sale or trade: 25c per INDEX 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 col. inch, one inch minumum, camera ready art to Dickstein Distributing Co. ... 7 be supplied by advertiser. all classified advertising must be prepaid. advertisers using a Post Office Box number for responses Electro-Harmonix ...... 9, 18 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 resits Gentle Electric Co...... 4 of any transactions. Polyphony reserves the right to edit or refuse any ads submitted. M D Custom Circuits ...... 25

Oberheim Electronics ...... 2 FOR SALE: Korg X-911 Guitar synthesizer, $600 list; Also MS-04 PAIA Electronics, Inc...... 6, 4 musk equipment Modulation Pedal list $220.00 will sell both for $275.00 or trade for PGS Electronics ...... 39 digital delay unit, Ben FOR SALE: ARP 2600 Synthesizer in Kettlewell, P.0. Box 1205, excellent condition $1300. (904) Provincetown, MA 02657. Polymart ...... 34, 35, 36 » 222-9242, David Bieling, 415 Chapel Drive #B104, Tallahassee, Synchronous Technologies .... 40 FL 32304.

Rodcar Electronics ...... 31 Recordings Oberheim FVS-4 Polyphonic Module synth. with programmer patches and COMPOSER-X the latest cassette schematic in excellent condition. release by Walt Whitney, "a well $2,250 or best offer. Call or conceived, excellently produced write: Dan D'Angio, 3128 Lanvale package of electronic music with Place, Philadelphia, PA 19145, strong melodic qualities." Send (215) 334-5980 $5.50 ppd. to Walt Whitney, P.0. Box 2411, Overland, MO 63114 When writing to change the address on your POLYPHONY subscription it is important that you enclose the PS-3010 remote poly-keyboard for INCIDENTS OUT OF CONTEXT and PRIME mailing label. Our computer cannot use with Korg PS-3100, 3200, 3300 locate your name on the subscription synthesizers. with 20 ft. 60 pin NUMBERS: 2 LPs of Original music list without it. connector cable and junction box in just intonation composed and VGC 300.00 or trade (314) performed by David Doty and Friends. INCIDENTS features 429-2858. Polysynths with acoustic and electro-acoustic instruments; ATTACH OLD LABEL HERE PRIME NUMBERS is gamelan-style E-MU EMULATOR 8 voice keyboard. percussion. $6.98 each plus $1.00 With additional software; user postage and handling, from OTHER multi-sample, sequence sync, MUSIC, 535 Stevenson St., San NEW ADDRESS analog interface. Excellent Francisco, CA 94103 ( CA residents condition (619) 566-3850 or add sales tax) 486-4734 $5,500. N am e—______A d d re s s ______C ity------State______Zip______All in perfect condition: PAIA equipment 8782 Encoded Keyboard $85.00, Phlanger $35.00, 4711 Mixer CABLE - SATELITE - MICROWAVE - UHF mail to: Polyphony $20.00, EKx modules, (make offers). Doug Chandler, P.O.Box - VIDEO ACCESSORIES. S.A.S.E. 40c. PO BOX 20305 413, Badin, NC 28009. Phone: (704) H.M.S. 2011 W. 11th St., Upland,, Oklahoma City,OK 73156 983-4194. CA 91786.

Alternative Key board Designs NEXT Casio Mods Low Budget Sequencers Synthesizer Notation

38 I\rf>plioity -February, 1984 LINEARS R E S I S T O R S 5 % , 1 /4 w att SIGNAL DIODE TL061...... B iF e t...... 72 All EIA values available from 2.0 ohm to 5.1 Meg. 601-60...1N914 (1N4148) signal diode . 5/.35 TL062...... Dual B iFet...... 99 Also availble is 10 Meg. TL064...... Quad BiFet...... 1.95 TRANSISTORS TL071...... B iF e t...... 65 100 each of same value ...... $1.50 2N3904...... 2N3904 NPN Transistor...... 25 TL072...... Dual B iFet...... 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...... Tim er...... 39 10 each of same value ...... 40 POTENTIOMETERS NE570...... Compander...... 3.80 5 each of same v a lu e ...... 25 (3/8 long shaft, 5/16 mounting hole) NE571...... Compander...... 2.95 854-401...... 10K Linear taper...... 1.09 NE572...... Compander...... 4.95 ASSORTMENTS 854-501.....100K Linear taper...... 1.09 UA741...... Comp. OpAmp...... 29 10 each of 10 values (1 0 0 )...... 3.00 854- 505.500K Linear taper...... 1.09 o MC1456...... Low Noise OpAmp...... 90 25 each of 10 values (250) ...... 6.50 ...Low Noise OpAmp...... 1.48 855- 401..10K Audio taper...... 1.09 RC1556... 50 each of 20 values (1000)...... 16.00 CA3080...... OTA...... 94 855-501.....100K Audio ta p e r...... 1.09 CA3280...... Dual O T A ...... 1.98 855- 505.500K Audio ta p e r...... 1.09 CHORUS/DELAY KIT RC4136...... Quad OpAmp...... 1.10 856- 401..10K Audio taper with 0 , RC4739...... Dual Low Noise...... 1.19 This chorus/delay unit, designed by Craig Anderton on/off switch...... 1.25 NE5532...... Dual High P e rf...... 3.70 and featured in Guitar Player magazine, provides flanging, slapback echo, and automatic double NE5534...... High P erform ance ...... 2.65 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 trim m e r...... 40 □ □ SAD-1024...... Analog Delay...... 17.50 about 50 ms and only m inim al 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 G enerator...... 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 W att Power A m p ...... 19.40 punched and legended rack mount panel will soon be L E D s STK070...... 70 W att Power A m p ...... 24.20 available for this project.) Please note that the typical DC forward current (l-fwd) Order KT-CD777...... $78.00 SSM- SOLID STATE of these LED’s is less than those offered elsewhere MICRO-TECHNOLOGY making these LED’s ideal for battery circuits or others "SNARE + " DRUM VOICE KIT where current consumption is a factor. SSM 2010...... V C A ...... 7.50 This percussion synthesizer was designed by SSM 2011...... PreAm p...... 5.75 Thomas Henry and appeared in POLYPHONY 305-201.....Red T-13/< jumbo diffused (20 m a.)...... 30 9.50 SSM 2012...... V C A ...... 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...... V C A ...... 7.50 voice that has a punchy, full sound...... All in all, the 305-204.....Tri T-1% jumbo diffused (20 ma)...... 1.50 SSM 2030...... VCO...... 7.50 Snare -I- delivers a lot of drum sounds, and I would 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...... V C F ...... , 7.50 of the thin sound found in most electronic drum yellow) device. It is essentially two separate LED’s in SSM 2044...... V C F ...... 7.50 units." one package. (The yellow is obtained by turning on We offer the kit with or without a panel. Kit 3770 both green and yellow.) SSM 2050...... V C T G ...... 7.50 contains all electronic parts, switches, jacks, pots, SSM 2056. .... VCTG ...... 5.75 etc, as well well as etched, drilled, and legended a circuit board. Kit 3772 includes all this plus a punched JACKS and PLUGS and legended rack mount panel (standard 1 3/4 by 19 1 /4 In. PHONE JACKS THERMISTER (Temp. Sensing Resistor) inches) available in black or blue (both with white 901-101...Mono standard phone ja c k ...... 45 TSR-Q81.....Tel Labs Q81 1k ...... $3.50 legends). i— i Not included with either kit is wire, solder, mounting 901-103...Mono with n/closed contact...... 52 hardware, etc. The SNARE + also needs a bi-polar 15 OPTO-ISOLATOR 901- 105...Mono end. jack (open back)...55 volt power supply (not supplied). 902- 211...Stereo standard phone jack ...... 70 CLM6000.. ..Clairex CLM6000...... $2.85 KIT 3770 Basic SNARE + k it...... $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...... 35 701-2200.. ... 3300 pf polystyrene...... 25 module for guitar. This design, by Craig Anderton, R C A 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 m ylar...... 12 Replace the guitar’s standard passive tone control 921-200...RCA jack on phenolic mount... .25 with a two control, active circuit which provides over 702-01...... 01 uf m ylar...... 12 921-300...Dual RCA on phenolic mount... .43 702-05...... 05 uf m ylar...... 16 12 db of bass and treble boost and up to 6 db cut.... Buffer your pickups from external loading, giving 1 /4 In. PHONE PLUGS 702-1...... 1 uf m ylar...... 21 additional output and improve high freq response.... 911-201...Mono, black phone plug ...... 48 702-22...... 22 uf m ylar...... 33 Add a nominal 6 db of gain to give your signal a bit 911-203...Mono, red phone plug...... 48 703-1.0...... 1.0 uf ta n ta lu m ...... 39 more punch, as well as improve the signal/noise ratio in multiple effects systems... make your guitar 911-205...Mono, chrome (metal) plug... .1.20 703-3.3...... 3.3 uf ta n ta lu m ...... 49 immune to the high freq loss caused by long cable 911-211...Stereo, black phone plug...... 65 703-4.7...... 4.7 uf ta n ta lu m ...... 59 runs. 1 /8 In. MINI PLUGS 704-2.2...... 2 .2 uf electrolytic...... 21 The CLARIFIER kit is available in two options, both of which include a high quality drilled, legended, and 704-4.7...... 4.7 uf electrolytic...... 21 913-251...Mono, black mini plug...... 38 masked circuit board, as well as complete step by 913-253...Mono, red mini p lu g ...... 38 704-10...... 10 uf ele ctro lytic...... 21 step instructions. Kit 2450 contains everything 704-100...... 100 uf electrolytic...... 31 needed for a complete unit.. Kit 2455 contains 913-255...Mono, chrome (metal) plug ...... 56 everything execpt the pots (for those who prefer a 705-10...... 10 pf ceramic disk ...... 15 SWITCHING JACKS particluar brand of potentiometer). Batteries are not 705-.01...... 01 uf ceramic d is k ...... 12 included with either kit. These are stereo phone jacks that contain an 705-.1...... 1 uf ceramic disk ...... 17 KIT 2450....Complete CLARIFIER k it. $18.95 independent switching sywtem that is controlled by the insertion of the plug. Jack 905-301 contains the KIT 2455.....CLARIFIER less controls ..$14.95 IC S O C K E T S (soldertail) equivalent of a DPST normally on switch. Jack IC-S-08...... 8 pin high quality socket...... 27 905-302 contains the equivent of a DPDT on/on TERMS: (Check, Money Order, Cashiers Check - IC-S-14...... 14 pin high quality socket ... .30 switch making it ideal for switching bi-polar power Add .75 if under $10.00)— ($10.00 minimum on ... .34 supplies on and off in effects boxes, etc. IC-S-16...... 16 pin high quality socket 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 SA TISFACTI0N GUARANTEED! IC-C-28...... 28 pin economy socket...... 40 Terre Haute, IN 47802 UNIVERSAL KEYBOARD CONTROLLERS others, simply add the low-cost KDAC option. This option pro­ vides not only linear control voltage output, but also implements PAIA’s new series V Keyboard controllers offer enough low note priority with retriggering and gives industry standard standard features like pitch and modulation wheels, smooth Pratt- gate (high logic when any key is down) and trigger (short pulse Read action, small size and light weight to make you fall in love when new key is presesed) outputs. The digital outputs are not with them the first time you lay your hands on one. And there are disabled by this addition, in fact they are also expanded because options available to make these controllers compatible with prac­ you can now use the 8 digital data lines either as output from the tically any synthesis system from any manufacturer. keyboard to a computer or for driving the control voltage output from a computer — completely under software control. Begin by selecting 37 or 61 note actions. In either configuration the basic unit is a scanning matrix encoder that delivers parallel To use the controller with linear response synthesizer modules digital outputs — six bits indicating the key being examined and a such as PAIA 4700 or 2700 series equipment, also select the KEX strobe bit indicating the up/down status of that key. A jumper option. This addition generates the exponential control voltage re­ selectable eighth line serves a hand-shaking function with a com­ quired by this series of equipment and still maintains the outputs puter if needed. The parallel data appears on a standard DB-25 outlined earlier. One keyboard can simultaneously control connector on the rear of the case. exponential and linear response equipment, If you’re going to be using the keyboard to control Iv./Oct. and you still have the 8 bit bi-lateral exponential response equipment such as PAIA’s EKx series of computer port. cards or systems manufactured by Roland, Serge, Synton and

EXTRA VALUE

K37 37 note digital keyboard controller...... $188.00 (4.50) K-61 61 note digital keyboard controller ...... $289.00 (5.50) KDAC Digital to Analog Converter Add o n ...... $15.95 LOW COST KEX Exponential Converter A dd -o n ...... $15.95

47D SYNTHESIZER signals by plugging the output of one into the input of another makes clear what functions individual processing and control PACKAGES — MODULAR VERSATILITY elements perform in a very physical and obvious way. At the same AT LOWEST POSSIBLE PRICES time, modules are frequently the system of choice of the most ad­ vanced synthesists because the versatility of modules can never There is no better place to begin learning about electronic be matched by an “ axe-in-a-box” . sound production than with a modular synthesizer. Seeing the These 47D packages are a particularly nice place to start not physical connections between modules and being able to re-route only because of their low cost, but since they feature our new Series V Keyboard Controllers (see description above) they can serve as the foundation of a system which can grow to be as eclectic as you like with digital, linear or exponential equipment from many different manufacturers. Modules included with the system are:2-4710 Voltage Controlled Amplifier/Balanced Modulators, 1-4720 Voltage Con­ trolled Oscillator, 1-4730 Multi-Modal Voltage Controlled Filter, 1-4740 ADSR Transient Generator, 1-4750 Control Oscillator/Noise Source, 1-4712 Reverb Module, 1-4771 Power Supply. The modules are housed in a 4761 Wing Cabinet. Available with either 37 or 61 note keyboard controller, the package prices represent about a 10% savings over separate component prices. 47D37 Synthesizer with 37 note controller...... $429.00 (9.00) (467.55 if purchased separately) 47D61 Synthesizer with 61 note controller ...... $517.00 (11.00) (574.55 if purchased separately) ORDER TOLL FREE with Visa or Mastercard HQiA Electronics, Inc. 1-800-654-8657 1020 W. Wilshire , Oklahoma City, OK 73116 - (405)843-9626