' f WHERE CAN YOU FIND JOY [
STAFF
EDITOR: Marvin Jones ASSISTANT EDITOR: Linda Kay Brumfield
CONTRIBUTING EDITOR: John S. Simonton, Jr.
What a shame that a joy stick is PRODUCTION: Debbie Collins the missing controller on most American Shirley McConnell synthesizers. A joy stickgives you total, infinitely variable control of two parameters simultaneously. PRINTING: Reggie Terry Our JOY STICK CONTROLLER works in either of two modes: CONTROL VOLTAGE SOURCE With your exponential front-end * Published Quarterly by: PAIA Electronics, Inc. equipment. Use with any processing g 1020 W. Wilshire Blvd. system/device that has provision Oklahoma City, OK 73116 for voltage control. CONTROLLABLE MULTIPLIER ~ For linear response elements. Si © 1978, PAIA Electronics, Inc. ALL THIS AND: A touch-activated "gate" ™ trigger that activates with the slightest £5 ALL RIGHTS RESERVED touch of the joy-stick's metal shaft. No * buttons to search for. And at a typical "down-to-earth" price. S no.4780 JOY STICK CONTROLLER KIT $39.95 (plus $3. 00 postage) Subscriptions From of course! ) Subscription rates are $4. 00 per year mailed in the USA; $5. 00 per year mailed to Canada and Mexico; International subscriptions are $6. 00 per year. Address Corrections requested. Subscriptions accepted on a one-year basis only. For change of address: Be sure to send in your former address and Zip Code along with your current address. Also include the numbers at the top of your mailing label to enable us to make your address change as efficiently as possible. Bad: issues If you think you've missed something, all POLYPHONY back issues are available at a single issue price of $1. 25 postpaid or John Simonton’s time -proven $4.00 per volume (set of four). Address your orders for back design provides two envelope issues to: POLYPHONY BACK ISSUES, 1020 W. Wilshire B lvd., generators VCA, VCO & VCF in Oklahoma City, OK 73116. a low cost, easy to use package. Use alone with it's built-in ribbon controller or modify to use with guitar, electronic piano, polytonic keyboards, etc. Write for Polyphony The perfect introduction to electronic music and best of all, the Gnome is only ...... It's not something that you'll get rich at, but, nevertheless, $48. 95 in easy to assemble kit form. Is it any wonder why we've sold thousands? we are paying at the rate of $25. 00 per printed page for feature articles including such things as circuit modifications, new circuits, j” ( 7 Send the GNOME MICRO-SYNTHESIZER k it : narratives, how to articles, etc. All material submitted must be ($48.95 plus $299 postage) _ _ _ _ ; original and never before published. We are also paying $5. 00 for : ( ) Send FREE CATALOG S f t t ■ each patch accepted for publication. Payment is made upon publi • name:______| cation. We cannot assume the responsibility for the return of : address:______: manuscripts unless specifically requested and supplied with a : city:______state:____ zip:______• stamped self-addressed envelope for its return. All accepted materials and associated copyrights become the sole property of : BAC VISA______MC cardno.______: Polyphony and may not be reproduced without written permission : cut out & mail to: (405)843-9626 from the publisher. : H U I DEPT. 4 : D M K i 1020 W WILSHIRE, OKLAHOMA CITY, OK 73116
2 POLYPHONY FEBRUARY 1978 LETTERS! CONTENTS
WHAT’S NEXT? Marvin et al, Here's another Polyphony issue and Volume 3, No. 3 1978 once again I am amazed. How long have I been using your stuff and probing, ask FEATURES: ing questions, wondering what you'd do next, etc. I had begun to get the feeling A Handy Way To Solve Sticky Control Problems you were going to "dead end" synthesizers By: Marvin Jones ...... l l as you had created virtually all necessary modules and adaptations. How many times Is This The Ultimate Interface has someone in OK expressed the sen By: Jeffrey Noble ...... 34 timent "Well, we're really here for the experimenters.. . And of course I saw Here* s Stringz ’ n' Thingz Simonton going off the deep end into com By: Marvin Jones ...... 18 puters a few months back and I wondered where it would lead. What next, right? Being a musician, I was chiefly interested in live performance, and through your CONSTRUCTION: equipment, technical advice, and some of my own innovations I have never had An Alternative Octave Controller for the Bionic Sax & Trumpet to sacrifice performance in real time By: Greg Leslie ...... 20 for portability, reliability, etc. Of course your stuff may take experimenting, ad An Ultra VCO From The 4720 justment, and calibration, but anyone By: Gary Bannister ...... 21 too lazy to do that is going to be too lazy to play the synthesizer anyway. They 'll Bionic Trumpet have to opt and cop for "name brands" By: Greg Leslie ...... 15 with labeled plastic overlays or a preset b------—d (organ, indeed). Modifying The Mu-Tron Bi-Phase Yet this issue shows me that in fact By: Jim R iter ...... 26 you guys are more alive than ever-your computer search is sending you not just Sample & Hold Resurrection to more attachments, but new available By: Paul M. Gullotti ...... 5 packaging resulting in more efficient PLAYING of synthesizers. Great! Obviously there is no end to what you can and will do for synthesists. Thank God someone is still trying to help us, not DEPARTMENTS & COLUMNS: just taking our money. Of course, I never doubted you for a Letters ...... 3 minute. John Deaton Polyphony Reviews ...... 4 Victoria, TX. Spotlight...... 6 BACK TO MUSIC, PLEASE! Lab Notes: Polyphony, A Polyphonic Synthesizer I was pleased with your magazine B y : JohnS. Simonton, J r...... 28 until you started putting computer and gate articles in. It would be alright Patches ...... 24 if the articles involved a direct inter face to synthesizers or something like that. Leave the other part of computing (teaching etc.) to the computer mag azines. The "Blinky Light" project in November was cute, but what did it have to do with synthesizers ? Speaking of November, why did I get that issue ON THE COVER; in January ? This strange looking instrument is the Bionic Trumpet; designed, Respectfully, constructed and photographed by Greg Leslie. Associated construction Ja Souter article on page 15. Clovis, CA
...... continued on page 27 POLYPHONY FEBRUARY 1978 = p o u p h o n u r e v ie w s :
ASTRAL WARRIOR has reverted to the more basic sound aissance albums. Scoring her into of "Remember the Future" while r e another style, perhaps a heavier compo by Lord Manuel taining a bit of the electronics and sition, would have considerably empha $1.50 ppd. Available only by mail intracacies developed during the sized her appearance. Larry Fast's order from: "Recycled" period. Guitars and vocals unmistakable sound is instrumental in Lord Manuel, BX 153, Arlington, MA now take a front seat to keyboard wiz- filling in the required "spaciness" and 02174 adry and studio effects. Most of the pulling the rambling musical themes keyboard work consists of smooth into a semi-coherent work. Some of you may recall my editorial piano and organ, with Larry Fast add Technical effects on the album are last issue talking about the "New Folk" ing his touch of flowing polyphonic fill quite good. The droning engine sound music. Here is some more of it. And in the background. Personally, I on "Approach (Overture)" is quite good very good, too. Lord Manuel is defi quite enjoyed the thick interacting in imparting the loneliness of space nitely more of a musician and poet than arrangements and extensive electronics travel. Unfortunately, "Approach" is a singer, but the enthusiasm and variety on "Recycled", but the smooth rock badly marred by a Strauss (2001) ripoff. shown in his voice throughout the re sound they come across with on this The Vocorder shows up at several places cord masks any lack of training. The album will probably take them a long each demonstrating a good match of record is a 7 inch 33 RPM, with four way towards gaining the recognition vocal text and signal on which the vo songs on it. The pressing is very good, they have deserved for several years. cals are superimposed. Someone with few hot spots or pressing noise. Of particular interest to the synthe obviously took the time to make sure "Astral Warrior" is an introductory sizer oriented person will be the back there were harmonics in the signal instrumental, and is reminiscent of the wards drums in "Love to Share" and where vocal fricatives were required for inteligibility. "First Landing" combo organ music of the early sixties. the hypnotic, tunneling, flanged guitar Melody is overlayed by synthesizer, and on the intro to "Eerie Lackawanna". contains some good mandolin synthesis, and the string parts are shared between in conjunction with the electronic drum The slow "Listen" would make a good an orchestra and synthesis, which is mer and some tape echo, the overall prospect for a commercial hit, as nice. effect is a "happy space" sound. "Have would the Aerosmithish "Spread Your Overall, this is a fun album to listen a Little Faith in Me" has some very Wings" with its tracking guitar /bass to. But the fact that the execution is so good string-type synthesis, but musi- riffs and intricate Kansas-like rhythm much better than the concept leads me to caUy was not too interesting to me. patterns. The progressions are very repetitive, If you liked earlier Nektar albums, hope that this batch of musicians wiU almost hypnotic, and serve primarily get this one. If you liked their last one, someday get together to produce their as a vehicle for the extensive lyrics. "Recycled", then perhaps you should own ideas. Side two starts with "Star Poacher", wait to see what they have in mind for Marvin Jones guaranteed to take you where no man the future. has gone before. The tape manipular- Marvin Jones MISCELLANEOUS tion on the drums is used well to re INTERGALACTIC There are a few records which present the interstellar motion described have recently been released that contain in the song, while the vocals are mixed TOURING BAND a few isolated highlights that everyone back quite a ways to give a floating Passport PB9823 into synthesis should know about. First, lonliness to the sound. "Silver Fantasy" IGTB is a concept album, revolving drum synthesizers. Have you all heard is the rockiest cut, and features a around a group of musicians who travel the Syndrum. This exceHent instrument ponderous sinister synthesizer bass around the galaxy in an attempt to find is being snatched up by drummers every which works well for the song. Also new friends and spread the good word where, and recorded examples raxge all the use of acoustic drums and cymbals of Earth. The theme is as trite on al the way from Linda Ronstadt's "Simple along with the electronic drummer bum as it is on paper, and the compo Dreams", to the new Boz Scaggs and Rod helps fill in the usual void generated by sitions are an electrified lesson in how Stewart albums. Also, Joni Mitchell auto-drummers. The primary dis to get a recording contract. All tunes uses the drum synthesizer on a few cuts appointments throughout the record were penned by Wil Malone and Danny of "Don Juan's Reckless Daughter". were the excessive use of tape echo Beckerman, who obviously aren’t the Joni's backup band for this album is the and panning effects, although the best progressive musicians but who incredible Weather Report. As usual, effects seemed to fit the songs in most have an amazing ability to come up with Joe Zawinul's synthesis refuses to be cases. Lord Manuel’s equipment an entire album worth of music which will anything but superb. That guy's bass consists of Fender Rhodes, Fender have recording executives and teenagers lines are unsurpassed. Keep your eyes organ, Univox Mini-Korg, a Paia Oz- pounding at their doors. The primary on drum synthesis. It's the next wave Gnome, and a Paia 2700. But, he said redeeming factor for this album is the of special purpose synthesizers. he sold his organ and piano in order to finesse with which the multitude of There have been a few people won pay to have the record pressed. Now, performing artists pulled off the material dering what polyphonies is all about. If how's that for dedication! This record they were presented with. I don’t know you want to hear a few good examples is definitely a good example of "New the full story behind the production, but of polyphonic systems, check out the Folk" music in every respect; get it I know that several dozen artists appear following: the "dance band-ish" style if you can. on the album - a la Alan Parsons. Im saxophone section in "Byrdland" from Marvin Jones mediately recognizable vocals include Weather Report's "Heavy Weather" Arthur Brown, who does his usual out album was done on an Oberheim 8 voice, MAGIC IS A CHILD standing work on "Universal Zoo", and I believe, and the introductory Spanish Annie Haslam (vocalist for Renaissance) guitar solo for "Day at the Dog Races" By Nektar on "Reaching Out". It was a disappoint on Little Feat's 'Time Loves A Hero" Polydor PD-1-6115 ment to hear Annie’s versatile voice in was similarly done on an Oberheim an orchestral context which could easily system. FuH blown demos of poly- The sound of Nektar on this album have been lifted from many of the Ren ...... continued on page 14
POLYPHONY FEBRUARY 1978 "DIGITAL SYNTHESIZER MODULES F r o m 8 7 8 0 Unlike more conventional R-2R ladder type digital to analog converters, the PAIA 8780 kit is based on a multiplying principle that allows the module to generate the exact exponential stair-step function required to mave even BUA the simplest linear response oscillators and filters produce equally tempered 1020 W. Wilskire B M . musical intervals. The 8780 uses only 6 bits of data to generate over five octaves of control voltage. In an 8 bit system, the remaining two bits are Oklahoma City. OK 73116 ordinarily reserved for trigger flags, but may be used to provide micro- tonal tunings. The module is physically and electrically compatible with the complete line of PAIA music synthesizer modules and is easily interfaced to any m icro-processor with or without hand-shaking logic.
#8780 . . D /A CONVERTER KIT ...... $34.95...... (plus $1. 00 postage) 8781 The least expensive way to provide multiple Control Voltage channels in a computer based synthesizer system is to multiplex the output of the D /A using multiple, computer addressable, Sample and Hold circuits. The QuASH provides 4 of these outputs in a single module. Other features of the module include: adjustable glide rate for each channel with the glide selected or de-selected under computer control, individual trigger "gate" signal associated with each output channel and individual modulation input for each channel that is non-interactive with other channels. On-board address decoding allows up to 4 QuASH to be bussed together in a single system without external logic and Bank Select inpat allows external logic expansion beyond this point. NOTE; THE QuASH MUST BE OPERATED UNDER COMPUTER/PROCESSOR CONTROL. #3781 .. Quad Addressable Sample & Hold $34. 95 (plus $1. 00 shipping)
4 7 0 0 /J i-P-4700/J POLYPHONIC Package By anyone's standards this is a BIG synthesizer, as you can see by reviewing the module complement. REGULAR SPECIAL Like our other packages, it may be used without a computer as a KIT PRICE PACKAGE PRICE normal monotonic synthesizer. With a computer in the loop, you are ready to do polyphonic instruments, 4700/J Synthesizer V&549.0 0 / $549. 00 multi-track recording work, and innumerable composer and performer 8700 Computer/Controller \ l 4 9 . 9 / $149.95 assisting functions that are only possible with a computer/synthesizer PS-87 Power Supply $ e4 ./5 free combination. CS-87 Cassette Interface $28/50 free The 4700/J module complement consists of: the 8782 Encoded Keyboard, Hardware Kit $ 3 ^ 5 free digital to analog converter, QuASH, two 4710 Balanced Modulator/VCA's three 4720 Voltage Controlled Oscillators, 2720-5 Control Oscillator/Noise MUS 1 Music firmware prom 3(20.00 free Source, three Watt Block Power Supplies, two Envelope Generators, Reverb PMUS Software Cassette / 5. o \ free 4730 Multi-modal filter, 4711 stereo mixer and two wing cabinets. Also Additional 512 Bytes RAM j/ 7. 00 \ free included are step-by-step instructions and using manual. $803.35 ' $698.95 #4 700/J...... SYNTHESIZER K I T ...... $549.00 (shipped freight collect) (shipped freight collect)
SAMPLE AND HOLD RESURECTION what to do with your analog sample and hold ------once youfve gone digital If you're like me, you've proba trigger it using the keyboard or any bly been working with PAIA for years. other source and you have a useful So, you began with the good old m odule!! trimmer type keyboard. As PALA grew, you've grown, and agreed with Have fu n !! PAIA's better way of doing things. You now have a modern up to date Paul M. Gullotti Digital Keyboard. Now you probably think you have a useless -8 Sample and Hold, right? Wrong. This mod ification will change your line of thinking! This simple circuit will give you a very useful Sample and Hold module. Start by constructing the trigger circuit on a small pc or perf board. Next, modify the Sample and Hold board by shorting out R15 in the old trigger-gate circuit. Then install the new circuit. Put the voltage you want to Sample and Hold into "E ", from any ^ W \ r source (LFO, AR, ADSR, etc.),
POLYPHONY FEBRUARY 1978 5 EARLY EXPERIMENTS WITH By Marvin [ SPOTLIGHT COMPUTER MUSIC
Robert Libbey has been exper though he is not a professional musician, display. The 'processor' would re imenting with electronic music for there are certain qualities he demands member the notes while more were quite a while. Starting early in his of the music he creates or listens to; added to build up a musical theme, career with radio broadcasting and one of those qualities is correct pitch, or melody. During playback, the sound recording, his interest in or tuning. Thus he did an in-depth notes would be displayed, and upon electronic storage, processing, and study of various pitch systems, and command could be transposed to new generation of audio signals has con how to create them with a m icro keys or perhaps altered to play retro tinually grown into new technologies. processor. Most literature seems to grade or inversion or other musical It was inevitable, then, that Bob would forget other tuning systems, especially "tricks". All the while, the 'processor' end up interfacing one of today's physical which is used by many choral would be producing a video display electronic music synthesizers with groups, in favor of the more popular which would show the NEW, TRANS one of tomorrows magic machines— equally tempered tunings. These FIGURED themes as they are played. the RCA COSMAC microprocessor. experiments stretched through 1976 This would be a highly valuable teach Since the early seventies, Bob's job and led to his current hardware exper ing aid for music theory or keyboard at RCA has been concentrating on iments. Bob has spent the recent technique classes. video work, so his audio/music months conjuring up an eight note, And, as if aU this weren't enough, interests have become more of his eight voice m icroprocessor controlled Bob is also teaching a course on avocation than they were previously. polyphonic synthesizer. Bob feels it m icroprocessors two nights a week. But, nevertheless, he never set aside has been an excellent exercise, and Polyphony congratulates Bob on a his concept of a "better" home organ— was amazed at the parallels between great deal of contribution to the world a family instrument that could generate his experimental system and the of digital music, and thanks him and a wide variety of voices, plus teach recently announced Paia system. RCA for taking the time to tell us his children about the intricacies of Bob is beginning to get some ideas about his work. Paia is proud to be music performance and composition, about how to tie his video knowledge a part of it. and provide a method of "recording" in with his digital music systems. He Along with the reprint of the origi and composing a major musical work would like to work with designing a nal Gnome/COSMAC article, Bob without the bulky tape recorders com microprocessor based system which sent the schematic of the interface monly required. would play a note selected by a musical circuitry he used. This may be of The high speed processing re keyboard, and simultaneously write interest to those of you who wish to quired for the video work Bob was the note in a musical staff on a video try similar experiments. doing increased his awareness and understanding of digital circuitry and the many applications it implied. Availability of microprocessors in the mid-seventies evoked some major breakthroughs in most every area of product development. Bob's job was no exception. And now, he had the tools necessary to start making his personal goals come to life. The work described in the following article was done in the latter part of 1975. When Bob showed the results to some of his colleagues at RCA, they published the results in the August/September 1976 RCA ENGINEER, an in-house magazine which keeps all the RCA employees up on what's happening. All of us here at Polyphony are very thankful to RCA for letting us reprint Bob's article so our readers can learn from his experience. Since the Gnome/COSMAC inter face, Bob has been working with the KIM system in an attempt to derive the most efficient programs for out- putting monophonic and polyphonic signals. His goals during this period may have been somewhat different from those of others who have done similar work with the KIM or other m icroprocessors. He said that al- 6 POLYPHONY |®lb/off the job n c / i Technical Communications! Copyright 19761 Printe The ideal combo— a microprocessor and a music synthesizer
R.L. Libbey
A hobby is pursued for the fun it provides, but having fun does not exclude the educational benefits and intellectual stimulation that a hobby can offer. In this paper, a hobbyist describes the marriage of a music-making machine and its controller—the RCA COSMAC Microtutor.
Robert L. Libbey, Broadcast Synchronizer and Time Base Corrector Group, Commercial Communications Systems Division, Camden, N.J., received the BSEE in 1950 and the MA in Dramatic Arts in 1952 from the University of Wyoming. Before joining RCA in 1952, Mr. Libbey had a diversified background in radio broadcasting and sound recording. Also, he has taught at Drexel University and the University of Wyoming. At RCA, he first did advanced development work in acoustics and magnetic recording in the Home Instruments Division. From 1958 to 1969, he was with the RCA Electron Microscope group. There, he specialized in high-voltage regulation, and was project engineer for the design and installation of the first one-million-volt electron microscope in the western hemisphere (developed for the U.S. Steel Corporation Laboratories in Monroeville, Pennsylvania). After joining the Television Terminal Group in 1969, he designed video switching and effects systems and is now involved in the design of digital television products. Mr. Libbey’s hobbies include music, multi-channel sound recording, and now microprocessors.
Author with his Combo. At left is the RCA COSMAC Microtutor; at center (front to rear) are the keyboard, interface, and attenuator; synthesizer at far right.
POLYPHONY FEBRUARY 1978 7 I 1 CJ 1 Technical Communications! Copyright 19761 Printed in U.S.A. Ed. Note: Last fall, Bob Libbey of Commercial Communications Systems Division in Camden took the CEE course, “Microprocessors for Logic Design— C55.” After the formal learning period, Bob considered ways of increasing his understanding of the RCA Microtutor used in the course. Because of his background and interest in music, Bob decided that mating a microprocessor and a music synthesizer would be a logical step for furthering his understanding of the Microtutor and its programming. Although Bob says it was “a first, crude attempt at programming,” the system worked and delighted Bob and his music- loving family. Bob’s next project is to build and program a system to play complete chords.
The programming portion of this paper, of necessity, assumes some familiarity with the RCA COSMAC Microtutor and its software techniques. References are also made to the COSMAC User’s Manual and COSMAC Microtutor Manual, which are produced by the Solid State Division and are included in the course material of “ Microprocessors for Logic Design."
If you are interested and want more detail on Bob’s project, write to him at Bldg. 10-2, Camden, N.J.
T h e COMBINATION of a micro Combo system processor and a music synthesizer creates an instrument with outstanding artistic Our first-attempt Combo consisted of the and educational potential. By using a RCA COSMAC Microtutor and a PAIA microprocessor to control a sophisti Electronics “ Gnome” micro-synthesizer.' cated synthesizer, sounds, tempos, It was decided that even this first attempt modulations, etc., can be produced that at processor-controlled music should could only be dreamed a few years ago. have the ability to control the character of Even a modest synthesizer makes an the tone (note), as well as its pitch and exemplary output device for learning duration.' The Gnome synthesizer had programming and multiple input/output previously been adapted to a surplus techniques. If the synthesizer used is organ keyboard and could be tuned to somewhere bejween the simplest and the play music using the familiar western most complicated, rudimentary software world even-tempered scale.4 A switch and hardware skills can be expanded to made it possible to control the synthesizer include analog-to-digital-to-analog (we with either the keyboard or the still listen for analog signals) techniques microprocessor. Fig. 1 shows the system and, as one advances further, the Combo block diagram. The Microtutor and its can be used to produce more complex interface create coded signals that choose musical sounds and harmonies, using notes in a manner similar to striking a key (and learning about) digital filters.1 on the keyboard. In addition, the output
Reprint RE-22-2-21 Final manuscript received August 6, 1976 Fig. 1 — Combo system block diagram.
8 POLYPHONY FEBRUARY 1378 l i U f l Technical Communications Copyright 19761 Printed in U.S.A. codes can control the characteristic DATA BUS sound and loudness of each note. The loudness attenuator is a resistor-diode network (a simple digital-to-analog con verter) that changes its attenuation when different parts of the network are grounded with a logic “ LO” . The amplifier and loudspeaker were part of a home hi-fi system.
The program software had a goal of performing five major functions. First, it should select the proper pitch and dura tion of the note (including “ no note” —a rest). Similarly, it should change the character of the note by triggering the voltage-controlled amplifier and voltage- controlled filters in the synthesizer. Also, there should be a provision to select one of four loudness values. Finally, it would be desirable to change the key in which TRIG the music is played. This “ key change” CONTROL • OUTPUT feature would be especially useful to the ONE music student using the microprocessor- LINE synthesizer Combo in composition studies. Fig. 2 — Interface circuits. The program included memory tables for pitch and duration. The duration tables included a time: T l, T2, T4, T8 and T16 teresting. The first paper design required “ Table Driven Sequence” in the for one-sixteenth, one-eighth, etc., seventeen interface chips as compared Microtutor Manual. Fig. 3 shows the through whole notes; and T 1.5, T3, - T24 with thirteen chips for the complete software program flow chart. The for “ dotted” notes.5 The duration value Microtutor. The final design required ten COSMAC (Microtutor) microprocessor for each note depends upon the type of CMOS interface ICs. Fig. 2 shows the contains sixteen very powerful and con note, the tempo of the work being played, interface hardware. This first-attempt venient registers that, in this program, are the programming technique, and the system used a simplistic hardware design. used to count and point—in consecutive clock and instruction speed of the Integrated circuit U2 inverted the sense of order—to different blocks of memory. microprocessor. The Microtutor Manual the output data to make it compatible The block (table) containing the ad and the COSMAC User’s Manual with the decode/ latch IC’s U3 and U4. U3 dresses for the 32 note codes starts in describe the time calculations. The will decode only the lower four data bits memory location 223 and is pointed to by Microtutor has an adjustment on its DB0 through DB3. A “ 1” on DB4 will the register termed note pointer or “ NP.” clock frequency which provides for a inhibit U3 but, with the help of U 1 B, will The table for the loudness values starts at convenient way to change the tempo. enable U4. If all data bit lines are “0,” all memory location 190 and uses pointer outputs of U3 will be “0” (high) and register “ LP,” etc. The counter register The pitch code can be any system of likewise U1A will cause all data output used in several parts of the program is binary outputs that will translate into the lines of U4 to be “0” (high). “ CR” ; and “ PC” is the program counter. desired musical note. As an example, The steps in the first column of the middle-C might be code “0 0001” , C- The control lines SCO, TPB, and NO, flowchart are preparatory steps—they sharp “0 0010” , and D would be “0 001 1”, acting with U5, will cause data to be input data, set up the tables, etc.; the steps etc. Moreover, appropriate codes can be latched in U3 and U4, and only in U3 and in the second column make up the work used for loudness values, key signatures, U4, when a “ 60” output instruction is ing program—they play the music. and for triggering the synthesizer. executed. In a similar manner, the data on lines DB5 and DB6 only is latched in Thus, for each note a pitch value was Using the music sheet, each note could be U8 and decoded in U9 when control lines chosen, outputted, and latched. If given a separate code for pitch, duration, SCO, TPB, and N 1 enable U6 with a “ 61” loudness and triggering information was loudness, key and character (wave instruction. Likewise, U7 and UI0 use required, it was immediately chosen and shape—attack and delay). DB7, SCO, TPB, N2, and the “ 62” sent out. The program would then go Microtutor instruction. through an appropriate delay loop to Hardware hold the selected note the proper time. At Software the end of the delay, the next note and The interface hardware for this first- loudness and trigger values are selected attempt combo proved extremely in- The program was patterned after the Because of memory limitations, the key-
POLYPHONY FEBRUARY 1978 9 non Technical Communications! Copyright 19761 Printed in U.S.A.
0 — PC | 157 — DP 32 — CR | 190 — LP 124 — TP | 223 — NP Jump to step 10
Switch in note byte (Byte — » M(NP))
Increment NP Decrement CR Does CR - 0?
32 — * CR Switch in duration byte (Byte — M(DP))
Increment DP Decrement CR Does CR = 0?
32 — CR Switch in loudness byte (Byte — M(LP))
Increment LP Decrement CR Does CR - 0?
32 — * CR Switch in trigger byte (Byte — M(TP))
Increment TP Decrement CR Does CR = 0?
Fig. 3 — Combo (low chart.
change feature was not implemented in References
this first-attempt combo. 1. AIIes, H.Ci. (Bell I elephone l aboratories)- "A Hardware Digital Music Synthesi/er" Proc. HASi'OX"15" pp. 217-A to 217-fc. 2. Simonton, J.S. Jr.; “ Build a Portable Synthesi/er'', Radio- Conclusions hJei ironies (N ov 1975) pp. 37-101. 3. I . Ba/in and I). Schneider of Broadcast C amera Engineer ing used the Mierotutor to control a “ Music Maker" with Hobbyists.. .share your hobby interests In keeping with the Bicentennial, my programmed pitch and rhythm generators, based upon “ A Rhythm Section You Can Build." Electronic* Illustrated with RCA Engineer readers! The “on-the- son—who was taking a high school (Nov 1968) pp. 57-66. job/off-the-job” column offers you the course in fundamentals of music— 4. I his was accomplished even though the Cinome manufac opportunity to report on your ex turer states that this can not be done. II the scale was not so transcribed the Revolutionary War tuned, programming the pilch would be much more periences. The information should be marching song “Chester” for our difficult. In fact, tuning and keeping them in tune is a related to technology and be of general problem in many music synthesizers. Also, see Carl interest to engineers. If you wish to microprocessor-synthesizer experiment. Helmer’s “ Add a Kluge Harp to Your Computer." H Y /E (O ct 1975) pp 14-18. contribute, contact Frank Strobl, Bldg. The program and sixteen measures of the 5 A doited note is held 1.5 times as long as the note would be 204-2, Cherry Hill, N.J., ext. PY-4220. music took all 256 bytes of memory. held without the dot.
10 POLYPHONY FEBRUARY 1978 s a handy m ay to solve ,111 by Marvin Jones STICKy CONTROL PROBLEMS Electronic music has always been an attractive alternative for radical innovators in music composition or performance. One of the reasons is that the music circuitry is easily adapted to many different modes of control. Some synthesists still use the AGO keyboard, but others are die-hard anti-keyboardists, and their search involves use of push switch matrices, ribbon controllers, light sensors, com puter controllers, and on and on. One of the earlier alternative controllers was the Joystick. Its popularity was no doubt founded on the fact that with one hand you could easily control two independent parameters. Later joy sticks even added a third axis of con trol which was accomplished with rotation of the stick itself. The appli cations of a multi-parameter controller are many. It can be used by itself, or in conjunction with other controllers for a WIDE range of effects — probably more so than any other type of controller (excepting a computer, I guess). Before getting deeply involved with some sample applications for the Joy stick, it is important to understand that the Joystick is a much more ver satile and wide range controller than the more common AGO keyboard. The musical keyboard offers precision repeatability of a limited set of musical notes. But, the Joystick has a much wider range of outputs, with capability to generate an Infinite number of out puts across its range. Additionally, it has the capability to generate TWO variable outputs PLUS a third trigger output. With all this increased capa bility comes an increase in operational subtlety and lack of applications com prehension. The point is that you must be prepared to experiment and PRAC F/f. 1 : f/&HT Pam el TICE in order to LEARN how to get the most from this new controller sys tem, just like you had to LEARN how to play the AGO keyboard. The reward will be the ability to do some very com plex control of a large assortment of synthesizer equipment from one efficient controller device. PANEL LAYOUT AND CONTROL OPERATION
Note that the front panel graphics (See Figure 1) are arranged to depict the interaction of the rotary controls with the Joystick. The "X” and ,TY" designations are derived from stand Fq. Z : R.ear^ Panel ard notation for designating a point
POLYPHONY FEBRUARY 1978 11 in a two-dimensional graph. The X right applies power to the internal cir CV/MULT - This switch selects the axis refers to horizontal, or side-to- cuitry. Be sure to switch off the normal variable voltage mode of oper side Joystick motion. The Y axis power when not in use to help prolong ation (CV), or the multiplier mode of refers to vertical, or up-and-down battery life. operation (MULT) which uses the pre Joystick motion. On the rear panel (See Figure 2): viously mentioned INPUT jacks. The controls in the X section GND - This jack should be patched to One of the first things that comes to operate exactly like the Y controls, a common ground point on the equip mind when you set a knob, lever, or except they affect a different axis of ment which the Joystick is to be con thumbwheel next to a keyboard is pitch motion. trolling. This connection is REQUIRED bending. Since you will be bending the RANGE - This control determines the for proper operation of the Joystick. pitch up and down, it makes sense to amount of output voltage change for a TRIG - This output jack provides a use the ' Y" (vertical) axis for this given amount of Joystick motion. trigger output of approximately + 8 application. First, MAKE SURE that Clockwise rotation will give increased volts when the metal section of the you have a patch cord connected from output changes. Joystick shaft is touched. the Joystick GROUND jack to a ground BIAS - This control determines the As with the front panel controls, the jack on your 4761 Wing (or to the amount of initial voltage at the output; operation of the rear panel is similar chassis of the unit to be controlled, if or in other words, the center voltage for both the X and Y sections. it is from another system). The Y out of the Joystick at rest. Any move OUTPUT - The voltage which is the put should be patched into the VCO(s) ment of the Joystick will then cause resulting summation of Joystick loca to be controlled IN ADDITION TO the an increase or decrease in this center tion, control setting, and so on, appears normal control voltage from the key bias setting. Minimum settings of the at this jack. This jack will be patched board, sequencer, etc. (See Figure 3). BIAS controls represents an output of to the module you wish to control with The front panel Y RANGE should be approximately -4 volts. Clockwise the Joystick. set to minimum. We do not want any rotation will increase the output vol INPUT - This jack allows for input of control voltage at the output when the tage to a maximum of about + 4 volts. complex control waveforms which can Joystick is at its resting center posi TRIMMERS - The ribbed, thumbwheel then be selected, processed and out tion, so the Y BIAS should be set to sliders adjacent to the joystick mech putted from the Joystick. This jack is approximate mid-position. While anism acts as fine tuners for the set used for some very special modes of inserting and removing the patchcord ting of the Joystick. operation, and will be discussed in from the output jack, make slight POWER - Sliding this switch to the detail in a later section. adjustments to the Y BIAS control until there is NO pitch offset when the Joystick is connected to the VCO. This is the point where there is 0 volts bias at the Joystick output. If you can get close with the BIAS control, then you can fine tune the zero setting with the Joystick trimmers. Now, you should be able to play up and down your key board and selectively add upwards or downwards pitch bends of up to a mu sical fifth or so. If you prefer more dramatic, wide-range pitch sweeps, the RANGE control can be advanced as desired. NOTE, though, that the BIAS, control will need to be reset to provide the initial 0 volt output. Those of you who are involved witi experiments in microtonal or macro- 'Joy5T/CK tonal tunings can use the front panel BIAS control to generate the positive (for microtones) or negative (for macro F t
POlUPHONy REVIEWS!
phonics can be heard on both of Pat process. and lots of other goodies. It's hard to Gleeson's albums, "Beyond the Sun" Rumor has it that Larry Fast did summarize or categorize what it takes and "Star Wars". Both albums are a session on the new Barbara Streisand years to learn and understand, but ridiculously commercial, and still em album. Interesting. He's also working Robert has made a solid attempt in ploy some track building, but the use on Synergy III, so watch for it! "Songwriters' Cookbook... ". of E-Mu's microprocessor system is That's it for now. What albums Marvin Jones displayed through the reproduction of have you been listening to recently? some complex stored voicings and gen Why? Let us know. eration of unplayable time signatures THE EVOLUTION OF and patterns. SONGWRITER’S C00KR00K ELECTRONIC MUSIC Those of you into studio effects will like the extensive use of time delay & Creative Guide by David Ernst, and flanging on Robin Trower's "In Schirmer Books, New York City Dreams”. They almost overdid it, by Robert Harvey This is an amazingly comprehensive but all examples are very tasty. Miking $2. 95 from: historical study of electronic music from techniques and EQ are doing a lot of Sunshine Publishing Co. WW 13 to the present. David Ernst has work for Camel on "Rain Dances". P O Box 8044 done a tremendous job of assimilating, These guys do some outstanding compo Anaheim, CA 92802 categorizing, and correlating a very sition, and the keyboardist is a real pro Those of you who are more elec diverse assortment of information. The at voicings and left hand control when he tronic hobbiests than musicians will author divides electronic music into cranks up the synth. welcome a book of this type. Although three categories: solo tape, performer Following the "New Folk" trend, the book is only 24 pages long, Robert with tape, and live electronics. In each "French Kiss" by Bob Welch was re has managed to provide an overview of category, Ernst discusses various com corded entirely by Bob and a drummer. the most important concepts and musical positions by small groups, so the con There is a little bit of synthesis and details required for aspiring songwriters. tinuity or evolutionary relationships studio effects, but most of the cuts are If you know little or nothing of music between various composers, performers, straight-out feel-good progressive rock. theory, introductory material will help or procedures can easily be seen. As I understand it, the first few tracks get you on your feet. For those who have Some of the primary features of the of most of the songs were actually done music background but keep forgetting book include: at home on a Teac. I hope more com things, this book can serve as a valuable - A chronological list of pre-48 events panies pick up on letting the creative reference. The back of the book is related to electronic music provides people handle more of the creative filled with charts, glossaries, scales ...... continued on page 27
14 POLYPHONY FEBRUARY 1978 In the last Polyphony, I showed The tones themselves are pro** place on the trumpet, then used epoxy you my plans for a saxophone control- duced by a 50240 top octave generator putty to fasten the whole thing in place ler/tone source that was interface- chip in about the same way as the OZ. and ran a short piece of co-ax from able with all PAIA gear, including the A clock formed by two NOR gates is the mic to the DIN jack, along with Gnome. This time, I continue my divided down by a 4024, then fed into the output from the circuit (both pins battle against synthesizers designed the TOG to make nice, clean square 3). for keyboard players. This controller waves in an equally - tempered rela For the valves, I heartily recom is very similar to the saxophone, but tionship. The switch on the 4024 mend calculator switches, because it is aimed at valve players: trumpets, produces octaves - five, in this case. they have a good feel - much better french horns, tubas, baritones, etc. Then as mentioned above, the output than dime store pushbutton switches. It can also be used by people who have tones are fed into the input lines of To mount them, I drilled two small never played valve instruments, as the 4051's. Notice the G and F# tones holes for each switch, one hole per this controller requires no embouchure go to two inputs each - that's to provide switch lead. Then I soldered small training, and fingerings are f airly alternate fingerings (see chart below). wires to each lead and stuck the easy to learn. Construction is completely up wires into the appropriate holes, The circuit is shown in fig. 1. If to the individual: I used a wiring pen pulled the switches down flush to the you compare it to the Bionic Sax in the cil (handy little gadget - I use it more top of the case, bent the wires under last issue, you'll find a lot of similar than any other prototyping method neath out (like cinching a resistor ities. In fact, the only differences now), but you may prefer perfboard or on a circuit board), and mashed a are the ways the keys or valves are circuit board construction. For a glob of epoxy on each wire near the encoded. Tone selection is made case, I used a medium-sized bakelite hole to make sure the keys stayed in possible again by two 4051 multi box - one that "felt good" in my hand place. The switches may be hard to demultiplexer CMOS IC 's. Eight (I got some strange looks from the mount, but I assure you it is worth tones are fed into each 4051, and store manager, too), then installed it in the long run. one tone comes out of each pin 3. The the circuit board, the battery pack To use the trumpet, I made up a tone that comes out is determined by (8 penlight batteries - 12 VDC) and cable that has a DIN plug on one end the status of the address lines, (pins a 5-pin DIN jack (see photo). I and two mini-phone plugs on the other, 9, 10, and 11). Valves 1, 2, and 3 mounted the valves on "top" - actually one connected to the circuit, the other (actually calculator switches) directly one of the long sides - and the tuning to the microphone. connect to the address lines and pro control and octave switch on the left Plug the circuit audio cable into vide the tone selection codes. Valve side of the body. The on-off switch a VC A, and the mic plug into an en 4 selects one of the two 4051 chips is on the tuning control. The DIN velope follower/trigger. Use that by connecting to the INHIBIT pins jack is underneath, out of the way. trigger to control an envelope generat on each one. When the fourth valve For breath control, as in the or, which in turn controls the VCA. is open, the top 4051 functions and saxophone, I used a cheapie micro See patch diagram 1. Set up the en the bottom one cuts off. When the phone element - actually, I tore up velope you want, turn on the trumpet, valve is closed, the reverse occurs, a microphone from a cassette recorder adjust the sensitivity on the envelope and the tones come out of the bottom and used the top part of the mic body follower, and start practicing. Much chip. as a bushing to hold the element in more complex patches can be realized,
POLYPHONY FEBRUARY 1978 15 // $e U o/E f i q u R E 1
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Photo #2 DIN plug and jack carries both the audio from the circuit and the audio from the mic. like those in diagrams 2 and 3. to the fourth valve if you're already with some that will make playing Dynamic breath control is possible a valve player; some use the left easier for you. If so, drop me a line with the controller - let your imagina hand to work the fourth valve as well care of PAIA, and if there's enough tion go wild! as the octave switch. Whatever feels interest, we'll print them up in a If you have modified the Gnome to best is fine. You may even want to future Polyphony article. I'd also adapt to the OZ, you can also inter mount the fourth valve somewhere like other opinions on the subject of face it with the trumpet, and use the else on the horn. A pitchbend plate alternate controllers for synthesizers. Gnome's VCA, VCF and envelope can be fashioned and mounted on the Meanwhile, I'll be working on a clari generators to process the trumpet’ s horn if desired, in fact, there’s an net controller . . . audio. awful lot of modifications that can be It may take a bit of getting used made, and you'll probably come up -W/-
16 POLYPHONY FEBRUARY 1978 FINGERING CHART
NOTE: VALVES (1, 2,3 ,4 ): C# 1111 D 1011 D# 0111 E 1101 F 1001 F# 0101 G 0001 G# 0110 A 1100 A# 1000 B 0100 Us/AKj B reath G>htrol As Ah Emvelope Tr / ^ e r . C 0000 'Patch D ia g r a m 1 Note that a 1 indicates that a valve is to be depressed, while a 0 indicates that the valve is still up.
DATA: NOTE SELECTED: 000 C 001 A# 010 B 011 A 100 A 101 G 110 G# 111 F#
This chart will be helpful for finding alternate fingerings, or for troubleshooting purposes. The binary code given corresponds to the data fed from the valves (1, 2,3) to the 4051 Uj/A/q B reath Control As a 7/m3 R£ A/jowr/Eft. addressing inputs (AO, A l, and A2) Patch diagram z which are found at IC pins 11, 10, and 9 respectively •
Figure IC 1 Address Encoding
DATA: NOTE SELECTED: 000 G 001 F 010 F# Oil E 100 E 101 D 110 D# 111 C#
Valve 4 must be depressed to disable IC1 and enable IC 2. Other*. wise, the data source and addressing pins are the same for IC 2 as for IC1. Us/NCj Breath Control Por A/Jodulathw S weeps. atch Figure IC2 Address Encoding P D/AqaAM 3
BIO-1 KITS AVAILABLE components which mount on the board, nectors. The BIO-1 is, at $24. 95, For those of you interested in plus the volume and tuning control, an excellent way to begin your own working with the Bionic Trumpet, or rotary octave switch, and a crystal series of experimental alternative similar type instruments, Paia has earphone for use as the breath sen controller devices. Polyphony would the BIO-1 Experimenters kit. The sor. User must supply the case, be most interested in hearing about kit consists of a circuit board, all calculator switches, and output con your experiences.
POLYPHONY FEBRUARY 1978 17 •Mii’/iia W - i n h u illil h ^ 'J a sailed li *«!* S&rtagp by Marvin Jones
String synthesizers are pretty neat. of STRINGZ 'N' THINGZ is shown in definite separation from the string sig They were one of the first "special figure 1. Let's take a look at some of nal if desired. OR you can use a 3 con purpose" synthesizers' to come along. the operating features. The GATE jack ductor 1/4" phone plug which has no They represented a kind of accpetance, provides a voltage which steps from 0 connection made to the ring section of a kind of "growing up" of synthesizers. to about +9 volts when any key is pressed. the plug, and the piano signal will appear Strangely enough, the basic circuitry in This allows interface and triggering of at BOTH the mix and piano outputs in a string synthesizer is more a develop external generation or processing equip whatever proportion YOU select with ment of combo organ technology than of ment. For example, when the chorusing the piano mix control (explained later). synthesizer technology, but the rich circuitry is disabled, the normally So far, that's a LOT of possibilities for moving sounds they produce are so "stringy" sound is changed to a straight various types of operation. But there's powerful that most anyone (musician or combo organ "reedy" voice. When this more. not) gets a kick out of playing with them. bland voicing is processed through ex The sustain controls on the panel One of the main complaints of the mu ternal synthesizer lowpass filters, the set the amount of time it takes for the sicians is that the commercial units gate output can be used to trigger the signal to die out once the key is released. each have a slightly different sound to external envelope generator which will For those of you familiar with synthe them, aid none of them happen to sound be used to sweep the filters. Excellent sizer equipment, this would actually like what they think strings should sound polytonic synthesizer effects, or brass relate tc the Release control on your like...... may I be the first to introduce synthesis can be obtained in this way. ADSRs. Note that there are separate, you to STRINGZ 'N' THINGZ. There are two signal outputs on the variable sustain controls for BOTH The most important part of this stock 1550. The first is the MIX output, strings and piano. Some commercial product is not the stringz. It's the or the master output. At this jack you units have only a switch for long or thingz. Variable thingz. Optional will find the sustained, modulated string short sustain, or no control at all. In thingz. Foot controlled thingz. Thingz voicings PLUS a variable amount of the addition to the panel variables, two that make this a FULLY VARIABLE electric piano sound. The user can mix jacks are provided for changing the sus string synthesizer so you can tailor the any proportion of piano signal, or none tain characteristics with a remote switch, sound to fit your needs. Or even create at all. The second output provides only control voltage, foot switch, or foot sounds that you have been formerly the piano voicing. This output is use pedal. With the two conductors of the using two or three extra keyboard in ful if you wish to use separate mixing, standard 1/4" plug shorted together, the struments to obtain. Every effort has EQ, or amplification for the piano effect. panel control operates as usual to set been made to make this instrument When using a standard 2 conductor 1/4" the minimum sustain time. When the applicable to as many situations as phone plug in the piano output jack, the foot switch opens the two conductors, possible. piano signal is automatically disabled the sustain time goes to maximum (as A representation of the front panel at the MIX output. This produces a if the panel control were advanced to
18 POLYPHONY FEBRUARY 1978 maximum). Various modes of operation can be obtained by using different types of foot switches. If you use a normally closed, momentary contact push button foot switch, the switch will operate exactly like the sustain pedal on a real piano. Press on the switch, long undamped sustain. Let up on the switch, sustain damped to whatever minimum time you designate with the front panel control. Alternately, you could use a push on/ push off type switch to turn the sustain on permanently, and then push again to damp the sustain. Internal design also allows for use of foot pedals (such as the PAiA/De Armond foot volume pedal) or 0 to 5 volt control voltages for remotely programming a variable sustain level, in case you want to get somewhere be tween the two extremes for a little expression. Like all the possibilities? Read on! The TUNE control is standard. It provides enough range to not only tune to other instruments, but also to be able trol acts as a volume control for the in conjunction with the regulated power to raise or lower the tuning by an octave. Solo Piano output. When a 3 conductor supply give you the wonderful world of With a little work, you can do orchestral 1/4" phon plug is used for the piano out silence between string passages. While glissandos, pitch bends and so on. put and the ring connection is not used, the unit is in operation, the delay line Perhaps some of the more powerful the Piano Mix control will pan the piano chorusing noise is sufficiently masked controls of the 1550 STRING Z 'N' THINGZ voice between the outputs for some stereo by the string signal which is much louder are the two controls in the Modulation imaging effects. than the chorus noise. Other inside block. The DEPTH control determines The large box of controls at at the goodies include terminal clips at all the amount of vibrato/chorusing. This bottom of the panel is used to design the points where future modifications are to can be varied from completely off (for string sound you desire. The SPLIT be attached so you don't need to remove straight organ sounds or external pro select switch is used to desiginate the any boards or wiring when updating to cessing) to a very deep rich chorusing point at which the keyboard is divided in stereo outputs or digital interface. Just effect to a near excessive pitch modula half. In position #1, the keyboard is open the case and wire in the new boards. tion of over a semitone. While the ex split at the first octave (between B and The power transformer used is sufficiently tremes of this controls operation are C). In the #2 position, the keyboard overrated to provide stable operation at definitely out of the bounds of traditional splits at the second octave (again between a variety of AC line situations, PLUS string synthesizers, they are very con B and C). LED indicators show the reserve power for use with the various venient features to have if you are trying selected split position. The LOW and modification options available. to use this one keyboard to fulfill the HIGH MIX controls are used to tailor the The 1551 Stereo String Output mod foil of several standard keyboard instru mixture of violin and cello voices for ification adds another set of chorus cir ments. each half of the keyboard. The low con cuits and noise gate to the original 1550 The RATE control provides a variable trol operates below the selected split to provide an independent audio output modulation rate from nearly a standstill point; the HIGH control mixes the voices for part of the signal. In the tradition (good for the fat, rolling sound of a pipe above the split. Cello voices are two of the original 1550, here comes some organ), to a normal vibrato effect, and octaves lower than the voilins, and have more versatility. You can switch select on to a fast quivering vibrato for special a slightly wider spaced harmonic series between two modes of stereo operation. effects. The adjacent LED indicates the for a bit more raspy or nasal quality as Although you can't see it on the basic rate of one of the low frequency vibrato in true string instruments of this type. 1550 kit, positions are provided on the oscillators. It is useful in determining The two string mix controls take on added front panel to mount the extra output a relative vibrato rate adjustment with power when the stereo string output mod jack required for stereo, and the slide out having to actually play (and hear) the ification is installed, as the infinite var switch required for stereo mode selec keyboard. If you are a performing iety of mixes available take on a three tion. The obvious mode of stereo oper musician, this is a feature that you will dimensional effect. ation is to take the split keyboard and appreciate. During a song you will be The internal circuitry has several send one half to one output, and the other able to look at the Stringz and determine features built in which aren't apparent half to the second output. Flip the switch, if it is ready to do a string passage, organ from the outside of the unit. By now it and you now send cellos to one side and effects, or whatever. is a generally accepted fact that analog violins to the other. The second mode The Piano SOLO/MIX control is used delay lines by themselves are noisy. tends to add a "wideness" to the sound to send the piano voicing to either the Period. It is a characteristic of their that gives a tremendous illusion of an master MIX output, or to the solo PIANO circuitry and operation. But, several orchestra. In both stereo modes, the output. The control acts as a panning types of circuits can be used along with piano voice is applied to each side of control, and the piano can be assigned the delay lines to give improved signal the stereo when the Piano control is to any blend of the two outputs. When to noise ratios, or to silence the chips turned towards mix. The Solo Piano using only the composite MIX output, when not being used. In the 1550 STRINGZ output works as usual, thus giving you the Piano control acts as a volume con •N’ THINGZ, a noise gate is built into capabilities for 3 simultaneous outputs trol for the amount of Piano present in the master MIX output. The attack time from this one instrument. the MIX output. When a standard 2 con of the gate is slightly less than the attack The digital interface is in the midst ductor 1/4" phone plug is used in the rate of the strings, and the release time of production development at the time Piano output, the Piano voice is disabled is about equal to the maximum string from the MIX output, and the Piano con- sustain capability. Voila—this circuit . . . . continued on the bottom of page 20 P0LYPH0NY FEBRUARY 1578 19 ffltS fiHLUEtDCUlBUCCPE BBtfflJtPB EGfiJUGELILGE s**z [/ lili U G JE ;?8af': BCBtSCE tftjjBCSBBtf E E fiE By Greg Leslie One of the big drawbacks of the Bionic Sax and Trumpet (Polyphonys, Vol. 3, nos. 2 and 3) is the selection Octave Controller of octaves. In my prototypes, I just used a rotary switch. But this proved for the Bionic Sax and Trumpet" extremely difficult to control with any amount of finesse, so I took away the switch, added an IC and a few calcu lator-type switches, and came up with the circuit below. The circuit replaces the octave selector in the previous sax and trumpet schematic. The clock is fed in from the oscillator/tuning circuit and the output goes to the input of the top-octave generator. On the Bionic Sax, the three switches are mounted in a vertical line on the back of the body and are operated with the left thumb. I included a thumb rest alongside the center switch. On the trumpet, experiment to find the point that is easiest to reach and mount the switches there. Now, when you use the instrument, it will play in a moderate-to-low octave with no octave keys depressed. To get the next lowest octave, press the lower two keys simultaneously (and a well-placed thumb can hold both down if the keys are mounted close together). Pressing the bottom key along gives the lowest octave. High er octaves involve the upper two switches. For the octave above the "normal octave", hit the center switch. Pressing both the top and center switches simultaneously gives the next highest octave, and pressing the top switch alone gives the top octave. After getting used to the configur ation, this octave controller works well and sure beats the heck out of a rotary switch. If anyone has an alternative idea for controlling oc taves, let me know in care of Poly phony. A W -
Here's STRINGZ 'N' THINGZ...... continued from page 19 phonic synthesizer. Think of it— you piano parts of your composition in the already have a keyboard that will do memory of a microprocessor, and have of this writing, but it's primary features stereo strings, electric piano, and can the cou p ’iter play your arrangements can be discussed so you'll know what to be processed externally for synthesizer- on command. At any speed you desire. expect. Digitally encoding a keyboard type effects. Add a circuit board and In any key you desire. Even backwards which uses standard diode keying (this the same keyboard can control a com if you want, and more and m ore... includes most string synthesizers, pliment of modules to produce up to A few of you have known for quite combo organs, and so on) is a fairly 16 voice polyphonic work. a while that we were working on a easy task, and once accomplished the Here's more: string synthesizer. It's been a long same keyboard can be used to feed a Data can be fed into the string synthe time. Sorry *bout that. But, I think microprocessor for purposes of com sizer and actually play the strings for you'll agree that it's been worth a wait. position storage or controlling a poly you. You could store the string or You're gonna' love it!
2 0 POLYPHONY FEBRUARY 1978 r Al\l ULTRA VCO FROM THE 4720 "1
By: Gary Bannister w S The 4720 Voltage-Controlled With a range switch suitably installed, Since we also find that this distor Oscillator does a super job as it comes a new problem develops. The new low tion appears in the low range (but at a from the factory. While guaranteed to frequency waveforms viewed on an frequency about 10 times lower-approx- go from 16 Hz to 16KHz, they typically oscilloscope begin to get a peculiar imately 1000Hz), we have a clue to its perform much better. Several units I distortion, especially when both the cause, and therefore its remedy. have tested ran from 4Hz to 20KHz. This control voltage and range pot are at Without repeating the operation of is not really amazing, considering the maximum. (See Fig. 2) In fact, this an integrator (which is covered in the design of the unit. With regulated power same distortion appears with the nor 4720 Owners Manual), let it be said that supplies, the combination of precision mal capacitor in place as well. if a large'current flows into the integrator, current source, and temperature-comp This is obvoiusly a form of harmonic a suitable large current must flow out ensated integrator produce an oscillator distortion-the waves are not pure. This of the integrator. The problem lies in of exceptional range and stability. distortion is also a sign of linearity error. the fact that Q3 cannot short out this However, PAIA does not yet pro This means that the oscillator goes current fast enough. This means that the duce a voltage-controlled CONTROL slightly out of tune with the range pot max fall time of the sawtooth is no longer oscillator. Requirements of such a unit imum. We don't notice this as much when infinitely short, but now is a good portion would be low frequency (typically 0. 5Hz the oscillator is in the audio range be of the total waveform. Not only this, but to 50Hz), DC coupling (no blocking cause the harmonic distortion is too high the amplitude becomes less, and a DC capacitors), and compatible signal level to hear, and the slight detuning actually offset is produced which ultimately (0 to 5 volts). A super unit would include produces sometimes pleasing ''phasing" affects the triangle and sine, and makes both positive-going and negative-going effects. (Please note that this distortion the pulse width unstable. signals useful for panning or dual filter appears only above about lOKHz in the The remedy for this problem is to sweeps. audio range.) find a transistor which CAN short this The obvious difference between this However, it should be easy to see current fast enough. What makes a and the 4720 is the super low frequencies. (hear?) what this distortion would do if transistor suitable for this purpose is The design of the 4720 makes it easy to we were to use the sine output for vibrato. known as High Frequency Cut-Off (f^ in produce such a response by simply re The results would be less than musically transistor substitution manuals). A good placing capacitor C2. If the original pleasing. suitable replacement is 2N3641. This capacitor and the new one are placed on has an Pp of about 300MHz (300,000,000Hz!). a single pole double throw switch, each A special aircraft transmitter transistor AJo r m a l range may be easily selected. (See Fig. 1) D lSTdKTED was also tried with more than excellent The value of the new capacitor is selected results. Its f is better than 1 Gigaherz- to give the desired range. Changing the /// AV 1,000,000,OOO^Hz! Also of slight impor value by a factor of ten (to . 1 uf) will tance is the combination of R9 and C3 drop the frequency for a given voltage (See Fig. 1). Some improvement is made by ten, also. Using a 1 uf cap will drop X/V'X WW\ by removing C3 and changing R9 to 10K. the frequency to 100. At this rate, a Now, with some minor realignment typical oscillator will produce a lowest of the Pitch Range and Triangle Symmetry frequency of . 04Hz, or ONE CYCLE \ z \ y \ v w n controls, the 4720 is capable of a frequen EVERY 25 SECONDS! Be sure to use cy range of about 20 OCTAVES in two good quality capacitors, preferably overlapping ranges. As a fringe benefit mylars and NOT electrolytics. Maybe ■ F / f Z : the oscillator stays better in tune through a tantalum would be good for VERY LOW its total range. frequencies. These low frequencies are not really of much use since we can't hear them. At least, if we can't hear them, then we should be able to hear their effects. Vib rato is obvious, but a good low frequency sine wave is great for sweeping a Phlanger. To get these effects we need an oscillator with 0-to-5 volt swings. The normal output of the 4720 is . 5 volts, but there is an easier way. When building the 4720 the set-up is to adjust the sawtooth for a 4. 5-volt swing. VOILA!! Here is one output that needs no amplifying, only simple buffer ing. By measurement, we find that there is a pulse wave available that is also 5 volts. Further measurement finds a 2. 5-volt triangle and a 2-volt sine. Fig. 3 shows where in the circuit these are av ailable. POLYPHONY FEBRUARY 1978 21 Now, all we need is some simple amplification to get th o-volt swings, and some level shifting to get the swing to go from 0 to 5 volts. Fig. 4 shows four such circuits. Note that all op-amps are of the 748 variety. Some non-standard frequency compensation is used to keep the fall times short. When finished, each unit should be adjusted so that the wave form swings from 0 to 5 volts. The 2uf Capacitors are optional, but may be necessary to keep any hum in the power supplies from getting in and being amplified. Notice that all the buffers in Fig. 4 are inverters. This is the easiest form to work in with this use, and the upside- down waveform is of little importance.
ZOOK.
22 POLYPHONY FEBRUARY 1C7U sion. This needs 5 op-amps. In either case there is no provision for variable o output, but a 5Kohm pot to ground is a simple chore. N /I Other units suggest themselves. I © © am using a separate container and power \/ supply for a super unit. Audio, control, and inversions are available. A bias © © supply is included so that the oscillator % J" may be run by itself. Shut off the bias © © and the normal VCO response is avail n . LTL able. The outputs are variable, and an offset switch is planned so that the © © outputs will swing 0 to 5, 2. 5 to 2. 5, or 0 to -5. o Uses o-f this VCO are varied. Easily done is a vibrato that increases as the played pitch increases. A super-slow SlHC-fLE WtOTH sweep for the Phlanger is possible, and P a n e l may also be applied to the filters as well. How about sweeping the filter at an AUDIO rate? Unbelievable phasing, roll ing timbres are possible if the oscillators track each other at a harmonic interval. Gongs and chimes do not detune through the ring modulator. By producing vi brato at an audio rate that tracks the pitch oscillator, even thicker chimes may be produced. The thickness of the chime depends partly on how much the pitch is modulated. With two of these oscillators some ultrasonic effects may be possible through the ring modulator, giving rise to eerie shortwave sounds. Truly, the 4720 is a super oscillator. piM<$LE W idth SOME QUICK THOUGHTS: Can you P anel f r o n l fro m Fiq. *78 computer musicians see a way to digitally select the range capacitor? If so, how about computer selection of octaves by F t$. 5 3 using several capacitors and range trim mers fo r R8 ? - W r If the original form of the wave is necessary, it is a simple matter to add another inverter. Fig. 4B is such a unit. Any waveform may be put in, and the offset pot adjusted for 0 to 5 volt output (without it the swing would be 0 to -5 volts). A quad op-amp such as a 4136 would be useful in this application. Now, our goal is reached. We have a super oscillator with a 20-octave range, control voltage outputs, and in versions available (known as differential outputs). All this and we can still use all four AUDIO outputs at the same time. How do we use it? Several addition al modules suggest themselves, all of them similar to the Sine converter for the 2720-2A. Fig. 5A is a control voltage module. It needs 8 op-amps, but all waves and their inversions are available at the same time. Fig. 5B has a rotary switch to select one wave and its inver-
DO YOU KNOW THE WAYTO SANJOSE? SEE US THERE... MARCH 3,4&5 Details on page 33
POLYPHONY FEBRUARY 1978 2 3 PATCHES
Tune to middle octave SOUND USED DURING CARROUSEL FROM range. “LOGAN’S RUN” ™ ‘ « Tune to unison or near unison with wide square waves. lv (approx). Both inputs equal am plitude. High pass output. Track "Q" at 90% (approx). High at 90%. Attack - 50% Decay - 75% Var - 75% Attack - 25% Decay - 50% Sustain - 75% - 100% (controls overall loud ness) Release - 100%
< 5Z> Submitted By: Dave Smith VAFB, CA
ON THE ROCKS
COMMENTS: Set VCF Range for a just-discemable sweep. Set VCF Decay for a just-noticable "crack" of the surf on the rocks. Experiment with timing by varying both Attacks and both Decays.
Submitted By: Terry Fitzpatrick Independence, Kentucky
PATCHING THE 3750 DRUMMER FOR A 6/8 SWING
MAIN PATTERN BRIDGE PATTERN
COMMENTS: Prep: Reset, Program. Prep: Reset/Bridge, Program The drum data abbreviations are as Data: AB, R, R, s, R, Data: R, s, S, Cl, T, follows: AB - Accent Bass Co, B, R, R, Co, R, R, S, R, T, B - Bass S - Snare T, Cl, AB,, R, S, Co, B, Repeat, T - Tom Co - Conga Co, R, s, B, S, Reset. Cl - Clave WB-Wood Block R. R, R, Cl, Repeat, . . . and then - Play. R - Rest. Other programming steps are self- Reset. explanatory.
V 24 POLYPHONY FEBRUARY 1978 3ATCHE5 RANDOM PULSE GENERATOR Experiment with bias setting for var ious random characteristics. f7C. A random output from the E. Follower. The . 22 cap eliminates clicks. — r u iT L r n ___ rL_ Filter - "Q" max. OUTPUT Follower - min. sensitivity.
Submitted By: Josef Wittman Bennington, Vermont
FRENCH HORN OR BASS BEING PLUCKED
For Horn VCOs: One octave apart. MIX: Equal. 4730: LP, Init. Freq. 75%, Q 60%, Range - High, Track. ADSR: A 25%, D 40%, S 75%, R45%, Best in mid octaves.
For Bass 4730: 70% Init. Freq, 100% Q. ADSR: A 10%, D 40%, S 50%, R 75%. LFO: 7 Hz., very slight Low octave only.
Submitted By: Kenneth Libby Roseville, MI
SOLO VIOLIN, CELLO, & BASS
AR: Exp. off, A 60%, D 60%. ADSR: A 40%, D 40%, S 70%, R 70%, var. 60%. MIX: 1 max. 75% left 2 max. left 3 max. 80% left Right 80% Left 70% LFO: 7 H z., very slight Higher octaves violin, Lower cello, Lowest Bass. (Perhaps Bass should be run through an LP filter.)
Submitted By: Kenneth Libby Roseville, MI
POLYPHONY FEBRUARY 1978 25 Those of you who keep up with the The reason you can't just "plug in" to signal on it, and running it to the various new processing items that are that DIN jack is because both of the second interface jack. If you look at available commercially will recognize footswitches provided stock with the the front of the panel you will notice the Bi-Phase which is manufactured by Bi-Phase must be plugged in and "on" the "shape" switches that choose a Musitronics of Rosemont, New Jersey. (so the LED's are "on") for the phasor sine or square wave for modulating the This is one of the more elaborate of to operate. So leave the DIN jack phase shift lines. The Bi-Phase should the hundreds of phasors which have alone, you'll still need it. now be turned over, and the rear of been put on the market over the past Before beginning the modification, the case should be facing you. The two or three years. It features two remember that altering a unit such as circuit board pads which connect to independent phasors which can be run this will most always void your warran the three rocker switches are easily in series or parallel, and swept with ty from the manufacturer. If that's visible as three groups of SIX pads your choice of waveforms. Despite OK with you, then here we go. Internal each. The switch pad which is in the the physical size and array of front access is made by removing the 3 middle of the LEFT row of three for panel controls, this unit is easy to phillips head screws in the front lip the center set of switch pads is the modify so you can tap into the internal of the case, the 4 screws on the top specific pad which we will be using. sweep oscillators or feed your own (front panel), and the 4 screws on the (See drawing) Connect a wire from sweep signal into the phase shift line. rear panel. The green wire in the this point to the "hot" connection of There are even two unused holes in DIN plug is the control voltage input your second 1/4" interface jack. The
the rear panel of the Bi-Phase which for the phasor. One can verify this modification is complete. are the perfect size for mounting the by experimentation if you wish to A wild effect is to have an ADSR 1/4" jacks required for the interface! double check it. Solder a wire to this control the rate of Bi-Phase sweep Mu-tron has a voltage producing DIN jack terminal, and connect the speed. Also, try a quick attack and photocell pedal as an optional accessory other end to the "hot" connection on decay controlling the phasor's center that can be plugged into the footswitch a 1/4" phone jack. Mount the phone setting. The Bi-Phase's LFO gives jack (5 pin DIN type connector). It jack in one of the available rear panel you a beautiful sine wave for modifying puts out 0-5 volts peak-to-peak, and holes. This jack will be grounded by flangers, vibrato, or filter sweeps. it will provide higher center sweep (if virtue of the fact that the case is al The square wave can be used to trigger the Bi-Phase's switches are so set) or ready at ground. Thus, no ground wire sequencers, envelope generators, more rapid LFO oscillation (see owners will need to be connected to the jack trill VCOs and bunches more. I've manual for getting these effects) as unless you wish. In this case, the had a blast with one of these interfaced voltage is increased. The trick is power supply is in a seperate section, to my PAiA system, and I bet you will to take advantage of the fact that the and is not far from the rear panel. A too! DIN plug on back has both a voltage good solid grounding point can be found The first jack you installed is the send and recieve terminal for that there. Sweep Control Voltage Input. The pedal, and tap off that control voltage The next step involves taking a second jack is the Internal Sweep input and wire it to a jack instead. jumper off a trace that has the LFO Oscillator Output. - W \ r
2 6 POLYPHONY FEBRUARY 1978 letters; continued from page 3
you guys' level. Namely, that I'm schematics printed in Polyphony, it is ADDRESSES & not certain if I'm getting all the common courtesy for most magazines Polyphonies published! ? Before (including Polyphony) to aid their SUBSCRIPTIONS the July issue I recieved the #4-1976 readers in successful completion of Friends!! (romans & countrymen even!) issue. Then for six or seven months, published projects. This means, if I have a few minor suggestions with nothing. Now the July issue. However you are having problems, contact us regard to 'Polyphony'. I look forward I subscribed to Polyphony in Jan, 1977! here at the Polyphony offices. In to getting it whenever it does come, as (The 1976 issue was a courtesy issue most cases we will be able to answer it always seems to spark new and fresh I assume!) Have I or have I not missed your questions; if not, we will forward ideas that send me running back to my an issue (or two). If so . . . why? ! your query to the author in hopes that 2720/R, just when the thing was getting If not, aren't you a little behind? he may be able to help. To specifi to be a wee bit . . . dare I say it? . . Believe me, knowing the answer cally answer your question concerning . boring!! to this will help me sleep better nights. the Blacet Frequency Divider, I know However, since the July issue, two Who can stand being left out of all the the design and printing were OK for things have cropped up to nag me. One PAIA latest ideas? Take what I have this circuit. We have built several has to do with the articles that are sent written into consideration okay! And or them around here, and I have to you. It would be a great help if on perhaps even publish an answer in heard from several readers who have all 'how to' or 'try this' type stuff, you Polyphony. I'm sure there are others built the circuit with very good results. print the Full address of the w riter!! who have the same ideas as myself! Now . . . concerning subscrip Why? (you may ask?) Because some tions; don't worry. Yes, we are Till Then times people like me, who have just running a bit behind, but the forecast Ron Jones enough electronics know-how to get by, and Farmer's Almanac say that we sometimes run into problems. For should be back on schedule by the instance, the article by John Blacet RESPONSE first quarter of next year. Keep your and his Frequency divider. I con Ron (and other Polyphony readers), fingers crossed, or better yet— send structed this circuit frhree (count 'em) Your letter brings up a couple us your favorite patches, circuit mod times, and have yet to get it to work very valid questions. There is a ifications, computer programs, or properly! I flon't know if it's an error specific reason we do not publish the anything you want to get off your chest. on my part, a printing error on vour full addresses of some of the people W e'll print it, and the more material part, or a design error on his part! whose names are mentioned in Poly we have to select from— the faster If I could only write him and perhaps phony. Namely— respect for their we can put an issue together. At any ask for advice! Another example. privacy. Some people don't care to rate, you won't lose any money from Ken Winograds Random Tone Gener have their vital statistics publicly your subscription, because we consid ator. His address was printed and announced. For those that do* we er a subscription to be for FOUR luckily I wrote him. He points out have the Local Happenings column. ISSUES. You won't be asked to renew that there were errors in the published At any rate, we will NOT print a until our computer says you have been version, and sent the corrections! readers full address unless he speci mailed four issues. OK? (Great guy, this Kenny!) I'm sure it fically asks us to. Marvin saved me a lot of headache's! With regard to problems you en Item #2 is more on a personal 'hey counter when working on ideas or
POWPHONy REVIEWS! Local Happenings i The PAIA users club originaUy an historical background. discussed, and each chapter has an started by Joe Lattanzi of Heggins, PA, - It is the first non-technical examina extensive discography of albums dis is being reorganized by Dan Mocsny, tion of specific categories of electronic cussed in or relating to the chapter. 707 Park A v e ., Springdale, OH 45246, music based on sound sources and com - The extensive bibliography presents phone (513) 851-2155. Those interested positional techniques. readings in acoustics, computer music, in more information about the club - Ernst analyzes major compositions by available scores, and general electronic should contact Dan directly. Stockhausen, Berio, Ligeti, Reich and music. the Paris school of music concrete. "The Evolution of Electronic Music" is LOOKING FOR SERVICE OR - Graphic Hlustrations of selected works by far the most comprehensive, yet CONSULTATION? We recommend aid the reader in listening to these com specific, book I have seen concerning contacting the following local repre positions. Additionally, many of the the development of electronic music sentatives: composers or performers techniques compositional and performance tech Doug Slocum are illustrated for an understanding niques. It really helps tie our prede Synthetic Sound Labs of the hardware manipulations involved. cessors work to what we are doing now. 1 Gale Rd. (NEW ADDRESS) - The appearance of voice in electronic Marvin Jones Bricktown, NJ 08723 music is documented. Phone (201) 477-3319 (NEW PHONE) - The use of electronics in jazz and rock is explored. Gary Bannister - Over 90% of all electronic compositions 7205 New Augusta Rd. that are available as recordings are Indianapolis, IN 46268 1 _ _ _ _ . . . . continued on page 35 POLYPHONY FEBRUARY 1978 27 THE PBLMPHBNTB By John S. Simonton, Jr.
‘ LAD NOTES------be sure that you understand that there 3) DIGITAL/ANALOG CONVERTER are a wide variety of ways to do poly-, AND SAMPLE AND HOLDS We've come a long way over the last phonic synthesizers. This is only one the 8780/8781 system. year in terms of developing a series of of them. I hope that the algorhythm And, of course, we'll also need digitally interfaced modules that will used here works for you. It's one of as much synthesizer as we think is allow computer control of music syn many, some with sort of special quirks necessary. thesizers. I suppose that the time has that make them useful in certain With all of the items listed, various come to look at tieing them all together, situations but difficult to work with wiring schedules have been mentioned with the computer, and begin doing generally - This seems to be good for doing various non-computer things. interesting things. general purpose way. Ready? We W e now need to establish some standards I had wanted to start with "the ulti have lots to do and little space and time; for this new use, a computer based mate sequencer programs" but am not here we go. polyphonic system. completely happy with them yet. They If we choose wisely, we should still need a little polishing. THE HARDWARE come up with a standard that has plenty Instead, we'll start with what should of room for future growth. Some con be another popular system: Most of the hardware that we'll be sideration has gone into the system using has been described here over the which follows and I believe that it will THE POLYPHONIC SYNTHESIZER last year (or so). For the controller serve our needs for some time to come. Which is a much simpler job than the portion of this system we'll need: Many of you will already have much ultimate sequencer. 1) AN ENCODED KEYBOARD of this wiring done, as much of it is I would like to go through the system 8782 or EK-3 retro-fitted simply an extension of what we've done showing specific ways to do things for equivalent before. Check carefully to be sure a variety of manufacturers equipment 2) A COMPUTER your wiring is to this new standard. but that just isn't practical. Instead, An 8700 in it's minimum confi THE KEYBOARD we'll look at a completely PAIA based guration will run the programs system and assume that if you are that we'll list. A cassette inter Let's go ahead and configure this using different equipment you are face system is useful to the point system from the beginning so that the familiar enough with it to make what of being almost mandatory. We'll computer fits in the synthesizer cases ever changes are necessary. show some new panels and stuff that we've been using. All of the parts Oh, one more thing before we begin, to make it all pretty. will fit in the case like this:
figure 1. computer/synthesizer sub-module placement.
PAIA 8700 COMPUTER, POWER SUPPLY AND KEYBOARD ENCODER RETRO-FIT TO 4700 OR 8700 SERIES KEYBOARD.
28 POLYPHONY FEBRUARY 1978 0— = KEY SWITCH ENCODER BOARD \ ROW COLUMN 0 ------> 7 0 ------> 7 OOOQOOQO QQOQQOOO ( f S ( f o f f o . f ° ) L N t L ) v. & c * f t ( \An 0 / )BQ ( V I ( D1 V ) V. ) \ )'I 1 \( & i » y ♦ y y y y y y ' F^ V I ( p i c V>E l c h e 7 V / V, f u h e f 2 e r f TO KEYBOARD A. J * 2 ( \ 2 / TO DIODES/SWITCHES V.) v 7 V )°27 \( h e h) e V BUSSES ) \ i )A2 ( H t f 3 V 7\ V f i t } \ 7
FIG. 2 FIG.3: The Keyboard as Matrixed At this stage you may have more dis-assembly to do than assembly. KEYBOARD Particularly, the old control panel of ENCODER DIP HEADER the keyboard is removed to make room l/O CLUSTER TO for the computer and any unregulated ( w ir e d ir e c t ) 8700 J4 supply that was powering your keyboard DO]Q + 5 0 ---- GND encoder is replaced with a PS-87 d i c r v ^ p r which supplies all digital power for the entire system. This is going to give D2 q \ _ 0 D6 you a few parts for your "bench stock", D 3 Q X O^STROBE D4 the old power supply components and D 4 Q X _ 0 -Q P3 — Q D2 a couple of push-buttons, but some of D 5Q \ O -QD1 DO the parts we will be re-using. Don't START Q \ O O O throw anything away. KEYBOARD TO ENCODER CONNECTIONS FIG. 4 Maximum useability of the system would seem at first to depend on where DIP HEADERS the AGO keyboard switches appear in the 1 key matrix. We want them in the middle so that we have as much room to trans pose down in pitch as we do for up-scale transpositions. Some 8782 instructions had the keyboard placed 8 switch posi tions below where it should be for this ideal. The "column" connections are fine, but the "row" connections on these keyboards will need to be "slid up one" so that they conform to the configuration as shown in figure 2. This will place the keyboard more or less in the middle of the matrix as shown in figure 3. This is really a fine point, and the system will work OK in most applications almost no matter where in the matrix the keys are, but go ahead and change now so that you won't be limited in the future.
ENCODER MODIFICATIONS DB-25 female connector tied to the made carefully and the DIP header We don't need any of the "trick" output of the encoder, desolder it pins well heat-sinked to prevent melt things that we used when we didn't (carefully - whistling may make the ing the plastic header. NOTE that have a computer (the orgasmatronic job seem easier). In place of the while many of the non-computer app glide circuit, etc.), just the bare- DB-25 connector, we now need to * lications used the STROBE line to bones encoder. You may remove all terminate the output of the encoder in trigger the D/A, here we ignore this push-buttons slide switches, pots a DIP header that will mate with the line and instead use the STROBE as the etc.; most of these will come out when INPUT PORT #1 (J4) connector on the seventh data bit (D6) of the interface. you remove the old front panel. rear edge of the 8700 computer board. Similarly, the encoder's START These connections should be made line becomes the 8th data bit (D7). ENCODER TO COMPUTER as in figure 4. Also, you will notice that power to If your system previously had a These connections should also be POLYPHONY FEBRUARY 1978 29 the encoder is picked up through this This wiring schedule is examined connection from the 8700 itself. in detail in the 8781 QuASH assembly manual. An important thing to notice COMPUTER TO SYNTHESIZER HEAD here is the way the grounds are handled. So that our resulting system can Note that the (ground) pin on be easily broken down into two separate the rear of the 8780 board serves as units (eomputer/keyboard and synthe the central ground for both analog sizer head), this is the place to use (synthesizer) and digital power distri the DB-25 connector that was salvaged bution. This grounding scheme is from the old keyboard front panel. important to prevent ground loop THE PROGRAM Connections should be made between problems and should be followed exactly. the female DB-25 connector and a pair This entire 8780/8781 assembly should The polyphonic program that we'U of DIP headers like those in figure 5. be mounted in the synthesizer head be using is caUed simply: cabinet. POLY 1.0 NOTE that the first header (P2) FINAL ASSEMBLY provides data lines and the CASS select FinaUy, make arrangements for This program supports up to 8 output signal (our 8780/8781 shares this out physically mounting the computer in channels the way that it is written and put structure) while the second connec the keyboard case by first mounting can be easily modified to provide for tor (P3) provides the address lines the computer to a suitable front panel more. required by the QuASH. as shown. (See figure 7)* POLY 1.0 allocates synthesizer And don't forget to provide a socket resources to keyboard requirements 8780/8781 WIRING at the 8700's expansion connector (J7) using this algorhthm: or to mate P3 with this socket before 1) Output all notes appearing in the The male DB-25 connector that assembling the computer/front panel. output buffer area (NTABLE) after terminates the cable to the 8781 is If the cassette interface is being used, adding the corresponding transposing wired in what is essentially an expanded terminate the input and output lines figure from TTABLE. Go to 2. version of our previous standard so that in miniature phone jacks as shown in 2) Wait for keyboard scan to start here you are faced more with adding figure 8. and place a Ust of aU keys currently wires than re-arranging them. being held down in the input buffer Connect these elements together Plug all the connectors together and area (KTABLE). When buffer full as in figure 6. you should be ready to load a program. or scan complete go to 3.
FIG.6 3 0 POLYPHONY FEBRUARY 1978 HARDWARE SEQUENCE
4 - 4 0 X I
OPTIONAL
4 - 4 0 NUT 4 FLAT WASHER
5/|6 SPACERS
4 - 4 0 NUT
THE 8700 COMPUTER, CASSETTE RECORDER INPUT & OUTPUT JACKS AND El A CONNECTOR TO SYNTHESIZER HEAD ALL MOUNT ON NEW FRONT PANEL. A HARDWARE KIT IS AVAILABLE - SEE END OF FIG . 7 ARTICLE
3) Clear the trigger flags (D6) of all eighth notes (for example) from being notes in NT ABLE (the output buffer). assigned to different outputs each time THE PROGRAM 4) Compare each entry in the in they're used. Notes, once assigned, put buffer (KTABLE) to each entry tend to stay assigned regardless of Shown on the next page is a dis in the output buffer (NTABLE). If other keyboard activity - they don't assembled listing of POLY 1.0. they are the same, set the trigger move around in a totally unpredictable Because, again, of space limitation bit of the NTABLE entry and elim fashion as with some analog multi-note we cannot re-print a fully documented inate (zero) the entry from KTABLE. keyboards. version of POLY 1.0. It is supplied If all available outputs are used, or It also means that once the number with the assembly and using manuals if all keys down find a home go to 1. of output channels available is "used for the 8781 QuASH. 5) Place the remaining input buffer up" by down keys that need to be entries in output buffer locations placed, all other keys that are down are POLY 1.0 is also available in which do not currently correspond simply ignored (this is exactly what you 8700 compatible cassette-tape form to a down key (those in which D6 want). for $4. 00. is cleared). When all input data One important aspect of the above has been placed or all channels is that the program must "know" how available have been used go to 1. many output channels are available to LOADING AND INITIALIZING POLY 1.0 it, otherwise there is the possibility There are a number of subtle impli that notes may be assigned to non- If you have a cassette interface on cations here and unfortunately not existant channels (ones that have no your 8700 and the POLY 1. 0 tape, enough space to cover them all. corresponding hardware, not too bad loading is simply a matter of connecting in itself) and further (the really bad your tape recorder to the cassette input A couple of really important ones part) future activations of the note will connectors on the 8700 and loading the are that if we think of "new” notes as be assigned again to these non-exist- tape using the following entry sequence: ones corresponding to keys that were ant outputs - producing "dead" synthe just pressed, this method tries to place sizer keys that seem not to be doing 0-0-0-0-0-0-F-F-0-0-1-1-TAPE those new notes in output channels anything. which at some point in the past were Memory location $00EA contains If you don't have the CS-87 option, already producing those notes. the number of synthesizer channels you must enter the code manually from This prevents a string of identical available, more on this shortly. the 8700 keyboard.
POLYPHONY FEBRUARY 1978 31 The cassette version of this program POLY 1.0 loads all of page zero of memory (its By John S. Simonton, Jr. total requirement) and in the process © 1978 by PAIA Electronics, Inc. initializes a couple of things that you All rights reserved. will need to care for manually if the cassette is not available. When enter ing manually, be sure to set the number 06“ H3 00 LDfi #$00 63- ft6 E9 LDX $E9 #$18 60- B4 CF LDV $CF, X of outputs to correspond to the number 88- fi2 18 LDX 0H- 35 Cf STfl $CF, X 6D- F8 ID BEQ $088C you have available. For example, 0C~ CH 0 EX 6 F- fi2 09 LDX #$03 assuming that you have a system with 0D~ 08 F8 BNE $030fl 7 1 - Cfi DEX a single QuASH, the number of channels 0 r- H2 08 LDX #$08 72 - F0 FI BEQ $0865 available should be set to 4 using the l i - B5 D7 LDfl $ D 7, X 74 - 38 TVfi following computer keyboard sequence: 13- 18 CLC 75- 55 D7 EOF: m , x 14 - 75 DF h d c $ D F, X 7 7 - 0fl RSL RESET-O-O-E-A-DISP 16- 8D 00 03 Sift $0309 78- 0fi Hl.L BNE $8871 0-4-ENTER 13 - 3D F 7 09 STfl $08F7; 79 - D0 F6 1C - H0 04 LDV #$04 7B- 38 TVfi 1 E “ 88 DEV ?C- 15 D7 ORft $D7/X The tape version initializes the number 1 F - D0 F0 BNE $081E 7 E - 35 D7 STH $D7, X of outputs at the most likely number of 2 1 - Cfi DEX 8«~ C6 EB DEC $EB 4. If you want to use less channels 00 ED BNE $0811 82- F0 31 BEQ $08B5 (because cf lack of modules, say) or 24- H2 08 LDX #$08 84- H6 E9 LDX $E3 have a system with more, do it as was 26- H9 00 LDfl #$00 86- m 00 LDfi #$00 28- 35 CF STfl $CF, X 88- 35 CF STfl $CF/ X shown above. ;2fi- Cfl DEX 8ft- F0 D9 BEQ $0865 When entering the program manually, c.’D~ 00 FB BNE $0828 8C- F;3 00 LDH #$00 make sure the decimal mode flag in the 2D- fi2 08 LDX #$08 8 E- R2 09 LDX #$03 status register is cleared by using this 2 F- 2C 10 08 BIT $0810 30— Cfi DEX sequence: 32“ 30 FB BN I $082F 3 1- F0 £LC. BEQ $0885 34- 2C 10 08 BIT $0810 33- B4 CF LDV $CF, X “>7_ 95- F8 F9 BEQ $0838 RESET-O-O-F-F-DISP vj 1 30 0F BN I $0848 39- 50 F9 eve $0834 3 7- 95 CF STfl $CF/ X 0-0-ENTER 3B- HD 10 08 LDfl $0810 93- H2 09 LDX #$83 This is automatically taken care of 3 E- 35 CF STfi $CF, X 38- Cfi DEX when the tape version is loaded. 48- C0 10 08 CMP $0810 3C- F8 1 7 BEQ $88B5 43- F0 FB BEQ $0848 3 E- fiy 40 LDfl #$48 USING POLY 1.0 45- Cfi DEX R0- 35 D7 AND $D?/ X With everything connected, loaded 46- 00 EC BNE $0834 112- D0 F? BNE $883B and initialized, we’re ready to begin 48- E6 E8 INC $E8 fl4- H9 80 LDfi #$88 414- fi5 LDfl 06- 35 D7 AND $D7, X making music. Go to the beginning of E8 $E8 4C- 80 20 88 STfl $0820 08™ 95 D7 STfl $D7, X the program and begin running it. 4 F- Eft NOP HH- 38 TVfi 50- Efi NOP I1B- 15 D7 ORh $D7, X RESET-0-0-0-6-tRUN 5 1- Efl NOP m - 35 D7 STfl $D7, X 52™ R5 Efl LDfi $Efl rtF- C6 EB DEC $EB If everything is working properly, 54- 85 EB STfl $EB BI F0 02 BEQ I88B5 we will see the 8700 displays counting 56- fl2 08 LDX #$08 BS- D0 D7 BNE $0880 $FF80 quickly, incrementing by one for each 58- as BF LDfl #$GF 65- 28 08 F F JSR 5ft~ 35 07 AND x B8- C3 04 CNP #$04 scan of the keyboard. All of the QuASH m> 5C~ 35 07 STfl $ D7, X Dfi- B0 03 BCS $88BF outputs should be at a very low output 5 E- Cfi DEX BC- 4C 06 00 JNP $8806 voltage (the program initializes them as 5 F- 00 F 7 BNE $0858 BF- C9 08 CNP #$08 zero) and the trigger flags for each 6 1- fi3 03 LDfl #$03 C l- B0 05 BCS $08C8 channel should be cleared. 63- 85 ES STfi $E3 C3- fiy 2E LDfl #$2£ As we press synthesizer keys, 65- C6 £9 DEC $E 3 C5-- 4C 08 00 JNP $0008 6 7- F0 23 0F 00 JMP $800F QuASH channels should "come alive" BEQ $088C C8-- 4C and produce control voltages correspond ing to the keys that POLY 1.0 has assigned on the 8700) provides a tuning function You may want to use multiple VCO's to them. The trigger flags should be and causes all QuASH channels to pro mixed into a single voicing circuit, set if the key corresponding to the duce the same note with the trigger (See figure 9), or what amounts to a channel is currently down and clear flags set, aUowing all oscillators to be complete synthesizer for each con when the key is released. set to the same pitch. The note pro trol channel or anything in between, duced corresponds to the 2nd C on a (See figure 10). TWO MORE FEATURES OF POLY 1.0 standard configuration 3 octave key A word of advice: in your beginning While POLY is running, touching board. THE CHANNELS MUST BE stages of learning to use this system, any of the keys from 0-3 on the 8700 CLEARED AFTER TUNING by touching you should try to stick to configuration keyboard (the first row of keys) causes the first row of 8700 keys. in which all of the channels are produc the system to clear all QuASH channels ing the same "type” of sound - as close to zero and wait for new data to be THE SYNTHESIZER to identical as possible. As your skills assigned. You'll figure out what this progress and you develope a feel for is good for as you become familiar There are an almost unlimited number how POLY 1.0 is going to massage data with the system. of ways to use the multiple control you can work up to using some output Maybe more importantly, touching voltage produced by the QuASH and channels to set VCO pitches while any of the keys 4-7 (the second row POLY 1.0.
32 POLYPHONY FEBRUARY 1978 others control filter parameters (just an example - the number of possible combinations is extraordinarily large). POLY 2.0 is under dev elopement and features the use of some QuASH channels as software controlled envel ope generators, reducing the need for lots of these hardware modules. POLY 3.0 provides for computer storage of sequences of chordes or notes. ONLY POLY 1.0 IS AVAILABLE NOW. The others are still a couple of months away. I mention them only because I want to make sure that we all understand that the nature of this new musical tool is a function of the program that is running and not so F IG .9 much of the hardware that it uses.
C CHANNEL A G
c OUT CHAN B I G
O C CHAN C G
C CHAN D G
FIG. 10
imenting with building this system from HARDWARE KIT FOR THE EXPERIMENTER scratch: DB-25 connectors and 2 single ended DIP headers. The following are available from POLY 1.0 CASSETTE tape and documen Satin black finished PAIA for those of you who are exper- ted listing. Computer mounting bezel, $5.00 plus hardware 24. 95 ppd.
SECOND title keep you away. Last year there were half a dozen music exhibits and this year promises to bring more. M a r c h 3 - 4 " 5> 1978 We'll have our latest product developments on display and be there See us at Booths 410/412 to answer questions and personally It happens again this year but in a Convention Center, demonstrate the new equipment. different location. The Second West H you've hesitated about attending HOPE WE'LL SEE YOU THERE! Coast Computer Faire will be held because your interest is primarily March 3rd thru 5th at the San Jose music, don't let the Computer Faire - Linda Kay -
POLYPHONY FEBRUARY 1978 33 rent the feed fen thought dept.
by Jeffrey Noble 0 © T M TO E yiLTTDD^TE Background: A keyboard musician Breath pressure through the tubes man can, for instance, start a solo is constantly struggling to fill the puts out a proportional voltage, as with a "harsh, angry" attack, stretch vacuum left by the lead and rhythm does biting down on the mouthpiece. it to a "wail", soften down to a "warm, instruments. In the studio he can Again, this doesn't particularly help sensuous" bridge, and take it out with spend more and more time to plug the studio musician. The performing a "half-bitter, half-sorrowful" lament. fewer holes and fewer gaps by adding musician, however, will immediately His fingers play the notes, sure 'nuff, tracks and patches (using the same grasp the potential— not only for greater but the subtle changes in pitch, har equipment,) but time is something the control—but for adding a dimension to monic content, attack, etc. are what performing musician does not have! a solo line that has been almost com makes the music come alive. He is constantly working to "fill-in", pletely lacking in all other types of A mouthpiece "joystick" can do punching buttons and presets and chang electronic keyboards, be they organs, the same for the synthesist. One (or ing patches and moving from keyboard synthesizers, or whatever. That more) mouthpieces attached to a neck to keyboard several times during the dimension is FEELING. Tell an organ brace (just like Dylan uses for harmon same song. Nightmares abound in player to put expression into his work icas) can vary voltage (and hence, tone which he has to grow 3 or 4 new hands and he pushes down the only control envelope, pitch, and other designated and feet just to keep up. An alternate he's got: the "expression" (volume) parameters) to the ADSR, VCO, VCF, method of voltage control (in addition pedal. Someone blowing winds or & other processors and sources. to his hands and feet which are already brass or strings, on the other hand, Better yet is to go through the com fully occupied) would, in effect, be has an almost limitless range of ex puter which could be programmed to that 3rd or 4th hand. At the risk of pression (the ultimate in expression, change several parameters simul sounding a little perveted, I call this of course, is the human voice). By taneously. I think you can see the alternate device my ORAL JOYSTICK. varying the tightness and position of possibilities. It consists of a tube or tubes encased his facial muscles, tongue, nasal in a sem i-rigid plastic mouthpiece. passages, breath control, etc., a sax - A M r
ORAL JOYSTICK or MOUTHPIECE VOLTAGE CONTROL (MVC)
Example: When the musician "BITES DOWN", the strain gage transmits the voltage proportional to the deformation of the mouthpiece. This voltage is amplified and changes the processing. A heavy "bite" could be set up to increase attack amplitude, increase square wave component, decrease sawtooth component, de crease LFO vibrato modulation, etc. At the same time, expelling force fully (couldn't bring myself to say blow hard) through the tubes could raise the pitch (typical adjustment would be for ± 1/2 step). Commer cially available pressure xducers and strain gauges are too costly (they have to be accurate and repeat- able within a very narrow range). Home built will suffice here since we already have inserted into the works a self-correcting device (wild-hippy- musician).
OUT
3 4 POLYPHONY FEBRUARY 1978 troller Equipment Exchange
Equipment Exchange allows a place for our suberibers to offer for sale or trade equipment related to music and electronics. If there is equip ment you are looking for, we will list it, also. Please keep the listings as brief as possible. Persons responding to ads should write directly to ; The Answer the other party. DO NOT write to PAIA. PAIA is not responsible for any claims made in the ads or results of any transactions. PAIA has F or... the right to edit or refuse any ads submitted. Student I J Hobbyist Manufacturer For Sale: Paia Gnome, needs a little For Sale: Gnome, assembled, working, work. $25 or reasonable offer. George including all literature. $40. Phil 8700Processor: 6503MPU.@ Wear free “ActiveKeyboard”, Micro-Diagnostic® Extensive Smyth, Rt. 11 Box 424, Morgantown, Mandel, PO Box 263, Burlington, MA documentation, Fully Socketed. WV 26505, Phone (304) 599-2472. 01802. • Piebug Monitor: User Subroutines, Relative address calculator. Pointer High-low, For Sale: Paia keyboard in road case. Back-step key. For Sale: 2720A, works perfectly and Fully assembled and tuned. Includes Cassette Interface: Load & Dump by to specs. $235. Don Daugherty, 7313 file Positive indication of operation. Tape Inzer St., Springfield, VA 22151, custom installed Joystick and control motion control. (703) 256-6148 evenings. panel with glide and footswitch provision. Applications system s from $ 9 0 (10 unit quantity) $150. Excellent condition. Eric Development systems from $149 (single unit) Hanson, 213 Cedar Lane, Seabrook, TX 77586, (713) 334-5920. TELL ME MORE i want to see for ’• For Sale: 4782 Road Keyboard, two ; myself that the 8700 is The Answer. ; 4761 wings with 2720-1, -4, -3B, -5, ; ( ) Please send documentation $10 enclosed.; -7, 4711, 4740, two 4712, 4720, and I ( ) send price lists & FREE Catalog of other; all patch cords. $400 new, asking For Sale: EML Poly-Box, never used. ; PAIA kits. $250 or best offer. D. Norris, Box $375 or offer. Paia 8782 Digital ! nam e:______! 2672, USAF Academy, CO 80841 Keyboard, new, $90. Prices include • Address: ______• postage. Everett Rantanen, 312 E. | City:______State:______zip______• Schiller St., Milwaukee, Wise. 53207. GRAND OPENING SPECIAL: Personal DEPT. 2 • 1020 W. Wilshire Blvd. ; Vibracon Globes - discounted to 800 : ELECTRONICS •OklahomaCity, OK 73116* drimes. Limit one to a customer. Re For Sale: Phlanger 1500A, $45. OZ, member - these are pure globe. Hyper $80. Gnome, $40. Heathkit TA16 Amp, space it out here and see our other $100. Prices exclusive of shipping. All pfi06RFimfT)8lg(. techno-tainment items. SLASCN units used very little, and like new. W _ ...... VIBRA DEVICES, orbital shopping post Robert Eggli, 163 West 935 S o., 97, sector 3- cove 5. OPEN during Garland, Utah 84312. bioclock periods 4, 7, 9, and 0.
MUST SELL: Arp Odyssey in perfect For Sale: Paia 4782 - $120, 4780 - $55. condition. With case, pedals, and Both completely assembled and fully manuals (owners and service). Will functional. David Kaleita, 2300 Poland, sell for best reasonable offer. Terry Hamtrack, Mich. 48212 Phone: (313) Ward, Rt. 2, Box 579, Durham, NC Ofium 5 ET 875-7885. 27705. Ph. (919) 383-6140. • PROGRAM ANY TIME SIGNATURE • FOR SALE: Assembled PAIA modules. For Sale: PAIA 2720-2A VCO, A -l • PROGRAM ANY RHYTHM PATTERN# Digital Keyboard, 8780 D/A, 3-4720 condition $20.00; 2720-3B Band Pass • SAVE 2 SCORES SIMULTANEOUSLY • VCOs, 4740 ADSR, 4720 RING MOD, Filter $10.00; 2720-3L Low Pass Fil SEPARATE BRIDGE PATTERN FOR 3-4700S, 2-4761S, 4780 sequencer, ter $8.00. Tom Henry, 2306 M Ginger EACH SCORE# • • • ELEC TRONIC 4730 filter, 1500A Phlanger. $531.00 Lane, Charlotte, NC 28213. "TOUCH BUTTON” CONTROLS value, will sell for $500. All modules • • • 256 BYTE MEMORY • • • work to specs. Jeff Markham, P O Box 408, Lynchburg, VA 24505. MORETHAN JUST ANOTHER ELECTRONIC RHYTHM UNIT Local Happenings ...... continued from page 27 A WHOLE NEW INSTRUMENT If you live near any of these people, contact From north of the border, we have them. They are anxious to talk with other PROGRAMMABLE DRUM SET KIT news of a new Canadian electronic synthesists, organize ensembles and #3750 ...... $79. 95 music club, the Ontario Polyphonic exchange information. (plus $3. 00 postage & insurance) Society. Those of you interested in membership or more information David Kaleita FREE should contact John A. Orpin, 6 Conrad 2300 Poland CATALOG Avenue, Toronto, M6G 3G5 Canada. Hamtrack, Mich. 48212 Sounds interesting! Be sure to keep ELECTRONICS, DEPT 4 Ph: (313) 875-7885 us informed of your club activities so 1020 W. WILSHIRE BLVD. we can share them! __OKLAHOMA CITY, OK 73116_ polyphony FEBRUARY 1973 3 5 String Synthesizers Can Be: Just strings...
....ORthey can have: violins/cello/piano, variable chorusing, variable sustain controls, synthesizer interface, separate mixable piano output, jacks for
foot controls, dual violin/cellomixers, keyboard split, stereo string option, computer interface option. You’re gonna love it!
& ten.ax n ’ enax just $295 from V
TELL ME MORE ( ) Send FREE CATALOG featuring this and other PAIA Kits. ( ) Send Assembly and Using Manual for STRINGZ TNT THING Z ( $5. 00 enclosed ) name:------
( ) YouTve said enough, send complete kit for address: STRINGZ »NT THINGZ ( $295. 00 enclosed ) -shipped freight collect- city:______state:______zip:
ELECTRONICS DEPT.2 ,1020 W. Wilshire Blvd., Oklahoma City, OK 73116 (405) 843-9626 \