music machines: effects.use2.misc
From analogue-request@magnus.acs.ohio-state.edu Mon Jul 26 00:39:50 1993
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From: dacc@cmp-rt.music.uiuc.edu (Andrew C. Crowell)
Message-Id: <9307260437.AA05267@cmp-rt.music.uiuc.edu>
Subject: Re: Analog FX
To: analogue@magnus.acs.ohio-state.edu
Date: Sun, 25 Jul 93 23:37:09 CDT
In-Reply-To: ; from "David Evans" at Jul 23, 93 12:24 pm
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Status: OR
Previously, David Evans wrote:
>
>
> This is sort-of the reverse of the current FX thread, but have people
> tried using their analog synths *as* effects processors? The balanced
> modulators on my PAIA modular have come in really useful for really grimy
> sounds, and you sure can't beat a Minimoog as a wah-peddle. :)
This is pretty typical fare for me when I have a modular or semi-modular
unit handy. I did one piece during my undergrad work that was part of an
installation for my senior thesis recital that was 29 minutes of synth-
processed found-sound, mixed to quad. I used an ARP2600 on this work, and
found that not only was the filter or the ringmod useful here, but the
envelope follower was also a key device in getting some way-wild racket
out of the instrument when sounds were being fed thru the patch. In some
cases, even, I used the on-off nature of one sound tape to act as a "gate/
trigger" for the synth, and in others, I'd have the sound fed in, but if it
reached a certain threshold level, it'd trigger a second state in the
patch that would "trash" the inputted sound.
And speaking of 2600s, another use for them is to process/mangle
drum machines. Supposedly, Trent Reznor of NIN uses a 2600 for this purpose.
D.A.C. Crowell
Computer Music Project/School of Music
University of Illinois at Urbana/Champaign
(dacc@cmp-rt.music.uiuc.edu)
--
From analogue-request@magnus.acs.ohio-state.edu Tue Jul 27 22:37:00 1993
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From: steve@crl.hitachi.co.jp (Steven Collins)
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To: analogue@magnus.acs.ohio-state.edu
Subject: Re: Analog FX
Status: OR
David Evans:
> This is sort-of the reverse of the current FX thread, but have people
>tried using their analog synths *as* effects processors? The balanced
>modulators on my PAIA modular have come in really useful for really grimy
>sounds, and you sure can't beat a Minimoog as a wah-peddle. :)
D.A.C.C:
>This is pretty typical fare for me when I have a modular or semi-modular
>unit handy
...
>I used the on-off nature of one sound tape to act as a "gate/
>trigger" for the synth, and in others, I'd have the sound fed in, but if it
>reached a certain threshold level, it'd trigger a second state in the
>patch that would "trash" the inputted sound.
I do this quite a lot with the Yamaha CS-30. Using the Ext in, I'll feed in
a drum loop say, gate an ENV with this tuned so that the ENV triggers when a
particular drum sounds (usually a bass or something) and then mod the LFO with
this ENV. Tying the LFO to the Filter or the pitch of one OSC in a ring-mod
situation can produce some 'very interesting' results. Drum loops just played
through the filter sections are good too for sort of phased and wah effect.
With good key-follow, this can sound good as you play higher, the drums sound
brighter etc. I've also produce some well-rich strings by passing a Juno-106
through the Yamahs CS range, and filter sweeping with nice flutey leads. All
standard analogue-heaven fare I'm sure.
On another thread, I was in the best shop in Tokyo for analogue stuff (they
pretty much deal exclusively in analogue gear: Andy's Music in Shimo-kitazawa
for the interested). For the first time I got a look at an OSCar from the
Oxford Synth. Company. This is one well nice machine. I auditioned this
with a mini-moog beside it, so had a very good opportunity to compare. Must
say that the OSCar beats the moog hands down, both for sonic impact (the bass
the bass) and for features. The OSCar has MIDI in and out and reponds to
patch changes, and the patches are recallable from the front panel using the
keyboard and a patch change button. It has 2 oscillators, with lots of
interesting routings. Its smaller than the mini-moog in size, but has a sound
which is every bit as rich, and I still beleive that it had more of a kick
than the moog. A dream machine. Don't ask prices though (this place sells the
mini-moog, not in any great shape either, at about $2500!).
Also played around with a Korg polyphonic synth. It had an oscillator PER-KEY.
What is this machine. It sounded slightly thin with one osc going, but hold
a chord and it beefed out. Its quite big, with LARGE knobs and 1 filter
section with 3 resonance pots among other things. Looked like a very large
MS-20 and on the left hand side had scale tuning knobs for tuning to any
tuning you liked. Any names out there....?
Steve
---
+-------------------------------------+----------------------------------------+
| Steven Collins, Visiting Researcher | email: steve@crl.hitachi.co.jp |
| Hitachi Central Research Lab. Tokyo | ph: (0423)-23-1111 fax: (0423) 27-7742 |
+-------------------------------------+----------------------------------------+
From analogue-request@magnus.acs.ohio-state.edu Wed Jul 28 01:27:51 1993
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From: Romeo Fahl
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To: analogue@magnus.acs.ohio-state.edu, steve@crl.hitachi.co.jp
Subject: Re: Analog FX
Status: OR
Sounds like the PS3300 or 3100. Released in 1978, last listed at $8,810.00.
I'll type in what it says in _The Whole Synthesizer Catalogue_:
Korg's polyphonic system is modular in design. From that standpoint, the
larger PS3300 might be considered less a live-performance instrument and
more a studio too. The PS3100, a smaller version of the PS3300, is
a little more performance oriented. For this reason Korg is working on
designing a programmer module for the PS3300. The goal in designing this
instrument was to provide the player with flexibility. With three source
modules that provide twelve audio oscillators that are divided down to
create 48-note (whoa!) capability from the keyboard, and seperate filtering
and envelope generation on each note as well as some sophicated mixing
functions, this unit does indeed provide a lot of flexibility.
Why divide-down circuitry instead of 48 separate oscillators in each source
module? "Our engineers say that it would be just as expensive to provide
48 separate oscillators," says Kim Holland, spokesperson for Korg. "The
reason they did only 12 with divide-down circuitry is that they track better
when you start to modulate them with things like pitch wheels. I've done
things like swept them back across seven octaves and they've held their
relative pitches. It's really sort of silly to think you need 48 separate
oscillators. What's important is that there are 48 separate filters and
EG's so you get this articulation path set up individually for each note of
the keyboard."
Because there are three separate source modules in the PS3300, it is possible
to combine three independent timbres on each note of the keyboard, each
with independent envelope and filtering characteristics.
"one thing about the filters," Holland explains, "is that the resonance
doesn't get up to a point where it oscillates. That's something that I
don't consider all that useful on a polyphonic synth anyway...."
There are individual tuning controls on each of the source modules' 12 master
oscillators....
--
RF
From analogue-request@magnus.acs.ohio-state.edu Wed Jul 28 03:14:41 1993
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From: ricard@axis.se (Ricard Wolf)
Date: Wed, 28 Jul 93 09:12:13 MET DST
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To: steve@crl.hitachi.co.jp (Steven Collins),
analogue@magnus.acs.ohio-state.edu
Subject: Re: Analog FX
Status: OR
> Also played around with a Korg polyphonic synth. It had an oscillator PER-KEY.
> What is this machine. It sounded slightly thin with one osc going, but hold
> a chord and it beefed out. Its quite big, with LARGE knobs and 1 filter
> section with 3 resonance pots among other things. Looked like a very large
> MS-20 and on the left hand side had scale tuning knobs for tuning to any
> tuning you liked. Any names out there....?
Sounds like the PS-3100. There was a 3-channel version called the PS-3300
and a programmable (16 programs, each programmable knob had a pull switch,
pulling the knob put you in edit mode, press the knob back in and
it goes back to the programmed value) version, the PS-3200. Don't think
they were very succeessful, impressive in size and polyphony, but only
one EG and (probably) 12dB/oct filter only left them on the cold side. I
think the '3100 and '3300 didn't even have a release knob on the EG's, only
a sustain switch (although by supplying a CV from the bend wheel to
the SUSTAIN (?) input on the jack panel, you could actually vary
the release time, I recall...
/Ricard
--
Ricard Wolf / | \ / | /- email: ricard@axis.se
Axis Communications AB /__| \/ | \__ uucp: axisab.se!ricard
S - 223 70 LUND / | /\ | \ Tel: +46 46 19 18 63
SWEDEN / | / \ | \__/ Fax: +46 46 13 61 30
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