electronic systems techniques, MUSIC and controls Allen Strange seston Sen Jose ty wh Crown Company Pines Stbuaue oweoy alfomia State Versi, Sacro Cops © 172, 1085 by Wa, Crowe Campy ables brary of Congr Cate Card Nome: 50-665. A sights seed. No pr ft pit may be, ‘paced rads nal Sem oye ‘Sy fom ar by any mean ecto cana ‘Soyo stn et tin pe ce To Frank ap Pavan ‘The geilabilty of « particular patchcond ‘sincersely proportional 0 #8 need “Anonymous ‘one of the most important and fascinating aspoets of music. [5] the posites of coordinting the Sifferent layers of perception Latino Berio (1576) Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Chapter 9 Contents SESE, coun tanne Pinay State aoa he Sabie ar roma sae Ben 5 onaderton oh ane Paaete of Sound 7 Sanna # Subjective snd Obie Mensremest 10 novo sued Sowcne sn Th Chlies 11 Sree So poets BAe sarees Sets Dawe tn cen specie rears oe ie seats Eat nj ona oan Cott 32 secrancnencee, en Com anarece ‘pone nlite Sources 48 cee eee ates Seimei cee Sucked noousioe 97 siete ESSER ie Fone te se Rt odiston 112 RECERat aae ‘clots komen es SSLMGRE ARS tatn oe NSERINS rotamer cosh cantanteChapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Magnetic Tape Recording 164 Ejalaing Sunde 168 Gear Tape Recorder Operation 166 ‘Splicing 172 ‘Audio Mixing 175 Delton Liner a Non-Linear Mining 175, Mag Stages: The Master aod Sub 179 ‘The Monitor and Program 180 ‘Seat Modeaton wit Miers AStmmay of Terme 18 Momuploue Mien 188 Nowe Maen a6 olage Cosaed Mining 186 seater 19 Reverberation, Echo and Feedback 190 Revreraton and Esho Dene 190, ‘pe Delay 198 Splcitioed Deep Techniques 200, ‘Rice iss or Poormance 207 Panning and Sound Location Control 212 ‘The FlesvonsSimsnion of Sound acaton 212 ‘The Papo Aco Inve 313 Mangal Comat 313 alnge Contras Paning 216 Simos of Otertonton Cece 23, Miscellaneous Equipment 225 Informatoe Changes 228 Stereo Syn 232 Tope Looping 2 Performance Electronics 235 TeeconcatSerUp. 29 Ghoti for Peformance Eectreice 262 ‘Scores for Analysis and Performance 248 Erirpal Para vith Bird Call by Dos Lendy Stochastic Ap by Penk McCarty 247 ‘tiga Tak by ab Sewn 254 Shadow of te Parmer Sify Daz Wymas 260 ‘Rolie’ sibtegrapny 208 Illustrations crt TER Rottowl ymile 6 Cheotee 2 Fr sEenenti pitch satiate: saver 9 22 Espoo pitch ration: Pec 4009 Chanter 3 ST pater cone movement 5S Ample of soon 12 33; Amplitude reueney comparisons 12 Sa Me 21 Osa 348, Bucs 208 Oseilate 13 33 harmoncsener 18 36 Harmomeron arias 18 3 Smother 1s So. Taangle mae 16 3ifo, ube rectangular gure) wave 16 1M. The for bse toesape nd tee roi 1 ues dy eyes _16 313 Mavchape snc rarton bat on Syebi VCS-3 1114. From the sore of Bolero by Maurice Ravel 18 213A tt forming the ve pr fo stimulate « 2 158 Adtion a parts 118 Orit 2200, 19 11 Beka Sones 58 Oaor 19 Lik Syme patens 20 and of penal square canter seman and gain 23 {2 Gainer "25 3 Gate cote im sing 24 {4 Be oo Ample ae a 25 Sluactnewmvetbaping 25 Law pa Star 28 25, Masa ln pa Ser slope 27 ‘Noa’ Mog 900A Low Put Fite” 27 ‘1108: Qeonparson now ps tring 27 1" aSeie See 292 Qoad Low Pass Gate 28 2 The ase ptt 28 15, Prumatte ates 29 YE Preece comparton” 30, LIS. Ample thm machine 30 414 Goorin with nae 20. 07 Fat Fompac by Frank McCarty 31 ‘chapters SP paameric epess wih manly fhe cond ‘Smmingof sternal and external conto ates 34 Volpe solo nist acing 38 YCArpowe toa dame comer” 36 Coeasing ott Cone vaigesttemution 37 frversonf pte negate ote 38 Wotape aero fo ie eto (epoca Ipenioe)38 Sine rotation 9 51h Poti and negatveslew 3 12 Quunteaton "a0 Sib Moliexton “tt SIL Mong 0e Vea “at S18, Pat ant 42 Se Paremetie atl andpoceing 42-43 S15; Sn win machine 51m: Sine heuer machine with applied contra 44 Sage keyboard 46 62 Tro wage bomophone eybord 46 63, Typeal mnogo keyboard #7 84, Keytar pees 6S EAM Manat Cone 48 6 Tracing an vss snd Ser 9 65, Tracing two VEO. 80 2 Keyboard praments 50 15, Pear cima 30 "Taggers and pater St fit Jaycee 58 12 Generel emeloes 53 (13 Eneie detect patch | 3 ELE Gils coml with smemeloe decor 53 S15 ee cr 18 Tages and pte om an emelpe dteor 34 17, Endep detector aphentone 33 18 Ptcbratge comers 35 (619, ch loving snd rant wih the EM 628 Syme Diagram 56 G31 The Lyk fsrament sad Camgter Cone 57 G22 Ahn lnsers Mate for Solo Performer 38 ‘638, David Rovenbnm's Portable Gold and Popher's ‘Stones Mai rom Brains nF)» 624" Rihae Fothaum' Tune” 61 625 Guee and wigerrovewed S36: Gre nd rages eco 62 2k Pleat £28 Ean CO "63 £50. Antoge sch 83621 Mong 911A These Day 64 (632 Atack-dsey emo enertor | 65 #631 Ra emeloe penton atch 63 (634 Envoy spans 6 38 "Aundselase eelpe pnt 66 £36 Praelemelones 630A! anton generar 67 S398 The aDSR (3. Vir ate ators wed to vary arieaions «8 40. ADSI vlge cour parame ob 681 Vn aac 9 He (42 Trantint nave ston wih tee dliy 69 {23a osha Sera 01 Qua Function Gaertn” 69 238! Quadrature laos 9 S21 eneope nero appeaiont 7 645 Boicseqeener 1 f: Soqentr enna 71 64. Gauze sequences 71 S26 Imegrate soqenepaterne 72 (9. Multbnt er mate aeqeences 72 650. Soqene pulse aes 73. 5 Solener maior for “recuniee™ ‘ested 1 (52 Saeco inet xin with an aalog ith TIS 650 Seema wartsop" patch 75 634 Dial menoey te 85S Daal memory 656 Soqener pulse cups 76 S57 Scena lo outa ppicatons 77 (658 Haraused al bur and outhed” br $55, SkeStteeaence taggers eed or namie veces (6 Tree us ed fo plymetc ates 79 (862, Comper seqcner sed itr {668 Sampled 80 6S. Simple aptaions #1 ‘See Buca Sera ee source of eacertainty $2 G61 Aree ARIE Sample Hold ‘Sek feck sppeton 3 {63 Sampling net reduce andon oa 83 (850, Alternate chiqu or eneratin of undo (31 Catton of andom yeas ina intrumest 5 {632 “Dream machine 4S {674 Pree 19 tone Equal Tempermen OP. 2 (exer) 89 6673 Voge eunsion for macrotnings 39 (677, Dani Goode Pauses th Ratan somenbare In bast sce ond finds Hef back home our ofthe Rech" peraemance ase fr eae 90 678 Ramo see sue 90 £629, Simuladon of Canes Wilms Mic 91 40 Information er wh eeape eecors91 G68, Robert Asy String Quartet Deering he Motions of Large Rel bases 3 {653 Roland l0OTPuch 95, Fiat feueney maiation 98 12 EM withing ike od dirctors 98 73 Wavetem mapas 99 15 Nelage cotraid FM inde 100 276. Volags contd FM inet apentons 101 15. lade otra with an ema dect 101 Th Fide day 01 310 Mane 921 watform clamping 102 Tt Cota a wih camping 103 1112 Scots PM tie wi soccer commande 103 11k Seoadio amplitude motion 104 ZS Sebo AM patch 108 1117, Cheatin between prelude and reelo is Permutation ier wee) 106 720, terracing or ota er odeaion ‘pesra 10 aves 10 133, ue widnmodeltion PWM) TOE elope deter 103 136 Inert expansion 110 124, Paramedic aelon in dlaton 128 Popammed spec ils 111 Canter 8 SY Feeney moulin sidetunds 113 84 Etponti Po 3. 6 Dynamic inden FM Te A Exponent FM patches 113 ‘io Lnar FM sande 116 S12 Independent FM ine 16 113 Aatinate ample modition 117 S14 AM parameters 118 ISAM peel come 19 16 Dynami idee AM pwtches 120 AM AMseban selon 120 119 Stquener nope of caver and progam pitch and indor 130 20" AM ntrement sng inverted anon cate 121 SL AM with imegrte pogam cnr 12) 1 Drele AMS fad baud programe 121 135, Timbea AM seqenee 132 130 Mele ampitae madalaioe 12 16 Soto me tans with AM 123 {Ge AMC eer! earns, 123 150. tent modulation parameter cots 124 132 Crom ooolton eteon to isrumente 126 1.22, lane moult and alate modulation ST PRIA 110 balsas malta aed Buca Series 285 Troqueny ster tlaeed moduler 5 Spoal orl ih» fiance module 36, NCand Be outed ane models 437, Ring mafalaton of scwssesrument {3H Madar ogc patch 39, Corton instrament dynamics at progam 1" bora reqeny sora Conn otra ng modulation 12 Ftc te modi spectra with coed Spec asspostnn Resting sects ror aris quency sis Bode 755 quency shir ing thoegh 20 Linco ili teu 20 Frequency sie prprmming with pero and pve lage uetone 3 Mutichene ese {654 Detuning and sand 155 Danam coral ane peta Se Spat eon with a equensy sie 150 Au steer mofulation ESE Activate mneorm sampling 1. “Chins fang 1 ine cig rm Sound Chars Mineo by EES “More mes” 6 “Tie eye “Payers with reat by Dai Berman ST Debt scale with i /600 ohm reference 2. Aserage dose! ring arma nro 34 Stadt esliation cue or tperecrag 5S. Mace teeta parame equal 38, Osate and ai ose € oceanic ih cpr bandwith sei bande) hse appicationso whte sund Lowes le wih 16k He at Loncp fterng of wste sound Nana ow ping of ompler 914 Nota ihe ering of compe ‘ed a Seing af white ound Shei nel pans unde ‘Ftre malian with a band a Ber Ser somes for aad pss ea "Que by xtra siea egeneraton 922 Bande rng of white sund 181 SEE Roath cathe St 335 Facterenk acm he 2 5.37 Special dition gud pce 152 52h Per sgine 58 539. Fomane eae 153 9:50. Suit sf tape come Q. 154 oa Seuenne st om ‘rampenve ‘154 S14, Vatge clots ak gu cr "se 538, Vas cones tnd e155 Se, Voge carlos bade er "135 5339. Conta nbrepoacton nhac conrad 355, Dye nd wb 157 530, Ie psa wep 157 St Soca 2a Degas tcr onan intearoe 157 343, Scene pena site 3 Sate owe formants 1st 9:8 Whe uc deg yin Tomita 159 226, cara core 3 Sect br Cp or Arp 200 Patch Book 161 98 Siti Meal Pg Soe "a2 959 “Gon es Ccaotar 10 {OTP sndpcualizaon ces 165 tes acer a 10a, end format forehead dels 168 103, Sy sede wth two tape recedes aed roe Syne reuding with serophoic tape rcader 168 17 Aegina payback ead for sunt son veceg 16) 10 Tape eae ead oem 70 103. Stupfrotetehea eng 173 10.0 Spt tape formas 173 TOT Eel gneatin wih spicing ates 174 hasten 13 TP Cher mining 175 13. Limca and none ect 176 3: Nese mig U1, Pashbowrd TF 1. ermal wing 177 119, Uaing alt ean beating” 177 ULE Ieurunene with ome ung 177 119, Balincodand unter nes 178 T1To! Mise with mater ei cota 179 TL13 Tape rede voting hough he min 181 Me Pampas 182 1S Seti A 17, besrsed steatin 133 Is, Vtage contd sendjecene 186 1 cg ne Hh Mauux er S86 1138, Nope conte miner 1871128, 8 wih lage cond mie an IRE Dum iwi lag cond miter 188 1136, Eve cond ofa mix 18 1138, At venbeinsrumet 189 aoter 12 122. Beto chan for an ans seo chamber 9k 12 Tape eto with mile Beads 194 125, Sine repent ape delay 193 126 Two chanel bonne. 19 128, Patching coniperation for mutipe eco 196 128. Ue mail repeaters 18 12:10. Tape exo using acoustic fetta and sinulansous ‘icrophove ane apes 196 1211 Tape eco on leratig chases 197 112 Fourchane co cnfguraton | 197 1218 Vans apes sngwation 197 12.15 Extended taped ting several playback 1216 Patching configuration fo revere echo 199 13:18 Gaon with ae dy 200 1330. Digital eco. 202 1332 Tape aning 203, 1234 Ranging with stro delay | 204 1236, Phasing sinulton with titers 208 1228. Mitpbone speaker edtack elds» 207 BP Arpad relatos between chant fr 1533" Relonsip bem pan picements a lative 135 Gain conol with a poresior 216 154 Photeresatr rch! punning device 216 {Bi mint madlan the psig contd 218 {37 Freeney modulation fhe png conte 218 188: Simple pening contrat 218 1310, DCconrotof ming 219 “nin 0. ™ 1515 Quad punning with VCAs and envelope ‘aspetios 200 Isl Speier cement for ada ansing 221 [Sida hoch 27 Sm race 3a [BLUh: gum or te SEROE malt chane uadeapbnic ier (QM) 221 SIS Contra gi for X/Y gua paning 222 1516, Dyn ental oe gun ping 222 pening 23) a Clk paging with ever cus ad doppler iowlton 143, Common comet 238 1. Had elner or an ntrmatin changer 228 14 Rane voder dug 3 ee: Sal mr ar 330 148, Verutlength nop pide 233 169, Tipe mh reve pe lye 289 panier 15 IR tam ot Roe Blt on all a 153, Phong rst per seme 9 155 Ps opener necro 20 158. Sopra spear cnseston | 240 Choote 16 Tet Bapm fo Enron! Pradie 249 162 Stocanic apy Prank cry “248 163. Conlon Ap By Frank MeCary 2-20 16 hale sami 250-28) 13 On ing by Mark Sg "250-281 {ei Pach durin or von Rig 25225) 16 tara editors 9 Caan) oy ohn Stn at 169 taal Tuki—Istrament by John Sten 258 160 ata Tuk nurement oy Jom Suse 29 Te, Sheet fo 4 Show ff Former ‘ey eo aon Foreword by Garcon Marma When in 1972 the fest sition of Allen Strange’s Electron Musi: Systems, Tech niques and Controls was published, the magenta, bse and white covered book rp rdly became ubiquitous. I was the fist comprehensive and useful guide to the sub ject, and was relatively easy to obtain Tt had occasion errs of det, and was fnvolved in th technologieal tumult before general standards sere agreed pos, 50 that some ofthe illustrative graphic symbols became relies. Nonetheless, that eiton proved gute robust. "A Test wo factor xp the fit eiton’s sural for nesly decade, First Allen Strange organized the zlaively new and complex material so tht it evolved ‘with podigogical sensibility, Secondly, his expinations of conceptual waters were Incid. This Tacdty may be due tea balance dn the authors owm world. He is a experienced perlormer of electronic and acoustical instruments, sere com poser, «histrian-heorst of divers cltural background. anda very effective tech Inthe ensuing years several otber Books on the subject appeared. Some conte ted updated mater anothers devoted more attention to certain aess, Cough ften at the eaense of others. In spite of the example set by Allen Strange’: book, we of the oters scoms to have achieved his balanced presotation, And fe matched his marvelous attnde towards the subject, an ative which induced the Frade to be alert tothe many powibilites of q rapidly developing erative se ‘ium, ‘This second edition, asthe author notes in his preface, in many’ respects a now book, But s repeats that most portant achievewnent of the caller edion: it fra comprehensive, detaled, and cleaey organized guide to working with the instr ‘ments and technical procedures of electron music Besides the expected updating ‘hich inches many devices and procedures developed during the 1970s, the author Continues his method of explaining deals within the context of general operating principles, This makes the book applicable to vitally any analog electronic sie pparates Tn is tlatively short history—a bt more than lf century-anusle made with clectronie and electro-acoustic means i wel on ts wy to becoming as plralisic a that produced during many centuries with purely acoustic resources. Tale as both “cultivated” and "weracular” traditions, which are widely disseminated by brondeasting and recording throughout every put of the world. A major part of re cout popular and commercial music would not ext without aynthesizer and the treative use of rultsrack recording The recording studio, whether the selatively Simple home-visety or multaslion dolar commercial fact, has itself become {musta instrument-in, Brian Enos words, “a compotion tol" Eletonie mo fie has even developed "flklrc™ aspects. Hlectonic sensors originally designed to detonate ant-personel weapons ae now used ae components of publicacens elec tronic masic environments in shopping center and galleries, Tie certainly anu logon to the une of east il drs inthe making of stelband mie ‘As with Allen Strang’ earlier hook, + new edition wil continue to be anim portant text for schools and universes, But perhaps more important, im a tine of ‘Seclning suppor for ats innovation in edcationaltstiwins ths book ail be tal to creative people who develop their work independent as aaa caaaaacaeaaaaa aaaPreface “The orginal edition oF this text was completed over ten years ayo. Compared to this new edition the orig. {nal writing was avery simple task Tn 15TO there were only thre or four ecmmercally avallabe struments Today the ner has Increased Yo over they What ‘vat fn 1970 4 basic instrument format has expanded Jnmany directions as there are avilable instrament Each manufacturer has diferent design fonat and Aiflrent inpletons in terms ofthe application of He instrament. To cover sich a subject area elled for a complete rewriting ofthe text. Due tothe dacredible frouth fa the field of eleconic music instrament tion the subject matter covered in this present txt has ean doubled that of the fist edition. In a sensei SS accurate to refer to this as m second eiton: it 55 really 9 second book rested out af the ever ex pundng el. At the sane tne this new version makes ho clam to cover every ponsible resource and tech- higue available to taday's musician. This text does, Fnwever, deal with al gf the generally accepted de signs and techniques common to today’s electronic in struments "The sructor and wcader wil find that Itprovdes a fin and base foundation of understand Ing which allows the ser to develop the techniques and processes spc toa tndvidalfnstrument oF studio situation, Regarding pedagogic technique, I know of no two people who approach this extensive subject in exactly the sime manner. ‘The organization approach (0 teaching eletronic wusie greatly dependent on the resources of the instrament and the resources tbe studi, Testrament X'may be very keyboard orented implying one appro, wae instrument Y Is based fon preprogtamming and suggests completely dit fren orientation and proach, Seine stuion ae de signed around multteack recording facies, while others exit sted a6 real ine performance spaces with Ile oF no recording equipment. Some electronic Imusic programs are compocitoally oriented, while ther programs deal ony with teemigues and prob lems of intrment performance, This book org ied in amainer Which adaptable fo any appraich Each chapter is « pogresive overview of the that and how of electron nsrurentation Begining with {seston of that “letrone nase” mes tn tis Acca, each chapter progrestes fran the base con Sderations of eletroic sound hough basic tele niques of control to advanced proces of instrument pitching and sound modification, ‘The reader should not consider this oe tet on electron muse composition. Compost text can {more than explain ether general or spec tech igus of onzmizaon and stor sanguin ‘When # oes othe "eanposing” ths must be del wth on 2 Pomona, onetonetetoeship between Student, introctor, andthe sper compotion at end Te bok py «texto tenga ow to operate the instrament with various Init on Atelopinga consistent working method. Specie comm fost stigments tad ne tobe died bythe astracton, a appropiate to the given eens a a staio. There ave certainly compositional gh ‘ato of many ofthe patches and eniguesexplored ii tak A pata mde of ole ating af the sigml puch tnowgh vain modules deter snes the vases of'« sel situation, The per {oxmecs manipulation ofthe varies wp othe Snide, unt he/se shouldbe sb to explore the pss ute of any ache Tmt he prone {0 dette 1 have my own setof wsignments speci to my studs seumuren, and T would expect that ser) ater teacher hs his or er owns of specific ‘While ery isruent as Ke owe nique car acters, the general pean piles Fematn the same: With ever, instrument the performer mst Al with bake robles of sot Sina ough ‘arin shaping and moist dies establish Ing operations! noms and cong ongoing com trols tr produce the deed event ‘The sgl ow rough any instrament the sound source, as though seleted moifietion cet, snd each Siete asigned some form of cote, be man tanipeltion or dleent kinds of pre-pogramming “This tet organized inthe sme way the iestruent Ss organized, The sal chpters deal wih the bse tonie evoures avalable tothe mascan After the Intodicoryconsiderstins cach chapter i praisely {hatrated ith patch dagrms and examples of ex tant equipment Several of the untgue estore ava {hie on certain Sntnesty ae Jsetbed never ‘manger, withthe explanation ttn many tstanes theve fests can be replicated om ote Instrumente ‘Chapters though 13 are dest to vavow och gue of conta and sound processing hse chop ter the ital “bale patch” ane logy capa Se notated in iid font, At the en othe ‘ppropriste chapters there a0 projets ad exer lntended 10 enhance the reader's understanding of ‘arious techniques These projects and exces have ten suggested by colleagues, ad range fom concep. tual problem solving tothe realization of compositions by efferent composes. The last thind ofthe teat deals with techniques and devices usually exert to the ‘ctu performance fstrament. Basic tecnipss Imiing tape recording stereo and seadraphonle con iderationsy a well as perforate electronics ar cove fred in stint dealt give the render a substantial ‘Pint of departure for advanced development “Tis book Is ot meant to beg susttte for an Instruments operation manual of 4 general handbook for a given study rather, iis bose rguniatonal fide for leaning, While tiny detailed techniques ae Aseassed, the specific patching format and specific techniques have toe lel to the nda instactor land the manufactucrers own documentation Every studio has different design which is ppcable to itsel; and this text mikes no attempt to sere a specific studio format Such information most be lelt to the instructor, and mast of the initial cass dicuse sons deal withthe layout and general opehation af sven studio, Because we preset as many ef the re Sources as are generally eallabl, we realize tht the reader may find some of the material edundart or to technical, depending onthe goals f the elas. The in strutor should design the reading sient: Jn con. sideration ofthis face Certain materi may he inl vant to some situations and can easily be exci. ach chapter does, however, begin withthe bare ex sentials of a subject area or technique and will he {applicable to every instrment. The teicher will ly find it necessary to augment certain portions of this teat, ditcusing devices and tectnigues specific to. studio's own resources, “This present text contains over 400 lutratons de signed to clarify, to demonstate, and to expand the reader’ understanding ofthe techniques of electronic ‘music. At the sane time is recommended that the ‘ader keep 4 notebook of patches developed in css ‘or on his/her own studio tine. Such patch libraries prove invaluable as references while developing new shill and techniques Af the end ofeach course {have found i useful to make 4 clas project out of com piling all of te most useful stadent- generated putes Into ‘single docament for future reference. Another activity T have found very useful to students is to have certain patches andl techniques documented on tape. Any patch ean potentially generate a wide range of sounds depending on the fine adjustnent of the ‘arious contol and sanie models can be very useful 4s guides forthe beginning student Esch studeat sy alto wish okeep a personal library of recorded patches, ‘Various patch assignments can be recorded of 4 ie sete tape by the students ad indexed to spectc lage in 4 patehook ™ “he vers who ae fist begining the study of electronic mise oats 4 conte las sitvaton fre encour del with the abject the appt i sequenoe in this to. This wi sure cont of sobjpct matter and voi encuntrng dened tems The aircon as et ten approsch tO whlch ny approach may be por fey apie. Or the ition may hh re sarang the soqcnce ofthe mide chapter to 2. ernment his own metho This eran to be fncouraged a each chapter attempts tobe ge inde pwdent as pose. The problem of undefined tens tue toreseqening sled by cross eference ad fn extensive index: Cortsin dlisted chai tions ean ho be prested by ines lectues, During recent year low cot tecnlogy and the evelopment of the micro prossor have weerted ‘uch interest in digi sppcatons to he anlog lectronie mos tm. Atte present tne ae are Several operational raters which ake computer con trol of electronic hatnents very atte Ts would te redundant to attempt to rete the docune tin of thee sate Yor this tea snce such infor tation i avale fen more diet source, The reader, However will be inoduced to Sone af thee porches, and cstain listeners spec des Signed for lol and/or compute conte wll be ey. red: Digtleontrol, ths point alt, proving {or more accesible an accurate performace tec siqer intone of establishing tnd rcaling complex tuations tis alo providing forthe expnson of @ pariclrinstroments cpabltes in terms of more fomples functions Thin means thet the compte Sneewing the icency of whit thee israments 654 He), the muller "E belng the fist integer shove | the unsoq). The same vibration of 65.4 Hz is also capable of generating 1982 Hz (3% 654), ‘which ithe pitch Ga perfect 12th above the orginal Frequency. ‘The process of multiplying «Basie quency by whole nombers could continue a infin tam. Most sounds tnade by what we cal “ted” usa nstrument edhibita spectrum eoaining f= ‘quencies related by whole numbers. This type of spe. trum ale the harmonic overtone series aa as trate in part in figure 35. The lowest frequency of this spect alle he fundamental sad the Hen ‘ertor ofthe seres—rach terion being an integral OF ‘whale aumber maliples of the fundamental The ove. tones are in this case, harmonic, refering tothe fact that each & an lategeal multiple of single Funda mental frequency, forming 1 consistent system of re Intionships one with anather. The tenn “harmonic for my purpines, does not refer tothe obvious pro- isson of whole numbers, but rather to the fact that there i a consistent relationship between the num bers, inespective of the nature of the consitency or simplicity. They are in anny” with each ter five to a comistent relationship. By. thie definition there can be other haronc relationships Bult on ystems ater than whale amber stipe, this Sea wil Te further explored in chapter 8 (seepage 114). In the meantime we wil retain the tradition of har monic” refering to whole number relationships. "Thete is often confasion 35 to the proce defini tion ofthe tems oecrtone, portland harmon. For the purposes of this text oertone wil refer to any frequeney comaponent in a spectrum above give fundsenta Tf the overtone hea an integra tla ‘onship tothe fundamental will be elle har ‘monic overtone, o uta harmon, There is als ace ‘onl confusion about the term harmonic, and the con- fusion arse from differentiation borween Jarmonte snd harmonte umber. Woe uses or assumes the {tam somone mune, the sexes begin wit the fr imental as armonie #1. the octave then beng har monje #2 and soon. On the other hand, the term Ist amon ay fers the it ine mui ‘tet fn fhe oe Te ua monster a shove the fannie Tht tt ll hg Somes rate harment mer the nde bce ing ont 23h ah eg harmo oo Tl sop te Togs th Ramone mb hen aes 2 itgnl mp (hammte's odapent tins rm the fetal 2 tone 9 te fal 8), The tern Pott rer 0 pce cts ont eet OF hare or Ssh reins, wale cen cert sn canny ted toc A tit frp heaps ce fn ol oma amie onde Se Sh te Tos ete fan he Se pr nd Sat ack seen a the Sel mone sty the det, te Sth ta pur oon Ths at ts ‘hed ty fe 88 “oa cea eet the oetone ont fond, te tro tu ammnt rswl t astro tbe Thee eter ft ‘hich ‘tre gto tinal peton’ Te lnm fe mae ehh te ‘nd estate od heme wich ope ‘vain the et pe he enon {i pay tpt ps nn ten aed She facto tl be pti etal ‘Se red reply pep en ate the mst voneonpes pe of son he she wae’ Th fs Ser wasp enon mens The ies sand 0 pre se ven Spay ato te A's Sone 3 he slags i's pacino maton Seong see fulness fo ac pst ten a oso to msn mth en eta te ovary lee Ane nae Cs hc ame pater indepen deny frpency or ample Fie 8 oes the sane egy sore 3A bh a cd apie: Fe dee tat cron pe hese waver wre oara newer Sun wore ke ay ier anes ae any fegaeay range: Do Yo dtr nel ‘ern compart he tor aio dstians ss pmfatn sql meres ee YT eum, Se wee wave i very dBc generte, and the composer ‘as to settle for something les. It is the ob. servation af this writer st pure sine wave wed san audio signal sno a expect monumental mr Seal sound and bit of harmonic distortion, (very small traces of additonal han content) may a to the incipient musicality Varios manfactrens publish the amount of hemoaie distortion of thelr Sine wave esilators slong ith other instrament spe. ‘ification. An imperfect waveshape used as an aio Signal can be accepted, and may often prove to be ‘more musically Interesting than the textbook model Figure 38 isan esiloscopic {20phic) represen {atl ofa satoth or ramp wave. In contrast fo the pre sige wave, a sawtooth wave cot all ha. ‘monie overtones of the fundamental frequency, These Ihunmonic overtones have relative apd tat de ‘crease exponentially ax they exst higher up fn the Icmoni series. A sawtooth osalstor wl produce this brsie waveshupe in any frequency rage Note that figure 384 is symmetrically verse of 388 and i ‘often refered to ae an Hnverted suwtooth Both are legitimate sawtooth waves and, inspite ofthe revere position ofthe leading edge, wil sound the ane. The Sawtooth wave ie very bright and pering, somewhat like the sound of an oboe or ie Ne Pie 3.0. Saath weesA third base waveshape is the tamale or dela veave (ig, 39). This waveshape consbls of fund imental frequency and all of the edmuber hae monies, sith amplitides falling off im ratios of 1/9, 1/35, 1/4, ete. By using a lame stad technique of alive sythesy” Ht possible to construct tu angle wave (or any other waveshape) DY Using a Speifin cllection of diferent sine waves. Stating with fondamental of C (65.4 He) with a hypothetical fmplitude of x 2 reond sine wave toned to 654 Hz times 3 (for he Second aneetone) 1s added (1982 Hz) seth an anpitade of 1/9 X.'Then 4 third sine wave ‘which is the fis multiple ofthe fandamental (327 Hi) is added with an amplitude of 1/95 X.The com: poser contines this process ku all of the necessary Fhamonics with the corset atypitdes ae present IF the amplitdes of the harman are thought of in ratios, Iti eany to understand how the peared er ‘noni omen of any given wave Is dependent 00 the plitude ofthe fundamental Perhaps the waveaape that is ost commonly used by the companer Is the pulse oF rectangular wave. As shown in figue 310, the positive and negative volt ges of a polue wave are over in a transient state ‘They are instantaneously postive, then intantane. only negative, wheras de sie, tot and anal waves all exhibit various types of gradual vise ad fall between poshive andor negative sates Ha pub ge erator Is programmed to oselte anywhere below 7 to 10 Hz, the speaker cone cam be heard sapping Truck and forth, Figure 10 shows « particular type of pale wave own as a aquare wave. A square wave ke volated to 2 ekangle ease in that also contains oddsmbered Iamonics ba with quite different amplitude elation ships The amplitude relationships of the harmonies of fa square wave are 1/3, 1/5, 17, 1/9, ete A larnet fn th chalumea register proces sound that 5 very else 10 that of square wave: Figure X11 Mls {inte jn standard suse notation the hanwone con tent ofthe four baie wiveahupes The relative amp ides are indicated by the size of the note. Note tht there are o even nubered harmonics in any of the symmetrical waveforms ise to the ny ses of the sq wave, I ‘Bought of as hse waveshape, even thovgh it ‘variety of plte wave: There ae many other types ‘of pulse waves and they are defined by wha is know 25 The “uty esol." The duty ele of pale wave i the postive oF “on” portion of the entire eyce. Fi tue 212 shows the duty eycle of two different pulse "The dty eye determines the Rarmoc content ofthe waveshape. Inthe case ofthe square wave, the nity cycle Is one-half of the ttal wavs, or 4 ratio of 22 (av in fi I2A), Expresed 28 @ Msn, te 16 A /\. he urea wavahpat eae hrmone awe 3 . CR tote sa nee 3.12. Pasenae ty pe uty cycle of x square wave is one-alf of the total ‘wave, and it the denominator of thi frstion that {alls us ts harmonic content, The denominator “2 in Aicates that every second harmonies bse fom Jamonie verte sere, confirming the earlier tte ment thatthe square wave consists only of «funda rental and the odd-numbered harmonics A pulse ‘wave with a duty eyle of 1:3 (asi ig. $128) com tains the fundamental and the first, second, fouth, Fifth, seventh, eight, tenth, te. harmonics, In other words, the denominator isa indleator of what order Tameonics arr buen? from the spectrum. Oxllators IF the signal comes out at 0 volts (silence) the svn {8 0. The amount of gu, under manual contol, de pends on the seting of the gun pot, gain offet or volume control. When you rise the gain offset the ‘output voltage is increased andy fear & onger Signal fom the speaker. In electronic mil nt ents common forthe VCAS to have ui of 1 ‘or unity enn. This tends tobe ait confasing because with unity gain there Is no valage Incense. The ni tal ses nae the gn fit 6 at maxi, the vp il hs he se gtd the inet Sigil An amplifier with ty inf really an torn a nt i rb tess exci the tego the arial falter was pth it the amp The sess for this exine hy the bse desan ploy Stone intrmets. Back mothe ttn a, Piles, te bs praetic bli ck. Tso Situation, cevtain ull bts may nat be neces sary forthe goncston of + masa ere that themodles at deine, such way that hey an faction with oto anyother model, Fos example the ay bos ston wre anne Sota vara and the salt edd a al en dint the onlin Tevtoe the ap tay te by-posed, (ce fgue 42. slate Aye The “oie mayo je y sn at es suse loves varie (Ogre 42 oxaer B scar tas cotati, whee ad tes of enclaorB contd bye CAI the sop iss more thin unky gin great cine ha oe sen to nsure Ht wil oe overpover slat A wich Iso gnrese Buse the mp ately ey faint fll output (the gun ole a he ay. op) Fil prety math the ampli of esas Sometimes gan spec in esl Uy ein the same a ate oO Ifa amp fe wed for sting final mana esl which dom neque contin vt er hight peforn the sume Tucon with ite ore ‘erat, AS piabed press» mir alos he Combination of many sig dow oa sgn the out ay distortion of he nga soa djing Salas on amie the sn ating the eh on an anpliier or et of amp, Ie nl eral for mcr (and amp) to ave guna common ig ‘ning 6 db or gun of 2 On 4 mer the suet of shin iy etaahed by the nut pt These Jos are allenutors which determine Be cming rength of the varios slab Figure 43 illstates ‘ning ston wth two affect input segs Faw 42. ca vritonFigure 434 shows Evo sie waves two octaves apt fed down sing th pl si or ah ‘lout Figue 430 igtster a ste station bt pehcr tase Ce atenated The Gal me as the cane fraquncy exponents but the lower octase 3 otter. “Kgs ase electronic musi nstramens some tines have ising eats ba nto he ies, Schr cn iththe Moog 9 Ths de cox SNlevng ely mom cool cpabities, wll aco snips and provide an ea mi of bah Ste utp, The in of the mi th the fled Cadrotcltce ota O ad oy ga withthe sine Sato There ar lo two ont aged “+ ad Fae to cutpats a ISD" oat phase with toch the The E380 apr a ilar 3 it fas thee ip fll evel" a seep SoM a igue 44). All hee inpats are med i tcl before the final amplfeton stage, which, ists ete, hs ain of 2 (6d). The pat marked 2, “AE sqm cate bel or val es, pot ‘iit Goneny 1+ and“ have inp altars 10 alow yarous tui w be stlhed toe amplifeton. The re pot anne inp as opone Ue 0g {02 ncrting out Te eal apts ofthese rafts be dred when dealing with “hg sta (ee pe 3). ‘Note hat ngs the ph sch aed Incr exponent eve fier tes that the gin mseree meat propa tbe tse sponte tht the ai ress expo {ly ote pt poston he per pot poston sve speter un sakes Expres ater way. Errimat equa ngs nop eal in esponse {othe muna con (erly smoot) a Senses el Sangin stp deci Tepe to the col (peel smooth. in ‘crema poids costes pone Brown the ung the amp. Exponential otro meas at S25 Lng very ssi to gnc low Pot Sting and the sensi dese athe po aur isbes Tore, one aod very delete tc tf ef set he rote: On some sp the hoes expel Pech a mak «ferme were he ab ein tr lene oc cerdance withthe pot pain. {Tos bed tong te ap neon ue ah th pots eran setting tig tier Mode wil ula sais guna he ott compara of eine so sr response Gorm figure 45 The exponential cave Beal Pete repose, vir the tate! that tetconl rel in eal ange in vols, ond ee fone cont! paces ed changes Seals he tents wth eafespneteleptlons my tach th anton ol to ming extrac Sica tie man cota maybe ey se. ng tay qunton tert the astent sec Tha ie fect mwa ura sree have Ineasxpoenti opis dot Teast ar have an fer device Many of Hse J || / gy | 1 7% | ZZ | = Fee 4. sae design decisions ate made to increase the compat Tality with other modules inthe system and are not ecessiry sn indication of the instruments quality (or potential usefulness TF your studio or instrament facility is equipped with Buch 100 Series instraments you wil id that the 110 Dual Voltage Contalled Gate (another tenn tater ased for VCAs) doesnot provide for manly applied froot panel gala or offset. The sata amp Featon is provided by extemal contol voltages and the output gain then attenuated to the desired level by the front panel pot If this Is the caso the exer aes suggested in this chapter can he done sng 9 Buhl 106 nines (which has «gain of 2), The Buchla 392 Quid Gates have the smal offset contol (see Pree 35) Pre-Amplifiers Another typeof amplifier of concer tothe musician 15 a preamplifier o preamp. Many sudo signals trully those generted by mechanical means such 2 1 phonograph or microphone, prodice signals #00 ‘weak even for the power sing. These signals ate 20 Soll Ghat they are measured in mlivolts. If one plugged a mike directly nto a power amp the oUt ‘ut signal would be so weak that a would not be ‘Sef. Power amps are designed to amplify What Is referred to as high level or Tine level sigaal. Such signals are on the order of 1 volt at 00 {1 To got a rik’: signal up to that level an intermediate pr Amplifier is used. The lw level signal i plgged Into the pre-amp, the pre-amp lost the lw evel signal up line level, and at this pnt the electron signal can he teated as Hf were the same a8 an osilator gnal subject to any Kind of ampltade shaping by ‘means of the VCA. The preamp will usualy have fn Inpedance or gaia contol onthe Front panel. Var: fons types of mikes have different stengths of sig- fale ceferenced in terns of ipedance. A low im dance, or low Z, mike bas ¢ rating of between 50 6250 0. A high Z mike wall havea typical rating of 25k A. Chek the impedance spees for Your avalable mikes and see thatthe smpedance sith on the pre sip i nthe correct poston. 1 the sound 6 maddy for stored th san ideation that the Smpedance atch is not comeet. Some preamps may have gas “itches, Such isthe case withthe Ein 2430 Dual Pre- Amp (ste figure 4). "The gain positions for ths is Strument are marked 20 db, 40 db, and 60 db, and ‘provide gun of 10, 100, and 1000 respectively. After the ign has bora boosted by one of these factors, the fal sigal i then atensated by a level control Readers fanaiar with rock amplifies wil krow that they can plug a mike or guitar (which i also a Tow level sion) diretly into the amp, apparently without the tse of @ preamp. This type of amp ie > Fie 48. Es Oa Prep (Cary known as an integrated amplifier, aed the preamp is built into the general crit and wired ety to the povser imp stage. The volume and tone controls fare pare of the preamp ste, and the power simp Stage then amples the final signal Mont keyboard ‘uented electronic instruments sich as the popular AARP Odyssey and MintAoog have two &frent ox pot sale The igh ice output o line lve out Is ready to be patched ito a power amplifier, 1 this igh level signal was fed to an integrated snp one ‘would then be attempting to peesamplify a signal that 'S alwady preampliid. In this case the le level output of the Instrument should be wed, since can be taken to the inogrted amp and used with eter low level signals such at electric pitas, mikes, ee Much more willbe sald about preamps and mies, the information vem here i intended only to avoid some possible dlstorted sounds duro the initial stages (of exploring the instrament Filtering: Subtractive Synthesis and Basic Filtering Concepts Earlier n tis chapter mention ws made of addtive synthess whereby the maictan builds wp saveshapes tnd sound compescs by methods of ming togetber of less complex components. Another method which takes the opposite approach Is elle subtacices- ‘esi. As the mane implies, this method involves us compl sound asthe intl mater and reoving those frequency components that are not desired. Just as adaitive sythess cam atleast hypothetical. bull ‘up any complex from ie Individual sine wave com ponents, subtractive synthesis can, again. Bypotet ally, remove any umber sod combination of compo rents from a complex structure, For example, pasible to bogn with a sovtooth wave and renave Ail of the overtones, laving only the Fondamenta, Sine wave (Figure ATA). Similory eemoving all of the even numbered huronies would produce a rex: sonable squire wave (Figure 471). Removing only ee eeeox ee ne = the fundamental, Having all of the overtones, would produce an unusual waveshape with transposed hae: Tonics or “half harmonics,” that is, all of the har Imonie overtones are present but ove oetave lower ‘han wal (figure $7C). If this i confusing, think of the Ist monic overtone, ich Is sally the ‘octave, Ing transposed down to the unison, the 12h |S now a fith above the new fadsanatl, and 9 e= ‘This an academic example and nora sal srk lng 35 i ight seem Low Pass Filtering ‘The morile that accomplishes these Kinds of trans formations is called» filler. Just as an amplifier pro- vides contol in loudness in the emplitde domain, So also the filter provides for control in the spertal domain. In face ove may hear a filter refered to as frequency selective etenuator o fregnencyweletie “amplifier In other words filter i device at peo Vides gain for only seleted portions of x composite signal or stectram. The portion of the signal which Is affected i determined by the Fanction ofthe fer A Tow pass fier perhaps the most conan of the fiers built for electronic music tstamenttion, wil srplfy or “pass only howe Frequencies below sp fed Frequency setting or ut off (E) eferring Figure 11 (page 18) the orginal spectrum ie se tooth wave with » fundamental frequency af 4 He, (C.F this signal pated ito ew pss filter with a cata of somewhere between 654 He and 1508 Fe (the octave harmonic) the filer would suppress Bose frequencies ahove the cutoff, ideally Teaing only the fundamental frequency. I the extoff fe ‘quency were raed to slightly above 1308 He, the 2. Samatines lll th “he” Feary 2% fier output would be a stuctre with only the fan Asmental and 2nd harmonic. Starting atthe other end ‘ofthe spectrum may le more in keeping withthe tea fof subtractive methods, Ifthe fetal Frequency) of Tow pas Bhar ss set ak main. any Wve Spe would theoretically past unaltered. This osu ally not the ease, sce 4 sawtooth wave in hear Is tm infinity of harmonic overtones, and the cutoff of titer should go infil high, The realty i that These two “infin” may not be the same. A fer has Tmt tots high end, and an osiltor will not produce an unlimited marie of overtones, This is fy to test. Jost Hat ty sla straight frm te tvellatr and compare withthe ste signal patched {ito a Tow pase fbr with the fy at rmximam. Ta dain t0 some slight high frequency Tos here will probably be sone coloration, Coloration refers to sight Ettenuation or amplieation of warns pars of the Spectrum caused by the cuit. Keeping this atch, rudualy Tower the {and the upper harmonics il The sequently removed. Figure 48 tustrtes this proces. Also note Uat as flowered the edge of the waveshape begin to round of, eventually result ing in a ano sine wave. The lesa 40 be lame hte is that waveshapes with oe crests and edges usually ndate the presence of more frequency cmt Detls about fier response such as wolff and Q are bast deferred to the chapter dealing spect tally with filtering, at Drie! mention will be made hereto introduce this concept. The below figure is sel example, bt things say det happen thit tffcientl. A fer cannot abruptly ext off tthe spec ified F The fsa scected spot where the filer has fenused 3 ttention te spectrum, The atten faton eens from that point at given mite, slope for roll. A common figure for rot in low pss {kerk 24 db per octaves Tht meas that if one 813 Hz savtouth wave was patched inl 4 24 d/ctave fier with « fof 1962 Hz (65 53), the opt would be a spectrum wih the Sid harmon. down 3 db, withthe louse decreasing 1s one goes bigher jn the ovetone series The octave above this ental, = e the fits amon on 24 a te et ae the 12 harmon, would be down 8 Ce figue 40), Foe dig wil acy th the mame fod such al gues ae ws Seah spe iatns shat.‘ igus ll taly be a tps of 6 (12 18°34, ee) Oi dt maictinthat te, te let of 4 fit. The modani, apposed Shae wi Q ae snered in cheer 9 Hee © tan be eps sol pion poe SS within the ier ts lw ps le bt eel of IMs sy da! spect enone jst below est equa wil fe spl at snes Mot lwp fitch a the Moog 5014 pian nite 4108 hve 2 @ pot on the oe pl nhc ld eget Wik the Q'aa high mamally sweeping thong he ont ih nef wil hee tng os nae soe Figure 4108 sts what Pens tthe etal funy the QB anc, No fe dt as Qs at the pa of the pan below bcos propose ade sd Ser At ie sae tine te ref he spect sed rough the ier bcos gy stated The ove effet thf Decomes nr aml ep bent Much more wil esd abut apr Int forthe preset all we mead know tse phe £ todas 2 mueller the crewe innate ate er the uhh the ter bei to son ore ute Sato rece. aa be ene te Shot their wi Bn thw feat Te tr af xiao tne wave ad on be wee for cern tecnigies (covered chapter 9). Th ‘listo oly toned here bane a ends on Tee saU8 tw pe ie sunent vacble ahd can seu in some phantom pce and dtoton ane ent aware ode pro {Ss Other nuns for in adn to Feenetn are “Fesonan” “repose” “empha” and eed. ac a Nene ee eee eeOther Filter Functions Another common filer Frnat i the High Pass Filter Ac the name implies, it aecomplishes the inverse of Cr, attenating al f dhe feuencles al of the spectral components shove f- Other fier format include and pas, ond teiet oF notch, andthe fied fier Lanks, which {eoleton of and pas filters ved to single on pt. The functions of these filers ape indicted by Tele desrptve namen Unicrsal iter are stele ‘modules which combine the four base fiter functions, high pas, low pats, band pass, and band eect ta singe istrument, Another fier variation which may te avalible to the musician & shat ARP Ts Srament cll the Filamp, Item wey eamsnan prac tice simitancously to contrat the amplitude and time of signal by patching st thro a amp fier and then through & fier (see the "baie patel on puge 2), "The Buchs 252 Quad Lowe Pass Gate (Higure 411) hs simfarfetons, This module consists of four i Alependent ites, each of which Ie three powile operational modes. The mode site in the upper pO Sion tums the ete into low pas filter tne her pstion ture the gate Into an amplifier the middle ‘Position, “couhination” etbines the sg and Bow pst functions to provide “spectral gang” pacers inilar to silaneous sperma atd amplitude con tal. tn is onde, ae the amplitude i lewered here fea simultancous Toss of igh frequencies. Both of these fntions occur atthe same time a8 they share the same ollet control The audible result of this process slight emphasis of the Tower partials as {he gain flowered. Ths is most striking when accom plished by fast external controls (soe pase 35), Whe Sing the experiments atthe end of this chapter, no ioe expect what mode the ite ein. The outpot ‘of each gate & independently available, oF an eceal ‘ois ofall four je avalale fom the ontpat aed “GL? The Buchia 290 Serie istrments Uo not pro de a variable lowe pass itor gs separate modal ‘common expuone Sr Yc navi 8 Had that the fier is blocking the sound, A signal present at the input bat nothing eames eat TE His bappens at Teast one of thre common ern is being made, Fist, IF the Biker has ising eapabiities, as ith the ARP 1006, the Input attenuator may be tamed down, Six fo, the fay be so high or 30 Tow tha 3s beyond ny special content present inthe sound, The thie, fd ost comanon exon i tht one isting to fer ‘sine wave: Remember that sine wave has ony ane Spectral component and therefore isthe al thing thet Be roend, This 8 not wo ofsious as fay appear Ia filter a fequeney selective atetustor A can do wth sine wave if tense the whole Ey thing In this case the fer i being used as an amp ice! This Is «ood thing to eep in mind when yoo run out of anps, but for the presen, avoid fitering ost swith amps and osiltos there areas many finer moles as Sere ere mnanufacarers And this portion af the present chapter i only stesnt as a fatroductim to te fow pass process and ow it af fects the waveshapes. oth sonically and graphically Tes important to realize that the specteal churste. Stis of 9 signal are generally deseribed i tums of waveshupethe patter an audio electra voltage produces The basic waveshopes datecode be ‘Gning of thi chapter are by no means models of comee? or automtialy desintle musi! sound ‘They ate only stating points which se wualy fue ther shaped by varoas process Pate, loudness, ad nbre ae three of many vr ses st work Sallie, and this chapter has only Skimmed the surface of the maiin’s concern with ‘hese abvions parameters. This chapter does nt sap Bly definitive snfornation about olson, semper, fnd fier, but gives the wader enough information fe proces with fis studies of electron intrnent ‘Tovaid in the tisk thie chapter has explalsed pitch, loudness ad timbre asa single concep-volage fae tation, Avone becomes involved ith Finer means of contol and fs Intodced to now stratum situations, Th wl ind Pot ee i Aaling with he ste proc essthe shaping of ollges. As msi events are Imagined the mind's ent, he composer, and more ‘olen the perfonner, will have to aust his ettery of mods to aecmmadate il, structure, and out CTE be can wsulize seat i happening othe ee {eal gestures at each point in the istrument he wil Tetons effective snd proficient at is job. ‘The Basic Patch An example of this process tistrated with an Strumet configuration that has erune kaowe ate Saxe patch (figure 412). Ths is thee perneer Sesiruent consisting of an oslo, fie ad an amp connected inser. Lats assume that the os Into nly vides Seton wae nds ‘utp attention; the fer i «Tove pass wth only {most tof @,and the ampbice be eit ssn. Looking a thins quite graphical, lees uly Feview tach function inthis chan of parameter The ‘osilator's only variable is speed or frequency (an suming single waveshape). The low pas filter, as suming St vecives spectrally ch ga, hssthe bility generally to reshape with orginal signal by emoring overtones Since the ample wil probably Inve unity gain is only variable sto attenuate et compress the sina it feeives from the fier, ‘The ‘ature ofthe fl sia sound i Donde the slats ofthese three varables Exch aye stati oom ‘arying) of dynamic, (undergoing change asthe event Bs being peretved). The Tis set of exercises are sv cent simple sonte events Seseibed verbally, then no fated ith the normal most conventions and thed remtated in tems of how each module afets the ‘voltage, For this exerese tinbe willbe notated on 4 seal’ of Oto 10,0 being a sine wave with all of the overtones tered out and 10 being an ily (QA_pe Pern sled eth wave with msn. Ths tacos inn xy Bese Few 41 Tin tench te tes tan or ag trating hey the oper sean be nme oa ae Ot Hing splat aT Wg ty. le ntl ne fo sir The inp! pl ewe te barter the te athe tn ae Exercises and Projects Soto ch a Se ikea sren eee mee Poieer sie skationon 4. I you tae the aaah Intron configure AY a toe gE ‘EE eae (+) Se i CM Se fs Oi ‘S € Ma ARNaudio olson, Vary. the fequeney of each thythm and aio vary it prominence with the filer and the simp If here are not enough eps sind fiers ststtte the patch shown fgute 4 “Atha point nthe above oxere does rhythm Deca # pte? 5. Sutite 9 mirophone forthe excllstor in the Ise pateh Beaute to check the mike impedance and make the geeded adjustments om the pre ftnp. How do the fier and amp affect acovstic ‘gnals such a your voce. If possible observe his proces on ah eriseape 6 Build some interesting drone ends, Then sng the pate in fice 415 sweep the f of low pas filter around to highlight Aifferet speetnl reas of the drones 7, Try “coloring” some tees oF chords with bits of filtered oie, ax in figure 418 How much oie can be alded til the sense of piteh lost? Ths is cilled masking. Ts there a eelation ship between the fiers f (tering the noe) find the oscillators frequency when thi mashing Ahreshold i reached? 8 What do input structure, and output have to do with these exercises? Keeping in mind the le of fap, srctue, sak output, combine t00 oF more of howe exerci sd ake some rus Make up ast of shapes or gestures. Assign « player to contol « single partmeter each, one plaver foe the ovilter, ane player forthe fl fer, and one pliyer forthe amplifier, Each player {thon given series of pstres with indications fof ow nag ch gesture should take, a then fn cue those shapes are applied manual’ t exch parameter For example the “sce for the oe eilator player may be ‘which would indicate @eady glisando Followed Toy some igh fequoney vaniations, = Sudden op 0 # median riser and then ong down ward glisand to the subvaudio register. Like tse the fiter sod amp player should have their fovn gestural score, If the ocllatr bas wave form synetry of wavefonn mixing functions, apply the ame type of petal seaeing Fer Q and Fncar/esponentia amplification are pos ‘thle, inde them a8 varales, Instead offen ing gestures look around Your environment to sce ‘what shapes are already avaiable (eg, te host 200, temperature varatonsthenagh the da, the Imoverment ofa “dancer” na given space). Cou poser Chases Dodge wsts similar technique for Aetermining parametec design in his work Bards Magnetic Field (Nonessch 1.71350), Some scores by John Cage may be apaicale fortis type of ude. Generlie some gestures and atempt to ‘ppl them tothe individ! wewefonnsoutpted from the Ber oe amp (iro-stractre). a wel sto the overall macrostrctare With an ensemble of patches ike im figure 4.15, make realization of Frink McCarty’ sore shows In figure 417. Use only subavcio cis find pops, varying waveshape, f Q sid ampli ‘ation. A recording of one walzation nf hi wack Is avatlable on Ocean Revords, Composer Cas sete, Sere I, Ise 1 FRANK L. MCCARTY facrve TEMPUS o IN WHICH «, ‘AND SUCH AS COMBING TO PRODUCE =A Pulse-Train ‘THE DENSITY-INTENSITY CURVE FREE INTERPRETATIONS OF THIS PLAN ARE SINCERELY SOLICITED pee MU Fenty Fee 41, Tat Tape Frank ec $$ eri receecy a1Concepts of Voltage Control ‘The prceding ters fave sree the Hey tht ‘leon mates reste the player to poe mth ml ont cas el pm Clr shape al conned Yo ret Ss fia ae trent, however singe or comple, Chapter ne Set th natn thi any meal sre ena tome manner of np» deemed physi sre- {is and usa” yespese, Chapters 2 ough 4 Ved ems to det mans np or ont, 1 as arent stature dealing wih ch, Soe, {nd loudest silo mata erets By thi tine sean vet fe nas that more complex srctres Wl requ me hvlved pur imete oruniation ad oe inete methods of ing the irae th poi tg ee [By tocramioe the philosophy of hat we wndertnd plot and apy that cone to leon oe Seu The fawn hcg eer mural vaables unde the baste puters of fe ‘ene, spectrum, sad mpd Freguency Spectram Amplitude pitch (discrete Ue Todos and gis) loudness sith | sbrato ibrito/tremolo tremolo ‘The appearance ofa pticulr parameter under more ‘than one category reminds one tat pereetualy these tstgories lave deiite effects on each ater. This Tse by no means all inhsive, buts safienty com sete to mabe the point Tearing an acoustic instrument ts, in the cay stages, primarily the developmeat of Knestheti sil Depending en the instant, cme ust master all ofthe dynamic parameters which the Instrument pro- ide, and ntlly this matter of coordination, Contain pitch on Woln e quite different mat ter fom contolling pitch on a piano, the contol of ‘smbre on a tramp sequires «different manner of ‘put than coutealing timbre on 4 caving. The 33s: tery of tse ls made mote dificult by the fact ‘hat on cach strament several parameters may. be like te satel th oe pt Te ers Jefe hand is respomble for pitch, vibra, ote dara tion, and vaning degrees of articulation ahd ight % and actin controls Ides, hye (du Sabra aricalations. On my tment sng perine ydtrind yt inert fapus:s trumpet derives ts pth fmm both he de Preon of wives andenbycharevrton THs sy Bute tht meal events valve fo pes of pee etre orgnizaton, the fit is tater of pera. tio the second i ter of performance nde, A fon as with ay ther astomen, bath eof conten {0 the prfonme of electronic strments Offsets: Fixed Controt Voltages ‘stated eal in tite, contmporty electronic fnstruments area collection of posits, Depend ino he sd ett scan a ley oie heal resourses pt ‘feed in chapter 4 beg only one spe approach — td then deede on some mane fo inate ad coe trl the ring sounds). As negated ctrnle rss sytem were being developed, ese deo tat the complet of eaing wh many feretnted and ongoing poamcters could be snp fil by making each pramater contrac in 4 concept nied mur. The previa chapter ex Plhined the basic dinensione of sow In terms foliage changes change in sone spect ofthe sound vas accomplished by chungie the ay volnge wat ‘eving tr a paruae cea, Taming wp pot on sn ins es Rains nae Speed eulng Inger pth, asin the po 08 fi ampliiernereauod he neath of the vlage fc {talons resting in oer sds "The tahavor ofan audio olage in & al Is contred by xppeton of another Sratrl ie of lig ee cn rma we frequen a hey part formation concerning 8 thal masa strate sucha diol ote spe, tticlaton,phacng. sod overall onal esgn The ier might again comnider the varow fegueney ‘anges of mal onseaton and yopome doeseed is chapter page 9 Wen ne tr op te pot on ‘onelltor, tat pot aplcs «fed abun of post. tive volage to the cal. which nase ite faster As the pots tre dow, the aan of ed conte wage decree, ctsng the cei oon ce Al Ye Ser (FE rawes.s. examen wa late mote slowly By the snk toen, the direct man sl contol a's lowpas iter involves natal ae termining the amount of ft con eateg, hich hasbeen fered oa offi conte vaage results ina spt low catoll fegueny, Son the fot pone po creases the amount af ont voltage apptied tothe fier aut eet heey "ising the eto fequeney gue 5. llsteate a eron ofthe basi patch sith 0 diferent st of analy Hard conta ek 190 vets. Not all eetoteostrentation pene ithin the same contol volage rnge This ies he othe ane wth «conta age age Figure 18 has hed conta! woage of fol ppl tothe stor, which esas int ego #545 Hs (low Cm igre 3 this conta sole ge has Been raised to? val, which rates the pie tne tse. tage 514 the ted contol olsge is st the fers tod? guency se 5 Hie a "enti the spectrum above the tk harmo ig tre S18 the fed cont oltage was Ise oe “ol, lnering theca ane active to 256 Since th ch wan ed an tv and the et ler ab tate ae eshing secre ‘heily nite to jot dhe fundamen In figure SA the amples fed ental voltage us anit, allowing te ig op of ty ‘in. suming near te of peat ace 24) etting the amount Wf fed contol vase ta Jaf wil eat the gain in hl. The dyanse masking inthis cas pel subj, and pee mses Sse bal of Oise establish the mato of the oe tt of setts activity in eletonic instrament, ad the flucating. audio voltage ate evel heard ae sound Teas been this writers experince that the Scscaer othe ci plying cts in Sent te of yh eh ‘sgt Water he tcc Sar detent he sey See Ind that pot bo went wth the oe 4h sand or Wah the cone oat ae re See bead conten hate Rik 2 salad ito A ital ee a inet om oui ate she we cennaly Be he ‘dco tole hae a aa woe onl Dynamic Controls ‘contol ure may simply be a manual cabled off one stop here the dictions imple How ft fone steps the fegieny elt otf oe scl up and down, cust varius nts fe sand, nt that stil vlage cotle The only ier coce thatthe contol voltage isl Is Bhatng A contol may ineedbe's ts fet ori may he continually yaved. A varying conta refer oe 8 dynamic voltage This and sucecdng chapters wil wera varity of canto voltage soures wich pro dace static and preset conto a well como sages at fctunte a speeds from sulbaudi o alo Te sail essential tha the san derstand the Aiteence between the signal and contol aga sour and conta stature. Both ie voltage ne Utes, sd what masa As toud may be sci BS Structure. For msclans Aan Bo peony ficiently however: eich must be very eerie hs on id aboot the flow of the to Kins of formation, On some testramens this fect satiety sserdeterminel, ube on others the levels se physely separated by typeof att ca op