Monday, 13 May 2019

196 vs 185 - phase vs frequency shifting

The Buchla 196 is a phase shifter while the 185 is a frequency /pitch shifter.
Both have pretty similar panels. What's the difference?

The 196 phase shfter.
The manual describes it in the following way:
"It shifts the phase of input signal such that a 90 degrees (+/- 5 degrees) phase relationship between the two outputs is maintained from 5 cps to 20 kc"
Phase shifters can also be found in the Roland 100m (172) & 500m (572) and in the Ken Stone CGS.

A phase shifter uses an "all pass filter", where (I understand) the centre frequency is inside of the audio range. High frequencies are phase shifted either more or less than low frequencies, depending on how the filter is wired.  


The Buchla 185 frequency shifter
The manual describes it in the following way:
"It shifts the frequencies of an input signal by an amount determined by another applied carrier signal.
The shifting is applied to all input frequencies, uniformly.
It is not a transposing device. Rather, it is used to obtain new timbres... usually containing non-harmonic partials."

The front panel of the 185 has two inputs and 4 outputs
The left input is for the main signal, and the right is for the carrier frequency.
The Sum outputs is where the frequencies of the carrier and input signals are added.
The Difference output is where they are subtracted.
If the sum & difference outputs are mixed, you get ring modulation.

It seems that the 185 is actually made out of two 196s, and one dual 111 ring-modulator & a mixer (probably a 106).
A frequency shifter is basically two ring modulators where the original signal is canceled out in the end. So you just get the new side bands, which then get separated.  

The buchla 200 system introduced the 285, 285e & the 297


It's fascinating to the the evolution of the frequency shifter over the years.The 200 series "un-hid" the ring modulator section.

A modern Buchla version of the Phase Shifter is the 297. Called the infinite Phase Shifter 
it can displace the phase of an applied signal by up to 1,800 degrees.




Frequency shifters were also made by Bode & Moog.
The Haible FS-1a is also an excellent frequency shifter

Sunday, 12 May 2019

Metro-Modular Power supply - Module 601 - Der Todliche Finger - The Deadly Finger

This panel was designed to hold the power supply of the Metro-modular 4U system.
It's basically a drop-in Buchla PSU. If you have a Buchla passive box, this is ideal for adding power.

Metro-Modular  are from Sydney Australia. They will be releasing some new modules during SuperBooth 19. This is being held in Berlin, Germany right now.

Some Links
+ Metromodular Facebook
+ Metromodular Youtube
+ Metromodular website  

The 601 is the first panel in the series. 


....die jugend finden sie schlecht, besonders
Long hoarige  & Dienstverweigerer denn..

I don't speak German but I think this roughly translates to
"they find the youth bad, especially long-haired and non-conscientious"
The comic is from Hotcha, Switzerland, 1970.

The psu has 667ma on both the +15 and -15 rails, and 1.5 A on the +5V rail.

The name is a reference to the PSU having four edge connector “fingers” on the main board allowing direct connection to Buchla-style polarised edge connectors. Input is +12V from a standard barrel connector with a 2.5mm positive centre pin made by Cincon, and a second connector is provided for daisy-chaining several boats to the one “brick”

The name is also a reference to Stereolab’s favourite underground comic, where a conformist in the place of the reader is eventually bumped off by the accuser in the comic. It’s a reminder to me as a designer, and you as the user, that the best way to honour 4U Modular’s radical roots is to make innovative things, and not fall back on cliche.”(Justin B.H.)

--------------------------------------
Metro-Modular  are from Sydney Australia. 
The new modules being released for SuperBooth 19 are:

 1.  The Boethian Wheel - Model 660
 2.  Dual Stereo Locator - Model 2102
 3.  Roomic Cube - Model 680
 4.  Dual Balanced Modulator - Model 2315
 5.  Todliche Finger - Model 601
 

Metro Modular - New 4U-Buchla format modules

Here are some pics of a new range of Metro-Modular modules being released at Superbooth 19 in Germany
These are in Buchla/4U format.

 The Boethian Wheel - Model 660


 ............................................................................................................................................

Dual Stereo Locator - Model 2102

This module will also be offered as a DIY option
The build notes are here


.............................................................................................................................................

Roomic Cube - Model 680

............................................................................................................................................

Dual Balanced Modulator - Model 2315

..........................................................................................................................................

Todliche Finger - Model 601


Links to more info on these modules:
 1.  The Boethian Wheel - Model 660
 2.  Dual Stereo Locator - Model 2102
 3.  Roomic Cube - Model 680
 4.  Dual Balanced Modulator - Model 2315
 5.  Todliche Finger - Model 601

Saturday, 11 May 2019

Superbooth19 - Metro-Modular - New modules

Metro-Modular from Sydney Australia will be releasing some new modules during SuperBooth 19.
This is being held in Berlin, Germany now.

Some Links
+ Metromodular Facebook
+ Metromodular Youtube

The Superbooth website is here:
https://www.superbooth.com/en/landing.html

I'll upload pics of the new Metro-Modular modules when they become available.
For now here is the MM press release.


The 1960s may be almost over, but there’s still time to have your mind blown by the new
Metro Modular sound synthesizer range.

Featuring state-of-the-art electronics that put the “wow” into “the now sound”, and
attractively-finished yet durable construction purpose-designed for the rigors of a busy
recording facility, these exemplary systems will see you well into the next decade and
beyond.

With special pricing and payment terms putting our systems within reach of any higher
learning institution’s electronic sound studio, or indeed, any mid-sized advertising firm,
there's never been a better time to jump on board the
electronic sound revolution.

Write us today at PO Box 3070, Marrickville Metro NSW 2204, Australia for a
complimentary catalog, or contact us via Telecopier or ARPANET to arrange a noobligation
in-house demonstration from a member of our sales network.

You can meet us this May at “Volkstonbooth”, Eastern Europe's premier electronic sound
expo, at the Freizeit- und Erholungszentrum in East Berlin, German Democratic
Republic, where we will demonstrate our new range of submodules to complement and
extend any CBS* Electronic Music System - available for order in early 1970.

*CBS is a registered trademark of Columbia Broadcasting System, Inc.

Eric the Platypus is ready for action

DivKid Interview

Sneak peaks:




Monday, 6 May 2019

Squid - 1. The different modes


Track Mode

Settings mode
Shift + track/settings
This is where you rename tracks

Mute Mode
Here you can mute & unmute patterns .... up to 64

To Solo a track -
1. Shift & press the track (while in track mute mode)

Pattern Set
Used to save a combination of patterns selected for each track or to load them at once.
Shift + Pattern button.

Scale mode
Press the scale button.
To select a scale, turn the scale knob.
To select the key of a scale, press shift & turn the scale knob.
Use the left/right arrow buttons to move up or down 4 semitones.

Chord Mode.
Shift & scale/chord button.
To change a chord twist the main encoder. Press to select.
There are18 different chords to pick.

Transpose Mode.
Here you can transpose you tracks in real time.

Trigger Mode
This is where you program your drum beats.
You step sequence your patterns here.
Use the 5 knobs to the right to adjust pitch, gate, velocity, count & divide, for each step.
https://www.youtube.com/watch?v=yz-Bzl_eTvM

CC mode
Shift + Trigger/CC button
You can assign  up to 5 midi CC values for each track, to control settings on external devices
such as cut off, resonance, or LFO.

Tie Mode
You can tie & extend the length of steps

CV slide mode.
Creates pitch glides between steps.
This only works when output of track is set to CV/Gate 1 or 2
Use this with your 303

Active Mode
You can reduce or add steps to a sequence.
Useful for Polymetric sequences
1. Go to trigger mode.
2. To make a step active or inactive, hold down the active button, and press any of the pads.


Links
+ Pioneers Squid Tutorial Videos
+ Different Pad Modes
+ Trigger mode 
+ Randomizer
+ Copy & Paste 
+ Projects






Sunday, 5 May 2019

Fairlight CMI IIx - Page R - Real Time Composer

Along with The Fairlight's sampling, waveform display and additive synthesis, this Page was a revolution.
Arguably, it's the precursor to all the DAWs we use now.
LOGIC, Abelton, Reaper, etc etc ... all owe their beginnings to this piece of software.



There are 2 parts to it: The Pattern Editor & the Song Editor
 This (above) is the pattern view/editor.
The Pattern view consists of 8 individual sequences of notes ... these correspond to keyboard maps provided on Page 3.
You can have up to 255 individual patterns

 To tab between each view type:
E<return>

The SONG Editor is below:
This is used to establish the playing order of the patterns.
Here, you can build, inspect, and modify the song list.
It's basically a list of pattern numbers in the order in which they are played.


To access page R type
PR<return>

To access page R help type
HR<return>
To step through the help pages use the ADD & SUB buttons on the keyboard.

This is the first page of Page 8 Help

The Help Pages are divided between the Pattern Editor & Song Editor Functions.

The Page R uses a RS file.
All the patterns and the playing order for a single piece are stored on a single .RS file

To load an existing .RS file type:
L,filename.RS<return>

To create a new RS file type:
N(EW),filename,number of patterns<return>.
The number of patterns can range from 1 to 255.
If the no of patterns is not allocated, the CMI will put in as many patterns as it can , depending on available free space (see page 2).
The total no of patterns used and available can be seen in the top right hand corner of the display.

To unallocate unused pattern and free up disk space type:
UN(ALLOCATE),number of patterns,<return>
To add extra patterns type:               AD(D)number of patterns,<return>
To display used patterns type:         X<return>

 For Page R to function correctly, you need to set up Page 3

All loaded voices must have a NPHONY of 1.
Each register must have its own keyboard.
Here is a typical Page 3 view with 8 voices loaded and ready for Page R sequencing.

 THE PATTERN EDITOR

 In the Pattern editor nOTES  can be inserted , modified or edited using the light-pen, music keyboard or alpha-numeric keyboard.

This is the note editing table:

This opens up if you tab around the page with the numeric keyboard.
I use the ARROW and ADD /SUB keys mostly.

 THE SONG EDITOR

The Song Editor allows you yo build, modify and inspect the song list.
There are 3 sections.
The top section is where you will find the name of the song (SAM.RS) its speed, the no of patterns, etc.

The next section is the Song List Box.
It's the list of pattern numbers in the order in which they are to be played.
It can use both Numbers & Letters when naming patterns
It this example, pattern C is played just once.

The bottom box is called the Sections Box. 
This groups the individual patterns together.
It uses both Numbers & Letters
A basic pattern can have up to 255 steps.
These basic patterns are identified using numbers.
In this example we have basic patterns 3 through to 11.
But these are grouped into larger patterns under the sections box.
Sections can have 26 patterns (named A to Z).
In this example the Song List Box will tell the Fairlight to play Pattern C once.
However, Pattern C is made up of patterns : B, A, D, A, E , 10, & 11(the numbers under each letter/number are the repetitions of each pattern).
We can break this up further...
Pattern A = patterns 3, 4, 5, 6.
Pattern B = patterns 1, 7.
Pattern D = pattern 2 (played twice).
Pattern E = Pattern 8,9,10,11.

Basic Commands:

1.To load an existing .RS file type:      L,filename.RS<return>
2.To create a new RS file type:           N(EW),filename,number of patterns<return>.
3. To play a RS file type:                    P<return>
4. To record a RS file type:                  REC<return>
5. To stop type:                                     S(TOP)<return>
6. To Unallocate patterns type:           UN(ALLOCATE),number of patterns,<return>
7. to add extra patterns type:               AD(D)number of patterns,<return>
8. To display used patterns type:         X<return>
9. To Toggle between the Pattern & song editor type: E<return>
---------------------------------------------------------------------------------------------
---------------------------------------------------------------------------------------------

225e - my notes regarding using this module

Some notes re using the Buchla 225e.- MIDI & USB decoder
There are 2 sections to this module.
The bottom section is the preset manager. The top is the MIDI decoder.

 The Preset Manager

 It's a pretty important module to have. In fact the 225e or a 206e should be the heart of any 200e system as they are the only two 1U Buchla modules to have a preset manager.
The 225e has the capability of displaying the current firmware version for any e series module in a system.


This preset manager allows you to save & recall most of the knob & switch values of Buchla 200e and 200h modules. Of course the system wont recall your patch cable positions (unless you add a 210e).
Any "e" or "h" module's blue knobs can have their settings saved.
Grey knob settings cannot be stored.

The data from each preset is stored under local memory.
You may store & name up to 30 presets30 presets.
Scrolling through the presets can be done either with a CV pulse applied to either of the banana jacks or by pressing the associated last & next grey buttons.

This is a cool feature as it allows you to remotely change the presets as part of your performance.

You will need to "Remote Enable" each of the 200e/h modules you wish to connect to the 225e.

The DATA button allows you to choose between naming and selecting the preset (indicated by the LED).
The top LED is the Global selection. This handles things like card formatting.
1.Global Mode
This top LED is selected by pushing the DATA button/switch till the associated LED lights up

There are 3 parts to this Global setting: Rem (Remote), Disp (display) , and Base Channel.

Rem controls the remote status of all the modules.
Disp sets the LCD contrast.
Base Channel: controls how the preset manager responds to messages 
received on the specified base channel

2. Name Mode
This is how you name or rename a preset (after it is stored in memory).
Hit the “mode” button (it's under the word DATA) which will turn on the "name" LED.
Use the next switches to direct the cursor and the data wheel to select the letters/numbers.
When naming is complete, push the “mode” switch (a few) times, until it returns to "select" on the LCD.

3. Select Mode
This is how you store and select a preset.
The top line of the LCD shows the current (last recalled) preset number followed by its name (if it has been named). .
The second line indicates memory locations for storage (1 to 30).


To store a new preset, use the DATA knob to select your memory location. then hit the left "store" button.
Doing this will store the current states of all the modules with the remote enabled LED activated.

To recall a preset, use the DATA knob to select your desired preset. then hit the right "recall" button.
The chosen preset appears in the top line (Current ).

 

The MIDI/USB Decoder

The second part of this module is the Midi/USB decoder.


This will convert Midi signals to control voltages , pulses, and clock.

These control signals appear on three kinds of busses:
1) Internal Busses (A,B,C.D)
2) Note Message Busses (E,F,G,H,)
3) Controller Busses (J, K, L, M, N, P)

Note messages are also applied to busses A,B,C,D (in addition to E,F,G, and H).
Continuous Controller and Clock messages are handled by busses J, K, L, M, N, and P.
Any number of busses can be assigned to a single MIDI channel.


1) The Internal Busses (A,B,C.D)
 These four busses are routed internally to 200e series modules that respond directly to MIDI messages.
 Each bus can respond to one selected MIDI channel OR you can assign the same midi channel to more than one bus. (This gives you the possibility of polyphony if for example you are using four VCOs on each bus).
There are 11 modules that (that I'm aware of ) which respond to these internal busses.
They are the 259e (VCO), the 261e (VCO), the 281e, 281h, (Function Generators) , the 292e, 292h (LPG), the 222e & 223e (Touch controller keyboards), the 250e (MARF), and the 251e (sequencer), 252e.
Pulses are routed to a 281e, velocities to a 292e, and pitches are directed to up to four 259e's or 261e's.

This is one possible configuration... 3 independent VCOs ... and an independent  250e.

There are two dip switches on the back of the 291e, 281e, 261e and 259e.

 This is the rear of a 281e
 The DIP switches are on the right

These dip switches have to be set to A or B or C or D.

The pic above is the rear of a 261e VCO.
The dip switches are in the lower left corner.
The modules' ID will be shown in the Preset Manager display.



Up to four 259e or 261e Complex Oscillators can be assigned to the four internal MIDI busses A D
Thus you can get up to 4 note polyphony if you use 4 VCOs.
To do this you need to assign the VCOs to the same midi channel. Then set set Poly/ Mono to Poly.

Plus each of the four sections of one 292e/h Quad Dynamics Manager and one 281e/h Quad Function Generator can be assigned these A - D busses if their module ID is set to A.  

The module ID is used to distinguish multiple modules. (Unlike the oscillators, the 292e and 281e Module ID is not the same as the Bus name; but instead bus A-D corresponds to the top to bottom on one module.)

2) The Note Message Bus (E, F, G, H)

These four busses handle note messages only, decoding them into front panel control voltages 
The 3 CV outputs corresponding to Pitch, Velocity, gate & Note on.(pulses with sustain information).

 3) The Controller BUS (J, K,L,M,N,P)

These 6 busses handle controller and clock messages which are translated into 0-10V CVs
Each controller Bus is divided into 2 groups: (a) or (b).....(two controllers for each of six busses)
Controller output bus P(b) is actually not a controller, but is a dedicated MIDI Clock output.


To select a Bus use the "bus select" buttons.
This will light up the LED next to the bus you have selected.
Then using the cursor buttons, select your DATA type.
Finally using the knob to the right of the cursor buttons, enter the data.

For the Internal Busses (A  to D) , the DATA types are as follows:


1) BUS ........... selects the channel A, B C etc etc
2) Channel - Midi Channel 1-16. (channel 0 = inactive channel)
3) Polyphony or Mono : (Note on).
     If Mono is selected in this field, then new note messages will cut off the previous notes and new    pulses or notes will be generated out the assigned bus. This is the default and best if you have a limited number of oscillators or want to assign each oscillator to a specific MIDI channel.
     But if you
enable polyphony, the bus operates polyphonically between A-D or E-H as notes overlap.In Poly mode, up to four note messages (note on, pitch, and velocity)are distributed betweenA-D or E-H busses but ONLY IF they are addressed to the same MIDI channel number.

4) transposition (Xpose) pitch - causes midi note-on messages to be transposed up or down (+/- 2 octaves). The units are in semitones (chromatically)  -24 to +24
5) FT = Fine tuning pitch (0 translates to the standard A = 440Hz) .Goes up to 99 cents
6) Vl. Velocity.
----------------------------------------------------------

For Note Message Busses E, F G, & H
The display changes:
1) BUS ........... selects the channel E, F, G, H.
2) Channel - Midi Channel. (channel 0 = inactive channel)
3) Polyphony or Mono
4) Xpose - transpose 
5) VEL = Velocity curves = (Envelope shape ?)...the display shows the curve shape.
Normally this info is sent unaltered to a 292e LPG but if desired, non-linear transformations can be applied to velocity.

Velocity curves are displayed graphically, with the normal linear response displayed as /, and other
responses displayed as slanted or bent lines. Reversed velocity responses are particularly useful for implementing voltage controlled cross-fading.
--------------------------------------------------------------------

When Controller Busses J to P are selected the data entries change.
You will see something like this:

1) BUS ........... selects the channel J, K, L, M, N, O.
2) Channel - Midi Channel. (channel 0 = inactive channel)

The last two fields specify the controllers numbers assigned to the selected bus.
PW (for “PitchWheel”/pitchbend), AFT (for Aftertouch) or Continuous Controller (CC) numbers 0-125
(Note: Typical preassigned CC numbers found on most keyboard controllers include 1 for Modulation/modwheel, 7 for volume, and 64 for sustain switches)

Controller numbers may be arbitrarily chosen, but keep in mind that some fixed controllers on
busses A - D are routed to certain modules internally.


If Channel is set to “Clock” (after 16 and before 0) a different interface is displayed:

The Div fields allow the 225e to generate 10 volt pulses based on rhythmic divisions of an incoming MIDI clock. The numerator represents a count; valid values are 1-8. The denominator represents a note length.

1: Whole note                                                     8: Eighth note
2: Half note                                                        12: Eighth note triplet
3: Half note triplet                                               16: Sixteenth note
4: Quarter note                                                   24: Sixteenth note triplet
6: Quarter note triplet                                          32: Thirty-second note

A pulse is issued after every count of note lengths. In the example above, 1/4 means “every quarter note” and 3/8 means “every third eighth note”.