Monday, 12 July 2021

Korg Midi Synchronizer - KMS 30

 This is a useful and pretty rare piece of kit from the 1980s.



Made in Japan, its great for clocking old gear .. esp Roland 808s, 909s, 303s etc
It enables sync between vintage Korg and Roland units. Not just MIDI sync but also DIN sync.
The KMS30 converts Midi clock to 24/48 PPQ  
Old Roland gear uses 24 PPQ
Korg gear uses 48 PPQ.
 
 
So this box is useful if you want to sync a Roland TB 303 with a Korg KPR-77 drum.
 

There are actually 3 time formats - Tape, Midi, and Din Sync.
 
Tape sync is now pretty obsolete, but it may come in handy if you have an old tape multi track deck 
You would need to record a TAPE CLOCK click track on one track of the tape. Then for your overdubs, as you play back the tape, you would connect the click track to the RCA tape in jack of the KMS30
 
 The KMS-30 can also be used to record a click track onto tape.
Note, this "click track" is FSK --- not an analog signal.
The DDM-110 is an old Korg Drum machine. 
There are plenty of old drums that will do this job, but it's a good example as it has
 a TAPE OUT jack & DIN sync jack
 


You sync it to the KMS30 via DIN and record it's audio (from the tape out) onto tape to make the click track.
 

Power supply is a 9V external PSU polarity (negative tip) .
 

 
Thanks to Ed of Elk Elktroniks for repairing it for me.
 
A bit about Midi, and Din Sync.
In the case of Roland DIN Sync, the standard is 24PPQN.
Lots of old Roland Synths such as the TB303 & TR606, 808, 909 use this standard.
Most DAWs will also use  a 24 PPQN signal 
 

 
 
MIDI clock in comparison sends a tick 96 times per quarter note.
 
Korg has it's own version of DIN Sync.
It uses the same 5 pin cable/socket, but the PPQN is 48.
When syncing Roland and Korg gear via DIN sync, they will work, however the Korg machine will run at 1/2 the tempo/speed of the Roland unit. 
 
This can be corrected with several devices which will translate 24-48 sync, such as the Korg KMS-30.
Another useful and easy to find device which will translate to 48 PPQN is the Arturia Beatstep pro.
 
A bit about the Tape out on this machine.
Can the tape in/out be used for syncing the clock of analog gear?  
No! Its Binary FSK (usually referred to simply as FSK) for syncing with multitrackers.
FSK is for slaving digital hardware to tape 
FSK =  Frequency-shift keying.
 
It is a modulation scheme typically used to send digital information between digital equipment such as teleprinters and computers.
 
You can actually hear the FSK signal if you plug it into some speakers.
There are 3 types of tone:
1. Clear, high pitch - leader tone. Usually it lasts for 3 seconds.
    Indicates that data output is about to begin
2. Lower pitched-noisy sound - data tone.
    Contains your patterns / songs/ clock encoded as digital data.
3. Clear, high pitch - end tone. Usually lasts for 2 seconds.
    Indicates that data output is over.
 
Note that many old 1970s, 1980s era synths and drums have a TAPE sync in/out.
The TR-909 has DIN sync IN, TAPE sync IN/OUT and MIDI. 
The  TR-505, 626, 707,727 all have midi, DIN & FSK/TAPE which makes them
pretty useful.
This is the rear of a 505.


This is the rear of a TR-707
 
Tape, in those days was really useful. In addition to being able to handle syncronization, you could also use it to store your pattern data.

The TR 707 & 727 drums
have MIDI, DIN SYNC and TAPE SYNC sockets. 
If you set it as the master, it sends sync signals out from all of the sockets. 
However, if you slave it to TAPE SYNC, it only sends out MIDI and DIN SYNC signals.
When set to be the slave it does not send any sync signals.
 
The Roland MC-202 has TAPE IN/OUT, one DIN sync IN and two OUT sockets.
Sadly no MIDI. If you slave the machine to TAPE sync, it sends DIN sync out on both sockets. 

Roland MC202

 
 
 

Sunday, 11 July 2021

NLC VCAs - part 2 - build notes

 You can never have enough VCAs, .... so the saying goes.
This was quite an easy build. Plus its compact -- 3 VCAs in 8 hp.

Each VCA has two CV inputs which is handy.

The official build notes are here:


Links
 
Part 1 of the build is here
 
Here is the build so far:

 
I used silicon diodes for this project.... mainly because it was difficult to find Ge diodes.

Get the Jacks and pots on.
Then screw in the panel & solder away.
Youre done. Noice.

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You can find more NLC builds here.
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Playimg around with the DinSync 303 filter.
Sounds great.
The Endorphin.es Terminal is the old model .. just a buchla style LPG
 
 
 
The output of the Terminal is patched into the VCF 303 filter
I'm using the Terminal's LPG & left envelope Generator along with the Dinsync VCF 303 filter. 
 
The sound source is a endorphin.es furthrrrr generator. 
Sequencer : Winter Modular Eloquencer

Saturday, 10 July 2021

Endorphin.es Terminal - function generators & LPGs

 I just received this in the mail. It's an Endorphin.es Terminal.
I think they were first produced in 2013 ???
 
 
This module is now discontinued and replaced with the Grand Terminal.
Though the original Terminal doesn't have the 8 filter types of the Grand Terminal I couldn't resist the old school dual voltage controlled AD/AR/looping envelope generators & analog vactrol LPGs.
 

Together with a Furthrrrr Generator module the Terminal creates one full West Coast voice. 
It's quite a complex and dense module, with lots of functionality.  Reminds me very much of a Maths.
The whole module uses the analogy of flying.


The 2 envelopes of the Terminal are called airplanes ... the takeoff and landing being analogous to attack / decay. There is a airport terminal, gates, exits, trip selectors, check-ins, cabin pressure & relative height.
As the module uses real vactrols I was hoping I could get similar sounds to my Buchla & Serge systems.
I'm not disappointed.
 

It's a fun module to own if you like DIY electronics.
The rear of the module has sockets for a quick and simple exchange of vactrols.
You can use the factory supplied opto-couplers, replace them with other ones or even roll your own.
 



You can use the Terminal to create envelopes, LFOs, and even Oscillators.
 
It's very reminisent of the Serge DUSG ... dual universal slope generators.


Just like in Buchla systems, the  gates are VCA/VCF combos.
The two red centre knobs open up the VCA and the two opto-coupler-controlled 
Sallen-Key 12 dB lo-pass filters.
The VCA/Filter section is in the centre of the module. 
These are called gates.
 
As mentioned earlier, they use vactrols which impart a "natural sound".

 
This occurs because altering the gates offsets changes both frequency cutoff and amplitude of the signal.
This gives a "natural musical" response, similar to acoustic instruments. 
 
Each gate has attenuverting CV input and gate A (left) has an attenuverting audio input.
 
 
 
 
 
 
 
 
When you open the gate, you will hear the sound getting louder and clearer. 
You can patch the gate to get other filter types apart from LP.
To get a high pass effect plug the same signal into both gates. 
Then invert the gate A using the bipolar attenuverting audio input.
The high pass effect is created by the mixing of the LP signal in gate B, with the inverted signal
of gate A.
 
The aux input and the attenuverters allow you to create hipass, bandpass gates, etc

There is no resonance control by patching the mono final output (marked with a loudspeaker) 
into the input of a gate. It's a feedback loop. It's probably better to send this into gate A since you will have additional control over the input phase and volume, given by the attenuverting knob.
 
The envelopes are on the left and right. 
In the Buchla world, they are called Function Generators.
In the Endorphin.es world, they are referred to as Airplanes.

The envelopes have 3 modes -- called the trip selectors.

1. cycling / looping
    (trip selector in far left position). Use this for LFOs or
    an oscillator depending on 
     the frequency of the cycle. Self triggering.
 
2. transient
    (trip selector in the middle position).
    This is a simple A/D envelope with no sustain.
    " the Airplane performs a take off after an incoming trigger 
     signal (may be short trigger or constant gate higher
      than 0.65 volts). Reaching the top of the ascent level, 
       the Airplane immediately performs a landing" (Endorphin manual).
 
3. cruise
    (trip selector to the far right)
    an Attack/sustain/ Decay envelope.
    " the Airplane takes off to thee highest level after 
      receiving a trigger/gate (higher than approximately 0.65 volts 
      constant signal) and stays in cruising mode as long as the
      gate signal remains high. At any moment the gate signal drops, 
      the Airplane performs  the landing. 
      During landing the Airplane will immediately gain altitude when a
                                                               trigger/gate arrives." (Endorphin manual).

You can either manually or with CV set the slope of these envelopes from linear to exponential or Log.
This is set via the 2 bottom black knobs/jacks on each airplane.
 
 
Each airplane also has unipolar(right) and bi-polar outputs(left) output jacks.
The bipolar one flashes red/green.
These are called Exits.
 
 
Trigger outputs are sent at the "End of (each) Stage", (end of Rise, end of Fall), of the envelope.
 
The gates can be pinged (opened) with a short trigger like the ones that come from the end of stage outputs.
 
This pinging of the gates sound is often referred to as the Buchla Bongo. To achieve this sound the trigger should be connected to the gate’s CV input and the attenuverting knob in full clockwise position.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Cabin Pressure
This is a digital effect. It's a sort of echo/reverb/chorus.
It's intended for adding air to live performances.
 
Relative B height / Peak detector
This is useful for creating ADSR type envelopes.
The attenuating knob decreases the height of airplane B (relative to airplane A) .
Triggering both airplanes creates the combined envelope.
The peak detector tracks both airplanes and outputs the max of both. 
The CV output is the jack to the right of the Relative B height  attenuating knob.
The Attack and Decay stages are defined by the take off and Landing rates of Airplane A.
Sustain will be defined by the ‘relative Airplane B height’ knob and Release by the Landing rate of AirplaneB

 
 
 
 
Links
 
 

Wednesday, 7 July 2021

Happy 707 day

 The Roland TR 707 is classic 80's Roland drum machine. It has great sounds, is super easy to program, has individual outputs, a mixer section for on the fly action and runs off batteries. 

So it's really good for live performance.What more could you want


 And it's not crazy expensive yet, though prices for these have been steadily increasing. I feel I can't take my 808 or 909 out on gigs, but this I still can.

The plastic build reduced it's cost and possibly kept it in the "budget" category. However this also makes it so much lighter than a 808 or 909. I can carry a 707 in a backpack.

It's looks are based on the 909, and sure it won't knock the 909 off its pedestal, but there ia a reason why you will find this drum in the studio of countless producers around the world. 

 



The drum was released by in 1985.

It is all-digital, but this pretty basic drum still had a huge impact on Chicago and acid house.
Check out Mr Fingers’ ‘Washing Machine’ or Marshall Jefferson’s ‘Move Your Body’.


 I think its snare, claps, and hi-hats all helped shape house’s sound.

 I esp love its toms. They have this lovely round decay.


  15 digital sounds are sampled at 12 bits, and it can send or receive MIDI/ din sync. 

It's easy to integrate this into any sound studio. The drum can send old analog clock (rim Trigger out) to drive eurorack, has midi and Din sync so you can easily integrate old pre midi Roland gear such as a TB 303.

 + TR 707 Drum

           + Roland Tr 707 - pattern play

Monday, 5 July 2021

Beat Frequency - NLC - Build notes - part 2

This is part 2 of my build notes for the NLC Beat freq module.
Part 1 is here
 
The module is in Eurorack format.
It's a CV and Gate generator.
 
You input two signals - audio or LFO rates and the module spits out CVs and gates
depending on the frequency difference between the two inputs.
Plus the module has lots of flashing / rotating LEDs which are always cool to watch.

All DIY. - The SMD is mostly 0805, pretty straightforward.


The build so far.
All ICs , diodes, trannies are on.
 the resistors now.

Re the LED resistors:
"RL: These are the resistors for driving the LEDs. As the resistors are shining thru the window on the panel, you want them brighter than usual. For example, if I normally use 10k for RL for a particular LED, I would use 4k7 for the same LED in this module."

I think I'll try 4.7K. 
If you are like me, you may have bought a bunch of LEDs off EBay many years ago and cant remember their specifications. So if the LEDs aren't bright enough, just swap them for a lower value.


There is just one PCB to populate.

Caps next.

All pots 100K



I'm using orange LEDs only because I have lots of them.


don't solder anything in till you have the panel on








Links
BOM
Wiki
 
 
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Click here to return to the NLC Build Index:
http://djjondent.blogspot.com.au/2015/03/non-linear-circuits-ncl-index.html  
 

Nebula Award winners - Best Novel - 1990s

1990 


Tehanu: The Last Book of Earthsea by Ursula K. Le Guin 
 
Published    1990 (Atheneum Books)
Media type    Print (hardcover and paperback)
Pages    226
Award    Locus Award for Best Fantasy Novel (1991)
ISBN    0-689-31595-3


1991 


Stations of the Tide by Michael Swanwick 
Publisher    William Morrow and Company
Publication date
    1991
Media type    Print (hardback & paperback)
Pages    252
ISBN    0-688-10451-7


 

 

 

 

 

1992 


 Doomsday Book by Connie Willis 
Publisher    Bantam Spectra
Publication date
    1992
Media type    Print (hardback & paperback)
Pages    592 pages (paperback)
Awards    Locus Award for Best Science Fiction Novel (1993)
ISBN    0-553-08131-4 (Hardcover)
ISBN 0-553-35167-2 (Paperback)


 

 

 

 

1993


Red Mars by Kim Stanley Robinson 
Publisher    Spectra/Bantam Dell/Random House
Publication date
    September 1992
Media type    Print (hardback & paperback)
Pages    501 (hardcover)
Awards    Nebula Award (1993), British Science Fiction Association Award (1993)
ISBN    0-553-09204-9

 

 

 

 

1994 


Moving Mars by Greg Bear 
Publisher    Tor Books
Publication date
    1993
Media type    Print (hardback & paperback)
Pages    448
ISBN    0-312-85515-X


 

 

 

 

 

1995


The Terminal Experiment by Robert J. Sawyer 
Publisher    Harper Prism
Publication date
    May 1995
Media type    Print (Hardcover & Paperback)


 

 

 

 

 

 

1996 - Slow River by Nicola Griffith
1997 - The Moon and the Sun by Vonda N. McIntyre
1998 - Forever Peace by Joe Haldeman
1999 - Parable of the Talents by Octavia E. Butler