Monday, 12 June 2023

Mount Precipice - Israel

 
Mount Precipice, also known as Mount of Precipitation or Mount Kedumim, is a prominent hill located just outside the city of Nazareth in northern Israel. It is a significant site in Christian tradition, particularly associated with an event described in the New Testament.


According to the Gospel of Luke, Jesus returned to Nazareth, his hometown, and visited the synagogue. He read from the scriptures and delivered a sermon that initially impressed the people. 



However, as he continued to speak, the crowd became increasingly hostile and attempted to drive him off a nearby hill, which is now identified as Mount Precipice. It is believed that they intended to throw him down the hill, but the Gospel narrative states that Jesus miraculously escaped their grasp.


Today, Mount Precipice is a site of religious and historical significance, attracting pilgrims and tourists. The hill provides a panoramic view of the Jezreel Valley, which is often referred to as the "Valley of Armageddon" and is steeped in biblical history.


The site also features a modern amphitheater and walking paths for visitors to explore. It is a popular location for taking in the views and for commemorating the events described in the New Testament. 



While Mount Precipice has a significant place in Christian tradition, it is also a place of natural beauty and archaeological interest in the region.







Saturday, 10 June 2023

Roland - Linear synthesis

A bit about LAS or Linear Arithmetic Synthesis
Linear Arithmetic Synthesis (LAS) is a sound synthesis technique used in digital music production and computer-generated audio. It is a form of additive synthesis that combines multiple individual waveforms to create complex sounds.

The method was developed by Roland in the 1980s. It creates sounds by attaching the attack portion of a sampled waveform to one or more internally generated waveforms.
For example, the Roland D-50 patch “Fantasia”, uses a percussive, bell-like attack. This us added to a sustained pad sound.

Roland called these PCM samples and generated waveforms “Partials”.
Two partials can be grouped together forming "tones".
Tones could be modified using up to three LFOs, a pitch envelope, a programmable equalizer, and on-board effects such as reverberation and chorus. Two tones grouped together created a patch.

The Roland Linear Arithmetic Synthesis (LAS) method was primarily used in the following Roland synthesizers:

1. Roland D-50: 
    This was Roland’s first all-digital performance keyboard.
    The Roland D-50 is the most well-known and iconic synthesizer that utilized LAS.
    It was released in 1987 and became hugely popular due to its unique sound and 
    expressive capabilities. 

    The D-50 combined sampled attack transients with synthesized sustain elements, 
    allowing for a wide range of rich and evolving sounds.

2. Roland D-550: 
    The D-550 is the rack-mount version of the Roland D-50 and was released around 
    the same time. It offered the same synthesis capabilities as the D-50 but
    in a compact module form.
 To use this module  a programmer such as the Roland PG-1000 is useful

The Dtronics DT-01 is a hardware controller for the Roland Boutique D-05 and D-50/D-550.


This editor may also be useful:

3. Roland D-10: 
    The Roland D-10, released in 1988, was a more affordable version of the D-50. 
    Polyphony - 32 voices. 8 effects
    It featured a similar synthesis engine based on LAS but had a reduced number of 
    voices and lacked some of the advanced programming features of its predecessor.
    Multi-timbral (can work as 8 independent synths/parts) with a rhythm section.
    61 note keyboard.
    MIDI
3a. Roland D-110
     This is the rackmounted version of the D-10
     MIDI-in/out/through
     The D-110 adds 6 individual outputs
    

The D10 & D110 also had their own dedicated programmer called the PG-10


4. Roland D-20: 
    The D-20 was introduced after the D-10 in 1988.
    It was another budget-friendly version of the D-50. 
    32 voices of polyphony. 9 part multi timbral.
    61 keys with velocity

    This version adds an 8-track sequencer & retains the rhythm track.
    It also had a floppy disk drive for storing sounds

5. Roland D-70:
    The D70 was the only machine which expanded at all on the spec of the D50, 
    and that was in practical areas like the number of keys on the keyboard, 
    and controller functions. 

6. Roland D-5
    released in 1985.
    Cheap, great for live performance.
    

7. Roland Boutique D-05
    It's not a clone but all the reviews Ive read are favourable 
    Roland uses a technology called Digital Circuit Behaviour in all their boutique synths, 
    where paradoxically in this case, they try to digitally copy the circuit behavour of 
    the digital D-50 synth.
    

    Luckily , a single D-05 offers the full polyphony of the original D-50. 
    In addition, the D-05 offers improvements: an arpeggiator, a 64-step sequencer,
    and an expanded memory.

8.  Roland E-10, E-15, E-20, E-30

9.  Roland MT-32 Multi-Timbre Sound Module

10. Roland JD-800

It's worth noting that while LAS was a distinctive feature of these Roland synthesizers, they often incorporated other synthesis methods as well, such as subtractive synthesis, to enhance their sound design capabilities.

----------------
As far as I know, only Roland has used this technology in synths, even to this day

Monday, 5 June 2023

MIDI CC - Guide

 MIDI CC List – Most Common Parameters
CC = continuous controller.

Most MIDI instruments will come with a MIDI implementation chart.

1 = Modulation wheel (in most cases this is Vibrato depth)
2 = Breath Control
7 = Volume
10 = Pan
11 = Expression
64 = Sustain Pedal (on/off)
65 = Portamento (on/off)
71 = Resonance (filter)
74 = Frequency Cutoff (filter)
------------------------------------------------------------------
What is the number of MIDI continuous controllers?
0-127
In MIDI terms, a continuous controller (CC) is a MIDI message capable of transmitting 
a range of values, 
usually 0-127.
--------------
Why does MIDI have 127 values?
Midi technically goes from 0-127, giving it 128 unassigned values. The maximum value that can be expressed by one 7 bit byte is equal to 2 to the power of 7. This provides us with a total of 128 values that can be assigned. This is the reason that Midi goes to 127 and not any higher.
----------------------------
Half of these MIDI CC values are assigned to on/off switches. 0-63 = off, 64-127 = on.
----------------------

MIDI CC List – Complete List

0 Bank Select (MSB)\
   use this to switch preset banks, so you can select presets. 
   MIDI allows 16,384 patches per MIDI channel.
1 Modulation Wheel
   It controls the parameter(s) it's mapped to in your synth, instrument or effect. 
   Commonly used for filter cutoff or vibrato.
2 Breath controller
   Originally for use with an electronic breath MIDI controller that could read 
   changes in pressure of breath. 
   Can be used for modulation in performances, and is often used with aftertouch.
3 = Undefined
      Early DX7 Aftertouch
4 Foot Pedal (MSB)
5 Portamento Time (MSB)
6 Data Entry (MSB)
   Data Slider
   Controls SYSEX, NRPN ( Non-Registered Parameter Numbers) and RPN values.
7 Main Volume (MSB)
8 Balance (MSB) 
   0 = left, 64 = centre, 127 = right.
9 = Undefined
10 Pan position (MSB)
     0 = left, 64 = centre, 127 = right.
11 Expression (MSB)
12 Effect Control 1 (MSB)
     For controlling effects in an instrument.
13 Effect Control 2 (MSB)
      For controlling effects in an instrument.
14 = Undefined
15 = Undefined
16 = General Purpose #1
17 = General Purpose #2
18 = General Purpose #3
19 = General Purpose #4
              Slider, Knob or Ribbon Controller
20-31 = Undefined
32=Bank Select (LSB)
       If you are using Abelton Live for example, using the Program Change option makes
       Live send MIDI CC 32 commands. 
       This is the reason why MIDI CC 32 does not appear as available MIDI control data
       in the Envelopes section of a Live Clip.
33= Mod wheel
       Used alongside CC1 to send a modulation command for instruments with higher mod resolution.
       Thus if the resolution of 128 increments (from CC1)  is not fine enough to provide a
       smooth transition through this range, the manufacturer can opt to add more resolution 
       by using a second byte to define the range. 
       Controller #’s 33 through 63 are used for this purpose.
34= Breath controller
       Used with CC2 to send modulation commands for instruments with higher mod resolution.
35=undefined
36-40
41=undefined
42=pan
      Used with CC10 to send modulation commands for instruments with higher mod resolution.
43=expression
44=effect control 1
45=effect control 2
46-63 = undefined
64 Sustain - Hold Pedal (on/off)
65 Portamento (on/off)
66 Sostenuto Pedal (on/off)
67 Soft Pedal (on/off)
68 Legato Pedal (on/off)
69 Hold 2 Pedal (on/off)
70 Sound Variation
71 Resonance (Timbre)
72 Sound Release Time
73 Sound Attack Time
74 Frequency Cutoff (Brightness)
75 Sound Control 6
76 Sound Control 7
77 Sound Control 8
78 Sound Control 9
79 Sound Control 10
80 Decay or General Purpose Button 1 (on/off) Roland Tone level 1
81 Hi Pass Filter Frequency or General Purpose Button 2 (on/off) Roland Tone level 2
82 General Purpose Button 3 (on/off) Roland Tone level 3
83 General Purpose Button 4 (on/off) Roland Tone level 4
84 Portamento Amount
85-90 = Undefined
91 Reverb Level
92 Tremolo Level
93 Chorus Level
94 Detune Level
95 Phaser Level
96 Data Button increment
97 Data Button decrement
98 Non-registered Parameter (LSB)
99 Non-registered Parameter (MSB)
100 Registered Parameter (LSB)
101 Registered Parameter (MSB)
102-119 = Undefined
120 All Sound Off
121 All Controllers Off
122 Local Keyboard (on/off)
123 All Notes Off
124 Omni Mode Off
125 Omni Mode On
126 Mono Operation
127 Poly Mode

--------------
Note that MIDI technology was only standardized in 1983 by a panel of music industry representatives
so synths before this time need to be modified if you wish to use the full range of CCs.

Unfortunately many 80's synths that have MIDI, have a sort of limited version of it
as the finer details of the MIDI spec were still being ironed out during this period. 
The earliest trailblazers like the JX-3P (1983), Jupiter-6 (1983) and the Prophet 600 (1982) have only really basic MIDI. (The P600 was the first commercially available synth to implement MIDI).
It's pretty much note on/off, pitch, maybe pitchbend, and not much else.
(There are a few vintage synths that let you modulate some other settings with the 
pitch bend MIDI CC).

Even synths like the JUNO-106 which has MIDI doesn't respond too well to MIDI continuous controllers. Remember that the Juno 106 was only released in 1984.
MIDI SysEx data can be transmitted/received from all the sliders and buttons for total remote control and sequencing capability. 
At the rear of the synth, next to the MIDI ports, there is a switch with 3 positions.
a]Keyboard and Hold data only
b]Keyboard, Hold, Bender, Patch selection data
c]All data (including SysEx).
It needs to be set to the last for sysex to be enabled.
-----------------------------------
My Roland Super Jupiter MKS-80 (released in 1984) responds to a few CC messages :
1 Modulation Wheel
7 Volume (MSB)
31 Bender sense
64 Sustain - Hold Pedal (on/off)


The old Roland also responds to patch changes from Abelton

Only the Pgm list works.

Leave Bank & Sub empty














----------------------------
My old Studio Electronics MIDI-MOOG (1989) (https://www.vintagesynth.com/misc/midimoog.php)
uses these MIDI CC:

1 Modulation Wheel
5 Portamento Time
7 Channel Volume
64 Sustain Pedal
65 Portamento On/Off

-----------------------
I found that  good way to discover what CC's your synth is using is to record the CC's that enter the computer with your DAW while twiddling the various knobs/wheels etc

I'm using abelton:
These are the CC's that my Alesis andromedia A6 uses:


pitch bend (right)- ??
modulation wheel (left) - 1

left - 20  28 52
right 20 , 52

you should be able to route these controllers to things like filter cutoff etc

The A6 was produced in 2001 and still has really basic MIDI







I think the best chance to get a modern MIDI implementation in vintage synths are with mods. 
   Links
 David Konsumer's "junosex" CC converter: an arduino based CC to SysEx converter that let's you use a common non-SysEx MIDI controller to speak with your SysEx-ready synth


Sunday, 4 June 2023

Volca FM 1 - Programming 102 - Global settings

This is part two of programming a Korg Volca FM
Part 1 is here:

This parameter card shipped with your Volca:
Notice that the parameter list has two groups:
Yellow - those settings that effect the operators.
Blue - those settings that effect everything... ie Global settings


This post covers the Blue section.
Pitch rate, feedback, Osc key sync, LFO, Mod sense, Transpose.

To enter your Global settings 
press edit.
keep pressing this operator arrow till it goes past operator 6.
These settings will effect all 6 operators.

Pitch rate & level
These are the global pitch settings for the envelopes.
Remember that with FM synths, the envelopes set rate & level.

Rate: between 0-99
 0 setting produces the longest (slowest) RATE, and a 99 setting produces the fastest RATE



Level: Between 0-99
00 permits -4 octaves pitch variation.
50 is middle
99 permits +4 octaves pitch variation

Feedback
This is a feedback setting
If you look at the algo table you will see many operators that feedback on each other.

Range is 0 to 7
Increasing feedback increases harmonics.... & creates more distorted noise

Oscillator Key Sync
00=off, 01=on
When the SYNC function is ON, all oscillators are started in the same phase angle (0 degrees). 

With SYNC OFF the Oscillators aren't started in phase but they do seem to still carry over smoothly from one to another.

LFO Delay
This creates a delay between the time you press a key and the start of LFO modulation. 

A setting of 0 results in no delay &
LFO modulation will start the instant a key is pressed

A setting of 99 creates the longest delay.

LFO Amp Mod Depth
Range: 00 - 99
0 = no amplitude modulation, 
99 = maximum modulation. 

This is the depth of LFO modulation applied to amplitude

LFO Key Sync 
(00=off, 01=on)
01= LFO modulation begins at the same point in the LFO waveform when a key is pressed. 


00 =  the LFO is free running in this mode.
         LFO modulation will start at whatever phase the LFO is at.

LFO Wave 
This selects the waveform output by the LFO. 





00=Triangle
01=Saw Down
02=Saw Up
03=Square
04=Sine
05=S/Hold

Mod Sense Pitch 
Range: 00-07
This sets the depth or amt. of pitch modulation.
Pitch modulation is applied via the LFO, and results in effects such as vibrato.
It effects all the operators simultaneously.

Transpose 
Range : 00-48
Transposes pitch of  all the operators together.
This covers a ±2 octave range in semitone steps with C3 as middle



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FM Index
---------------------------

square pusher @ the operahouse



Tom Jenkinson (born 17 January 1975), known professionally as Squarepusher, is an English electronic musician, record producer, bassist, multi-instrumentalist and DJ. 


His music spans several genres including drum and bass, IDM, acid techno, jazz fusion, and electroacoustic music.


This performance was held at The Sydney Operahouse, Sat 03/06/23
In his own words, “I aim to explore as forcefully as possible the hallucinatory, the nightmarish and the brutally visceral capacities of electronic music.”

This performance certainly pushed the boundaries of electronic music.

Tom Jenkinson is a pioneer & I deeply respect people who DIY.
He writes he own software ( SuperCollider & Pure Data).
He has been building his own equipment since age nine.

What a hectic, exhaustive performance.
I reckon the BPM must have touched 200 at times.
Such a mix -- mangling (in a good way) hardcore, musique concrète, electric jazz, acid, breakbeats, filled with twists and turns.
The visual effect is of  data that streams down wires

Just as you latch onto a melody, you are wrenched away 



Saturday, 3 June 2023

Volca FM 1 - Programming 101 - operator parameters

I've been revisiting an old piece ok kit: the Korg Volca with the intention of adding
it to my live setup.  It's a mark 1.
I have a few vintage synths like a DX7 and they were always a bit WTF .
They are also too large to take on the road, but the Volca FM is perfect.
It's I think a scaled down DX7. I have installed an unofficial firmware  1.09
which allows me to edit the Volca via a VST

I'd also like to thank Oscillator Sink and recommend his free online patch editor

Programming a FM synth can be intimidating, but I think the guys at KORG
have made the process more friendly.

To start the FM programming journey just press the EDIT button

You can edit a preset if you wish to experiment.
First use the Octave left and right buttons to select which of the 6 operator's parameters you want to work with. (There is a 7th set of parameters - these are global settings). 

The Volca FM has 6 operators just like the Yamaha DX7. 
They all have exactly the same parameters.
Parameters are things like envelopes,  their loudness, scale, how they are modulated, etc

Next use the PARAM knob to select which parameter you'll edit.
Finally, use the Velocity slider to change that parameter’s value.

If you wish to understand programming I think its better to just start with a single operator , play around with its parameters, then add more operators as your experience grows. 

These buttons control the edit function
EDIT
VALUE
OPERATOR +/-
EXPORT
PARAM

It's really quite simple once you get used to the different parameters.
The real complexity starts when you start messing around with the algorithms. You can get quite different sounds from the same set of 6 operators.


This parameter card shipped with your Volca:
Notice that the parameter list has two groups:
Yellow - those settings that effect the operators.
Blue - those settings that effect everything.


It looks complicated, but I'll break it down.

The LED display will show
1. the number of operators
2. Parameter
3. Parameter value





Here is how you adjust the values:


Envelopes: Rates & levels


It's important to understand that envelopes in FM are different to the standard ADSR envelopes
you might be used to.

FM envelopes are much more complex as they control both rates and levels.

The table on the left shows 8 settings or Parameters: 
EGr 1 to EGr4
EGL 1 to EGL4

EGr = Envelope Generator rate
EGL = Envelope Generator level.

So to make your first program/preset
1. pick the # of oscillators
2. Pick the type of EG 
3. Pick the parameter value (0-99)

To the left is a pic from the old DX7.Its exactly the same diagram that KORG supplied with its parameter card. 

On the DX7 there are seven envelope generators, one for each of the sine waves and a 
seventh for pitch. 
Both levels and rates can be set anywhere between 00 and 99 for each of these. 

For the levels, 00 is low and 99 is high, while for the rates, 00 is slow and 99 is fast, just like on a car's speedometer

Level Scaling
This refers to the situation that occurs with a lot of old string & acoustic instruments.
The original FM inventors were trying to emulate the natural world.
When you pluck a string (in the middle of a violin for example), it vibrates and sustains for a while.
But if you pluck it higher up where it won't vibrate as much, it sustains for less time.
This happens in pianos, guitars, etc.

The pic below is from the top of my old DX7. It baffled me in the old days
It's identical to the diagram on the Korg FM parameter card.

Basically this means that your higher notes won't last as long as your lower notes.
 
There are 5 basic level/scale parameters.
1. LS BP - Break Point (in the middle)
2. LS Ld - Left Depth
3.LS Rd - Right Depth
4. LS LC - Left Curve
5. LS RC - Right Curve.

The Break Point is impt.


Sounds above the BP will sustain shorter
Sounds below the BP will sustain longer
Right/Left Depth sets the amt above & below the breakpoint
Right/Left Curve sets the degree (linear+/- vs exponential+/-) of how the sounds get longer or shorter.


The depth of each curve varies between a 0 to 99 range.
A zero setting results in a flat (no variation) curve.
A 99 setting produces a maximum scaling depth.
The curves can also vary in terms of shape: +/- Linear vs +/- Exp.

Oscillator Rate Scale     OrS
In this setting, the Decay of the envelope/s are effected. 

I think it takes away the release ??
The Decay of the EG for each operator can be set ...  either for a long (bass) decay or
a short (treble) decay (as in an acoustic stringed instrument). 
The RATE can be set from 0 to 7. 
The higher the rate, the shorter the decay.

Amp Mod Sense      AMS
This adjusts the sensitivity (or depth) of amplitude modulation. 
For example, on the Volca FM, this setting will determine how 
much the LFO will affect this operator’s amplitude.

The sensitivity to amplitude modulation is variable from 0 to 3 but this
parameter must be greater than 0 before any amplitude modulation will work.

You can set the AMS independently for each operator. 
This will create different effects to a modulator operator vs a carrier.
When AMS is applied to a Modulator it creates "wow" effects
When AMS is applied to a carrier it results in tremolo effects. 

Key Velocity Sense       KVS
This effects how sensitive the keys will be when played.
In other words, it affects the velocity of the keyboard ... 
and how that effects the sound.... the amplitude of the operator.

The Range is 0 to 7. Use the velocity slider to change the setting.
A 0 setting = no touch response.

Output Level   OLVL


This controls the overall EG level. 
Remember that on a FM synths, envelopes control loudness as well as rate,

It's a bit like how the EG depth on a AMP module controls volume in conventional synthesizers. 

Range is 00-99.
Note that  in some circumstances you will still hear sound even if the operator's output
level is set to "0". (Eg if you have a large DEPTH value for Level Scale depth).

The next 4 settings  (OSCM, FrEC, FrEF, dEtu) are interrelated



Oscillator Mode OSCM
Just 2 settings
00 = Frequency Ratio mode =  the operator pitch is scaled to the keyboard.
01 = Frequency Fixed = Hz mode - a fixed frequency is produced no matter what key is pressed

Frequency Coarse & Fine    FrEC  & FrEF
This controls the frequency of the operators in the two Oscillator mode settings.
Basically, you set the main frequency with your coarse control, then fine tune it with the fine control.

If in 00 = Frequency Ratio mode, the pitch will change with frequency.
The relationship is a ratio.
Eg: If the frequency is increased by 2 times, the pitch will increase by one octave.

If in 01 = Fixed frequency = Hz mode,
The setting will control the frequency of the Operators

Detune
The operator frequencies can be detuned over a -7 to +7 range.
This allows you to do very fine detuning.
The initial operator frequencies are set by the FREQUENCY COARSE 
and you follow this up with the FREQUENCY FINE controls 

part 2 is here:

Links:

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FM Index
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