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ELECTRONIC HARPSICHORD


VCO B tuned one octave lower than VCO A. Both VCO outputs are narrow width pulses.
Bias Supply - + 5 volts.
Mixer - VCO B mixed at 25% of VCO A.
AR - Expand-on, Release-30%, Attack-minimum
ADSR
Attack-10%
Decay-20%
Sustain-50%
Release-100%

Submitted By: Allen Fairfield, Wakefield, MA





CRICKETS


Keyboard: Tune to lowest octave.
VCO: Triangle output.
Sequencer: 12 stage recycle
clock at maximum
Glide at 75%
All stages tuned close together.
LFO: 3 Hz. 75% variable output
Inverter: 5 volt offset

Submitted by: Dale Naylor, Parma, OH





BAROQUE TRUMPET


Pulse Width - about 20%.
LFO - 9 Hz., Level - very slight.
AR - Expand - off Attack - 40% Decay - 20%
Use a generous amount of reverb. Play keyboard in highest range.

Submitted By: Robert Matarazzo, Brooklyn, NY





WARBLING BIRDCALL


VCO pitch should be set high. Increase LFO output to trigger ADSR at proper rate. Set ADSR variable output to obtain proper frequency change. Work with one hand on the initial pitch knob and the other on the ADSR attack knob. Decreasing attack time gives a warble effect. Pressing the manual trigger stops sound well.

ADSR:
A - 15%
D - 20%
S - 0%
R - 0%
LFO: 8 Hz.

Submitted By: B. R. Revor, Palos Heights, IL





OVERSHOOT OSCILLATOR


Obviously a simple patch, the AR can be set to any standard envelope, filters can be added, etc. The capacitor (from the 2720-7 Power Supply) acts as a differentiator, and when added to the straight control voltage produces a spike on the normal change. The effect increases as the interval between notes increases, and an interesting effect results when one key is held down and another is trilled. Adding glide makes still another effect. A second VCO, without the overshoot effect, can be added at unison.

Submitted By: Win Bent, Yellow Springs, OH





SEAGULL


The LFO should be set to about 7 Hz., and on the output to the BPF about 4 volts. The modulation control on the Balanced Modulator is set right before the LED comes on. The 5 volt offset is to the 5 volt setting. The bias voltage can be varied for different pitched cries. The BPF-Q is at about 75%. The AR is set for minimum attack and 50% release. To play just push the manual trigger and release.

Submitted By: Sammy Greene, Jay, FL





DRILL


KBD: Glide - maximum, Pitch - maximum
BP: Q - maximum
VCO: any wave form
AR: Expand - off
Attack - 0%
Release - 100%
Bias: Set to resonance point of note played by highest key.

Press highest key, wait until pitch reaches highest point. Press next "C" down without retriggering AR, wait as long as you like, press highest "C" again without retriggering. Repeat as many times as you like. Press lowest "C" without retriggering, immediately release. Effect complete.

This can also be used as a buzz saw sound. Fiddle with the AR and glide and bias settings. If the glide is lessened, the drill can be played as an instrument.

Submitted By: Ken Keeler, Charleston, SC





REALLY AWFUL SOUND


VCO: whatever wave sounds worst to you
KBD: pitch and glide generally worst at maximum, any key is useable
LFO: about 9 Hz., or whatever you hate. Output - 50%
AR: Expand - On
Attack - 30%
Release - 5%
Variable Output - 75 - 100%
INV: 5v. offset

This is the worst sound I've found yet. Now it's not gross or disgusting, it's torturous, and it's all the better because it's automatic. If you like the sound that you get with the given settings, you should change them. This patch is great for getting people to leave you alone.

Submitted By: Ken Keeler, Charleston, SC





ADDING FREQUENCY MODULATION TO THE OZ


If an amplified waveform from a VCO is used a variety of voltage controlled vibrato effects may be produced.

AR: Attack - minimum
Release - variable

Bias in enough voltage to VCO to produce desired speed of vibrato after decay. Amplifying waveform may be necessary.

By using the AR to control the VCA instead of the VCO you can have a fading vibrato. NOTE: Be sure to ground OZ to the synthesizer.

Submitted By: James Vicari, Dallas, TX





PANOPHASE


ADSR 1 & 2:
A - 100%
D - 100%
S - 100%
R - 100%

Mixer:
Channel 1 - full left
Channel 2 - full right

VCO: Initial P. W. - CCW
Frequency - whatever
Inverter: 5 volt offset

Submitted By: Miles Flewitt Minto, Manitoba, Canada





BASSOON


ADSR:
A - 20% D - 40% S - 50% R - 60%
AR: A - 30% R - 5%
Expand - off

Control voltage to notch filter may require adjustment to produce reedy sound.

Submitted By: Michael Wilson, Ottawa, Ontario, Canada





HELICOPTER


Set VCF controls for the whirling blades. Mix NOISE and VCO for proper amounts of blade noise and engine sound. Set VCO Range for subsonic "putting" of engine.

By varying NOISE, VCO, Q/FREQ, and VCF Range, the engine starts, idles, picks up speed, and takes off! Release the TRIGGER, and the "chopper" flies off into the distance. Reverse VCA attack and decay settings, bring the helicopter back from it's "mission", land it, and shut down.

Submitted By: Terry Fitzpatrick, Erlanger, KY





SUBTERRAINEAN DRIP


Very Important: Adjust VCO Range for low pitched dripping sound.

The frequency of the drips is adjusted by the VCF attack (rotating the control counter-clockwise makes it more frequent).

Submitted By: Johnathan R. Merril, Rockville, MD





SEQUENTIAL HARMONIC ENVELOPES


Set all ADSR's for full attack. Offset OSCS 1 octave apart. Try substituting PWM for VCA or VCF for VCA.

Submitted By: Bruce Wojak, Willow Springs, IL





MARIMBA


ADSR:
A - 5%
D - 5%
S - 0
R - 0

AR:
A - 5%
R - 50%

The triangle waveform should be adjusted to be an octave and a fifth above the sine.

Submitted By: Michael Wilson, Ottawa, Ontario, Canada





HUMAN ALARM


To make the "Human Alarm" operate, you must have two people. One person must take the probe and touch it to his or her palm. (Make sure you apply a lot of pressure to insure contact.) Have the second person put his or her finger on the up-most part of the controller strip. Also, have this person push and hold down the Trigger. Now, when the first person touches the other person's skin, the alarm will go off. Notice that different parts of the body make different sounds. (Hint: The least distance the voltage control has to pass through the bodies, the higher the pitch).

Submitted By: Bill DePatie, Newington, CT





SMALL DOG OR LAUGHING HYENA OR CHEEPING BIRD OR ?


VCO 1: Frequency - * Pulse Width - 50%
VCO 2: Frequency - * Pulse Width - minimum
MIX: Both Equal
VCF: Frequency - 85% Q - 60%
ADSR:
A - 25%
D - 25%
S - 25%
R - minimum
Variable Output - approx. 25%
KBD: Pitch - minimum
Reverb - slight

*VCO frequencies should be tuned for whatever "animal" you want. High frequency for birds, medium for dogs, sweep VCO by hand for hyena. Almost any tuning of VCO's produces some kind of animal (unison; a few beats apart, etc.) Keyboard can be used to change pitch of "bark". Use sequencer for repeating bark (especially hyena!).

Submitted By: Bob Yannes, Media, PA




Previous Article in this issue

Reverb Modification

Next article in this issue

How To Make An EGG Mod


Polyphony - Copyright: Polyphony Publishing Company

 

Polyphony - Jul 1977

Donated & scanned by: Mike Gorman

Feature

Previous article in this issue:

> Reverb Modification

Next article in this issue:

> How To Make An EGG Mod


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