For the KORG MS-10 from Paul J. Drongowski
Salt Lake City, Utah 84102

Lead guitar
[1] Lead guitar sound from the Mandre M3000 album.
[2] Patch wheel output to VCO frequency input for pitch bends.
[3] Add or remove VCF modulation to taste.
[4] A little bit of portamento will cause the notes to slide.

Percussive bass
[1] Sounds like synthesized bass on Zappa's Zoots Allure album.
[2] Patch wheel output to VCO frequency input for pitch bends.
[3] Add or remove VCF modulation to taste.

External signal processing
[1] This patch avoids the use of any external trigger source. It is good for processing electric, pianos, etc. which do not usually have a trigger output.
[2] Patch the modulation generator square wave output to the trigger input.
[3] Patch the instrument to be processed to the VCF external signal input.
[4] Adjust instrument and external signal levels to avoid distortion.
[5] Adjust MG frequency and VCF modulation for effects.

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ELECTRONIC HARPSICHORD

Octave The CAT SRM synthesizer

Gordon McAlister Ridgewood, N.J.

NOTE: USE FLANGER WITH MED. SPEED RATE USE MED. TO FULL REVERB

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CHOIR 1.0

RUSSELL BROWER GLENDALE, CALIFORNIA

REALLY FINE TUNE FILTERS
THIS PATCH CAN BE VERY SUBJECTIVE
PLAY SLOW; ARTICULATE FASTER PASSAGES
ORGASMATRONIC GLIDE IS A GOOD KEYBOARD PROGRAM DUE TO VIBRATO FROM HITTING ADJACENT KEYS

VCO 1 - PW=80% VCO 2 - PW=34%
TUNE TO CHORD USING #1 FOR LOW, #2 FOR MIDRANGE, AND #3 FOR FEMALE LFO - 9Hz VERY SLIGHT LEVEL GLIDE - 52%

PHLANGER - ACCENT=50% MIX EQUALLY, SLOW SPEED SPAN=53% CENTER 100%

VCF 1 - HIGH RANGE, TRACK MODE, FREQ.=75% "Q"=100%

BALANCED MODULATOR SENS.= 4%
VCA SENS.= 66%

ADSR A=30% D=0% S=100% R=51%
REVERB MIX =50%

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THUNDER / DISTANT EXPLOSION

CHRIS MEYER Hamilton, OH

VCO 1 - ANY WAVEFORM (CHOOSE FOR VARYING HARMONIC CONTENT)
VCO 2 - SCHMITT TRIGGER IN FEED BACK LOOP OR FILTERED SQUAREWAVE

LFO - 3Hz 5V OUTPUT

BALANCED MODULATOR - SENSITIVITY SET TO WHERE OVERLOAD LIGHT JUST FLICKERS

ADSR - A - 0% D - 20% S - 25% R - 100%

VCF - LO RANGE INIT 60% Q - 50%

USE VARIABLE OUT TO CONTROL "DISTANCE"

BIAS - SET SO FILTER JUST SHUTS DOWN AS ENVELOPE FINISHES (see text)

BOTH OSCILLATORS SHOULD BE SET TO LOWER LIMIT OF AUDIBLE, VCO 1 BEING SLIGHTLY HIGHER. TUNE FOR IRREGULAR BEATS. SET BIAS FOR SMOOTHEST "RELEASE", MAY BE USED FOR AN EXPRESSION CONTROL. DIFFERENT WAVEFORM FOR VCO 1 YIELD SLIGHTLY DIFFERENT CHARACTERISTICS (i.e.- sine wave, earth; square wave, concrete and rock). WOOFERS BEWARE!

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STEVE JONES 2413 SUNBURY GRANITE CITY, ILL. 62040

Here's a patch that ring modulates a microphone with two oscillators patched in a voltage/frequency loop. This type of oscillator loop can generate numerous sounds and lends itself to much experimentation. Considerable adjustment might have to be made on the loop in order for it to produce the desired sound. (I used a 4720 and a 2720 VQO; I'm not sure how two 4720 oscillators will work in this patch.)

Any number of sounds may be used for the microphone - I used a $1.50 toy xylophone and a typewriter and got great results. Almost every control changes the sound (specifically those that control the frequency or the pulse width of the oscillators).

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HORNS

PAiA P4700J SYNTHESIZER or OTHER POSSESSING SIMILAR CAPABILITIES
Gordon McAlister RIDGEWOOD, N.J.

VCO 1 & VCO 2 TUNE 30% SAWTOOTH OUTPUT; ADJUST FOR UNISON/FLANGING EFFECTS

LFO - 8Hz 5% VAR.
LOW PASS FILTER

HIGH-FREQ. 75% Q 5%

A.D.S.R.
ATTACK - 15% VAR. 5%
DECAY - 1+0%
SUSTAIN - 100%
RELEASE - 15%

FOOT PEDAL
50% VAR. FOR "SWELL" EFFECT AND EXPRESSIVENESS