PLAN B analog blog

They need to go to one of the FREQ VC input jacks - the ones with the
bipolar attenuators.  The other variable frequency control input, the
FM input, is designed for AC control - as in one VCO controlling
another.  One has linear response, one has expoential response.  A
matter of fax\ct, the FM input is AC coupled - it won't even allow DC
voltage to pass into the circuit.  Inputs need to be alternating above
and below goround (like a waveform) at nothing less than about 2 hertz
or the inline capacitor will kill it.

hope this helps -

- P





--- In PLAN_B_analog_blog@yahoogroups.com, <inform3r@...> wrote:
>
>     Another question; would the transient go to the FREQ VC jack or
the FM
> IN jack? Technically what¹s the difference? Should the pots
associated with
> the FREQ VC and FM be turned fully CW?
> 
> On 10/11/06 12:47 PM, "(i think you can figure that out)"
> <peter@...> wrote:
> 
> > Basically you need a Dual Timbral Gate set to 'both' for the ringing.
> > Or a Lowpass gate of course.  Very short envelope (all settings to 0
> > - REALLY short) - output of EG opens Timbral Gate -and- puts a
> > frequency transient on the VCOs you're gating  This in tandem with the
> > Timbral gate ringing is key. Two or more VCOs in unison are better.
> > The phasing really adds a zing to the timbre.   The Doepfer Wave
> > Mutiplier will also give you some interesting varitions, as wil a
> > Blacet Miniwave.  But start with saws and then try sine on sine FM.
> > 
> > In any event,  I've asked Mort the same question because at first i
> > thought he had a bit of noise in there as well. His reply was:
> > 
> > "I used a mixture of oscillators...but I did not use any noise. What I
> > did was put an envelope follower with a transient up and v quick,
> > almost transient down mixed with another voltage which gave it its
> > pitch...I had voltage mixers [I think they became standard]. That is
> > what created the transient at the beginning of the sound...it was a
> > transient!"
> > 
> > As to how he created the triggers for that piece, this gets really
> > interesting.  I've got a page on it on my Buzzclick site. It speaks
> > about Cloudless Sulfur specifically.  If any of you haven't read it,
> > you may enjoy it:
> > 
> > http://www.buzzclick-music.com/mort_lore.html
> > 
> > enjoy (or not!),
> > 
> > - P
> > 
> > --- In PLAN_B_analog_blog@yahoogroups.com
> > <mailto:PLAN_B_analog_blog%40yahoogroups.com> , "j_inform3r"
<inform3r@>
> > wrote:
> >> >
> >> > I received 2 Model 15 VCO's a few days ago and I'm completely blown
> > away by them. 
> >> > Everytime I plug in I seem to get something new in terms of
> > modulating them in various
> >> > ways. I was just listening to the first part of "A Sky of Cloudless
> > Sulfur" by Morton Sunotnick
> >> > and I was wondering how he got those tones in the very first
part. I
> > understand the track was
> >> > made using a Buchla and the Model 15 core is very similar to
that of
> > what Morton probably
> >> > used. Anybody have any idea of how Mort abused those oscillators to
> > make them sound like
> >> > that?! What waves do you think he started with? Intereting.
> >> > Thanks,
> >> > John
> >> >
> > 
> >
>