Analogue-sequencer

>>Need to read the manual a bit more. :)<<

make sure you also see mr nagle's complementary user guide, & think
about downloading some of his demo files. if anyone's truly got a
grasp of the awesome potential of this machine & it's many
possibilities, then it's paul. right now, in some smoke-filled attic,
his p3's are moments away from becoming self-aware & releasing their
debut download while paul stares helplessly at the blinkenlichten.
"what have I done?" he's thinking, "& where's my pipe?". :-)

no, actually, that's already happened.

as regards "ricochet pt2"- it's been done. several times. 
apparently, we've had a go at it, & mr shreeve has had a go at it, &
some blokes who called themselves "node", & some other blokes called
"ramp" (pronounced "rump").... but I understand the appeal, though I
always thought of it as a technical matter rather than a musical one.
after this exercise, you want to be moving on to creating your own
trademark sound.

actually, the trademark TD sequencer sound, besides being in a minor
key & having a syncopated tape-delay on it, generally uses one line
being played by two different monophonic sounds, a couple of octaves
apart. 
the high sound is a /single-oscillator/ short-envelope thing, with
little or no resonance & the cutoff quite low, to produce a pure,
"pinging" tone. use a very short decay setting on the filter envelope
& turn the filter envelope mod setting right up to get the initial
ping. square or ramp, depending on y'r mood, & play with the pw on the
former.
two octaves below this, a fairly dull bass sawtooth playing the same
notes with a slightly longer envelope to it. bring this in after a few
minutes, & make sure it has a separate mixer channel with it's own
effects sends, then keep it relatively dry. (see "cherokee lane").

the key to the part itself is to keep it short, & keep changing it-
shortening & lengthening the riff, & skipping notes. the classic
sequences were made on moog 960s, after all, sometimes two chained
together. actual counterpoint was a rare thing for TD... 
it's /just/ possible to get the whole thing out of one pro-1, but
better to use two synths. a cheetah ms6 is ideal, if it has the
separate-outs modification. if not, arrange for a high-pass filter on
the effects-sends.
add a bit of mellotron flute & some reverb to taste.

TD's mid-period stuff tends to all be at the same tempo because they
used revox A77's for tape echo, & these machines had no varispeed.
also, it's the /right/ tempo.

not that I've studied this in any detail. :-) 
know thy enemy & all that.

this is completely the wrong place for this, but: did you know that
the later cd version has a bar missing from it? & some rather nasty
dropout on what remains? there are about a million edits in that
album. mick glossop should've had a joint composer credit. 
live album my arse.

duncan.