MOTM

you can do this with an encore expressionist (it has polygroups). your 
MOTM
has to have at least one vco, vcf, env and vca *per voice* . Set these 
up as
individual mono synth type patches to your expressionist and assign 
each one
to a channel. assign your channels to a polygroup and your all set -
just be sure to dial your voices up the same way  - like setting up an
oberheim 2/4 voice.

...jp



thomas white wrote:

> Has anyone got a diagram or drawing of their plan for a 3 or 4 voice (or
> More) MOTM? If not, it might be a good referrence if one of you graphics
> type guys could lay one out with existing modules and say a Kenton Pro-4 or
> Encore Expressionist. Just a thought and kinda of watery request HA!
>
> Thomas White

Has anyone got a diagram or drawing of their plan for a 3 or 4 voice (or 
More) MOTM? If not, it might be a good referrence if one of you graphics 
type guys could lay one out with existing modules and say a Kenton Pro-4 or 
Encore Expressionist. Just a thought and kinda of watery request HA!

Thomas White
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com

> has to have at least one vco, vcf, env and vca *per 
> voice* . 
[...]
> just be sure to dial your voices up the same way  - like 
> setting up an oberheim 2/4 voice.

Polyphonic playing on a big modular can be a very special
experience. At first one might think that many identical modules
are needed, like four M-440 filters for a 4-voice modular,
or 8 ENV generators ...
But in practice, you can get good (and often more interesting) 
results with a mixed bag of modules. Using 4-pole filter for
one voice and 2-pole filter for the next, or using a VCLAG to
fill in for missing ADSR modules, is not just a surrogate
for N equal voices, but it can give polyphonic playing a new
quality.
For a start, it's good to *attempt* to set up a similar sound
for each voice. This will not be possible with different filters,
but you can set them as close as possible (like, using a slightly
lower cutoff point on the 2-pole VCF to make up for the less
steep slope). Of course playing with N totally different voices
has is benefits as well, but playing with *slightly* different
voices has a charm of its own. I don't know why, but starting with
different filters and trying to get close is more satisfactory
than using identical filters and setting slightly different 
parameters. (;->)

JH.

Of course this is the beauty of the Oberhiem 4 voice IMHO too.
All the best
Jim

jhaible@... wrote:

> 
> > has to have at least one vco, vcf, env and vca *per
> > voice* .
> [...]
> > just be sure to dial your voices up the same way  - like
> > setting up an oberheim 2/4 voice.
> 
> Polyphonic playing on a big modular can be a very special
> experience. At first one might think that many identical modules
> are needed, like four M-440 filters for a 4-voice modular,
> or 8 ENV generators ...
> But in practice, you can get good (and often more interesting)
> results with a mixed bag of modules. Using 4-pole filter for
> one voice and 2-pole filter for the next, or using a VCLAG to
> fill in for missing ADSR modules, is not just a surrogate
> for N equal voices, but it can give polyphonic playing a new
> quality.
> For a start, it's good to *attempt* to set up a similar sound
> for each voice. This will not be possible with different filters,
> but you can set them as close as possible (like, using a slightly
> lower cutoff point on the 2-pole VCF to make up for the less
> steep slope). Of course playing with N totally different voices
> has is benefits as well, but playing with *slightly* different
> voices has a charm of its own. I don't know why, but starting with
> different filters and trying to get close is more satisfactory
> than using identical filters and setting slightly different
> parameters. (;->)
> 
> JH.
> 
> 
> 
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/

Hi All -

Just uploaded a snippet of a peice done by programming my PSIM to 
generate notes algorithmically, then put them out via a shift 
register.  The result is pretty nice!

4 vcos: two 300s and two 310s. Each through one channel of low pass 
gate modulated by an 800, then out to various processing.  One out 
goes to the FS, one to the beautiful 410 (REALLY REALLY gorgeous when 
processing the out from a LPG), and the other two into Tony's SVF.

Pretty! Nice!

Mike

Note that if you listen to the file in MONO, you'll get phase-related 
dropouts.  This happens with a stereo file created using the FS.

mm

Nice indeed. Which low-pass gate? Cyndustries?

--Adam

Yes, Cyndustries but behind a Schaeffer panel.  I really really like 
the sound of vactrols! Hint hint Paul: anothe vactrol based filter 
would be awesome.

How about that algorithmic melody?  Pretty cool, huh?  This was old 
hat in the bygone MIDI days.  In these more modern analog modular 
days, algorithmic is pretty hard to come by.  But now I can program 
to my heart's content and have it play back on a real instrument  :)

Life is good.

Mike

--- In motm@yahoogroups.com, "Adam Schabtach" <adam@s...> wrote:

> Nice indeed. Which low-pass gate? Cyndustries?
> 
> --Adam

On Thursday 13 May 2004 22:49, Mike Marsh wrote:

> How about that algorithmic melody?  Pretty cool, huh? 
> This was old hat in the bygone MIDI days.  In these more
> modern analog modular days, algorithmic is pretty hard to
> come by.  But now I can program to my heart's content and
> have it play back on a real instrument  :)

What exactly did you do then to create that melody? 
Curious...

- Robert

Hi Robert -

I created a BASIC program that generated the melody and downloaded 
it to the PSIM module.  Here's how I explained it in the PSIM group:

"The code, ahem, borrows from the Good Dr. Mabuse (the shift register
stuff), Brice (lots of stuff) and of course Master Grant (lots of
other stuff). I added the note generation code and an array with
one octave of the C Major scale.

The MP3 was done using the 4 SR outs of the PSIM into 4 MOTM VCOs
(two 300s and 2 310s). Each goes into one channel of a Quad Low
Pass Gate each channel of which is modulated by an MOTM 800 EG,
which is triggered by the gate produces on the AUX of the PSIM. The
OUT of one LPG goes to a frequency shifter, one goes to the favorite
and very nice MOTM-410 filter, and two go into an Oakley SVF. A
total of 8 channels are mixed on my Tascam FW-1880 then into Cool
Edit Pro.

It's nice that the PSIM has 4 outs and the LPG has 4 ins!

Anybody could modify the code generation code and get their own
melodies. You could also change the scale used (there is a minor-
like scale included in the code, for e.g.). Lot's of possibilities
here"

If you are even more interested, I posted the code to the 
SynthModules group (also here on Yahoo).

Mike


--- In motm@yahoogroups.com, Robert van der Kamp <robnet@w...> wrote:

> On Thursday 13 May 2004 22:49, Mike Marsh wrote:
> 
> > How about that algorithmic melody?  Pretty cool, huh? 
> > This was old hat in the bygone MIDI days.  In these more
> > modern analog modular days, algorithmic is pretty hard to
> > come by.  But now I can program to my heart's content and
> > have it play back on a real instrument  :)
> 
> What exactly did you do then to create that melody? 
> Curious...
> 
> - Robert