Re: analogue V1 #379

From Terrence Town (UND)
Sent Tue, Jul 18th 1995, 23:09

=DD=AC>

On Sun, 16 Jul[=FA=A3yQk=A4=F5=EB=D6=BE=ACaL&7=9C=D2 1995 analogue-owner@hy=
perreal.com wrote:

>=20
> analogue                    Sunday, 16 July 1995        Volume 01 : Numbe=
r 379
>=20
> Contents:
> Re: Roland Modular
> Re: Roland Modular (fwd)
> Guess this?
> I'm slightly confused
=A1fZM> Re: Roland Modular
> Re: mac  analogue MIDI sequencer??
> Re: WARNING: Analogue Content!
> Re: Qtip construct <fwd>
> Looking for PG200 programmer
> Re: Guess this?
> FS or Trade, 202, 727, CSQ-100
> Talk about Polaris
> Re:q-tip
> Re: q-tip
> Re: Guess this?
> analog content try this one
> Re: Analogue Content
> Lost Mail...
> Re: (AH) Doepfer MS404 infos ?
> 10spot for a 4voice manual
> Q-Tip
> Re: 1496 Spectrum Enhancer?
> Re: ARP OMNI parts  (DPRO5 INC.)
> Akai AX60 musings
>=20
> ----------------------------------------------------------------------
>=20
> From: redacted@example.com (Matt Haines)
> Date: Sun, 16 Jul 1995 10:53:42 -0800
> Subject: Re: Roland Modular
>=20
> In a blazing display of insightfulness, Richard Martin
> <redacted@example.com> divulged the following:
>=20
> >Well, ROland were not the only ones. I have a Yamaha CS15 and a Yamaha
> >CS15d... ooops. actually its Ric Miller's.... anyway..... THOSE TWO
> >MACHINES ARE nothing ALIKE. zip. zero. zilch.
> >
> >What the hell were they thinkin' anywho?
>=20
>=20
> Me being a CS fan meself, I thought that was a typo. So what *is* a
> CS15d...a digital emulation along the lines of the Nord Lead? ;)
>=20
> Matt Haines  redacted@example.com
>=20
> \co/ntrol-X
>  \to
>  /\abort
> /  \transmission.
>=20
> I do NOT write funk music for children.
>=20
>=20
>=20
> ------------------------------
>=20
> From: Ric Miller <redacted@example.com>
> Date: Sun, 16 Jul 1995 13:27:08 -0500
> Subject: Re: Roland Modular (fwd)
>=20
> >From: Matt Haines <redacted@example.com>
> >To: redacted@example.com
> >
> >In a blazing display of insightfulness, Richard Martin
> <<redacted@example.com> divulged the following:
> >
> >>Well, ROland were not the only ones. I have a Yamaha CS15 and a Yamaha
> >>CS15d... ooops. actually its Ric Miller's.... anyway..... THOSE TWO
> >>MACHINES ARE nothing ALIKE. zip. zero. zilch.
> >>
> >>What the hell were they thinkin' anywho?
> >
> >Me being a CS fan meself, I thought that was a typo. So what *is* a
> >CS15d...a digital emulation along the lines of the Nord Lead? ;)
>=20
> This machine replaces the upper voice line with a bunch of preset=20
> selections as well as giving the option of a bunch of preset options on=
=20
> the lower voice, or a 'manual' setting allowing the use of the regular=20
> synth controls.
>=20
> It's not as 'phat' as the CS15 but still quite useable, and easily worth=
=20
> the $50 CDN that I'm paying Richard for it.  :)
>=20
> Ric
>=20
>=20
> ------------------------------
>=20
> From: "Marc Mcnulty (MUSIC)" <redacted@example.com>
> Date: Sun, 16 Jul 1995 14:27:53 -0400 (EDT)
> Subject: Guess this?
>=20
> =09"The synthesizer, like any other tool, can only do its job when=20
> used properly and intelligently."
>=20
> What synth manual is this from?
>=20
>=20
>                  -------------<>-------------------------------
>           LoH (Laboratory of Hearing), Experimental and Ambient Music
>                   (http://hyperreal.com:70/1/music/artists/loh)
>    ---------------<>-------------------------<>-<>-----------------------=
----
>=20
>=20
> ------------------------------
>=20
> From: Ric Miller <redacted@example.com>
> Date: Sun, 16 Jul 1995 13:33:45 -0500
> Subject: I'm slightly confused
>=20
> Alrighty.  I've just returned from the Music Machines Website, seen a=20
> picture of an ARP Pro-Soloist, and I've not been able to find a picture=
=20
> of the ARP Soloist that I picked up the other day, anywhere at all (in my=
=20
> library or elsewhere).
>=20
> The unit that I have does not look like anything else that I've ever seen=
=20
> from ARP.  It almost looks like a prototype!  ???
> It's got a grey 'rear face' with a black portion of 'face' on the left of=
=20
> the 3 octave keyboard, that contains a few controls.
> All of the Preset controls are below the keyboard.
> On top of the grey face and each side are wonderful glorious WOOD.  :)
>=20
> Is this what the actual machine looked like, way back when?
>=20
> Thanks for any info,
> Ric
>=20
>=20
> ------------------------------
>=20
> From: rbcIII <redacted@example.com>
> Date: Sun, 16 Jul 1995 12:00:45 -0700 (PDT)
> Subject: Re: Roland Modular
>=20
> On Sat, 15 Jul 1995, Richard Martin wrote:
>=20
> > Well, ROland were not the only ones. I have a Yamaha CS15 and a Yamaha=
=20
> > CS15d... ooops. actually its Ric Miller's.... anyway..... THOSE TWO=20
> > MACHINES ARE nothing ALIKE. zip. zero. zilch.
>=20
> HEY!  I saw mention of one of those recently (probably by Ric).  WHat the=
=20
> hell is it?  Could you describe it and tell us how it sounds?  I really=
=20
> like the CS-15.  Doug Terribone's roommate, Nate, has one and it sounds=
=20
> cool.  I can imagine it would be a good companiopn for the MS-20.  How=20
> about this CS-15d?
>=20
> - -robert
>=20
> - -->       __    _  _  _____  _____  _____
>          / _\  | || ||  _  \|_   _|/  _  \
>         / /_\\ | -- || |_) | _| |_ | (_) |    ______________
>        /______\\____/|_____/|_____|\_____/   ( *electronic* )
>=20
> "Thanks for the technical data. It sure is nice to read something useful=
=20
> for once, instead of all that noise about useless Roland x0x boxes." -met=
lay
>=20
>=20
> ------------------------------
>=20
> From: redacted@example.com (M)
> Date: Sun, 16 Jul 1995 12:21:45 -0700
> Subject: Re: mac  analogue MIDI sequencer??
>=20
> At 11:55 AM 7/15/95, 50Hz wrote:
>=20
> >is there a version for mac????? or, how hard would it be to cobble up on=
e
> >in max???
>=20
> Very easy. Depending on how fancy you get, you could probably have one do=
ne
> in under an hour.
>=20
> I write funk music for children.
> +++++++++++++++++ M Stevens redacted@example.com  1966 - 2006 (projected)=20
>=20
>=20
>=20
> ------------------------------
>=20
> From: SuperBad MoFo <redacted@example.com>
> Date: Thu, 15 Jul 1999 12:27:09 -0700
> Subject: Re: WARNING: Analogue Content!
>=20
> At 2:14 AM 7/16/95, Matt Haines wrote:
>=20
> >Funny you should mention this. I was working on a track yesterday and
> >wanted a continuous 'zap' noise in the background, functioning as a hiha=
t
> >in that electro-beat sorta sound. I picked the Polaris because it was
> >convenient and was reserving the monophonics for bass stuff, etc. But th=
e
> >darn synth wouldn't stay consistent with the decay of the EG. If you pla=
yed
> >straight 16th notes, sometimes it would 'zap' and other times it would
> >decay more slowly, letting the underlying oscillator tone through (can't
> >shut off the oscillators and just hear the filter zap, but the zap usual=
ly
> >hides it).
>=20
> Ah, SYNChronicity!  Is it my imagination, or is the Polaris the most
> unpredictable CPU controlled synth ever made?  What I find really bizarre
> about the Polaris is that something incredibly interesting will happen in=
 a
> very small range of parameter values.  Trying to reign in the interesting
> bit is always a challenge, and often impossible.
>=20
> Sometimes the velocity control of the filter envelope is just too whack.
> This is when I turn it off and use a technique which I often use for
> percussive sounds - I max out the decay & sustain & tweak the release, as
> well as the note length on the sequencer.
>=20
> This is also cool for "simulated velocity control" on a synth that doesn'=
t
> do velocity - varying note length can yield a lot of dynamics.  This is a
> technique which has been around for awhile, but if you haven't already
> stumbled across it, it's well worth trying.
>=20
> At 10:59 AM 7/16/95, Ric Miller wrote:
>=20
> >My name for the QTIP sound is Noise Drop.  :)  I've never really heard a=
 name
> >that everyone is familiar with.
>=20
> Well, I'm really not sure WHAT name everyone is familiar w/.  %-} I'm jus=
t
> glad that you knew what I was talking about.
>=20
> >Outside of that machine, the best versions I've heard of from analog
> >instrumets include:
> >
> >Jupiter 6 and a Low Pass Filter built from an SSM2044 LPF chip.
>=20
> Were you combining the two, or did you make two different Qtips w/ them?
> If you got a cool Q out of just the JP6, then it sounds like I need to
> spend some more time w/ mine %-}.
>=20
> Ric, you've got my vote for post of the year - most informative.  Maybe w=
e
> could take on one sound at a time?
>=20
> 808OUT
>=20
>=20
>=20
> ------------------------------
>=20
> From: Brian Vick <redacted@example.com>
> Date: Sun, 16 Jul 1995 15:25:34 -0400
> Subject: Re: Qtip construct <fwd>
>=20
> On Wed, 14 Jul 1999 SuperBad MoFo <redacted@example.com> said:=20
> =20
> =20
> >>however, for purely resonant sounds, the mc202 seems the ultimate a sit=
=20
> >>can make better electronic kicks than any of the 'other' roland drum=20
> >>machines and similarly great resonant blips at higher cutoffs -- plus=
=20
> =20
> While the 202 is good at making low subbass type kicks, IMHO it=20
> lacks some of the snap of a good kick drum.=20
> =20
> Brian
>=20
> ------------------------------
>=20
> From: Ric Miller <redacted@example.com>
> Date: Sun, 16 Jul 1995 15:09:00 -0500
> Subject: Looking for PG200 programmer
>=20
> A friend of mine is looking for one of these for his recently acquired JX=
3P.
>=20
> Anyone gots one?  How much moany?  Free?  :)
>=20
> Let me know,
> Ric
>=20
>=20
> ------------------------------
>=20
> From: redacted@example.com (David Clarke)
> Date: Sun, 16 Jul 1995 16:13:51 -0400
> Subject: Re: Guess this?
>=20
> >=09"The synthesizer, like any other tool, can only do its job when=20
> >used properly and intelligently."
> >
> >
> >What synth manual is this from?
>=20
> I don't know that one, but another equally good one is:
>=20
> "...Just as there are an infinite number of ways to produce unique sounds=
,
> there are an equal number of ways to produce no sound whatsoever..."
>=20
>=20
>=20
> - --
> - -------------------------------  /'''  --------------------------------
> David Clarke                     c-00             redacted@example.com=
=20
> redacted@example.com           >                    redacted@example.com =
=20
> - -------------------------------    -   --------------------------------
>=20
> ------------------------------
>=20
> From: Brian Vick <redacted@example.com>
> Date: Sun, 16 Jul 1995 16:24:42 -0400
> Subject: FS or Trade, 202, 727, CSQ-100
>=20
> I apologize to anyone that responded to my previous post but didn't get a
> response back.  I have been in the process of switching internet provider=
s
> and have lost most of my old mail in the process.=20
> Anyway, I have the following items for sale, but would much prefer to
> trade, I don't really have anything particular in mind(unless someone wan=
ts
> to part with an SQ-10 or CS-15) so e-mail me with anything you have to
> trade.=20
> =20
> Roland MC-202, TR-727, CSQ-100=20
> =20
> Brian
>=20
> ------------------------------
>=20
> From: redacted@example.com
> Date: Sun, 16 Jul 1995 16:24:40 -0400
> Subject: Talk about Polaris
>=20
> I've watched some talk about Chroma Polaris on here as of late.  This is =
one
> of my favorite secret synths. Does everyone know you can set this thing u=
p to
> be 8 voice multitimbral. You can also have midi controllers controlling e=
very
> voice  parameter realtime through midi.  Setting this up is very funky a
> manual is definitly required.  And the sound is rough but very fat and ol=
d
> school.  Does anyone know how to mod this thing to have 8 individual outp=
uts?
>  This would be way hip. =20
> Peace to Alien Freaks>;<
>=20
> ------------------------------
>=20
> From: redacted@example.com (Chris Sattinger)
> Date: Sun, 16 Jul 1995 14:30:24 -0600
> Subject: Re:q-tip
>=20
> >>Okay, one sound I'm keen on is the QTIP.  I call it Qtip because there
>=20
> >>If you use a low frequency VCO w/ a clicky Qtip, or if you set the filt=
er
> >cutoff
> >>& the VCA envelope just right, it makes a cool Kick Drum.  For bonus po=
ints
> >make
> >>the oscillator frequency go slightly flat for those 808 Jeep Beats.
> >
> >let's do a QTip competition!!!!!
> >
> >Cord
>=20
> The original Kraftwerk Zap was a Minimoog, I do beleive.
>=20
> Chris Sattinger             _
>                         MONO ekagra  EP  (Probe 026    12" )
>                                 TIMEBLIND  Timeblind EP (Communique 013  =
 =20
> double 12 "  )
>                             KEEK (Head in the Clouds 12") =20
>                                         TIMEBLIND  (Oujia board through a
> vocoder ep)
>                                                        =20
>                                     Reprogramming Our Reality Through Dis=
co
>=20
>                                                                          =
 =20
>                                     BEAT pHREAK society
>=20
>=20
>=20
>=20
>=20
>                               =20
>=20
>=20
>=20
> ------------------------------
>=20
> From: "David Evans" <redacted@example.com>
> Date: Sun, 16 Jul 1995 17:26:37 -0400
> Subject: Re: q-tip
>=20
> Chris Sattinger wrote:
> >=20
> > >>Okay, one sound I'm keen on is the QTIP.  I call it Qtip because ther=
e
> >=20
> > >>If you use a low frequency VCO w/ a clicky Qtip, or if you set the fi=
lter
> > >cutoff
> > >>& the VCA envelope just right, it makes a cool Kick Drum.  For bonus =
points
> > >make
> > >>the oscillator frequency go slightly flat for those 808 Jeep Beats.
> > >
> > >let's do a QTip competition!!!!!
> > >
> > >Cord
> >=20
> > The original Kraftwerk Zap was a Minimoog, I do beleive.
> >=20
>=20
>   I was going to mention that on several occasions I have fallen into the=
 abyss
> of qtipness with my Minimoog.  Works very well.
>=20
> - --=20
> David Evans               (NeXTMail OK)             redacted@example.comterlo=
o.ca
> Computer/Synth Junkie=09=09=09"Default is the value selected by the
> University of Waterloo                   composer overridden by your comm=
and."
> Waterloo, Ontario, Canada                              - Roland TR-707 Ma=
nual
>=20
> ------------------------------
>=20
> From: "David Evans" <redacted@example.com>
> Date: Sun, 16 Jul 1995 17:27:38 -0400
> Subject: Re: Guess this?
>=20
> David Clarke wrote:
> >=20
> > >=09"The synthesizer, like any other tool, can only do its job when=20
> > >used properly and intelligently."
> > >
> > >
> > >What synth manual is this from?
> >=20
> > I don't know that one, but another equally good one is:
> >=20
> > "...Just as there are an infinite number of ways to produce unique soun=
ds,
> > there are an equal number of ways to produce no sound whatsoever..."
> >=20
>=20
>   The Chroma?  CS-80?  I gather it's really easy to make no sound on thos=
e. :-)
>=20
> - --=20
> David Evans               (NeXTMail OK)             redacted@example.comterlo=
o.ca
> Computer/Synth Junkie=09=09=09"Default is the value selected by the
> University of Waterloo                   composer overridden by your comm=
and."
> Waterloo, Ontario, Canada                              - Roland TR-707 Ma=
nual
>=20
> ------------------------------
>=20
> From: redacted@example.com
> Date: Sun, 16 Jul 1995 17:34:14 -0400
> Subject: analog content try this one
>=20
> try this one out this is on a Pro 1. I love this patch first switch osc a=
 to
> o octave put the pulse width to 4 adust the frequency to around 4 or 5 se=
t it
> on square sync off set osc b frq to around 7 tune by ear switch keyboard =
off
> set octave to 1 put on square set pulse width to 6 go to Lfo clock set to=
 7
> put on square again adust lfo speed to your liking as this will control t=
he
> sequence you put on the sequencer . go to modulation section set fil env
> amount to 3 set osc a freq switch to wheel set pulse width switch to dire=
ct
> set route to direct or wheel depending on if you like it to have more sub=
  .
> set osc b amount on 3 set route to wheel set osc b freq to wheel set osc =
b
> pulse width to direct set lfo amount to 4 set route to direct set filter =
to
> direct bring mod wheel up slightly .set   on auto glide at 3 set the mix =
of
> osc a to 8 or 9 and b to  6 or 7 . Go to filter section set cutoff at aro=
und
> 2 set reasonce at just between 5 or 6 set env to 2 or 3 set keyboard amou=
nt
> to 4  set attack to 8 set decay to 3 set sustain to 4 or 5 set release to=
 8
> go to amp set attack to 2 to 4 set decay to 5 or 6 set sustain to 5 or 6 =
set
> release to 8 . Program your sequence and have fun . I call this wide swee=
p
>  bass line very trancy !!!!  Peace out Dave L;
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>make =
sure
> that your synthesizer generates desirable sound .
> >>>>>>>page 10 owners manual Roland MSQ 700>>>>>>>>>>>>>>>>
> >>>>>>>>>>>>>our minds are on the verge of >>>>>>>>>>>>>>>>>>>>
> >>>something beyond comprehension>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> <<<<<<<<<<<<<<<<<<<<redacted@example.com>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>=20
> ------------------------------
>=20
> From: "Rob Joyner Jnr." <redacted@example.com>
> Date: Mon, 17 Jul 1995 08:00:55 +1000 (EST)
> Subject: Re: Analogue Content
>=20
> redacted@example.com=20
> said:                                                                    =
           =20
> >>Does anyone know of a mailing list for the discussion of analog=20
> synthesizers? =20
>                                                                          =
      =20
> >Funny how people bitching about the lack of analogue content never seem =
to
> >contribute any content=20
> themselves...                                           =20
>                                                                          =
      =20
> >In the interests of getting this list back on the Analogue track, I'm=20
> making   =20
> >the following plea:  why don't we discuss HOW we create sounds?  It's=20
> one of   =20
> >those things very few people (except LX! and Ab Wilson (Ab: where are=20
> you?))   =20
> >seem to talk about, and yet it seems central to the very idea=20
> of               =20
> >analogue synthesizers.  Why is this?  Are you guys just buying synths=20
> and      =20
> >letting them gather dust while they accrue in=20
> value?                           =20
>                                                                          =
      =20
> Ok, here's one for those with out modular gear like me:)
> I like setting up the a filter so that it self oscilates also - you can=
=20
> set=20
> the Freq. and VCA envelopes how you like (and this would be a good twist =
for
>  your QTIP soundmr 808).=20
> Then run a line out of the headphone socket of your synth into the contro=
l
> voltage in of another synth (if your 1st synth has a gate or trig out you=
 can
> run that into the second synth's gate/trig in=20
> too).                                  =20
> now set up another self oscilating filter on the second synth with and se=
t
> filter tracking to max. The frequency of synth 2 is now modulated by the=
=20
> amplitude of synth 1.
> Instant FM synthesis in a basic way - don't know how healthy it is for th=
e
>  receiving synth though.
> I like setting up a slippery acid riff on my 202 w/ per note portamento=
=20
> and=20
> using that to play its filter - then patching it up to my sh-09 for FM.=
=20
> Long sweeping envelopes are good too.
> robj
> - --
> redacted@example.com
>=20
> ------------------------------
>=20
> From: redacted@example.com (Phillip Mills)
> Date: Mon, 17 Jul 1995 09:27:34 +1000
> Subject: Lost Mail...
>=20
> Dont you all love POP Servers!  If anyone sent me mail on can you resend =
it
> again....    Thanx!  fleep!
>=20
> ------------------------------
>=20
> From: redacted@example.com (50Hz)
> Date: Sun, 16 Jul 1995 16:53:16 -0700
> Subject: Re: (AH) Doepfer MS404 infos ?
>=20
> At 15.59 15.07.95, Ernest Bruggeman wrote:
> >[Future Music Demo]
> > L >> If the demo on the Future Music Cd is any indication it's not
> >anything
> > L >> special. Sounded much weaker than any of the other "clones" in the
> > L >> bass dept and the BassStation has a lot more in terms of
> > L >> programability (and I don't think that's amazing either) a SH101
> >blows
> > L >> all these creatures away IMO. (That I do like)
> >
> > jdj> Well, don't trust the Future Music demo's!!
> > jdj> On allmost all 303 clones they reviewed they did an awful demo!
> > jdj> They just don't seem to know how the real thing sounds, because th=
ey
> > jdj> refused any tweaking, sliding etc...Really stupid!
> >
> >I spoke to the guy who actually makes 303 clones himself (Robert Homsbee=
k
> >from the Syntecno company in Holland). His TeeBee 303 was rated 70% in
> >Future Music (other 303 clones like the BassStation and DB9 scored betwe=
en
> >80 en 92%!). The FM demo crew did very bad demo songs on this one. A few
> >months later: this same TeeBee 303 scored very high rates in the German
> >"Keyboards" magazine due to its almost identical sound and many features=
!
> >Strange, isn't it........
> >About the MS404: I haven't heard this module in the shops yet (I only
> >heard the FM demo which was indeed not very exciting) but Robert
> >"Syntecno" Homsbeek said that he regarded the MS404 (together with his o=
wn
> >TeeBee303) as the best 303 clone..... If it's as good as the TeeBee303
> >(which I actually heard) the MS404 is defenitely worth its money! Try it
> >out in your fav music store by yourselve....
>=20
> i had the oppetunity to get stefan's while he was touring the states...
> i use it quite a bit.. the 404 is a great little mono synth.. the filters
> are in their own little world (not outstanding not bad) and the osc's are
> cool.. it does not really sound like a 303, but that's ok with me..  i
> unloaded my 303 'cause i just hear it too much.. some people use it as a
> crutch... well the 404 will give you the sounds of a good mono synth @ an
> affordable price... at times it's reminicent of the 303 but that's @
> best... anyhow; any clone w/o the sequencer is really just another mono
> synth... untill somebody integrates the sequencer into the synth and lets
> the user program in slides and accent jolts, the clones will just be
> zombies........
>=20
> l8tr........................................finn
>=20
>=20
> "i'm not just another latin lover
> with a cameo-cut"   -mantronix
>                        =20
>=20
>=20
>=20
> ------------------------------
>=20
> From: redacted@example.com (50Hz)
> Date: Sun, 16 Jul 1995 17:02:30 -0700
> Subject: 10spot for a 4voice manual
>=20
> anybody got the time to copy the 4 voice manual???
> 10 bucks for your time........
>=20
> breathe deep,
> - -Yashar.
>=20
>=20
>=20
> ------------------------------
>=20
> From: redacted@example.com (Strategic Hypersphere)
> Date: Sun, 16 Jul 1995 17:10:56 -0800
> Subject: Q-Tip
>=20
> One thing about Q-tips is how to use them well ...
>=20
> I have always liked "electronic" percussion much more than "real" soundin=
g
> drums, for our kind of music anyway ...
>=20
> With the serge, what works best is to get a pulse going somewhere (off a
> drum machine, or from a %byN comparator or slew or a dual slope generator=
,
> or transient generator) and send that pulse into a slope generator, with
> rise at 11 (apologies to Spinal Tap) & slope cranked back for longest
> delay, but still pulses a 16ths or 32nds (or whatever) of the beat and ta=
ke
> that clock out the the sample & hold,
>=20
> so the sample & hold is rising and falling in equal increments in time wi=
th
> the beat ...
>=20
> you then take the voltage out of the S&H and into a comparator and
>=20
> take the output from the comparator into a VCQ Filter (into the trig inpu=
t,
> or the audio in) with Q (resonance) set almost full (or full - play with
> it)
>=20
> Now, as you play with the size of the "steps" of the S&H (which are clock=
ed
> to the beat, of course) and the level of voltage that the compartor is
> going to let thru, what begins to happen is that you get some very
> syncopated Q-Tip patterns emerging  ...
>=20
> For a real brittle attack, the saw pulse out of the timing & put it into
> the 1/V per octave input on the ringing filter, and also into the VCQ inp=
ut
> ...
>=20
> So you have an extremely rapid dropping of overtone emphasis & a little
> slope on the Q to modulate it a bit ... sudden thought: you could put in =
a
> fast rising voltage to the Q also for a sustain ...
>=20
> You can trigger another slope generator to whatever slope & feed it into
> the VC on the filter. By modulating rise and fall of this other slope gen=