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- Committer: Bazaar Package Importer
- Author(s): Alessio Treglia
- Date: 2010-04-23 09:49:32 UTC
- mfrom: (1.2.1 upstream) (6.1.3 sid)
- Revision ID: james.westby@ubuntu.com-20100423094932-btfvxmt11hv8dj4p
Tags: 0.60.0-4
* Switch back to deb format 1.0, bug#578693 has been fixed.
* Refresh and improvements, another attempt to fix FTBFS on
hppa,sparc,s390.
* Drop debian/patches/02-implicit_pointer_conversion.patch patch,
applied upstream.
* Patch to fix FTBFS on hurd-i386.
* Refresh and improvements, another attempt to fix FTBFS on
hppa,sparc,s390.
* Drop debian/patches/02-implicit_pointer_conversion.patch patch,
applied upstream.
* Patch to fix FTBFS on hurd-i386.
- files added:
- bin/bristolNRPgen.c
- debian/source
- libbrightonC11
- m4
- files modified:
- AUTHORS
- README *
- include/slab/slabTimer.h *
- include/slab/slabaudio.h *
- memory/profiles/BME700 *
- memory/profiles/aks *
- memory/profiles/arp2600 *
- memory/profiles/axxe *
- memory/profiles/bit100 *
- memory/profiles/bitone *
- memory/profiles/cs80 *
- memory/profiles/dx *
- memory/profiles/explorer *
- memory/profiles/hammond *
- memory/profiles/hammond.mcm *
- memory/profiles/hammondB3 *
- memory/profiles/hammondB3.mcm *
- memory/profiles/juno *
- memory/profiles/jupiter *
- memory/profiles/jupiter8 *
- memory/profiles/meanquar.scl *
- memory/profiles/memoryMoog *
- memory/profiles/midicontrollermap *
- memory/profiles/mini *
- memory/profiles/mono *
- memory/profiles/obx *
- memory/profiles/obxa *
- memory/profiles/odyssey *
- memory/profiles/poly *
- memory/profiles/poly800 *
- memory/profiles/pro1 *
- memory/profiles/prophet *
- memory/profiles/prophet52 *
- memory/profiles/realistic *
- memory/profiles/rhodes *
- memory/profiles/roadrunner *
- memory/profiles/solina *
- memory/profiles/sonic6 *
- memory/profiles/stratus *
- memory/profiles/trilogy *
- memory/profiles/trilogyODC.mcm *
- memory/profiles/vox *
- memory/profiles/vox.mcm *
- memory/profiles/voxM2 *
- memory/profiles/voxM2.mcm *
added
removed
brighton/brightonreadme.h
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/*
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* Diverse Bristol audio routines.
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* Copyright (c) by Nick Copeland <nickycopeland@hotmail.com> 1996,2010
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*
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*
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* This program is free software; you can redistribute it and/or modify
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* it under the terms of the GNU General Public License as published by
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* the Free Software Foundation; either version 3 of the License, or
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* (at your option) any later version.
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*
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* This program is distributed in the hope that it will be useful,
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* but WITHOUT ANY WARRANTY; without even the implied warranty of
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* MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
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* GNU General Public License for more details.
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*
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* You should have received a copy of the GNU General Public License
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* along with this program; if not, see <http://www.gnu.org/licenses/>.
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*
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*/
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char *readmeheader = "Bristol Emulations\n\
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------------------\n\
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\n\
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This is a write-up of each of the emulated synthesisers. The algorithms\n\
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employed were 'gleaned' from a variety of sources including the original\n\
27
owners manuals, so they may be a better source of information. The author\n\
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has owned and used a selection but far from all of the originals. Some of them\n\
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were built just from descriptions of their operation, or from understanding\n\
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how synths work - most of them were based on the Mini Moog anyway. Many of\n\
31
the synths share components: the filter covers most of them, the Prophets and\n\
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Oberheims share a common oscillator and the same LFO is used in many of them.\n\
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Having said that each one differs considerably in the resulting sound that is\n\
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generated, more so than initially expected. Each release refines each of the\n\
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components and the result is that all emulations benefit from the improvements.\n\
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All the emulations have distinctive sounds, not least due to that the original\n\
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instruments used different modulations and mod routing.\n\
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The filter, which is a large defining factor in the tonal qualities of any\n\
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synth, is common to all the emulations. The filter implements a few different \n\
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algorithms and these do separate each of the synths: the Explorer layering\n\
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two low pass filters on top of each other: the OB-Xa using different types\n\
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depending on 'Pole' selection. Since release 0.20.8 the emulator has had a\n\
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Houvillainen non-linear ladder filter integrated which massively improves \n\
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the quality at considerable expense to the CPU.\n\
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There is one further filter algorithm used solely for the Leslie rotary \n\
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emulator crossover, this is a butterworth type filter.\n\
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\n\
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Bristol is in no way related to any of the original manufacturers whose \n\
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products are emulated by the engine and represented by the user interface,\n\
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bristol does not suggest that the emulation is a like representation of the\n\
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original instrument, and the author maintains that if you want the original\n\
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sound then you are advised to seek out the original product. Alternatively a\n\
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number of the original manufacturers now provide their own vintage collections\n\
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which are anticipated to be more authentic. All names and trademarks used by\n\
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Bristol are ownership of the respective companies and it is not inteded to \n\
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misappropriate their use here. If you have concerns you are kindly requested\n\
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to contact the author.\n\
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\n\
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The write-up includes the parameter operations, modulations, a description of\n\
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the original instrument and a brief list of the kind of sounds you can expect\n\
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by describing a few of the well known users of the synth.\n\
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\n\
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Several emulations have not been written up. Since the APR 2600 was implemented\n\
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it became a rather large job to actually describe what was going on. If you \n\
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really want to know about the synths that are not in this document then you\n\
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might want to search for their owners manuals.\n\
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\n\
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All emulations are available from the same engine, just launch multiple GUIs\n\
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and adjust the midi channels for multi timbrality and layering.\n\
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\n\
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It is noted here that the engine is relatively 'dumb'. Ok, it generates a very\n\
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broad range of sounds, currently about 25 different synthesisers and organs,\n\
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but it is not really intelligent. Memories are a part of the GUI specification\n\
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- it tells the engine which algorithm to use on which MIDI channel, then it\n\
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calls a memory routine that configures all the GUI controllers and a side effect\n\
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of setting the controllers is that their values are sent to the engine. This is\n\
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arguably the correct model but it can affect the use of MIDI master keyboards.\n\
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The reason is that the GUI is really just a master keyboard for the engine and\n\
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drives it with MIDI SYSEX messages over TCP sessions. If you were to alter the\n\
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keyboard transpose, for example, this would result in the GUI sending different\n\
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'key' numbers to the engine when you press a note. If you were already driving\n\
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the synth from a master keyboard then the transpose button in the Brighton GUI\n\
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would have no effect - the master keyboard would have to be transposed instead.\n\
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This apparent anomaly is exacerbated by the fact that some parameters still are\n\
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in the engine, for example master tuning is in the engine for the pure fact that\n\
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MIDI does not have a very good concept of master tuning (only autotuning).\n\
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Irrespective of this, bristol is a synthesiser so it needs to be played, \n\
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tweaked, driven. If you think that any of the behaviour is anomalous then let\n\
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me know. One known issue in this area is that if you press a key, transpose\n\
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the GUI, then release the key - it will not go off in the engine since the GUI\n\
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sends a different key code for the note off event - the transposed key. This\n\
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cannot be related to the original keypress. This could be fixed with a MIDI all\n\
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notes off event on 'transpose', but I don't like them. Also, since the 0.20\n\
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stream the problem only affects a few of the emulations, the rest now sending\n\
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a transpose message to the engine and letting it do the work.\n\
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\n\
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Since release 0.30.6 the engine correctly implements monophonic note logic.\n\
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Prior to this the whole engine was polyphonic and playing with one voice only\n\
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gave last note preference which dramatically affects playing styles - none of\n\
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the cool legato effects of the early monophonics. The quoted release fix this\n\
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limitation where the engine will keep a keymap of all played keys (one per\n\
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emulation) when started with a single voice and uses this map to provide\n\
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consistent note precedence, high note logic, low note logic or just using the\n\
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previously implemented last note logic. In this release the keymap was only\n\
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maintained with monophonic emulations, this is a potential extension as even\n\
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in polyphonic mode it would be useful for arpeggiation (which is currently\n\
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implemented using a FIFO rather than an ordered keymap).\n\
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\n";
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char *readmetrailer = "For the sake of being complete, given below is the verbose help output\n\n";
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char *readme[BRISTOL_SYNTHCOUNT] = {
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" Moog Mini\n\
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---------\n\
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\n\
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It is perhaps not possible to write up who used this synth, the list is endless.\n\
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Popular as it was about the first non-modular synthesiser, built as a fixed\n\
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configuration of the racked or modular predecessors.\n\
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\n\
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Best known at the time on Pink Floyd 'Dark Side of the Moon' and other albums.\n\
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Rick Wakefield used it as did Jean Michel Jarre. Wakefield could actually\n\
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predict the sound it would make by just looking at the settings, nice to be\n\
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able to do if a little unproductive but it went to show how this was treated\n\
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as an instrument in its own right. It takes a bit of work to get the same sweet,\n\
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rich sounds out of the emulation, but it can be done with suitable tweaking.\n\
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\n\
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The original was monophonic, although a polyphonic version was eventually made\n\
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after Moog sold the company - the MultiMoog. This emulation is more comparable\n\
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to that model as the sound is a bit thinner and can be polyphonic. The design\n\
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of this synth became the pole bearer for the following generations: it had \n\
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three oscillators, one of which could become a low frequency modulator. They\n\
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were fed into a mixer with a noise source, and were then fed into a filter\n\
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with 2 envelope generators to contour the wave. Modulation capabilities were\n\
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not extensive, but interestingly enough it did have a frequency modulation (FM)\n\
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capability, eventually used by Yamaha to revolutionise the synthesiser market\n\
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starting the downfall of analogue synthesis twenty years later.\n\
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\n\
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All the analogue synths were temperature sensitive. It was not unusual for the\n\
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synths to 'detune' between sound test and performance as the evening set in.\n\
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To overcome this they could optionally produce a stable A-440Hz signal for \n\
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tuning the oscillators manually - eventually being an automated option in the\n\
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newer synths. Whilst this digital version has stable frequency generation the\n\
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A-440 is still employed here for the sake of it.\n\
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\n\
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Modifiers and mod routing are relatively simple, Osc-3 and noise can be mixed,\n\
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and this signal routed to the oscillator 1 and 2 frequency or filter cutoff.\n\
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\n\
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The synth had 5 main stages as follows:\n\
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\n\
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Control:\n\
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\n\
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Master tuning: up/down one note.\n\
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\n\
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Glide: (glissando, portamento). The rate at which one key will change its\n\
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frequency to the next played key, 0 to 30 seconds.\n\
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\n\
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Mod: source changes between Osc-3 and noise.\n\
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\n\
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Release: The envelope generators had only 3 parameters. This governed whether\n\
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a key would release immediately or would use Decay to die out.\n\
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\n\
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Multi: Controls whether the envelope will retrigger for each new keypress.\n\
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\n\
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Oscillators:\n\
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\n\
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There are three oscillators. One and two are keyboard tracking, the third\n\
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can be decoupled and used as an LFO modulation source.\n\
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\n\
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Oscillator 1:\n\
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Octave step from 32' to 1'.\n\
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Waveform selection: sine/square/pulse/ramp/tri/splitramp\n\
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Mod: controls whether Osc-3/noise modulates frequency\n\
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\n\
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Oscillator 2:\n\
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Octave step from 32' to 1'.\n\
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Fine tune up/down 7 half notes.\n\
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Waveform selection: sine/square/pulse/ramp/tri/splitramp\n\
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Mod: controls whether Osc-3/noise modulates frequency\n\
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\n\
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Oscillator 3:\n\
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Octave step from 32' to 1'.\n\
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Fine tune up/down 7 half notes.\n\
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Waveform selection: sine/square/pulse/ramp/tri/splitramp\n\
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LFO switch to decouple from keytracking.\n\
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\n\
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Mixer:\n\
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\n\
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Gain levels for Oscillator 1/2/3\n\
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Mixing of the external input source into filter\n\
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Noise source with white/pink switch.\n\
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\n\
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Note: The level at which Osc-3 and noise modulates sound depends on its\n\
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gain here, similarly the noise. The modulator mix also affects this, but\n\
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allows Osc-3 to mod as well as sound. The modwheel also affect depth.\n\
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\n\
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Filter:\n\
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\n\
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Cutoff frequency\n\
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\n\
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Emphasis (affects Q and resonance of filter).\n\
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\n\
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Contour: defines how much the filter envelope affects cutoff.\n\
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\n\
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Mod - Keyboard tracking of cutoff frequency.\n\
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\n\
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Mod - Osc-3/noise modulation of cutoff frequency.\n\
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\n\
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Contour:\n\
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\n\
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The synth had two envelope generators, one for the filter and one for the\n\
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amplifier. Release is affected by the release switch. If off the the sound\n\
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will release at the rate of the decay control.\n\
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\n\
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Attack: initial ramp up of gain.\n\
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\n\
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Decay: fall off of maximum signal down to:\n\
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\n\
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Sustain: gain level for constant key-on level.\n\
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\n\
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Key: Touch sensitivity of amplifier envelope.\n\
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\n\
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Improvements to the Mini would be some better oscillator waveforms, plus an\n\
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alternative filter as this is a relatively simple synthesiser and could do\n\
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with a warmer filter (this was fixed with integration of the houvillanen filters\n\
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although the do consume a lot of CPU to do it).\n\
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\n\
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The Output selection has a Midi channel up/down selector and memory selector.\n\
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To read a memory either use the up/down arrows to go to the next available\n\
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memory, or type in a 3 digit number on the telephone keypad and press 'L' for\n\
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load or 'S' for save.\n\
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\n\
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As of release 0.20.5 Vasiliy Basic contributed his Mini memory banks and they\n\
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are now a part of the distribution:\n\
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\n\
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Programs for Bristol's \"Mini\" (from 50 to 86 PRG)\n\
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\n\
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List of programs:\n\
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\n\
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-Melodic-\n\
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50 - Trumpet\n\
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51 - Cello\n\
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52 - Guitar 1\n\
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53 - Guitar 2\n\
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54 - Fingered Bass\n\
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55 - Picked Bass\n\
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56 - Harmonica\n\
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57 - Accordion\n\
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58 - Tango Accordion\n\
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59 - Super Accordion\n\
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60 - Piano\n\
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61 - Dark Organ\n\
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62 - Flute\n\
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63 - Music Box\n\
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64 - Glass Xylo\n\
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65 - Glass Pad\n\
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66 - Acid Bass\n\
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\n\
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-Drums-\n\
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67 - Bass Drum 1 \n\
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68 - Bass Drum 2\n\
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69 - Bass Drum 3\n\
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70 - Bass Drum 4\n\
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71 - Tom\n\
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72 - Snare 1\n\
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73 - Snare 2\n\
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74 - Snare 3\n\
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75 - Snare 4\n\
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76 - Cl HH 1\n\
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77 - Op HH 1\n\
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78 - Crash Cym 1\n\
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79 - Crash Cym 2\n\
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80 - Cl HH 2\n\
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81 - Op HH 2\n\
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\n\
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-FX-\n\
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82 - Sea Shore\n\
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83 - Helicopter 1\n\
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84 - Helicopter 2\n\
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85 - Bird Tweet\n\
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86 - Birds Tweet\n\n",
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NULL,
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" Sequential Circuits Prophet-5\n\
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Sequential Circuits Prophet-52 (the '5' with chorus)\n\
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----------------------------------------------------\n\
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\n\
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Sequential circuits released amongst the first truly polyphonic synthesisers\n\
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where a group of voice circuits (5 in this case) were linked to an onboard\n\
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computer that gave the same parameters to each voice and drove the notes to\n\
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each voice from the keyboard. The device had some limited memories to allow \n\
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for real live stage work. The synth was amazingly flexible regaring the\n\
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oscillator options and modulation routing, producing some of the fattest \n\
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sounds around. They also had some of the fattest pricing as well, putting it\n\
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out of reach of all but the select few, something that maintained its mythical\n\
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status. David Sylvian of Duran Duran used the synth to wide acclaim in the\n\
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early 80's as did many of the new wave of bands.\n\
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\n\
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The -52 is the same as the -5 with the addition of a chorus as it was easy, it\n\
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turns the synth stereo for more width to the sound, and others have done it on\n\
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the Win platform.\n\
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\n\
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The design of the Prophet synthesisers follows that of the Mini Moog. It has\n\
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three oscillators one of them as a dedicated LFO. The second audio oscillator\n\
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can also function as a second LFO, and can cross modulate oscillator A for FM \n\
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type effects. The audible oscillators have fixed waveforms with pulse width\n\
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modulation of the square wave. These are then mixed and sent to the filter with\n\
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two envelopes, for the filter and amplifier.\n\
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\n\
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Modulation bussing is quite rich. There is the wheel modulation which is global,\n\
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taking the LFO and Noise as a mixed source, and send it under wheel control to\n\
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any of the oscillator frequency and pulse width, plus the filter cutoff. Poly\n\
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mods take two sources, the filter envelope and Osc-B output (which are fully\n\
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polyphonic, or rather, independent per voice), and can route them through to\n\
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Osc-A frequency and Pulse Width, or through to the filter. To get the filter\n\
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envelope to actually affect the filter it needs to go through the PolyMod\n\
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section. Directing the filter envelope to the PW of Osc-A can make wide, breathy\n\
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scanning effects, and when applied to the frequency can give portamento effects.\n\
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\n\
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LFO:\n\
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\n\
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Frequency: 0.1 to 50 Hz\n\
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Shape: Ramp/Triangle/Square. All can be selected, none selected should\n\
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give a sine wave (*)\n\
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\n\
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(*) Not yet implemented.\n\
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\n\
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Wheel Mod:\n\
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\n\
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Mix: LFO/Noise\n\
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Dest: Osc-A Freq/Osc-B Freq/Osc-A PW/Osc-B PW/Filter Cutoff\n\
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\n\
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Poly Mod: These are affected by key velocity.\n\
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\n\
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Filter Env: Amount of filter envelope applied\n\
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Osc-B: Amount of Osc-B applied:\n\
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Dest: Osc-A Freq/Osc-A PW/Filter Cutoff\n\
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\n\
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Osc-A:\n\
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\n\
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Freq: 32' to 1' in octave steps\n\
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Shape: Ramp or Square\n\
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Pulse Width: only when Square is active.\n\
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Sync: synchronise to Osc-B\n\
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\n\
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Osc-B:\n\
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\n\
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Freq: 32' to 1' in octave steps\n\
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Fine: +/- 7 semitones\n\
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Shape: Ramp/Triangle/Square\n\
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Pulse Width: only when Square is active.\n\
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LFO: Lowers frequency by 'several' octaves.\n\
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KBD: enable/disable keyboard tracking.\n\
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\n\
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Mixer:\n\
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\n\
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Gain for Osc-A, Osc-B, Noise\n\
359
\n\
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Filter:\n\
361
\n\
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Cutoff: cuttof frequency\n\
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Res: Resonance/Q/Emphasis\n\
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Env: amount of PolyMod affecting to cutoff.\n\
365
\n\
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Envelopes: One each for PolyMod (filter) and amplifier.\n\
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\n\
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Attack\n\
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Decay\n\
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Sustain\n\
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Release\n\
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\n\
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Global:\n\
374
\n\
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Master Volume\n\
376
A440 - stable sine wave at A440 Hz for tuning.\n\
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Midi: channel up/down\n\
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Release: release all notes\n\
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Tune: autotune oscillators.\n\
380
Glide: amount of portamento\n\
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\n\
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Unison: gang all voices to a single 'fat' monophonic synthesiser.\n\
383
\n\
384
This is one of the fatter of the Bristol synths and the design of the mods\n\
385
is impressive (not my design, this is as per sequential circuits spec). Some\n\
386
of the cross modulations are noisy, notably 'Osc-B->Freq Osc-A' for square\n\
387
waves as dest and worse as source.\n\
388
\n\
389
The chorus used by the Prophet-52 is a stereo 'Dimension-D' type effect. The\n\
390
signal is panned from left to right at one rate, and the phasing and depth at\n\
391
a separate rate to generate subtle chorus through to helicopter flanging.\n\
392
\n\
393
Memories are loaded by selecting the 'Bank' button and typing in a two digit\n\
394
bank number followed by load. Once the bank has been selected then 8 memories\n\
395
from the bank can be loaded by pressing another memory select and pressing\n\
396
load. The display will show free memories (FRE) or programmed (PRG).\n\
397
\n",
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399
" Yamaha DX-7\n\
400
-----------\n\
401
\n\
402
Released in the '80s this synth quickly became the most popular of all time.\n\
403
It was the first fully digital synth, employed a revolutionary frequency \n\
404
modulated algorithm and was priced much lower than the analogue monsters\n\
405
that preceded it. Philip Glass used it to wide effect for Miami Vice, Prince\n\
406
had it on many of his albums, Howard Jones produced albums filled with its\n\
407
library sounds. The whole of the 80's were loaded with this synth, almost to\n\
408
the point of saturation. There was generally wide use of its library sounds\n\
409
due to the fact that it was nigh on impossible to programme, only having entry\n\
410
buttons and the algorithm itself was not exactly intuitive, but also because\n\
411
the library was exceptional and the voices very playable. The emulation is a\n\
412
6 operator per voice, and all the parameters are directly accessible to ease\n\
413
programming.\n\
414
\n\
415
The original DX had six operators although cheaper models were release with\n\
416
just 4 operators and a consequently thinner sound. Each operator is a sine\n\
417
wave oscillator with its own envelope generator for amplification and a few \n\
418
parameters that adjusted its modulators. It used a number of different \n\
419
algorithms where operators were mixed together and then used to adjust the\n\
420
frequency of the next set of operators. The sequence of the operators affected\n\
421
the net harmonics of the overall sound. Each operator has a seven stage \n\
422
envelope - 'ramp' to 'level 1', 'ramp' to 'level 2', 'decay' to 'sustain',\n\
423
and finally 'release' when a key is released. The input gain to the frequency\n\
424
modulation is controllable, the output gain is also adjustable, and the final\n\
425
stage operators can be panned left and right.\n\
426
\n\
427
Each operator has:\n\
428
\n\
429
Envelope:\n\
430
\n\
431
Attack: Ramp rate to L1\n\
432
L1: First target gain level\n\
433
Attack: Ramp rate from L2 to L2\n\
434
L2: Second target gain level\n\
435
Decay: Ramp rate to sustain level\n\
436
Sustain: Continuous gain level\n\
437
Release: Key release ramp rate\n\
438
\n\
439
Tuning:\n\
440
\n\
441
Tune: +/- 7 semitones\n\
442
Transpose: 32' to 1' in octave increments\n\
443
\n\
444
LFO: Low frequency oscillation with no keyboard control\n\
445
\n\
446
Gain controls:\n\
447
\n\
448
Touch: Velocity sensitivity of operator.\n\
449
\n\
450
In gain: Amount of frequency modulation from input\n\
451
Out gain: Output signal level\n\
452
\n\
453
IGC: Input gain under Mod control\n\
454
OGC: Output gain under Mod control\n\
455
\n\
456
Pan: L/R pan of final stage operators.\n\
457
\n\
458
Global and Algorithms:\n\
459
\n\
460
24 different operator staging algorithms\n\
461
Pitchwheel: Depth of pitch modifier\n\
462
Glide: Polyphonic portamento\n\
463
Volume\n\
464
Tune: Autotune all operators\n\
465
\n\
466
Memories can be selected with either submitting a 3 digit number on the keypad,\n\
467
or selecting the orange up/down buttons.\n\
468
\n\
469
An improvement could be more preset memories with different sounds that can\n\
470
then be modified, ie, more library sounds. There are some improvements that\n\
471
could be made to polyphonic mods from key velocity and channel/poly pressure\n\
472
that would not be difficult to implement.\n\
473
\n\
474
The addition of triangle of other complex waveforms could be a fun development\n\
475
effort (if anyone were to want to do it).\n\
476
\n\
477
The DX still has a prependancy to seg fault, especially when large gains are\n\
478
applied to input signals. This is due to loose bounds checking that will be\n\
479
extended in a present release.\n\
480
\n",
481
482
" Roland Juno-60\n\
483
--------------\n\
484
\n\
485
Roland was one of the main pacemakers in analogue synthesis, also competing\n\
486
with the Sequential and Oberheim products. They did anticipate the moving\n\
487
market and produced the Juno-6 relatively early. This was one of the first\n\
488
accessible synths, having a reasonably fat analogue sound without the price\n\
489
card of the monster predecessors. It brought synthesis to the mass market that\n\
490
marked the decline of Sequential Circuits and Oberheim who continued to make\n\
491
their products bigger and fatter. The reduced price tag meant it had a slightly\n\
492
thinner sound, and a chorus was added to extend this, to be a little more\n\
493
comparable.\n\
494
\n\
495
The synth again follows the Mini Moog design of oscillators into filter into\n\
496
amp. The single oscillator is fattened out with harmonics and pulse width\n\
497
modulation. There is only one envelope generator that can apply to both the\n\
498
filter and amplifier.\n\
499
\n\
500
Control:\n\
501
\n\
502
DCO: Amount of pitch wheel that is applied to the oscillators frequency.\n\
503
VCF: Amount of pitch wheel that is applied to the filter frequency.\n\
504
\n\
505
Tune: Master tuning of instrument\n\
506
\n\
507
Glide: length of portamento\n\
508
\n\
509
LFO: Manual control for start of LFO operation.\n\
510
\n\
511
Hold: (*)\n\
512
\n\
513
Transpose: Up/Down one octave\n\
514
Hold: prevent key off events\n\
515
\n\
516
LFO:\n\
517
\n\
518
Rate: Frequency of LFO\n\
519
Delay: Period before LFO is activated\n\
520
Man/Auto: Manual or Automatic cut in of LFO\n\
521
\n\
522
DCO:\n\
523
\n\
524
LFO: Amount of LFO affecting frequency. Affected by mod wheel.\n\
525
PWM: Amount of LFO affecting PWM. Affected by mod wheel.\n\
526
\n\
527
ENV/LFO/MANUAL: Modulator for PWM\n\
528
\n\
529
Waveform:\n\
530
Pulse or Ramp wave. Pulse has PWM capabily.\n\
531
\n\
532
Sub oscillator:\n\
533
On/Off first fundamental square wave.\n\
534
\n\
535
Sub:\n\
536
Mixer for fundamental\n\
537
\n\
538
Noise:\n\
539
Mixer of white noise source.\n\
540
\n\
541
HPF: High Pass Filter\n\
542
\n\
543
Freq:\n\
544
Frequency of cutoff.\n\
545
\n\
546
VCF:\n\
547
\n\
548
Freq:\n\
549
Cutoff frequency\n\
550
\n\
551
Res:\n\
552
Resonance/emphasis.\n\
553
\n\
554
Envelope:\n\
555
+ve/-ve application\n\
556
\n\
557
Env:\n\
558
Amount of contour applied to cutoff\n\
559
\n\
560
LFO:\n\
561
Depth of LFO modulation applied.\n\
562
\n\
563
KBD:\n\
564
Amount of key tracking applied.\n\
565
\n\
566
VCA:\n\
567
\n\
568
Env/Gate:\n\
569
Contour is either gated or modulated by ADSR\n\
570
\n\
571
Level:\n\
572
Overall volume\n\
573
\n\
574
ADSR:\n\
575
\n\
576
Attack\n\
577
Decay\n\
578
Sustain\n\
579
Release\n\
580
\n\
581
Chorus:\n\
582
\n\
583
8 Selectable levels of Dimension-D type helicopter flanger.\n\
584
\n\
585
* The original instrument had a basic sequencer on board for arpeggio effects\n\
586
on each key. In fact, so did the Prophet-10 and Oberheims. This was only \n\
587
implemented in 0.10.11.\n\
588
\n\
589
The LFO cut in and gain is adjusted by a timer and envelope that it triggers.\n\
590
\n\
591
The Juno would improve from the use of the prophet DCO rather than its own one.\n\
592
It would require a second oscillator for the sub frequency, but the prophet DCO\n\
593
can do all the Juno does with better resampling and PWM generation.\n\
594
\n",
595
596
" Moog Voyager (Bristol \"Explorer\")\n\
597
---------------------------------\n\
598
\n\
599
This was Robert Moog's last synth, similar in build to the Mini but created\n\
600
over a quarter of a century later and having far, far more flexibility. It \n\
601
was still monophonic, a flashback to a legendary synth but also a bit like\n\
602
Bjorn Borg taking his wooden tennis racket back to Wimbledon long after having\n\
603
retired and carbon fibre having come to pass. I have no idea who uses it and\n\
604
Bjorn also crashed out in the first round. The modulation routing is exceptional\n\
605
if not exactly clear.\n\
606
\n\
607
The Voyager, or Bristol Explorer, is definitely a child of the Mini. It has\n\
608
the same fold up control panel, three and half octave keyboard and very much\n\
609
that same look and feel. It follows the same rough design of three oscillators\n\
610
mixed with noise into a filter with envelopes for the filter and amplifier.\n\
611
In contrast there is an extra 4th oscillator, a dedicated LFO bus also Osc-3\n\
612
can still function as a second LFO here. The waveforms are continuously \n\
613
selected, changing gradually to each form: bristol uses a form of morphing\n\
614
get get similar results. The envelopes are 4 stage rather than the 3 stage\n\
615
Mini, and the effects routing bears no comparison at all, being far more\n\
616
flexible here.\n\
617
\n\
618
Just because its funny to know, Robert Moog once stated that the most difficult\n\
619
part of building and releasing the Voyager was giving it the title 'Moog'. He\n\
620
had sold his company in the seventies and had to buy back the right to use his\n\
621
own name to release this synthesiser as a Moog, knowing that without that title\n\
622
it probably would not sell quite as well as it didn't.\n\
623
\n\
624
Control:\n\
625
\n\
626
LFO:\n\
627
Frequency\n\
628
Sync: LFO restarted with each keypress.\n\
629
\n\
630
Fine tune +/- one note\n\
631
Glide 0 to 30 seconds.\n\
632
\n\
633
Modulation Busses:\n\
634
\n\
635
Two busses are implemented. Both have similar capabilities but one is\n\
636
controlled by the mod wheel and the other is constantly on. Each bus has\n\
637
a selection of sources, shaping, destination selection and amount.\n\
638
\n\
639
Wheel Modulation: Depth is controller by mod wheel.\n\
640
\n\
641
Source: Triwave/Ramp/Sample&Hold/Osc-3/External\n\
642
Shape: Off/Key control/Envelope/On\n\
643
Dest: All Osc Frequency/Osc-2/Osc-3/Filter/FilterSpace/Waveform (*)\n\
644
Amount: 0 to 1.\n\
645
\n\
646
Constant Modulation: Can use Osc-3 as second LFO to fatten sound.\n\
647
\n\
648
Source: Triwave/Ramp/Sample&Hold/Osc-3/External\n\
649
Shape: Off/Key control/Envelope/On\n\
650
Dest: All Osc Frequency/Osc-2/Osc-3/Filter/FilterSpace/Waveform (*)\n\
651
Amount: 0 to 1.\n\
652
\n\
653
* Destination of filter is the cutoff frequency. Filter space is the \n\
654
difference in cutoff of the two layered filters. Waveform destination \n\
655
affects the continuously variable oscillator waveforms and allows for \n\
656
Pulse Width Modulation type effects with considerably more power since\n\
657
it can affect ramp to triangle for example, not just pulse width.\n\
658
\n\
659
Oscillators:\n\
660
\n\
661
Oscillator 1:\n\
662
Octave: 32' to 1' in octave steps\n\
663
Waveform: Continuous between Triangle/Ramp/Square/Pulse\n\
664
\n\
665
Oscillator 2:\n\
666
Tune: Continuous up/down 7 semitones.\n\
667
Octave: 32' to 1' in octave steps\n\
668
Waveform: Continuous between Triangle/Ramp/Square/Pulse\n\
669
\n\
670
Oscillator 3:\n\
671
Tune: Continuous up/down 7 semitones.\n\
672
Octave: 32' to 1' in octave steps\n\
673
Waveform: Continuous between Triangle/Ramp/Square/Pulse\n\
674
\n\
675
Sync: Synchronise Osc-2 to Osc-1\n\
676
FM: Osc-3 frequency modulates Osc-1\n\
677
KBD: Keyboard tracking Osc-3\n\
678
Freq: Osc-3 as second LFO\n\
679
\n\
680
Mixer:\n\
681
\n\
682
Gain levels for each source: Osc-1/2/3, noise and external input.\n\
683
\n\
684
Filters:\n\
685
\n\
686
There are two filters with different configuration modes:\n\
687
\n\
688
1. Two parallel resonant lowpass filters.\n\
689
2. Serialised HPF and resonant LPF\n\
690
\n\
691
Cutoff: Frequency of cutoff\n\
692
Space: Distance between the cutoff of the two filters.\n\
693
Resonance: emphasis/Q.\n\
694
KBD tracking amount\n\
695
Mode: Select between the two operating modes.\n\
696
\n\
697
Envelopes:\n\
698
\n\
699
Attack\n\
700
Decay\n\
701
Sustain\n\
702
Release\n\
703
\n\
704
Amount to filter (positive and negative control)\n\
705
\n\
706
Velocity sensitivity of amplifier envelope.\n\
707
\n\
708
Master:\n\
709
\n\
710
Volume\n\
711
LFO: Single LFO or one per voice (polyphonic operation).\n\
712
Glide: On/Off portamento\n\
713
Release: On/Off envelope release.\n\
714
\n\
715
The Explorer has a control wheel and a control pad. The central section has\n\
716
the memory section plus a panel that can modify any of the synth parameters as\n\
717
a real time control. Press the first mouse key here and move the mouse around\n\
718
to adjust the controls. Default values are LFO frequency and filter cutoff \n\
719
but values can be changed with the 'panel' button. This is done by selecting\n\
720
'panel' rather than 'midi', and then using the up/down keys to select parameter\n\
721
that will be affected by the x and y motion of the mouse. At the moment the\n\
722
mod routing from the pad controller is not saved to the memories, and it will\n\
723
remain so since the pad controller is not exactly omnipresent on MIDI master\n\
724
keyboards - the capabilities was put into the GIU to be 'exact' to the design.\n\
725
\n\
726
This synth is amazingly flexible and difficult to advise on its best use. Try\n\
727
starting by mixing just oscillator 1 through to the filter, working on mod \n\
728
and filter options to enrich the sound, playing with the oscillator switches\n\
729
for different effects and then slowly mix in oscillator 2 and 3 as desired.\n\
730
\n\
731
Memories are available via two grey up/down selector buttons, or a three digit\n\
732
number can be entered. There are two rows of black buttons where the top row\n\
733
is 0 to 4 and the second is 5 to 9. When a memory is selected the LCD display\n\
734
will show whether it is is free (FRE) or programmed already (PRG).\n\
735
\n" ,
736
737
" Hammond B3 (dual manual)\n\
738
------------------------\n\
739
\n\
740
The author first implemented the Hammond module, then extended it to the B3\n\
741
emulation. Users of this are too numerous to mention and the organ is still\n\
742
popular. Jimmy Smith, Screaming Jay Hawkins, Kieth Emerson, Doors and \n\
743
almost all american gospel blues. Smith was profuse, using the instrument for\n\
744
a jazz audience, even using its defects (key noise) to great effect. Emerson\n\
745
had two on stage, one to play and another to kick around, even including\n\
746
stabbing the keyboard with a knife to force keylock during performances\n\
747
(Emerson was also a Moog fan with some of the first live performances). He\n\
748
also used the defects of the system to great effect, giving life to the over-\n\
749
driven Hammond sound.\n\
750
\n\
751
The Hammond was historically a mechanical instrument although later cheaper\n\
752
models used electronics. The unit had a master motor that rotated at\n\
753
the speed of the mains supply. It drove a spindle of cog wheels and next to \n\
754
each cog was a pickup. The pickup output went into the matrix of the harmonic\n\
755
drawbars. It was originally devised to replace the massive pipe organs in\n\
756
churches - Hammond marketed their instruments with claims that they could not be\n\
757
differentiated from the mechanical pipe equivalent. He was taken to court by\n\
758
the US government for misrepresentation, finally winning his case using a double\n\
759
blind competitive test against a pipe organ, in a cathedral, with speakers\n\
760
mounted behind the organ pipes and an array of music scholars, students and \n\
761
professionals listening. The results spoke for themselves - students would\n\
762
have scored better by simply guessing which was which, the professionals\n\
763
fared only a little better than that. The age of the Hammond organ had arrived.\n\
764
\n\
765
The company had a love/hate relationship with the Leslie speaker company - the\n\
766
latter making money by selling their rotary speakers along with the organ to\n\
767
wide acceptance. The fat hammond 'chorus' was a failed attempt to distance\n\
768
themselves from Leslie. That was never achieved due to the acceptance of the\n\
769
Leslie, but the chorus did add another unique sound to the already awesome\n\
770
instrument. The rotary speaker itself still added an extra something to the\n\
771
unique sound that is difficult imagine one without the other. It has a wide\n\
772
range of operating modes most of which are included in this emulator.\n\
773
\n\
774
The chorus emulation is an 8 stage phase shifting filter algorithm with a \n\
775
linear rotor between the taps.\n\
776
\n\
777
Parameterisation of the first B3 window follows the original design:\n\
778
\n\
779
Leslie: Rotary speaker on/off\n\
780
Reverb: Reverb on/off\n\
781
VibraChorus: 3 levels of vibrato, 3 of chorus.\n\
782
Bright: Added upper harmonics to waveforms.\n\
783
\n\
784
Lower and Upper Manual Drawbars: The drawbars are colour coded into white for\n\
785
even harmonics and black for odd harmonics. There are two subfrequencies in \n\
786
brown. The number given here are the length of organ pipe that would \n\
787
correspond to the given desired frequency.\n\
788
\n\
789
16 - Lower fundamental\n\
790
5 1/3 - Lower 3rd fundamental\n\
791
8 - Fundamental\n\
792
4 - First even harmonic\n\
793
2 2/3 - First odd harmonic\n\
794
2 - Second even harmonic\n\
795
1 3/5 - Second odd harmonic\n\
796
1 1/3 - Third odd harmonic\n\
797
1 - Third even harmonic\n\
798
\n\
799
The drawbars are effectively mixed for each note played. The method by which\n\
800
the mixing is done is controlled in the options section below. There were \n\
801
numerous anomalies shown by the instrument and most of them are emulated.\n\
802
\n\
803
The Hammond could provide percussives effect the first even and odd harmonics.\n\
804
This gave a piano like effect and is emulated with Attack/Decay envelope.\n\
805
\n\
806
Perc 4' - Apply percussive to the first even harmonic\n\
807
Perc 2 2/3' - Apply percussive to the first odd harmonic\n\
808
Slow - Adjust rate of decay from about 1/2 second to 4 seconds.\n\
809
\n\
810
Soft - Provide a soft attack to each note.\n\
811
\n\
812
The soft attack is an attempt to reduce the level of undesired key noise. The\n\
813
keyboard consisted of a metal bar under each key that made physical contact \n\
814
with 9 sprung teeth to tap off the harmonics. The initial contact would generate\n\
815
noise that did not really accord to the pipe organ comparison. This was \n\
816
reduced by adding a slow start to each key, but the jazz musicians had used\n\
817
this defect to great effect, terming it 'key click' and it became a part of\n\
818
the Hammond characteristics. Some musicians would even brag about how noisy\n\
819
there organ was.\n\
820
\n\
821
On the left had side are three more controls:\n\
822
\n\
823
Volume potentiometer\n\
824
\n\
825
Options switch discussed below.\n\
826
\n\
827
Rotary Speed: low/high speed Leslie rotation. Shifts between the speeds\n\
828
are suppressed to emulate the spin up and down periods of the leslie motors.\n\
829
\n\
830
The options section, under control of the options button, has the parameters\n\
831
used to control the emulation. These are broken into sections and discussed\n\
832
individually.\n\
833
\n\
834
Leslie:\n\
835
\n\
836
The Leslie rotary speaker consisted of a large cabinet with a bass speaker and\n\
837
a pair of high frequency air horns. Each were mounted on its own rotating table\n\
838
and driven around inside the cabinet by motors. A crossover filter was used to\n\
839
separate the frequencies driven to either speaker. Each pair was typically \n\
840
isolated physically from the other. As the speaker rotated it would generate\n\
841
chorus type effects, but far richer in quality. Depending on where the speaker\n\
842
was with respect to the listener the sound would also appear to rotate. There\n\
843
would be different phasing effects based on signal reflections, different\n\
844
filtering effects depending on where the speaker was in respect to the cabinet\n\
845
producing differences resonances with respect to the internal baffling.\n\
846
\n\
847
Separate:\n\
848
Sync:\n\
849
No Bass:\n\
850
The Leslie had two motors, one for the horns and one for the voice coil\n\
851
speaker. These rotated at different speeds. Some players preferred to \n\
852
have both rotate at the same speed, would remove the second motor and\n\
853
bind the spindles of each speaker table, this had the added effect\n\
854
that both would also spin up at the same rate, not true of the \n\
855
separated motors since each table had a very different rotary moment.\n\
856
The 'No Bass' option does not rotate the voice coil speaker. This was\n\
857
typically done since it would respond only slowly to speed changes,\n\
858
this left just the horns rotating but able to spin up and down faster.\n\
859
\n\
860
Brake:\n\
861
Some cabinets had a brake applied to the tables such that when the\n\
862
motor stopped the speakers slowed down faster.\n\
863
\n\
864
X-Over:\n\
865
This is the cross over frequency between the voice coil and air horns.\n\
866
Uses a butterworth filter design.\n\
867
\n\
868
Inertia:\n\
869
Rate at which speaker rotational speed will respond to changes.\n\
870
\n\
871
Overdrive:\n\
872
Amount by which the amplifier is overdriven into distortion.\n\
873
\n\
874
H-Depth/Frequency/Phase\n\
875
L-Depth/Frequency/Phase\n\
876
These parameters control the rotary phasing effect. The algorithm used\n\
877
has three differently phased rotations used for filtering, phasing and\n\
878
reverberation of the sound. These parameters are used to control the\n\
879
depth and general phasing of each of them, giving different parameters\n\
880
for the high and low speed rotations. There are no separate parameters\n\
881
for the voice coil or air horns, these parameters are for the two\n\
882
different speeds only, although in 'Separate' mode the two motors will\n\
883
rotate at slightly different speeds.\n\
884
\n\
885
Chorus\n\
886
\n\
887
V1/C1 - Lowest chorus speed\n\
888
V2/C2 - Medium chorus speed\n\
889
V3/C3 - High chorus speed\n\
890
\n\
891
Percussion:\n\
892
\n\
893
Decay Fast/Slow - controls the percussive delay rates.\n\
894
Attack Slow Fast - Controls the per note envelope attack time.\n\
895
\n\
896
The percussives are emulated as per the original design where there was a\n\
897
single envelope for the whole keyboard and not per note. The envelope will only\n\
898
restrike for a cleanly pressed note.\n\
899
\n\
900
Finally there are several parameters affecting the sine wave generation code.\n\
901
The Hammond used cogged wheels and coil pickups to generate all the harmonics,\n\
902
but the output was not a pure sine wave. This section primarily adjusts the\n\
903
waveform generation:\n\
904
\n\
905
Preacher:\n\
906
The emulator has two modes of operation, one is to generate the \n\
907
harmonics only for each keyed note and another to generate all of\n\
908
them and tap of those required for whatever keys have been pressed.\n\
909
Both work and have different net results. Firstly, generating each\n\
910
note independently is far more efficient than generating all 90 odd\n\
911
teeth, as only a few are typically required. This does not have totally\n\
912
linked phases between notes and cannot provide for signal damping (see\n\
913
below).\n\
914
The Preacher algorithm generates all harmonics continuously as per the\n\
915
original instrument. It is a better rendition at the expense of large\n\
916
chunks of CPU activity. This is discussed further below.\n\
917
\n\
918
Compress:\n\
919
Time compress the sine wave to produce a slightly sharper leading edge.\n\
920
\n\
921
Bright:\n\
922
Add additional high frequency harmonics to the sine.\n\
923
\n\
924
Click:\n\
925
Level of key click noise\n\
926
\n\
927
Reverb:\n\
928
Amount of reverb added by the Leslie\n\
929
\n\
930
Damping:\n\
931
If the same harmonic was reused by different pressed keys then its net\n\
932
volume would not be a complete sum, the output gain would decay as the\n\
933
pickups would become overloaded. This would dampen the signal strength.\n\
934
This is only available with the Preacher algorithm.\n\
935
\n\
936
The two reverse octaves are presets as per the original, however here they can\n\
937
just be used to recall the first 23 memories of the current bank. The lower\n\
938
manual 12 key is the 'save' key for the current settings and must be double\n\
939
clicked. It should be possible to drive these keys via MIDI, not currently \n\
940
tested though. The default presets are a mixture of settings, the lower \n\
941
manual being typical 'standard' recital settings, the upper manual being a\n\
942
mixture of Smith, Argent, Emerson, Winwood and other settings from the well\n\
943
known Hammond Leslie FAQ. You can overwrite them. As a slight anomaly, which\n\
944
was intentional, loading a memory from the these keys only adjusts the visible\n\
945
parameters - the drawbars, leslie, etc. The unseen ones in the options panel\n\
946
do not change. When you save a memory with a double click on the lower manual\n\
947
last reverse key then in contrast it saves all the parameters. This will not\n\
948
change.\n\
949
\n\
950
The Preacher algorithm supports a diverse set of options for its tonewheel\n\
951
emulation. These are configured in the file $BRISTOL/memory/profiles/tonewheel\n\
952
and there is only one copy. The file is a text file and will remain that way,\n\
953
it is reasonably documented in the file itself. Most settings have two ranges,\n\
954
one representing the normal setting and the other the bright setting for when\n\
955
the 'bright' button is pressed. The following settings are currently available:\n\
956
\n\
957
ToneNormal: each wheel can be given a waveform setting from 0 (square)\n\
958
through to 1.0 (pure sine) to X (sharpening ramp).\n\
959
\n\
960
EQNormal: each wheel can be given a gain level across the whole generator.\n\
961
\n\
962
DampNormal: each wheel has a damping factor (level robbing/damping/stealing)\n\
963
\n\
964
BusNormal: each drawbar can be equalised globally.\n\
965
\n\
966
\n\
967
ToneBright: each wheel can be given a waveform setting from 0 (square)\n\
968
through to 1.0 (pure sine) to X (sharpening ramp) for the bright button.\n\
969
\n\
970
EQBright: each wheel can be given a gain level across the whole generator.\n\
971
\n\
972
DampBright: each wheel has a damping factor (level robbing/damping/stealing)\n\
973
\n\
974
BusBright: each drawbar can be equalised globally.\n\
975
\n\
976
\n\
977
stops: default settings for the eight drawbar gain levels.\n\
978
\n\
979
The default is 8 linear stages.\n\
980
\n\
981
wheel: enables redefining the frequency and phase of any given tonewheel\n\
982
\n\
983
The defaults are the slightly non Even Tempered frequencies of the\n\
984
Hammond tonewheels. The tonewheel file redefines the top 6 frequencies\n\
985
that were slightly more out of tune due to the 192-teeth wheels and\n\
986
a different gear ratio.\n\
987
\n\
988
crosstalk: between wheels in a compartment and adjacent drawbar busses.\n\
989
\n\
990
This is one area that may need extensions for crosstalk in the wiring\n\
991
loom. Currently the level of crosstalk between each of the wheels in\n\
992
the compartment can be individually defined, and drawbar bus crosstalk\n\
993
also.\n\
994
\n\
995
compartment: table of the 24 tonewheel compartments and associated wheels.\n\
996
\n\
997
resistors: tapering resister definitions for equalisation of gains per\n\
998
wheel by note by drawbar.\n\
999
\n\
1000
taper: definition of the drawbar taper damping resistor values.\n\
1001
\n\
1002
Improvements would come with some other alterations to the sine waveforms and\n\
1003
some more EQ put into the leslie speaker. The speaker has three speeds, two of\n\
1004
which are configurable and the third is 'stopped'. Changes between the different\n\
1005
rates is controlled to emulate inertia.\n\
1006
\n\
1007
The net emulation, at least of the preacher algorithm, is reasonable, it is\n\
1008
distinctively a Hammond sound although it does not have quite as much motor\n\
1009
or spindle noise. The Bright button gives a somewhat rawer gearbox. It could do\n\
1010
with a better amplifier emulation for overdrive.\n\
1011
\n\
1012
The damping algorithms is not quite correct, it has dependencies on which keys\n\
1013
are pressed (upper/lower manual). Options drop shadow is taken from the wrong\n\
1014
background bitmap so appears in an inconsistent grey.\n\
1015
\n",
1016
1017
" Vox Continental\n\
1018
---------------\n\
1019
\n\
1020
This emulates the original mark-1 Continental, popular in its time with the\n\
1021
Animals on 'House of the Rising Sun', Doors on 'Light my Fire' and most of\n\
1022
their other tracks. Manzarek did use Gibson later, and even played with the\n\
1023
Hammond on their final album, 'LA Woman' but this organ in part defined\n\
1024
the 60's sound and is still used by retro bands for that fact. The Damned\n\
1025
used it in an early revival where Captain Sensible punched the keyboard\n\
1026
wearing gloves to quite good effect. After that The Specials began the Mod/Ska\n\
1027
revival using one. The sharp and strong harmonic content has the ability to\n\
1028
cut into a mix and make its presence known.\n\
1029
\n\
1030
The organ was a british design, eventually sold (to Crumar?) and made into a\n\
1031
number of plastic alternatives. Compared to the Hammond this was a fully \n\
1032
electronic instrument, no moving parts, and much simpler. It had a very\n\
1033
characteristic sound though, sharper and perhaps thinner but was far cheaper\n\
1034
than its larger cousin. It used a master oscillator that was divided down to\n\
1035
each harmonic for each key (as did the later Hammonds for price reasons). This\n\
1036
oscillator division design was used in the first of the polyphonic synthesisers\n\
1037
where the divided note was fead through individual envelope generators and\n\
1038
a shared or individual filter (Polymoog et al).\n\
1039
\n\
1040
The Vox is also a drawbar instrument, but far simplified compared to the\n\
1041
Hammond. It has 4 harmonic mixes, 16', 8' and 4' drawbars each with eight\n\
1042
positions. The fourth gave a mix of 2 2/3, 2, 1 1/3 and 1 foot pipes.\n\
1043
An additional two drawbars controlled the overall volume and waveforms, one\n\
1044
for the flute or sine waves and another for the reed or ramp waves. The\n\
1045
resulting sound could be soft and warm (flute) or sharp and rich (reed).\n\
1046
\n\
1047
There are two switches on the modulator panel, one for vibrato effect and one\n\
1048
for memories and options. Options give access to an chorus effect rather \n\
1049
than the simple vibrato, but this actually detracts from the qualities of the\n\
1050
sound which are otherwise very true to the original.\n\
1051
\n\
1052
Vox is a trade name owned by Korg Inc. of Japan, and Continental is one of \n\
1053
their registered trademarks. Bristol does not intend to infringe upon these\n\
1054
registered names and Korg have their own remarkable range of vintage emulations\n\
1055
available. You are directed to their website for further information of true\n\
1056
Korg products.\n\
1057
\n",
1058
1059
" Fender Rhodes\n\
1060
-------------\n\
1061
\n\
1062
Again not an instrument that requires much introduction. This emulation is\n\
1063
the DX-7 voiced synth providing a few electric piano effects. The design is \n\
1064
a Mark-1 Stage-73 that the author has, and the emulation is reasonable if not\n\
1065
exceptional. The Rhodes has always been widely used, Pink Floyd on 'Money',\n\
1066
The Doors on 'Riders on the Storm', Carlos Santana on 'She's not There',\n\
1067
everybody else in the 60's.\n\
1068
\n\
1069
The Rhodes piano generated its sound using a full piano action keyboard where\n\
1070
each hammer would hit a 'tine', or metal rod. Next to each rod was a pickup\n\
1071
coil as found on a guitar, and these would be linked together into the output.\n\
1072
The length of each tine defined its frequency and it was tunable using a tight\n\
1073
coiled spring that could be moved along the length of the tine to adjust its\n\
1074
moment. The first one was built mostly out of aircraft parts to amuse injured\n\
1075
pilots during the second world war. The Rhodes company was eventually sold to\n\
1076
Fender and lead to several different versions, the Mark-2 probably being the\n\
1077
most widely acclaimed for its slightly warmer sound.\n\
1078
\n\
1079
There is not much to explain regarding functionality. The emulator has a volume\n\
1080
and bass control, and one switch that reveals the memory buttons and algorithm\n\
1081
selector.\n\
1082
\n\
1083
The Rhodes would improve with the addition of small amounts of either reverb\n\
1084
or chorus, potentially to be implemented in a future release.\n\
1085
\n\
1086
The Rhodes Bass was cobbled together largely for a presentation on Bristol.\n\
1087
It existed and was used be Manzarek when playing with The Doors in\n\
1088
Whiskey-a-GoGo; the owner specified that whilst the music was great they\n\
1089
needed somebody playing the bass. Rather than audition for the part Manzarek\n\
1090
went out and bought a Rhodes Bass and used it for the next couple of years.\n\
1091
\n",
1092
1093
" Sequential Circuits Prophet-10\n\
1094
------------------------------\n\
1095
\n\
1096
The prophet 10 was the troublesome brother of the Pro-5. It is almost two\n\
1097
Prophet-5 in one box, two keyboards and a layering capability. Early models\n\
1098
were not big sellers, they were temperamental and liable to be temperature \n\
1099
sensitive due to the amount of electronics hidden away inside. The original\n\
1100
layering and 'unison' allowed the original to function as two independent\n\
1101
synths, a pair of layered synths (both keyboards then played the same sound),\n\
1102
as a monophonic synth in 'unison' mode on one keybaord with a second polyphonic\n\
1103
unit on the other, or even all 10 voices on a single keyed note for a humongous\n\
1104
20 oscillator monophonic monster.\n\
1105
\n\
1106
Phil Collins used this synth, and plenty of others who might not admit to it.\n\
1107
\n\
1108
The emulator uses the same memories as the Prophet-5, shares the same algorithm,\n\
1109
but starts two synths. Each of the two synths can be seen by selecting the U/D\n\
1110
(Up/Down) button in the programmer section. Each of the two synthesisers loads\n\
1111
one of the Pro-5 memories.\n\
1112
\n\
1113
There was an added parameter - the Pan or balance of the selected layer, used\n\
1114
to build stereo synths. The lower control panel was extended to select the\n\
1115
playing modes:\n\
1116
\n\
1117
Dual: Two independent keyboards\n\
1118
Poly: Play note from each layer alternatively\n\
1119
Layer: Play each layer simultaneously.\n\
1120
\n\
1121
In Poly and Layer mode, each keyboard plays the same sounds.\n\
1122
\n\
1123
Mods: Select which of the Mod and Freq wheels control which layers.\n\
1124
\n",
1125
1126
NULL, /* Mixer */
1127
NULL, /* Sampler */
1128
NULL, /* Bristol */
1129
NULL, /* DDD */
1130
NULL, /* Pro-52 - stuff later */
1131
1132
" Oberheim OB-X\n\
1133
-------------\n\
1134
\n\
1135
Oberheim was the biggest competitor of Sequencial Circuits, having their OB\n\
1136
range neck and neck with each SC Prophet. The sound is as fat, the OB-X \n\
1137
similar to the Prophet-5 as the OB-Xa to the Prophet-10. The synths were widely\n\
1138
used in rock music in the late seventies and early 80s. Their early polyphonic\n\
1139
synthesisers had multiple independent voices linked to the keyboard and were\n\
1140
beast to program as each voice was configured independently, something that\n\
1141
prevented much live usage. The OB-X configured all of the voices with the same\n\
1142
parameters and had non-volatile memories for instant recall.\n\
1143
\n\
1144
Priced at $6000 upwards, this beast was also sold in limited quantities and\n\
1145
as with its competition gained and maintained a massive reputation for rich,\n\
1146
fat sounds. Considering that it only had 21 continuous controllers they were\n\
1147
used wisely to build its distinctive and flexible sound.\n\
1148
\n\
1149
The general design again follows that of the Mini Moog, three oscillators with\n\
1150
one dedicated as an LFO the other two audible. Here there is no mixer though,\n\
1151
the two audible oscillators feed directly into the filter and then the amplifier.\n\
1152
\n\
1153
The richness of the sound came from the oscillator options and filter, the \n\
1154
latter of which is not done justice in the emulator.\n\
1155
\n\
1156
Manual:\n\
1157
\n\
1158
Volume\n\
1159
Auto: autotune the oscillators\n\
1160
Hold: disable note off events\n\
1161
Reset: fast decay to zero for envelopes, disregards release parameter.\n\
1162
Master Tune: up/down one semitone both oscillators.\n\
1163
\n\
1164
Control:\n\
1165
\n\
1166
Glide: up to 30 seconds\n\
1167
Oscillator 2 detune: Up/down one semitone\n\
1168
\n\
1169
Unison: gang all voices to a single 'fat' monophonic synthesiser.\n\
1170
\n\
1171
Modulation:\n\
1172
\n\
1173
LFO: rate of oscillation\n\
1174
Waveform: Sine/Square/Sample&Hold of noise src. Triangle if none selected.\n\
1175
\n\
1176
Depth: Amount of LFO going to:\n\
1177
Freq Osc-1\n\
1178
Freq Osc-2\n\
1179
Filter Cutoff\n\
1180
\n\
1181
PWM: Amount of LFO going to:\n\
1182
PWM Osc-1\n\
1183
PWM Osc-2\n\
1184
\n\
1185
Oscillators:\n\
1186
\n\
1187
Freq1: 32' to 1' in octave increments.\n\
1188
PulseWidth: Width of pulse wave (*).\n\
1189
Freq2: 16' to 1' in semitone increments.\n\
1190
\n\
1191
Saw: sawtooth waveform Osc-1 (**)\n\
1192
Puls: Pulse waveform Osc-1\n\
1193
\n\
1194
XMod: Osc-1 FW to Osc-2 (***)\n\
1195
Sync: Osc-2 sync to Osc-1\n\
1196
\n\
1197
Saw: sawtooth waveform Osc-2\n\
1198
Puls: Pulse waveform Osc-2\n\
1199
\n\
1200
* Although this is a single controller it acts independently on each of the\n\
1201
oscillators - the most recent to have its square wave selected will be\n\
1202
affected by this parameter allowing each oscillator to have a different\n\
1203
pulse width as per the original design.\n\
1204
\n\
1205
** If no waveform is selected then a triangle is generated.\n\
1206
\n\
1207
*** The original synth had Osc-2 crossmodifying Osc-1, this is not totally\n\
1208
feasible with the sync options as they are not mutually exclusive here.\n\
1209
Cross modulation is noisy if the source or dest wave is pulse, something\n\
1210
that may be fixed in a future release.\n\
1211
\n\
1212
Filter:\n\
1213
\n\
1214
Freq: cutoff frequency\n\
1215
Resonance: emphasis (*)\n\
1216
Mod: Amount of modulation to filter cutoff (**)\n\
1217
\n\
1218
Osc-1: Osc-1 to cutoff at full swing.\n\
1219
KDB: Keyboard tracking of cutoff.\n\
1220
\n\
1221
Half/Full: Oscillator 2 to Cutoff at defined levels (***)\n\
1222
Half/Full: Noise to Cutoff at defined levels (***)\n\
1223
\n\
1224
* In contrast to the original, this filter can self oscillate.\n\
1225
\n\
1226
** The original had this parameter for the envelope level only, not the\n\
1227
other modifiers. Due to the filter implementation here it affects total\n\
1228
depth of the sum of the mods.\n\
1229
\n\
1230
*** These are not mutually exclusive. The 'Half' button gives about 1/4,\n\
1231
the 'Full' button full, and both on gives 1/2. They could be made mutually\n\
1232
exclusive, but the same effect can be generated with a little more flexibility\n\
1233
here.\n\
1234
\n\
1235
Envelopes: One each for filter and amplifier.\n\
1236
\n\
1237
Attack\n\
1238
Decay\n\
1239
Sustain\n\
1240
Release\n\
1241
\n\
1242
The oscillators appear rather restricted at first sight, but the parametrics\n\
1243
allow for a very rich and cutting sound.\n\
1244
\n\
1245
Improvements would be a fatter filter, but this can be argued of all the \n\
1246
Bristol synthesisers as they all share the same design. It will be altered in\n\
1247
a future release.\n\
1248
\n\
1249
The OB-X has its own mod panel (most of the rest share the same frequency and\n\
1250
mod controls). Narrow affects the depth of the two controllers, Osc-2 will \n\
1251
make frequency only affect Osc-2 rather than both leading to beating, or phasing\n\
1252
effects if the oscillators are in sync. Transpose will raise the keyboard by\n\
1253
one octave.\n\
1254
\n\
1255
Memories are quite simple, the first group of 8 buttons is a bank, the second\n\
1256
is for 8 memories in that bank. This is rather restricted for a digital synth\n\
1257
but is reasonably true to the original. If you want more than 64 memories let\n\
1258
me know.\n\
1259
\n",
1260
1261
" Oberheim OB-Xa\n\
1262
--------------\n\
1263
\n\
1264
This is almost two OB-X in a single unit. With one keyboard they could provide\n\
1265
the same sounds but with added voicing for split/layers/poly options. The OB-Xa\n\
1266
did at least work with all 10 voices, had a single keyboard, and is renound for\n\
1267
the sounds of van Halen 'Jump' and Stranglers 'Strange Little Girl'. The sound\n\
1268
had the capability to cut through a mix to upstage even guitar solo's. Oberheim\n\
1269
went on to make the most over the top analogue synths before the cut price\n\
1270
alternatives and the age of the DX overcame them.\n\
1271
\n\
1272
Parameters are much the same as the OB-X as the algorithm shares the same code,\n\
1273
with a few changes to the mod routing. The main changes will be in the use of\n\
1274
Poly/Split/Layer controllers for splitting the keyboard and layering the sounds\n\
1275
of the two integrated synthesisers and the choice of filter algorithm.\n\
1276
\n\
1277
The voice controls apply to the layer being viewed, selected from the D/U\n\
1278
button.\n\
1279
\n\
1280
Manual:\n\
1281
\n\
1282
Volume\n\
1283
Balance\n\
1284
Auto: autotune the oscillators\n\
1285
Hold: disable note off\n\
1286
Reset: fast decay to zero for envelopes, disregards release parameter.\n\
1287
Master Tune: up/down one semitone both oscillators.\n\
1288
\n\
1289
Control:\n\
1290
\n\
1291
Glide: up to 30 seconds\n\
1292
Oscillator 2 detune: Up/down one semitone\n\
1293
\n\
1294
Unison: gang all voices to a single 'fat' monophonic synthesiser.\n\
1295
\n\
1296
Modulation:\n\
1297
\n\
1298
LFO: rate of oscillation\n\
1299
Waveform: Sine/Square/Sample&Hold of noise src. Triangle if none selected.\n\
1300
\n\
1301
Depth: Amount of LFO going to:\n\
1302
Freq Osc-1\n\
1303
Freq Osc-2\n\
1304
Filter Cutoff\n\
1305
\n\
1306
PWM: Amount of LFO going to:\n\
1307
PWM Osc-1\n\
1308
PWM Osc-2\n\
1309
Tremelo\n\
1310
\n\
1311
Oscillators:\n\
1312
\n\
1313
Freq1: 32' to 1' in octave increments.\n\
1314
PulseWidth: Width of pulse wave (*).\n\
1315
Freq2: 16' to 1' in semitone increments.\n\
1316
\n\
1317
Saw: sawtooth waveform Osc-1 (**)\n\
1318
Puls: Pulse waveform Osc-1\n\
1319
\n\
1320
Env: Application of Filter env to frequency\n\
1321
Sync: Osc-2 sync to Osc-1\n\
1322
\n\
1323
Saw: sawtooth waveform Osc-2\n\
1324
Puls: Pulse waveform Osc-2\n\
1325
\n\
1326
* Although this is a single controller it acts independently on each of the\n\
1327
oscillators - the most recent to have its square wave selected will be\n\
1328
affected by this parameter allowing each oscillator to have a different\n\
1329
pulse width, as per the original design.\n\
1330
\n\
1331
** If no waveform is selected then a triangle is generated.\n\
1332
\n\
1333
Filter:\n\
1334
\n\
1335
Freq: cutoff frequency\n\
1336
Resonance: emphasis (*)\n\
1337
Mod: Amount of modulation to filter cutoff (**)\n\
1338
\n\
1339
Osc-1: Osc-1 to cutoff at full swing.\n\
1340
KDB: Keyboard tracking of cutoff.\n\
1341
\n\
1342
Half/Full: Oscillator 2 to Cutoff at defined levels (***)\n\
1343
\n\
1344
Noise: to Cutoff at defined levels\n\
1345
4 Pole: Select 2 pole or 4 pole filter\n\
1346
\n\
1347
* In contrast to the original, this filter will self oscillate.\n\
1348
\n\
1349
** The original had this parameter for the envelope level only, not the\n\
1350
other modifiers. Due to the filter implementation here it affects total\n\
1351
depth of the sum of the mods.\n\
1352
\n\
1353
*** These are not mutually exclusive. The 'Half' button gives about 1/4,\n\
1354
the 'Full' button full, and both on gives 1/2. They could be made mutually\n\
1355
exclusive, but the same effect can be generated with a little more flexibility\n\
1356
here.\n\
1357
\n\
1358
Envelopes: One each for filter and amplifier.\n\
1359
\n\
1360
Attack\n\
1361
Decay\n\
1362
Sustain\n\
1363
Release\n\
1364
\n\
1365
Mode selection:\n\
1366
\n\
1367
Poly: play one key from each layer alternatively for 10 voices\n\
1368
Split: Split the keyboard. The next keypress specifies split point\n\
1369
Layer: Layer each voice on top each other.\n\
1370
\n\
1371
D/U: Select upper and lower layers for editing.\n\
1372
\n\
1373
Modifier Panel:\n\
1374
\n\
1375
Rate: Second LFO frequency or Arpeggiator rate (*)\n\
1376
Depth: Second LFO gain\n\
1377
Low: Modifiers will affect the lower layer\n\
1378
Up: Modifiers will affect the upper layer\n\
1379
Multi: Each voice will implement its own LFO\n\
1380
Copy: Copy lower layer to upper layer\n\
1381
\n\
1382
Mod 01: Modify Osc-1 in given layer\n\
1383
Mod 02: Modify Osc-2 in given layer\n\
1384
PW: Modify Pulse Width\n\
1385
AMT: Amount (ie, depth) of mods and freq wheels\n\
1386
\n\
1387
Transpose: Up or Down one octave.\n\
1388
\n\
1389
The Arpeggiator code integrated into release 0.20.4 has three main parts, the\n\
1390
arpeggiator itself, the arpeggiating sequencer and the chording. All are \n\
1391
configured from the left of the main panel.\n\
1392
\n\
1393
The arpeggiator is governed by the rate control that governs how the code\n\
1394
steps through the available keys, an octave selector for 1, 2 or 3 octaves\n\
1395
of arpeggiation, and finally the Up/Down/Up+Down keys - the last ones start\n\
1396
the arpeggiator. Arpeggiation will only affect the lower layer.\n\
1397
\n\
1398
When it has been started you press keys on the keyboard (master controller\n\
1399
or GUI) and the code will step through each note and octaves of each note \n\
1400
in the order they were pressed and according to the direction buttons. The\n\
1401
key settings are currently reset when you change the direction and you will\n\
1402
have to press the notes again.\n\
1403
\n\
1404
The sequencer is a modification of the code. Select the Seq button and then \n\
1405
a direction. The GUI will program the engine with a series of notes (that can\n\
1406
be redefined) and the GUI will sequence them, also only into the lower layer.\n\
1407
The sequence will only start when you press a key on the keyboard, this is \n\
1408
the starting point for the sequence. You can press multiple notes to have \n\
1409
them sequence in unison. Once started you can tweak parameters to control\n\
1410
the sound and memory 88 when loaded has the filter envelope closed down, a\n\
1411
bit of glide and some heavy mods to give you a starting point for some serious\n\
1412
fun.\n\
1413
\n\
1414
To reprogram the sequence steps you should stop the sequencer, press the PRG\n\
1415
button, then the Sequence button: enter the notes you want to use one by one\n\
1416
on the keyboard. When finished press the sequence button again, it goes out.\n\
1417
Now enable it again - select Seq and a direction and press a note. Press two\n\
1418
notes.\n\
1419
\n\
1420
When you save the memory the OBXa will also save the sequence however there\n\
1421
is only one sequence memory - that can be changed if you want to have a sequence\n\
1422
memory per voice memory (implemented in 0.20.4).\n\
1423
\n\
1424
The chord memory is similar to the Unison mode except that Unison plays all\n\
1425
voices with the same note. Chording will assign one voice to each notes in\n\
1426
the chord for a richer sound. To enable Chording press the 'Hold' button. This\n\
1427
is not the same as the original since it used the hold button as a sustain\n\
1428
option however that does not function well with a Gui and so it was reused.\n\
1429
\n\
1430
To reprogram the Chord memory do the following: press the PRG button then the\n\
1431
Hold button. You can then press the keys, up to 8, that you want in the chord,\n\
1432
and finally hit the Hold button again. The default chord is just two notes, \n\
1433
the one you press plus its octave higher. This results in multiple voices\n\
1434
per keypress (a total of 3 in Layered mode) and with suitable detune will \n\
1435
give a very rich sound.\n\
1436
\n\
1437
There is only one arpeggiator saved for all the memories, not one per memory\n\
1438
as with some of the other implementations. Mail me if you want that changed.\n\
1439
\n\
1440
\n\
1441
\n\
1442
The oscillators appear rather restricted at first sight, but the parametrics\n\
1443
allow for a very rich and cutting sound.\n\
1444
\n\
1445
The Copy function on the Mod Panel is to make Poly programming easier - generate the desired sound and then copy the complete parameter set for poly operation. \n\
1446
It can also be used more subtly, as the copy operation does not affect balance\n\
1447
or detune, so sounds can be copied and immediately panned slightly out of tune to generate natural width in a patch. This is not per the original instrument\n\
1448
that had an arpeggiator on the mod panel.\n\
1449
\n\
1450
The Arpeggiator was first integrated into the OBXa in release 0.20.4 but not\n\
1451
widely tested.\n\
1452
\n",
1453
1454
NULL, /* Rhodes Bass */
1455
1456
" KORG MONOPOLY\n\
1457
-------------\n\
1458
\n\
1459
A synth suite would not be complete without some example of a Korg instrument,\n\
1460
the company was also pivotal in the early synthesiser developments. This is\n\
1461
an implementation of their early attempts at polyphonic synthesis, it was\n\
1462
either this one or the Poly-6 (which may be implemented later). Other choices\n\
1463
would have been the MS series, MS-20, but there are other synth packages that\n\
1464
do a better job of emulating the patching flexibility of that synth - Bristol\n\
1465
is more for fixed configurations.\n\
1466
\n\
1467
As with many of the Korg synths (the 800 worked similarly) this is not really\n\
1468
true polyphony, and it is the quirks that make it interesting. The synth had\n\
1469
four audio oscillators, each independently configurable but which are bussed\n\
1470
into a common filter and envelope pair - these are not per voice but rather\n\
1471
per instrument. The unit had different operating modes such that the four\n\
1472
oscillators can be driven together for a phat synth, independently for a form\n\
1473
of polyphony where each is allocated to a different keypress, and a shared\n\
1474
mode where they are assigned in groups depending on the number of keys pressed.\n\
1475
For example, if only 2 notes are held then each key is sounded on two different\n\
1476
oscillators, one key is sounded on all 4 oscillators, and 3 or more have one\n\
1477
each. In addition there are two LFOs for modulation and a basic effects option\n\
1478
for beefing up the sounds. To be honest to the original synth, this emulation\n\
1479
will only request 1 voice from the engine. Korg is one of the few original\n\
1480
manufacturers to have survived the transition to digital synthesis and are\n\
1481
still popular.\n\
1482
\n\
1483
One thing that is immediately visible with this synth is that there are a lot\n\
1484
of controllers since each oscillator is configured independently. This is in\n\
1485
contrast to the true polyphonic synths where one set of controls are given to\n\
1486
configure all the oscillators/filters/envelopes. The synth stages do follow the\n\
1487
typical synth design, there are modulation controllers and an FX section\n\
1488
feeding into the oscillators and filter. The effects section is a set of\n\
1489
controllers that can be configured and then enabled/disabled with a button\n\
1490
press. The overall layout is rather kludgy, with some controllers that are\n\
1491
typically grouped being dispersed over the control panel.\n\
1492
\n\
1493
Control:\n\
1494
\n\
1495
Volume\n\
1496
\n\
1497
Arpeg:\n\
1498
Whether arpegiator steps up, down, or down then up. This works in\n\
1499
conjunction with the 'Hold' mode described later.\n\
1500
\n\
1501
Glide: glissando note to note. Does not operate in all modes\n\
1502
\n\
1503
Octave: Up/Normal/Down one octave transpose of keyboard\n\
1504
\n\
1505
Tune: Global tuning of all oscillators +/- 50 cents (*)\n\
1506
Detune: Overall detuning of all oscillators +/- 50 cents (*)\n\
1507
\n\
1508
* There is an abundance of 'Tune' controllers. Global Tuning affects all\n\
1509
the oscillators together, then oscillators 2, 3 and 4 have an independent\n\
1510
tune controller, and finally there is 'Detune'. The target was to tune all\n\
1511
the oscillators to Osc-1 using the independent Tune for each, and then use\n\
1512
the global Tune here to have the synth tuned to other instruments. The\n\
1513
Detune control can then be applied to introduce some beating between the\n\
1514
oscillators to fatten the sound without necessarily losing overall tune of\n\
1515
the instrument.\n\
1516
\n\
1517
Modulation wheels:\n\
1518
\n\
1519
Bend:\n\
1520
Intensity: Depth of modulation\n\
1521
Destination:\n\
1522
VCF - Filter cutoff\n\
1523
Pitch - Frequency of all oscillators\n\
1524
VCO - Frequency of selected oscillators (FX selection below).\n\
1525
\n\
1526
MG1: Mod Group 1 (LFO)\n\
1527
Intensity: Depth of modulation\n\
1528
Destination:\n\
1529
VCF - Filter cutoff\n\
1530
Pitch - Frequency of all oscillators\n\
1531
VCO - Frequency of selected oscillators (FX selection below).\n\
1532
\n\
1533
LFO:\n\
1534
\n\
1535
MG-1:\n\
1536
Frequency\n\
1537
Waveform - Tri, +ve ramp, -ve ramp, square.\n\
1538
\n\
1539
MG-2:\n\
1540
Frequency (Triangle wave only).\n\
1541
\n\
1542
Pulse Width Control:\n\
1543
\n\
1544
Pulse Width Modulation:\n\
1545
Source - Env/MG-1/MG-2\n\
1546
Depth\n\
1547
\n\
1548
Pule Width\n\
1549
Width control\n\
1550
\n\
1551
These controllers affect Osc-1 though 4 with they are selected for either\n\
1552
square of pulse waveforms.\n\
1553
\n\
1554
Mode:\n\
1555
\n\
1556
The Mono/Poly had 3 operating modes, plus a 'Hold' option that affects \n\
1557
each mode:\n\
1558
\n\
1559
Mono: All oscillators sound same key in unison\n\
1560
Poly: Each oscillator is assigned independent key - 4 note poly.\n\
1561
Share: Dynamic assignment:\n\
1562
1 key - 4 oscillators = Mono mode\n\
1563
2 key - 2 oscillators per key\n\
1564
3/4 - 1 oscillator per key = Poly mode\n\
1565
\n\
1566
The Hold function operates in 3 different modes:\n\
1567
\n\
1568
Mono: First 4 keypresses are memorised, further notes are then chorded\n\
1569
together monophonically.\n\
1570
Poly:\n\
1571
Notes are argeggiated in sequence, new note presses are appended\n\
1572
to the chain. Arpeggiation is up, down or up/down.\n\
1573
Share:\n\
1574
First 4 notes are memorised and are then argeggiated in sequence,\n\
1575
new note presses will transpose the arpeggiation. Stepping is up,\n\
1576
down or up/down.\n\
1577
\n\
1578
There are several controllers that affect arpeggation:\n\
1579
\n\
1580
Arpeg - direction of stepping\n\
1581
MG-2 - Frequency of steps from about 10 seconds down to 50 bps.\n\
1582
Trigger - Multiple will trigger envelopes on each step.\n\
1583
\n\
1584
Effects:\n\
1585
\n\
1586
There are three main effects, or perhaps rather modulations, that are\n\
1587
controlled in this section. These are vibrato, crossmodulated frequency\n\
1588
and oscillator synchronisation. The application of each mod is configured\n\
1589
with the controllers and then all of them can be enabled/disabled with\n\
1590
the 'Effects' button. This allows for big differences in sound to be \n\
1591
applied quickly and simply as a typical effect would be. Since these mods\n\
1592
apply between oscillators it was envisaged they would be applied in Mono\n\
1593
mode to further fatten the sound, and the Mono mode is actually enabled when\n\
1594
the Effects key is selected (as per the original instrument). The Mode can\n\
1595
be changed afterwards for Effects/Poly for example, and they work with the\n\
1596
arpeggiation function.\n\
1597
\n\
1598
X-Mod: frequency crossmodulation between oscillators\n\
1599
Freq: frequency modulation by MG-1 (vibrato) or Envlope (sweep)\n\
1600
\n\
1601
Mode:\n\
1602
Syn: Oscillators are synchronised\n\
1603
X-M: Oscillators are crossmodulated\n\
1604
S-X: Oscillators are crossmodulated and synchronised\n\
1605
\n\
1606
SNG:\n\
1607
Single mode: synth had a master oscillator (1) and three slaves (2/3/4)\n\
1608
DBL:\n\
1609
Double mode: synth had two master (1/3) and two slaves (2/4)\n\
1610
\n\
1611
The overall FX routing depends on the SNG/DBL mode and the selection of\n\
1612
Effects enabled or not according to the table below. This table affects \n\
1613
the FX routing and the modulation wheels discussed in the LFO section above:\n\
1614
\n\
1615
--------------------------------------------------\n\
1616
| FX OFF | FX ON |\n\
1617
| |----------------------------------\n\
1618
| | Single | Double |\n\
1619
---------------+--------------+-----------------+---------------|\n\
1620
| VCO-1/Slave | VCO-1 | VCO 2/3/4 | VCO 2/4 |\n\
1621
| | | | |\n\
1622
| Pitch | VCO 1-4 | VCO 1-4 | VCO 1-4 |\n\
1623
| | | | |\n\
1624
| VCF | VCF | VCF | VCF |\n\
1625
-----------------------------------------------------------------\n\
1626
\n\
1627
So, glad that is clear. Application of the modulation wheels to Pitch and\n\
1628
VCF is invariable when they are selected. In contrast, VCO/Slave will have\n\
1629
different destinations depending on the Effects, ie, when effects are on\n\
1630
the modwheels will affect different 'slave' oscillators.\n\
1631
\n\
1632
\n\
1633
Oscillators:\n\
1634
\n\
1635
Each oscillator had the following controllers:\n\
1636
\n\
1637
Tune (*)\n\
1638
Waveform: Triangle, ramp, pulse, square (**)\n\
1639
Octave: Transpose 16' to 2'\n\
1640
Level: output gain/mix of oscillators.\n\
1641
\n\
1642
* Osc-1 tuning is global\n\
1643
** width of pulse and square wave is governed by PW controller. The\n\
1644
modulation of the pulse waveform is then also controlled by PWM.\n\
1645
\n\
1646
Noise:\n\
1647
\n\
1648
Level: white noise output gain, mixed with oscillators into filter.\n\
1649
\n\
1650
VCF:\n\
1651
\n\
1652
Freq:\n\
1653
Cutoff frequency\n\
1654
\n\
1655
Res:\n\
1656
Resonance/emphasis.\n\
1657
\n\
1658
Env:\n\
1659
Amount of contour applied to cutoff\n\
1660
\n\
1661
KBD:\n\
1662
Amount of key tracking applied.\n\
1663
\n\
1664
ADSR: Two: filter/PWM/FX, amplifier\n\
1665
\n\
1666
Attack\n\
1667
Decay\n\
1668
Sustain\n\
1669
Release\n\
1670
\n\
1671
Trigger:\n\
1672
Single: Trigger once until last key release\n\
1673
Multi: Trigger for each key or arpeggiator step.\n\
1674
\n\
1675
Damp:\n\
1676
Off: Notes are held in Poly/Share mode until last key is released.\n\
1677
On: Oscillators are released as keys are released.\n\
1678
\n\
1679
This is more a synth to play with than describe. It never managed to be a true\n\
1680
blue synth perhaps largely due to its unusual design: the quasi-poly mode was\n\
1681
never widely accepted, and the effects routing is very strange. This does make\n\
1682
it a synth to be tweaked though.\n\
1683
\n\
1684
Some of the mod routings do not conform to the original specification for the\n\
1685
different Slave modes. This is the first and probably the only bristol synth that\n\
1686
will have an inbuilt arpeggiator. The feature was possible here due to the mono\n\
1687
synth specification, and whilst it could be built into the MIDI library for\n\
1688
general use it is left up to the MIDI sequencers (that largely came along to \n\
1689
replace the 1980s arpeggiators anyway) that are generally availlable on Linux.\n\
1690
[Other instruments emulated by bristol that also included arpeggiation but do\n\
1691
not have in the emulation were the Juno-6, Prophet-10, Oberheim OB-Xa, Poly6].\n\
1692
\n\
1693
As of May 06 this synth was in its final stages of development. There are a few\n\
1694
issues with Tune and Detune that need to be fixed, and some of the poly key\n\
1695
assignment may be wrong.\n\
1696
\n",
1697
1698
" KORG POLY 6\n\
1699
-----------\n\
1700
\n\
1701
Korg in no way endorses this emulation of their classic synthesiser and have\n\
1702
their own emulation product that gives the features offered here. Korg,\n\
1703
Mono/Poly, Poly-6, MS-20, Vox and Continental are all registered names or\n\
1704
trademarks of Korg Inc of Japan.\n\
1705
\n\
1706
Quite a few liberties were taken with this synth. There were extremely few \n\
1707
differences between the original and the Roland Juno 6, they both had one osc \n\
1708
with PWM and a suboscillator, one filter and envelope, a chorus effect, and \n\
1709
inevitably both competed for the same market space for their given price. To \n\
1710
differentiate this algorithm some alterations were made. There are two separate\n\
1711
envelopes rather than just one, but the option to have a gated amplifier is \n\
1712
still there. In addition glide and noise were added, both of which were not in \n\
1713
the original instrument. With respect to the original instrument this was \n\
1714
perhaps not a wise move, but there seemed little point in making another Juno \n\
1715
with a different layout. The net results is that the two synths do sound quite \n\
1716
different. The emulation does not have an arpeggiator. \n\
1717
\n\
1718
Volume: Master volume of the instrument \n\
1719
\n\
1720
Glide: length of portamento \n\
1721
\n\
1722
Tune: Master tuning of instrument \n\
1723
\n\
1724
Bend: Amount of pitch wheel that is applied to the oscillators frequency. \n\
1725
\n\
1726
\n\
1727
VCO section: \n\
1728
\n\
1729
Octave: What octave the instrument's keyboard is in. \n\
1730
\n\
1731
Wave: Waveform selection: Triangle, Saw, Pulse and Pulsewidth \n\
1732
\n\
1733
PW PWM: Amount of Pulsewidth (when Pulse is selected) and Pulsewidth\n\
1734
Modulation (When Pulsewidth is selected). \n\
1735
\n\
1736
Freq: Frequency of PW/PWM \n\
1737
\n\
1738
OFF/SUB1/SUB2; Adds a square sub-oscillator either off, 1 or 2 octaves\n\
1739
down from a note. \n\
1740
\n\
1741
MG (Modulation Group): \n\
1742
\n\
1743
Freq: Frequency of LFO \n\
1744
\n\
1745
Delay: Amount of time before the LFO affects the destination when a key\n\
1746
is pressed. \n\
1747
Level: How strongly the LFO affects the destination \n\
1748
\n\
1749
VCO/VCF/VCA: Destinations that the LFO can go to: \n\
1750
\n\
1751
VCO: The Voltage Controlled Oscillator:\n\
1752
Affects oscillator pitch, producing vibrato \n\
1753
\n\
1754
VCF: The Voltage Controlled Filter:\n\
1755
Affects Filter, producing a wah effect \n\
1756
\n\
1757
VCA: The Voltage Controlled Amplifier:\n\
1758
Affects the Amplifier, producing tremolo \n\
1759
\n\
1760
VCF section: \n\
1761
\n\
1762
Freq: Cut off frequency of the filter \n\
1763
\n\
1764
Res: Resonance of the filter \n\
1765
\n\
1766
Env: By how much the filter is affected by the envelope. \n\
1767
\n\
1768
Kbd: How much Keyboard tracking is applied to the envelope. note:\n\
1769
\n\
1770
A low setting doesn't allow the filter to open, making the notes\n\
1771
seem darker the further you go up the keyboard. \n\
1772
\n\
1773
Hold: prevent key off events \n\
1774
\n\
1775
Mono Mode: Gang all voices to a single 'fat' monophonic synthesiser. \n\
1776
\n\
1777
Poly: One voice per note. \n\
1778
\n\
1779
Envelope Section: \n\
1780
\n\
1781
Top: \n\
1782
\n\
1783
Filter envelope: \n\
1784
\n\
1785
Attack: Amount of time it takes the filter to fully open.\n\
1786
A high value can produce a 'sweeping filter' effect. \n\
1787
Decay: Amount of time it takes for the filter to close to\n\
1788
the sustain level \n\
1789
Sustain: Amount of filter that is sustained when a key is held \n\
1790
\n\
1791
Release: Amount of time it takes for the filter envelope to stop\n\
1792
affecting the filter. Combining a low filter release with a\n\
1793
high amplitude release time can cause an interesting effect. \n\
1794
\n\
1795
Bottom: \n\
1796
\n\
1797
Amplitude envelope: \n\
1798
\n\
1799
Attack: Amount of time it takes for the signal to reach its peak. \n\
1800
\n\
1801
Decay: Amount of time it takes for the signal to drop to the\n\
1802
sustain level \n\
1803
Sustain: How quickly the sound decays to silence. \n\
1804
\n\
1805
Release: How long it takes the sound to decay to silence after\n\
1806
releasing a key. \n\
1807
\n\
1808
VCA: \n\
1809
\n\
1810
Env: When on, this causes the Amplitude envelope to affect the sound.\n\
1811
I.E, If you have a long attack time, you get a long attack time. \n\
1812
Gate: When on, this causes the Amplitude envelope only (not the filter\n\
1813
envelope) to be be bypassed. \n\
1814
Gain: Gain of signal. \n\
1815
\n\
1816
Effects Section: \n\
1817
\n\
1818
0: No effects \n\
1819
1: Soft Chorus \n\
1820
2: Phaser \n\
1821
3: Ensemble \n\
1822
\n\
1823
Intensity: How much the effects affect the output. \n\
1824
\n\
1825
There are some mildly anomolous effects possible from the MG section, especially\n\
1826
with the VCA. The MG and the env are summed into the VCA which means if the env\n\
1827
decays to zero then the LFO may end up pumping the volume, something that may\n\
1828
be unexpected. Similarly, if the LFO is pumping and the voice finally stops its\n\
1829
cycle then the closing gate may cause a pop on the MG signal. These can be \n\
1830
resolved however the current behavious is probably close to the original.\n\
1831
\n\
1832
Bristol thanks Andrew Coughlan for patches, bug reports, this manual page and\n\
1833
diverse suggestions to help improve the application.\n\
1834
\n\
1835
Korg in no way endorses this emulation of their classic synthesiser and have \n\
1836
their own emulation product that gives the features offered here. Korg, \n\
1837
Mono/Poly, Poly-6, MS-20, Vox and Continental are all registered names or \n\
1838
trademarks of Korg Inc of Japan.\n\
1839
\n",
1840
1841
" ARP AXXE\n\
1842
--------\n\
1843
\n\
1844
TBD\n\
1845
\n\
1846
At the risk of getting flamed, this is potentially the ugliest synth ever made,\n\
1847
although the competition is strong. It was implemented as a build up to the far\n\
1848
more useful ARP 2600 to understand the ARP components and their implementation.\n\
1849
\n\
1850
The implementation is a giveaway written during a week long business trip to \n\
1851
Athens to keep me busy in the hotel. Its design lead on to the Odyssey and that\n\
1852
was the step towards the final big brother, the ARP 2600.\n\
1853
\n",
1854
1855
" ARP ODYSSEY\n\
1856
-----------\n\
1857
\n\
1858
Ring modulation is correct here, it is a multiplier. This deviates from the\n\
1859
original instrument that used an XOR function on the pulsewave outputs of the\n\
1860
two oscillators. The implementation has two models, Mark-I and Mark-II. These\n\
1861
implement different filters as per the original. Although their characteristics\n\
1862
are different it is not suggested they are a particularly close emulation of\n\
1863
the original.\n\
1864
\n\
1865
TBD\n\
1866
\n",
1867
1868
" Memory Moog\n\
1869
-----------\n\
1870
\n\
1871
TBD.\n\
1872
\n\
1873
This is actually a lot warmer than the Mini emulator, largely due to being\n\
1874
later code. The mini should be revisited but I am saving that pleasure for when\n\
1875
some more filters are available. [This was done during the 0.20 stream using the\n\
1876
Houvilainen filters and bandwidth limited oscillators to produce a far richer\n\
1877
sound. Also incorporate a number of fixes to the emulation stages.].\n\
1878
\n",
1879
1880
" ARP 2600\n\
1881
--------\n\
1882
\n\
1883
This synth will probably never get a writeup, it is kind of beyond the scope of\n\
1884
this document. There are some discrepancies with the original:\n\
1885
\n\
1886
The filters do not self oscillate, they require an input signal. The output\n\
1887
stage is global to all voices so cannot be patched back into the signal path.\n\
1888
The original did not have a chorus, only a spring reverb. The input stage has\n\
1889
not been tested for either signal nor envelope following code. The voltage\n\
1890
manipulators were not in the first bristol upload with this emulation (-60), \n\
1891
but a future release will include mixing inverters, a lag processor, and\n\
1892
possibly also a Hz->V extractor. The unit has an extra LFO where the original\n\
1893
had just a clock trigger circuit, it produces a TRI wave, can be used to\n\
1894
trigger the AR envelope and be used for modulation. The electroswitch is\n\
1895
unidirectional, two inputs switchable to one output. The sample and hold \n\
1896
circuit cannot accept an external clock. The Keyboard inputs to the VCO cannot\n\
1897
accept and alternative signal other than the MIDI note with tracking of this \n\
1898
note either enabled or disabled.\n\
1899
\n\
1900
The rest works, ie, all the VCO/VCF/VCA/ENV/AMP and any of the 30 or so outputs\n\
1901
can be repatched into any of the 50 or so inputs. Patches cause no overhead in\n\
1902
the engine as it uses default buffering when not repatched, so feel free to put\n\
1903
in as many cables as you can fit. Patches in the GUI still demand a lot of CPU\n\
1904
cycles. Release -77 improved this about 5-fold and further improvements are in\n\
1905
the pipeline: the 0.10 stream implemented color caching and XImage graphics\n\
1906
interface which massively improved GUI performance.\n\
1907
\n",
1908
1909
NULL, /* SAKs */
1910
NULL, /* MS-20 */
1911
NULL, /* Solina */
1912
NULL, /* RoadRunner */
1913
NULL, /* Granular */
1914
1915
" REALISTIC MG-1 CONCERTMATE\n\
1916
--------------------------\n\
1917
\n\
1918
This is a pimpy little synth. It was sold through the Realistic electronics \n\
1919
chain, also known as Radio Shack (and as Tandy, in the UK at least). It was\n\
1920
relatively cheap but had a design from Moog Music (from after Robert Moog\n\
1921
had left?) including the patented ladder filter. It consisted of a monophonic\n\
1922
synth, dual oscillator, lfo, noise, filter, env, and a ring modulator. On top\n\
1923
of that there was an organ circuit to give 'polyphony'. It was not really\n\
1924
polyphonic although different descriptions will tell you it had 10 voices. \n\
1925
These write-ups are by people who probably only had 10 fingers, the truth is\n\
1926
that the organ circuit was as per any other - it had a master oscillator at\n\
1927
about 2MHz and this was divided using binary counters to deliver a frequency\n\
1928
for every note. The output of the 'poly' section was lamentable at best, it is\n\
1929
a fairly pure square wave passed through the filter and contour. This is fully\n\
1930
emulated although in addition to the contour bristol implements a per note\n\
1931
envelope just to groom the note - this prevents ticks when new keys are pressed\n\
1932
with the mono envelope fully open. There is no access to this env, it just has\n\
1933
fast attack and decay times to smooth the signal and is preconfigured by the\n\
1934
user interface on startup.\n\
1935
\n\
1936
The mono section is reasonably fun, the oscillators can be synchronised and\n\
1937
there is a ring modulator so the range of sounds is quite wide. The emulator\n\
1938
uses a chaimberlain filter so is not as warm as the Moog ladder filters.\n\
1939
\n\
1940
The list of people who used this is really quite amazing. The promotion for\n\
1941
the product had Elton John holding one up in the air, although seeing as he\n\
1942
probably already had every other synth known to man, holding it up in the\n\
1943
air is likely to be all he ever did with it. Who knows how much they had to\n\
1944
pay him to do it - the photo was nice though, from the days when Elton was\n\
1945
still bald and wearing ridiculously oversized specs.\n\
1946
\n\
1947
Tuning:\n\
1948
\n\
1949
One control each for the poly oscillator and mono oscillators\n\
1950
\n\
1951
Glide:\n\
1952
\n\
1953
Only affects the monophonic oscillators.\n\
1954
\n\
1955
Modulation:\n\
1956
\n\
1957
One LFO with rate and waveshape selection\n\
1958
produces tri, square and S/H signals.\n\
1959
can trigger the envelope\n\
1960
One noise source.\n\
1961
The modulation can be directed to:\n\
1962
Oscillators for vibrato\n\
1963
Filter for wah-wah effects\n\
1964
\n\
1965
Oscillator-1:\n\
1966
\n\
1967
Tri or square wave\n\
1968
Octave from -2 to 0 transposition\n\
1969
Sync selector (synchronises Osc-2 to Osc-1)\n\
1970
\n\
1971
Oscillator-2:\n\
1972
\n\
1973
Tri or pulse wave\n\
1974
Detune. This interoperates with the sync setting to alter harmonics\n\
1975
Octave from -1 to +1 transposition\n\
1976
\n\
1977
Contour: This is not an ADSR, rather an AR envelope\n\
1978
\n\
1979
Sustain: AR or ASR envelope selector.\n\
1980
Tracking: controls mono oscillators\n\
1981
Envelope control\n\
1982
Key tracking (gate, no env)\n\
1983
Continuous (always on)\n\
1984
Rise (attack time)\n\
1985
Fall (release time)\n\
1986
\n\
1987
Filter:\n\
1988
\n\
1989
Cutoff frequency\n\
1990
Emphasis\n\
1991
Contour depth\n\
1992
Keyboard tracking off, 1/2, full.\n\
1993
\n\
1994
Mixer: Levels for\n\
1995
Mono Osc-1\n\
1996
Mono Osc-2\n\
1997
Noise\n\
1998
RingMod of the mono oscillators (called 'bell').\n\
1999
Poly Osc level.\n\
2000
\n\
2001
Master Volume control.\n\
2002
\n\
2003
One extra button was added to save the current settings. For the rest the \n\
2004
controls reflect the simplicity of the original. The implementation is a single\n\
2005
synth, however due to the engine architecture having a pre-operational routine,\n\
2006
a post-operational routine and an operate(polyphonic emulator) the emulation\n\
2007
executes the mono synth in the pre- and post- ops to be mono, these are called\n\
2008
just once per cycle. The poly synth is executed in the operate() code so is \n\
2009
polyphonic. This leads to one minor deviation from the original routing in\n\
2010
that if you select continuous tone controls then you will also hear one note\n\
2011
from the poly section. This is a minor issue as the poly oscillator can be\n\
2012
zeroed out in the mixer.\n\
2013
\n\
2014
It is noted here that this emulation is just a freebie, the interface is kept\n\
2015
simple with no midi channel selection (start it with the -channel option and\n\
2016
it stays there) and no real memories (start it with the -load option and it\n\
2017
will stay on that memory location). There is an extra button on the front\n\
2018
panel (a mod?) and pressing it will save the current settings for next time\n\
2019
it is started. I could have done more, and will if people are interested, but\n\
2020
I built it since the current developments were a granular synth and it was\n\
2021
hard work getting my head around the grain/wave manipulations, so to give \n\
2022
myself a rest I put this together one weekend. The Rhodesbass and ARP AXXE\n\
2023
were done for similar reasons. I considered adding another mod button, to make\n\
2024
the mono section also truly polyphonic but that kind of detracts from the\n\
2025
original. Perhaps I should put together a Polymoog sometime that did kind of\n\
2026
work like that anyway.\n\
2027
\n\
2028
This was perhaps a strange choice, however I like the way it highlights the\n\
2029
difference between monophonic, polyphonic and 'neopolyphonic' synthesised\n\
2030
organs (such as the polymoog). Its a fun synth as well, few people are likely\n\
2031
to every bother buying one as they cost more now than when they were produced\n\
2032
due to being collectable: for the few hundred dollars they would set you back\n\
2033
on eBay you can get a respectable polyphonic unit.\n\
2034
So here is an emulator, for free, for those who want to see how they worked.\n\
2035
\n",
2036
2037
" Vox Continental 300\n\
2038
-------------------\n\
2039
\n\
2040
There is an additional emulator for the later Mark-II, Super, 300 or whatever\n\
2041
model you want to call it. This is probably closest to the 300. It was a \n\
2042
dual manual organ, the lower manual is a Continental and the upper manual had\n\
2043
a different drawbar configuration, using 8', 4' and 2', another two compound\n\
2044
drawbars that represented 5-1/3'+1-3/5', and 2-2/3'+2'+1' respectively. This\n\
2045
gave upper manual a wider tonic range, plus it had the ability to apply some\n\
2046
percussive controls to two of the drawbars. Now, depending on model, some of \n\
2047
these values could be different and bristol does not emulate all the different\n\
2048
combinations, it uses the harmonics described above and applies percussive to\n\
2049
the 2' and 5-1/3' harmonics (which is arguably incorrect however it gives\n\
2050
a wider combination of percussive harmonics).\n\
2051
\n\
2052
The percussive has 4 controls, these are selectors for the harmonics that will\n\
2053
be driven through the percussive decay (and then no longer respond to the \n\
2054
drawbars), a decay rate called 'L' which acts as a Longer decay when selected,\n\
2055
and a volume selector called 'S' which stands for Soft. The variables are \n\
2056
adjustable in the mods section. The mods panel is intended to be hidden as\n\
2057
they are just variable parameters. On the original units these were PCB mounted\n\
2058
pots that were not generally accessible either. The panel is visible when you\n\
2059
turn the power control off, not that I suppress the keyboard or anything when\n\
2060
the power is off, but it gave me something useful do to with this button. The\n\
2061
transparency layer is fixed here and is used to apply some drop shadow and a\n\
2062
few beer spills on the cover.\n\
2063
\n\
2064
There is an additional Bass section for those who bought the optional Bass\n\
2065
pedals (my old one had them). The emulation allow the selection of Flute and\n\
2066
Reed strengths, and to select 8' or 8'/16' harmonics. The 'Sustain' control\n\
2067
does not currently operate (0.10.9) but that can be fixed if people request\n\
2068
the feature.\n\
2069
\n\
2070
The lower manual responds to the MIDI channel on which the emulation was \n\
2071
started. The upper manual responds to notes greater than MIDI key 48 on the\n\
2072
next channel up. The Bass section also responds to this second channel on keys\n\
2073
lower than #48. Once started you cannot change the midi channel - use the \n\
2074
'-channel' option at startup to select the one you want. The actual available\n\
2075
max is 15 and that is enforced.\n\
2076
\n\
2077
The emulation only contains 6 available presets and a 'Save' button that you \n\
2078
need to double click to overwrite any preset. The emulation actually uses \n\
2079
banks, so if you started it with '-load 23' it would start up by selecting\n\
2080
bank 20, and load memory #3 from that bank. Any saved memories are also then\n\
2081
written back to bank 20, still with just 6 memories accessible 20-25. You can\n\
2082
access more via MIDI bank select and program change operations if suitably\n\
2083
linked up.\n\
2084
\n\
2085
Vox is a trade name owned by Korg Inc. of Japan, and Continental is one of \n\
2086
their registered trademarks. Bristol does not intend to infringe upon these\n\
2087
registered names and Korg have their own remarkable range of vintage emulations\n\
2088
available. You are directed to their website for further information of true\n\
2089
Korg products.\n\
2090
\n",
2091
2092
" Roland Jupiter 8\n\
2093
----------------\n\
2094
\n\
2095
This emulator is anticipated in 0.20.4.\n\
2096
\n\
2097
The Jupiter synthesizers were the bigger brothers of the Juno series: their\n\
2098
capabilities, sounds and prices were all considerably larger. This is the\n\
2099
larger of the series, the others being the -4 and -6. The -6 and the rack\n\
2100
mounted MKS-80 both came out after the Jupiter-8 and had somewhat more flexible\n\
2101
features. Several of these have been incorporated into the emulation and that\n\
2102
is documented below.\n\
2103
\n\
2104
A quick rundown of the synth and emulation:\n\
2105
\n\
2106
The synth runs as two layers, each of which is an independent emulator running\n\
2107
the same algorithm, both layers are controlled from the single GUI. The layers\n\
2108
are started with a set of voices, effectively 4+4 per default however bristol\n\
2109
plays with those numbers to give the split/layer at 4 voices each and the 'All'\n\
2110
configuration with 8 voices - it juggles them around depending on the Poly \n\
2111
mode you select. You can request a different number of voices and the emulator \n\
2112
will effectively allocate half the number to each layer. If you request 32\n\
2113
voices you will end up with 4+4 though since 32 is interpreted as the default.\n\
2114
\n\
2115
The Poly section is used to select between Dual layers, Split keyboard and the\n\
2116
8voice 'All' mode. You can redefine the split point with a double click on the\n\
2117
'Split' button and then pressing a key. If you have linked the GUI up to the\n\
2118
MIDI you should be able to press a key on your master keyboard rather than on\n\
2119
the GUI.\n\
2120
\n\
2121
After that you can select the layer as upper or lower to review the parameter \n\
2122
settings of each layer: they are as follows:\n\
2123
\n\
2124
LFO:\n\
2125
Frequency\n\
2126
Delay\n\
2127
Waveform (tri, saw, square, s&h)\n\
2128
\n\
2129
VCO Mods:\n\
2130
LFO and ENV-1\n\
2131
Destination to modulate frequency of DCO1, DCO2 or both.\n\
2132
\n\
2133
PWM:\n\
2134
PW\n\
2135
PWM\n\
2136
Modified by Env-1 or LFO\n\
2137
\n\
2138
DCO-1:\n\
2139
Crossmod (FM) from DCO2 to DCO1\n\
2140
Modified by Env-1\n\
2141
\n\
2142
Octave range 16' to 2' (all mixable)\n\
2143
Waveform: Tri, saw, pulse, square (all mixable)\n\
2144
\n\
2145
DCO-2:\n\
2146
Sync (1->2 or 2->1 or off)\n\
2147
Range: 32' to 2' (all mixable)\n\
2148
Tuning\n\
2149
Waveform: tri, saw, pulse, noise (all mixable)\n\
2150
\n\
2151
Mix:\n\
2152
Osc 1 and Osc 2\n\
2153
\n\
2154
HPF:\n\
2155
High pass filter of signal\n\
2156
\n\
2157
Filter:\n\
2158
Cutoff\n\
2159
Emphasis\n\
2160
LPF/BPF/HPF\n\
2161
Env modulation\n\
2162
Source from Env-1 or Env-2\n\
2163
LFO mod amount\n\
2164
Keyboard tracking amount\n\
2165
\n\
2166
VCA:\n\
2167
Env-2 modulation\n\
2168
LFO modulation\n\
2169
\n\
2170
ADSR-1:\n\
2171
A/D/S/R\n\
2172
Keyboard tracking amount\n\
2173
Invert\n\
2174
\n\
2175
ADSR-2:\n\
2176
A/D/S/R\n\
2177
Keyboard tracking amount\n\
2178
\n\
2179
Pan:\n\
2180
Stereo panning of layer\n\
2181
\n\
2182
All of the above 40 or so parameters are part of the layer emulation and are\n\
2183
separately configurable.\n\
2184
\n\
2185
The keyboard can operate in several different modes which are selectable from\n\
2186
the Poly and Keyboard mode sections. The first main one is Dual, Split and All.\n\
2187
Dual configure the two synth layers to be placed on top of each other. Split\n\
2188
configures them to be next to each other and by double clicking the split\n\
2189
button you can then enter a new split point by pressing a key. The All setting\n\
2190
gives you a single layer with all 8 voices active. These settings are for the\n\
2191
whole synth.\n\
2192
\n\
2193
The Poly section provides different playing modes for each layer independently.\n\
2194
There are 3 settings: Solo give the layer access to a single voice for playing\n\
2195
lead solos. Unison give the layer however many voices it is allowed (8 if in \n\
2196
the All mode, 4 otherwise) and stacks them all on top of each other. This is\n\
2197
similar to Solo but with multiple voices layered onto each other. Unison is \n\
2198
good for fat lead sounds, Solo better for mono bass lines where Unison might\n\
2199
have produced unwanted low frequency signal phasing. The third option is Poly\n\
2200
mode 1 where the synth allocates a single voice to each key you press. The\n\
2201
original also had Poly mode 2 which was not available at the first bristol\n\
2202
release - this mode would apply as many notes as available to the keys you\n\
2203
pressed: 1 key = 8 voices as in Unison, with 2 keys pressed each would get 4\n\
2204
voices each, 4 keys pressed would get 2 voices and mixtures in there for other\n\
2205
key combinations. This may be implemented in a future release but it is a\n\
2206
rather left field option and would have to be put into the MIDI library that\n\
2207
controls the voice assignments.\n\
2208
\n\
2209
The arpeggiator integrated into bristol is a general design and will differ\n\
2210
from the original. The default settings are 4 buttons controlling the range\n\
2211
of the arpeggiation, from 1 to 4 octaves, 4 buttons controlling the mode as\n\
2212
Up, Down, Up+Down or Random sequencing of the notes available, and 4 notes\n\
2213
that are preloaded into the sequence.\n\
2214
\n\
2215
Finally there are two global controls that are outside of the memories - the\n\
2216
rate and clock source (however externally driven MTC has not been implemented\n\
2217
yet). It is noted that the Arpeggiator settings are separate from the sequence\n\
2218
information, ie, Up/Down/Rnd, the range and the arpeggiator clock are not the\n\
2219
same as the note memory, this is discussed further in the memory setting\n\
2220
section below.\n\
2221
\n\
2222
It is possible to redefine the arpeggiator sequence: select the function \n\
2223
button on the right hand side, then select any of the arpeggiator mode buttons,\n\
2224
this will initiate the recording. It does not matter which of the mode is\n\
2225
selected since they will all start the recording sequence. When you have\n\
2226
finished then select the mode button again (you may want to clear the function\n\
2227
key if still active). You can record up to 256 steps, either from the GUI\n\
2228
keyboard or from a master controller and the notes are saved into a midi\n\
2229
key memory.\n\
2230
\n\
2231
There is no capability to edit the sequences once they have been entered, that\n\
2232
level of control is left up to separate MIDI sequencers for which there are\n\
2233
many available on Linux. Also, the note memory is actually volatile and will\n\
2234
be lost when the emulation exits. If you want to save the settings then you\n\
2235
have to enter them from the GUI keyboard or make sure that the GUI is linked\n\
2236
up to the master keyboard MIDI interface - you need to be able to see the\n\
2237
GUI keyboard following the notes pressed on the master keyboard since only\n\
2238
when the GUI sees the notes can it store them for later recall. If the GUI\n\
2239
did view the sequence entered here then it will be saved with the patch in\n\
2240
a separate file (so that it can be used with other bristol synths).\n\
2241
\n\
2242
In addition to the Arpeggiator there is the 'Chord' control. The original\n\
2243
synth had two green panel buttons labelled 'Hold', they were actually similar\n\
2244
to the sustain pedal on a MIDI keyboard or piano, with one for each layer of\n\
2245
the synth. They have been redefined here as Chord memory. When activated the\n\
2246
layer will play a chord of notes for every key press. The notes are taken from\n\
2247
separate chord memory in the Arpeggiator sequencer. The result is very similar\n\
2248
to the Unison mode where every voice is activated for a single key, the\n\
2249
difference here is that every voice may be playing a different note to give\n\
2250
phat chords. To configure a chord you enable the function key and the target\n\
2251
Hold button to put the synth into chord learning mode, play a set of notes\n\
2252
(you don't have to hold them down), and click again to finalise the chord.\n\
2253
If there are more chord notes than voices available then all voices will\n\
2254
activate. If there are more voices than notes then you will be able to play\n\
2255
these chord polyphonically, for example, if you have 8 voices and entered\n\
2256
just 4 chorded notes then you will have 2 note polyphony left. You should\n\
2257
also be able to play arpeggiations of chords. The maximum number of notes\n\
2258
in a chord is 8.\n\
2259
\n\
2260
The synth has a modifier panel which functions as performance options which \n\
2261
can be applied selectively to different layers:\n\
2262
\n\
2263
Bender:\n\
2264
This is the depth of the settings and is mapped by the engine to\n\
2265
continuous controller 1 - the 'Mod' wheel. The emulation also tracks\n\
2266
the pitch wheel separately.\n\
2267
\n\
2268
Bend to VCO\n\
2269
This applies an amount of pitch bend from the Mod wheel selectively\n\
2270
to either VCO-1 and/or VCO-2. These settings only affect the Mod\n\
2271
layers selected from the main panel. Subtle modifications applied in\n\
2272
different amounts to each oscillator can widen the sound considerable\n\
2273
by introducing small amounts of oscillator phasing.\n\
2274
\n\
2275
Bend to VCF\n\
2276
Affects the depth of cutoff to the filter with on/off available. Again\n\
2277
only applies to layers activate with the Mod setting.\n\
2278
\n\
2279
LFO to VCO:\n\
2280
The mod panel has a second global LFO producing a sine wave. This can\n\
2281
be driven in selectable amounts to both VCO simultaneously. Layers are\n\
2282
selected from the Mod buttons.\n\
2283
\n\
2284
LFO to VCF:\n\
2285
The LFO can be driven in selectable amounts to both VCO or to the VCF.\n\
2286
Layers are selected from the Mod buttons.\n\
2287
\n\
2288
Delay:\n\
2289
This is the rise time of the LFO from the first note pressed. There is\n\
2290
no apparent frequency control of the second LFO however bristol allows\n\
2291
the frequency and gain of the LFO to track velocity using function B4\n\
2292
(see below for function settings). Since there is only one LFO per\n\
2293
emulation then the velocity tracking can be misleading as it only \n\
2294
tracks from a single voice and may not track the last note. For this\n\
2295
reason it can be disabled. Using a tracking from something like channel\n\
2296
pressure is for future study.\n\
2297
\n\
2298
Glide:\n\
2299
Glissando between key frequencies, selectable to be either just to the\n\
2300
upper layer, off, or to both layers.\n\
2301
\n\
2302
Transpose:\n\
2303
There are two transpose switches for the lower and upper layers \n\
2304
respectively. The range is +/1 one octave.\n\
2305
\n\
2306
Modifier panel settings are saved in the synth memories and are loaded with\n\
2307
the first memory (ie, with dual loaded memories discussed below). The ability\n\
2308
to save these settings in memory is an MKS-80 feature that was not available\n\
2309
in either the Jupiter-6 or -8.\n\
2310
\n\
2311
There are several parts to the synth memories. Layer parameters govern sound\n\
2312
generation, synth parameters that govern operating modes such Dual/Split,\n\
2313
Solo/Unison etc, Function settings that modify internal operations, the\n\
2314
parameters for the mod panel and finally the Arpeggiator sequences. These\n\
2315
sequences are actually separate from the arpeggiator settings however that\n\
2316
was covered in the notes above.\n\
2317
\n\
2318
When a patch is loaded then only the layer parameters are activated so that the\n\
2319
new sound can be played, and the settings are only for the selected layer. This\n\
2320
means any chord or arpeggiation can be tried with the new voice active.\n\
2321
\n\
2322
When a memory is 'dual loaded' by a double click on the Load button then all\n\
2323
the memory settings will be read and activated: the current layer settings,\n\
2324
synth settings, operational parameters including the peer layer parameters\n\
2325
for dual/split configurations. Dual loading of the second layer will only \n\
2326
happen if the memory was saved as a split/double with a peer layer active.\n\
2327
\n\
2328
The emulation adds several recognised Jupiter-6 capabilities that were not a\n\
2329
part of the Jupiter-8 product. These are\n\
2330
\n\
2331
1. PW setting as well as PWM\n\
2332
2. Cross modulation can be amplified with envelope-1 for FM type sounds\n\
2333
3. Sync can be set in either direction (DCO1 to 2 or DCO2 to 1)\n\
2334
4. The waveforms for DCO 1&2 are not exclusive but mixable\n\
2335
5. The LFO to VCA is a continuous controller rather than stepped\n\
2336
6. The envelope keyboard tracking is continuous rather than on/off\n\
2337
7. The filter option is multimode LP/BP/HP rather than 12/24dB\n\
2338
8. Layer detune is configurable\n\
2339
9. Layer transpose switches are available\n\
2340
10. Arpeggiator is configurable on both layers\n\
2341
\n\
2342
Beyond these recognised mods it is also possible to select any/all DCO\n\
2343
transpositions which further fattens up the sound as it allows for more\n\
2344
harmonics. There is some added detune between the waveforms with its depth\n\
2345
being a function of the -detune setting. Separate Pan and Balance controls\n\
2346
have been implemented, Pan is the stereo positioning and is configurable per\n\
2347
layer. Balance is the relative gain between each of the layers.\n\
2348
\n\
2349
There are several options that can be configured from the 'f' button\n\
2350
in the MIDI section. When you push the f(n) button then the patch and bank\n\
2351
buttons will not select memory locations but display the on/off status of 16\n\
2352
algorithmic changes to the emulation. Values are saved in the synth memories.\n\
2353
These are bristol specific modifications and may change between releases unless\n\
2354
otherwise documented.\n\
2355
\n\
2356
F(n):\n\
2357
\n\
2358
f(p1): Env-1 retriggers \n\
2359
f(p2): Env-1 conditionals\n\
2360
f(p3): Env-1 attack sensitivity\n\
2361
f(p4): Env-2 retriggers\n\
2362
f(p5): Env-2 conditionals\n\
2363
f(p6): Env-2 attack sensitivity\n\
2364
f(p7): Noise per voice/layer\n\
2365
f(p8): Noise white/pink\n\
2366
\n\
2367
f(b1): LFO-1 per voice/layer\n\
2368
f(b2): LFO-1 Sync to Note ON\n\
2369
f(b3): LFO-1 velocity tracking\n\
2370
f(b4): Arpeggiator retrigger\n\
2371
f(b5): LFO-2 velocity tracking\n\
2372
f(b6): NRP enable\n\
2373
f(b7): Debug MIDI\n\
2374
f(b8): Debug GUI controllers\n\
2375
\n\
2376
The same function key also enables the learning function of the arpeggiator \n\
2377
and chord memory, as explained above. When using the arpeggiator you may want\n\
2378
to test with f(b4) enabled, it will give better control of the filter envelope.\n\
2379
\n\
2380
\n\
2381
Other differences to the original are the Hold keys on the front panel. These\n\
2382
acted as sustain pedals however for the emulation that does not function very\n\
2383
well. With the original the buttons were readily available whilst playing and\n\
2384
could be used manually, something that does not work well with a GUI and a\n\
2385
mouse. For this reason they were re-used for 'Unison Chording' discussed above.\n\
2386
Implementing them as sustain pedals would have been an easier if less flexible\n\
2387
option and users are advised that the bristol MIDI library does recognise the\n\
2388
sustain controller as the logical alternative here.\n\
2389
\n\
2390
Another difference would be the quality of the sound. The emulation is a lot\n\
2391
cleaner and not as phat as the original. You might say it sounds more like\n\
2392
something that comes from Uranus rather than Jupiter and consideration was\n\
2393
indeed given to a tongue in cheek renaming of the emulation..... The author is\n\
2394
allowed this criticism as he wrote the application - as ever, if you want the\n\
2395
original sound then buy the original synth (or get Rolands own emulation?).\n\
2396
\n\
2397
A few notes are required on oscillator sync since by default it will seem to \n\
2398
be quite noisy. The original could only product a single waveform at a single\n\
2399
frequency at any one time. Several emulators, including this one, use a bitone\n\
2400
oscillator which generates complex waveforms. The Bristol Bitone can generate\n\
2401
up to 4 waveforms simultaneously at different levels for 5 different harmonics\n\
2402
and the consequent output is very rich, the waves can be slightly detuned, \n\
2403
the pulse output can be PW modulated. As with all the bristol oscillators that\n\
2404
support sync, the sync pulse is extracted as a postive leading zero crossing.\n\
2405
Unfortunately if the complex bitone output is used as input to sync another\n\
2406
oscillator then the result is far too many zero crossings to extract a good\n\
2407
sync. For the time being you will have to simplify the sync source to get a\n\
2408
good synchronised output which itself may be complex wave. A future release\n\
2409
will add a sync signal from the bitone which will be a single harmonic at the\n\
2410
base frequency and allow both syncing and synchronised waveform outputs to be\n\
2411
arbitrary.\n\
2412
\n",
2413
2414
" CRUMAR BIT-1, BIT-99, BIT-100\n\
2415
-----------------------------\n\
2416
\n\
2417
I was considering the implementation of the Korg-800, a synth I used to borrow\n\
2418
without having due respect for it - it was a late low cost analogue having \n\
2419
just one filter for all the notes and using the mildly annoying data entry\n\
2420
buttons and parameter selectors. Having only one filter meant that with key\n\
2421
tracking enabled the filter would open up as different keys were pressed,\n\
2422
wildly changing the sound of active notes. Anyway, whilst considering how to\n\
2423
implement the entry keys (and having features like the mouse tracking the\n\
2424
selectors of the parameter graphics) I was reminded of this synthesizer. It\n\
2425
was developed by Crumar but released under the name 'Bit' as the Crumar name\n\
2426
was associated with cheesy roadrunner electric pianos at the time (also\n\
2427
emulated by Bristol). This came out at the same time as the DX-7 but for\n\
2428
half the price, and having the split and layer facilities won it several awards\n\
2429
that would otherwise have gone to the incredibly innovative DX. However with\n\
2430
the different Crumar models being released as the digital era began they kind\n\
2431
of fell between the crack. It has some very nice mod features though, it was\n\
2432
fun to emulate and hopefully enjoyable to play with.\n\
2433
\n\
2434
As a side note, the Korg Poly-800 is now also emulated by bristol\n\
2435
\n\
2436
A quick rundown of the Bit features are below. The different emulated models\n\
2437
have slightly different default parameter values and/or no access to change\n\
2438
them:\n\
2439
\n\
2440
Two DCO with mixed waveforms.\n\
2441
VCF with envelope\n\
2442
VCA with envelope\n\
2443
Two LFO able to mod all other components, controlled by the wheel and key\n\
2444
velocity, single waveform, one had ramp and the other sawtooth options.\n\
2445
\n\
2446
The envelopes were touch sensitive for gain but also for attack giving plenty \n\
2447
of expressive capabilities. The bristol envelope, when configured for velocity\n\
2448
sensitive parameters (other than just gain) will also affect the attack rate.\n\
2449
\n\
2450
The front panel had a graphic that displayed all the available parameters and\n\
2451
to change then you had to select the \"Address\" entry point then use the up/down\n\
2452
entry buttons to change its value. Bristol uses this with the addition that the\n\
2453
mouse can click on a parameter to start entering modifications to it.\n\
2454
\n\
2455
The emulation includes the 'Compare' and 'Park' features although they are a\n\
2456
little annoying without a control surface. They work like this (not quite the\n\
2457
same as the original): When you select a parameter and change it's value then\n\
2458
the changes are not actually made to the active program, they just change the\n\
2459
current sounds. The Compare button can be used to flip between the last loaded\n\
2460
value and the current modified one to allow you to see if you prefer the sound\n\
2461
before or after the modification.\n\
2462
\n\
2463
If you do prefer the changes then to keep them you must \"Park\" them into the\n\
2464
running program before saving the memory. At the time of writing the emulation\n\
2465
emulated the double click to park&write a memory, however it also has an actual\n\
2466
Save button since 'Save to Tape' is not a feature here. You can use park and\n\
2467
compare over dual loaded voices: unlike the original, which could only support\n\
2468
editing of sounds when not in split/double, this emulation allows you to edit\n\
2469
both layers by selecting the upper/lower entry buttons and then using the\n\
2470
sensitive panel controls to select the addressed parameters. This is not the\n\
2471
default behaviour, you first have to edit address 102 and increment it. Then,\n\
2472
each layer can be simultaneously edited and just needs to be parked and saved\n\
2473
separately. The Park/Compare cache can be disabled by editing parameter DE 101,\n\
2474
changes are then made to the synth memory and not the cache.\n\
2475
\n\
2476
The memories are organised differently to the original. It had 99 memories, and\n\
2477
the ones from 75 and above were for Split and Layered memories. Bristol can \n\
2478
have all memories as Split or Layer. When you save a memory it is written to\n\
2479
memory with a 'peer' program locator. When you load it with a single push on \n\
2480
the Load button it returns to the active program, but if you double click then\n\
2481
its 'peer' program is loaded into the other layer: press Load once to get the\n\
2482
first program entered, then press it again - the Split/Layer will be set to\n\
2483
the value from the first program and the second layer will be loaded. This \n\
2484
naturally requires that the first memory was saved with Split/Layer enabled.\n\
2485
It is advised (however not required) that this dual loading is done from the\n\
2486
lower layer. This sequence will allow the lower layer to configure certain\n\
2487
global options that the upper layer will not overwrite, for example the layer\n\
2488
volumes will be select from the lower layer when the upper layer is dual \n\
2489
loaded.\n\
2490
\n\
2491
For MIDI program change then since this quirky interface cannot be emulated\n\
2492
then the memories above 75 will be dual loaded, the rest will be single loaded.\n\
2493
\n\
2494
Bristol will also emulate a bit-99 and a Bit-99m2 that includes some parameter\n\
2495
on the front panel that were not available on the original. The engine uses the\n\
2496
exact same algorithm for all emulations but the GUI presents different sets of\n\
2497
parameters on the front panel. Those that are not displayed can only be accessed\n\
2498
from the data entry buttons. The -99m2 put in a few extra features (ie, took a\n\
2499
few liberties) that were not in the original:\n\
2500
\n\
2501
DCO adds PWM from the LFO, not in the original\n\
2502
DCO-2 adds Sync to DCO-1, also not in the original\n\
2503
DCO-2 adds FM from DCO-1\n\
2504
DCO add PWM from Envelope\n\
2505
Glide has been added\n\
2506
DCO harmonics are not necessarily exclusive\n\
2507
Various envelope option for LFO\n\
2508
S&H LFO modulation\n\
2509
\n\
2510
The reason these were added was that bristol could already do them so were\n\
2511
quite easy to incorporate, and at least gave two slightly different emulations.\n\
2512
\n\
2513
The oscillators can work slightly differently as well. Since this is a purely\n\
2514
digital emulations then the filters are a bit weak. This is slightly compensated\n\
2515
by the ability to configure more complex DCO. The transpose selectors (32', 16',\n\
2516
8' and 2') were exclusive in the original. That is true here also, however if\n\
2517
controllers 84 and 85 are set to zero then they can all work together to fatten\n\
2518
out the sound. Also, the controllers look like boolean however that is only the\n\
2519
case if the data entry buttons are used, if you change the value with the data\n\
2520
entry pot then they act more like continuous drawbars, a nice effect however \n\
2521
the display will not show the actual value as the display remains boolean, you\n\
2522
have to use your ear. The square wave is exclusive and will typically only \n\
2523
function on the most recently selected (ie, typically highest) harmonic.\n\
2524
\n\
2525
The same continuous control is also available on the waveform selectors. You\n\
2526
can mix the waveform as per the original however the apparent boolean selectors\n\
2527
are again continuous from 0.0 to 1.0. The net result is that the oscillators \n\
2528
are quite Voxy having the ability to mix various harmonic levels of different\n\
2529
mixable waveforms.\n\
2530
\n\
2531
The stereo mode should be correctly implemented too. The synth was not really\n\
2532
stereo, it had two outputs - one for each layer. As bristol is stereo then each\n\
2533
layer is allocated to the left or right channel. In dual or split they came\n\
2534
out separate feeds if Stereo was selected. This has the rather strange side\n\
2535
effect of single mode with 6 voices. If stereo is not selected then you have\n\
2536
a mono synth. If stereo is selected then voices will exit from a totally \n\
2537
arbitrary output depending on which voices is allocated to each note.\n\
2538
In contrast to the original the Stereo parameter is saved with the memory and\n\
2539
if you dual load a split/layer it is taken from the first loaded memory only.\n\
2540
The implementation actually uses two different stereo mixes selectable with the\n\
2541
Stereo button: Mono is a centre pan of the signal and Stereo pans hardleft and\n\
2542
hardright respectively. These mixes can be changed with parameters 110 to 117\n\
2543
using extended data entry documented below.\n\
2544
\n\
2545
The default emulation takes 6 voices for unison and applies 3+3 for the split\n\
2546
and double modes. You can request more, for example if you used '-voices 16'\n\
2547
at startup then you would be given 8+8. As a slight anomaly you cant request 32\n\
2548
voices - this is currently interpreted as the default and gives you 3+3.\n\
2549
\n\
2550
The bit-1 did not have the Stereo control - the controller presented is the\n\
2551
Unison button. You can configure stereo from the extended data entry ID 110 and\n\
2552
111 which give the LR channel panning for 'Mono' setting, it should default to\n\
2553
hard left and right panning. Similarly the -99 emulations do not have a Unison\n\
2554
button, the capability is available from DE 80.\n\
2555
\n\
2556
The memories for the bit-1 and bit-99 should be interchangable however the\n\
2557
code maintains separate directories.\n\
2558
\n\
2559
There are three slightly different Bit GUI's. The first is the bit-1 with a \n\
2560
limited parameter set as it only had 64 parameters. The second is the bit-99\n\
2561
that included midi and split options in the GUI and has the white design that\n\
2562
was an offered by Crumar. The third is a slightly homogenous design that is \n\
2563
specific to bristol, similar to the black panelled bit99 but with a couple of\n\
2564
extra parameters. All the emulations have the same parameters, some require you\n\
2565
use the data entry controls to access them. This is the same as the original, \n\
2566
there were diverse parameters that were not in memories that needed to be\n\
2567
entered manually every time you wanted the feature. The Bristol Bit-99m2 has\n\
2568
about all of the parameters selectable from the front panel however all of the\n\
2569
emulations use the same memories so it is not required to configure them at\n\
2570
startup (ie, they are saved). The emulation recognises the following parameters:\n\
2571
\n\
2572
Data Entry 1 LFO-1 triangle wave selector (exclusive switch)\n\
2573
Data Entry 2 LFO-1 ramp wave selector (exclusive switch)\n\
2574
Data Entry 3 LFO-1 square wave selector (exclusive switch)\n\
2575
Data Entry 4 LFO-1 route to DCO-1\n\
2576
Data Entry 5 LFO-1 route to DCO-2\n\
2577
Data Entry 6 LFO-1 route to VCF\n\
2578
Data Entry 7 LFO-1 route to VCA\n\
2579
Data Entry 8 LFO-1 delay\n\
2580
Data Entry 9 LFO-1 frequency\n\
2581
Data Entry 10 LFO-1 velocity to frequency sensitivity\n\
2582
Data Entry 11 LFO-1 gain\n\
2583
Data Entry 12 LFO-1 wheel to gain sensitivity\n\
2584
\n\
2585
Data Entry 13 VCF envelope Attack\n\
2586
Data Entry 14 VCF envelope Decay\n\
2587
Data Entry 15 VCF envelope Sustain\n\
2588
Data Entry 16 VCF envelope Release\n\
2589
Data Entry 17 VCF velocity to attack sensitivity (and decay/release) \n\
2590
Data Entry 18 VCF keyboard tracking\n\
2591
Data Entry 19 VCF cutoff\n\
2592
Data Entry 20 VCF resonance\n\
2593
Data Entry 21 VCF envelope amount\n\
2594
Data Entry 22 VCF velocity to gain sensitivity\n\
2595
Data Entry 23 VCF envelope invert\n\
2596
\n\
2597
Data Entry 24 DCO-1 32' harmonic\n\
2598
Data Entry 25 DCO-1 16' harmonic\n\
2599
Data Entry 26 DCO-1 8' harmonic\n\
2600
Data Entry 27 DCO-1 4' harmonic\n\
2601
Data Entry 28 DCO-1 Triangle wave\n\
2602
Data Entry 29 DCO-1 Ramp wave\n\
2603
Data Entry 30 DCO-1 Pulse wave\n\
2604
Data Entry 31 DCO-1 Frequency 24 semitones\n\
2605
Data Entry 32 DCO-1 Pulse width\n\
2606
Data Entry 33 DCO-1 Velocity PWM\n\
2607
Data Entry 34 DCO-1 Noise level\n\
2608
\n\
2609
Data Entry 35 DCO-2 32' harmonic\n\
2610
Data Entry 36 DCO-2 16' harmonic\n\
2611
Data Entry 37 DCO-2 8' harmonic\n\
2612
Data Entry 38 DCO-2 4' harmonic\n\
2613
Data Entry 39 DCO-2 Triangle wave\n\
2614
Data Entry 40 DCO-2 Ramp wave\n\
2615
Data Entry 41 DCO-2 Pulse wave\n\
2616
Data Entry 42 DCO-2 Frequency 24 semitones\n\
2617
Data Entry 43 DCO-2 Pulse width\n\
2618
Data Entry 44 DCO-2 Env to pulse width\n\
2619
Data Entry 45 DCO-2 Detune\n\
2620
\n\
2621
Data Entry 46 VCA velocity to attack sensitivity (and decay/release) \n\
2622
Data Entry 47 VCA velocity to gain sensitivity\n\
2623
Data Entry 48 VCA overall gain ADSR\n\
2624
Data Entry 49 VCA Attack\n\
2625
Data Entry 50 VCA Decay\n\
2626
Data Entry 51 VCA Sustain\n\
2627
Data Entry 52 VCA Release\n\
2628
\n\
2629
Data Entry 53 LFO-2 triangle wave selector (exclusive switch)\n\
2630
Data Entry 54 LFO-2 saw wave selector (exclusive switch)\n\
2631
Data Entry 55 LFO-2 square wave selector (exclusive switch)\n\
2632
Data Entry 56 LFO-2 route to DCO-1\n\
2633
Data Entry 57 LFO-2 route to DCO-2\n\
2634
Data Entry 58 LFO-2 route to VCF\n\
2635
Data Entry 59 LFO-2 route to VCA\n\
2636
Data Entry 60 LFO-2 delay\n\
2637
Data Entry 61 LFO-2 frequency\n\
2638
Data Entry 62 LFO-2 velocity to frequency sensitivity\n\
2639
Data Entry 63 LFO-2 gain\n\
2640
Data Entry 12 LFO-2 wheel to gain sensitivity\n\
2641
\n\
2642
Data Entry 64 Split\n\
2643
Data Entry 65 Upper layer transpose\n\
2644
Data Entry 66 Lower Layer gain\n\
2645
Data Entry 67 Upper Layer gain\n\
2646
\n\
2647
The following were visible in the Bit-99 graphics only:\n\
2648
\n\
2649
Data Entry 68 MIDI Mod wheel depth\n\
2650
Data Entry 69 MIDI Velocity curve (0 = soft, 10=linear, 25 = hard)\n\
2651
Data Entry 70 MIDI Enable Debug\n\
2652
Data Entry 71 MIDI Enable Program Change\n\
2653
Data Entry 72 MIDI Enable OMNI Mode\n\
2654
Data Entry 73 MIDI Receive channel\n\
2655
\n\
2656
Data Entry 74 MIDI Mem Search Upwards\n\
2657
Data Entry 75 MIDI Mem Search Downwards\n\
2658
Data Entry 76 MIDI Panic (all notes off)\n\
2659
\n\
2660
Most of the MIDI options are not as per the original. This is because they are\n\
2661
implemented in the bristol MIDI library and not the emulation.\n\
2662
\n\
2663
The following were added which were not really part of the Bit specifications\n\
2664
so are only visible on the front panel of the bit100. For the other emulations\n\
2665
they are accessible from the address entry buttons.\n\
2666
\n\
2667
Data Entry 77 DCO-1->DCO-2 FM\n\
2668
Data Entry 78 DCO-2 Sync to DCO-1\n\
2669
Data Entry 79 Keyboard glide\n\
2670
Data Entry 80 Unison\n\
2671
\n\
2672
Data Entry 81 LFO-1 SH\n\
2673
Data Entry 82 LFO-1 PWM routing for DCO-1\n\
2674
Data Entry 83 LFO-1 PWM routing for DCO-2\n\
2675
Data Entry 84 LFO-1 wheel tracking frequency\n\
2676
Data Entry 85 LFO-1 velocity tracking gain\n\
2677
Data Entry 86 LFO-1 per layer or per voice\n\
2678
\n\
2679
Data Entry 87 LFO-2 SH\n\
2680
Data Entry 88 LFO-2 PWM routing for DCO-1\n\
2681
Data Entry 89 LFO-2 PWM routing for DCO-2\n\
2682
Data Entry 90 LFO-2 wheel tracking frequency\n\
2683
Data Entry 91 LFO-2 velocity tracking gain\n\
2684
Data Entry 92 LFO-2 per layer or per voice\n\
2685
\n\
2686
Data Entry 93 ENV-1 PWM routing for DCO-1\n\
2687
Data Entry 94 ENV-1 PWM routing for DCO-2\n\
2688
\n\
2689
Data Entry 95 DCO-1 restricted harmonics\n\
2690
Data Entry 96 DCO-2 restricted harmonics\n\
2691
\n\
2692
Data Entry 97 VCF Filter type\n\
2693
Data Entry 98 DCO-1 Mix\n\
2694
\n\
2695
Data Entry 99 Noise per layer\n\
2696
\n\
2697
Data Entry 00 Extended data entry (above 99)\n\
2698
\n\
2699
Extended data entry is for all parameters above number 99. Since the displays\n\
2700
only have 2 digits it is not totally straightforward to enter these values and\n\
2701
they are only available in Single mode, not dual or split - strangely similar\n\
2702
to the original specification for editing memories. These are only activated for\n\
2703
the lower layer loaded memory, not for dual loaded secondaries or upper layer\n\
2704
loaded memories. You can edit the upper layer voices but they will be saved with\n\
2705
their original extended parameters. This may seem correct however it is possible\n\
2706
to edit an upper layer voice, save it, and have it sound different when next\n\
2707
loaded since the extended parameters were taken from a different lower layer.\n\
2708
This is kind of intentional but if in doubt then only ever dual load voices from\n\
2709
the lower layer and edit them in single mode (not split or layer). Per default\n\
2710
the emulation, as per the original, will not allow voice editing in Split or\n\
2711
Layer modes however it can be enabled with DE 102.\n\
2712
\n\
2713
All the Bit emulations recognise extended parameters. They are somewhat in a\n\
2714
disorganised list as they were built in as things developed. For the most part\n\
2715
they should not be needed.\n\
2716
The Bit-100 includes some in its silkscreen, for the others you can access them\n\
2717
as follows:\n\
2718
\n\
2719
1. deselect split or double\n\
2720
2. select addr entry\n\
2721
3. use 0..9 buttons to enter address 00\n\
2722
4. increment value to '1'. Last display should show EE (Extended Entry)\n\
2723
\n\
2724
5. select last two digits of desired address with 0-9 buttons\n\
2725
6. change value (preferably with pot).\n\
2726
\n\
2727
7. when finished, select address 00 again (this is now actually 100) to exit\n\
2728
\n\
2729
Data Entry 100 Exit extended data entry\n\
2730
Data Entry 101 enable WriteThru scratchpad (disables park and compare)\n\
2731
Data Entry 102 enable layer edits on Split/Double memories.\n\
2732
Data Entry 103 LFO-1 Sync to note on\n\
2733
Data Entry 104 LFO-2 Sync to note on\n\
2734
Data Entry 105 ENV-1 zero retrigger\n\
2735
Data Entry 106 ENV-2 zero retrigger\n\
2736
Data Entry 107 LFO-1 zero retrigger\n\
2737
Data Entry 108 LFO-2 zero retrigger\n\
2738
Data Entry 109 Debug enable (0 == none, 5 == persistent)\n\
2739
\n\
2740
Data Entry 110 Left channel Mono gain, Lower\n\
2741
Data Entry 111 Right channel Mono gain, Lower\n\
2742
Data Entry 112 Left channel Stereo gain, Lower\n\
2743
Data Entry 113 Right channel Stereo gain, Lower\n\
2744
Data Entry 114 Left channel Mono gain, Upper\n\
2745
Data Entry 115 Right channel Mono gain, Upper\n\
2746
Data Entry 116 Left channel Stereo gain, Upper\n\
2747
Data Entry 117 Right channel Stereo gain, Upper\n\
2748
Data Entry 118 Bit-100 flag\n\
2749
Data Entry 119 Temperature sensitivity\n\
2750
\n\
2751
Data Entry 120 MIDI Channel tracking layer-2 (same/different channel)\n\
2752
Data Entry 121 MIDI Split point tracking layer-2 (same/different split)\n\
2753
Data Entry 122 MIDI Transpose tracking (layer-2 or both layers) N/A\n\
2754
Data Entry 123 MIDI NRP enable\n\
2755
\n\
2756
Data Entry 130 Free Memory Search Up\n\
2757
Data Entry 131 Free Memory Search Down\n\
2758
Data Entry 132 ENV-1 Conditional\n\
2759
Data Entry 133 ENV-2 Conditional\n\
2760
Data Entry 134 LFO-1 ENV Conditional\n\
2761
Data Entry 135 LFO-2 ENV Conditional\n\
2762
Data Entry 136 Noise white/pink\n\
2763
Data Entry 137 Noise pink filter (enable DE 136 Pink)\n\
2764
Data Entry 138 Glide duration 0 to 30 seconds\n\
2765
Data Entry 139 Emulation gain level\n\
2766
\n\
2767
Data Entry 140 DCO-1 Square wave gain\n\
2768
Data Entry 141 DCO-1 Subharmonic level\n\
2769
Data Entry 142 DCO-2 Square wave gain\n\
2770
Data Entry 143 DCO-2 Subharmonic level\n\
2771
\n\
2772
The 150 range will be incorporated when the Arpeggiator code is more stable,\n\
2773
currently in development for the Jupiter. This is anticipated in 0.20.4:\n\
2774
\n\
2775
Data Entry 150 Arpeggiator Start/Stop\n\
2776
Data Entry 151 Arpeggiator mode D, U/D, U or Random\n\
2777
Data Entry 152 Arpeggiator range 1, 2, 3, 4 octaves\n\
2778
Data Entry 153 Arpeggiator rate\n\
2779
Data Entry 154 Arpeggiator external clock\n\
2780
Data Entry 155 Arpeggiator retrigger envelopes\n\
2781
Data Entry 156 Arpeggiator poly-2 mode\n\
2782
Data Entry 157 Chord Enable\n\
2783
Data Entry 158 Chord Relearn\n\
2784
Data Entry 159 Sequencer Start/Stop\n\
2785
Data Entry 160 Sequencer mode D, U/D, U or Random\n\
2786
Data Entry 161 Sequencer range 1, 2, 3, 4 octaves\n\
2787
Data Entry 162 Sequencer rate\n\
2788
Data Entry 163 Sequencer external clock\n\
2789
Data Entry 164 Sequencer retrigger envelopes\n\
2790
Data Entry 165 Sequencer Relearn\n\
2791
\n\
2792
The following can be manually configured but are really for internal uses only\n\
2793
and will be overwritten when memories are saved to disk. The Split/Join flag,\n\
2794
for example, is used by dual loading memories to configure the peer layer to\n\
2795
load the memory in DE-198, and the stereo placeholder for configuring the stereo\n\
2796
status of any single loaded memory.\n\
2797
\n\
2798
Data Entry 193 Reserved: save bit-1 formatted memory\n\
2799
Data Entry 194 Reserved: save bit-99 formatted memory\n\
2800
Data Entry 195 Reserved: save bit-100 formatted memory\n\
2801
Data Entry 196 Reserved: Split/Join flag - internal use\n\
2802
Data Entry 197 Reserved: Stereo placeholder - internal use\n\
2803
Data Entry 198 Reserved: Peer memory pointer - internal use\n\
2804
Data Entry 199 Reserved: DCO-2 Wheel mod (masks entry 12) - internal use\n\
2805
\n\
2806
The tuning control in the emulation is on the front panel rather than on the\n\
2807
rear panel as in the original. It had a keyboard sensitivity pot however that\n\
2808
is achieved separately with bristol using velocity curves from the MIDI control\n\
2809
settings. The front panel rotary defaults to 0% tuning and is not saved in the\n\
2810
memory. The front panel gain controls are also not saved in the memory and\n\
2811
default to 0.8 at startup.\n\
2812
\n\
2813
The net emulation is pretty intensive as it runs with over 150 operational\n\
2814
parameters.\n\
2815
\n\
2816
A few notes are required on oscillator sync since by default it may seem to \n\
2817
be quite noisy. The original could only produce a single waveform at a single\n\
2818
frequency at any one time. Several emulators, including this one, use a bitone\n\
2819
oscillator which generates complex waveforms. The Bristol Bitone can generate\n\
2820
up to 4 waveforms simultaneously at different levels for 5 different harmonics\n\
2821
and the consequent output is very rich, the waves can be slightly detuned, \n\
2822
the pulse output can be PW modulated. As with all the bristol oscillators that\n\
2823
support sync, the sync pulse is extracted as a postive leading zero crossing.\n\
2824
Unfortunately if the complex bitone output is used as input to sync another\n\
2825
oscillator then the result is far too many zero crossings to extract a good\n\
2826
sync.\n\
2827
Code has been implemented to generate a second sync source using a side output\n\
2828
sync wave which is then fed to a sideband sync input on the oscillator, the\n\
2829
results are far better\n\
2830
\n",
2831
2832
NULL, /* Master */
2833
NULL, /* CS-80 */
2834
2835
" Sequential Circuits Prophet Pro-One\n\
2836
-----------------------------------\n\
2837
\n\
2838
Sequential circuits released amongst the first truly polyphonic synthesisers\n\
2839
where a group of voice circuits (5 to 10 of them) were linked to an onboard\n\
2840
computer that gave the same parameters to each voice and drove the notes to\n\
2841
each voice from the keyboard. The costs were nothing short of exhorbitant and\n\
2842
this lead to Sequential releasing a model with just one voice board as a mono-\n\
2843
phonic equivalent. The sales ran up to 10,000 units, a measure of its success\n\
2844
and it continues to be recognised alongside the Mini Moog as a fat bass synth.\n\
2845
\n\
2846
The design of the Prophet synthesisers follows that of the Mini Moog. It has\n\
2847
three oscillators one of them as a dedicated LFO. The second audio oscillator\n\
2848
can also function as a second LFO, and can cross modulate oscillator A for FM \n\
2849
type effects. The audible oscillators have fixed waveforms with pulse width\n\
2850
modulation of the square wave. These are then mixed and sent to the filter with\n\
2851
two envelopes, for the filter and amplifier.\n\
2852
\n\
2853
The Pro-1 had a nice bussing matrix where 3 different sources, LFO, Filter Env\n\
2854
and Oscillator-B could be mixed in varying amounts to two different modulation\n\
2855
busses and each bus could then be chosen as inputs to modulation destinations.\n\
2856
One bus was a direct bus from the mixed parameters, the second bus was under\n\
2857
the modwheel to give configurable expressive control.\n\
2858
\n\
2859
LFO:\n\
2860
\n\
2861
Frequency: 0.1 to 50 Hz\n\
2862
Shape: Ramp/Triangle/Square. All can be selected, none selected should\n\
2863
give a sine wave\n\
2864
\n\
2865
Modulations:\n\
2866
\n\
2867
Source:\n\
2868
\n\
2869
Filter Env amount to Direct or Wheel Mod busses\n\
2870
Oscillator-B amount to Direct or Wheel Mod busses\n\
2871
LFO to Direct amount or Wheel Mod busses\n\
2872
\n\
2873
Dest:\n\
2874
\n\
2875
Oscillator-A frequency from Direct or Wheel Mod busses\n\
2876
Oscillator-A PWM from Direct or Wheel Mod busses\n\
2877
Oscillator-B frequency from Direct or Wheel Mod busses\n\
2878
Oscillator-B PWM from Direct or Wheel Mod busses\n\
2879
Filter Cutoff from Direct or Wheel Mod busses\n\
2880
\n\
2881
Osc-A:\n\
2882
\n\
2883
Tune: +/-7 semitones\n\
2884
Freq: 16' to 2' in octave steps\n\
2885
Shape: Ramp or Square\n\
2886
Pulse Width: only when Square is active.\n\
2887
Sync: synchronise to Osc-B\n\
2888
\n\
2889
Osc-B:\n\
2890
\n\
2891
Tune: +/-7 semitones\n\
2892
Freq: 16' to 2' in octave steps\n\
2893
Fine: +/- 7 semitones\n\
2894
Shape: Ramp/Triangle/Square\n\
2895
Pulse Width: only when Square is active.\n\
2896
LFO: Lowers frequency by 'several' octaves.\n\
2897
KBD: enable/disable keyboard tracking.\n\
2898
\n\
2899
Mixer:\n\
2900
\n\
2901
Gain for Osc-A, Osc-B, Noise\n\
2902
\n\
2903
Filter:\n\
2904
\n\
2905
Cutoff: cuttof frequency\n\
2906
Res: Resonance/Q/Emphasis\n\
2907
Env: amount of modulation affecting to cutoff.\n\
2908
KBD: amount of keyboard trackingn to cutoff\n\
2909
\n\
2910
Envelopes: One each for PolyMod (filter) and amplifier.\n\
2911
\n\
2912
Attack\n\
2913
Decay\n\
2914
Sustain\n\
2915
Release\n\
2916
\n\
2917
Sequencer:\n\
2918
\n\
2919
On/Off\n\
2920
Record Play\n\
2921
Rate configured from LFO\n\
2922
\n\
2923
Arpeggiator:\n\
2924
\n\
2925
Up/Off/UpDown\n\
2926
Rate configured from LFO\n\
2927
\n\
2928
Glide:\n\
2929
\n\
2930
Amount of portamento\n\
2931
Auto/Normal - first key will/not glide.\n\
2932
\n\
2933
Global:\n\
2934
\n\
2935
Master Tune\n\
2936
Master Volume\n\
2937
\n\
2938
\n\
2939
Memories are loaded by selecting the 'Bank' button and typing in a two digit\n\
2940
bank number followed by load. Once the bank has been selected then 8 memories\n\
2941
from the bank can be loaded by pressing another memory select and pressing\n\
2942
load. The display will show free memories (FRE) or programmed (PRG).\n\
2943
There is an additional Up/Down which scan for the next program and a 'Find'\n\
2944
key which will scan up to the next unused memory location.\n\
2945
\n\
2946
The original supported two sequences, Seq1 and Seq2, but these have not been\n\
2947
implemented. Instead the emulator will save a sequence with each memory location\n\
2948
which is a bit more flexible if not totally in the spirit of the original.\n\
2949
\n\
2950
The Envelope amount for the filter is actually 'Mod Amount'. To get the filter\n\
2951
envelope to drive the filter it must be routed to the filter via a mod bus. This\n\
2952
may differ from the original.\n\
2953
Arpeggiator range is two octaves.\n\
2954
The Mode options may not be correctly implemented due to the differences in\n\
2955
the original being monophonic and the emulator being polyphonic. The Retrig is\n\
2956
actually 'rezero' since we have separate voices. Drone is a Sustain key that\n\
2957
emulates a sustain pedal.\n\
2958
Osc-B cannot modulate itself in polyphonic mode (well, it could, it's just that\n\
2959
it has not been coded that way).\n\
2960
The filter envelope is configured to ignore velocity.\n\
2961
\n\
2962
The default filters are quite expensive. The -lwf option will select the less\n\
2963
computationally expensive lightweight Chamberlain filters which have a colder\n\
2964
response but require zonks fewer CPU cycles.\n\
2965
\n",
2966
2967
NULL, /* Voyager = explorer, stuff later */
2968
2969
" Moog Sonic-6\n\
2970
------------\n\
2971
\n\
2972
This original design was made by an engineer who had previously worked with \n\
2973
Moog on the big modular systems, Gene Zumchek. He tried to get Moog Inc to \n\
2974
develop a small standalone unit rather than the behemoths however he could \n\
2975
not get heard. After leaving he built a synth eventually called a Sonic-5 that\n\
2976
did fit the bill but sales volumes were rather small. He had tied up with a\n\
2977
business manager who worked out that the volume was largely due to the name\n\
2978
not being known, muSonics.\n\
2979
This was quickly overcome by accident. Moog managed to run his company into\n\
2980
rather large debt and the company folded. Bill Waytena, working with Zumcheck,\n\
2981
gathered together the funding needed to buy the remains of the failed company\n\
2982
and hence Moog Inc was labled on the rebadged Sonic-6. Zumcheck was eventually\n\
2983
forced to leave this company (or agreed to) as he could not work with Moog.\n\
2984
After a few modifications Bob Moog actually used this unit quite widely for\n\
2985
lecturing on electronic music. For demonstrative purposes it is far more\n\
2986
flexible than any of Moog's own non-modular designs and it was housed in a\n\
2987
transport case rather than needing a shipping crate as the modular systems\n\
2988
required.\n\
2989
\n\
2990
The emulation features are given below, but first a few of the differences to \n\
2991
the original\n\
2992
\n\
2993
Added a mod wheel that can drive GenX/Y.\n\
2994
PWM is implemented on the oscillator B\n\
2995
Installed an ADSR rather than AR, selectable.\n\
2996
No alternative scalings - use scala file support\n\
2997
Not duo or dia phonic. Primarily poly with separated glide.\n\
2998
\n\
2999
The original was duophonic, kind of. It had a keyboard with high note and low\n\
3000
note precedence and the two oscillators could be driven from different notes.\n\
3001
Its not really duophony and was reportedly not nice to play but it added some\n\
3002
flexibility to the instrument. This features was dropped largley because it\n\
3003
is ugly to emulate in a polyphonic environment but the code still has glide\n\
3004
only on Osc-B. It has the two LFO that can be mixed, or at full throw of the \n\
3005
GenXY mixer they will link X->A and Y->B giving some interesting routing, two\n\
3006
osc each with their own LFO driving the LFO from the mod wheel or shaping it\n\
3007
with the ADSR. Playing around should give access to X driving Osc-A, then \n\
3008
Osc-A and GenY driving Osc-B with Mod and shaping for some investigation of\n\
3009
FM synthesis. The gruesome direct output mixer is still there, having the osc\n\
3010
and ring-mod bypass the filter and amplifier completely (or can be mixed back\n\
3011
into the 'actuated' signal).\n\
3012
\n\
3013
There is currently no likely use for an external signal even though the\n\
3014
graphics are there.\n\
3015
\n\
3016
The original envelope was AR or ASR. The emulator has a single ADSR and a \n\
3017
control switch to select AR (actually AD), ASR, ADSD (MiniMoog envelope) or\n\
3018
ADSR.\n\
3019
\n\
3020
Generator-Y has a S/H function on the noise source for a random signal which \n\
3021
replaced the square wave. Generator-X still has a square wave.\n\
3022
\n\
3023
Modulators:\n\
3024
\n\
3025
Two LFO, X and Y:\n\
3026
\n\
3027
Gen X:\n\
3028
Tri/Ramp/Saw/Square\n\
3029
Tuning\n\
3030
Shaping from Envelope or Modwheel\n\
3031
\n\
3032
Gen Y:\n\
3033
Tri/Ramp/Saw/Rand\n\
3034
Tuning\n\
3035
Shaping from Envelope or Modwheel\n\
3036
\n\
3037
Master LFO frequency\n\
3038
\n\
3039
GenXY mixer\n\
3040
\n\
3041
Two Oscillators, A and B\n\
3042
\n\
3043
Gen A:\n\
3044
Tri/Ramp/Pulse\n\
3045
PulseWidth\n\
3046
Tuning\n\
3047
Transpose 16', 8', 4' (*)\n\
3048
\n\
3049
Mods:\n\
3050
\n\
3051
Envelope\n\
3052
GenXY(or X)\n\
3053
Low frequency, High Frequency (drone), KBD Tracking\n\
3054
\n\
3055
Gen B:\n\
3056
Tri/Ramp/Pulse\n\
3057
PulseWidth\n\
3058
Tuning\n\
3059
Transpose 16' 8', 4'\n\
3060
\n\
3061
Mods:\n\
3062
\n\
3063
Osc-B\n\
3064
GenXY(or Y)\n\
3065
PWM\n\
3066
\n\
3067
GenAB mix\n\
3068
\n\
3069
Ring Mod:\n\
3070
\n\
3071
Osc-B/Ext\n\
3072
GenXY/Osc-A\n\
3073
\n\
3074
Noise\n\
3075
\n\
3076
Pink/White\n\
3077
\n\
3078
Mixer\n\
3079
\n\
3080
GenAB\n\
3081
RingMod\n\
3082
External\n\
3083
Noise\n\
3084
\n\
3085
Filter (**)\n\
3086
\n\
3087
Cutoff\n\
3088
Emphasis\n\
3089
\n\
3090
Mods:\n\
3091
\n\
3092
ADSR\n\
3093
Keyboard tracking\n\
3094
GenXY\n\
3095
\n\
3096
Envelope:\n\
3097
\n\
3098
AR/ASR/ADSD/ADSR\n\
3099
Velociy on/off\n\
3100
\n\
3101
Trigger:\n\
3102
\n\
3103
GenX\n\
3104
GenY\n\
3105
Kbd (rezero only)\n\
3106
\n\
3107
Bypass (key gated audio)\n\
3108
\n\
3109
Direct Output Mixer\n\
3110
\n\
3111
Osc-A\n\
3112
Osc-B\n\
3113
RingMod\n\
3114
\n\
3115
\n\
3116
The keyboard has controls for\n\
3117
\n\
3118
Glide (Osc-B only)\n\
3119
Master Volume\n\
3120
PitchWheel\n\
3121
ModWheel (gain modifier on LFO)\n\
3122
\n\
3123
Global Tuning\n\
3124
\n\
3125
MultiLFO X and Y\n\
3126
\n\
3127
* The oscillator range was +/-2 octave switch and a +/-1 octave pot. This\n\
3128
emulator has +/-1 octave switch and +/-7 note pot. That may change in a future\n\
3129
release to be more like the original, probably having a multiway 5 stage octave\n\
3130
selector.\n\
3131
\n\
3132
** The filter will self oscillate at full emphasis however this is less \n\
3133
prominent at lower frequencies (much like the Moog ladder filter). The filter\n\
3134
is also 'not quite' in tune when played as an oscillator, this will also change\n\
3135
in a future release.\n\
3136
\n\
3137
There may be a reverb on the emulator. Or there may not be, that depends on\n\
3138
release. The PitchWheel is not saved in the memories, the unit is tuned on\n\
3139
startup and this will maintain tuning to other instruments. The MultiLFO allow\n\
3140
you to configure single LFO per emulation or one per voice, independently.\n\
3141
Having polyphony means you can have the extra richness of independent LFO per\n\
3142
voice however that does not work well if they are used as triggers, for example,\n\
3143
you end up with a very noisy result. With single triggers for all voices the\n\
3144
result is a lot more predictable.\n\
3145
\n\
3146
The Sonic-6 as often described as having bad tuning, that probably depends on \n\
3147
model since different oscillators were used at times. Also, different units\n\
3148
had different filters (Zumchek used a ladder of diodes to overcome the Moog\n\
3149
ladder of transister patent). The original was often described as only being\n\
3150
useful for sound effects. Personally I don't think that was true however the\n\
3151
design is extremely flexible and the mods are applied with high gains so to\n\
3152
get subtle sounds they only have to be applied lightly. Also, this critique\n\
3153
was in comparison to the Mini which was not great for sound effects since it,\n\
3154
in contrast, had very little in the way of modifiers.\n\
3155
\n\
3156
The actual mod routing here is very rich. The two LFO can be mixed to provide\n\
3157
for more complex waves and have independent signal gain from the ADSR. To go\n\
3158
a step further it is possible to take the two mixed LFO into Osc-A, configure\n\
3159
that as an LFO and feed it into Osc-B for some very complex mod signals. That\n\
3160
way you can get a frequency modulated LFO which is not possible from X or Y. As\n\
3161
stated, if these are applied heavily you will get ray guns and car alarms but\n\
3162
in small amounts it is possible to just shape sounds. Most of the mod controls\n\
3163
have been made into power functions to give more control at small values.\n\
3164
\n\
3165
The memory panel gives access to 72 banks of 8 memories each. Press the Bank\n\
3166
button and two digits for the bank, then just select the memory and press Load.\n\
3167
You can get the single digit banks by selecting Bank->number->Bank. There is\n\
3168
a save button which should require a double click but does not yet (0.30.0),\n\
3169
a pair of buttons for searching up and down the available memories and a button\n\
3170
called 'Find' which will select the next available free memory.\n\
3171
\n\
3172
Midi options include channel, channel down and, er, thats it.\n\
3173
\n",
3174
3175
" CRUMAR TRILOGY\n\
3176
--------------\n\
3177
\n\
3178
This text is primarily that of the Stratus since the two synths were very \n\
3179
similar. This is the bigger brother having all the same features with the added\n\
3180
string section. There were some minor differences in the synth circuits for\n\
3181
switchable or mixable waveforms.\n\
3182
\n\
3183
This unit is a hybrid synth/organ/string combo, an early polyphonic using an\n\
3184
organ divider circuit rather than independent VCO and having a set of filters\n\
3185
and envelope for the synth sounds, most manufacturers came out with similar\n\
3186
designs. The organ section was generally regarded as pretty bad here, there\n\
3187
were just five controls, four used for the volume of 16, 8, 4 and 2 foot \n\
3188
harmonics and a fifth for overall organ volume. The synth section had 6 voices\n\
3189
and some quite neat little features for a glide circuitry and legato playing\n\
3190
modes. The string section could mix 3 waveforms with vibrato on some so when\n\
3191
mixed with the straight waveform would produce phasing.\n\
3192
\n\
3193
The emulator consists of two totally separate layers, one emulating the organ\n\
3194
circuitry and another the synth. The organ has maximum available polyphony as\n\
3195
the algorithm is quite lightweight even though diverse liberties have been\n\
3196
taken to beef up the sound. The synth section is limited to 6 voices unless\n\
3197
otherwise specified at run time. The organ circuitry is used to generate the\n\
3198
string section.\n\
3199
\n\
3200
The legato playing modes affects three sections, the LFO modulation, VCO \n\
3201
selection and glide:\n\
3202
\n\
3203
LFO: this mod has a basic envelope to control the gain of the LFO using delay,\n\
3204
slope and gain. In 'multi' mode the envelope is triggered for every note that\n\
3205
is played and in the emulator this is actually a separate LFO per voice, a bit\n\
3206
fatter than the original. In 'Mono' mode there is only one LFO that all voices\n\
3207
will share and the envelope is triggered in Legato style, ie, only once for\n\
3208
a sequence of notes - all have to be released for the envelope to recover.\n\
3209
\n\
3210
VCO: The original allowed for wavaeform selection to alternate between notes, \n\
3211
something that is rather ugly to do with the bristol architecture. This is \n\
3212
replaced with a VCO selector where each note will only take the output from\n\
3213
one of the two avalable oscillators and gives the ntoes a little more\n\
3214
separation. The legato mode works whereby the oscillator selection is only\n\
3215
made for the first note in a sequence to give a little more sound consistency.\n\
3216
\n\
3217
Glide: This is probably the coolest feature of the synth. Since it used an\n\
3218
organ divider circuit it was not possible to actually glide from one note to\n\
3219
another - there are really only two oscillators in the synth section, not two\n\
3220
per voice. In contrast the glide section could glide up or down from a selected\n\
3221
amount to the real frequency. Selected from down with suitable values would\n\
3222
give a nice 'blue note' effect for example. In Legato mode this is done only\n\
3223
for the first keypress rather than all of the since the effect can be a bit\n\
3224
over the top if applied to each keystroke in a sequence. At the same time it\n\
3225
was possible to Sync the two oscillators, so having only one of them glide \n\
3226
and be in sync then without legato this gave a big phasing entrance to each\n\
3227
note, a very interesting effect. The Glide has 4 modes:\n\
3228
\n\
3229
A. Both oscillators glide up to the target frequency\n\
3230
B. Only oscillator-2 glides up to the target frequency\n\
3231
C. Only oscillator-2 glides down to the target frequency\n\
3232
D. Both oscillators glide down to the target frequency\n\
3233
\n\
3234
These glide options with different sync and legato lead to some very unique\n\
3235
sounds and are emulated here with only minor differences.\n\
3236
\n\
3237
The features, then notes on the differences to the original:\n\
3238
\n\
3239
A. Organ Section\n\
3240
\n\
3241
16, 8, 4 and 2 foot harmonic strengths.\n\
3242
Volume.\n\
3243
\n\
3244
B. Synth Section\n\
3245
\n\
3246
LFO Modulation\n\
3247
\n\
3248
Rate - 0.1 to 50Hz approx\n\
3249
Slope - up to 10 seconds\n\
3250
Delay - up to 10 seconds\n\
3251
Gain\n\
3252
\n\
3253
Routing selector: VCO, VCF, VCA\n\
3254
Mono/Multi legato mode\n\
3255
Shape - Tri/Ramp/Saw/Square\n\
3256
\n\
3257
Oscillator 1\n\
3258
\n\
3259
Tuning\n\
3260
Sync 2 to 1\n\
3261
Octave selector\n\
3262
\n\
3263
Oscillator 2\n\
3264
\n\
3265
Tuning\n\
3266
Octave trill\n\
3267
Octave selector\n\
3268
\n\
3269
Waveform Ramp and Square mix\n\
3270
Alternate on/off\n\
3271
Mono/Multi legato mode VCO selection\n\
3272
\n\
3273
Glide\n\
3274
\n\
3275
Amount up or down from true frequency\n\
3276
Speed of glide\n\
3277
Mono/Multi legato mode\n\
3278
Direction A, B, C, D\n\
3279
\n\
3280
Filter\n\
3281
\n\
3282
Cutoff frequency\n\
3283
Resonance\n\
3284
Envelope tracking -ve to +ve\n\
3285
Pedal tracking on/off\n\
3286
\n\
3287
Envelope\n\
3288
\n\
3289
Attack\n\
3290
Decay\n\
3291
Sustain\n\
3292
Release\n\
3293
\n\
3294
Gain\n\
3295
\n\
3296
C. String Section\n\
3297
\n\
3298
16' 8' mix\n\
3299
Subharmonic gain\n\
3300
Attack\n\
3301
Release\n\
3302
\n\
3303
Volume\n\
3304
\n\
3305
Diverse liberties were taken with the reproduction, these are manageable from\n\
3306
the options panel by selecting the button next to the keyboard. This opens up\n\
3307
a graphic of a PCB, mostly done for humorous effect as it not in the least bit\n\
3308
representative of the actual hardware. Here there are a number of surface\n\
3309
mounted controllers. These are as below but may change by release:\n\
3310
\n\
3311
P1 Master volume\n\
3312
\n\
3313
P2 Organ pan\n\
3314
P3 Organ waveform distorts\n\
3315
P4 Organ spacialisation\n\
3316
P5 Organ mod level\n\
3317
J1 Organ key grooming \n\
3318
P6 Organ tuning (currently inactive *)\n\
3319
\n\
3320
P7 Synth pan\n\
3321
P8 Synth tuning\n\
3322
P9 Synth osc1 harmonics\n\
3323
P10 Synth osc2 harmonics\n\
3324
J2 Synth velocity sensitivity\n\
3325
J3 Synth filter type\n\
3326
P11 Synth filter tracking\n\
3327
\n\
3328
P12 String pan\n\
3329
P13 String harmonics\n\
3330
P14 String spacialisation\n\
3331
P15 String mod level\n\
3332
P16 String waveform distorts\n\
3333
\n\
3334
*: To make the organ tunable the keymap file has to be removed.\n\
3335
\n\
3336
Master (P1) volume affects both layers simultaneously and each layer can be\n\
3337
panned (P2/P7) and tuned (P8) separately to give phasing and spacialisation.\n\
3338
The synth layer has the default frequency map of equal temperament however the\n\
3339
organ section uses a 2MHz divider frequency map that is a few cents out for\n\
3340
each key. The Trilogy actually has this map for both layers and that can easily\n\
3341
be done with the emulator, details on request.\n\
3342
\n\
3343
It is currently not possible to retune the organ divider circuit, it has a\n\
3344
private microtonal mapping to emulate the few percent anomalies of the divider\n\
3345
circuit and the frequencies are predefined. The pot is still visible in P6 and\n\
3346
can be activated by removing the related microtonal mapping file, details from\n\
3347
the author on request.\n\
3348
\n\
3349
Diverse liberties were taken with the Organ section since the original only \n\
3350
produced 4 pure (infinite bandwidth) square waves that were mixed together, \n\
3351
an overly weak result. The emulator adds a waveform distort (P3), an notched\n\
3352
control that produces a pure sine wave at centre point. Going down it will\n\
3353
generate gradually increasing 3rd and 5th harmonics to give it a squarey wave\n\
3354
with a distinct hammond tone. The distortion actually came from the B3 emulator\n\
3355
which models the distort on the shape of the hammond tonewheels themselves.\n\
3356
Going up from centre point will produce gradually sharper sawtooth waves using\n\
3357
a different phase distortion.\n\
3358
\n\
3359
Organ spacialisation (P4) will separate out the 4 harmonics to give them \n\
3360
slightly different left and right positions to fatten out the sound. This works\n\
3361
in conjunction with the mod level (P5) where one of the stereo components of\n\
3362
each wave is modified by the LFO to give phasing changes up to vibrato.\n\
3363
\n\
3364
The organ key grooming (J1) will either give a groomed wave to remove any\n\
3365
audible clicks from the key on and off events or when selected will produce \n\
3366
something akin to a percussive ping for the start of the note.\n\
3367
\n\
3368
The result for the organ section is that it can produce some quite nice sounds\n\
3369
reminiscent of the farfisa range to not quite hammond, either way far more\n\
3370
useful than the flat, honking square waves. The original sound can be made by\n\
3371
waveform to a quarter turn or less, spacialisation and mod to zero, key\n\
3372
grooming off.\n\
3373
\n\
3374
The synth has 5 modifications at the first release. The oscillator harmonics\n\
3375
can be fattened at the top or bottom using P9 and P10, one control for each\n\
3376
oscillator, low is more bass, high is more treble. Some of the additional\n\
3377
harmonics will be automatically detuned a little to fatten out the sound as a\n\
3378
function of the -detune parameter defaulting to 100.\n\
3379
\n\
3380
The envelope can have its velocity sensitively to the filter enabled or disabled\n\
3381
(J2) and the filter type can be a light weight filter for a thinner sound but at\n\
3382
far lower CPU load (J3).\n\
3383
\n\
3384
The filter keyboard tracking is configurable (P11), this was outside of the spec\n\
3385
of the Trilogy however it was implemented here to correct the keyboard tracking\n\
3386
of the filter for all the emulations and the filter should now be playable.\n\
3387
The envelope touch will affect this depending on J2 since velocity affects the\n\
3388
cut off frequency and that is noticable when playing the filter. This jumper\n\
3389
is there so that the envelope does not adversely affect tuning but can still be\n\
3390
used to have the filter open up with velocity if desired.\n\
3391
\n\
3392
The mod application is different from the original. It had a three way selector\n\
3393
for routing the LFO to either VCO, VCA or VCF but only a single route. This\n\
3394
emulation uses a continuous notched control where full off is VCO only, notch\n\
3395
is VCF only and full on is VCA however the intermidiate positions will route\n\
3396
proportional amounts to two components.\n\
3397
\n\
3398
The LFO has more options (Ramp and Saw) than the original (Tri and Square).\n\
3399
\n\
3400
The extra options are saved with each memory however they are only loaded at\n\
3401
initialisation and when the 'Load' button is double-clicked. This allows you to\n\
3402
have them as global settings or per memory as desired. The MemUp and MemDown \n\
3403
will not load the options, only the main settings.\n\
3404
\n\
3405
VCO mod routing is a little bit arbitrary in this first release however I could\n\
3406
not find details of the actual implementation. The VCO mod routing only goes\n\
3407
to Osc-1 which also takes mod from the joystick downward motion. Mod routing\n\
3408
to Osc-2 only happens if 'trill' is selected. This seemed to give the most\n\
3409
flexibility, directing the LFO to VCF/VCA and controlling vibrato from the \n\
3410
stick, then having Osc-2 separate so that it can be modified and sync'ed to\n\
3411
give some interesting phasing.\n\
3412
\n\
3413
As of the first release there are possibly some issues with the oscillator \n\
3414
Sync selector, it is perhaps a bit noisy with a high content of square wave.\n\
3415
Also, there are a couple of minor improvements that could be made to the \n\
3416
legato features but they will be done in a future release. They regard how\n\
3417
the glide is applied to the first or all in a sequence of notes.\n\
3418
\n\
3419
The joystick does not always pick up correctly however it is largely for \n\
3420
presentation, doing actual work you would use a real joystick or just use the\n\
3421
modwheel (the stick generates and tracks continuous controller 1 - mod). The\n\
3422
modwheel tracking is also a bit odd but reflects the original architecture - \n\
3423
at midpoint on the wheel there is no net modulation, going down affects VCO\n\
3424
in increasing amounts and going up from mid affect the VCF. The control feels\n\
3425
like it should be notched however generally that is not the case with mod\n\
3426
wheels.\n\
3427
\n\
3428
A few notes are required on oscillator sync since by default it will seem to \n\
3429
be quite noisy. The original could only product a single waveform at a single\n\
3430
frequency at any one time. Several emulators, including this one, use a bitone\n\
3431
oscillator which generates complex waveforms. The Bristol Bitone can generate\n\
3432
up to 4 waveforms simultaneously at different levels for 5 different harmonics\n\
3433
and the consequent output is very rich, the waves can be slightly detuned, \n\
3434
the pulse output can be PW modulated. As with all the bristol oscillators that\n\
3435
support sync, the sync pulse is extracted as a postive leading zero crossing.\n\
3436
Unfortunately if the complex bitone output is used as input to sync another\n\
3437
oscillator then the result is far too many zero crossings to extract a good\n\
3438
sync. For the time being you will have to simplify the sync source to get a\n\
3439
good synchronised output which itself may be complex wave. A future release\n\
3440
will add a sync signal from the bitone which will be a single harmonic at the\n\
3441
base frequency and allow both syncing and synchronised waveform outputs to be\n\
3442
arbitrary. For the Trilogy this simplification of the sync waveform is done\n\
3443
automatically by the Sync switch, this means the synchronised output sounds\n\
3444
correct but the overall waveform may be simpler.\n\
3445
\n",
3446
3447
NULL, /* Trilogy ODC */
3448
3449
" CRUMAR STRATUS\n\
3450
--------------\n\
3451
\n\
3452
This unit is a hybrid synth/organ combo, an early polyphonic synth using an\n\
3453
organ divider circuit rather than independent VCO and having a set of filters\n\
3454
and envelope for the synth sounds, most manufacturers came out with similar\n\
3455
designs. The organ section was generally regarded as pretty bad here, there\n\
3456
were just five controls, four used for the volume of 16, 8, 4 and 2 foot \n\
3457
harmonics and a fifth for overall organ volume. The synth section had 6 voices\n\
3458
and some quite neat little features for a glide circuitry and legato playing\n\
3459
modes.\n\
3460
\n\
3461
The emulator consists of two totally separate layers, one emulating the organ\n\
3462
circuitry and another the synth. The organ has maximum available polyphony as\n\
3463
the algorithm is quite lightweight even though diverse liberties have been\n\
3464
taken to beef up the sound. The synth section is limited to 6 voices unless\n\
3465
otherwise specified at run time.\n\
3466
\n\
3467
The legato playing modes affects three sections, the LFO modulation, VCO \n\
3468
selection and glide:\n\
3469
\n\
3470
LFO: this mod has a basic envelope to control the gain of the LFO using delay,\n\
3471
slope and gain. In 'multi' mode the envelope is triggered for every note that\n\
3472
is played and in the emulator this is actually a separate LFO per voice, a bit\n\
3473
fatter than the original. In 'Mono' mode there is only one LFO that all voices\n\
3474
will share and the envelope is triggered in Legato style, ie, only once for\n\
3475
a sequence of notes - all have to be released for the envelope to recover.\n\
3476
\n\
3477
VCO: The original allowed for wavaeform selection to alternate between notes, \n\
3478
something that is rather ugly to do with the bristol architecture. This is \n\
3479
replaced with a VCO selector where each note will only take the output from\n\
3480
one of the two avalable oscillators and gives the ntoes a little more\n\
3481
separation. The legato mode works whereby the oscillator selection is only\n\
3482
made for the first note in a sequence to give a little more sound consistency.\n\
3483
\n\
3484
Glide: This is probably the coolest feature of the synth. Since it used an\n\
3485
organ divider circuit it was not possible to actually glide from one note to\n\
3486
another - there are really only two oscillators in the synth section, not two\n\
3487
per voice. In contrast the glide section could glide up or down from a selected\n\
3488
amount to the real frequency. Selected from down with suitable values would\n\
3489
give a nice 'blue note' effect for example. In Legato mode this is done only\n\
3490
for the first keypress rather than all of the since the effect can be a bit\n\
3491
over the top if applied to each keystroke in a sequence. At the same time it\n\
3492
was possible to Sync the two oscillators, so having only one of them glide \n\
3493
and be in sync then without legato this gave a big phasing entrance to each\n\
3494
note, a very interesting effect. The Glide has 4 modes:\n\
3495
\n\
3496
A. Both oscillators glide up to the target frequency\n\
3497
B. Only oscillator-2 glides up to the target frequency\n\
3498
C. Only oscillator-2 glides down to the target frequency\n\
3499
D. Both oscillators glide down to the target frequency\n\
3500
\n\
3501
These glide options with different sync and legato lead to some very unique\n\
3502
sounds and are emulated here with only minor differences.\n\
3503
\n\
3504
The features, then notes on the differences to the original:\n\
3505
\n\
3506
A. Organ Section\n\
3507
\n\
3508
16, 8, 4 and 2 foot harmonic strengths.\n\
3509
Volume.\n\
3510
\n\
3511
B. Synth Section\n\
3512
\n\
3513
LFO Modulation\n\
3514
\n\
3515
Rate - 0.1 to 50Hz approx\n\
3516
Slope - up to 10 seconds\n\
3517
Delay - up to 10 seconds\n\
3518
Gain\n\
3519
\n\
3520
Routing selector: VCO, VCF, VCA\n\
3521
Mono/Multi legato mode\n\
3522
Shape - Tri/Ramp/Saw/Square\n\
3523
\n\
3524
Oscillator 1\n\
3525
\n\
3526
Tuning\n\
3527
Sync 2 to 1\n\
3528
Octave selector\n\
3529
\n\
3530
Oscillator 2\n\
3531
\n\
3532
Tuning\n\
3533
Octave trill\n\
3534
Octave selector\n\
3535
\n\
3536
Waveform Ramp and Square mix\n\
3537
Alternate on/off\n\
3538
Mono/Multi legato mode VCO selection\n\
3539
\n\
3540
Glide\n\
3541
\n\
3542
Amount up or down from true frequency\n\
3543
Speed of glide\n\
3544
Mono/Multi legato mode\n\
3545
Direction A, B, C, D\n\
3546
\n\
3547
Filter\n\
3548
\n\
3549
Cutoff frequency\n\
3550
Resonance\n\
3551
Envelope tracking -ve to +ve\n\
3552
Pedal tracking on/off\n\
3553
\n\
3554
Envelope\n\
3555
\n\
3556
Attack\n\
3557
Decay\n\
3558
Sustain\n\
3559
Release\n\
3560
\n\
3561
Gain\n\
3562
\n\
3563
Diverse liberties were taken with the reproduction, these are manageable from\n\
3564
the options panel by selecting the button next to the keyboard. This opens up\n\
3565
a graphic of a PCB, mostly done for humorous effect as it not in the least bit\n\
3566
representative of the actual hardware. Here there are a number of surface\n\
3567
mounted controllers. These are as below but may change by release:\n\
3568
\n\
3569
P1 Master volume\n\
3570
\n\
3571
P2 Organ pan\n\
3572
P3 Organ waveform distorts\n\
3573
P4 Organ spacialisation\n\
3574
P5 Organ mod level\n\
3575
J1 Organ key grooming \n\
3576
P6 Organ tuning (currently inactive *)\n\
3577
\n\
3578
P7 Synth pan\n\
3579
P8 Synth tuning\n\
3580
P9 Synth osc1 harmonics\n\
3581
P10 Synth osc2 harmonics\n\
3582
J2 Synth velocity sensitivity\n\
3583
J3 Synth filter type\n\
3584
P11 Synth filter tracking\n\
3585
\n\
3586
*: To make the organ tunable the keymap file has to be removed.\n\
3587
\n\
3588
Master (P1) volume affects both layers simultaneously and each layer can be\n\
3589
panned (P2/P7) and tuned (P8) separately to give phasing and spacialisation.\n\
3590
The synth layer has the default frequency map of equal temperament however the\n\
3591
organ section uses a 2MHz divider frequency map that is a few cents out for\n\
3592
each key. The Stratus actually has this map for both layers and that can easily\n\
3593
be done with the emulator, details on request.\n\
3594
\n\
3595
It is currently not possible to retune the organ divider circuit, it has a\n\
3596
private microtonal mapping to emulate the few percent anomalies of the divider\n\
3597
circuit and the frequencies are predefined. The pot is still visible in P6 and\n\
3598
can be activated by removing the related microtonal mapping file, details from\n\
3599
the author on request.\n\
3600
\n\
3601
Diverse liberties were taken with the Organ section since the original only \n\
3602
produced 4 pure (infinite bandwidth) square waves that were mixed together, \n\
3603
an overly weak result. The emulator adds a waveform distort (P3), an notched\n\
3604
control that produces a pure sine wave at centre point. Going down it will\n\
3605
generate gradually increasing 3rd and 5th harmonics to give it a squarey wave\n\
3606
with a distinct hammond tone. The distortion actually came from the B3 emulator\n\
3607
which models the distort on the shape of the hammond tonewheels themselves.\n\
3608
Going up from centre point will produce gradually sharper sawtooth waves using\n\
3609
a different phase distortion.\n\
3610
\n\
3611
Organ spacialisation (P4) will separate out the 4 harmonics to give them \n\
3612
slightly different left and right positions to fatten out the sound. This works\n\
3613
in conjunction with the mod level (P5) where one of the stereo components of\n\
3614
each wave is modified by the LFO to give phasing changes up to vibrato.\n\
3615
\n\
3616
The organ key grooming (J1) will either give a groomed wave to remove any\n\
3617
audible clicks from the key on and off events or when selected will produce \n\
3618
something akin to a percussive ping for the start of the note.\n\
3619
\n\
3620
The result for the organ section is that it can produce some quite nice sounds\n\
3621
reminiscent of the farfisa range to not quite hammond, either way far more\n\
3622
useful than the flat, honking square waves. The original sound can be made by\n\
3623
waveform to a quarter turn or less, spacialisation and mod to zero, key\n\
3624
grooming off.\n\
3625
\n\
3626
The synth has 5 modifications at the first release. The oscillator harmonics\n\
3627
can be fattened at the top or bottom using P9 and P10, one control for each\n\
3628
oscillator, low is more bass, high is more treble. Some of the additional\n\
3629
harmonics will be automatically detuned a little to fatten out the sound as a\n\
3630
function of the -detune parameter defaulting to 100.\n\
3631
\n\
3632
The envelope can have its velocity sensitively to the filter enabled or disabled\n\
3633
(J2) and the filter type can be a light weight filter for a thinner sound but at\n\
3634
far lower CPU load (J3).\n\
3635
\n\
3636
The filter keyboard tracking is configurable (P11), this was outside of the spec\n\
3637
of the Stratus however it was implemented here to correct the keyboard tracking\n\
3638
of the filter for all the emulations and the filter should now be playable.\n\
3639
The envelope touch will affect this depending on J2 since velocity affects the\n\
3640
cut off frequency and that is noticable when playing the filter. This jumper\n\
3641
is there so that the envelope does not adversely affect tuning but can still be\n\
3642
used to have the filter open up with velocity if desired.\n\
3643
\n\
3644
The mod application is different from the original. It had a three way selector\n\
3645
for routing the LFO to either VCO, VCA or VCF but only a single route. This\n\
3646
emulation uses a continuous notched control where full off is VCO only, notch\n\
3647
is VCF only and full on is VCA however the intermidiate positions will route\n\
3648
proportional amounts to two components.\n\
3649
\n\
3650
The LFO has more options (Ramp and Saw) than the original (Tri and Square).\n\
3651
\n\
3652
The extra options are saved with each memory however they are only loaded at\n\
3653
initialisation and when the 'Load' button is double-clicked. This allows you to\n\
3654
have them as global settings or per memory as desired. The MemUp and MemDown \n\
3655
will not load the options, only the main settings.\n\
3656
\n\
3657
VCO mod routing is a little bit arbitrary in this first release however I could\n\
3658
not find details of the actual implementation. The VCO mod routing only goes\n\
3659
to Osc-1 which also takes mod from the joystick downward motion. Mod routing\n\
3660
to Osc-2 only happens if 'trill' is selected. This seemed to give the most\n\
3661
flexibility, directing the LFO to VCF/VCA and controlling vibrato from the \n\
3662
stick, then having Osc-2 separate so that it can be modified and sync'ed to\n\
3663
give some interesting phasing.\n\
3664
\n\
3665
As of the first release there are possibly some issues with the oscillator \n\
3666
Sync selector, it is perhaps a bit noisy with a high content of square wave.\n\
3667
Also, there are a couple of minor improvements that could be made to the \n\
3668
legato features but they will be done in a future release. They regard how\n\
3669
the glide is applied to the first or all in a sequence of notes.\n\
3670
\n\
3671
The joystick does not always pick up correctly however it is largely for \n\
3672
presentation, doing actual work you would use a real joystick or just use the\n\
3673
modwheel (the stick generates and tracks continuous controller 1 - mod). The\n\
3674
modwheel tracking is also a bit odd but reflects the original architecture - \n\
3675
at midpoint on the wheel there is no net modulation, going down affects VCO\n\
3676
in increasing amounts and going up from mid affect the VCF. The control feels\n\
3677
like it should be notched however generally that is not the case with mod\n\
3678
wheels.\n\
3679
\n\
3680
A few notes are required on oscillator sync since by default it will seem to \n\
3681
be quite noisy. The original could only product a single waveform at a single\n\
3682
frequency at any one time. Several emulators, including this one, use a bitone\n\
3683
oscillator which generates complex waveforms. The Bristol Bitone can generate\n\
3684
up to 4 waveforms simultaneously at different levels for 5 different harmonics\n\
3685
and the consequent output is very rich, the waves can be slightly detuned, \n\
3686
the pulse output can be PW modulated. As with all the bristol oscillators that\n\
3687
support sync, the sync pulse is extracted as a postive leading zero crossing.\n\
3688
Unfortunately if the complex bitone output is used as input to sync another\n\
3689
oscillator then the result is far too many zero crossings to extract a good\n\
3690
sync. For the time being you will have to simplify the sync source to get a\n\
3691
good synchronised output which itself may be complex wave. A future release\n\
3692
will add a sync signal from the bitone which will be a single harmonic at the\n\
3693
base frequency and allow both syncing and synchronised waveform outputs to be\n\
3694
arbitrary. For the Stratus this simplification of the sync waveform is done\n\
3695
automatically by the Sync switch, this means the synchronised output sounds\n\
3696
correct but the overall waveform may be simpler.\n\
3697
\n",
3698
3699
" KORG POLY 800\n\
3700
-------------\n\
3701
\n\
3702
This is a low cost hybrid synth, somewhere between the Korg PolySix and their\n\
3703
Mono/Poly in that is polyphonic but only has one filter rather than one per\n\
3704
voice that came with the PolySix. It may have also used organ divider circuits\n\
3705
rather than individual oscillators - it did not have glide as a feature which\n\
3706
would be indicative of a divider circuit.\n\
3707
\n\
3708
It featured 8 oscillators that could be applied as either 4 voices with dual\n\
3709
osc or 8 voices with a single osc. The architecture was verging on the\n\
3710
interesting since each oscillator was fead into an individual envelope generator\n\
3711
(described below) and then summed into the single filter, the filter having\n\
3712
another envelope generator, 9 in total. This lead to cost reduction over having\n\
3713
a filter per voice however the single filter leads to breathing, also discussed\n\
3714
below. The envelopes were digitally generated by an on-board CPU.\n\
3715
\n\
3716
The control panel has a volume, global tuning control and a 'Bend' control\n\
3717
that governs the depth of the pitch bend from the joystick and the overall \n\
3718
amount of DCO modulation applied by the joystick. There is no sequencer in\n\
3719
this emulation largely because there are far better options now available than\n\
3720
this had but also due to a shortage of onscreen realestate.\n\
3721
\n\
3722
The Poly, Chord and Hold keys are emulated, hold being a sustain key. The\n\
3723
Chord relearn function works follows:\n\
3724
\n\
3725
Press the Hold key\n\
3726
Press the Chord key with 2 seconds\n\
3727
Press the notes on the keyboard (*)\n\
3728
Press the Chord key again\n\
3729
\n\
3730
After that the single chord can be played from a single note as a monophonic\n\
3731
instrument. The Chord is saved individually with each memory.\n\
3732
* Note that the chord is only saved if (a) it was played from the GUI keyboard\n\
3733
or (b) the GUI was linked up to any MIDI device as well as the engine. The \n\
3734
reason is that the GUI maintains memories and so if a chord is played on your\n\
3735
actual keyboard then both the engine and the GUI needs a copy, the engine to\n\
3736
be able to play the notes and the GUI to be able to save them.\n\
3737
\n\
3738
The keypanel should function very similar to the original. There is a Prog \n\
3739
button that selects between Program selection or Parameter selection and an \n\
3740
LED should show where the action is. There is the telephone keyboard to enter\n\
3741
program or parameters numbers and an up/down selector for parameter value.\n\
3742
The Bank/Hold selector also works, it fixes the bank number so programs can\n\
3743
be recalled from a single bank with a single button press. The Write function\n\
3744
is as per the original - Press Write, then two digits to save a memory.\n\
3745
\n\
3746
The front panel consists of a data entry panel and a silkscreen of the parameter\n\
3747
numbers (this silkscreen is active in the emulation). Fifty parameters are\n\
3748
available from the original instrument:\n\
3749
\n\
3750
DE 11 DCO1 Octave transposition +2 octaves\n\
3751
DE 12 DCO1 Waveform Square or Ramp\n\
3752
DE 13 DCO1 16' harmonic\n\
3753
DE 14 DCO1 8' harmonic\n\
3754
DE 15 DCO1 4' harmonic\n\
3755
DE 16 DCO1 2' harmonic\n\
3756
DE 17 DCO1 level\n\
3757
\n\
3758
DE 18 DCO Double (4 voice) or Single (8 voice)\n\
3759
\n\
3760
DE 21 DCO2 Octave transposition +2 octaves\n\
3761
DE 22 DCO2 Waveform Square or Ramp\n\
3762
DE 23 DCO2 16' harmonic\n\
3763
DE 24 DCO2 8' harmonic\n\
3764
DE 25 DCO2 4' harmonic\n\
3765
DE 26 DCO2 2' harmonic\n\
3766
DE 27 DCO2 level\n\
3767
DE 31 DCO2 semitone transpose\n\
3768
DE 32 DCO2 detune\n\
3769
\n\
3770
DE 33 Noise level\n\
3771
\n\
3772
DE 41 Filter cutoff frequency\n\
3773
DE 42 Filter Resonance\n\
3774
DE 43 Filter Keyboard tracking off/half/full\n\
3775
DE 44 Filter Envelope polarity\n\
3776
DE 45 Filter Envelope amount\n\
3777
DE 46 Filter Envelope retrigger\n\
3778
\n\
3779
DE 48 Chorus On/Off\n\
3780
\n\
3781
DE 51 Env-1 DCO1 Attack\n\
3782
DE 52 Env-1 DCO1 Decay\n\
3783
DE 53 Env-1 DCO1 Breakpoint\n\
3784
DE 54 Env-1 DCO1 Slope\n\
3785
DE 55 Env-1 DCO1 Sustain\n\
3786
DE 56 Env-1 DCO1 Release\n\
3787
\n\
3788
DE 61 Env-2 DCO2 Attack\n\
3789
DE 62 Env-2 DCO2 Decay\n\
3790
DE 63 Env-2 DCO2 Breakpoint\n\
3791
DE 64 Env-2 DCO2 Slope\n\
3792
DE 65 Env-2 DCO2 Sustain\n\
3793
DE 66 Env-2 DCO2 Release\n\
3794
\n\
3795
DE 71 Env-3 Filter Attack\n\
3796
DE 72 Env-3 Filter Decay\n\
3797
DE 73 Env-3 Filter Breakpoint\n\
3798
DE 74 Env-3 Filter Slope\n\
3799
DE 75 Env-3 Filter Sustain\n\
3800
DE 76 Env-3 Filter Release\n\
3801
\n\
3802
DE 81 Mod LFO Frequency\n\
3803
DE 82 Mod Delay\n\
3804
DE 83 Mod DCO\n\
3805
DE 84 Mod VCF\n\
3806
\n\
3807
DE 86 Midi channel\n\
3808
DE 87 Midi program change enable\n\
3809
DE 88 Midi OMNI\n\
3810
\n\
3811
Of these 25 pararmeters, the emulation has changed 88 to be OMNI mode rather \n\
3812
than the original sequence clock as internal or external. This is because the\n\
3813
sequencer function was dropped as explained above.\n\
3814
\n\
3815
Additional to the original many of the controls which are depicted as on/off\n\
3816
are actually continuous. For example, the waveform appears to be either square\n\
3817
or ramp. The emulator allows you to use the up/down Value keys to reproduce\n\
3818
this however if you use the potentiometer then you can gradually move from one\n\
3819
wave to the next. The different harmonics are also not on/off, you can mix\n\
3820
each of them together with different amounts and if you configure a mixture\n\
3821
of waveforms and a bit of detune the sound should widen due to addition of a\n\
3822
bit of phasing within the actual oscillator.\n\
3823
\n\
3824
The envelope generators are not typical ADSR. There is an initial attack from\n\
3825
zero to max gain then decay to a 'Breakpoint'. When this has been reached then\n\
3826
the 'Slope' parameter will take the signal to the Sustain level, then finally\n\
3827
the release rate. The extra step of breakpoint and slope give plenty of extra\n\
3828
flexibility to try and adjust for the loss of a filter per voice and the \n\
3829
emulation has a linear step which should be the same as the original. The\n\
3830
ninth envelope is applied to the single filter and also as the envelope for \n\
3831
the noise signal level.\n\
3832
\n\
3833
The single filter always responded to the highest note on the keyboard. This\n\
3834
gives a weaker overall sound and if playing with two hands then there is a\n\
3835
noticible effect with keytracking - left hand held chords will cause filter\n\
3836
breathing as the right hand plays solos and the keyboard tracking changes \n\
3837
from high to low octaves. Note that the emulator will implement a single\n\
3838
filter if you select DE 46 filter envelope retrigger to be single trigger, it\n\
3839
will be played legato style. If multiple triggers are selected then the\n\
3840
emulator will produce a filter and envelope for each voice.\n\
3841
\n\
3842
Bristol adds a number of extra parameters to the emulator that are not\n\
3843
available from the mouse on the silkscreen and were not a part of the design\n\
3844
of the poly800. You have to select Prog such that the LED is lit next to the\n\
3845
Param display, then select the two digit parameter from the telephone keyboard:\n\
3846
\n\
3847
DE 28 DCO Sync 2 to 1\n\
3848
DE 34 DCO-1 PW\n\
3849
DE 35 DCO-1 PWM\n\
3850
DE 36 DCO-2 PW\n\
3851
DE 37 DCO-2 PWM\n\
3852
DE 38 DCO temperature sensitivity\n\
3853
DE 67 DCO Glide\n\
3854
\n\
3855
DE 85 Mod - Uni/Multi per voice or globally\n\
3856
\n\
3857
DE 57 Envelope Touch response\n\
3858
\n\
3859
DE 47 Chorus Parameter 0\n\
3860
DE 58 Chorus Parameter 1\n\
3861
DE 68 Chorus Parameter 2\n\
3862
DE 78 Chorus Parameter 3\n\
3863
\n\
3864
If DataEntry 28 is selected for oscillator sync then LFO MOD to DCO-1 is no\n\
3865
longer applied, it only goes to DCO-2. This allows for the interesting sync\n\
3866
modulated slow vibrato of DCO-2. The LFO mod is still applied via the joystick.\n\
3867
\n\
3868
DE 38 global detune will apply both temperature sensitivity to each oscillator\n\
3869
but also fatten out the harmonics by detuning them independently. It is only \n\
3870
calculated at 'note on' which can be misleading - it has no effect on existing\n\
3871
notes which is intentional if misleading.\n\
3872
\n\
3873
DE 57 is a bitmask for the three envelopes to define which ones will give a\n\
3874
response to velocity with a default to '3' for velocity tracking oscillator\n\
3875
gain:\n\
3876
\n\
3877
value DEG1 DEG2 DEG3\n\
3878
DCO1 DCO2 FILT\n\
3879
\n\
3880
0 - - -\n\
3881
1 V - -\n\
3882
2 - V -\n\
3883
3 V V -\n\
3884
4 - - V\n\
3885
5 V - V\n\
3886
6 - V V\n\
3887
7 V V V\n\
3888
\n\
3889
This gives some interesting velocity tracking capabilities where just one osc\n\
3890
can track velocity to introduce harmonic content keeping the filter at a fixed\n\
3891
cutoff frequence. Having a bit of detune applied globally and locally will keep\n\
3892
the sound reasonably fat for each oscillator.\n\
3893
\n\
3894
The filter envelope does not track velocity for any of the distributed voices,\n\
3895
this was intentional since when using high resonance it is not desirable that\n\
3896
the filter cutoff changes with velocity, it tends to be inconsistently \n\
3897
disonant.\n\
3898
\n\
3899
If you want to use this synth with controller mappings then map the value \n\
3900
entry pot to your easiest to find rotary, then click the mouse on the membrane\n\
3901
switch to select which parameter you want to adjust with that control each time.\n\
3902
The emulator is naturally not limited to just 4/8 voices, you can request more\n\
3903
in which case single oscillator will give you the requested number of voices\n\
3904
and double will give you half that amount.\n\
3905
\n\
3906
The Bristol Poly-800 is dedicated to Mark.\n\
3907
\n",
3908
3909
" Baumann BME-700\n\
3910
---------------\n\
3911
\n\
3912
This unusual German synth had a build volume of about 500 units and only one\n\
3913
useful source of information could be found on it: a report on repair work for\n\
3914
one of the few existing examples at www.bluesynths.com. The BME systems were\n\
3915
hand built and judging by some reports on build quality may have been sold in\n\
3916
kit form. The unit was produced in the mid 1970's.\n\
3917
\n\
3918
The synth has a very interesting design, somewhat reminiscent of the Moog Sonic\n\
3919
and Explorer synths. It has two modulating LFO with fairly high top frequency,\n\
3920
two filter and two envelopes. The envelopes are either AR or ASR but they can\n\
3921
be mixed together to generate amongst other features an ADSR, very innovative.\n\
3922
There is only one oscillator but the sound is fattened out by the use of two\n\
3923
parallel filters, one acting as a pure resonator and the other as a full VCF.\n\
3924
\n\
3925
The synth has been left with a minimum of overhead. There are just 8 memory\n\
3926
locations on the front panel with Load, Save and Increment buttons and one\n\
3927
panel of options to adjust a few parameters on the oscillator and filters. It\n\
3928
is possible to get extra memories by loading banks with -load: if you request\n\
3929
starting in memory #21 the emulator will stuff 20 into the bank and 1 into the\n\
3930
memory location. There is no apparant midi channel selector, use -channel <n>\n\
3931
and then stay on it. This could have been put into the options panel however \n\
3932
having midi channel in a memory is generally a bad idea.\n\
3933
\n\
3934
A. MOD\n\
3935
\n\
3936
Two LFO:\n\
3937
\n\
3938
frequency from 0.1 to 100 Hz\n\
3939
Triangle and Square wave outputs\n\
3940
\n\
3941
Mix control\n\
3942
\n\
3943
Mod-1/2 into the VCO FM\n\
3944
Env-1/Mod-2 into the VCO FM\n\
3945
\n\
3946
B. Oscillator\n\
3947
\n\
3948
Single VCO\n\
3949
\n\
3950
Glide 0 to 10s, on/off.\n\
3951
PW Man: 5 to 50% duty cycle\n\
3952
Auto depth:\n\
3953
\n\
3954
Envelope-1\n\
3955
Mod-1, Mod-1/2, Tri/Square\n\
3956
\n\
3957
Vibrato depth\n\
3958
Tuning\n\
3959
8', 4', 16' transposition\n\
3960
\n\
3961
Shape\n\
3962
\n\
3963
continuous control from Square to Tri wave.\n\
3964
\n\
3965
Mix of noise or VCO output\n\
3966
\n\
3967
C. Res Filter\n\
3968
\n\
3969
Sharp (24db/Oct), Flat (12dB/Oct)\n\
3970
5 frequency switches\n\
3971
\n\
3972
D. Envelopes\n\
3973
\n\
3974
Two envelopes\n\
3975
\n\
3976
Rise time\n\
3977
Fall Time\n\
3978
AR/ASR selector\n\
3979
\n\
3980
Two independent mixes of Env, for VCF and VCA.\n\
3981
\n\
3982
E. Filter\n\
3983
\n\
3984
Frequency\n\
3985
Resonance\n\
3986
Env/Mod selector\n\
3987
\n\
3988
Modulation\n\
3989
\n\
3990
KBD tracking\n\
3991
Mod-1 or Mod-2, Tri/Square\n\
3992
\n\
3993
F. Amplifier\n\
3994
\n\
3995
Mix resonator/filter.\n\
3996
Volume\n\
3997
\n\
3998
Mod depth\n\
3999
\n\
4000
Mod-1 or Mod-2, Tri/Square\n\
4001
\n\
4002
The oscillator is implemented as a non-resampling signal generator, this means\n\
4003
it uses heuristics to estimate the wave at any given time. The harmonic content\n\
4004
is a little thin and although the generation method seems to be correct in how\n\
4005
it interprets signal ramps and drains from an analogue circuit this is one area\n\
4006
of improvement in the emulator. There are options to produce multiple waveforms\n\
4007
described below.\n\
4008
\n\
4009
The resonant filter is implemented with a single Houvilainen and actually only\n\
4010
runs at 24dB/Oct. There are controls for remixing the different taps, a form\n\
4011
of feedforward and when in 'Flat' mod there is more remixing of the poles, this\n\
4012
does generate a slower roll off but gives the signal a bit more warmth than a\n\
4013
pure 12dB/Oct would.\n\
4014
\n\
4015
\n\
4016
There is a selector in the Memory section to access some options:\n\
4017
\n\
4018
G. Options\n\
4019
\n\
4020
LFO\n\
4021
\n\
4022
Synchronise wave to key on events\n\
4023
Multi LFO (per voice).\n\
4024
\n\
4025
Oscillator\n\
4026
\n\
4027
Detune (temperature sensitivity)\n\
4028
Multi - remix 8' with 16' or 4'.\n\
4029
\n\
4030
Noise\n\
4031
\n\
4032
Multi Noise (per voice).\n\
4033
White/Pink\n\
4034
Pink Filter\n\
4035
\n\
4036
ResFilter\n\
4037
\n\
4038
Sharp Resonance/Remix\n\
4039
Flat Resonance/Remix\n\
4040
\n\
4041
Envelope\n\
4042
\n\
4043
Velocity Sensitive\n\
4044
Rezero for note on\n\
4045
Gain\n\
4046
\n\
4047
Filter\n\
4048
\n\
4049
Remix\n\
4050
KBD tracking depth\n\
4051
\n\
4052
The emulator probably gives the best results with the following:\n\
4053
\n\
4054
startBristol -bme700 -mono -hnp -retrig -channel 1\n\
4055
\n\
4056
This gives a monophonic emulation with high note preference and multiple\n\
4057
triggers.\n\
4058
\n\
4059
The options from section G are only loaded under two circumstances: at system\n\
4060
start from the first selected memory location and if the Load button is given\n\
4061
a DoubleClick. All other memory load functions will inherrit the settings that\n\
4062
are currently active.\n\
4063
\n",
4064
4065
" Bristol BassMaker\n\
4066
-----------------\n\
4067
\n\
4068
The BassMaker is not actually an emulator, it is a bespoke sequencer design but\n\
4069
based on the capabilities of some of the early analogue sequencers such as the\n\
4070
Korg SQ-10. Supplying this probably leaves bristol open to a lot of feature\n\
4071
requests for sequencer functionaliity and it is stated here that the BassMaker\n\
4072
is supposed to be simple so excess functionality will probably be declined as\n\
4073
there are plenty of other sequencing applications that can provide a richer\n\
4074
feature set.\n\
4075
\n\
4076
The main page gives access to a screen of controls for 16 steps and a total of\n\
4077
4 pages are available for a total of 64 steps. The pages are named 'A' through\n\
4078
'D'. Each step has 5 options:\n\
4079
\n\
4080
Note: one octave of note selection\n\
4081
Transpose: +/- one octave transposition of the note.\n\
4082
Volume: MIDI note velocity\n\
4083
Controller: MIDI modulation, discussed further below\n\
4084
Triggers: Note On/Off enablers\n\
4085
\n\
4086
The trigger button gives 4 options indicated by the LED:\n\
4087
\n\
4088
off: note on/off are sent\n\
4089
red: only send note_on\n\
4090
green: only send note_off\n\
4091
yellow: do not send note on/off\n\
4092
\n\
4093
The 'Controllers' setting has multiple functions which can be selected from\n\
4094
the menu as explained below. The options available are as follows:\n\
4095
\n\
4096
Send semitone tuning\n\
4097
\n\
4098
Send glide rate\n\
4099
\n\
4100
Send modwheel\n\
4101
\n\
4102
Send expression pedal (controller value)\n\
4103
\n\
4104
Send Note: the controller will be 12 discrete steps as per the 'Note' \n\
4105
setting and this note will be sent on the Secondary MIDI channel.\n\
4106
\n\
4107
The semitone tuning and glide work for the majority of the emulations. Some do\n\
4108
not support fine tune controls (Vox, Hammond, others). If you are missing these\n\
4109
capabilities for specific emulators raise a change request on Sourceforge.net.\n\
4110
\n\
4111
At the top of the window there is a panel to manage the sequencer. It has the\n\
4112
following functions:\n\
4113
\n\
4114
Speed: step rate through the notes\n\
4115
DutyCycle: ratio of note-on to note-off\n\
4116
\n\
4117
Start/Pause\n\
4118
Stop: stop and return to first step/page\n\
4119
\n\
4120
Direction:\n\
4121
Up\n\
4122
Down\n\
4123
Up/Down\n\
4124
Random\n\
4125
\n\
4126
Select: which of the pages to include in the sequence.\n\
4127
Edit: which page is currently displayed to be edited.\n\
4128
\n\
4129
Memory:\n\
4130
0..9 key entry buttons, 1000 memories available\n\
4131
Load\n\
4132
Save: doubleclick to save current sequence\n\
4133
\n\
4134
Menu Panel\n\
4135
Up, Down menu\n\
4136
Function (return to previous level)\n\
4137
Enter: enter submenu or enter value if in submenu\n\
4138
\n\
4139
The menu consists of several tables, these can be stepped through using the Up\n\
4140
and Down arrows to move through the menu and the 'Enter' arrow to select a sub\n\
4141
menu or activate any option. The 'Fn' button returns one level:\n\
4142
\n\
4143
Memory:\n\
4144
\n\
4145
Find next free memory upwards\n\
4146
Find next memory upwards\n\
4147
Find next memory downwards\n\
4148
\n\
4149
Copy:\n\
4150
\n\
4151
Copy current edit page to 'A', 'B', 'C' or 'D'.\n\
4152
\n\
4153
Control - Set the control value to send:\n\
4154
\n\
4155
semitone tuning\n\
4156
glide rate\n\
4157
modwheel\n\
4158
expression pedal (controller value)\n\
4159
note events\n\
4160
\n\
4161
First midi channel\n\
4162
\n\
4163
Primary midi channel for note events\n\
4164
\n\
4165
Second midi channel\n\
4166
\n\
4167
Secondary midi channel when 'Control' configured to 'Note' events.\n\
4168
\n\
4169
Global Transpose\n\
4170
\n\
4171
Transpose the whole sequence up or down 12 semitones\n\
4172
\n\
4173
Clear - configure default value for all of the:\n\
4174
\n\
4175
Notes to zero\n\
4176
Transpose to zero (midpoint)\n\
4177
Volume to 0.8\n\
4178
Control to midpoint\n\
4179
Triggers to on/off\n\
4180
\n\
4181
As of the first release in 0.30.8 large parts of the Controllers functionality\n\
4182
was only lightly tested. If you do not get the results you anticipate you may\n\
4183
require a fix.\n\
4184
\n",
4185
4186
" Bristol SID\n\
4187
-----------\n\
4188
\n\
4189
In release 0.40 bristol introduced a piece of code that emulated the Commodore\n\
4190
C64 6581 SID chip. The interface uses byte settings of the 31 chip registers to\n\
4191
be close to the original plus some floating point IO for extracting the audio\n\
4192
signal and configuring some analogue parameters and the 'softSID' is clocked\n\
4193
by the sample extraction process.\n\
4194
\n\
4195
The chip uses integer maths and logic for the oscillators, ring mod, sync and\n\
4196
envelopes and emulates the analogue components of the 6581 with floating point\n\
4197
code, for the filter and S/N generation.\n\
4198
\n\
4199
The oscillators will run as per the original using a single phase accumulator\n\
4200
and 16 bit frequency space. All the waveforms are extracted logically from the\n\
4201
ramp waveform generated by the phase accumulation. Sync and RingMod are also\n\
4202
extracted with the same methods. The noise generation is exor/add as per the\n\
4203
original however the noise signal will not degenerate when mixing waveforms.\n\
4204
The output waves are ANDed together. The bristol control register has an option\n\
4205
for Multi waveforms and when selected each oscillator will have its own phase\n\
4206
accumulator, can have a detune applied and will be mixed by summation rather\n\
4207
than using an AND function.\n\
4208
\n\
4209
The envelope is an 8 bit up/down counter with a single gate bit. All the 4 bit\n\
4210
parameters give rates taken from the chip specifications including the slightly\n\
4211
exponential decay and release. Attack is a linear function and the sustain level\n\
4212
can only be decreased when active as the counter also refuses to count back up\n\
4213
when passed its peak.\n\
4214
\n\
4215
The filter implements a 12dB/Octave multimode chamberlain filter providing LP,\n\
4216
BP and HP signals. This is not the best filter in the world however neither was\n\
4217
the original. An additional 24dB/Octave LP filter has been added, optionally \n\
4218
available and with feedforward to provide 12/18dB signals. Between them the \n\
4219
output can be quite rich.\n\
4220
\n\
4221
The emulator provides some control over the 'analogue' section. The S/N ratio\n\
4222
can be configured from inaudible (just used to prevent denormal of the filter)\n\
4223
up to irritating levels. Oscillator leakage is configurable from none up to \n\
4224
audible levels and the oscillator detune is configurable in cents although\n\
4225
this is a digital parameter and was not a part of the original.\n\
4226
\n\
4227
Voice-3 provides an 8 bit output of its oscillator and envelope via the normal\n\
4228
output registers and the otherwise unused X and Y Analogue registers contain\n\
4229
the Voice-1 and Voice-2 oscillator output.\n\
4230
\n\
4231
The bristol -sid emulator uses two softSID, one generating three audio voices\n\
4232
and a second one providing modulation signals by sampling the voice-3 osc and\n\
4233
env outputs and also by configuring voice-1 to generate noise to the output, \n\
4234
resampling this noise and gating it from voice-3 to get sample and hold. This\n\
4235
would have been possible with the original as well if the output signal were\n\
4236
suitably coupled back on to one of the X/Y_Analogue inputs.\n\
4237
\n\
4238
The emulator has several key assignment modes. The emulator is always just\n\
4239
monophonic but uses internal logic to assign voices. It can be played as a big\n\
4240
mono synth with three voices/oscillators, polyphonically with all voices either\n\
4241
sounding the same or optionally configured individually, and as of this release\n\
4242
a single arpeggiating mode - Poly-3. Poly-3 will assign Voice-1 to the lowest\n\
4243
note, voice-3 to the highest note and will arpeggiate Voice-2 through all other\n\
4244
keys that are pressed with a very high step rate. This is to provide some of\n\
4245
the sounds of the original C64 where fast arpeggiation was used to sounds \n\
4246
chords rather than having to use all the voices. This first implementation \n\
4247
does not play very well in Poly-3, a subsequent release will probably have a\n\
4248
split keyboard option where one half will arpeggiate and the other half will\n\
4249
play notes.\n\
4250
\n\
4251
This is NOT a SID player, that would require large parts of the C64 to also be\n\
4252
emulated and there are plenty of SID players already available.\n\
4253
\n\
4254
Bristol again thanks Andrew Coughlan, here for proposing the implementation of\n\
4255
a SID chip which turned out to be a very interesting project.\n\
4256
\n",
4257
4258
NULL, /* Not used */
4259
NULL, /* Not used */
4260
NULL, /* Not used */
4261
NULL, /* Not used */
4262
NULL, /* Not used */
4263
NULL, /* Not used */
4264
NULL, /* Not used */
4265
NULL, /* Not used */
4266
NULL, /* Not used */
4267
NULL, /* Not used */
4268
NULL, /* Not used */
4269
NULL, /* Not used */
4270
NULL, /* Not used */
4271
NULL, /* Not used */
4272
NULL, /* Not used */
4273
NULL, /* Not used */
4274
NULL, /* Not used */
4275
NULL, /* Not used */
4276
NULL, /* Not used */
4277
4278
};
Loggerhead is a web-based interface for Breezy
Version: 2.0.1