--- In Doepfer_a100@y..., bakis S <synth_freak_2000@y...> wrote:
>
> --- Florian_Anwander <Florian.Anwander@c...>
> wrote:
> >
> >
>
----------------------------------------------------------------------
---
> > >>>          War never brought peace to the world -
> >                  <<<
> > >>>        neither initiated by agression nor by
> > revenge              <<<
> >
>
----------------------------------------------------------------------
---
> >
> thanks,florian
> I AGREE!!!!!with your statement...if only the u.s.a and the
terrorists who attacked u.s.a
> could understand...
> synthfreak
> athens-greece
>
> __________________________________________________
> Terrorist Attacks on U.S. - How can you help?
> Donate cash, emergency relief information
> http://dailynews.yahoo.com/fc/US/Emergency_Information/

Hi Synthfreak,

I cracked the strange mystery about the red or orange lights on the A-100! Your
not going to believe this, but I read on the Doepfer forum, that the first batch
of modules had originally red lights!!! So your system belongs to that batch.
The later ones were changed in to orange. So, I'm right too. You have a system
with red lights and I have one with orange lights. All A-100 models after that
were made with orange led's. So you have a pretty special system Synthfreak! But
hé, I find my with orange led's outilaged system outragious looking!!!

cheers.

elec.


[Non-text portions of this message have been removed]

Hello,

I was wondering if anyone knows a source for patch cables longer than
50cm?

Thanks,

Ethan

hi,
doepfer sells 80cm and 120cm cables,too...i don't know
if the american dealer sells them too...
synthfreak(parallel worlds)
athens-greece

--- ethanzer0@... wrote:
> Hello,
>
> I was wondering if anyone knows a source for patch
> cables longer than
> 50cm?
>
> Thanks,
>
> Ethan
>
>
>


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hi roel,
well that's strange!!!even the last modules i bought
only 3 weeks ago came with red lights...i think you
must have a special system...or doepfer likes to ship
in greece modules with red lights only...?(also,in
their site,the pictures of the a100 modules have red
lights...)wierd or what?
oh...a detail...i started to build my doepfer a100
system only 8 months ago,so i am sure i don't have the
first batch!!
synthfreak(parallel worlds)
athens-greece

--- Roel Steverink <roel.steverink@...> wrote:
> Hi Synthfreak,
>
> I cracked the strange mystery about the red or
> orange lights on the A-100! Your not going to
> believe this, but I read on the Doepfer forum, that
> the first batch of modules had originally red
> lights!!! So your system belongs to that batch. The
> later ones were changed in to orange. So, I'm right
> too. You have a system with red lights and I have
> one with orange lights. All A-100 models after that
> were made with orange led's. So you have a pretty
> special system Synthfreak! But hé, I find my with
> orange led's outilaged system outragious looking!!!
>
> cheers.
>
> elec.
>
>
> [Non-text portions of this message have been
> removed]
>
>


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--- Dieter Doepfer <hardware@...> wrote:
> From: "Dieter Doepfer" <hardware@...>
> To: "bakis S" <synth_freak_2000@...>
> Subject: AW: 120cm blue cables
> Date: Fri, 21 Sep 2001 17:12:08 +0200
>
> > -----Ursprüngliche Nachricht-----
> > Von: bakis S [mailto:synth_freak_2000@...]
> > Gesendet am: Freitag, 21. September 2001 15:55
> > An: hardware@...
> > Betreff: 120cm blue cables
> >
> > hello,
> > are the 120cm cables with mono or with stereo
> > plugs??and if they have stereo plugs,can they be
> used
> > in the same way the other cables(red,grey...) are
> > used(for connecting cv inputs and outputs,audio
> ins
> > and outs...between the a100
> modules)???thanks.sirros.
> > synthfreak(parallel worlds)
> >  [doepfer_a100]group moderator
> > athens-greece
>
> The new 120cm blue cables are now monophonic and can
> be used in the same way as
> the other cables. We had 120cm black cables with
> stereo plugs but now the 120 cm
> cables are manufactured in a monophonic version too.
>
> I have seen (copy from the news group) that you
> asked for detailes about our VMS
> (Voice Modular System). Unfortunataly we have no
> information in digital form
> available as it was about 15 years ago and all
> information was still written
> with a typewriter, the pc boards were made by hand
> and the front panels as well.
>
> The VMS was based on the following "modules":
> Voice Card (a complete monophonic synth with 2 VCO,
> VCF, VCA and 2 VCADSR)
> Expansion Card (expansion module for the Voice Card
> with 4 VCLFO's, Noise, S&H
> and VC modulation matrix)
> Control Boards (to control Voice and Expansion Card
> by hand)
> Interface (to control the Voice and Expansion Card
> with Computer, Software for
> Commodore 64 and Atari ST was available)
> Sound Sampling Card (8 bit sampler, similar to
> A-112)
> 8 voice polyphonic keyboard with 8 CV/Gate outputs
> (no MIDI)
>
> All boards had a common bus and e.g. up to 8 Voice
> Cards could be used to obtain
> a 8 voice polyphonic synth (or 2x4 voice or ....,
> one could mix the modules as
> desired).
>
> If you ar interested I could try to scan some
> additional information. But at the
> moment our scanner is defective and I have to wait
> for the repair.
>
> We stopped the VMS as it became clear that many of
> the CEM chips used (Curtis,
> e.g. CEM3310, 3320, 3330, 3340, 3350, 3360) will no
> longer be manufactured by
> Curtis. The sound was the typical CEM sound (e.g.
> most of the Oberheim and
> Prophet synths used the same chips, even some Roland
> synths).
>
> Best regards
> Dieter Doepfer
> Doepfer Musikelektronik GmbH
> http://www.doepfer.de
> email: hardware@...
>


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hi roel and others,
o.k.,about the red or orange lights...i compared the a100 lights with
my sh101 and the monopoly and,indeed,the a100 lights look like a
lighter sade of red,or rather orange....so,you win!all this time i
had my modular unpluged so i didn't compared the leds with my other
stuff...and today my brother mentioned that the a100 leds look like
orange...almost.
now,time to deal with more important issues about this modular...
has any of you used the a112???how does it sound?how do you use
it?can you create wierd lo-fi sounds with it??any thoughts,ideas
welcome...(i will buy one in the next few months.)
synthfreak(parallel worlds)
athens-greece

> Hello,
>
> I was wondering if anyone knows a source for patch cables longer than
> 50cm?

I bought a slew of 'em from www.hosfelt.com - cheap and good cables.  Only
one length though and pretty long.
KRIS


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[Non-text portions of this message have been removed]

> I bought a slew of 'em from www.hosfelt.com - cheap and good
> cables.  Only one length though and pretty long.
> KRIS

I see!  6' but only a $1.25!

Thanks much!

Ethan

Actually, I just picked up a bunch of 6 foot cables (both mono and
stereo) from Radio Shack. I think they were less than $2 each...As we
all know, longer patch cables are a necessity with racks larger than
the basic system!


-andrew bunny

Hé Synthfreak,

I'm not going to say told you so. But, cause I didn't know any other synths with
orange lights, immediately when I turned the power on, I saw those fascinating
orange lights. Everytime I switch on my machine, I'll stare at the those ultra
brigth orange lights. I'm real proud there are orange.
Have you see that Doepfer has made a blue series, yes real blue lights! Not the
Doepfer, but the Maq 16/3, Regelwerk and Schaltwerk! Looks really cool. The
Selector from Switserland has also blue lights. In fact blue and green. I think
the Selector looks really cool (of course when you have a big one, like Bernd
Kistenmacher has), with that black-dark blue tiger motiv and then those yello
patchcords, which really contrasts with the other colours. If I had the money,
the Selector would certainly be an option!
But I have my Doepfer and I'm really satisfied with it.
Talking about something else, I hear you have the Mono/poly. I lingered a while
buy one, but since I have the MS20 I thought, it would be pointless to have a
machine with almost the same options. I know the Mono/poly has some great tricks
on it's sleeve.
I never forget 1989, the second klem day (festival in The Netherlands which
brought live em from 1988. Sadly, it doesn't exist anymore! But on that second
edition I sad on the front row and before me sat Bernd behind his Monopoly,
beside others. Further behind impressive walls of modular (Roland 100m). Bernd
makes Schulze-esque cosmic electronic, although I has style of his own. The came
these vast, thick deep synth soudns, layer upon layer. And he than in trance
played over it a slow evolving solo on the Monopoly. Huge bass sound! It was so
impressive to see his face so upclose, totally sunken in the music!
Now comes the odd thing and a question for you. I've heard many people saying
that the bass of a Monopoly is Korg like thin. That's strange, cause the sound
as I said sounded huge!!!! Meaby he had driven through layers of effects to get
it like this, but I don't believe that, cause it sound real pure, not drowned in
effect. Very upfront. What's your oppinion Synthfreak on the power of the
Monopoly and what other things do you do with it?
By the way I don't have a A112. I think that module is too fancy for me. I don't
need the sample in it, the wavetable osc could be interesting, but I haven't
planned in a future expansion.

Roel.


[Non-text portions of this message have been removed]

hi roel,
one word for the mono/poly:EXCELLENT!!!
i use it on every track!i mainly use it for wierd
cross mod,sync sounds as it has 4 vco's and the
combinations/possibilities are many and the sound is
huge!!the bass seems to me very fat...in fact i would
say that it has a better sound than the arp
odyssey(but i like both...).and make no mistake:the
ms10/ms20 synths sound different from a
mono/poly!that's why i want an ms20 despite the fact
that i have a mono/poly.i really love my monopoly!!!of
all my vintage synths it's my favourite and looks much
better that the more expensive odyssey...
as for the selector...who wouldn't want a big system??
but then again i think:for the same money i could
build a monster doepfer a100 system...
so,here's what i will do:first i will build a HUGE
a100 system(much more than 100 modules...).then if and
when i have the money i will go for a selector system
(that,i must admit,it has a very small selection of
modules...despite the name...)
as for the a112: i can not resist the possibility of
changing the sample rate in real time...that's why i
want it!
and who is that bernd kistenmacher???i haven't seen
any cd's of him in greece...
synthfreak(parallel worlds)
athens-greece

--- Roel Steverink <roel.steverink@...> wrote:
> Hé Synthfreak,
>
> I'm not going to say told you so. But, cause I
> didn't know any other synths with orange lights,
> immediately when I turned the power on, I saw those
> fascinating orange lights. Everytime I switch on my
> machine, I'll stare at the those ultra brigth orange
> lights. I'm real proud there are orange.
> Have you see that Doepfer has made a blue series,
> yes real blue lights! Not the Doepfer, but the Maq
> 16/3, Regelwerk and Schaltwerk! Looks really cool.
> The Selector from Switserland has also blue lights.
> In fact blue and green. I think the Selector looks
> really cool (of course when you have a big one, like
> Bernd Kistenmacher has), with that black-dark blue
> tiger motiv and then those yello patchcords, which
> really contrasts with the other colours. If I had
> the money, the Selector would certainly be an
> option!
> But I have my Doepfer and I'm really satisfied with
> it.
> Talking about something else, I hear you have the
> Mono/poly. I lingered a while buy one, but since I
> have the MS20 I thought, it would be pointless to
> have a machine with almost the same options. I know
> the Mono/poly has some great tricks on it's sleeve.
> I never forget 1989, the second klem day (festival
> in The Netherlands which brought live em from 1988.
> Sadly, it doesn't exist anymore! But on that second
> edition I sad on the front row and before me sat
> Bernd behind his Monopoly, beside others. Further
> behind impressive walls of modular (Roland 100m).
> Bernd makes Schulze-esque cosmic electronic,
> although I has style of his own. The came these
> vast, thick deep synth soudns, layer upon layer. And
> he than in trance played over it a slow evolving
> solo on the Monopoly. Huge bass sound! It was so
> impressive to see his face so upclose, totally
> sunken in the music!
> Now comes the odd thing and a question for you. I've
> heard many people saying that the bass of a Monopoly
> is Korg like thin. That's strange, cause the sound
> as I said sounded huge!!!! Meaby he had driven
> through layers of effects to get it like this, but I
> don't believe that, cause it sound real pure, not
> drowned in effect. Very upfront. What's your
> oppinion Synthfreak on the power of the Monopoly and
> what other things do you do with it?
> By the way I don't have a A112. I think that module
> is too fancy for me. I don't need the sample in it,
> the wavetable osc could be interesting, but I
> haven't planned in a future expansion.
>
> Roel.
>
>
> [Non-text portions of this message have been
> removed]
>
>


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Anyone using Analogue Systems modules in a Doepfer frame?  I just got an AS
RS260 Quantizer and an RS360 Vocal Filter (yummie!) only to find that the
screw holes are about 90 degrees out of phase of the ones on the Doepfer 6U
rack case!  Guess I'll have to drill new holes in the modules?  Any other
ideas are welcome.  Thanks
KRIS

p.s. also got two Oberkorn sequencers for my modular!  They're sweet!


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[Non-text portions of this message have been removed]

In a message dated 10/3/2001 8:19:39 PM Eastern Daylight Time,
krhen@... writes:


>
> Anyone using Analogue Systems modules in a Doepfer frame?  I just got an AS
> RS260 Quantizer and an RS360 Vocal Filter (yummie!) only to find that the
> screw holes are about 90 degrees out of phase of the ones on the Doepfer 6U
> rack case!  Guess I'll have to drill new holes in the modules?  Any other
> ideas are welcome.  Thanks
> KRIS
>



kris,
not sure about what you meant about holes being 90 degrees out of phase but
on the analogue systems comb filter that i added to my doepfer frames i found
that i lose 1hp of space on each side due to hole alignment issues.  oddly
enough, the analogue solutions sq8 8x1 seq. i added to the system fits
perfectly.
best,
dave





[Non-text portions of this message have been removed]

Hi Dave

> that i lose 1hp of space on each side due to hole alignment issues.  oddly
> enough, the analogue solutions sq8 8x1 seq. i added to the system fits
> perfectly.
As far as I remember Analogue Systems do use a Rack, that has not a
fixed row of nuts but free floating nuts. So they can realize also
frontpanels with an uneven HP count.

BTW: I own a A128 Protoype which has a 19 HP frontpanel. You see it also
happens to Doepfer ;-)

Florian

--
Florian Anwander                  |ConSol*  HP-Support
Tel.   +49.89.45841-133           |Consulting&Solutions Software GmbH
Fax    +49.89.45841-139           |Franziskanerstr. 38, D-81669 München
email: florian.anwander@... |http://www.consol.de

In a message dated 10/4/2001 2:28:52 AM Eastern Daylight Time,
Florian.Anwander@... writes:


>
> BTW: I own a A128 Protoype which has a 19 HP frontpanel. You see it also
> happens to Doepfer ;-)
>
>


hi florian,
interesting as my a-113 sub-osc seems to be drilled in such a way that i
couldn`t mount it flush to the side of the frame, i lost 1hp there, too. not
earth shattering but not good if your module layout plans were "full" at its
being 26hp not using 27hp. it didn`t really affect my plans other than to
leave me with an open 1hp at the other end of the frame, though.
best,
dave




[Non-text portions of this message have been removed]

Hi guys,

At last I'm expanding my basic 2 system. Yesterday I got a new case with 3
modules in it. A 136, A 140 (my third one) and A 150. I'm of course
experimenting with this Distortion/Waveshaper. It can do some interesting things
in combination with a LFO. I also find out that it can control the height of the
tone from the oscillator. I got a fine bass out of it, which will be sound real
cool, when I get my A 155 soon. Hoping that will arrive early next week,
together with the A 111. When I have those to loads of new possibilities come
into side! Still, it's a fact that just with a simple patch like VCO-VCF-VCA you
can tweak your filter and it already sounds utterly cool!!! But I want more, so
I dive deeper into modular synthesis to dug out some pretty weird stuff.

Roel.


[Non-text portions of this message have been removed]

Hi, y'all.

I've got a few replies to this on Doepfer's forumn page, so I thought
I'd place it here, too. Anyway, if anyone wants a copy of Allen
Strange's Electronic Music book as a PDF on a CD, send me an e-mail to:

bunnyman@...

and I'll send you the details (basically, send me a blank CD and a
SASE, and I'll burn one for you).

take care,

-andrew bunny

Hi,

I would like to have that PDF-book :-)

Boele Gerkes

Doepfer_a100@yahoogroups.com wrote:
>
> To unsubscribe from this group, send an email to:
> doepfer_a100-unsubscribe@yahoogroups.com
>
> ------------------------------------------------------------------------
>
> There is 1 message in this issue.
>
> Topics in this digest:
>
>       1. Allen Strange
>            From: bunnyman@...
>
> ________________________________________________________________________
> ________________________________________________________________________
>
> Message: 1
>    Date: Mon, 15 Oct 2001 01:24:44 -0000
>    From: bunnyman@...
> Subject: Allen Strange
>
> Hi, y'all.
>
> I've got a few replies to this on Doepfer's forumn page, so I thought
> I'd place it here, too. Anyway, if anyone wants a copy of Allen
> Strange's Electronic Music book as a PDF on a CD, send me an e-mail to:
>
> bunnyman@...
>
> and I'll send you the details (basically, send me a blank CD and a
> SASE, and I'll burn one for you).
>
> take care,
>
> -andrew bunny
>
> ________________________________________________________________________
> ________________________________________________________________________
>
> Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/

Well, unfortunately, McGraw Hill has issued me a cease and desist order
RE: giving away copies of the Electronic Music book. Gee, you'd think I
was making a profit or something. Anyway, to all who wanted to get one
but haven't yet, I apologize. To everyone who DID get one, hope you
enjoy it. Please address any complaints to:

M. Dudley Land
Senior Sponsoring Editor
McGraw-Hill Companies

and maybe they will actually offer it for sale again.

regretfully,

andrew bunny

Andrew,

Thanks for the update.

I will follow up with a mail to McGraw Hill, although will not expect a
response.

Regards

David



                     bunnyman@sail
                     ormoon.com          To:      Doepfer_a100@yahoogroups.com
                                         cc:
                     18/10/2001           Subject:     [Doepfer_a100] RE: Allen
Strange
                     01:33                Header:      Internal Use Only
                     Please
                     respond to
                     Doepfer_a100





Well, unfortunately, McGraw Hill has issued me a cease and desist order
RE: giving away copies of the Electronic Music book. Gee, you'd think I
was making a profit or something. Anyway, to all who wanted to get one
but haven't yet, I apologize. To everyone who DID get one, hope you
enjoy it. Please address any complaints to:

M. Dudley Land
Senior Sponsoring Editor
McGraw-Hill Companies

and maybe they will actually offer it for sale again.

regretfully,

andrew bunny



                Yahoo! Groups Sponsor



                    ADVERTISEMENT








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doepfer_a100-unsubscribe@yahoogroups.com



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-----------------------------------------------------------------
         Visit our Internet site at http://www.reuters.com

Any views expressed in this message are those of  the  individual
sender,  except  where  the sender specifically states them to be
the views of Reuters Ltd.

Hey everone, I've been back and forth with Dr. Strange, and he asked me
to post this:

Andrew:

I tried to post an announcement but kept getting interuppted by an ad
for Casio gambling sites--

Could you possiible psot this for me? Thanx

==============
My text, Electronic Music, has been reissued by McGraw-Hill Primus
Editions. It may be difficult to get in Europe so if anyone wants a
copy
please contact me direct at <astrange@...>

I can send you copies at my cost + shipping/etc which should be well
under $40.00 US each

Cheers-

Allen Strange

Yoo Bunny,

This the best new you could bring to all the modular freaks out there, who crave
for a copy.

Thanks.
Roel.

       From:  bunnyman@s...
       Date:  Fri Oct 19, 2001  1:58 am
       Subject:  IT'S BACK IN PRINT!!!!


Hey everone, I've been back and forth with Dr. Strange, and he asked me
to post this:

Andrew:

I tried to post an announcement but kept getting interuppted by an ad
for Casio gambling sites--

Could you possiible psot this for me? Thanx

==============
My text, Electronic Music, has been reissued by McGraw-Hill Primus
Editions. It may be difficult to get in Europe so if anyone wants a
copy
please contact me direct at <astrange@e...>

I can send you copies at my cost + shipping/etc which should be well
under $40.00 US each

Cheers-

Allen Strange







[Non-text portions of this message have been removed]

what is this publication you speak of?

Subject: IT'S BACK IN PRINT!!!!

Hey everone, I've been back and forth with Dr. Strange, and he asked me
to post this:

Andrew:

I tried to post an announcement but kept getting interuppted by an ad
for Casio gambling sites--

Could you possiible psot this for me? Thanx

==============
My text, Electronic Music, has been reissued by McGraw-Hill Primus
Editions. It may be difficult to get in Europe so if anyone wants a
copy
please contact me direct at <astrange@...>

I can send you copies at my cost + shipping/etc which should be well
under $40.00 US each

Cheers-

Allen Strange




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

Hi Evan,

Below you find more information about this book. If you aren't interested after
reading it, I give up!

Cheers,

Roel.

(This comes from the swedish Synthesizer Network webpage)





Allen Strange's
Electronic Music Systems, Techniques and Controls


--------------------------------------------------------------------------------

Text by Gordon Mumma.
Jump to the table of contents

When in 1972 the first edition of Allen Strange's Electronic Music Systems,
Techniques and Controls was published, the magenta, blue and white covered book
rapidly became ubiquitous. It was the first comprehensive and useful guide to
the subject, and was relatively easy to obtain. It had occasional errors of
detail, and was involved in the technological tumult before general standards
were agreed upon, so that some of the illustrative graphic symbols became
relies. Nonetheless, that edition proved quite robust.

At least two factors explain the first edition's survival for nearly a decade.
Firstly, Allen Strange organized the relatively new and complex material so that
it evolved with pedagogical sensibility. Secondly, his explanations of
conceptual matters were lucid. This lucidity may be due to a balance in the
author's own world. He is an experienced performer of electronic and acoustical
instruments, a versatile composer, a historian-theorist of diverse cultural
background, and a very effective teacher.

In the ensuing years several other books on the subject appeared. Some
contributed updated material, and others devoted more attention to certain
areas, though often at the expense of others. In spite of the example set by
Allen Strange's book, none of the others seems to have achieved his balanced
presentation. And few matched his marvelous attitude towards the subject, an
attitude which induced the reader to be alert to the many possibilities of a
rapidly developing creative medium.

This second edition, as the author notes in his preface, is in many respects a
new book. But it repeats that most important achievement of the earlier edition:
it is a comprehensive, detailed, and clearly organized guide to working with the
instruments and technical procedures of electronic music. Besides the expected
updating which includes many devices and procedures developed during the 1970s,
the author continues his method of explaining details within the context of
general operating principles. This makes the book applicable to virtually any
analog electronic music apparatus.

In its relatively short history-a bit more than half a century-music made with
electronic and electro-acoustic means is well on its way to becoming as
pluralistic as that produced during many centuries with purely acoustic
resources. It already has both "cultivated" and "vernacular" traditions, which
are widely disseminated by broadcasting and recording throughout every part of
the world. A major part of recent popular and commercial music would not exist
without synthesizers and the creative use of multi-track recording. The
recording studio, whether the relatively simple home-variety or a multi-million
dollar commercial facility, has itself become a musical instrument-in Brian Ends
words, "a compositional tool." Electronic music has even developed "folkloric"
aspects. Electronic sensors originally designed to detonate anti-personnel
weapons are now used as components of public-access electronic-music
environments in shopping centers and galleries. This is certainly anato the use
of cast-off oil drums in the making of steel-band music.

As with Allen Strange's earlier book, this new edition will continue to be an
important text for schools and universities. But perhaps more important, in a
time of declining support for arts innovation in educational institutions, this
book will be vital to creative people who develop their work independently.


--------------------------------------------------------------------------------

Table of Contents:

Illustrations  v
Foreword by Gordon Mumma         ix
Preface   x
Preliminary Statements about the Subject Matter      1
Parametric Design     4
Patching and Notation      5
Considerations of the Basic Parameters of Sound 7
Vibrations and Musical Sound 7
Musical Structure and Temporal Measurements     8
Non-Linear Perception      9
Subjective and Objective Measurement      10
Electronic Sound Sources and Their Characteristics   1 1
Voltage and Sound 11
The Basic Oscillator 12
Basic Waveshape and Spectra 14
Oscillator Formats 19
"Synchronization" 20
White Sound 21
Basic Signal Processing: Amplifiers and Filters 22
Amplification and Gain 22
Voltage Controlled Amplifiers    23
Pre-Amplifiers 25
Filtering: Subtractive Synthesis and Basic Filtering Concepts  25
Low Pass Filtering    26
Other Filter Functions   28
The Basic Patch    29
Exercises and Projects    29
Concepts of Voltage Control 32
Offsets: Fixed Control Voltages 32
Dynamic Controls 33
Parametric Response to Controls 34
Control Voltage Processing 36
Applications 42
Control Voltage Sources 45
Kinesthetic Control Voltage Sources 45
Programmed Control Voltage Sources 61
Exercises and Projects 88
Sub-Audio Modulation 97
Modulation Defined 97
Frequency Modulation 97
Sub-Audio Amplitude Modulation 104
Timbre Modulation 106
Exercises 1 10
Audio Rate Modulation 112
Sidebands and Timbre 112
Audio Rate Frequency Modulation 113
Audio Rate Amplitude Modulation 117
Balanced Modulation and Ring Modulation 124
Frequency Shifters    129
Audio Rate Modulation of Other Parameters   133
Exercises   134
Equalization and Filtering 142
Equalizers 144
Filters 147

Magnetic Tape Recording 164
Equalizing Standards     164
Magnetic Tape   165
General Tape Recorder Operation 166
Stereo and Multi-track Recording 168
Splicing 172
Audio Mixing 175
Definitions: Linear and Non-Linear Mixing 175
Mixing Stages: The Master and Sub-Mix 179
The Monitor and Program 180
Signal Modification with Mixers 181
A Summary of Terms       184
Monophonic Mixers 185
Matrix Mixers 186
Voltage Controlled Mixing    186
Exercises    189
Reverberation, Echo and Feedback 190
Reverberation and Echo Defined 190
Artificial Reverberation 191
Tape Delay 194
Specialized Delay Techniques 200
Three Pieces for Performance 207
Panning and Sound Location Control 212
The Electronic Simulation of Sound Location 212
The Psycho-Acoustics Involved 213
Manual Control 215
Voltage Controlled Panning   216
Simulation of Other Location Cues    223
Miscellaneous Equipment 225
Transducers 225
Information Changers 228
Noise Reduction 231
Stereo Synthesizers 232
Tape Looping 232
Performance Electronics 235
The Concert Set-Up 239
Checklist for Performance Electronics 242
Scores for Analysis and Performance 244
Entropical Paradise (with Bird Call) by Douglas Leody 244
Stochastic Arp by Frank McCarty 247
Orion Rising by Mark Styles 250
Akarui Tsuki by John Strawn 254
A Shadow of Its Former Self by Dan Wyman 260
Afterword 263
Annotated Bibliography   264
Index 273



[Non-text portions of this message have been removed]

Wow, sounds like a really useful and interesting publication.
Is it available in Australia, or only via this postal order?
Thanks,
Evan Lorden.

___________________________________________________________________

My text, Electronic Music, has been reissued by McGraw-Hill Primus
Editions. It may be difficult to get in Europe so if anyone wants a
copy please contact me direct at <astrange@...>

I can send you copies at my cost + shipping/etc which should be well
under $40.00 US each

Cheers-

Allen Strange

Date: Sat, 20 Oct 2001 16:31:07 +0200
     From: "Roel Steverink" <roel.steverink@...>
Subject: Re: Publication

Hi Evan,

Below you find more information about this book. If you aren't interested
after reading it, I give up!

Cheers,

Roel.

(This comes from the swedish Synthesizer Network webpage)





Allen Strange's
Electronic Music Systems, Techniques and Controls


--------------------------------------------------------------------------------

Text by Gordon Mumma.
Jump to the table of contents

When in 1972 the first edition of Allen Strange's Electronic Music Systems,
Techniques and Controls was published, the magenta, blue and white covered
book rapidly became ubiquitous. It was the first comprehensive and useful
guide to the subject, and was relatively easy to obtain. It had occasional
errors of detail, and was involved in the technological tumult before
general standards were agreed upon, so that some of the illustrative graphic
symbols became relies. Nonetheless, that edition proved quite robust.

At least two factors explain the first edition's survival for nearly a
decade. Firstly, Allen Strange organized the relatively new and complex
material so that it evolved with pedagogical sensibility. Secondly, his
explanations of conceptual matters were lucid. This lucidity may be due to a
balance in the author's own world. He is an experienced performer of
electronic and acoustical instruments, a versatile composer, a
historian-theorist of diverse cultural background, and a very effective
teacher.

In the ensuing years several other books on the subject appeared. Some
contributed updated material, and others devoted more attention to certain
areas, though often at the expense of others. In spite of the example set by
Allen Strange's book, none of the others seems to have achieved his balanced
presentation. And few matched his marvelous attitude towards the subject, an
attitude which induced the reader to be alert to the many possibilities of a
rapidly developing creative medium.

This second edition, as the author notes in his preface, is in many respects
a new book. But it repeats that most important achievement of the earlier
edition: it is a comprehensive, detailed, and clearly organized guide to
working with the instruments and technical procedures of electronic music.
Besides the expected updating which includes many devices and procedures
developed during the 1970s, the author continues his method of explaining
details within the context of general operating principles. This makes the
book applicable to virtually any analog electronic music apparatus.

In its relatively short history-a bit more than half a century-music made
with electronic and electro-acoustic means is well on its way to becoming as
pluralistic as that produced during many centuries with purely acoustic
resources. It already has both "cultivated" and "vernacular" traditions,
which are widely disseminated by broadcasting and recording throughout every
part of the world. A major part of recent popular and commercial music would
not exist without synthesizers and the creative use of multi-track
recording. The recording studio, whether the relatively simple home-variety
or a multi-million dollar commercial facility, has itself become a musical
instrument-in Brian Ends words, "a compositional tool." Electronic music has
even developed "folkloric" aspects. Electronic sensors originally designed
to detonate anti-personnel weapons are now used as components of
public-access electronic-music environments in shopping centers and
galleries. This is certainly anato the use of cast-off oil drums in the
making of steel-band music.

As with Allen Strange's earlier book, this new edition will continue to be
an important text for schools and universities. But perhaps more important,
in a time of declining support for arts innovation in educational
institutions, this book will be vital to creative people who develop their
work independently.


--------------------------------------------------------------------------------

Table of Contents:

Illustrations  v
Foreword by Gordon Mumma         ix
Preface   x
Preliminary Statements about the Subject Matter      1
Parametric Design     4
Patching and Notation      5
Considerations of the Basic Parameters of Sound 7
Vibrations and Musical Sound 7
Musical Structure and Temporal Measurements     8
Non-Linear Perception      9
Subjective and Objective Measurement      10
Electronic Sound Sources and Their Characteristics   1 1
Voltage and Sound 11
The Basic Oscillator 12
Basic Waveshape and Spectra 14
Oscillator Formats 19
"Synchronization" 20
White Sound 21
Basic Signal Processing: Amplifiers and Filters 22
Amplification and Gain 22
Voltage Controlled Amplifiers    23
Pre-Amplifiers 25
Filtering: Subtractive Synthesis and Basic Filtering Concepts  25
Low Pass Filtering    26
Other Filter Functions   28
The Basic Patch    29
Exercises and Projects    29
Concepts of Voltage Control 32
Offsets: Fixed Control Voltages 32
Dynamic Controls 33
Parametric Response to Controls 34
Control Voltage Processing 36
Applications 42
Control Voltage Sources 45
Kinesthetic Control Voltage Sources 45
Programmed Control Voltage Sources 61
Exercises and Projects 88
Sub-Audio Modulation 97
Modulation Defined 97
Frequency Modulation 97
Sub-Audio Amplitude Modulation 104
Timbre Modulation 106
Exercises 1 10
Audio Rate Modulation 112
Sidebands and Timbre 112
Audio Rate Frequency Modulation 113
Audio Rate Amplitude Modulation 117
Balanced Modulation and Ring Modulation 124
Frequency Shifters    129
Audio Rate Modulation of Other Parameters   133
Exercises   134
Equalization and Filtering 142
Equalizers 144
Filters 147

Magnetic Tape Recording 164
Equalizing Standards     164
Magnetic Tape   165
General Tape Recorder Operation 166
Stereo and Multi-track Recording 168
Splicing 172
Audio Mixing 175
Definitions: Linear and Non-Linear Mixing 175
Mixing Stages: The Master and Sub-Mix 179
The Monitor and Program 180
Signal Modification with Mixers 181
A Summary of Terms       184
Monophonic Mixers 185
Matrix Mixers 186
Voltage Controlled Mixing    186
Exercises    189
Reverberation, Echo and Feedback 190
Reverberation and Echo Defined 190
Artificial Reverberation 191
Tape Delay 194
Specialized Delay Techniques 200
Three Pieces for Performance 207
Panning and Sound Location Control 212
The Electronic Simulation of Sound Location 212
The Psycho-Acoustics Involved 213
Manual Control 215
Voltage Controlled Panning   216
Simulation of Other Location Cues    223
Miscellaneous Equipment 225
Transducers 225
Information Changers 228
Noise Reduction 231
Stereo Synthesizers 232
Tape Looping 232
Performance Electronics 235
The Concert Set-Up 239
Checklist for Performance Electronics 242
Scores for Analysis and Performance 244
Entropical Paradise (with Bird Call) by Douglas Leody 244
Stochastic Arp by Frank McCarty 247
Orion Rising by Mark Styles 250
Akarui Tsuki by John Strawn 254
A Shadow of Its Former Self by Dan Wyman 260
Afterword 263
Annotated Bibliography   264
Index 273



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

PS. Does it include any details on the construction of synthesiser modules
and-or standards for building modules.

Wow, sounds like a really useful and interesting publication.
Is it available in Australia, or only via this postal order?
Thanks,
Evan Lorden.

___________________________________________________________________

My text, Electronic Music, has been reissued by McGraw-Hill Primus
Editions. It may be difficult to get in Europe so if anyone wants a
copy please contact me direct at <astrange@...>

I can send you copies at my cost + shipping/etc which should be well
under $40.00 US each

Cheers-

Allen Strange

Date: Sat, 20 Oct 2001 16:31:07 +0200
     From: "Roel Steverink" <roel.steverink@...>
Subject: Re: Publication

Hi Evan,

Below you find more information about this book. If you aren't interested
after reading it, I give up!

Cheers,

Roel.

(This comes from the swedish Synthesizer Network webpage)





Allen Strange's
Electronic Music Systems, Techniques and Controls


--------------------------------------------------------------------------------

Text by Gordon Mumma.
Jump to the table of contents

When in 1972 the first edition of Allen Strange's Electronic Music Systems,
Techniques and Controls was published, the magenta, blue and white covered
book rapidly became ubiquitous. It was the first comprehensive and useful
guide to the subject, and was relatively easy to obtain. It had occasional
errors of detail, and was involved in the technological tumult before
general standards were agreed upon, so that some of the illustrative graphic
symbols became relies. Nonetheless, that edition proved quite robust.

At least two factors explain the first edition's survival for nearly a
decade. Firstly, Allen Strange organized the relatively new and complex
material so that it evolved with pedagogical sensibility. Secondly, his
explanations of conceptual matters were lucid. This lucidity may be due to a
balance in the author's own world. He is an experienced performer of
electronic and acoustical instruments, a versatile composer, a
historian-theorist of diverse cultural background, and a very effective
teacher.

In the ensuing years several other books on the subject appeared. Some
contributed updated material, and others devoted more attention to certain
areas, though often at the expense of others. In spite of the example set by
Allen Strange's book, none of the others seems to have achieved his balanced
presentation. And few matched his marvelous attitude towards the subject, an
attitude which induced the reader to be alert to the many possibilities of a
rapidly developing creative medium.

This second edition, as the author notes in his preface, is in many respects
a new book. But it repeats that most important achievement of the earlier
edition: it is a comprehensive, detailed, and clearly organized guide to
working with the instruments and technical procedures of electronic music.
Besides the expected updating which includes many devices and procedures
developed during the 1970s, the author continues his method of explaining
details within the context of general operating principles. This makes the
book applicable to virtually any analog electronic music apparatus.

In its relatively short history-a bit more than half a century-music made
with electronic and electro-acoustic means is well on its way to becoming as
pluralistic as that produced during many centuries with purely acoustic
resources. It already has both "cultivated" and "vernacular" traditions,
which are widely disseminated by broadcasting and recording throughout every
part of the world. A major part of recent popular and commercial music would
not exist without synthesizers and the creative use of multi-track
recording. The recording studio, whether the relatively simple home-variety
or a multi-million dollar commercial facility, has itself become a musical
instrument-in Brian Ends words, "a compositional tool." Electronic music has
even developed "folkloric" aspects. Electronic sensors originally designed
to detonate anti-personnel weapons are now used as components of
public-access electronic-music environments in shopping centers and
galleries. This is certainly anato the use of cast-off oil drums in the
making of steel-band music.

As with Allen Strange's earlier book, this new edition will continue to be
an important text for schools and universities. But perhaps more important,
in a time of declining support for arts innovation in educational
institutions, this book will be vital to creative people who develop their
work independently.


--------------------------------------------------------------------------------

Table of Contents:

Illustrations  v
Foreword by Gordon Mumma         ix
Preface   x
Preliminary Statements about the Subject Matter      1
Parametric Design     4
Patching and Notation      5
Considerations of the Basic Parameters of Sound 7
Vibrations and Musical Sound 7
Musical Structure and Temporal Measurements     8
Non-Linear Perception      9
Subjective and Objective Measurement      10
Electronic Sound Sources and Their Characteristics   1 1
Voltage and Sound 11
The Basic Oscillator 12
Basic Waveshape and Spectra 14
Oscillator Formats 19
"Synchronization" 20
White Sound 21
Basic Signal Processing: Amplifiers and Filters 22
Amplification and Gain 22
Voltage Controlled Amplifiers    23
Pre-Amplifiers 25
Filtering: Subtractive Synthesis and Basic Filtering Concepts  25
Low Pass Filtering    26
Other Filter Functions   28
The Basic Patch    29
Exercises and Projects    29
Concepts of Voltage Control 32
Offsets: Fixed Control Voltages 32
Dynamic Controls 33
Parametric Response to Controls 34
Control Voltage Processing 36
Applications 42
Control Voltage Sources 45
Kinesthetic Control Voltage Sources 45
Programmed Control Voltage Sources 61
Exercises and Projects 88
Sub-Audio Modulation 97
Modulation Defined 97
Frequency Modulation 97
Sub-Audio Amplitude Modulation 104
Timbre Modulation 106
Exercises 1 10
Audio Rate Modulation 112
Sidebands and Timbre 112
Audio Rate Frequency Modulation 113
Audio Rate Amplitude Modulation 117
Balanced Modulation and Ring Modulation 124
Frequency Shifters    129
Audio Rate Modulation of Other Parameters   133
Exercises   134
Equalization and Filtering 142
Equalizers 144
Filters 147

Magnetic Tape Recording 164
Equalizing Standards     164
Magnetic Tape   165
General Tape Recorder Operation 166
Stereo and Multi-track Recording 168
Splicing 172
Audio Mixing 175
Definitions: Linear and Non-Linear Mixing 175
Mixing Stages: The Master and Sub-Mix 179
The Monitor and Program 180
Signal Modification with Mixers 181
A Summary of Terms       184
Monophonic Mixers 185
Matrix Mixers 186
Voltage Controlled Mixing    186
Exercises    189
Reverberation, Echo and Feedback 190
Reverberation and Echo Defined 190
Artificial Reverberation 191
Tape Delay 194
Specialized Delay Techniques 200
Three Pieces for Performance 207
Panning and Sound Location Control 212
The Electronic Simulation of Sound Location 212
The Psycho-Acoustics Involved 213
Manual Control 215
Voltage Controlled Panning   216
Simulation of Other Location Cues    223
Miscellaneous Equipment 225
Transducers 225
Information Changers 228
Noise Reduction 231
Stereo Synthesizers 232
Tape Looping 232
Performance Electronics 235
The Concert Set-Up 239
Checklist for Performance Electronics 242
Scores for Analysis and Performance 244
Entropical Paradise (with Bird Call) by Douglas Leody 244
Stochastic Arp by Frank McCarty 247
Orion Rising by Mark Styles 250
Akarui Tsuki by John Strawn 254
A Shadow of Its Former Self by Dan Wyman 260
Afterword 263
Annotated Bibliography   264
Index 273



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

Hi Evan

> PS. Does it include any details on the construction of synthesiser modules
> and-or standards for building modules.
No. It is a guide "only" for using modular synths. But it is the best
one you could think of (this I am saying, who wrote a german book about
the same theme).

If you are interested in the electronic function and construction of
modules, then you should have a look for the original Formant book (the
"formant 2000" book may also be ok - I did not read it - but I have
heard it has some errors).

There are also Berny Hutchins "electro notes", a xerox copied collection
of articles and schemoes, started in the early seventies. It is still
completely available from Bernie. Ask at the synth-diy maillist of Rick
Jansen

(majordomo@... -> subscribe synth-diy)

And last but not least Doepfer sells the servicemanual of the A-100.

Florian
--
Florian Anwander                  |ConSol*  HP-Support
Tel.   +49.89.45841-133           |Consulting&Solutions Software GmbH
Fax    +49.89.45841-139           |Franziskanerstr. 38, D-81669 München
email: florian.anwander@... |http://www.consol.de

In a message dated 10/4/2001 4:56:09 PM Eastern Standard Time,
davevosh@... writes:


> : <A
HREF="mailto:Doepfer_a100@yahoogroups.com">Doepfer_a100@yahoogroups.com</A>
>


hello to all !
question to any a-190 owners -
i have this module and have only recently gotten around to trying to do
anything with it, midi being a low priority / interest to me, and am having a
problem. with a simple midi kybd  ( transmits on ch. 1 ) plugged in to the
a-190, i seem to get gate activity and a voltage from the cv2 / velocity
output but nothing from cv1 / "pitch/vco"  output. can`t seem to figure out
what i`m doing wrong !  :^(
any ideas ?
thanks !
dave





[Non-text portions of this message have been removed]

In a message dated 10/30/2001 7:44:18 PM Eastern Standard Time,
davevosh@... writes:


>
> hello to all !
> question to any a-190 owners -
> i have this module and have only recently gotten around to trying to do
> anything with it, midi being a low priority / interest to me, and am having
> a
> problem. with a simple midi kybd  ( transmits on ch. 1 ) plugged in to the
> a-190, i seem to get gate activity and a voltage from the cv2 / velocity
> output but nothing from cv1 / "pitch/vco"  output. can`t seem to figure out
> what i`m doing wrong !  :^(
> any ideas ?
> thanks !
> dave
>




[Non-text portions of this message have been removed]