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Serge Index

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Serge - CGS & Driscoll
* Power Supplies
* TKB - Touch Keyboard Sequencer - build notes
* SYNTHACON VCF - CGS 35 build notes
* CGS 86 - Build notes for the Serge Touch Keyboard
* Utility LFO - CGS 58 - Build notes
* CGS 81 - Voltage Processor build notes
* CGS 22 - Master pulse divider - Build notes
* Serge Resonant EQ/Filter - Euro format (CGS 202)
* Serge Bi-Directional Quad Switch (CGS 88)

* Roland mixer - PSU replacement using Ken Stone/CGS ideas

Vintage / Paperface 
* The Morley Serge - Phaser & Reverb repairs (CGS/Ken Stone)
* The Morley Davidson Serge - Reverb Tank - Girls of Milton (KS)
* David Morley's Serge - The Sherman Chaos Bank (CGS/Ken S)
* Morley Serge - Chaos Bank pics (CGS)
* Morley Serge - Final restoration pics (Thanks to Ken Stone)

* Two panel vintage paperface - Pre restoration pics.

* Warren Burt's Driscoll/Serge synth
* Warren Burt - Serge panel 2/2
* Warren Burt - Serge Negative Slew - repairs
* Warren Burt - WAD and TKB restoration pics (NLC & CGS)
* Warren Burt - Driscoll pics 



Basic op-amp circuits

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Just refreshing my rusty memory.
This might help newbies to electronics as well.
I'll add to this page over time.....

Op-amps are used a lot in electronics so I decided to list some of the most common op-amp circuits that I've seen again and again while building & repairing synthesizers.
If I have made any mistakes or omissions please let me know.

 1.Voltage comparator

 This circuit compares two input voltages and lets you know which is greater.
 V2>V1 if Vout = +V
 V2<V1 if Vout = -V

The output voltages are driven by supply voltages (+V or -V).
So if the op-amp comparator is driven by the positive supply voltage, then V2 will be greater than V1.
and
if the op-amp comparator is driven by the negative supply voltage, then V2 will be less than V1.

2. Voltage follower
This is also called a unity-gain amplifier, a buffer amplifier, an impedance buffer, and an isolation amplifier.
It's is a great way to stop one circuit from affecting another.
is a great way to stop one circuit from affecting another

Reference https://www.physicsforums.com/threads/whats-the-advantage-of-using-a-voltage-buffer-amplifier.954034/
is a great way to stop one circuit from affecting another

Reference https://www.physicsforums.com/threads/whats-the-advantage-of-using-a-voltage-buffer-amplifier.954034/
is a great way to stop one circuit from affecting another

Reference https://www.physicsforums.com/threads/whats-the-advantage-of-using-a-voltage-buffer-amplifier.954034/
It has a voltage gain of 1.
Basically, the inverting input is connected to the output.


Vin = V out

3. Inverting op-amp
Here the output signal will be 180 degrees out of phase to input signal.


Notice the non-inverting (+ve) input is grounded and the feedback resistor connects to the inverting input.
Vout  = Vin* (R2)/R1

4. Non-inverting op-amp
Here the output is in phase with the input. (eg if the input is  a positive voltage, then the output will also be positive.)

Notice that the inverting input is grounded.
Vout = (1 + R1/R2)Vin


5. Non-inverting summing op-amp
Summing amplifiers are also known a voltage adders.
This is pretty much the identical circuit to the inverting summer (see below), except that the summing input is the op-amp's positive terminal.
In any non-inverting summing amplifier, the output voltage is in phase with the input voltage.
This is a great circuit for adding two or more voltages without amplification.
The output voltage, ( Vout ) is proportional to the sum of the input voltages, V1, V2, V3.
For this to occur R1, R2 & R3, etc must have identical resistances.
ie: R1=R2=R3, etc. If we call this resistance "Rin", then

Vout = (R4/Rin) * (V1 + V2 + V3 ....etc)

A Scaling Summing Amplifier can be made if the individual input resistors are “NOT” equal.

6. Inverting summing op-amp.
 Summing amplifiers are also known a voltage adders.
With the inverting summing op-amp, summing input is the op-amp's negative terminal.
The output voltage is also out of phase with the input voltage.
Ie  the circuit will produce the negative sum of any number of input voltages.

The output voltage, ( Vout ) is proportional to the sum of the input voltages, V1, V2, V3
 -Vout = (R4/Rin) * (V1 + V2 + V3 ....etc)
If the inputs resistors, R1, R2, R3 etc, are all equal a “unity gain inverting adder is made".
If the input resistors are of different values a “scaling summing amplifier” is made.

You will find this type of circuit in many CV processors.

7. Differential Amplifier.
This is also known as the Voltage Subtractor.
 We basically have an upper and a lower voltage divider.

If all resistances are equal, Vout = V2-V1
By adjusting the resistances within the two voltage dividers we can get differential voltage gains.

8. Op-amp Integrator

The output is proportional to the input integrated over time.The feedback loop uses a capacitor instead of a resistor.
For more on the integrator click here.

9. Converter - current  to voltage.
Here, the input current is converted into a proportional voltage.
It's also known as a transimpedance amplifier (TIA).


The very basic version of this circuit consists of an op-amp and a resistor.
"i" = input current.
This type of circuit is useful in measuring small currents.... eg from photodiodes.
The sensitivity of the above circuit can be increased by increasing the feedback resistance.


10. Differentiator Amplifier.
This is not to be confused with the Differential Amplifier.
This is a variation of the Integrator circuit in that the position of the capacitor and resistor have been reversed. In fact, Integration is the opposite of Differentiation.
We can see a capacitor in series at the input. The resistor forms the feedback loop.
The basic differentiator circuit performs the maths operation of Differention.
It measures rate of change.
It produces an output voltage amplitude that is proportional to the rate of change of the input voltage.

Feeding in a saw tooth or triangle waveform into the input will give a square output.
If we feed a sine wave, the output is also a sine wave but it will be out of phase by 180 degrees  with respect to the input.

Differentiator  circuits are used in high pass filters, wave shaping circuits and as frequency modulators.

---------------
A few years ago I had the pleasure of visiting visit the NonLinearCircuits lab in Western Australia.


Andrew showed me an old analog computer which had many of these above circuits.


The integrator:

The adder:
These days, when someone mentions a computer, most will think digital.
But for most of human history, computers were analog.

Digital circuits can be extremely complex using  sometimes masses of ICs and transistors operating in patterns of zero's and ones.

Analog computers appear in comparison to be much simplier.
Here numbers can be represented using voltages and calculations are performed in a "fluid & continuous" fashion. One disadvantage with analog over digital seems to be less precision and possibly a greater chance of error. But in situations where precision isn't critical, analog is a very beautiful and elegant alternative.

Links
+ Integrator
+ A visit to NLC labs in Western Australia
+ Building an analog computer with op-amps

Happy 808 day

Tokyo Festival Of Modular 2019

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Japan ... TFOM 2019
16th Nov (Sat)  to 17th Nov (Sunday)







A post shared by jono (@dj_jondent) on


Can't wait for this.
Facebook:
https://www.facebook.com/TokyoModularFestival/

Official Website:
http://tfom.info/

tfom will be held at CONTACT CLUB
Google map
Address : B2F SHINTAISO BLDG No.4, 2-10-12 DOGENZAKA,
SHIBUYA-KU, Tokyo 150-0043 Japan
TEL : 03-6427-810
Directions: Go through the entrance of Shintaiso bldg parking lot located next to the Seven Eleven Dogenzaka Chuo Shop.



In the same building on the 7th floor will be the exposition in STUDIO MISSION at following address:https://maps.google.it/maps?oe=UTF-8&hl=it-it...

Two Voice Obe

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Playing around with Gareth's Two Voice.
Sounds so Phat.
Two SEM modules. 2-track, 16-step sequencer.
Mini-jack patch points. MIDI I/O.
This is the real thing... not a clone.
And you can hear the difference in the sound.
What's not to love. I reckon this is a future classic





A post shared by jono (@dj_jondent) on


The TVS is being sequenced through CV/gate by an Akai Force.
A great combo

MetroModular - Buchla Format half size panels

MITLR 8 - Modular In the Lounge VIII

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MITLR - 8 --------------- Modular In The Lounge Room Eight.
Sat, 10th August, 2019

Thanks to Terry for the great visuals

eDIROL P10 - video sampler
Edirol V4 - video mixer
Erogenous Tones - Structure













A post shared by jono (@dj_jondent) on
Modular In the Lounge Room. 8


 Ralph - our mascot
===============================================
Mitch aka Vitals






=============================================
Paul AKA Allinaire




================================================

Adam





=====================================
TERRY - Post Global Disorder







'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''
Gareth - aka RHISM




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

Thanks to Mitch for hosting this.




The morning after


Past Modular on the Lounge gigs: 
+ Modular in the Lounge VII
+ Modular in the Lounge VI
+ Modular in the Lounge V
+ Modular in the lounge IV
+ Modular in the lounge III
+ Modular in the lounge II
+ Modular in the lounge I
+ Modular in the Car Park

Buchla 261e - notes

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Revisiting the Buchla 200e.
I'm slowly working my way through the 200e manuals and re-writing my notes.
I'll update this as I go along.
This post is mostly about the 261e, however I can't help to notice its similarities with the old 259

Of course the 261e is just 1U ...Don has packed a lot into a small package.
Both have modulation & principal Oscillators.
In the 261e, the oscillator core is now a digital sine wave.
I understand that the 259 had a triangle core (analog of course).
For more about oscillator cores read here

 

Modulation Oscillator:

The modulation oscillator on the 261e can be switched between 3 settings: Low, Hi & track
In "Low" or sub audio mode it oscillates between 0.25 Hz and 64 Hz.
In "Hi" or audio mode it covers a frequency range between 27 Hz and 7040 Hz.
In "Track", it follows the pitch of the main oscillator and can be shifted relative to it regarding pitch.
The offset will be zero when the modulation frequency is set to 440 Hz. (indicated by extinguishing the bicolor LED).

An F.M. input for the Modulation Oscillator provides for frequency modulation.
The waveshape of the MO is voltage controllable. This ranges from sine through square and pulse;.
There is also a multiplying input (the centre banana in the above picture). This varies the degree and direction of waveshaping.

The output of the modulation osc is internally connected to the the principal oscillator
The Amplitude (AM), Timbre & Pitch (linear FM or frequency modulation) of the Principal Oscillator are the main targets.

You can apply this modulation either singly or in combination.

Under Amplitude, there is a point where it acts like a ring modulator.

Timbre has 3 parameters: Offset, Symmetry (direction) & High Order (magnitude).
Symmetry and high order have variable offset and are voltage controllable.

Timbre adds harmonics as you increase the value.
Symmetry controls how different one half of the waveform is from the other.
High Order acts a little like a high pass filter. I

Note that pitch modulation responds only to sinewaves.

Sync Facility of MO
This permits synchronization of the Modulation Osc to MIDI note-on messages, or to subdivisions of the principal oscillator.
Hard sync truncates the waveform; soft sync uses a phase locked loop to achieve synchronization.

 

Principle Oscillator

 The core is a digital sine wave.
 The frequency ranges from 27 to 7040 Hz,



There are attenuators  and jacks for both the pitch CV (banana) and the audio-FM input.
----------------------------


Internal Buss settings for the 261e & a 225e preset manager.

Bus I.D. for the module is set with two board mounted switches IN THE LOWER left corner


The module ID can be displayed on the 225e preset manager by holding the remote enable switch on the 261e for about two seconds. 

You should see something like this:
Here, the 261e is on Buss C.

The normal settings start at A and go for as many modules as you have (up to D, or four).
The 261e responds to pitch & fine tune messages via the 225e.

 MIDI Fine tuning


To respond to MIDI fine tuning messages, the “Ft” field in the 225e’s display must contain something other than a default value of “An” for the bus of interest (buses A – D).
The fine tune data is in cents (a cent is 1% of a semi-tone), and can range from –49 cents to +49 cents. It can be set for each bus, and therefore for each of four oscillators.

Note that if fine tuning is enabled for a particular VCO that oscillator’s pitch knob will be incapacitated, as will its F.M. input and control voltage input. Pitch will be completely determined by MIDI signals.
So if you want to use the VCO knobs as normal, keep the setting on "An".
"An" I believe stands for analog

To be continued.................

Marrakesh Morocco

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Some pics of Marrakesh.

 Great Markets






sNAIL soup





Yves Saint Laurent Museum

NLC Mixer & Headphone amp

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This is a 3 input mixer with a minijack and 1/4" output as well.
Its in Eurorack format.
The headphone amp has its own input and volume control. This way you can monitor a single patch and set it up whilst other patches are fed to the PA. 

This is a really easy build. Ideal for someone who is new to DIY eurorack.



If nothing is inserted into the headphone input, then the mixer output is routed to the headphones.

 All the pots and minijacks are mounted on the PCB.




BOM & Build notes 

 

Portishead - dummy - 25th anniversary

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A landmark album.
This was part of my growing up
I can't believe its 25 years.

The group comprised sampling guru Geoff Barrow, guitarist Adrian Utley, and vocalist Beth Gibbons.
The album is all about atmosphere and texture.

Some of the tracks used material that was first recorded to tape, then pressed to vinyl which was stomped on and kicked around to give that crackling sound.
It seems they recorded a lot to tape which imparts compression & frequency distortion.

No.    Title            Length
1.    "Mysterons"    5:02
2.    "Sour Times"    4:14
3.    "Strangers"    3:55
4.    "It Could Be Sweet"    4:16
5.    "Wandering Star"    4:51
6.    "It's a Fire" (not on vinyl LP or original UK & Europe versions of album)    3:48
7.    "Numb"    3:54
8.    "Roads"    5:02
9.    "Pedestal"    3:39
10.    "Biscuit"    5:01
11.    "Glory Box"    5:06

Some of the synths used on the album were the  :
Roland 808 drum.("It Could be Sweet")
Akai S 1000 sampler
Roland SH 101 ( "Mysterons") ???
Fender Rhodes (Roads, "Biscuit", "It Could be Sweet" )
Vox Continental Organ ("Numb,""It's a Fire," and the end of "Wandering Star." )
Hammond Organ ("Numb,""It's a Fire," and the end of "Wandering Star." )
Roland Space Echo - RE 201 ( "Mysterons", "Pedestal", "Numb")

This is by no means a complete list...
(I haven't of course mentioned any of Adrian Utley's Guitars)

gh

Midi triggering the 1010 bitbox

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I'm loving the bitbox.


It's a great sampler ... reminds me of the Roland SP 404 or a AKAI MPC
I've been searching for the best midi sequencer to pair with this module.
I've had success with the Arturia Beatstep Pro (the drum sequencer section) and the Roland TR-8

Midi note numbers output from the tr 8.
The Roland TR-8  outputs midi from channel 10. The midi note numbers are as follows:
Bass Drum - 36
Snare Drum - 38
Low Tom - 43
Mid Tom - 47
High Tom - 50
Rim Shot - 37
Hand Clap - 39
Closed HiHat - 42
Open HiHat - 46
Crash Cymbal - 49
Ride Cymbal - 51

Luckily, the bitbox also responds to midi on channel 10.
Midi input can also be used to modulate some parameters in the bitbox.

Ive seen the cirklon sequencer also used very effectively on the 1010.

Let me know if you of any other sequencers that pair well with the bitbox

B

Roland SP 808 Groove sampler

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The 808 groove sampler came out in 1998 ... it's 21 years old.
There is a whopping 100MB of memory on a zip drive.
 {;-)

The SP 808 shares the same digits are its illustrious  brother the famous TR 808 drum.
This however was marketed as a workstation
You can still pick these up on Ebay quite cheaply.. if you are into vintage gear, this is still a good buy.


I think the machine is very underrated and I really like how it sounds.

It's a phrase sampler, sequencer, synthesizer, hard disk multitrack recorder with lots of studio quality effects. I think the market were DJ remixers ... musicians who wanted to sample.
In 1988, computers were basic and computer based sampling really difficult and expensive.
Plus, there is nothing like a real hardware machine that hardly ever crashes.
Daft Punk and The Prodigy used this on stage back in the 1990s

 The 16 pads reminded everyone of the AKAI MPC
The Sampler is 44.1kHz and 32kHz. It can  hold up to 1,024 samples. 
This is spread over16 pads x 64 banks.
Max sampling time is 25mins (stereo) at 44.1.
32 mins at 32khz

Roland used zip disks to store the samples. ... this is one of its weaknesses .......the zip can break down and be hard to repair. sadly WAV and AIFF formats aren't supported.


 The D-beam controller -- ITS A BIT LIKE A tHERMIN,
Just wave your hands above it.
You can  tweak effects,  pitch and volume


tHIS is the zip drive
Back in the 1990s, 100MB was a big deal.
Only SCSI drives could compete with this.

 The drive is both a blessing and a curse.
Over time , these break down, Its the Achillies heel.


mIDI  IN /OUT / THRU

-----------------------------------------------------------------------------------------------------------------
For more info on the history of Roland Drum Machines click here

Balter - NLC - Build notes

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Some pics of a recent nonlinear circuit module build.
Its a delay -- for gates .. will help to loosen up my rigid drums.
The CV controlled delay  has a huge range..... from 7 milli-seconds to 1 minute.

You can get longer times by replacing the 1uF caps with larger values, say 10uF


This module is in Eurorack format.
gET  the SMD stuff on first.


RL = 10k

José Luis Torrente is a fictional character created by Spanish actor and director Santiago Segura and the main character in the Torrente scatological and dark comedy-action film series.






Links:
+ Wiki NLC
+ NLC Build Guide & BOM


To be continued.....

--------------------------------------------------------------------------------------------------- 
Click here to return to the NLC Build Index: 
 http://djjondent.blogspot.com.au/2015/03/non-linear-circuits-ncl-index.html 

Happy 909 day

Oberheim Xpander - notes

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Revisiting the Xpander

 It's a beast. Some of the fattest sounds ever. (I'd love to hear a matrix 12 one day).


The Xpander has 6 voices which are completely independent
tHE voices can have different sounds and can be controlled on different midi  or CV/gate channels.


tHE interface can be quite intimidating at first.


tHERE are 6 individual voice outs on the back




The synth is made up of 3 sections (working from left to right):
1). The Master & programmer section
2). Modulation Source X select & Page Modifier
3). Single Multi Patch Page Select


1). The Master & programmer section


The Master section contains volume, tune page & Master page controls.
The programmer selects & stores patches.

The patch can be single or multi ( the left most digit will show "M" or "S".)
The next digits show the patch number & name.



The last 3 digits  will read out the name of the current patch page.

Pressing any two digits on the keypad, will select a new (multi) patch.

2). Modulation Source X select & Page Modifier



Modulation Source & X select
This is where you select modulation sources (like levers, pedals & keyboards) and envelopes (LFOs, ramps, or tracking generators)

The Page modifier
The buttons are used like on/off switches to access modulation pages.
The knobs change settings.


3). Single Multi Patch Page Select


This is where you select the patch pages. (single or multi).

There are 6 pages or sets of controls.
Single patch pages are used to program single sounds. (ie, they are assigned to each voice).
Multi patch pages control all 6 voices in tandem.

If you press a page button, the last 3 digits of the name of the patch page will be displayed on the Programmer LED display (1) & the controls for that page will appear in the Page Modifier section.





Links
+ Music radar
+ VSE
+GForce


Roland CR -78 CompuRhythm - Repair pics

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Some repair pics of a Roland drum ..the  Cr 78



Just 4 screws need to be removed from the base if you want to open her up.

The drum has been in storage for many years ... in mint condition ... at least externally.


However, it looks like the battery has leaked.


Hopefully, the damage will be easily repaired.

tHIS  is the underside of the drum:






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