JonDent - Exploring Electronic Music

Part of my Covid 19 isolation tasks is to make friends with some of my old synths that I usually don't get much time to play.

Starting at the beginning is the MS10. Though overlooked my many as the lesser of the MS family, I think its unjustly ignored. Released in 1978, it's been used by artists such as the Chemical Brothers, Astral Projection, Autechre, and Underworld. It's a beautiful piece of history, dripping with personality.

The MS 10 has most of the patching already done internally. So you don't need to use the patch bay to get sounds out of it. However, once you master the patch bay, you will get some amazing stuff.

The MS 10 is a good introduction to the Korg MS family.
The inputs are on the top, the outputs on the bottom, and the CV/Gate stuff is in between.
Inputs:
1. Oscillator Frequency
2. Osc PWM
3. External input into the LP filter
4. CV control of Filter Cutoff
5. VC control of VCA
6. VCO CV in
7. Trigger in

Outputs
1.MG output (LFO) - triangle & saw
2.MG output (LFO) - square wave
3. EG output - reverse envelope
4. Pink noise
5. White noise
6. Mod wheel CV
7. Keyboard CV out
8. Trigger out

If you study the signal flow chart, its a simple VCO ---> VCF ----> VCA ----> output signal path.
There are 5 possible modulation sources: EG, MG, the mod wheel, the keyboard and noise.

The EG is hardwired to the VCO, Filter & VCA. (There are attenuators for the VCO & filter) .
The sawtooth waveform of the MG is hardwired to the VCO pitch & Filter (There are attenuators for both) .
If we wish to use the square waveform of the MG, we need to use the patch bay.

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1. Basic (neutral) starting patch.
(Good for bass lines)
Turn down all knobs except the pitch (in middle) , Filter cutoff (open) , sustain (Max).
Waveform : Saw or Square

Scale : 32"

2. PWM fattening the bass.

To fatten out the sounds you can also do PWM (Pulse width Modulation).
The modulation source which you pick will change the shape of your square wave .

The most obvious source is to use the MG (modulation generator). This is basically an LFO.

Plug the MG out into the PWM input. Change the shape of the MG to a symmetrical triangle.
Raise MG frequency to 1.
Select a square wave on the Oscillator.

You can also use other modulation sources such as the
1.MG output (LFO) - triangle & saw
2.MG output (LFO) - square wave
3. EG output - reverse envelope
4. Pink noise
5. White noise
6. Mod wheel CV

This is one thing you can't do on the MS 20 as it doesn't have a PWM input.

A variation on this is to patch the reverse EG into the PWM input.

3. Singing Voice
This uses the modulation wheel.
It's modulating the filter cut off frequency.

Play around with the scale knob and the LFO (MG)

4. STEAM Train.
The VCO source is noise

Open up the filter fully.
The MG controls the rate of the steam puffs
Tweak the EG .

just one patch cable is needed.
This single patch cable (from the square out of the MG or LFO to trigger in) is a very useful.
Use it on the other VCO waveforms.

A variation on this patch

Plug in either pink or white noise into the external filter input.
Then change the osc from noise to a saw/ square etc.
Or plug in external audio instead of noise.

5. Lead Patch
Filter:      Open up the cut off frequency ( 6-7).
Envelope: open up the sustain (8 - 9) . Release is at 2.
                  Everything else is at zero.
VCO :       Pulse wave. 16 "

Assign the inverted envelope to modulate the pulse wave.
We can do this via the patch panel.
The pulse width knob (PW/PWM) will now control the modulation amount.

Add some noise by patching white noise into the external signal input.
The external signal level will control the amt of noise you hear.

Have the mod wheel control the filter's cutoff frequency.
You can now close the filter to about 5 - 7
The modulation amount is controlled by the EG/EXT knob under the filter section.
Crank the resonance (peak knob) up to self oscillation levels (8)

Add some portamento

6. Continuous sound
(Noise in this example)
This is a Mod Wheel VCA patch

Here the mod wheel controls the VCA.
At the wheel's highest level, it will fully open the VCA, so the noise will pass through to the output
without you having to touch a key.

7. Filter Tracking
Patch KBD CV out ------> Filter cutoff frequency

Filter will be closed on lower octaves & open on higher octaves

8. Mod wheel - Filter & VCA
Use a double adapter.

Here the mod wheel can open both the filter & the VCA

Links & references
+ First Patch - Korg MS-10 | Red Bull Music Academy

I've been trying to clock or sync the Korg sq10 sequencer over the years with mixed success.

The clock/step input is a +5V trigger to ground.
Normally, the voltage is "high" . When a note is played, the trigger is shorted to ground.
This is also called an S-trigger, "short circuit trigger", or "negative trigger".
S-triggers are used by Moog, Korg and Yamaha synthesizers

(As a side note, the other form of trigger is a V-trigger. It's the reverse of an S-trigger, as it's a positive trigger. That is, normally the voltage is low (around 0 v) and at trigger produces a fixed positive voltage)

Old Korg Drums seem to be the traditional way to clock the SQ10
The Korg Rhythm 55B (KR 55) clocks the sq10 perfectly.

The 55B manual, says you can choose the type of trigger with the switch on the left.

It has just the right outputs which match the SQ10's inputs
It looks like this drum was made for the vintage MS series of Korg synths.

For this to work, there are only 2 settings on the SQ 10 you should use:

Sadly, the KR 55 as no sync or clock input. I would love to add midi sync.
The KR-55 runs at 8ppqn so a clock divider is required if you want to sync it to midi or sync24.
The clock output on most Kenton midi to cv converters is ideal for this (divide by 3).

Other Korg drums that should be useful (Though I haven't tested them)include:
Korg KPR-77
Korg DDM 110 (Super Drums)
Korg DDM 220
Korg DDD 1

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As the step input is a S-trigger, I decided to try a Moog Mother.
And guess what, it works.

The Moog Mother is the perfect midi clock to S-trigger converter.
(and it does a few more things besides)
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For the Korg SQ-1 to sync the SQ10, you need to change the SQ-1's GATE OUT polarity from positive (factory preset) to “-” (negative).

"While holding down the SQ-1's START/STOP button, turn the power on (the unit starts up in global parameter setting mode).
• Press the SQ-1's MODE/CLEAR button to make the button go dark. (This alternates between un-lit and lit each time you press the button: “-” when un-lit, “+” when lit.)
• Press the SQ-1's power button to save the setting." (Korg Manual)

Sadly, the S-trigger uses up one of the gate outputs, not the sync out.

I posted some pics of Hoi Ann during the day here:
https://djjondent.blogspot.com/2020/04/hoi-vietnam-day-pics.html

But it's at night when it's true beauty is displayed.

The waterfront is the place to be.

For more travel postcards click here:

http://djjondent.blogspot.com.au/2015/03/travel-postcards-index-my-travel.html

A classic drum, but programming her can be challenging if you're new to it.
Here's a in depth guide on how to program drum patterns on the TR- 909.

Check out the quick start guide here:
+ Roland TR 909 Programming Tutorial - getting started

When you first turn on your 909 you will enter TRACK MODE
The drum will look something like this:

You won't be able to run the sequencer, but if you just hit any of the 1-16 buttons, you will hear the sounds. ..... Enjoy !!!!

Like the Roland Tr 606 & TB303, the 909 drum memory can be divided into Tracks & Patterns.

The 3 pattern groups can store 16 patterns each (16x3=48).
There are 2 banks of these groups (2x48=96)
So it can store up to 98 patterns.
These patterns can be arranged into 8 tracks. (2 banks of 4 track groups).

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1. Clearing Patterns (Pattern Write Mode)
2. Step Recording (Pattern Write Mode)
3. Real time (Tap) recording (Pattern Write Mode)
4. Shuffle / Swing
5. Sync Mode
6. Scale
7. Track Play mode
8. Track Write mode (deleting tracks)
9. MIDI

1. Clearing Patterns.
It always good to start with a blank slate. If you have just purchased a 909 (congratulations)
     ... it will probably have some old patterns already programmed into the memory.
    a) Put the TR-909 into Pattern Write Mode.
Press Shift + one of the Pattern Play buttons.
   b) Press Shift button + press the Step Tempo button.
   c) Hold the Clear button + press 1-16 on the main buttons to select the pattern to clear.

        If you now press play (on the external sequencer or the internal 909's sequencer), you won't hear
        anything, though you will see the sequencer lights running across the 16 steps.

2. Step Recording
There are two types of recording:
+ Step Recording
+ Real time (Tap) recording

Step, is I think the easier of the two.
a) Put the TR-909 into Pattern Write Mode
   * Hold Shift & one of the Pattern Play buttons.
b) Select your instrument by holding down the Instrument Select button
             and pressing one of the 1- 16 buttons.
c) Press Start ( the drum will run) Now add your beats by pressing buttons 1-16.
d) repeat this till you have picked your voices.

    You accent the drums by hitting the buttons twice.

3. Real time (Tap) recording
   You can combine the two methods of programming.
    I like to start programming in Step mode then add extras using TAP.
    a) press Shift + Tap (in the Pattern Write Mode section).
b) To hear the metronome press the "Guide button" and you will hear the click when Start is pressed.
c) Use buttons 1-16 to program your new rhythm or embellish your already existing pattern.

Note:
The 909 will quantise your beats.
Pressing the 1-16 buttons more than once will make them sound louder.

4. Shuffle/Flam
     To adjust the shuffle, you press Shuffle/flam and one of the buttons 1 to 7.
   You can back it off a bit by going back to 4 or 5...

    Flam uses the buttons 9 to 16.
    Flam is like a ratchet double hit

5. Sync Mode
    a. Shift + Tempo Mode (Din sync, Midi, or Internal)
You need to tap the Tempo mode button till the display shows either
   a "0" in the left (Din), a "0" in the middle (MIDI) or the BPM on the right (eg 120)

6. Scale
You can change the time signatures, but hitting scale.

Scale changes the sub division of the pattern.

7. Track Play
a) press Shift + Bank (I or II)
b) Now, select a track to play
   Press Track Play (1,2,3,4)
c) Press start (to play the existing track)
d) Press Stop

8. Track Write

To Delete an existing track
a) press Shift + Bank (I or II)
b) Now, select a track to edit
   Press Shift + Track Write (1,2,3,4)
c) to delete a track press
     Shift + button 1-16
     While still holding shift press Enter.
    While still holding shift Press DEL (under button 13)
      While still holding shift press LAST MEAS (last measure)
      While still holding shift press Enter
      Hit START to check that the track is now empty.

To Write a new track
(assuming the track is empty, otherwise delete as above)
a) press Shift + Bank (I or II)
b) Now, select a track to edit
   Press Shift + Track Write (1,2,3,4)
c) hit START
d) press pattern group (1,2,or 3) + pattern number 1-16
e) press Enter
f) repeat steps (d) & (e) until you have finished picking the patterns.
g) press STOP (that's it)

The Roland TR 909 hails from 1984 and is one of the earliest drums with MIDI.
However, there is very sparce information as to its level of MIDI implementation.

The rear of the machine has one midi out & two midi in terminals.

Initially, I thought only midi clocking was possible,
however after purchasing a Pioneer Squid I attempted to map the two machines properly.
(Thanks to Mitch for his advice on this).

Though I love the 909's sequencer, and must admit, it is one of the strengths of this machine, the Pioneer Squid has a quite inspiring system for groove & melody creation. It would be cool to combine the two.
So the aim is to trigger the individual sounds of the old 909 via midi from the Squid.

Looking at the 909's manual doesn't show much detail on the 909s note on/off implementation.
However, this section gives us a clue.
Seems that the default input midi channel is 10, but this can be changed to any of the 16 channels.
Also, note numbers start at 35, and end at 51. (that is, B1 to D#3)

The service Manual, throws a little more light on the subject.

Below, is the GM standard Drum Map
The Roland, Tr 909 follows this pretty closely.

The 909's drum map uses just one (user selectable) mid channel & the
individual voices are mapped to17 notes. They are:

35 - B1 - Bass Drum
36 - C2 - Bass Drum 2
37- C#2 - Rim Shot
38 - D2 - Snare Drum
39 - D#2 - Hand Clap
40 - E2 - Snare Drum
41 - F2 - Low Tom
42 - F#2 - Closed High Hat
43 - G2 - Low Tom
44 - G#2 - Closed High Hat
45 - A2 - Mid Tom
46 - A#2 - Open High Hat
47 - B2 - Mid Tom
48 - C3 - High Tom
49 - C#3 - Crash Cymbal
50 - D3 - High Tom
51 - D#3 - Ride Cymbal

This will only work when the drum is stopped, and in Track Play Mode.
The Tempo Mode should be set to MIDI.
You should also select a blank track or the patterns that are programmed in that track
will be forced to run whenever a START command is received from MIDI IN.

Use the following procedure to set the MIDI receive channel:
a) Start her up while pressing the shuffle key.
b) When the drum has powered on press the shuffle again whilst pressing the step number (1-16) corresponding to MIDI channel of course.

-----------------
Note many modern Drum machines use different form of Midi mapping.
For example. the Pioneer SP 16 & Korg Volcas map each voice to a separate midi channel.

+ TR 909 Drum
+ Roland TR 909 Programming Tutorial - getting started
+ Roland TR 909 - How to Program

These are some of my favorite Ms 20 patches.

Basic Bell

MG ramp out ------> trig in

-------------------------
Basic Bass
iT'S a variation on the bell patch, above.
So the knob settings are the same.

But the patch panel changes the sound.

The output of EG 1 ------> initial gain (VCA)
Mod wheel ------------> HP filter cutoff.

If you are using a SQ 10 to sequence,
Multiple Trigger ----> trigger in
CV C -----------------> CV in

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Lead 1
No patch chords

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Lead 2

Variation 2

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lead 3

---------------------------------
ARP (Sample & Hold 1)

MG -----> clock 1
Pink noise ---------->S & H input
S & H out ---------------> HP cutoff

variation 2
S & H out ---------------> total in

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ARP 2
No patch cables

Variation 2

The output of the MG ---------> Total in.

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This is a really interesting way to generate tunes.
It uses the mathematical idea of Lowest Common Multiples (LCM).

The idea for this patch & video came from a fellow You Tuber, Mike Olson.
He posted a cool video showing how to use a single Korg SQ-1 to make a sequence longer than 16 notes.
https://youtu.be/JYTCQ1zrtvc

Mike demonstrated how by combining two 8 step sequencers, he could generate a miriad of patterns on the fly with final step lengths ranging between 1 & 56

I decided to replicate this patch using two old Korg SQ-10 sequencers.

They have a maximum sequence length of 12. However, by combining two, one can achieve a large range of step numbers ... between 1 & 132
The control voltage out of the two sequencers is added before it enters the synth (a Korg MS-20 in this case).

And the MS-20's envelope is triggered every step on the sequence.

View this post on Instagram

#korgms20 #korg #sq10 #ms20 #korgsq10 #sequencer #lowestcommonmultiple #lcm
A post shared by jono (@dj_jondent) on Apr 23, 2020 at 7:48pm PDT

I've drawn up a new table (16 x 16).

Please excuse my very rough handwriting. The top horizontal row and the left vertical row are the sequencers. They are related to one another via the grid. Their intersection is the LCM.

The relationship between the two initial step lengths (sequence A + Sequence B) and the final Sequence length uses the mathematical principle of Lowest Common Multiples.
The final sequence length is the LCM of the two initial step lengths (sequence A + Sequence B).

You should be able to replicate this with any two sequencers.
---------------------------------------
eg:
What is the LCM of 4 & 7?

Multiples of 4 are:
4, 8, 12, 16, 20, 24, 28, 32,36,40, 44, 48, 52, 56, 60, 64, 68, 72..... etc
Multiples of 7 are:
7, 14, 21, 28, 35, 42, 49, 56, 63, 70, 77, etc
Common multiples of 4 and 7 are the numbers that are in both lists:
28, 56..... So, from this list of the first two common multiples of the numbers 4 and 7, their least common multiple is 28.
---------------------------------------------------------

Hopefully this post wasn't too geeky.
All this is a perfect demonstration of the close relationship between mathematics & music.
I think this is a cool way to discover new melodies.
It would be interesting to see how the addition of two more sequencers would add to this complexity.

The Roland TR-707 dates from 1984.
It's part of the venerable line of Drum machines bearing the TR (Transistor Rhythm) name.
These included the TR-808 from 1980 & the TR-909 from 1983.

+ Roland Drum Machine Timeline

It's a very underrated piece of kit, and you can still pick these up on ebay for around the $600AUD price.
It has lots of the sounds of the 909. I love it's matrix display & it is a great way to connect midi & din gear.

It even has individual outputs for each of its 15 drum tones.

It's been used by artists such as Aphex Twin, Laurent Garnier, Squarepusher, & Phil Collins.
It features memory backup using two 1.5v UM-3 batteries. Keep these in even when using AC & always replace once a year, even if you rarely turn the machine on.

You can create 4 tracks (tunes) out of up to 64 patterns

If you have recently bought one, congratulations.

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Play V Write & Track V Pattern

There are two play modes & two write modes (Pattern & Track)
(This is common on many Roland drum machines, such as the 606 & 909).

You jump between the two with the shift button.

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Demo Mode

When you first turn the 707 on, it will go into Track Play Mode.
You won't be able to program any new patterns while here, but you can still hear the sounds by pressing any of the 16 step buttons.

If you don't hear anything, make sure the volume for each of the tones is up.

When the machine was new, it was shipped with a demo program. It's probably deleted by now.

However you can restore it by pressing The TRACK mode button + Track Number button I while turning the machine on.
Now press start. You will hear the complete complete track which is made up of different patterns.
To hear the individual patterns, :
Press Pattern + one of the 1-16 step buttons.

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Programming your 1st beats

So before you can program anything with the 707, you will need to do these things:

1. Choose the sync/tempo mode.
2. Choose the pattern bank
3. Select Pattern Write
4. Clear old patterns.
5. Enter the notes.

1. Choose the sync/tempo mode.
(The composer must be in Track Play Mode, without the composer running).
Press Shift + Sync/Tempo button

   There are 4 options & you can cycle through them by pressing the tempo button
   while holding down sync. (Din sync, tape, Midi, or Internal)

Choose internal, if no external midi, or din devices are connected.

2. Choose a pattern bank.
    I like to enter Pattern Play mode first.
    Press the pattern button.
    (I do this before jumping straight to pattern write as I like to review the stored patterns
      before I over write anything).
      You find a blank pattern memory slot by pressing banks I to IV & slots 1 - 16.

3. Select Pattern Write
      Press Shift + Step write

The display will cycle through step , tap write.
I'll use step write mode in this example.

4. Clear old patterns.
Press Clear & step (1-16)
    Each of the 16 steps in the 4 banks holds a pattern

5. Enter the notes.
     a. Start the sequencer (press START)
     b. Choose your sound to add.
          Press Instrument + Step (1-16).
     c. Enter the beats (while the sequencer is running).

+ Roland Drum Machine Timeline

Like the Tr 909, the Roland 707 can be used like a drum module, if you wish to use an external sequencer or a keyboard.
Most of this info applies to the Roland 727 (apart from the MIDI note triggering data)

I've mapped the sounds to a keyboard
A DAW like Abelton will trigger it too

MIDI triggering will only work in TRACK PLAY mode.
The sequencer must not be running.
The Tempo Mode should be set to MIDI.
You should also select a blank track or the patterns that are programmed in that track
will be forced to run whenever a START command is received from MIDI IN.

To Choose the midi channel on the 707
Shift + Midi + step 1-16

These are the factory settings, (but any of the key numbers 35 - 98 may be assigned to each instrument)
Mapping note numbers to the actual keys can sometimes be confusing. ... sometimes different companies use different conventions. Looks like Roland uses the C3 =60 convention.

B-0    : Bass Drum 1     (35)*
C-1    : Bass Drum 2       (36)*
D-1    : Snare Drum 1       (38)*
E-1    : Snare Drum 2       (40)*
G1,F1    : Low Tom              (41,43)**
A-1    : Mid Tom               (45,47) *
C-2,D2    : Hi Tom                   (48 , 50)**
C#1    : Rim Shot             (37)*
G#2    : Cowbell                (56)*
D#1    : Handclap               (39)*
F#2    : Tambourine       (54)*
F#1    : Hi Hat Closed 1    (42.44)*
G#1    : Hi Hat Closed 2       (42.44)*
A#1    : Hi Hat Open              (46)*
C#2    : Crash Cymbal            (49)*
D#2    : Ride Cymbal               (51)*

Let me know if there are any mistakes.

+ Roland Drum Machine Timeline

Some pics of the old Ace Tone (Roland) drum.
I think this dates from around 1966.
Its unusual, as its designed to sit on the floor, in a tall, standing upright position.

Ikutaro Kakehashi formed Ace Tone in 1955
He linked up with Hammond in 1964. He then founded Roland in 1972.

He produced lots of drum machines & organs.

There are 4 drum instruments,12 preset pattern buttons and 3 cancel buttons.

You can combine the patterns to make up to 200 variations.

+ Roland Drum Machine Timeline
+ Korg Drum Machine Timeline

This post uses a Pioneer Squid.. it triggers the 707 with different notes to a DAW like Abelton.
If you are using the he Roland TR 707 as a MIDI module remember it uses the default midi channel 10.

Tr707 settings:
MIDI triggering will only work in TRACK PLAY mode.
The 707's sequencer must not be running.
The Tempo Mode should be set to MIDI.
You should also select a blank track or the patterns that are programmed in that track
will be forced to run whenever a START command is received from MIDI IN.

To choose another the midi channel on the 707 (other than channel 10)
Shift + Midi + step 1-16

These are the Roland factory settings, (but any of the key numbers 35 - 98 may be assigned to each instrument)
Mapping note numbers to the actual keys can sometimes be confusing. ... sometimes different companies use different conventions. The notes below apply to the Pioneer Squid.

There are 16 drum sounds on the Roland TR 707 which match the 16 trigger pads on the Pioneer Squid.

These notes are good for a Squid
1. B-1    : Bass Drum 1     (35)*
2. C-2    : Bass Drum 2       (36)*
3. D-2    : Snare Drum 1       (38)*
4. E-2    : Snare Drum 2       (40)*
5. F2    : Low Tom              (41,43)**
6. B2    : Mid Tom               (45,47) *
7. C-3,D3    : Hi Tom                   (48 , 50)**
8. C#2    : Rim Shot             (37)*
9. G#3    : Cowbell                (56)*
10. D#2    : Handclap               (39)*
11. F#3    : Tambourine       (54)*
12. F#2    : Hi Hat Closed 1    (42.44)*
13. G#2    : Hi Hat Closed 2       (42.44)*
14. A#2    : Hi Hat Open              (46)*
15. C#3    : Crash Cymbal            (49)*
16. D#3    : Ride Cymbal               (51)*

1. Start a new project (save & rename 707, etc)
2. Set the midi out channels.
     I've set up the squid to transmit the 16 pads to the drums.
     They are sending midi from midi out 1, channel 10.
3. In the trigger mode (of the squid) press one of the 16 pads and tweak the top
     right Pitch/CC knob until you hear the drum sound trigger.
4. Save project.
5. After you have entered the note values you can rename the tracks
Shift + track
6. Press the main knob.
7. Save project
   Press Global + Save

Links
+ Pioneers Squid Tutorial Videos
+ Copy & Paste
+ Projects

Renaming projects in squid
* use the shift, main knob & back button ..
shift + main knob = space.
Shift + back = delete
arrow keys move forward & back

Midi implementation for a Linn 2 Drum

My LM 2 uses a JL Cooper midi PCB.

Im using a Pioneer Toraz Squid to sequence.
The default drum assignments are :

Side stick              36 C2
Snare 1                 37 C#2
Snare 2                  38       D 2
*Snare 3         39   D#2
*Bass 1         40 E2
*Bass 2          41      F2
*Crash                 42      F#2
Hi Hat 1     43    G2
Hi Hat 2              44 G#2
*Hi Hat Open      45 A2
Hi Tom                46     A#2
Mid Tom               47
*Lo Tom             48   C3
Ride 1                   49
* Ride 2                50    D3
Cabasa 1               51D#3
*Cabasa 2              52 E3
Tamb 1                   53
*Tamb 2                 54 F#3
Hi Conga        55 G3
Lo Conga         56 G#3
*Cowbell        57 A3
Claps                       58 A#3

Some very sad news.

One of the legends of Electronic music has passed away at the age of 73 due to cancer

I can't stress enough the importance of this man. Along with his group, Kraftwerk, they had a huge influence on the development of electronic music. Their use of synthesizers in the 1970's opened the door to electronic music for the masses.

I saw them back in 2003... Sydney Big Day Out.
https://www.youtube.com/watch?v=gdH7MfT6wJU

The monotribe has two sections:
Synth & Drums

mY monotribe has been fitted with midi. I can't remember what kit I used. Sorry. Those were the days before I documented everything in a blog.
It's a very useful synth. So simple.... yet enough for the foundation of a track.
Just 3 drum voices & a mono synth.

Synth: Use midi channel 1

Drums: It’s using the standard General MIDI specification for drums,
which means the Drum section is triggered on MIDI channel 10 using the following notes .

Name    Note number    Note name    GM drum name
BD    36    C1    Bass drum 1
SN    40    E1    Snare dum 2/Electric snare
HH    42    F#1    Closed hi-hat

This works for DAWs like Abelton
-------------------------------------------------------------
Note: your sequencer might be different.
I'm using a Pioneer Toraiz Squid. You'll need to shift the notes up an octave.

Name    Note number    Note name    GM drum name
BD    36    C2 Bass drum 1
SN    40    E2 Snare drum 2/Electric snare
HH    42    F#2    Closed hi-hat

The Pioneer Squid its a revelation for me. Thanks Mitch for the advice. It's allowed me to re-use lots of my old synths & drums in unconventional ways.
----------
Turn off all active steps in the monotribe sequencer, otherwise this will play the moment you start
your external sequencer.
Turn down the noise.

The Volca Beats is a cute but powerful drum.
Perfect for live performance. The sequencer is a bit limited. so midi mapping to an
external sequencer would be useful.
I'm using the Pioneer Toraz Squid as my midi sequencer,

So the volca doesn't start playing the moment you start the Squid
you need to enter the Global function setting.
1. Start the Volca while holding the func key, wait for it to start.
2. press step 6 (the light should go off), press Rec.
    Now the sequencer will not start when you press play in your DAW or your Midi sequencer.

(It looks like the default midi receive channel is 10... the same as the Roland 707 & 909).
       I'm leaving it as it is.

If you wish to change the midi receive channel:

1. While holding down the MEMORY button, turn on the volca beats.
2. Step buttons 1 to 16 correspond to the MIDI channels 1 to 16.
    Press the button that corresponds to the desired channel, and the LED below the
    step button will light up
3. When you have ﬁnished specifying the settings, press the  (REC) button.
     The settings will be saved, and the volca beats will be restarted.
     If you decide to cancel the settings, press the  (PLAY) button.

Also in the Global setting
1. Start the Volca while holding the func key, wait for it to start.
2. Press step 7. MIDI RX ShortMessage
     Set to off (St.oF)
3. press Rec. to save

There are 10 voices to map

1. kick C2
2. Snare D2
3. Lo Tom G2
4. Hi Tom D3
5. CL Hat F#2
6. Open Hat A#2
7. Clap D#2
8. Claves D#5
9. Agogo G4
10. Crash C#3

Renaming projects in squid
* use the shift, main knob, Track Button & back button ..
Press shift + press main knob = space.
Shift + back = delete
arrow keys move forward & back
* shift + Track --- you can rename tracks, change their colour, etc

-------------------------------------
*** The Volca sample has a different midi implementation to the Volca Beats.
In the Sample, each voice has its own MIDI channel. ***

This is a 3MU module.
The Moog 901 came out in the late 1960's .. possibly 1965 to 68 ??
It's what is called a first generation VCO.
You can use this as a VCO & VCLFO (voltage controlled LFO)

It's a classic, and arguably this oscillator has influenced all VCO designs..... not just of Moog, but of synth manufacturers from around the world.

Below are VCOs from a ARP 2500, a Korg MS 20, and 3 Eurorack manufacturers.

The 901 is basically a 901a + a 901b in a single panel.
I understand it was the precursor to the 901a/b/c/d (please let me know if I'm mistaken).

There are 4 fixed outs .... sine , saw, triangle, pulse. ,.... all available simultaneously.
Level of these fixed outs is 0.5V RMS (-4 db).
600 Ohms impedance.

Sine:

Saw:

Triangle:

Pulse:

There are also 4 variable level outputs... which opens the window to mixing the different waves in varing amounts and sculpturing new waveforms.
Their range is 0 to 0.5V

There are 3 CV inputs.
There is a CV span of -4V to +6V according to the manual.
I like to keep it within the range or 0 to +5V

The frequency span of the VCO is 0.1 to 15Khz
There are 6 ranges: Lo, 32", 16", 8", 4", 2"
(Lo is good for LFOs)
The tuning of these oscillators definitely drift... but it's part of their charm :-)
I've read that Wendy Carlos had to tune them again and again while recording.
It might be the stability of the power supply ??
The manual states that keyboard tracking is a full 5 octaves... though I think maybe 2 octaves is more
reasonable. Still I love their sound.
Any temperature variations will cause large fluctuations.
Power supply requirements: -6V , +12V regulated.
-10V unregulated.

This is the view of the rear.
The PCB mates with a 22-pin connector.
The connections are
1. +12V
2. Ground
3. -6V
9. Sine out
11. Triangle out
12. Pulse out
14. -10V
16. Sawtooth out

Below is a pic of the 901a & a series of 901b modules
The VCOs were designed to work in banks, with a single 901A oscillator driver module.

In this pic, there are four 901b oscillators being driven by one 901a controller.
According to the manual, up to twelve 901b oscillators can be chained to one 901a controller.
The idea behind this was so just one set of CVs (from a keyboard for example) could drive a bank of 901B VCOs and they would track nicely together.

901A controller module
There are no output jacks. Only CV inputs.
There is a CV span of -4V to +6V according to the manual.
I like to keep it within the range or 0 to +5VPower supply requirements of the 901a : -6V and +12 V regulated. Max current is 25ma.

The PCB mates with a 22-pin connector.
The connections are
1. +12V
2. Ground
3. -6V
5. This connects to the corresponding number on the 901B
6. This connects to the corresponding number on the 901B ???
7. This connects to the corresponding number on the 901B

901-B Oscillator

Each 901B module has 4 output jacks ... one for each waveform.
Saw, tri, sine, pulse .
The amplitude of each waveform is 0.5V RMS

The PCB mates with a 22-pin connector.
The connections are
1. +12V
2. Ground
3. -6V
5. This connects to the corresponding number on the 901B
6. This connects to the corresponding number on the 901B ???
7. This connects to the corresponding number on the 901B
9. Sine out
11. Triangle out
12. Pulse out
14. -10V
16. Sawtooth out

This is a collection on Hindu temples in Vietnam.
It's really odd to see this kind of architecture outside India.

It's near the source of the Thu Bon river..... which flows to Hoi Ann.

The temples date between the 4th to 13th centuries.

Much was destroyed during the Vietnam war.

Links
+ My Son Temples - UNESCO

qUITE a handy drum rack.
The 1U module can be triggered with MIDI & analogue triggers.

How to recall Drumsets
The DM5 has 21 Drumsets available, each of which has 61 programmable drum sounds.
To recall a Drumset on the DM5:
1. Press DRUMSET
2. Turn the VALUE encoder to select a Drumset

Editing The Triggers
The DM5 has over 500 drum sounds arranged into 8 Families.
These consist of Kick, Snare, Toms, Hi-Hats, Cymbals, Percussion, Effects and Random Samples.
To assign a new Voice to a MIDI Note or External Trigger Pad:

1. Press VOICE, then press NOTE CHASE
2. Play a note on your MIDI controller or a Drum Pad
3. Press the CURSOR> button until you have selected the Voice Family parameter on the top left corner of the display. Choose one of the families listed above using the VALUE wheel
4. By pressing the CURSOR> button one more time you can then select one of the Voices in that Family using the VALUE wheel

Triggering with MIDI
Using the Pioneer Toraiz Squid

Looks like there are 12 triggers.
Set up midi channel (using channel 1 in this case)

To choose the Drumset, press group then voice on the Alesis drum.
You scroll through the sounds with the pitch /cc knob on the squid

KIK 36 C1 (C2 on the Toraiz)
Snare 40 E1 (E2 on the Toraiz)
Tom 41 F1 (F2 on the Toraiz)
Clap D#1 (D#2 on the Toraiz)
Hat F# 1 (F#2 on the Toraiz)
Cymbal C#2 (c#3 on the Toraiz)
Tambourine F#2 (F#3 on the Toraiz)
Cow Bell G#2 (G#3 on the Toraiz)
Vibrslap A#2 (A#3 on the Toraiz)
Ping Ride B2 (B3 on the Toraiz)
Cym SternDark A2 (A3 on the Toraiz)
Bongo Hi C3 (C4 on the Toraiz)
Cym Splash G2 (G3 on the Toraiz)
Anvil C#1 (C#2 on the Toraiz)
Clank G#5 (G#6 on the Toraiz)
Cuica Lo G4 (G5 on the Toraiz)

The main out is the left out at the back.

.... iT'S interesting that old Moog Modulars use both S-trigs & V trigs.

Triggers might be produced by sequencers, the key on a keyboard, drum controllers & foot pedals.

They are useful for starting an envelope generator or advancing a sequencer.

A S-trig is just a passive switch closure to ground.The voltage starts high, and when the trigger occurs the voltage shorts to ground. It's also known as a switch trigger or shorting trigger.

Moog Keyboards produce S-trigs.

Moog 911 Envelope Generators need S-triggers to start their cycle.

In comparison, V-triggers start at zero volts and rise to a standard level .. usually 3V.

The 911 plugs into the Moog modular using a 22 pin PCB/edge card connector.

It's a ADSR envelope generator.

The pin out is as follows:

1. +12V

2. GND

3. -6V

14. Trigger out
21. to Trigger switch (Jones S-302)

The Moog manual suggests a regulated AC supply, such as a Moog Model 901 or dry batteries.

Max current is 50 milliamperes.

Range of T1: 10 ms to 10 secs (attack)

Range of T2: 10 ms to 10 secs (delay)

Range of T3: 10 ms to 10 secs (Release)

Range of Esus: 0 to Emax

Esus = sustain.

Emax = voltage at which T2 begins. = 5.5V +/- 10%

You trigger the 911 by closing a switch. So unlike most EG's you will encounter today, no voltage is supplied to trigger the module ... its quite the opposite.

The 960 sequencer produces V-triggers.

V-triggers start at zero volts and rise to a standard level .. usually 3V.

In the Moog Modular world, the S-trigger uses a special 2 blade Cinch Jones connector.

The V-trig uses the standard 1/4 inch jack.

So how do you get a trigger from the 960 sequencer to start a envelope cycle of a 911 EG.

To convert triggers from one to another, you can use a special conversion cable or the 961 interface

There are 2 types of this module..... the P (portable) and the C (console).
The above module is the P-type ... used for portable systems.

This is a audio to V-trig converter.
Plug in any audio source (like an old drum machine) into the jack on the left.
It will be transformed into a voltage trigger.

The control is a sensitivity knob.
The console version has this section right at the top of the module.

This is the V-trig to S-trig converter.
My module, has been modified somewhat, so may look a bit confusing. However, the V-trigs (from your 960 sequencer) enter into the jacks on the left, and S-trigs exit via the dual blade Cinch J plug.

There are 2 input sections: A & B
Any inputs into column A will have the same duration as the outputs
The Column B in jacks are connected to a Switch-On Time knob.

This allows you to control how short or long the “ON” duration is for S-Trig signals. (40ms to 4 seconds). You can use this to trigger the 911 envelope generator.

Links

+ Modular Synthesis

+ Here are the Mouser links for the Moog connector hardware:
https://www.mouser.com/ProductDetail/571-5-530501-5
https://www.mouser.com/ProductDetail/571-582388-9

KORG MS 10 - Basic Patches

Clocking the Korg SQ 10 - S triggers

Hoi Ann - night pics

Roland TR 909 - How to Program

Roland Tr 909 - Drum Mapping

Korg MS 20 - Favourite Patches

Combining two Korg SQ-10 sequencers

Roland Tr 707 Drum - Basic programming

Roland Tr 707 - Drum Mapping & Midi triggering

Ace Tone Rhythm Ace FR 20 - Drum machine

Pioneer Squid - Midi Mapping a Roland TR 707

Linn Drum - Cooper Midi

Florian Schneider of Kraftwerk, has Passed Away

Korg MonoTribe - Midi triggering.

Korg Volca Beats - midi mapping

Korg - Index

Moog Modular - 901 VCO

My Son - Hindu Temples - Vietnam

Alesis DM5 - Pioneer Squid

Triggers & the mOOG 961 INTERFACE