Here’s the forth entry in my series of synthesizer noise jams. Once again I chose the Roland MKS-80 because since I have repaired it I’m spending most of my time programming this magnificent synth. I just can’t seem to leave it alone. Although this segment is almost two minutes long, it came out of a recording that ran over ten minutes.
Synthesizer Noise Jam #4
I created this plucky microtonal patch by using the cross modulation on the Roland MKS-80 to effectively put the instrument into an instable, out-of-tune state. I mentioned in my previous entry that cross modulation is a form of frequency modulation or FM synthesis made famous by the Yamaha DX-7. My curiosity about this technique led me to an article in Sound on Sound from 1994 titled Exploring Analogue (Part 2) by Steve Howell. In the article Howell states,
“…take the output of one oscillator (Osc A) and feed it into the control input of another (Osc B). As the modulation level at Osc B’s input is increased, so its tonal quality becomes progressively nastier. In fact, in the absence of a ring modulator, cross-modulation can be used very effectively to create clangorous bell sounds and the like. But be warned! Because the tuning stability on old analogue synths leaves much to be desired, the oscillators don’t track too well, and a sound that is perfectly tuned on C3 may well have disintegrated by the time you get up to F3.”
On the Roland MKS-80 the tuning stability is pretty good, but it does use VCOs (voltage controlled oscillators), so they won’t track as well as DCOs (digitally controlled oscillators). This imperfection is part of what many of us find attractive about analogue synthesis, and what made it possible for me to produce this bizarre, out of key, yet delightful sound.
Cross Modulated Microtonal Improvisation
This dissonant microtrack was created on the Roland MKS-80 with MIDI mapping on a Korg nanoKONTROL for real time manipulation of the settings. I setup three scenes on the nano to control virtually every parameter, although I was only adjusting a few of them for this recording. What makes this patch so interesting to me are the opposing oscillator frequencies. I managed this by routing the LFO to the VCO and by using cross modulation, which are settings on the MKS-80 that I’m just starting to get familiar with. Everything else on this machine fits snuggly into the subtractive synthesis model, but the cross modulation uses the second oscillator to modulate the pitch of the first. This can be used to produce FM or frequency modulated sounds including bell like tones similar to what the famous Yamaha DX-7 was doing around the same time.
It Spoke to Me in a Strange and Rhythmic Language
Here’s yet another sound from the DSI Prophet 08 recorded during my recent random patch browsing session. Since I didn’t bother making notes of which patch I was using for which sound I am left up to coming up with names and descriptions of my own creation. Let’s call this one Wobbly Analog SFX. I’ve been granted an extension on the loan of the P08 from its owner, so expect to hear some programmed sounds in upcoming entries.
P08 Wobbly Analog SFX
Expanding the VidiSynth Part III from paul sobczak on Vimeo.
Paul Sobczak has recently posted some videos documenting the VidiSynth. It’s has four independent oscillators that are controlled by either potentiometers or inputs from other sources. In this case he is using light dependent resistors or LDRs that suction onto a display. As video plays on the display the pitches change on all four oscillators based on the position of the LDR on the screen producing corresponding sounds. I’m not sure how Paul plans to use this, but I’m anticipating some interesting generative work with a synesthetic theme.