I discovered this glitch while attempting to get my Bitstream 3X controller configured to handle sending MIDI notes and sysex from Ableton to my MKS-80. For testing purposes I setup several complex routing schemes. Some of them worked better than others, but this one in particular create an odd smattering of notes several octaves above the notes that were meant to be playing. Presumably I’ll resolve this eventually, but I’ve learned to capture these glitches when I discover them since they often have interesting qualities worth exploring.
I just got a Bitstream 3X MIDI controller (BS3X), and have just started experimenting with it. This is a complex and fully programmable device, so I will need some time with it before I have learned the best way to incorporate it my setup. The easiest way to use it is in standard mode where no programming is required on the unit. Simply map the controls in the software you are using. However, what makes the BS3X powerful is the user mode where every assignable control can be programmed. A sophisticated editor allows the user to map these controls based on a long list of device parameters such as “Roland D50 Upper Partial 1 – TVF Cutoff Frequency”.
Just to get started with the device I used the standard mode and mapped the bulk of Roland MKS-80 parameters to it via the reKon Audio VST-AU MKS-80 editor in Ableton Live. For the VCF cutoff and resonance I used the XY axis joystick. This gave me one finger control over both of these parameters for very expressive control of the filter. I also mapped the VCF envelope LFO depth to the ribbon controller for another way to manipulate the filter. In one take using only three controls (the XY axis, ribbon, and a knob mapped to the LFO rate) I performed this drone.
This segment from an extended noise jam was recorded while my Super Jupiter was still in disrepair, although quite capable of creating dark and frightening experimental noise textures. I added some stereo imaging as well as delay and reverb to enhance the dystopian nightmare.
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.
One of the things I’ve been doing with the Prophet 08 that I’m borrowing is playing through the presets. This is something I generally don’t like to do, but it’s a good way to get a feel of what an instrument is capable of. Many of the factory patches in professional synthesizers are exhibition sounds, programed to demonstrate the features of the instrument. Tonight I decided to record the process of playing through some of these presets for the purpose of sharing them here. Here’s one to start with.
