34: Marimba: Chords & Lead 1:10:30 that didn't look like G3 and C1, was G3 and C3? 1:15:20 you forgot the horizontal filter sliders I think that whole process for the tuning was so that you didn't have to use an external pitch reference, by using one VCO at a different note as a reference for another VCO. I think you should be able to get the same result more quickly by playing C1 on the 2600 keyboard (and leaving it there), tuning VCO 3 to your piano C1 pitch, VCO 2 to G3, and VCO 1 to E flat 4 1:17:58 we didn't hear you try it on that one before reducing those
30: Big Band Brass 49:21 more like a triangle wave, because of the lag processor. Adjusting that to the left would make it more square, which I think you discovered in an earlier patch 50:18 even with a working lag processor that wouldn't have done much, as you had it connected to the sample and hold output instead of the clock output, and the S&H level was right down 51:25 that also wouldn't do what you were expecting, as the VCOs were all set to audio range rather than LF mode, so modulation would be too fast to really hear as tremelo, giving a less predictable effect 32: Zombie Organ, they want you to increase the filter resonance to max, giving a tuned sine tone along with the VCOs
44:48 29: Pianoforte, unmarked sliders should be at the bottom or left, and adjusting the VCF frequency didn't have an effect as you had the ADSR input into the VCF raised
22: Doc Trumpet The pulse output from VCO 3 is patched to the VCF as the normaled input for that VCO is the saw wave. VCO 2 is the only one with a sine output, and VCO 3 is the only other one with a pulse width control (you had that set to the middle, at the left would have given you a more brassy tone). VCO 2 is used as an LFO, and this goes via the VCA. The AR controls the VCA, letting the vibrato come in gradually instead of being there at the start of the note. The ADSR controls the envelope of the note itself, but you can also have the AR affect that too, which can give a kind of two-stage filter response.
33: Glitter Guitar, I'm not sure what that one should sound like, but presumably not what you got, as there were several wrong settings on both machines
37: Violin with Delayed Vibrato This one is very strange. I'm not sure it was right on either machine, that I got it working properly either, or that it makes all that much sense to begin with. The output of VCO 3 is sent to the VCA, where it is combined with VCO 2 acting as an LFO. The level of the VCA is controlled by the AR envelope (the ADSR isn't involved). This combined audio and control signal is sent back to VCO 3, so it's modulating itself. The AR is controlling the level of both the audio and the vibrato, but I guess the audio should be noticeable earlier than the modulation. The changing strength of the modulation also means the pitch changes during the envelope. The combined signal also goes into the VCA mixer attenuator, but from here it doesn't actually go into the mixer, which is disconnected by the cable, but into the input of the reverb. As far as I know that should mean the only sound produced should be from the output of the reverb, which for me ends up something like a violin at the other end of a tunnel, which probably isn't what they were going for. On your second unit, which looks like it was connected up correctly, you had non-reverb sound. I'd be interested to find out what happens with this patch on your repaired unit.
Yoooo! My daughter is taking a beat making class. I bought her an Akai mpc studio black. Just realize it’s not stand alone. ::frown:: should have got your advice first.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
34: Marimba: Chords & Lead
1:10:30 that didn't look like G3 and C1, was G3 and C3?
1:15:20 you forgot the horizontal filter sliders
I think that whole process for the tuning was so that you didn't have to use an external pitch reference, by using one VCO at a different note as a reference for another VCO. I think you should be able to get the same result more quickly by playing C1 on the 2600 keyboard (and leaving it there), tuning VCO 3 to your piano C1 pitch, VCO 2 to G3, and VCO 1 to E flat 4
1:17:58 we didn't hear you try it on that one before reducing those
30: Big Band Brass
49:21 more like a triangle wave, because of the lag processor. Adjusting that to the left would make it more square, which I think you discovered in an earlier patch
50:18 even with a working lag processor that wouldn't have done much, as you had it connected to the sample and hold output instead of the clock output, and the S&H level was right down
51:25 that also wouldn't do what you were expecting, as the VCOs were all set to audio range rather than LF mode, so modulation would be too fast to really hear as tremelo, giving a less predictable effect
32: Zombie Organ, they want you to increase the filter resonance to max, giving a tuned sine tone along with the VCOs
You rock thanks!
44:48 29: Pianoforte, unmarked sliders should be at the bottom or left, and adjusting the VCF frequency didn't have an effect as you had the ADSR input into the VCF raised
Thanks!
Thanksss you!!!
Btw - very first tip on this platform. You makin history 🍻👏🏼
22: Doc Trumpet
The pulse output from VCO 3 is patched to the VCF as the normaled input for that VCO is the saw wave. VCO 2 is the only one with a sine output, and VCO 3 is the only other one with a pulse width control (you had that set to the middle, at the left would have given you a more brassy tone).
VCO 2 is used as an LFO, and this goes via the VCA. The AR controls the VCA, letting the vibrato come in gradually instead of being there at the start of the note. The ADSR controls the envelope of the note itself, but you can also have the AR affect that too, which can give a kind of two-stage filter response.
Oooo thank you! Now that I have one of em restored I’ll give that go!
33: Glitter Guitar, I'm not sure what that one should sound like, but presumably not what you got, as there were several wrong settings on both machines
37: Violin with Delayed Vibrato
This one is very strange. I'm not sure it was right on either machine, that I got it working properly either, or that it makes all that much sense to begin with.
The output of VCO 3 is sent to the VCA, where it is combined with VCO 2 acting as an LFO. The level of the VCA is controlled by the AR envelope (the ADSR isn't involved). This combined audio and control signal is sent back to VCO 3, so it's modulating itself. The AR is controlling the level of both the audio and the vibrato, but I guess the audio should be noticeable earlier than the modulation. The changing strength of the modulation also means the pitch changes during the envelope.
The combined signal also goes into the VCA mixer attenuator, but from here it doesn't actually go into the mixer, which is disconnected by the cable, but into the input of the reverb. As far as I know that should mean the only sound produced should be from the output of the reverb, which for me ends up something like a violin at the other end of a tunnel, which probably isn't what they were going for. On your second unit, which looks like it was connected up correctly, you had non-reverb sound. I'd be interested to find out what happens with this patch on your repaired unit.
Ooo interesting. Thats a trick I like too I’ll run that today and see. 🍻
Yoooo! My daughter is taking a beat making class. I bought her an Akai mpc studio black. Just realize it’s not stand alone. ::frown:: should have got your advice first.
Suuuuperrr Dad!!! That’s a perfect controller. Just need some sounds. Hmu on dm homie. 🔥💥