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  • 008090960155432605836435
    dnc 18.02.2011 - 10:08:58 level: 1 UP [2K] New

    1982 (pre-acid period:) a vsimnite si basu..
  • 008090960155432605836422
    dnc 18.02.2011 - 10:03:08 level: 1 UP [1K] New
    more children: (1)
  • 008090960155432605584375
    dnc 05.10.2010 - 18:37:53 level: 1 UP [2K] New
    more children: (1)
  • 008090960155432604417448
  • 008090960155432601693887
    dnc 10.06.2005 - 12:52:44 level: 1 UP New
    za 4 litros ani naaaaahodou :)
  • 008090960155432601677320
    da sa zohnat masinka tak za 4000? nemusi mat ani moc vela gombickof a moze byt teroristicky aj z druhej ruky...
    more children: (1)
  • 008090960155432601579970
  • 008090960155432601579959
  • 008090960155432601576504
    dnc 22.04.2005 - 17:06:42 level: 1 UP New
    Internal sound source:

    Synthesized drums: (Bass Drum, Snare Drum, Low/Mid/High Tom, Rim Shot, Hand Clap)

    Sampled drums: (Open/Closed HiHat, Crash/Ride Cymbal)


    MIDI, Tape Load/Sync in (combined), Start/Stop, Din Sync


    2xMIDI, Tape Save/Sync out, Trig out coupled to rim shot sound +14V 20ms pulse, L/R Mix, 10x individual out.

    Synchronization possibilities:

    MIDI, Tape, Din Sync.

    Secondary data storage:

    Cassette, RAM cartridge (M-64C)

    Memory size:

    48 patternsx2 banks, 4 tracks of max 896 measuresx2 banks.

    Physical size:

    486x105x300 mm, 4.5 kg.

    Data generation/modification/recording:

    Step or real time recording of MIDI events used to play back internal drum sounds, but also to control an external sound source (see below) The unit does not record velocity nor other controller data. Playback is limited to two velocity levels ("Accent"). A row of 16 buttons are used in conjunction with an instrument selector to program the unit, both in step and in real time (in real time the buttons correspond to the various instruments

    Bass Drum consists of two parts. One part simulates the clicking attack-phase of the sound, where the other part provides the bottom end, which is responsible for the well known punch of this Bass Drum. Main circuit design is the same as described detailed in the Snare Drum section.

    When TRIG (>) is applied to the base of Q1, ENV-3 (part 6) is started by Q2 collector, releasing a pitch modulation of the VCO (part 2) by controlling the Control Voltage Generator (part1). Modulation depth can be adjusted by VR2 (TUNE). There's also a positive pulse at the base of Q11, discharging C14 and resetting VCO at every TRIG period. The triangle waveform of VCO output passes a diode clipper (part 3) to get a sine wave. The amount of this part is determined by VCA Q12 (part 4) whose gain follows ENV-1 (part 5) which is in turn controlled by an ACCENT coming through Q4. ENV-1 is actually an important part of this circuit. It's shape (see small diagram near ENV-1) looks like a compressed Drum sound and that's the reason for the big punch mentioned above.

    The second part of this instrument is separated into Pulse and Noise.

    Pulse (part 7) is generated by a circuit using a low pass filter (Q8, R5, R6, R14, C22) and a band pass filter (Q9, C2, C3, C4, R7, R8, R15, R16) to form the trigger signal into the right pulse shape. The noise part uses the common noise generator, whose signal (>) is low pass filtered and mixed with the signal coming from pulse generator. The resulting signal passes through a VCA Q6 (part 9) which is controlled by ENV-2 (part 10).

    Finally ATTACK and VCO-signal are mixed and amplified at IC11a (part 11) to provide level control.

    Snare Drum consists of Drum and Snappy, each further separated into two parts.

    Drum voice is composed of VCO-1 (part 10) and VCO-2 (part 11) with associated Control Voltage Generator IC35 (part 8). VCO-1 and VCO-2 have similar circuitry except that charging capacitors C69 and C71 have different capacitance so that they can oscillate at different frequency. VCO-1 runs at lower frequency.

    VCO's comprise a hysteresis comparator IC37a (IC38a), inverting buffers configured as voltage-dependant resistor (in IC36) and an integrator consisting of IC37b (IC38b) and C69 (C71) with Q44 (Q45) switcher. In this arrangement VCO-1,2 generate triangle waveforms . When TRIG (>) is applied to the base of Q39 VCO-1 receives a positive pulse from Q40 collector at the following places. There are similar conditions at VCO-2.

    a) One input of IC37a via D62. When the pulse is applied, IC37a turns its output to low.

    b) The base of Q44 which discharges C69, cancelling VCO-1 output. The combination of a) and c) resets VCO-1 to the starting point at which VCO-2 also starts oscillation, phasing the initial waveforms of both VCO's.

    c) The base of Q46 which cuts off VCA Q50, muting unwanted noises in the VCO-1 path.

    There is also a positive pulse starting ENV 1-5.

    Output of ENV1 (part 9) influences the Control Voltage Generator. The resultant effect is a pitch bend of Snare drum sound for about 20ms. The triangle waveform (integrated square = triangle) of VCO-1(VCO-2)passes through a diode clipper (see parts 12,13) to twist the triangle into a waveform near sine. The amount of drum voice from VCO-1 (VCO-2) is determined by VCA Q50 (VCA Q51, see parts 14,15) whose gain follows ENV3 (Env2, see parts 17,16) which is in turn controlled by an ACCENT (>) coming through Q41 currently gated by the TRIG.

    Snappy uses the common noise generator, which is also used for Bass Drum, Hand Clap and Tom's. Noise signal (>) is low pass filtered (IC 40a, see part 1) and then splitted into two parts. The first part is passing through a VCA Q48 (part 5) which is controlled by ENV4 (part 6). The second part has its own VCA Q47 (part3) controlled by ENV5 (part 7), but is high pass filtered (IC 39a, see part 2) before passing through. ACCENT signal is gated through Q41 by the trigger from Q39 collector and is coupled to the base of Q47 VCA as ENV 5. ENV 5 determines the amount of high frequency noise components in the SNAPPY which becomes articulate when noises passing through the high pass filter are combined with the noises from the low pass filter at IC39 (part 4).

    Finally Drum and Snappy are mixed and amplified at IC40b (part 18) to provide level-control.

    Low, Mid and High Toms have similar circuitry except that VCO's have different main tunings. The following description takes Mid-Tom as representative.

    Mid Tom is composed around three VCO's and noise, called Tom noise in this case. Tom noise (>>) is a modified signal from the common noise generator.

    VCO's have similar circuitry except that charging capacitors C32,33,34 have different capacitance so that they can oscillate at different frequency. VCO-3 (part 4) runs at highest frequency, VCO-2 (part 5) runs at lowest.

    When TRIG (>) is applied to the base of Q25, ENV-4 (part 2) is started by Q24 collector, releasing a pitch modulation of all VCO's (parts 3,4,5) by driving the Control Voltage Generator (part1). Control Voltage can be also adjusted manually by VR13 (TUNE). There's also a positive pulse at the bases of Q30,31,32 , discharging C32,33,34 and resetting VCO's to sync them together. Circuit configurations of VCO's are the same as used in Snare Drum. Refer to this section for more information.

    Each VCO output passes through a diode clipper (parts 6, 7 and 8) to get sine waves. The clipper of VCO-1 is also controlled by TRIG (with associated envelope C38 and VCA Q23) to cause a slow change from square (low resistance in collector-emitter path, hard clipping) to sine (softer clipping).

    Each modified oscillator signal passes through a VCA (Q26,27,28; see parts 9,10 and 11) with associated envelope (parts 12,13 and 14). ENV-2 (for VCO-2) is adjustable in Decay-Time (VR17). So you hear just one oscillator after some milliseconds, when you adjust longer decay times. VCO-3 signal is also mixed with Tom Noise (>>) before reaching the VCA. This causes a more natural sound in the attack phase of this instrument.

    Finally VCO-signals are mixed and amplified at IC23a (part 15) to provide level control.

    Handclap uses almost the same circuit as the well known TR-808. It’s based on white noise (> from the common noise generator) which is band-pass filtered by IC26b and associated RC’s (part 1) to get the right sound for simulation. The filtered noise is divided into two parts. The first part passes through a VCA (IC 30, see part 2) which is controlled by a special envelope (ENV-1 see part 3) after TRIG (>) is applied . This envelope is the main feature of this circuit. It simulates clapping of several hands. Basically it consists of four attack-decay envelopes (Opamps a-d in part 3), where finishing the first starts the second an so on.

    The second part also passes through a VCA (Q37, see part 4), which is controlled by a simple envelope (part 5). This part produces the atmospheric background sound of the instrument. It sounds like a reverb.

    Both parts are mixed and amplified by IC28a (part 6) to provide level control.

    The Rimshot is the easiest instrument on this machine. It's based on three bridged T-network-filters (see parts 1,2,3). These kind of bandpass filter is the base for nearly every sound on the TR-808 (except HiHat and Cymbal).

    They have different Q- and f-values as you can see on the diagrams above the schematic. According to these you'll get following frequencies : f1=500 Hz, f2=220 Hz, f3=1000Hz. The disadvantage of this circuit is, that frequency depends on every resistor (5% types used) and every capacitor. Every fault sums up by principles of superposition and can cause large differences between the same sound from machine to machine. That's perhaps the reason why Roland used VCO's for the other drumsounds of the 909.

    When TRIG (>) is applied, oscillators 1,2,3 get a positive pulse from D89 and start oscillation. The decay time depends on Q-factor which can be calculated by the following equation: Q=(sqrt(R1/R2))/(sqrt(C1/C2)+sqrt(C2/C1)).

    The outputs are mixed and clipped by a simple diode-clipper (part 4) D91,92. The clipped signal passes through a VCA (part 5) which gets control voltage from IC48b, Q64 and a simple envelope C119 (see part 7). Last stage is a high pass filter (part 6) which removes unwanted low frequencies to provide a more realistic simulation of the instrument.

    HiHat, Ride and Crash cymbals are 6-Bit (!) samples. Circuit configurations and operations of these voices are basically the same. The following description takes HiHat as a representative.

    Pressing HiHat button(s) develops a positive pulse (TRIG), resetting Address Counters IC70 and IC71 (part2) to have "0's" on their outputs. These 0's cause IC72a output to swing to H irrespective of a Closed/Open being applied to diode OR's (D196-199, necessary to distinguish between Closed and Open HiHat). Upon receiving this "run" from IC72a, a simple oscillator composed of two NAND-gates (no crystal!!) starts oscillation and outputs about 60kHz (see part 3), which is divided by two and shaped up by IC73 D-Flip-Flop (see part 4), clocking the address counters (pin10 of IC70,71). IC69 (ROM, see part 1) starts clocking out voice data, which are latched into IC68 Hex D-FlipFlop (see part 5) and then converted to analog voltages while passing through RA9 (resistor network, see part 6). This is a very simple configuration for a D/A-Converter. According to the resolution of 6-Bit, the sounds have been compressed before being digitalized in order to have a greater S/N ratio and higher digital resolution. The original envelope is reproduced by a VCA, which is controlled by an envelope.

    Open/Closed decay times of this envelope can be regulated individually. This is realised by a little bit tricky circuit (see part 9).

    A high Closed/Open (Closed HiHat selected) on Q72 base removes a positive voltage from its collector which in turn allows Q73 to charge decay capacitor C135 through R451 and VR21 (CH Decay). Since this charging path is 1/10 the total resistance of R452 and VR23, the charging rate of C135 depends on VR21 setting only (better say almost). With low Closed/Open (Open HiHat selected), CH charging path is disconnected from the DC supply source at Q73 and OH path becomes conductive. Charging rate of C135 now depends on R452 and VR23 (OH Decay). A disadvantage of this circuit is, that CH Decay is changing slightly when turning OH-Decay (VR23). But this change will not be notified in most cases.

    Envelope output passes through an Anti-Log (part 8) to provide a more realistic shape of the Env-signal, which drives the VCA (part 7). Finally HiHat signal is lowpass-filtered (two LPF's in serial, see part 10) to remove unwanted high frequencies after D/A conversion. Level control is provided by an amplifier (part 11)

    Some notes on Crash and Ride

    These voices also have unique envelopes that are quite different from actual sounds when the data is directly reproduced. The reason is the same as described in HiHat section. According there is no decay-control, restoration of the envelopes are made by the use of ROM addresses as the envelope data. When Crash (Ride) sound data are read successively from ROM with correct addresses, the same addresses are also converted to analog voltage (by a second D/A), anti-log tapered and applied to the VCA. This way of generating the envelope is necessary, because tuning of the instrument is possible. As the signal gets shorter at higher tunings, the decay-time has to change in the same manner.

  • 008090960155432601576491
    dnc 22.04.2005 - 17:02:33 level: 1 UP New

    Much has been written and said about the impact of this machine when the house and techno scene emerged. True is, however, that you find the distinctive sounds from this machine on a great deal of recordings today. Originally released in the mid 80's this machine never got any initial success as the public demand craved for purely digital drums and it was discontinued after a brief period of time by Roland. Today it is one of the most sought-after machines on the market and people pay ridicolous amounts of money for them. Roland began producing preset drum machines as far back as 1972, with the introduction of the TR-33, TR-55 and TR-77. The TR-66, TR-330 and TR-700 followed over the next couple of years, but it wasn't until 1978 with the appearance of the CR-78 that you could actually program the patterns yourself. When the likes of Peter Gabriel and Phil Collins began using the CR-78, the drum machine's dinky image of the pub performer's pal was transformed into a that of a musical tool. By 1980 the TR-808 had appeared. Like many a long gone muso or artist, the TR-808 wasn't appreciated as much at the time as it is now. For the more budget-conscious, there was the TR-606 Drumatix, and its partner in rhythm, the TB-303 Bassline. Both came with a matching carrycase, and were no bigger than a cheap box of Milk Tray. Unlike the chocolates, if you stared at these machines for long enough, the mixture of red flashing lights, black legends and silver and chrome would begin to grate and nauseate. Programming with even the mildest hangover was for none but the brave. The biggest box of them all, the TR-909 made its debut in 1983, and was only in production for one year. Approximately 10,000 were made. By that time, drum machines such as the Linn LM-1 had stolen the TR-909's thunder, as the sounds were all from samples. Sampling fever eventually wiped out generating drum sounds with analogue technology. Looking back, we're wiser now, and the variety of sounds that analogue techniques create are the most sought-after for a contemporary musical palette. Anyone can sample a sound, but there's nothing like having a knob in your hand to play with.

    Tadao Kikumoto. Big Up for the main creator of the TR-909 and also the TB-303. Good thinking mr. KICK umoto !

  • 008090960155432601576439
    dnc 22.04.2005 - 16:45:03 level: 1 UP New
  • 008090960155432601576429
    dnc 22.04.2005 - 16:41:25 level: 1 UP New
  • 008090960155432601576381
    dnc 22.04.2005 - 16:24:11 level: 1 UP New
  • 008090960155432601576346
    dnc 22.04.2005 - 16:14:33 level: 1 UP New
  • 008090960155432601576316
    dnc 22.04.2005 - 16:04:39 level: 1 UP New
  • 008090960155432601576311
    dnc 22.04.2005 - 16:03:04 level: 1 UP New

    Roland TR-808 Rythm Composer
    Machine info:
    The first normal looking drum machine. It's 100% analogue and is still proclaimed to having the best clap. It's also very famous for it's good marracas sounds.

    Release date: 1980

  • 008090960155432601559646
    drakh 14.04.2005 - 21:57:45 level: 1 UP New
    Takze spojenie ableton 4 + Audiorealism BassLine +evolution uc33
    -na zive hrajkanie sa jednoznacne ableton ako VST host vdaka velmi jedoduchemu assignovaniu midi kotrolerov ku ktoremukolvek ovladaciemu prvku ci uz abletonackemu alebo VSTickovemu...

    a hra to asi takto nejako (ehm ukazka je cisto len kvolu zvuku nehladajte v tom ziadne hlbsie pokusy, a ku koncu to zacina rvat zvuk vdaka tomu ze nahravanie bolo realizovane na tom istom pocitadle na ktorom sa tebecko pustalo tak uz trochu nestihal buffer) http://darkie.maysa.sk/303/303.mp3
    more children: (2)
  • 008090960155432601556282
    karol 13.04.2005 - 14:10:02 level: 1 UP New
    existuje nejaka sanca zadovazenia si tychto krabiciek na nasom uzemi,alebo je to len moja utopia?
    more children: (2)
  • 008090960155432601556183
    The history
    The TB303 (Transistor Bass) was introduced in the early 1982's together with the TR606 Drumatix (Transistor Rythm) by Roland. It was invented by Tadao Kikumoto. At that time the 303 was not an expensive piece, only about £215. The two small plastic-pieces were intended to emulate a real bass player and a real drummer. Obviously only very few musicians used the TB303 and TR606 for that purpose because the machines just could not replace the real thing. Their sounds didn't anywhere come near a real bass or drumset, and the musicians didn't want to go through the time-consuming task of programming the machines. Since nobody wanted the TB303 anymore, Roland stopped producing them 18 months after releasing it. At that time they'd produced about 20.000 copies alltogether.
    It was not until 1987 when a DJ (rumors has it that it was DJ Pierre) came up with the idea to turn the knobs while playing the TB303 that acid house was born. After that the machine suddently became more and more wanted and soaked for.
    Today's acid music is very different from the acid house of the 80's/early 90's. Now acid music is typically produced using the TB303 and a TR909. The TR909 drum machine produces a much more hard, much more dancable beat. The bassdrum really kicks and it has got a very famous clap!
    As if that wasn't enough, apply a guitar-distortion pedal and the sound is now much more harsher and emphasizes the resonance into agony screams. BIG fat sounds from small machines!!

    The unique sound
    I've listened a lot to the TB303 through the years. It's obvious that the sound is not heard alike on any other synth. Some people may claim, that there is no difference from the sound of the TB303 and Deep Bass Nine. Some may think they're able to make an acid track using a clone. I'd say they're truly wrong. A true 303-freak will be able to hear the difference, and they won't settle for less than the real thing/sound!
    The reason for the TB303's unique sound is in my opinion:

    The accent is in my opinion the most important feature on the TB-303. This is what makes the basslines slam! It's not emulated properly in any emulator I've heard. Why? Because it's a complex thing:
    The accent does not shape or alter the sound itself. What it does is it simply tweaks the vcf and the vca in a special way.
    First of all, accented notes are louder than normal ones. About twice as loud. Therefore it's a fact that the accent knob controls the VCA.
    Also, accented notes decay faster than normal ones. If an accented note is being played and the accent knob is fully anti-clockwise, you would not hear it saying "WAOuw", but more like "UW". This decay time is fixed and cannot be controlled.
    If the accent-know is fully clockwise the sound will sound more like "WAOuw". The accent knob controls to what extend the filter should open. The accent knob, in other words, forces the cutoff frequency to rise to a certain level (determined by how much the accent knob is turned clockwise) and then fall back to a normal level. -Actually it will fall back to a level slightly lower than a normal note because of the fixed additional decay!
    If several accented notes are beeing played in quick succession it really starts to get fun.
    What happens is the cutoff-frequency doesn't fall back to it's normal level before the next accent will start, thereby causing the next accent to start at a slightly higher cutoff. This effect increases the faster (BPM) you play. The accent sweep is not linear. First, the cutoff raises quickly. Towards it's peak it rounds off a bit and then it starts dropping. Fast at first towards a smooth soft curve.
    Accented notes also seems to be more resonant than normal ones. I think that's the reason why it'll scream or whistle instead of just saying "waow". The resonance slam contributes into making the accent the powerful hammer it is!
    The sweep time is approx 200ms.

    The TB-303 slide is also unique. It uses what one could call constant time slide. This means, that the time it takes to slide from a "C-1" to a "C-3" is the same time it would take to slide from a "C-1" to a "C#1"! This gives some bouncy basslines not heard on many other synths. If a note is told to slide to another note, the actual slide starts on the succeding note, and finishes just before the gate turns the note off!. -Actually some people claim that it starts just before the succeding note, just as a real bassplayer would. I don't know if this is true or not, but with all theese screwy things going on inside this little box, why not!

    The 303 seems to clip off amplitudes above 85%. Furthermore, where the clipping occurs, very high-frequency sine-peaks shows, just as if the sounds are sligthly highpass-filtered just before it's being played. I think the clipping adds crispness and shreddyness to the sound of the TB-303. No other synth that I know of has the same nasal sound as the 303! This is because of clipping. It might be an error or bug not taken care of back in the 80's, but never mind, it works in the 90's!

    The filter:
    The filter of the TB303 is a resonant lowpass 18db/oct. It will be driven into oscillation by applying resonance, but will never self-oscillate! The filter is, in other words, stable! There is not much else to say about the filter other than 18db/oct is not very used - most other synths tend to be using either 12db/oct or 24db/oct lowpass filters and then the fact that the filter is controlled by cutoff-, resonance-, decay-, envmod- and accent-knobs and that added togetger is in fact what created "the acid machine" back then!

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