VOLUME 1 NUMBER 6 MARCH/APRIL 1977 $1.25 the electronic music magazine Roger Bowen & Todd Rundgren Audio Video Synthesis Steve Hillage and Friends Synthesizers on the Eco-FrontSGUND~A~AGUND QUAD PANNER MODEL QP~1 ‘The SOUND-A-ROUND can turn your quaa system into a dynamic, moving sound environment Froma sublimely slow shit of sound from channel te channel to revolution with either the panei conto oF optional foot pedal ‘neck wrenching spin you can precisely control the speed of From berely perceptible changes in loudness 10 a blatant jumping eflect from channel to channel. the depth can be controlled With either the panel contrat or optional foot pedal The direction of revolution can be instantly reversed with a sw Four LEDs let you know what the SOUND-A-ROUND is doing A joystick control allows you to procisaly maneuver the sound The SOUND-A-ROUND is available in the standard one input for you-ingicating speed, oitection, and channel levels. by hand it you prefer 10 four output configuration and also in two and four input All this unique and stunning capabiliy for only $299.85. Ask your dealer for more information of waite to: DOLyf asion 160 Sugg Road, Butalo, New York 14225 (716) 631-0780THE ELECTRONIC Volume 1 Number 6 MUSIC MAGAZIN tos Angle Schl Dogs Lyre Coane Protoraghy Sun Dino! Seve Roach ‘Apa Boars tx Cine Conttbuing Arist Contig Photerapher ‘Ee Kener Rooke chal Cason eb SYNAPSE MAGAZINE isp i wr o Iase Copy 197 by Synapse Pub Tene Co rated nthe Ute Sates chee RETAIL SALES: Spouse ip aalibe at En rae for seed oI Eas should Gott Syrup G3) SURSCHIMIONS Sl Cat Sh00 fers ne ore bess Sr or de oe Ah aries ‘entrails. Sige copyoeme Sind peel 28 ‘CHANGE OF ADDRESS: Noy SY APSE MAGAZINE SUBSCRIPTION DEPARIMENT,_ 257 Hye Ste pod eee dele seem Sat pee tie mane clos Spy SYNAPSE page 12 page lo page 20 FEATURES Buying Your First Synthesizer Alex, Cima siis asic sare crags aattaiaae eeenaaeiees 8 New York Public Access Synthesizer Studio PRAT cocae tsa) sade > ee 8 Los Angeles Center for Hectronie mlusicg Terr. . : 10 Steve Hillage & Friends Doug Lynner ..........- a sain eee Synthesizers on the Cerrone: Will Jackson ieee rte ea 16 Todd Rundgren & Roger Powell Carter Thomas. ..... iz a3 0 2 ee The Left Hand & the Synthesizer Craig Anderton . . rah eee Audio-Video Synthesis Jerry Hunt 2.0. eee eee 26 Constructing a Programmer Arpad Benares : 30 DEPARTMENTS. no. 6 Performance 33 Letters Synthesis .. 34 36 40 40 Equipment Review . Listings..... Classified Ads What's Happening Discola..... Computers. ‘SYNAPSE MARCH/APRIL 1977 1mn Those of you who prefer reading magazines from the middle first will find an in- terview with Todd Rundgren and Roger Powell, who to- ‘gether with Kasim Sulton and John Wilcox form the group Utopia, Powell uses 4 specially designed portable keyboard that triggers a polyphonic synthesizer ‘After many months of pre aration, Utopia is launchi 2 multimedia tour. Their tour begins March 2nd and after 70 days on the road they will break to. record their next album. Then it back on the road for the second 60 city leg of their tour. twas with the assistance of Todd Rundgren and Roger Powell that Steve Hillage (formerly of Gong) recorded his solo album “L", Inside is a look at Steve and three other members of his band—Miquette Giraudy, Basil Brooks, and Phil Hodge, interviewed by Syn apse while awaiting the Continuation of their American tour Synthesist Danny Sofer discusses the beginning elements of synthesis in his new column, “Synthesis”, (owhat else could it be calle) Between writing and re- viewing for Synapse, Danny keeps himself busy perform= ing with LEM and also has 4 tune on the program of Laseriur U1. Synapse is enlarging its distribution through musical instrument retail stores and you could help. Let the re- tallers in your area know that you would like to be able to buy Synapse in their store and be sure to give them our address. 3 MARCH ADRIL 1977 SYNAPSE Mushroom It’s good to see that some ‘one finally got off their ass and decided to put outa ‘magazine devoted to elec- tronic music, Your magazine is ver interesting and informative. And Ican't tell you how exciting it is to get up to date information on the west coast electronic music scene, Things are much the same ‘over here, with public access facilities opening, at a nominal ‘charge to the public down in Soho, concertizing all over New York and synthesis specialists moving into recording studios, As Bob Walter of Sound Arts put it there are “some almost dis quieting indications that things may suddenly mush- room”. [hope in the months J you will be able to inform your readers about some of the goings on here and abroad The interest in electronic music is so intense here that, Tm sure your magazine would be a smash success if more people knew about it, May [suggest you contact Manny's Music and Sam Ash Music to seeif they would carry Synapse? I know you can obtain other music journals, there and it strikes me Synapse would look quite at home in Sam Ash’s synthesizer wish you people the best of luck. We desperately need this type of communication to in some way coordinate the artistic and technological explosion we find ourselves in, Thanks. Richard Einhorn New York, New York P.S. Recently [ was appointed Composer in Residence at Sound new recording complex (four twenty four track recording studios with syne equipment for film music as well as abstract) and am writing music for some off-off broad- way plays and films. ixers Studios, a brand Lacking. Iread your magazine from cover to cover, found the articlés well written but lacking in technical explana- tion of ideas, presented by Gleeson for example. That interview might have contained some valuable historical data, in light of Tomita’s simultaneous realization, concerning techniques and equipment used, Jon Dattorro Boston, Massachusetts ‘The Future? I would like to know if you envision any type of electronic music convention in the future. I don't under stand why we can't get it together like the computer groups and have a local meeting periodically. Barry Klein. Anaheim, California We think its an excellent idea and will assist in any way we ean, —Ead, Lost in Space Fellow Spacers, 'm Magic Moe, here we go. Live in Fullerton and have a rock band ealled “French Lick” playing land- | scapes and other shapes. 1 have a disc called “Glider” I studied for two years in Parisand would like to retuen to traveling. My equipment is whatever I get my hands on. [just finished a movie soundtrack. I'm 24 earth years singing bosa-nova, blue bodies, and purple nipples. Love to you, many modulations. Magic Moe Fullerton, California | Thanks, Moe. It's good to krrow there are people like | you out there. —Ed. Eager Beaver You've got a very interest- ingand informative magazine | with just the right mix of art and technology. I'ma relative beginner in electronic music and am eager to use all of the ideas and information can get my hands on in order to develop my own musical style Tim Best El Cajon, California Matrix Keyboard I would first ike to say, 1 enjoy your magazine very much. Just recently, L pur= ‘chased an EMI. 200/300 Syn- thesizer with a "Matrix Key- board” (e.g., the keys are arranged in a matrix fashion, Anexample would be d by 4 matrix which equals 16 keys. Each key has.a tuning spread.) ‘The matrix keyboard lay-out | enables a composer to fashion his/her own keyboard tun- ings. Ihave developed my own tunings for my specific keyboard, however, [would | be interested in any informa-tion other composers would | Monophonic/Polyphonic | figure out the best and cheap- More have to offer, who have had My electronic music est way to obtainequipment. | Your magazine was just experience with matrix key- instructor introduced me to ‘So what I am trying to do is_| what I was looking for. boards. Any information your magazine, and as an find out what all is involved | Information I found particu- would be most appreciated. ex-electrical engineer | can in putting the equipment Jarly useful were the state- Thank You, | greatly appreciate the together from scratch. IF1 | ments by Wright and Gleeson Tim Conrardy | technical challenges in the | can get P.C. layouts, it seems | concerning specific equip. 19816 Falmouth Ct, | course of my study. Your | thatit can be done with ite | sent ured? Saratoga, Cal. 95070 | magazine would greatly aid | problems and at a fraction |" Twould also like to se (408) 255-5610 | mein my quest for new and | of the cost. The problem | more shor articles featuring Up Your Alley different methods for sound though, is getting the P.C. various signal processing. Saw your magazine while ‘synthesis, | presently own an | layouts or even schematics ‘equipment (besides VCO, in the University of Oregon | EML S00 keyboard synthe- | for well designed equipment. | VCF. Envelope Generators Moog lab. It was a copy of | sizer, and would like some ‘So I would appreciate it very | etc.) for special effects, the NoM melee ban, | inormation conceming much if you would help me | possibilities of combining Easton, TONTO, etc., blew | polyphonic conversion for it. | to find out more about this | sutputs; nore on digital ‘me away to find a mag right James M. Mann | situation. Thank you. memory keyboards, up my alley Knoxville, Tennessee Dana Harden | sequencers. In short, keep Tam a drummer with Dale Blake of EML says 54-083 Hauula MNSTD | up the good work! plans to utilize electronics | that the EML Poly-Box is the Hauula, Hawaii 96717 Larry Julien onstage with both percussion | only available method at Our listings column isa Alameda, California symthesization and abstract | this time. —-Ed good source forthe informa- | P.S.Don'tforset recording mood setting sounds tion you request and we | techniques for mult-trackers SYNAPSE energizes my Help Ihave inckuded your address | You will be interested in enthusiasm! Lam just getting into so that readers with in- the digital sequencer reviews Rick MeMillan | electronic music and elec: | formation cam contact you. | in the next issue of Synapse Springfield, Oregon | tronics and am trying to Ea. | =a IT’ i E ed E and it’s time for keyboard players to move over! THE SLAVEDRIVER turns guitor players into synthesizer players! It's the missing link, and goes between your guitar and a synthesizer. Makes almost any synthesizer follow a guitar player's technique—copies pitch, dynamics, and even triggers synthesizer filter sweeps. And it'll en- slave just about any synthesizer made in Amer- ical But best of all, it works with. your own guitar. The SLAVEDRIVER runs synthesizers the way a guitar player would want it to—follows: bends, slides, and right hand technique with super-fast response. Hear your guitar performance with all the sounds your synthesizer can give you, and more you'll never hear—unless you use a guitar to do ‘em! Ask your dealer to get you a SLAVE- DRIVER to try out. Or contact Bob Easton at 360 SYSTEMS for all the facts. 3560 25 RYANS STREET + (05 ANGELES, CAIFORIA 90006 i ae4 897 ws 1 O: 60 @ @ SO mene Slegem D ‘SYNAPSE MARCH/APRIL 1977 3Congratulations to Greg Les- lie of Ponca City, Oklahoma, the winner of the Synapse/ Star Instruments Inc. away of the Synare Pereus- sion Synthesizer. Greg, a Ra- dio, T.V. and Film major at Oklahoma State University, Stillwater, is an announcer for KVRO, the college FM station and recently com- pleted a design for a digital trumpet controller. Greg, five years experienced in elec- tronie music, composes using aPAIA synthesizer as well as modules of his own design. . From Strider Systems, Inc. comes the DCS-1, a compu- ter controlled portable poly phonic synthesizer. Included in the system are 12 audio frequency oscillators, a 48 channel envelope generator, 3 state-variable filters, a 49 key polyphonic keyboard with programmable split, a 1é-key digital keyboard with Led. display, a 16-key pro- grammable effects keyboard, 10 patch digital memory, 4 independent 256 note se- quences, and a tape cassette for bulk storage of patches, sequences and computer pro- grams. ‘The Los Angeles Center for Electronic Music is now of- fering a “first” in electronic music education: a poly- phonic guitar synthesizer ‘lass featuring Bob Easton of 360 Systems and Jazz guitarist Lee Ritenour. The class will be held during the March and June term along with a forty hour comprehensive and a fifteen hour advanced syn- thesizer course. Write or call them for more details. . EML has recently released the Poly-Box as a means of add- ing polyphonic capabilities to any existing synthesizer, The Poly-Box features pitch fol The computer controlled, polyphonic DCS-1 from Strider Systems, lowing that will track your oscillator throughout the au- dio range in addition to copy- ing vibrato, pitch bend and portamento. The Poly-Box offers 26 simultaneously available pitches at semitone intervals as well as a one oc- tave keyboard and memory EML's Poly-Box creates 26 simultaneously available hes from a synthesizer in- ut. | Also from EML is Electron- ‘music; AManual For Compo- sers, by Robert A, Devoe ‘The manual is profusely ilus- trated by the author and covers a range of topics from acoustics to scoring electronic ‘A new magazine from the People's Computer Company called the Computer Music Journal will be available soon. The Journal will cover alll areas of computer synthe- sis and computer controlled analog, synthesis. Subscrip- tions to the Computer Music Journal may be obtained for $14 a year at 1010 Doyle St. Box E, Menlo Park, Califor- nia 94025, E-mu announces the release of the 460 Microprocessor Keyboard. A five octave key- board programs the sixteen voice polyphonic system. Programmable parameters include pitch, duration and keyboard glide. The entire system is controlled by a caleulator type keyboard, Microprocessor technology is now available for all instru= ments with the Compu Sound Digital Filtering De- vice by Frogg. It is capable of producing 99 different filter configurations at the touch of a button, All functions can be monitored ona large Led display. Tangerine Dream will be touring the U.S. starting March 29, Laser Images Inc., the originators of Laserium, will be performing theie laser images in conjunction with Tangerine Dream. The la ist will be Richard. Vansen: brockworth: The tour, organized by Virgin Records, will feature Tanger- ine Dream performing pre- viously unreleased music and laser images performed live and projected on a rear pro- jection screen suspended be- hind the group. While Laser Images’ one watt krypton gas laser is used, the room will be darkened to achieve the effect of imagery floating in mid air... Polyfusion has released Sound-A-Round, a joy stick or VCO controlled quad pan. ner with one to four audio inputs. Included are four LED's to indicate placement, speed and direction, Sound: A-Round can be used with stereo and quad P.A. and playback systems and will drive any power amplifier directly, 4S MARCH7APRIL 1977 SYNAPSENew from EMS is the EMS Vocoder. It accepts a speech input which is analyzed by a bank of 22 bands pass filters and sent to a patchboard that Feeds into 22 synthesizing file The Vocoder from EMS London. (Energy Bow) will sustain any steel string indefinitely with total control over attack, sus- tain and decay without any distortion, allowing further possibilities for guitar and synthesizer interface. The EBOW isavailable from Heet ‘Sound Products. ters. Featured is an “Excita- tion’ input which will accept any audio input which will in tum adapt the characteristics of the speech input, Also included in the Vocoder are 2 VCO's, anoisesource, a pitch extractor, a voiced/unveiced detector, a frequency shifter and a sequencer input, Demo tapes are available from EMS, London, England and EMSA, Amherst, Massachusetts. . Utopia in Tokyo. Todd Rund- gren and Roger Powell of Utopia, while in Japan tour- ing to support the release of “RA,” were invited by Isao Tomita to visit his studio in recognition of Utopia’s in volvernent in electronic mu- The E Bow string sustaining, device Newr for progréssive guitarists isa hand held string sustainer that works on an electromag netic principle, The E BOW lease refer to the listings on page forty for any address not found above. ae FULLY MODULAR STUDIO SYNTHESIZERS Available as complete systems, in custom configurations, or as individual modules. Available in kit form with complete documentation and instructions, or as factory assembled and tested units. Compatible with most other synthesizers available today. Write or call today for 2 copy of our free catalog. ARIES MOSIC ine, po bex 3065 salem, ma. 01970 (617)-744-2400 ‘SYNAPSE MARCH/APRIL1977 5two devices are very. similar), There are no drums on side two. ‘The ambience instead is that of Fripp and Eno’s collaborations or quiet sections of Syncrey or Vangelis; very “low”. The titles of the other pieces on the side might give one an associative impression of the mood here: ‘Art Decade"Gent?),. "Weeping Wall”, “Subterraneans’. "Sub terraneans” consists of a slow David Bowie: Low RCA CPLI-2030, Always known for the sensa- tional, Mr. Bowie's latest has evoked much negative reaction from musie critics and fans as well. “Low” is a move in the ‘musical direction of the “English ‘Art Rockers’, such as the Soft Machine, Gong, Michael Old- field, and most notably, Brian Eno with whom Bowie collabor- ates on this album, Side One is comprised of seven songs with titles like, “Always Crashing in the Same Car” and ‘Be My: Wife’; there are a few interesting moments here and there, but the side is mostly boring as seems intended by the lyrical and. musical posturing These pieces are incomplete thoughts, overtaken by a lack of Interest on the part ofthe creator. Sonicly, most ofthis side sounds like Eno's “Another Green World”, and_occasionally” like old Mothers. The drums played by Dennis Davis, sound rather surrealistic because of the noise gates they were recorded with ‘The result ofthese noise gates is that the ambience of the drums, distorted to begin with disap- pears shortly after each beat: very jagged formations. Actually, I believe that this record makes more sense from a conceptual point of view after watching Bowie's film debut, “The Man Who Fel to Earth” in which he plays an alien who gets ‘aught up in the boredom and decadence of American society ‘The promotional photo of Bowie for the fllm is also the cover of Low”. Side Two isanother story. The opener, “Warszawa” (War's over?) contains elements of Gre- gorian Chant and that Moody Blues/King Crimson “death of the universe” sound created by playing slow passages ina minor key on a Mellotron (actually a Chamberlin in this case but the (6 MARCH/APRIL 1977 SYNAPSE | ascending minor bass figure, | AARP String Ensemble, a guitar witha lot of slow tremolo, wail- ing voices. and sax; all playing meandering melodic lines. I's very moving: it reminds me of Beaver & Krause’s “Ina Wild Sanctuary’ fromtheirfirstalbum of the same name, Bowie has been hinting about this direction for same time. If fone can accept this record as another part of a complex per sonality, there is much to. be appreciated here: even if ya can't dance t0 it Danny Sofer Disc Gary Wright Light of Smiles Warner Bros BS 291 Like his previous dise, the double platinum "Dream Weav- er", Gary Wright's latest album Light of Smiles’ features an all keyboard approach that empha- sizes synthesizers and synthe- sized arrangements. However, in most other respects “Light of Smiles” is gratifyingly superior to its predecessor. The produc tion, for one, is more assured, Extensive overdubbing and a treater variety. of instruments give “Light of Smiles” a more svelte texture than the clangy “Dream Weaver". Whereas Wright played all the keyboards fon that dise himself, "Light of Smiles’ finds him assisted by members of his touring band, which may account for the added fullness of sound. Al though he fudges a bit on his “all keyboard” number by em= ploying real strings on a couple Of ‘tracks, in the main it is synthesizers, especially the Oberheim Polyphonic, that serve to play the parts that would be taken by string and brass sections on any other pop album. Wright himself plays the solos and engineers the effects fon both Moog and Oberheim Instruments ‘The progressive stance of the instrumentation and production of “Light of Smiles” is beyond question. The stance of the songs themselves are another matter While his unique approach has sgamered some FM airplay for “Light of Smiles”, itis apparent that, as with “Dream Weaver" this discis targeted for the Top 40 market. In common with almost all AMtunes, the Iyris on “Light (of Smiles” are frankly” stupid displaying little more literacy than those of KC and the Sun shine Band. Take for example the chorus to “Empty Inside” | was so empty inside Twas so empty inside [was so empty inside Till you came into my hfe (copyright High Wave Music) (Often the musics litte better, as on the crude and insincere rocker Silent Fury". However, a few excellent tunes show that Wright may be merely succumb- ing to commercial. temptation and is capable of a better prod- uct. "Who Am I’, the short but bizarre “I Am the Sky” (which sounds like Weather Report, of all people), and in particular the ‘outstanding final cut “Child of Light” excite hopes. of greater things from Gary Wright on subsequent albums. These songs atleast dispense with thebanality that is undeniably present on 50 much of ‘Light of Smiles ~TomDavey Joan La Barbara: Voice is the Original Instrument Wirard RVW 2266 Joan La Barbara makes great sounds on this live recording and all she uss is her voice, a phase shifter, pitch modulator. and an ‘echo unit, Modulated timbre, several notes at once, subhar monies, filtering, with various amounts of resonance are all done with her voice ‘There are three pieces on this disc, all recorded at Berkeley's University Art Museum a yeat ago. The first, “Circular Song’ is based on the technique ofcircular breathing, resulting in more of Jess continual sound, rising and falling, panting faster and faster, until climaxing, in some modus lated groans, then slowing back to the beginning, “One-Note Internal Resonance Investigation” consists of one pitch sung repeatedly indifferent timbres, using the resonances of the head asa low pass filter, and the rest ofthe body as a subhar- monic generator. (And you thought Captain Beefheart had an unusual Yoice?), “Vocal Extensions” uses all of the above effects, plus more per= cussive and explosive sounds in Conjunction with the echo unit and other electronics. Me. La Barbara is very good at accom: panying, herself with echo and ‘manipulating the controls of the Roland Space Echo as well as her voice to change the texture rapide ly from one moment to the next. Her squeals and echo clicks are particularly effective to me ab Well as when she changes the echo speed, causing a momen: tary speeding up or. slowing down of pitch. (I can’t wait t0 hear her through an Eventide Harmonizer!) ‘Musically, some of the mater ial is haunting, some evoking feelings of loneliness, some eror tic, some cold and mechanical But for me this record's appeal isnot so much for the music eo tained here, but more for the implications of the music and Ms, La Barbara's vocal tech niques ‘Available For $5.00 from Wi aard Records, 127 Greene St. New York, NY 10012, Danny Sofee Those of you who read the back pages of Rolling Stone know that the 40 foot pig float ing through the smoke stacks on the front cover got loose while waiting for its photo session, disrupting. traffic at Heathrow Airport till one of its hoofs exploded over Kent. (shucks, I wouldn't josh you). | Those of you who save the 1975 “Wish You Were Here” tour know that most of the album consists of rewritten out- takes from the series. “Dogs” (criginally titled “Gotta Be | Crazy’) and “Sheep” (originally Raving and Drocling") were dropped from “Wish You Were Here’—partly because of the suecess of an English bootleg re- ‘corded at Wembley Stadium and partly because the shifting, musical concept of “Wish, made them incompatible with the rest of the album. ‘The original "Gotta Be Crazy” was a beautifully convoluted, breezy, jazzy rush of words about the “you got to appear to be easy to see through” British bourgeoisie. “Dogs” is in the same vein, but adapted t0 the ‘concept of the album. The stu ddio work shows through here Gotta Be Crazy” was sparce and manic while ‘Dogs’ is more lleing—a little more fully re lized. "Raving and Drooling” was another Floydian epic to insanity in the same league as "One of These Days” and "Care- ful With That Ax Eugene,” As "Sheep", its the high point ofthe album, ‘a. crazy roller-coaster boogie with clean, razor-sharp guitar and a relentless beat Despite Roger Water’ recent dip into Kinksian provincalism, he still write a horror story with the lurid precision of a brain surgeon, “Sheep is about the uprising ‘of the meek and lowly against those they perceive as their en mies, in this case the Dogs, A\ the end of the album, the Dogs are dead. The Pigs, the ones ‘who are behind the Dogs, are still in control, allowing the Sheep as much’ freedom as is convenient “Animals” suffers oecasional- ly from a lack of dramatic dis- tance. I ike Water's social com- mentary, He's a mean man with a metaphor, but on this album, its hard to tll whether he's writ- ing high political satire or lowr polemic. This problem is most slaring on “Pigs, where he slips ‘off into a blathering Marxist ti rade against “well-heeled big wheels". In an album that fo- ‘cusses s0 heavily on literary al- Tusion and illusion, “Pigs” is graceless and heavy handed. It's saved from disaster by a catchy: funky tune or two and the al- bums uniformally neat produc~ tion, but beyond its values as a neat litte rocker, it adds nothing tothe album concept Viewed as an electronic pop album, this is probably the best thing they've done since “Med- dle", The tape effects that were s0 cameosike and gimmicky on "Dark Side of the Moon’ and ‘Wish You Were Here” are sub ‘dued here, more integrated into the music. The dentist dill whine that envelopes Waters vocals on “Sheep is the scariest thing they've tried since “Umma Gamma”. The grating electric purr of the 23rd Psalm in the middle ig hard to make out without the lyrics on the record jacket, but then Pink Floyd at their best always toss over the Titeral forthe over al effect. Pink Foyd may never be as subtle or just plain bizarre as they were in the good old days of Hyde Park and LSD, but they've regained their intellec tual tension, And they/testill the slyest fuckers who ever read George Orwell Richard Wadholm Get Serious...with Contemporary Keyboard! Serious keyboard players are reach: ing out. Combining electronic and acousticinstrument sours ing traditional keyboards with new electronic gear. ‘And they're reading Contemporary Keyboard. To keep in touch with the antsts exploring new musical forms. ‘And the engineers who make the new music possible Contemporary Keyboard is the one magazine that covers instruments. All keyboar’ as broad, as varied as the keyboard field today. Andas seriou: as today’s serious keyboard players. KEYBOARD ws. Augment= all keyboard cd playing. I's sabout music Each issue contains in-depth inter- views with the top keyboard artists Classical virtuosi like Viadimir Horo= witz, Alexis Welssenberg, Charles Rosen, Anthony Newman. Jazz greats like Herbie Hancock, McCoy Tyner, Marian McPartland, Keith Jarrett. Rock stars like Edgar Winter, Rick ‘Wakeman, Gregg Allman. As well as country and western, ragtime, dixie- land and ethnic stylists of distinction. Columnists include: David Burge, ‘on contemporary piano ... Leonard Feather, on jazz... .Bob Moog, on synthesizer technology, Roger Powell, on synthesizer technique . ... Chick Corea, on’ electronic Keyboards . . . Misha Dichter, on 18th and 18th Century piano Bill Irwin, on pop organ land more. Enter an introductory subscription now. $12 for 12 issues. (You're guaranteed refund for the unfilled portion of your subscription, if at any time you decide you no longer Want to receive CK;) Just complete the form below. And mail it today with your payment. Hea ox G7 KO, Suratogn, CA 05070 | ' El Goes iy pearioeresiocsr nial Ti year @ $1201 2 years @ $24 | Tyan a 1 [AooRess. fo staTe__2 1 ‘SYNAPSE MARCH/APRIL 1977 7Ease Skerneimtasnamane sion set seis roe ue he can os ye rete mets ard reedasts a ou al un: OA dria avon wd mars ‘etsear For nape nw rr sant EMSA is: Ss LODUoT SET NOMTPAMIPTON, WA SSS Danny Sofer DSIMUSIC 811FRANKLINST, ‘SANTA MONICA, CA. 90403 213/463-8772 by Alex Cima “The most important considerations ine Iecting 9 symthesver are your tical inter esis, iretion, and’ sile. Who do. you like? Chick Corea? Karlheine Stockhausen? George. Duke? Morton Subotnickt Rick Wakeman Isao Tomita? Larry Fast). .71No doubt many others could be mentioned a¢ representing a particular syle or altitude toward the instrument Forthe sake of simplicity, one can think of these styles a6 ether leaning towards an Imitation of orchestral insruments bras string, lute) where tational notation works orthat favoring a more"avant garde dissonant, unconventional ue, where nota. tion siretches the boundaries of copyright law. This is important because some natu ments may ealy bridge both styles" while others function best ina. more limited approach Synthesizers may be classified as pre patched performance systems, where all con hections are hard-wired at the factory, of modular systems using patchcords, pin mar tix, o similar means of making connections at the performer’ choice, Modular systems fer reater flexibility a the posible comb ———Buying Your First ; __ Synthesizer __ nations between their modules or sections are astronomical, yielding a wider variety of control and sounds than the pre-patched The price of a synthesizer is in direct proportion to its complexity and number of modules available. There srampant competi- tion among. manufacturers, a fact which should work well to your advantage. A good suggestion would be to invest in postcards and request their literature (sce Synapse manufacturers listing); however, if you are not familiar with how synthesizers work, an additional suggestion would be to. learn before you buy (again se listings for schools and check for any studios near you) Alleynthesizers have at least one of each of the following: a voltage controlled oscillator (VCO) and noise generator for sound pro. duction; a low frequency oscillator (LEO) to Control vibrato and slowly changing events; a voltage controlled filter (VCF) to change tonal color (timbre); a voltage controlled amplifier (VA) and envelope generator to. control loudness and intensity. changes over time, Keyboards are the most common interface (thatis, bridge between the performer and the knobs). Differences in price reflect the avail: able number ofthese basic components, their PUBLIC ACCESS SYNTHESIZER STUDIO. PUBLIC ACCESS: NEW YORK by Phil Terr With so many technological advances affecting musical expression these days, itis «easy to overlook two important ingredients for a healthy creative environment. Not surprisingly, the two areas: accessibility of instruments and the interchange of ideas, are both human considerations. The Public Access Synthesizer Studio (PASS) has recently opened in New York City to help solve these problems. PASS, a non-profit New York corporation, is structured to provide “cheap os possible” time rental of three CBS/Buchla Synthesizers, one hybrid EML, Electro- Comp system and some Serge modules. By the way, “cheap as possible” is $3.00 an hour with block rates available. More important though, is that PASS offers a free form exchange of ideas without tiesto any institutions. It opens the possibility for the unification of ideas and ideals as well as the establishment of a center that would be truly community responsive sinc it isthe community itself that would motivate PASS evolution and growth. PASS seeks to expand the availablity of information pertinent to electronic music through its taped library of compositions and various seminars, The seminars will ‘cover many aspects of electronic music, including discussions with composes The philosophy of PASS also supports the design and construction of systems and ‘modules by the users themselves and has schematics and a technician (once or twice a weak) valle fo fait the proces PASS plans to expand its potential through grants in order to provide more services to independent electronie musicians, PASS is to be congratulated for providing New York with this service and for providing everyone with an example that I hope will manifest itself across the country. PASS is located at 135 West Broadway, N.Y., N.Y. 10013, (212) 964-9891, WW ‘8 MARCH/APRIL 1977 SYNAPSE