HoeDown

[Hairy Harry]

I have a portamento (linear) that allows separate up and down times...
this might get the same effect, though I agree this is probably not
how it was done. But it is not difficult to make a linear portamento that 
does this...

H^)  harry


>From: WeAreAs1 at aol.com
>To: RMcDonald at wireone.com, synth-diy at node12b53.a2000.nl
>Subject: Re: HoeDown
>Date: Mon, 18 Sep 2000 13:28:53 EDT
>
>In a message dated 9/18/00 9:45:39 AM Pacific Daylight Time,
>RMcDonald at wireone.com writes:
>
><< Please elaborate on this...see below
>  I assume you are talking about the ELP version of Copland's HOEDOWN,
>  but am trying to think of what specific part you are referring to- it has
>  been a long time since I have listened to that piece. >>
>
>He is talking about the intro to the piece, where keith plays a Moog chord
>(VCO's tuned in fifths) that starts on a midrange chord and then jumps up 
>one
>octave.  It simulates what the second and third violins and violas do in 
>the
>original Copland piece.  The first note is played on beat one of the bar 
>and
>the octave jump occurs roughly on beat two of the bar.  This sound and 
>intro
>is a good example of the grand over-the-top bombast that most of us came to
>love and expect from ELP.  (It doesn't sound nearly as bombastic when the
>part is played by violins!)
>
>Note however, that a simple pitch-envelope modulated VCO patch will not
>really get this exact effect.  There also must be a delayed attack, so that
>the pitch glide does not start at the onset of the note, but rather about a
>beat later.  Keith probably used a trigger delay to achieve this.  Of 
>course,
>this same effect could also be approximated by simply playing a note, then
>playing the note one octave above, and having portamento turned on.  The 
>down
>side of doing it this way is that in this particular piece, the intro 
>figure
>needs to be repeated over and over.  So if he had portamento turned on, the
>note would also glide back down every time he repeated the figure (low note
>to high note, low note to high note, etc.).  Emerson's sound only glides
>going up, which suggests that he used an envelope to create the octave 
>jump.
>Also, the tming of the jump is not an exact quarter note, but a kind of 
>loose
>quarter note, probably because it was hard to get an envelope to always be
>rhythmically precise.  (this looseness adds to the flavor, anyway)
>
>Michael Bacich
>

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