HoeDown

[Debby and Gene Stopp]

I've done this on Keith's Moog (yeah I was the moog tech in '92, along with
Will Alexander). Terry's right, no delay needed. The 911 ADSR at the far
right of the lower console was always patched into the external CV input on
the control voltage distribution panel under VCO's 1 and 2, which were tuned
to root/fifth for Hoedown. VCO 3 was not swept and remained at the root,
which actually provided lots of the patch foundations (like Aquatarkus live
among others).

I remember being on stage during rehersals, running through the patches on
the big Moog while front-of-house mix was turned way up, and Greg Lake
walked over to me and said "You did that then? Veeeery Nice!".

- Gene


----- Original Message -----
From: "Terry Michaels" <104065.2340 at compuserve.com>
To: <WeAreAs1 at aol.com>; "synth-diy" <synth-diy at node12b53.a2000.nl>
Sent: Monday, September 18, 2000 11:54 AM
Subject: Re: HoeDown


> Message text written by INTERNET:WeAreAs1 at aol.com
> >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<
>
> Hi Michael:
>
> I have exactly duplicated this effect with my modular synth, no delay
> trigger is needed.  It's been awhile, but if I remember right, set up one
> VCO in the usual way, mix the output with the output of a second VCO, and
> then run the mix to a VCA and then out to your amp and speakers.  You run
> the output of a ADSR type envelope generator into the second  VCO, the
> initial attack (A) gives you the desired  pitch ramp-up time of about a
> quarter note, the delay (D) is set to zero, the sustain control (S) is set
> to give you the desired pitch (a fifth above the other VCO), the release
> control (R) is set to zero.  The envelope generator controlling the VCA is
> set to a fair amount of sustain (R set for a few seconds).   Every time
you
> press a key on the keyboard, you get the effect used in the intro to the
> song.   If you play legato, you get the VCO's doing parallel fifths,
> Emerson did that for a few measures toward the end of the song.
Keyboard
> portamento is set quite short, or none at all.
>
> Terry Michaels
>