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VCS3 Manual Patch Notes For SYNTRX II

The following patches (1-13) have been constructed with reference to the patch examples in the original VCS3 manual from the Electronic Music Studio in London.

They are generally quite simple but clearly demonstrate the potential of the modular matrix approach recreated in Syntrx II.

When creating these patches, Patrizio Nuti replaced certain connections with equivalent alternatives to account for the small structural differences between the two instruments. He intentionally avoided using the more advanced features of the Syntrx II, to make it easier to compare the results with those from the original VCS3.

Patrizio Nuti is an Italian musician and synthesist with a lifelong passion for electronic instruments. Starting as a teenage organist and keyboard player in dance bands, he went on to perform across a variety of genres, from pop and blues to jazz. Over the years, his setup has evolved from classic instruments like the Farfisa VIP 255 and Yamaha DX7 to iconic synthesizers such as the Moog Voyager, ARP 2600, and Prophet-6, as well as modern designs like the Waldorf Iridium. A dedicated explorer of synthesis methods, Patrizio has programmed and released sound banks, built modular systems with his son, and translated Gordon Reid’s Synth Secrets series into Italian, adding his own examples.

Patch No. 1 (pag. 28 of original Manual): Irregular Clicks

Irregular clicks using Oscillators only; the long cycle of repetition gives an appearance of randomness; compared to the original patch, the reverb (which can be controlled at will from the effects level) and joystick interventions on both the filter input  and the frequencies of oscillators 1 and 2 have been added, as well as a slight (1/3 dimmer) X/Y cross action on the 2  outputs. Act on the reverberation level as desired.

Patch No. 2 (pag. 29 of original Manual): Unmodulated & Modulated Mixture

Unmodulated mixture on left, modulation product of RM  on right; joystick action is on frequencies of oscillators 1 and cutoff frequency of the filter.

Patch No. 3 (pag. 30 of original Manual): Bowing the RM

Tune the frequency of oscillator 2 relative to oscillator 1 by an interval of 6a (e.g. C - A). In this case the scope, via input 2, is used as input B of the Ring Modulator;  the joystick controls both input B of the RM and the frequencies of oscillators 1 and 2.

Patch No. 4 (pag. 31 of original Manual): Bounce Effect

Bounce Effect with the Envelope Shaper; actions on the joystick range from a nice polyrhythmic effect to a very pleasant synthetic “liquid droplet” effect

Patch No. 5 (pag. 33 of original Manual): Timbre Changes Tr. Filter&RM

Timbre Changes through filter and Ring Modulator; Tuning Oscillators 1 and 2 for Perfect Unisonthat must be maintained throughout the vertical range of the joystick (acting on the frequencies of both oscillators); the joystick controls also the frequencies of oscillators 3 and filter cutoff.

Patch No. 6 (pag. 34 of original Manual): Modulated Scales

Modulated Scales and Arpeggios with noise modulation of Filter/Osc. ; the joystick controls both Osc. 1 and Osc. 2 frequencies and Decay time.

Patch No. 7 (pag. 35 of original Manual): RND Frequency Modulation

Random Frequency Modulation by filtered noise and reverberated Ring modulated sounds; pressing on the keyboard keys generates new sound embeddings

Patch No. 8 (pag. 36 of original Manual): Three Part Chord

By varying Tune of Osc. 1, Osc. 2 and Filter cutoff frequency produce different chord sequences.

Patch No. 9 (pag. 37 of original Manual): Pizzicato & Steam

Pizzicato-like scales and arpeggios on right, steam-like noises on left.

Patch No. 10 (pag. 38 of original Manual): Twittering & Chirping

Twittering and Chirping with variable pitch and rhythm; tune Osc 1 and Osc 2 to taste:  when played on the keyboard generates very pleasant soft synth timbres

Patch No. 11 (pag. 39 of original Manual): Scales & Arpeggios

Scales and Arpeggios in contrary motion.

Adjust the level of Input 2 so as to give the best range on the filter/osc and to vary the effect

Patch No. 12 (pag. 40 of original Manual): Rhythmic Inversion

Rhythmic Inversion ; e.g. when right is slow, left is fast; Interesting sounds are also obtained by modulating the frequency with the keyboard

Patch No. 13 (pag. 41 of original Manual): Two inverted controls

Two inverted controls, affecting OSC 1 & 2 and filtering noise; special feature of this patch: it is self-generating...the attached example was obtained by holding the joystick stationary

Patch No. 14 “ON THE RUN”

This patch reproduces the exact setting of the EMS Synth (Synthi AKS) of the Pink Floyd

song ‘ON THE RUN’ from the album ‘The dark side of the moon’.

In addition to the patch set the attached sequence.

Set the sequence as in the attached diagram and start it.

Then act on the joystick with movements as desired; if you like you can also act on

Trapezoid Decay, on Reverb level, on OSC 3 freq (Tune) and on Noise Level and ….. enjoy

the trip.

Patch No. 15 “CSlishiousness”

This is a playable patch; you can vary the tuning of Oscillator 2 to a 3th or 5 th from Oscillator

1 to have a very pleasant harmonic effect to play.

Patch No. 16 “Clock Shop of Horrors”

It gives a chill of fear; play with the joystick and keyboard and you are ready to create a

Horror movie soundtrack.

Patch No. 17: “Welcome to the Machine”

Patch with a rhythmically varying noise following the frequency set on oscillator 3; action on

keyboard causes direct noise engagement if you start whit the joystick in the lower left

corner.

Patch No. 18: “Welcome to Synth Bass”

This is a beautiful sound to play in the lower octave; very powerful, full and with a very

pleasant rhythmic variation in volume (tremolo) that alternates between the two channels.

Patch No. 19: “Arhythmetik”

Distorted sound obtained by frequency modulation which, through the intervention of the

Trapezoid, Oscillator 3 and Joystick, causes polyrhythmic variations (hence the name).

Patch No. 20: “Half Heart Dark”

Full and semi-distorted sound subject to multi-rhythmic variations between the two channels.

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