Thank you for the kind words, Niccolo, and that advice. I still haven't found my Origin manual, which I need to soon. That definitely makes the Jupiter template super useful.
I still have work to do on my tutorial post, but it's coming. I have lots of advice to offer on how to approach programming the Origin, and synths in general. And as you can tell on my above posts, I like to hear myself type.
I would add that because of the heavy module count in the CS-80 template, polyphony averages seven notes rather than eight as on the synth itself. I'll play with it to see how I can boost polyphony a bit and make suggestions for changes, but if you want an authentic CS-80 sound, my template may be as good as it gets.
Oh, and I hope you downloaders know that my templates are split up on those files, so if you only pick the first one, you're only getting the ARP and Prophet templates, I believe.
I'm hoping some of you guys in the team make their own template patches and share them, because I'm not exactly the ultimate authority on synthesizers, though I have familiarized myself with many of these historic instruments. And I'm sure we'd all love more patches to play with.Edit:
I went ahead and added in brief descriptions of each template, and a bit of how some of the modulation routing went.The ARP Odyssey
is a two oscillator synth with a 4 Pole Lowpass resonant filter coupled with a light Highpass filter, which I recall is a light 6db 1 Pole. I included a third Origin OSC to use as a noise source. The basic module chain for this synth is:
2 ARP OSCs plus Origin OSC for noise-> Mixer-> Origin 1 Pole Highpass Filter-> ARP 4 Pole Lowpass Filter-> VCA (Output)
One Progr LFO, Ring Mod unit, two ADSRs for modulation
Unlike many later synths, it used a basic Attack-Release (AR) envelope generator along with a traditional and much more useful ADSR, though I cheated and used two ADSRs. Purists can set one ADSR sustain up all the way to make it an AR generator. It has a Ring Modulator which I haven't messed with, as well as a very flexible Sample and Hold generator like the one in the Origin. For the burbling S/H effects I just use a Random wave in the LFO because it's much handier than rigging up the S/H module, and is easy on the CPU. I notice that the first two patches just have a light reverb programmed, while the rest have some combo of chorus, delay and reverb. Distortion also works well on Odyssey patches, but I saved that for its big brother, the 2600.
It has the capacity to play two notes using the two oscillators separately, though I fudged this and so each note plays two full two OSC voices. I happen to notice that I included kidharpoon's more complete Odyssey patch, which also happens to have the Ring Modulator wired in for use. The OSCs can be hard synced, so if you want sync patches, I'd suggest swapping out the ARP OSCs with Jupiter OSCs. I use the pulse wave for the basis of most of these patches, because it has full pulse width settings which gave it a different sound compared to the Minimoog.The ARP 2600
is a big three oscillator synth much like an Odyssey on steroids, in that it has one more OSC and an extensive patch panel. The Highpass Filter is gone, though it uses a Parametric EQ, which like a bonehead I didn't include. The EQ effect is sort of useful, but I'd personally edit in an Origin Filter set to 1 Pole Highpass instead. The first four patches use the Distortion effect to juice them up. The patch 5thLead2 has the filter mostly closed, and is meant to be opened and closed while playing like a wah-wah pedal. Like the Odyssey, it's also duophonic using one of the OSCs to play the second note, and I cheat this by allowing two full voices to play in a few patches.The ARP Chroma
isn't that well known, but it was a major effort by ARP to produce a monster polysynth, and was way ahead of its time with computer generated velocity envelopes and LFOs, a polypressure keyboard option, and a computer interface for programming and sequencing. Gibson bought out all of ARP Instruments when it went bankrupt, and some later versions were produced under the name Rhodes Chroma. Anyway, this is a highly configurable synth, much like the later Oberheim Matrix-12, or a modular, with two OSCs and dual 2 Pole multimode Filters. In dual OSC mode, the way it sounds best, polyphony is eight note. I chose three basic configurations for it, as these are the most musically useful.
- OSC-> LP FIlter-> Output, doubled up in two layers
- A one layer 2 OSC-> Mixer-> HP filter-> LP Filter-> Output (one patch, Chro PolySyn5)
- A one layer structure which is a little trickier. One OSC goes into a HP Filter, which is fed along with the second OSC into a Mixer, which goes into the LP Filter, and this into the Output (one patch, Chro PolySyn6). With this structure, one OSC is filtered in a bandpass response, while the other uses a basic lowpass filtering.
- Two Progr LFOs, Ring Mod unit, two ADSRs for modulation
It can also double the two filters into a 4 Pole Lowpass Filter (or Highpass), but this is essentially then a polyphonic Odyssey, so crank up the polyphony to eight or so notes on an Odyssey patch and there you go. The OSCs can be hard synced, so again if you want it for sync patches I'd suggest swapping out the ARP OSCs with Jupiter OSCs.
On the Clarinet, Oboe and Flute patches, you'll notice that pressure closes the filters and introduces LFO modulation of it, as actual vibrato of pitch was very slight on the actual instruments.The Sequential Prophet T-8
is one of the most sought after Prophets, due to the nice 76 note piano touch and polypressure keyboard. It was so good that New England Digital licensed it for the Synclavier. Anyway, this is a 2 OSC synth with multiple waveforms on both OSCs, along with a separate noise source, a Mixer feeding these into a 4 Pole LP Filter, a VCA, two velocity driven ADSRs and an LFO. I chose Origin OSCs and 4 Pole LP Filter for it, as this does come very close to the sound of the... original.
The basic configuration is:
4 Origin OSCs-> Mixer-> Origin 4 Pole Lowpass Filter-> Output
One Progr LFO, two ADSRs for modulation
The reason for using four OSCs is so you have two OSCs available for separate pulse waves, one for sawtooth, and the fourth for noise.
The Prophets became the standard synth for many keyboard players for years, and along with the Jupiter and Oberheims, made hard sync cool, so a couple of patches feature hard sync prominently. The "OW" sound is produced by routing a modulator like an ADSR only to the synced OSC.The Sequential Prophet VS
is a rare synth, but perhaps one of the most sought after, as it was one of Sequential's last instruments before it went belly up. It uses four digital Wavetable OSCs run through a two axis joystick just like the one on the Origin, and used something very like the Galaxy modulator. It seems that the VS was a big influence on the Origin. In fact, even though it wasn't a success, it's used religiously by their owners in music, and it's my understanding that entire film soundtracks were done just on the VS alone. It's 16 voice polyphonic, and has a number of modulation routings, though in the heart it still sounds like a Prophet, so again I used the Origin 4 Pole LP Filter. I gave it one extra ADSR, because the VS's envelopes are very complex five stage affairs. and the extra one, ENV 1, can be mixed with the other two for more complex shapes.
Unfortunately, coming up with patches for it was a brain teaser for me, as I just got to play with one several years ago for only an hour or so, so all I have right now is one basic sound. Someday, I'll see about coming up with some more patches for it. I have some notes to help with programming it in a post below. The signal path is:
4 Wavetable OSCs-> JoyMixer-> Origin 4 Pole Lowpass Filter-> Output
Two Progr LFOs, S/H unit, 3 ADSRs for modulationThe Oberheim OB-X
(going slightly out of order here) is an eight voice polysynth, and very popular with many keyboard players over the Jupiter-8, as it had a sound that suited certain styles, and a few more OSC parameters to play with. Like the ARPs, the Oberheims have full pulse width settings, and on later models like the OB-8, pulse width and modulation could be set separately for both OSCs. This is more of a family of Oberheims, combining the OB-X, OB-Xa and OB-8, and although all had slightly different features and sound, the flavor is very similar. I used Origin OSCs and multimode Filter for it, and though the Oberheim oscillators sound different to the Prophet's, I didn't have many options. Though both instruments began to eventually use Curtis synthesizer chips, as many synths did at this time, there's good reason to resort to the Origin modules as they capture this sound well. I used four OSCs, as you could have more than one waveform available on later revisions of the OB, as well as a separate noise source. The signal path is:
4 Origin OSCs-> Mixer-> Origin 2/4 Pole Multimode Filter-> Output
Two Progr LFOs, Ring Mod unit, two ADSRs for modulationThe Oberheim OB-1
was a one voice lead synth, essentially one voice card from an OB-X in a compact synth, so once again, Origin OSCs and Filters were used.The Oberheim Matrix-12
is much like the ARP Chroma in that it's a very configurable synth, but even more like a modular, in that just about every element has a computer controlled switching and routing system, which was insanely powerful for its time. And it has scads of functions, which means lots. Because of the ridiculously complex routings you can do, I basically took an OB-X and gave it a few more functions, as well as full velocity and pressure response. Again, at some point I'll see about making some proper Matrix-12 templates and patches. The signal routing is mostly like the OB-X, though a couple of patches are the same as the ARP Chroma.The Yamaha CS-80
is a unique instrument in just about every way. It was the first polyphonic synth with a piano touch and polypressure sensitive keyboard, and that pressure could be routed a number of ways. It was both very cool and rather strange, both in its quirky design and sound, much of that due to the unique dual 2 Pole resonant Filters each voice had. And it had two complete separate synthesizer voices, each with its own OSCs, Filters, Envelopes and VCAs. The signal path is:
CS-80 OSC-> CS-80 HP FIlter-> CS-80 LP FIlter-> Output, doubled up in two layers
1 Progr LFO, 2 ILAL envelopes, 3 ADSRs for modulation, and Ring Mod in effects unit
I managed to create a fairly authentic CS-80 with two full voices, though because of all the modules needed and CPU to run them, polyphony can drop to six notes. If much of the TAE processing is used, patches can sound distorted, so I tend to turn it all the way down. This is located at the lower right in the PROGR page. As Niccolo pointed out, the CS-80's Ring Modulator is in the effects unit, so the first effect is this Ring Mod unit.
One note I would make is about the patch, WrblSyn1, which on the face of it sounds kind of dorky. But I've programmed mine based on the unusual lead patch used in Matthew Tyas' interesting CS-80V mp3 in the Audio Demo page, named Winterhat. His lead uses one of the techniques some CS-80 users developed, in that the filters use heavy slow LFO modulation, and the rate is increased as notes are played until the filters almost begin to beat in their own tones. I assigned Live Knob #5 (red) to the LFO driving the filters, so turning it yields this effect. Other patches use another effect characteristic of the CS, a slow OSC vibrato.The Polymoog Synthesizer
was Bob Moog's first attempt to give fans of his synths a polyphonic instrument. It was based on a concept roughly like an ARP Omni, but considerably more advanced, and had a lot of input from artists such as Keith Emerson, Herbie Hancock, and Larry Fast of Synergy fame. A series of synthesizer chips generated sawtooth and modulated pulse waves, and had nine basic synth patches programmed into them, as evidently each chip had a simple one voice synth unit with its own lowpass filter, VCA and envelope generators (I got this from a UK based Polymoog website). These nine presets can be further modified with a single lowpass filter, an advanced parametric filter, LFOs and envelope generators. One preset was wide open, giving you full access to all the synthesizer parameters in the instrument. It was a thinner sound than Moog fans were used to, but it did offer full polyphony, as well as a six and a half octave velocity sensitive keyboard. And while basic, it could produce some lovely textures. To recreate this behemoth, I used the following signal path:
3 Origin OSCs-> Mixer-> Origin 4 Pole Lowpass Filter-> Output
2 Progr LFOs, two ADSRs for modulation
I also used the Parametric EQ as the first effect, should you want to experiment with it. It has an unusual oscillator design, in that the two saw and variable pulse waves can be mixed freely, but the two waveforms have different octave ranges. The sawtooth is available in 8' and 4' ranks, while the pulse was set up with 16' and 8' intervals. The sawtooth ranks could also be detuned +/- 6 semitones from the pulse ranks. In addition, there were five LFOs, one for the saw rank vibrato, one for pulse rank vibrato, two for pulse width modulation on separate halves of the keyboard, and interestingly, pulse width could be set separately for both halves of the keyboard as well. I decided to leave these oscillators in a more basic structure, but it might be fun to try making a full blown Polymoog arrangement sometime. The fifth LFO was available for the filter, and included sample and hold.
I used the Origin Filter because the one used in the Polymoog sounded a little thinner than the one used in the other Moog monophonic synths. I think a Moog 3 Pole LP would have been perfect for it. I toyed with the ARP and Jupiter filters, but that Origin filter is really darn useful. Apparently, I used 2 Pole LP Filters for all but the Polymoog Pad sounds and forgot to change them to 4 Pole, but it's easy to change them. The filters do need to be retuned up a bit if you do this, so leaving it as it is is certainly no harm. But if you want to program your own Polymoog patches, it's best to be authentic to use the 4 Pole slope.
The other patches are basic synth sounds, but the two Polymoog Pads are designed in particular with the mod pedal to open and close the filter as you play.The Memorymoog
was Bob Moog's second and proper attempt to give players a polyphonic Moog synth. This one was done well, and included three full oscillators with saw, triangle and fully variable pulse waves available at once, as well as a separate noise source into a better 4 Pole lowpass filter and to a VCA. There were two full ADSRs and two LFOs for modulation, and OSC 2 could be hard synced to OSC 1. There was also an arpeggiator and a small polyphonic sequencer. While it didn't quite have the character of the Minimoog, being based on Curtis chips, it did have a big, rich sound which was close, and with six note polyphony.
I didn't really make it the way I wanted to. I intended to use the Moog OSCs into an Origin 4 Pole LP Filter, but found that they had fixed pulse widths, and while the Minimoog template could have hard sync, these OSC modules couldn't. I thought I might have one Moog OSC and two Origin OSCs since the Memorymoog sounds slightly lighter than a Mini, but they wouldn't blend well. In the end, I made do with four Origin OSCs into the Moog 4 Pole LP Filter - one for either noise or a separate pulse wave, and found this did sound very good, and close to the Memorymoog. The Origin OSCs through the Moog Filter do give it a nice juicy, beefy sound, and with three separate oscillators, you can make it sound huge like a Moog. The signal path is:
4 Origin OSCs-> Mixer-> Moog 4 Pole Lowpass Filter-> Output
2 Progr LFOs, 2 ADSRs for modulationThe two combo templates
are examples of what many artists did such as Larry Fast or Jan Hammer, the prog/fusion keyboardist, trying to stretch the soundmaking capabilities of these venerable Minimoog, ARP Odyssey and Oberheim SEM (click for a link to one)
or OB-1 synthesizers. It took a bit of work from a keyboard tech, since they all used different menthods to trigger sounds, but you wound up with a very powerful two voice synthesizer with interesting combined characteristics.
- One use the modules to make an ARP Odyssey and a Minimoog
- The other use those making an OB-1 and Minimoog
The Minimoog in my templates are panned mostly right, the other panned mostly left, so you can hear them more distinctly. Both are making a soft lead sound, so blending them rather blurs their individual sonic character. But the intent is to give you a combo instrument with plenty of soundmaking possibilities, using multiple oscillators, filters and modulators, much like a custom modular synth. The one problem with this combo approach is that each part of the template uses the same key assign, and uses the same glide and rate, which could be different on the actual synths for interesting effects.
The Jupiter-8 should be self explanatory.