Project 8: The Casio SK-60 Aleatron in .NET

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21 Project 8: The Casio SK-60 Aleatron
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After reconnecting the speaker to the circuit, you can close the case to proceed with testing. As you close the case, be sure that the rubber switch sheets and the power switch contacts are positioned correctly. Leave the screws out for now, unless you want to replace a couple just to keep things closed while you do the following tests. I already touched upon the thing to be aware of in closing the case: your wire runs. Just be sure that the new wires are away from the dull black traces on the circuit board. Again, these are the conductors that the mechanical switches on the control panel must touch to operate correctly. Blocking any of these black traces with your wires will interfere with their operation. Be sure that the pot is turned down all the way and the new switches are all turned off. Remember the defibrillator you installed Remember to only tap it And that holding it down can fry the circuit Good. Give it a tap while the demo tune is running. If you ve wired it correctly, the demo should stop and the instrument should be reset. Again only tap this switch as briefly as you can. Never press it like a doorbell because, trust me, no one will be home. If you ve installed an LED, it should be flashing along with the music by now (see Appendix A, line-output scheme). If not, reverse the leads and try again. If still no luck, try another LED. Continue testing by recording four samples, one into each sample bank (four different words spoken into the microphone will be fine). Using the Edit function, have these four samples play as a repeating loop. Turn one of the bending switches on. Nothing should happen yet. If there is a response it s probably because the pot has been wired backwards. If so, just switch the wire going to the outside lug to the other outside lug. With your loop of four samples running and one of the bending switches turned on, slowly begin to turn the pot up. At a certain point the loop will explode into a loud chord effect. When this happens, slowly back off the pot until just before the chord erupts. What you re looking for here is the very slim margin between normal play and the loud chord sound. It s hard to find. Turn the pot back and forth until you find it. When you get the pot set just right, your sample loop will reform into an assortment of unusual compositional structures. You ll find that the slim chance zone can also be accessed by changing the main volume setting when the pot is tuned in the correct range. You can use the volume control as a fine-tuning function in this regard. Experiment with the tempo control, too. You ll find it capable of changing the patterns of the bent music in play. Now go deeper. Experiment with demo tunes, various voices, keyboard interactions, and whatever else you might be able to introduce the bending switches into. Combine switches. Reset the pot. Adjust the tempo again. See what else you can find! There s a lot to discover within the bent SK-60.
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Because you ve already closed the case and are certain that your wire runs are out of the way, you re just about finished. Replace the remaining screws, being careful that no wires are blocking the screw holes.
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Although playing the keyboard is possible within some of the bent routines (don t expect it to respond as usual), I look at this aleatoric music generator the way I see most: as alien chance music boxes. But that s not to say it all ends there. Recording these chance passages as a basis for further composition is often very rewarding. Listening to abstract music is like taking an inkblot test: What does the blot look like In considering what experimental sound looks like, experimental composers might be inspired to fill out these abstract musical forms the way the traditional composer orchestrates musical ideas and produces variations upon a theme.
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