Crumar Trilogy

CRUMAR TRILOGY

--------------

This text is primarily that of the Stratus since the two synths were very

similar. This is the bigger brother having all the same features with the added

string section. There were some minor differences in the synth circuits for

switchable or mixable waveforms.

This unit is a hybrid synth/organ/string combo, an early polyphonic using an

organ divider circuit rather than independent VCO and having a set of filters

and envelope for the synth sounds, most manufacturers came out with similar

designs. The organ section was generally regarded as pretty bad here, there

were just five controls, four used for the volume of 16, 8, 4 and 2 foot

harmonics and a fifth for overall organ volume. The synth section had 6 voices

and some quite neat little features for a glide circuitry and legato playing

modes. The string section could mix 3 waveforms with vibrato on some so when

mixed with the straight waveform would produce phasing.

The emulator consists of two totally separate layers, one emulating the organ

circuitry and another the synth. The organ has maximum available polyphony as

the algorithm is quite lightweight even though diverse liberties have been

taken to beef up the sound. The synth section is limited to 6 voices unless

otherwise specified at run time. The organ circuitry is used to generate the

string section.

The legato playing modes affects three sections, the LFO modulation, VCO

selection and glide:

LFO: this mod has a basic envelope to control the gain of the LFO using delay,

slope and gain. In 'multi' mode the envelope is triggered for every note that

is played and in the emulator this is actually a separate LFO per voice, a bit

fatter than the original. In 'Mono' mode there is only one LFO that all voices

will share and the envelope is triggered in Legato style, ie, only once for

a sequence of notes - all have to be released for the envelope to recover.

VCO: The original allowed for wavaeform selection to alternate between notes,

something that is rather ugly to do with the bristol architecture. This is

replaced with a VCO selector where each note will only take the output from

one of the two avalable oscillators and gives the ntoes a little more

separation. The legato mode works whereby the oscillator selection is only

made for the first note in a sequence to give a little more sound consistency.

Glide: This is probably the coolest feature of the synth. Since it used an

organ divider circuit it was not possible to actually glide from one note to

another - there are really only two oscillators in the synth section, not two

per voice. In contrast the glide section could glide up or down from a selected

amount to the real frequency. Selected from down with suitable values would

give a nice 'blue note' effect for example. In Legato mode this is done only

for the first keypress rather than all of the since the effect can be a bit

over the top if applied to each keystroke in a sequence. At the same time it

was possible to Sync the two oscillators, so having only one of them glide

and be in sync then without legato this gave a big phasing entrance to each

note, a very interesting effect. The Glide has 4 modes:

A. Both oscillators glide up to the target frequency

B. Only oscillator-2 glides up to the target frequency

C. Only oscillator-2 glides down to the target frequency

D. Both oscillators glide down to the target frequency

These glide options with different sync and legato lead to some very unique

sounds and are emulated here with only minor differences.

The features, then notes on the differences to the original:

A. Organ Section

16, 8, 4 and 2 foot harmonic strengths.

Volume.

B. Synth Section

LFO Modulation

Rate - 0.1 to 50Hz approx

Slope - up to 10 seconds

Delay - up to 10 seconds

Gain

Routing selector: VCO, VCF, VCA

Mono/Multi legato mode

Shape - Tri/Ramp/Saw/Square

Oscillator 1

Tuning

Sync 2 to 1

Octave selector

Oscillator 2

Tuning

Octave trill

Octave selector

Waveform Ramp and Square mix

Alternate on/off

Mono/Multi legato mode VCO selection

Glide

Amount up or down from true frequency

Speed of glide

Mono/Multi legato mode

Direction A, B, C, D

Filter

Cutoff frequency

Resonance

Envelope tracking -ve to +ve

Pedal tracking on/off

Envelope

Attack

Decay

Sustain

Release

Gain

C. String Section

16' 8' mix

Subharmonic gain

Attack

Release

Volume

Diverse liberties were taken with the reproduction, these are manageable from

the options panel by selecting the button next to the keyboard. This opens up

a graphic of a PCB, mostly done for humorous effect as it not in the least bit

representative of the actual hardware. Here there are a number of surface

mounted controllers. These are as below but may change by release:

P1 Master volume

P2 Organ pan

P3 Organ waveform distorts

P4 Organ spacialisation

P5 Organ mod level

J1 Organ key grooming

P6 Organ tuning (currently inactive *)

P7 Synth pan

P8 Synth tuning

P9 Synth osc1 harmonics

P10 Synth osc2 harmonics

J2 Synth velocity sensitivity

J3 Synth filter type

P11 Synth filter tracking

P12 String pan

P13 String harmonics

P14 String spacialisation

P15 String mod level

P16 String waveform distorts

*: To make the organ tunable the keymap file has to be removed.

Master (P1) volume affects both layers simultaneously and each layer can be

panned (P2/P7) and tuned (P8) separately to give phasing and spacialisation.

The synth layer has the default frequency map of equal temperament however the

organ section uses a 2MHz divider frequency map that is a few cents out for

each key. The Trilogy actually has this map for both layers and that can easily

be done with the emulator, details on request.

It is currently not possible to retune the organ divider circuit, it has a

private microtonal mapping to emulate the few percent anomalies of the divider

circuit and the frequencies are predefined. The pot is still visible in P6 and

can be activated by removing the related microtonal mapping file, details from

the author on request.

Diverse liberties were taken with the Organ section since the original only

produced 4 pure (infinite bandwidth) square waves that were mixed together,

an overly weak result. The emulator adds a waveform distort (P3), an notched

control that produces a pure sine wave at centre point. Going down it will

generate gradually increasing 3rd and 5th harmonics to give it a squarey wave

with a distinct hammond tone. The distortion actually came from the B3 emulator

which models the distort on the shape of the hammond tonewheels themselves.

Going up from centre point will produce gradually sharper sawtooth waves using

a different phase distortion.

Organ spacialisation (P4) will separate out the 4 harmonics to give them

slightly different left and right positions to fatten out the sound. This works

in conjunction with the mod level (P5) where one of the stereo components of

each wave is modified by the LFO to give phasing changes up to vibrato.

The organ key grooming (J1) will either give a groomed wave to remove any

audible clicks from the key on and off events or when selected will produce

something akin to a percussive ping for the start of the note.

The result for the organ section is that it can produce some quite nice sounds

reminiscent of the farfisa range to not quite hammond, either way far more

useful than the flat, honking square waves. The original sound can be made by

waveform to a quarter turn or less, spacialisation and mod to zero, key

grooming off.

The synth has 5 modifications at the first release. The oscillator harmonics

can be fattened at the top or bottom using P9 and P10, one control for each

oscillator, low is more bass, high is more treble. Some of the additional

harmonics will be automatically detuned a little to fatten out the sound as a

function of the -detune parameter defaulting to 100.

The envelope can have its velocity sensitively to the filter enabled or disabled

(J2) and the filter type can be a light weight filter for a thinner sound but at

far lower CPU load (J3).

The filter keyboard tracking is configurable (P11), this was outside of the spec

of the Trilogy however it was implemented here to correct the keyboard tracking

of the filter for all the emulations and the filter should now be playable.

The envelope touch will affect this depending on J2 since velocity affects the

cut off frequency and that is noticable when playing the filter. This jumper

is there so that the envelope does not adversely affect tuning but can still be

used to have the filter open up with velocity if desired.

The mod application is different from the original. It had a three way selector

for routing the LFO to either VCO, VCA or VCF but only a single route. This

emulation uses a continuous notched control where full off is VCO only, notch

is VCF only and full on is VCA however the intermidiate positions will route

proportional amounts to two components.

The LFO has more options (Ramp and Saw) than the original (Tri and Square).

The extra options are saved with each memory however they are only loaded at

initialisation and when the 'Load' button is double-clicked. This allows you to

have them as global settings or per memory as desired. The MemUp and MemDown

will not load the options, only the main settings.

VCO mod routing is a little bit arbitrary in this first release however I could

not find details of the actual implementation. The VCO mod routing only goes

to Osc-1 which also takes mod from the joystick downward motion. Mod routing

to Osc-2 only happens if 'trill' is selected. This seemed to give the most

flexibility, directing the LFO to VCF/VCA and controlling vibrato from the

stick, then having Osc-2 separate so that it can be modified and sync'ed to

give some interesting phasing.

As of the first release there are possibly some issues with the oscillator

Sync selector, it is perhaps a bit noisy with a high content of square wave.

Also, there are a couple of minor improvements that could be made to the

legato features but they will be done in a future release. They regard how

the glide is applied to the first or all in a sequence of notes.

The joystick does not always pick up correctly however it is largely for

presentation, doing actual work you would use a real joystick or just use the

modwheel (the stick generates and tracks continuous controller 1 - mod). The

modwheel tracking is also a bit odd but reflects the original architecture -

at midpoint on the wheel there is no net modulation, going down affects VCO

in increasing amounts and going up from mid affect the VCF. The control feels

like it should be notched however generally that is not the case with mod

wheels.

A few notes are required on oscillator sync since by default it will seem to

be quite noisy. The original could only product a single waveform at a single

frequency at any one time. Several emulators, including this one, use a bitone

oscillator which generates complex waveforms. The Bristol Bitone can generate

up to 4 waveforms simultaneously at different levels for 5 different harmonics

and the consequent output is very rich, the waves can be slightly detuned,

the pulse output can be PW modulated. As with all the bristol oscillators that

support sync, the sync pulse is extracted as a postive leading zero crossing.

Unfortunately if the complex bitone output is used as input to sync another

oscillator then the result is far too many zero crossings to extract a good

sync. For the time being you will have to simplify the sync source to get a

good synchronised output which itself may be complex wave. A future release

will add a sync signal from the bitone which will be a single harmonic at the

base frequency and allow both syncing and synchronised waveform outputs to be

arbitrary. For the Trilogy this simplification of the sync waveform is done

automatically by the Sync switch, this means the synchronised output sounds

correct but the overall waveform may be simpler.