PLENI SUNT COELI (2024) for Behringer 2600 synthesizer

Arthur B. Hunkins
abhunkin@uncg.edu
www.arthunkins.com

		Pleni sunt coeli et terra gloria tua.
			Deo gratias.

GENERAL

PLENI SUNT COELI is a solo improvisation for Behringer 2600 synthesizer. Essentially it is a collection of three instruments: a primary source, called "Noise"; and two secondary sources, "Ring Mod" and "VCA". Each is represented by a unique Patch Sheet (included here).

Both secondary instruments are optional, though recommended. They are never heard apart from "Noise." When present, they are subliminal, ie., barely heard. (They are to remain "under" the primary source, as if subtly modifying its color and activity.)

A total of 10 1/8" mono patchcords plus three 1/8" dummy jacks (or an additional 3 patchcords) are required for performance. Routing to a stereo amplifier or headphones is from a minijack at the 2600's bottom right. Note that the output is actually two-channel mono.

SETUP

An "Initial Setup" sheet contains all the patches and initial settings for PLENI SUNT COELI. The sheet indicates: 1) the layout of all patchcords, 2) the permanent setting of all static controls, and 3) the initial setting of variable controls. Patch Sheets for the individual instruments show only their own relevant patch cords, and the permanent as well as variable settings that affect them. Variable settings are circled to show their range of variability (most vary over their complete range).

The three Jacks marked with an X (KYBD inputs for VCO's 1-3) require either a dummy plug or one end of an additional patchcord. (Plugging these inputs defeats the default connections). Any controllers without markings are inoperative.

Slider values are interpreted as ranging from 0-1. (Most sliders have markers at 0, .25, .5, .75 and 1.) Sliders with other (or no) values, as well as non-standard range indications, have markings directly specified on the Patch Sheets.

Overall amplitude is determined by the "VCF" slider in the MIXER module. It should be preset to a moderate volume with the Noise instrument wide open (i.e., while in Initial Setup, with the noise control [in VCF] at max). This overall level is unchanged throughout.

Note that (master) controls for the three instruments (Noise, VCA and Ring Mod) are located within the VCF module, and are duly identified as such on the various Patch Sheets.

PERFORMANCE

The improvisation opens with raising the level of the Noise instrument. It is recommended that there be significant performance time spent with this instrument before either of the others is introduced. If/when another instrument enters, it is probably desirable to leave the Noise level at max (see further comments below).

The performer will probably want to concentrate on one instrument at a time. Doing so will allow him/her to readily hone in on the variable (circled) controls, along with their specified ranges, for that particular instrument - read from its specific Patch Sheet.

A special consideration applies to the performance of the VCA instrument: the control in VCO1 is inoperative unless the "ADSR" slider in VCO3 is raised. (In such a case, the Sampler will have no effect in the patch.)

Generally speaking, slider movement is slow to very slow - fairly continuous and usually one at a time. (The effect should be of ongoing sonic transformation.) A possible exception to this "one at a time" principle involves the two controls that constitute the NOISE GENERATOR  module.

There are two ways in which these two controls can relate. (The two ways are sketched below the NOISE GENERATOR module on the "Noise" Patch Sheet.) The simplest way is to preset the Level control to 1 and leave it there - regardless of action by the Color control. The problem here is that perceived volume lessens as Color approaches and departs from its Pink (midpoint) setting. When other instrument(s) are present, settings around Pink risk these instruments' over-exposure (a result to be avoided at all times).

A second way of avoiding this result involves manipulating the two controls simultaneously. With Color initialized at 1, preset Level to .85 (instead of 1). When Color lowers  toward 0 (Low Freq), Level raises toward 1. Stated otherwise, while Color moves 1/0/1, Level moves .85/1/.85, i.e., always in opposite directions. This method minimizes the apparent volume decrease around the Pink setting. 

To avoid this issue entirely, just make sure the Noise level is at max whenever either of the other instruments is active. (Initial Settings are calibrated so that at max Noise, the other instruments may use their full range and still remain "under" Noise.)

Adjusting the levels of the secondary instruments so they are *barely* heard (almost subliminal) is crucial. It is probably best accomplished by tweaking the maximum settings of the three level sliders in the VCF module. (They may also be marginally adjusted, if necessary, during performance.)
 
The improvisation concludes when the VCF control in the MIXER module slowly returns to zero, or (optionally) the Noise control (VCF module) does likewise. (This option is only available when the Noise instrument is the only one sounding.)

Needless to say, a performance has no specific or anticipated duration. A typical rendering might last 10 minutes or so. (This is the duration of the demo performance included on my website. This demo features segments devoted to each instrument, and concludes with all three coming together. [The order is: Noise, Ring Mod, VCA - with Noise always present and predominant.] Eventually Noise fades out alone.)