MIDICraft's MIDINET CD-ROM/MIDICraft's MIDINET CD-ROM.iso/SYNTHS/INFO/KORG/X-SERIES/9412C.TXT

Text File | 1997-05-10 | 58KB | 1,406 lines

=========================================================================
Date:    Thu, 15 Dec 1994 00:55:50 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    "Steve M. Wilson" <[e-mail]>
Subject:    Re: Korg X3

I like your setup. I would like to get the Korg myself, but I already have
a controller keyboard. I would like to get the rack mount version of it. How
does the rack mount compare with the actual keyboard? I think it would be
great if you get the same capability. I have a demo version of Calkwalk Pro
3.0, but I'm still not sure I can control both the keyboard and synth from
the same system. If you have any tips I'd love to hear them.

SMWave
=========================================================================
Date:    Thu, 15 Dec 1994 01:03:32 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Jack Codron <[e-mail]>
Subject:    Re: Proteus Patches

Yes you are right but they are not very good.
thanks,
jack
=========================================================================
Date:    Thu, 15 Dec 1994 17:30:39 +1000
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    David Rodger <[e-mail]>
Subject:    What is Mars?

Hi Ab,
I saw your correspondence. I've seen the ads on the back of CMJ, and couldn't
quite figure out what Kyma did other than computer based editing and a bit of
sampling and resynthesis (is this right?)

But what is Mars? I've not heard of that.

Thanks, David
[e-mail]
=========================================================================
Date:    Wed, 14 Dec 1994 22:18:42 GMT
Reply-To:    [e-mail]
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Alan Fitch <[e-mail]>
Organization: Home
Subject:    Re: several small items
In-Reply-To: <[e-mail]>

In message <[e-mail]> you recently said:

<snip>


>The 801 album _Listen Now!_ hsa a lot of Gizmo work on it.


Godley and Creme also recorded a triple (!) album (the nostalgic days before
punk...) called "Consequences" which used the gizmo thing.

regards
Alan

P.S. This message has insufficient music research content to meet your
recommended daily allowance.

--
Alan Fitch (EMUSIC-L address)
Tel.:    [phone] (voice)
E-mail:    [e-mail]

This tagline is left intentionally blank.
=========================================================================
Date:    Thu, 15 Dec 1994 08:05:29 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Ab Wilson <[e-mail]>
Subject:    What is Mars?
In-Reply-To: <[e-mail]>

David Rodger writes:
>I saw your correspondence. I've seen the ads on the back of CMJ, and
>couldn't quite figure out what Kyma did other than computer based
>editing and a bit of sampling and resynthesis (is this right?)

The Kyma system is a (virtually) modular software synthersiser (a bit like
csound) which works in real time. It's based around a box full of DSPs.
The reason why I don't rate it that much is because IMHO it hasn't got
enough house power to do the job. For instance would you pay $10000 for a
system which at full stretch is capable 8 voices of 6 operator FM? (Admittedly
the system can do a lot more than just FM and the only reason the DX7 could
deliver 16 voice of 6 op FM was because it uses custom chips.)

>But what is Mars? I've not heard of that.

It's a similar system made by IRIS (an Italian commercially funded music
research institute) using custum programmed ASICs instead of DSPs. Here's the
blurb I got for it. It sounds pretty good to me and almost worth the money.

Ab

---cut here---

MARS - Musical Audio Research Station

The Musical Audio Research Station is a specialized digital machine for
real-time audio applications, developed by IRIS (Istituto di Ricerca per
l'Industria dello Spettacolo), the research institute owned by the Italian
 Bontempi-Farfisa group.

MARS was conceived as an interactive and integrated environment for audio
research, musical production and computer music pedagogy. It is dedicated
to people who have hit the limits of the digital musical instruments currently
available on the market and would like a programmable and a flexible sound
machine with real time performances.


SOFTWARE

A proprietary development system, the EDIT20 software package, is a set of
specialized graphical editors featuring a graphic user-friendly interface
that allows musicians to program the DSPs and to perform. They allow the
development of algorithms, timbres, waveforms,
orchestras and their MIDI performance environments - all sound objects which
lead to musical (and scientific) applications.

One may connect, and immediately get audio feedback from, objects coming from
an expandable library, so as to build any kind of patch and DSP algorithm for
musical/signal processing such as sampling, analysis and synthesis, filters
and sound effects.

The patch editor offers a set of more than 100 computing blocks in "iconic"
MUSICn style representation. These blocks cover low and high level needs for
DSP applications:

- - arithmetic and logical operators;
- - many types of oscillators and complex generators such as FM, AM or NLD;
- - time, spectrum, pitch and amplitude transformers such as delay,
    reverberation, filter, harmonizer, mixer and other effects;
- - mechanical parameters for realistic simulation of physical models.

EDIT20 makes algorithm testing easy because it provides a set of debugging
tools such as real time data displays, a four track oscilloscope, and audio
probes which can be used at any connection point among the blocks.

EDIT20 can duplicate algorithms to create more voices and manage different
types of algorithms simultaneously, allowing multi-algorithm sound processing.


HARDWARE

The MARS hardware is a standard 2U rack module which contains the SM1000
sound generation board and one DAC/ADC board which provides 4 analog inputs
and 8 analog outputs.

The SM1000 board is based on two specialized DSP chips (X20) developed by
IRIS, and one standard microcontroller (MC68302 Motorola) that supports the
RT20M embedded real time operating system, managing MIDI messages and other
system events.

The X20 is an ASIC (250,000 transistors complexity) digital audio signal
processor, which is fully programmable. Its internal pipeline structure and
direct connections among the operators create a computing power equivalent
to 50 MIPS. See below for examples of the available computing power.

Each X20 has its own memory bord, holding sample memory for a total of 40
Mbytes, that is, about 9 minutes of sound memory or delay lines.

The SM1000 board needs to be configured before being used. This is done through
a host computer which can be linked to the board via serial (MIDI) or parallel
(VME bus) lines.


MUSICAL APPLICATIONS

EDIT20 can be used to build tones and orchestras because it allows musicians
to adjust all the algorithms' parameters, to set envelopes and to edit samples.

The algorithm parameters may be associated with gestural MIDI controllers to
allow dynamic updating by means of arbitrary conversion rules. Rules and data
values can be defined interactively and graphically by using universal symbolic
representations (physical or musical measure units such as Hz, dB, milliseconds,
or musical notes).

MARS does not provide any compositional environment, but its compatibility with
the MIDI world allows users to employ standard sequencers, MIDI devices and
programming environment such as MAX (*).

The MARS MIDI implementation covers most of the standard MIDI messages and
offers a set of system exclusive MIDI messages covering all system configuration
operations.

Several complete applications are already included: LPC analysis and synthesis,
vocoder, physical modeling, graphic FFT, etc., and many others can be developed
by C programmers using the APPLI20 toolkit. A number of works of Computer Music
have been produced (S. Sciarrino, L. Berio, W. Prati).

MARS is currently interfaced with Atari ST and TT computers via the VME bus, and
porting to Macintosh and PC-Windows is in progress.

It is available directly from the manufacturer, in a limited series, with a price
in the range of 10,000 US dollars, depending on memory configuration.


CURRENT MARS USERS

CSC - University of Padua
DIST - Unversity of Genova
CNUCE - National Research Center of Pisa Tempo Reale - Center for musical
  research production and pedagogy of Florence
MM&T - Musical studio of Milano
Spazio Musica Ricerca - Musical research center of Cagliari COMUS, FARFISA -
  of BONTEMPI group
Physical Sciences Department - University of Naples
Physical Sciences Department - University of Ferrara
EDI-PAN - Centro di produzione musica informatica
Heinrich-Strobel-Stiftung des Sudwestfunks E.V. - Musical studio of Freiburg
Musik Akademie der Stadt Basel - Musical conservatory of Basel


CENTERS WHICH REQUESTED MARS

CCRMA - University of Stanford
CNMAT - University of Berkeley
IRCAM - Georges-Pompidou center of Paris CIRM - Musical center of Nice
ACROE - Musical association of Grenoble
LIM - University of Milan
AGON - Musical studio of Milan
Ensemble Edgard Varese - Musical studio of Parma


DSP FEATURES

Pipelined architecture, fully programmable. 2's complement fixed point
arithmetic on 24 bits. 16x16 bit multiplyer, 24x24 bit arithmetic and logic
unit. 768x24 bit words of internal data memory. 512x64 bits word of external
program memory. 40 MHz system clock, 39.0625 KHz up to 1 MHz sampling rate.


EXAMPLES OF DSP PERFORMANCE (using optimized assembly algorithms, one at a time)

128 second order filters.
256 fully controllable simple table-lookup oscillators. 128 fully controllable
interpolated oscillators. 128 delay lines with maximum total delay time of 7
minutes. 32 independent harmonizers.
2 independent 2048 point FFTs.
32 voices of Karplus-Strong string algorithm. 32 voices of 4 operators FM
algorithm.
2 voices of 25 cells LPC algorithm.

In addition, 128 multi-segment envelope generators are always available.


AUDIO INTERFACING

4 balanced analog input lines, 1/4" TRS jack: CRYSTAL Delta-Sigma A/D converters.
Signal/(Noise and Distortion) ratio > 90 dB S/(N+D) Internal 64x oversampling.
Linear phase digital anti-alias filtering. 39.0625 KHz as standard sampling rate.

8 balanced output lines, 1/4" TRS jack
CRYSTAL 64x Delta-Sigma D/A converters.
97 dB dynamic range over the audio band, A-weighted. Internal 8x oversampling.
Linear phase filter.
39.0625 KHz as standard sampling rate.

2 stereo headphone outputs, capable of driving high impedance models (600 Ohm).


STANDARD CONFIGURATION OF THE TWO MEMORY CARDS (16 bit word)

2x1 up to 2x8 MWords of DRAM (32 Mbytes, 7 minutes of sound or delay lines).
Standard SIMM modules, 80 ns (i.e. MC-421000A8, MC-424100A8). 2x256 KWords
up to 2x2 MWords of EPROM, 120ns (i. e. 27C010/20/40/80). 1.75 minutes of
preset samples.


SM1000 AND HOST COMMUNICATION

MIDI interface (IN, OUT, THRU).
RS232 interface (19200 Baud).
VME interface (500 KByte/sec maximum transfer rate).


OTHER SPECIFICATIONS

Power requirements: 100-240 v AC, 50-60 Hz. Dimensions: 2U standard rack module.


SOFTWARE PACKAGE

RT20M: Embedded Real Time Operating System. EDIT20: Interactive Graphical
Development Environment. APPLI20: Application toolkit.


MARS PORT-FOLIO

CONFERENCES AND WORKSHOPS

X CIM (Colloquio di Informatica Musicale), Genova 1991 - IRIS Report Studio

International Workshop, Capri 1992 - IRIS and CSC paper

ICMC (International Computer Music Conference, S. Jose 1992) - Special
session on MARS (5 papers)

Sonic Representation and Transform, Trieste 1992 - MARS presentation and
workshop

Milano Musica, Teatro Studio, Milano 1992 - MARS presentation

Virtuosismi virtuali, Palazzina Liberty, Milano 1992 - I nuovi strumenti
e la prassi esecutiva

Festival Spazio Musica, Cagliari 1992) - MARS presentation

IRIS, Paliano 1992 - 3 days workshop on MARS

Scuola Civica, Milano 1992 - 2 days workshop on MARS

Live electronics in the works of L. Nono, Vicenza 1993 - 3 days workshop on MARS

Experimentalstudio der Heinrich Strobel, Freiburg 1993 - Seminar on MARS

Accademia Chigiana, Siena 1993 - Workshop on MARS

Frankfurt Musik Messe, Frankfurt 1993 - MARS presentation


CONCERTS AND MUSICAL EVENTS

S. Sciarrino, Perseo e Andromeda, Festival delle Orestiadi, Gibellina 1991,
Scala production, Teatro Lirico, Milano 1992

L. Berio, Ofanim, Festival d'Automne, Opera de la Bastille, Paris 1992,
Jerusalem 1992, Berlin 1992

L. Nono, Post-prae ludium per Donau, Workshop on "Sonic Representation and
Transform", Trieste 1992 - - A Pierre dell'azzurro silenzio inquietum, Terni,
Perugia 1992 - - Das atmende klarsein, Vicenza 1993

W. Prati, L'isola nell'oasi, Scala production, Teatro Studio, Milano
1992 - - Puzzle, Nuove forme sonore, Teatro Politecnico, Roma 1992 - -
Improvvisazione con E. Parker, Total Music Meeting, Berlin 1992

G. Palmieri, Unknown title, Teatro Verdi, Genova 1993 - - Frankenstein e
Pinocchio, Colombiadi Production, Teatro Altrove, Genova 1993
- - Unknown title, Palazzo Ducale, Genova - 1993

S. Gorli, Unknown title, Scala Production, Teatro Lirico, Milano 1993


ALGORITHMS AND RESEARCH

Synthesis:
Additive
Subtractive
PCM based
Linear Arithmetic
Frequency modulation
Phase modulation
Wave shaping
Phase distorsion
Physical models (strings, winds, singing voice) LPC (Speech)

Analysis:
FFT
Vocoder
FIR and other filtering
Envelope following
Pitch following

Effects:
Pitch shifting
Reverberation
Chorus
Leslie
Delays
Doppler effect
Panning and mixing

Research:
Perception paradoxes and psychoacoustics Industrial noises simulation
Sampling interpolation and data compression Rhythmical accompaniment
Timbre interpolation
Analog synthesizer simulation
Simulation aid design for DSP hardware


MUSICAL DEMOS

Dr. Livingtones I presume - PCM + FM + additive synthesis Ostinato -
Karplus-Strong + PCM synthesis Il Re (The King) - Karplus-Strong + LPC +
physical models of clarinet and
singing voice
Kaos - Composition environment based on chaotic parameter maps Automath -
Stochastic composition environment Vocoder - 12 channels real time analysis
and synthesis Delay - 64 parallel delay lines for live performance

SCIENTIFIC DEMOS

FFT - 2048 points real time 3D FFT
Image - Filtering of 2D grey pictures
Space - Simulation of a moving sound source by means of Doppler effect
Avion - Simulation of airplane noises

PEDAGOGICAL DEMOS

AS - Environment for additive synthesis with 100 components Corda -
Environment for string modelling by means of springs and masses

BIBLIOGRAPHY

S. Cavaliere, G. Di Giugno, E. Guarino, "MARS: The X20 device and SM1000",
Proceedings of the ICMC, pp. 348-351, S. Jose, 1992.

P. Andrenacci, E. Favreau, N. Larosa, A. Prestigiacomo, S. Sapir, "MARS:
RT20M/EDIT20 - Development tools and graphical user interface for sound
generation board", Proceedings of the ICMC, pp. 340-343, S. Jose, 1992.

F. Armani, L. Bizzarri, E. Favreau, A. Paladin, "MARS: DSP environment
and applications", Proceedings of the ICMC, pp. 344-347, S. Jose, 1992.

G. Palmieri, S. Sapir, "MARS: Musical applications", Proceedings of the
ICMC, pp. 352-353, S. Jose, 1992.

A. Paladin, D. Rocchesso, "A Dispersive resonator in real time in MARS
workstation", Proceedings of the ICMC, pp. 146-149, S. Jose, 1992.

A. Paladin, D. Rocchesso, "Toward a generalized one-dimensional musical
instrument", Proceedings of the International Workshop on Models and
Representations of Musical Signals, Capri, 1992.

D. Rocchesso, "Realizzazione di risuonatori dispersivi in tempo reale",
degree thesis in Electronic Engineering , University of Padua, 1992.

E. Favreau, A. Prestigiacomo, "ASM20 User's Guide", IRIS internal paper, 1990.

ITIS, "SM1000, DREP and ADDA technical description", IRIS internal paper, 1991.

IRIS, "Musical Audio Research Station - User Guide", IRIS internal paper, 1992.

(*) MAX is an Interactive Graphic Programming Environment developed at IRCAM
and distributed by OPCODE SYSTEMS.

IRIS srl - Parco La Selva, 151 - 03018 Paliano (FR) Italy Tel.:
 [phone] - Fax: [phone] - email: [e-mail]
=========================================================================
Date:    Thu, 15 Dec 1994 08:38:32 PST
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Bill Busch <[e-mail]>
Subject:    Re: Transferring MIDI Files

Look for a PD/shareware utility called MIDI Stamper. You drag the file
over MIDI Stamper and it converts it to MIDI file type. Very easy to use
and you can drag a complete folder of files.
----------
From: Ted Johnson <[e-mail]>
To: Multiple recipients of list EMUSIC-L <[e-mail]>
Subject: Re: Transferring MIDI Files
Date: Wednesday, December 14, 1994 10:17PM

Are you sure its not recognizing the disk am IBM? Thats kind of weird...
what if you format the disk on your mac as IBM, then put it in the atari,
copy the file and put it back on your mac.

The most obvious problem, though, is that your mac just isn't recognizing the
filetype, since there's not such thing on the Atari. This would make since if
you're okay going from mac to atari but not vice versa. I don't know what the
filetype is for Cuebase, but you can find out by using ResEdit (I think its
shareware) and just looking at an existing cubase file on your mac... Then
when you transfer a file from the atari to the mac, make sure you change the
filetype to the right one. If your using standard midi files, I think the
file type is 'Midi" or something like that. If you don't understand what I'm
talking about, let me know and I'll explain more.
=========================================================================
Date:    Thu, 15 Dec 1994 15:33:28 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    John Hildenbiddle <[e-mail]>
Subject:    Receiving posts in a collection.

Is there any way to have all of these separate posts placed in some type
of collection when downloaded to me? I wouldn't even mind receiving this
larger file once a week or every couple of days. While the discussion here
is interesting, I am getting a little tired of reading and deleting about
20 messages everytime I log on! Any ideas?

-John

P.S. Anyone know a good location to pick up some Ensoniq SQ1Plus patches?
Anyone interested in trading? Thanks.
=========================================================================
Date:    Thu, 15 Dec 1994 14:20:53 -0700
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    kenneth lee hankins <[e-mail]>
Subject:    URGENT!! Need D-550 Manuals

I am in a jam, i really need to find someone who is wiklling to part with
a Roland D-550 manual. this is urgent and i am willing to pay a reasonable
price plus the shipping. please resond fi you are willing and thanks in
advance.

Ken Hankins

[e-mail]
=========================================================================
Date:    Thu, 15 Dec 1994 17:35:05 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Joe McMahon <[e-mail]>
Subject:    Re: Receiving posts in a collection.

>Is there any way to have all of these separate posts placed in some type
of collection when downloaded to me? I wouldn't even mind receiving this
larger file once a week or every couple of days. While the discussion
here is interesting, I am getting a little tired of reading and deleting
about 20 messages everytime I log on! Any ideas?

Sure. Send mail to [e-mail] and tell it

SET EMUSIC-L DIGEST

You'll get one message each day with the previous day's mail in it as one
message.

--- Joe M.

--
McMahon's Corollary to Crispen's Law: "The eventual K2000 messages will
usually be followed by a post about how the Ensoniq machines aren't bad either."
 =========================================================================
Date:    Thu, 15 Dec 1994 22:49:56 +0000
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Dario Centofanti <[e-mail]>
Subject:    Italian MUSICA List

La PANTHEON Produzioni Audio presenta:

=-=-=-=-=-=-=-=-=-=
MUSICA in INTERNET
=-=-=-=-=-=-=-=-=-=

MUSICA e' la prima lista su INTERNET a tematica musicale ed e' un nuovo
strumento di informazione e comunicazione per musicisti, tecnici del suono
e per tutti gli appassionati delle varie correnti di musica rock, jazz e
d'avanguardia.
Per iscriverti alla lista MUSICA invia una mail a [e-mail]
con scritto nel body del messaggio il testo:

SUBSCRIBE MUSICA

Questo e' il file di welcome della lista:

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
M U S I C A
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
w e l c o m e & i n f o

Benvenuto! - Welcome!
---------------------

Sono lieto di darti il benvenuto nella lista MUSICA. Il mio nome e' Dario
Centofanti ([e-mail]) e mi occupo del coordinamento e della
promozione di questa lista.

I am very glad to welcome you in the MUSICA list. My name is Dario
Centofanti ([e-mail]) and I am in charge of the coordination
and promotion of this list.


Che cosa e' MUSICA - What is MUSICA
-----------------------------------

La lista MUSICA nasce da un progetto della Pantheon, uno studio di
registrazione leader nelle produzioni radiofoniche in Italia, e si
propone di essere un luogo di incontro per musicisti, tecnici del
suono ed amanti di musica rock e jazz con particolare attenzione a
tutte le nuove forme espressive sperimentali.
MUSICA e' una lista con un limitato volume di traffico a basso rumore
nella quale e' possibile commentare e recensire i principali avvenimenti
musicali internazionali.
La distribuzione dei testi della lista MUSICA avviene in differita di
massimo 24 ore per problematiche inerenti l'attuale collegamento con
la rete internet.


The MUSICA list comes from a project of the Pantheon Company, a leading
recording studio in Italy. It took the initiative to be a meeting point
for musicians, sound engineers, rock and jazz music lovers with special
interest for all the new experimenting expressive forms. MUSICA is a
list with a limited traffic volume, low noise, in which is possible to
comment and review the most important international musical happenings.
The distribution of the texts of the MUSICA list, will be sent within
maximum of 24 hours due to the present problems concerning the link of
the internet network.


Majordomo
---------

Il Majordomo e' il software che gestisce la lista e funziona in maniera
analoga al listproc o al listserv.
Dispone di un suo indirizzo ([e-mail]) da interpellare per
iscriversi o dimettersi dalla lista MUSICA. Il Majordomo accetta quindi
in maniera automatica comandi e istruzioni via e-mail ma e' chiaro che
non c'e' fisicamente nessun umano che risponde all'indirizzo del Majordomo!

Majordomo is a software which manages the list and functions in the same
 way of listproc or listserv.
It has an e-mail address available ([e-mail]) to invoke for
subscribe or unsubscribe from the MUSICA list. Therefore Majordomo accepts
any command or instruction via e-mail in an automatic way, but it is clear
that there's no human being that answers at the address of Majordomo.

Questi sono gli e-mail da conoscere:

[e-mail]    -> per inviare un messaggio alla lista
[e-mail] -> per inviare comandi al
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Per maggiori informazioni scrivi a [e-mail] oppure invia una
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For more information please contact the list manager [e-mail] or
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=========================================================================
Date:    Fri, 16 Dec 1994 09:17:09 +1100
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    DAVID O'DONOGHUE <[e-mail]>
Organization: OzEmail Pty Ltd
Subject:    Re[1]: 10cc

Reply to message text:

From: David Rodger <[e-mail]>

>>Mind you, they were only using 16 tracks. It tends to force you into being
tasteful...
>or words to that effect.

>Want a bet? I've heard plenty from that era that ain't tasteful!

True..(Would you like to share some prime examples with us?) but the eighties
and nineties havent been exempt from tastlessness, have they?

What I _meant_ was: you are less likely to over instrumentalise (That may NOT
be a word..) a song if you are using 16 track analog tape machines, than if
you are using 48 track analog tape machines, due to the inherent limitations
of the hardware. ie signal degradation after multiple bouncing. On 'I'm not
in love' the signal degradation actually _contributed_ to the sound of the
vocal wash in a positive manner.

Regards

David O'Donoghoe
[e-mail]
=========================================================================
Date:    Fri, 16 Dec 1994 09:44:19 +1000
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    David Rodger <[e-mail]>
Subject:    Re: What is Mars?

Hi Ab,
thanks for the info on Mars. Funny sampling rate. But having the likes of
 Berio and Nono use it gives acertain amount of cred!

Regards, David
=========================================================================
Date:    Fri, 16 Dec 1994 09:56:40 +1000
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    David Rodger <[e-mail]>
Subject:    Re: Transferring MIDI Files

Bill wrote...

>Look for a PD/shareware utility called MIDI Stamper.

Sounds great. Is there anything like it for MAcintosh?

Regards, David.
=========================================================================
Date:    Thu, 15 Dec 1994 20:17:37 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Joe McMahon <[e-mail]>
Subject:    Re: Transferring MIDI Files

Look for a nice little program called MIDI Typer, available at your local
Info-Mac or UMich mirror. It even has enough brains to allow you to specify
the creator AND to check the beginning of the file to see if it really
looks like a valid Standard MIDI File.

--- Joe M.

--
McMahon's Corollary to Crispen's Law: "The eventual K2000 messages will
usually be followed by a post about how the Ensoniq machines aren't bad either."
=========================================================================
Date:    Fri, 16 Dec 1994 11:45:54 +0200
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Alessandro Fiorletta <[e-mail]>
Subject:    Re: Yamaha SY series

I'm sure I know a FTP site where you can find sound for SY (and many other
synths) but I don't have the address handy. Hold on, I'll let you know...
Saluti, Ale.
=========================================================================
Date:    Fri, 16 Dec 1994 11:50:16 +0200
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Alessandro Fiorletta <[e-mail]>
Subject:    Re: MIDI chip

Hi David,
your suggestion to use Intel 8032 chip seems good. I don't have any papers

about it. Can you give me more informations (also about the system you made)?
Thank you.
Saluti, Alessandro.
=========================================================================
Date:    Fri, 16 Dec 1994 14:28:04 CET
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Jacek Latanowicz <[e-mail]>
Subject:    PC sequencers/16 bit recorders

Hello !
Thanx to everyone replying my previous messages. During some time I had a
chance to use few proggies for PC and must admit that comparing to what I
used they didn't impress me in any way.
Worse, I think that You need to put twice as much work in programs like
Cubase or Cakewalk than in KCS (dr T's) on Amiga 500. I don't know why...
 Did anyone doing software on PC ever heard the term 'real time quantize'?
  Maybe I didn't see it but I searched and searched and didn't find it...
None of these programs couldn't do a simple thing like load a sample into
memory, assign a MIDI channel (and optionally starting and ending point to
assign more samples to one channel dividing keyboard to splits) And after
doing that use the samples as normal 'synth' controlled by MIDI channels.
Instead there was the WAV INSERT which after inserting 4 times the same WAV
file dumped a message 'out of memory'. I won't mention that it couldn't
play these wavs exactly in time...
Also the event list is not what I'm used to. I had problems doing simpliest
operations like copying, inserting, correcting etc. In conclusion I think
that using my abilities I would be able to write an own sequencer that would
suit me more than so called proffesional sequencers.
The only thing I found which really _did_ impress me was the patch storage
in Cakewalk.
Does anybody know of existing software from Dr T's (like Level II, KCS) on
PC ? I think that Dr.T makes all simple and better. They don't do switches,
beautiful screens, excellent graphics, knobs, mouse operating windows.
Dr T makes it simple but useful. To assign a channel to a track I had to
do a whole Rigolletto operation with mouse instead of pressing a button...
I was amazed at first seeing few controllers but then they started to be a
pain in the butt doing again and again the same operations... Any info on Dr
T's for PC would be appreciated.

Jacek L.

Ps.Looks like I'll stick to my A500 and will keep it only as a sequencer.
It is still cheaper than an Roland MC500, and more effective... I wish the
 samples could be 16 bit... :(
 ------------------------------------------------------------------------
 Jacek Latanowicz    Instutute of Acoustics, AMU    II AA
Ul.Porzeczkowa 27    [e-mail]    (Jack1 on IRC) II A AA
61-306 Poznan,Poland [e-mail]    II AAAAA
tel/fax [phone] [e-mail]    II AA AA
------------------------------------------------------------------------
=========================================================================
Date:    Fri, 16 Dec 1994 11:11:09 EST
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    "Dr. Gene De Lisa" <blustone!zeus![e-mail]>
Subject:    Re: Receiving posts in a collection.
In-Reply-To: <[e-mail]>
(uunet!FARSIDE.GSFC.NASA.GOV!xrjdm)

>>>>>"Joe" == Joe McMahon <uunet!FARSIDE.GSFC.NASA.GOV!xrjdm> writes:

>>Is there any way to have all of these separate posts placed in some type
of collection when downloaded to me? I wouldn't even mind
...
Joe> Sure. Send mail to [e-mail] and tell it

Joe> SET EMUSIC-L DIGEST

Joe> You'll get one message each day with the previous day's mail in it as
Joe> one message.


Sounds good but this is what I get:


>SET EMUSIC-L DIGEST

You are not subscribed to the EMUSIC-L list.


My mailbox tells me I am.

=====================================================
Dr. Gene De Lisa
Bluestone Inc. 1000 Briggs Rd. Mt. Laurel, NJ 08054
blustone![e-mail] or uunet!blustone!gene
Vox Humana: [phone] x261 Fax: [phone]
=====================================================
=========================================================================
Date:    Fri, 16 Dec 1994 14:00:07 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Joe McMahon <[e-mail]>
Subject:    Re: Receiving posts in a collection.

>Sounds good but this is what I get:


>>SET EMUSIC-L DIGEST

>You are not subscribed to the EMUSIC-L list.


>My mailbox tells me I am.

Hmmmm. Looks like there might be some kind of weird uunet thing going on.
Let me check, and I'll set you up. I would guess that if you want to
unsubscribe at a later date, you'd be best off to tell either me of
Mike Metlay ([e-mail]) and let us take care of it for you.
In any case, I'll set you up with the digest stuff.

--- Joe M.

--
McMahon's Corollary to Crispen's Law: "The eventual K2000 messages will
usually be followed by a post about how the Ensoniq machines aren't bad either."
=========================================================================
Date:    Fri, 16 Dec 1994 10:33:54 -0800
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    atomic city <[e-mail]>
Subject:    Re: What is Mars?
In-Reply-To: <[e-mail]> from "David Rodger" at
Dec 16, 94 09:44:19 am

David Rodger writes--

>Hi Ab,
>thanks for the info on Mars. Funny sampling rate.

Intersting board, all right. Must be hellish to get up and running, but the
idea of wiring it to MAX sounds sort of amusing.

The democratization of electronic music never ceases to amaze me. Reading
down the feature list, I see "Onboard languages...ASIC (complexity 250k
transistors)...128 multisegment envelopes...MIDI in/out/thru...." MIDI?
How'd THAT get on there? :)

>But having the likes of
>Berio and Nono use it gives acertain amount of cred!

If someone tried to sell me anything based on the fact that Luciano Berio
recommended it, I'd run the other way. :) I'd very much like for someone
to recommend a piece by Berio that is timbrally, compositionally, or technically
solid, as I really fail to see why he's so popular.

"Krrrrgdhhhh...nghhyaaa-a-aaahhhh, hglyeeewmph hurk hurnk nyeh heh heh..."
-- Cathy Berberian's aria in a Berio work (which one? Any of them :)

mike
--
mike metlay * atomic city * box 81175 pgh pa 15217-0675 * [e-mail]
---------------------------------------------------------------------------
"Well, I know, sorry guys, Italian is almost as difficult as the Advanced FM
or maybe the RCM .. or maybe even worst !!!"    (a. toni)
=========================================================================

Date:    Fri, 16 Dec 1994 11:40:21 PST
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Chris Sherwood <[e-mail]>
Subject:    Re: PC sequencers/16 bit recorders

|From: Jacek Latanowicz
|
|Did anyone doing software on PC ever heard the term 'real time quantize'?

No, but it sounds terrible. Correct me if I'm wrong, but wouldn't this
irrevocably remove the soul from any performances I enter?

I like the idea of doing small customized partial quantizations on only
certain beats if I have to, but would prefer none at all (just my personal
opinion -- I actually like some forms of music that I suppose this would be
handy for, but it ain't for me).

| None of these programs couldn't do a simple thing like load a sample
|into memory, assign a MIDI channel (and optionally starting and ending
|point to assign more samples to one channel dividing keyboard to splits)

This doesn't sound like a sequencer to me, it sounds like a sampler.

|And after doing that use the samples as normal 'synth' controlled by
|MIDI channels. Instead there was the WAV INSERT which after inserting
|4 times the same WAV file dumped a message 'out of memory'. I won't
|mention that it couldn't play these wavs exactly in time...

I think you're trying to get the sequencer to do something it wasn't designed
to do ("Exactly" I hear him saying ;^). It doesn't fit the general sequencing
paradygm to me, because sequences are recorded and played back in a sequencial
fashion, while keyboard sample triggering is a real time thing. If you have a
program on the Atari that integrates this, I would be interested in hearing
how they are useful 'together' (I don't doubt that they are somehow, within
the realm of that application, I'm just genually curious about how).

| Also the event list is not what I'm used to. I had problems doing
|simpliest operations like copying, inserting, correcting etc.

I think the problem here is not the application, it's the differences in the
User Interfaces (operating systems and environments). You have to learn the
cut-n-paste methods, as well as the continuous -vs- discontiguous selection
methods and get these to be as second nature to you as typing, then you will
find that you'll have less problems.

Having said that, there are companies who've taken their Mac or Atari
programs over to the PC without taking these points into consideration --
they try to retain the MAC like behavior when it is not appropriate. It
screws up people who normally use PCs for one thing, but it can even confuse
MAC people.

Now image an Atari user trying to figure out a psuedo MAC interface as
implimented in Windows (the run this in Warp) -- what a wonderful world
we live in!

| The only thing I found which really _did_ impress me was the patch
|storage in Cakewalk.

I found this to be pretty ordinary. What's more, I think that the
Cakewalk 3.0 Patch naming scheme is busted, seemingly showing extended
support for GM machines (which the last version did okay). This could be
my lack of understanding, but then the 12-tone manual on this subject is
worse than pitiful -- some functions don't even have the paltry one-sentence
minimum that some other functions do... but when they do, they rarely help.

But then, this is just my opinion,
Eh?
=========================================================================
Date:    Fri, 16 Dec 1994 15:00:44 EST
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    "Dr. Gene De Lisa" <blustone!zeus![e-mail]>
Subject:    Re: Receiving posts in a collection.
In-Reply-To: <[e-mail]>
(uunet!FARSIDE.GSFC.NASA.GOV!xrjdm)

>>>>>"Joe" == Joe McMahon <uunet!FARSIDE.GSFC.NASA.GOV!xrjdm> writes:

>>Sounds good but this is what I get:


>>>SET EMUSIC-L DIGEST
>>You are not subscribed to the EMUSIC-L list.


>>My mailbox tells me I am.

Joe> Hmmmm. Looks like there might be some kind of weird uunet thing going
Joe> on. Let me check, and I'll set you up. I would guess that if you
Joe> want to unsubscribe at a later date, you'd be best off to tell either
Joe> me of Mike Metlay ([e-mail]) and let us take care of it for
Joe> you. IN any case, I'll set you up with the digest stuff.


Thanks for your help. The digest would help me stay with the list *and* keep my job. :-)

=====================================================
Dr. Gene De Lisa
Bluestone Inc. 1000 Briggs Rd. Mt. Laurel, NJ 08054
blustone![e-mail] or uunet!blustone!gene
Vox Humana: [phone] x261 Fax: [phone]
=====================================================
=========================================================================
Date:    Sat, 17 Dec 1994 07:54:54 +1000
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    David Rodger <[e-mail]>
Subject:    Re: Transferring MIDI Files

Hi Joe,

>Look for a nice little program called MIDI Typer, available at your
local Info-Mac or UMich mirror.

I don't know what Info_mac is, but I assume that I can get into UMich
via an ftp site or the Web?

Thanks, David
[e-mail]
=========================================================================
Date:    Fri, 16 Dec 1994 21:04:28 EST
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Patrick Quinn <[e-mail]>
Subject:    Re: Transferring MIDI Files

In reply to my query Ted Johnson suggested:

>The most obvious problem, though, is that your mac just isn't recognizing
the filetype, since there's not such thing on the Atari.

In fact Ted the problem is worse than that since the Mac won't recognise
the disk as being a formatted ( PC or MAC ) disk at all. It's as if the
Atari writes over a portion of the boot sector ( or somewhere on the disk )
that then makes the disk a non-PC disk.

Anybody any ideas ?

Cheers

Patrick

PS Does anyone know an e-mail address for Steinberg the makers of Cubase
Lite which I an using ?
=========================================================================
Date:    Fri, 16 Dec 1994 17:24:28 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Joe McMahon <[e-mail]>
Subject:    Re: What is Mars?


>"Krrrrgdhhhh...nghhyaaa-a-aaahhhh, hglyeeewmph hurk hurnk nyeh heh heh..."
--- Cathy Berberian's aria in a Berio work (which one? Any of them :)

Oh. Here, I thought you were quoting a Lovecraft story I hadn't read.

--- Joe M.

--
McMahon's Corollary to Crispen's Law: "The eventual K2000 messages will
usually be followed by a post about how the Ensoniq machines aren't bad either."
=========================================================================

Date:    Sat, 17 Dec 1994 08:09:05 +1000
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    David Rodger <[e-mail]>
Subject:    Re: What is Mars?

Hi Mike, this is not really aboout Mars anymore, is it? Mind you, we can't
assume that Berio is going to stuff we like on the gear, can we?

>"Krrrrgdhhhh...nghhyaaa-a-aaahhhh, hglyeeewmph hurk hurnk nyeh heh heh..."
--- Cathy Berberian's aria in a Berio work (which one? Any of them :)

Hey, some of us like a little mock primal every now and again. Ever heard
Dieter Schnabel?

Regards, David
=========================================================================

Date:    Fri, 16 Dec 1994 19:45:43 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Phil Skiba <[e-mail]>
Subject:    samick sm series mixers

Hey everyone. Does anyone have any experience with samick mixers. The ads
seem pretty good, but I have not heard much about them. I need a decent
mixer at a fairly low price...at least 12 inputs.

I have seen a good deal on the mackie 1202...the ads say it has 20 inputs,
but the picture does not look that way. I need at least 10 xlr inputs.

anyways, does anyone have any suggestions. I'd like to stay under $500,
if at all possible.

thanks a lot

phil
[e-mail]
=========================================================================

Date:    Sat, 17 Dec 1994 04:50:58 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Davvid Brooks <[e-mail]>
Subject:    Re: Comments on Alesis Monitor One's Please

the monitor one speakers i got when my NS10M couldn't fixed for less than
100 bucks, i think they are fab. the bass is boom! the mids are present,
high end is crystal. i haven't bothered to fix my yamaha ns10m: I'll get
around to one day. i got them for 290$american
=========================================================================
Date:    Sat, 17 Dec 1994 18:44:55 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    "LuJon P. Bustillos" <[e-mail]>
Subject:    Re: samick sm series mixers

>I have seen a good deal on the mackie 1202...the ads say it has 20 inputs,
but the picture does not look that way. I need at least 10 xlr inputs.

I've got the 1202 and it works great. It's only got four built in xlr's, and
if you've got six adapters laying around.....
=========================================================================
Date:    Sun, 18 Dec 1994 07:24:37 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    [e-mail]
Subject:    Roland Rhodes Model 760

I was wondering if anybody might have any information about the Roland Rhodes.
I would appreciate any help.

Thanks,

Michael
=========================================================================

Date:    Sun, 18 Dec 1994 15:44:00 +0100
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Peter Van Rees <[e-mail]>
Subject:    Re: Transferring MIDI Files

>In reply to my query Ted Johnson suggested:

>>The most obvious problem, though, is that your mac just isn't recognizing
the filetype, since there's not such thing on the Atari.

>In fact Ted the problem is worse than that since the Mac won't recognise the
>disk as being a formatted ( PC or MAC ) disk at all. It's as if the Atari
>writes over a portion of the boot sector ( or somewhere on the disk ) that then
>makes the disk a non-PC disk.

>Anybody any ideas ?

>Cheers

>Patrick

>PS Does anyone know an e-mail address for Steinberg the makers of Cubase Lite
which I an using ?

Being an Atari-owner myself, here's what I do. Format a disc on a PC or mac,
and just use it on your Atari (not the other way around!). Dos-formatted discs
can be read by Atari, as opposed to Atari- formatted discs, which cannot be
read by DOS or Mac. I don't know of an e-mail adress for Steinberg, but there
is a list for Cubase-users (to subscribe send a 'subscribe cubase-users'
command to [e-mail]. The list's address is cubase- [e-mail])
peter van Rees
=========================================================================
Date:    Sun, 18 Dec 1994 10:29:11 LCL
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Michael Carnes <[e-mail]>
Subject:    Berio...
In-Reply-To: <[e-mail]>

----------
X-Sun-Data-Type: text
X-Sun-Data-Description: text
X-Sun-Data-Name: text
X-Sun-Content-Lines: 5
X-Sun-Content-Length: 382

Well, I agree that most of Berio's electronic stuff is justifiably ignored by
most. In his other music, he has shown some flashes of real prowess. You might
try "Points on a Curve to Find", which is a little concerto for Piano and winds.
Also a very early "Concertino" for clarinet and (harp? celeste?) something
tinkly. They will both make you wish he did more stuff like that.
=========================================================================
Date:    Mon, 19 Dec 1994 10:33:29 EST
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    "<Clive McFarland>" <[e-mail]>
Subject:    Re: Transferring MIDI Files

>>Look for a nice little program called MIDI Typer, available at your local
Info-Mac or UMich mirror.

>I don't know what Info_mac is, but I assume that I can get into UMich via an
ftp site or the Web?

>Thanks, David

Hi David

Close to home, you can get it by ftp from plaza.aarnet.edu.au, in the
/micros/mac/umich/sound/midi directory.

Happy typing

Clive

Clive McFarland    CSIRO Australia    [e-mail]
=========================================================================
Date:    Mon, 19 Dec 1994 00:42:16 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    "J. Brian Rice" <[e-mail]>
Subject:    Re: samick sm series mixers

Phil,
Your question about mixers doesn't give enough specifics. Will you need mic
preamps or only line inputs? Since I have completed a similar search for a
mall but high quality mixer, I will give it a shot. I must inform you that
the final solution of my quest was the Mackie 1202. However in my search,
I did sample the Samick product line at the NAMM Show at Nashville in July
of this last year. In short, I was not pleased. The construction and design
lacked quality and appeared to have been developed to meet a particular price
point. Specifications looked good on the paper, but the hands on trials came
up short.
Specificly the SM122 was a 12 channel featuring balanced xlr inputs, stereo
insert, 3 band fixed EQ w/ 15db boost/cut. Trials showed limited usable headroom,
inflexable gain control and an EQ that wasn't very musical. IMHO this may be
passable for a weekend warrier type PA mixer, but not as a tool for recording.
Sorry to be so blunt, but space is limited.
Why Mackie? Built like a rock. No wall wart power supply. Performance that
exceeds my expectations. Solid quality control. Designed for performance not
a price point. Now for the ultimate in product endorsement***I bought it over
units that I sell for a living. Yes, I paid retail to get mine and it was
worth every penny. *Disclaimer* I do not feel this way about every item in
the Mackey product line and my needs were best fulfilled by this particular
product for my particular application.
Clairify your needs specificly. List out the features that you need and number
them according to your priority. Do not make your decision based upon some
other guys reviews. Find a knowlegable salesman and buy where you can rely
on some support in a jam.
=========================================================================
Date:    Mon, 19 Dec 1994 09:08:09 +0200
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Alessandro Fiorletta <[e-mail]>
Subject:    MARS

Hi folks,
I'm looking at all this mailing about MARS and I'm really surprised that
the IRIS job is known to you!
Anyway if any of you is interessed in REAL EMUSIC STUFF (not synth garbage!)
you can't miss the FLY30 music workstation. FLY30 is based on a sound board
developed at CRM (Musical Research Centre in Rome) and is really more
powerfull of MARS. It is, I think, the only board built around a 32 bit
floating point DSP and it sounds impressive! It is made for real professional
musical applications (it dosen't have MIDI at all) and it is fully real
time. One of the things that FLY can do (while MARS not) is synthesys
using resonant digital fiters working at stability limit. Have you ever
heard about it? I'm absolutly against sampling based synthesys (I wonder
if IT IS synthesys at all) and I really belive that this will be the
next generation synth method. In 1993 edition of CIM in Milan has been
presented "Polar Synthesys 1.0" the world first software application
of this synthesys. It has been developed by me and Antonio Pellechia
(an italian Engineer/Composer of CRM) as a sample of its possibilities
and the composer Michelangelo Lupone made some pices of music with it.
If you are serious about emusic you must listen to it.

Saluti, Alessandro.
=========================================================================
Date:    Mon, 19 Dec 1994 10:29:43 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Phil Skiba <[e-mail]>
Subject:    Re: samick sm series mixers

Basically, I neea a whole lot more inputs for my tascam 424. I am extremely
happy with it, and for the money, I don't think the sound quality can ba beat.
I run into problems, however, when I am trying to mic a drum kit, etc...I
need better control over all the levels, etc. It would also be nice if I
could use it onstage (i.e. send the outs to a
power amp and run it into the JBL's.

The mackie looks like a really nice machine, and I am going to check it
out over the holidays...I have not heard a bad word about them from anyone.
On the other hand, I saw a sampson mpl1640 for about $600, and that seems pretty
nice as well, if a little pricey for my college budget :^) I am afraid the
smaller mackie (1202) might not have enough mixing power onstage, which is
not the biggest disaster in the world, as I have been renting a yamaha board
or shows @ $20 a pop (I just don;t beleive in bar soundmen!)

thanks a lot for helping me out

phil
[e-mail]

p.s. how limiting is the 2 band eq on the mackie board? should I just leave
them alone and go though and outboard eq on mixdown. My tascam machine has a
pretty good eq, but I still find myself eqing on the way in and on mixdown as
well.
=========================================================================
Date:    Mon, 19 Dec 1994 10:40:24 PST
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    Bill Busch <[e-mail]>
Subject:    Re: Transferring MIDI Files

MIDI Stamper is for the Mac. Sorry I can't point you to a server on the
internet. I got it off AOL.
----------
>From: David Rodger <[e-mail]
> To: Multiple recipients of list EMUSIC-L <[e-mail]
> Subject: Re: Transferring MIDI Files


Date: Friday, December 16, 1994 9:56AM

Bill wrote...

>Look for a PD/shareware utility called MIDI Stamper.

Sounds great. Is there anything like it for MAcintosh?

Regards, David.
=========================================================================
Date:    Mon, 19 Dec 1994 09:34:24 -0800
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    "Michael A. Dalton ADP OPuS" <[e-mail]>
Subject:    Re: Roland Rhodes Model 760
In-Reply-To: <[e-mail]> from "[e-mail]" at
Dec 18, 94 07:24:37 am


>I was wondering if anybody might have any information about the Roland Rhodes.
>I would appreciate any help.

>Thanks,

>Michael


Michael,

I have the 760's smaller brother, the 660. Both are actually very good
pieces of gear that often go overlooked for lack of information.

Specifically the 760(and 660) contain the same sound making electronics
and the same patches as the Roland U-20 and U-220.

They also use the same sound expansion cards as the U series. By the way
these are no longer made (as of last summer, summer '94) and can be bought
at great prices now, as low as $20 each, they were originally list at $89!

Essentially you are getting a 76 key U20 in an updated package with an
easier to use user interface. There are a few things the 660 does no do
which the 760 may not as well. But these are not at all critical, they
are things like maintaining differant program-to-patch maps, etc. Not
critical at all, usually.

I own a 660 that I picked up ion mint condition for $250 bucks the same
week a demo unit was going for $950 at a nearby store.

I have been very happy, its a Roland throughout, and its essentially a
U-20 internally.


Hope this helps. My advice, "if its within' your budget, the RHodes
660/760 tend to be considerably less than their U20/220 parents, and
well worth considering"


--
+-----------------------------------------------------------------------------+
| Mike Dalton is: [e-mail] [e-mail] [phone] |
 +-----------------------------------------------------------------------------+
| "If you covered the state of Texas two feet deep is silver dollars, then |
| picked one at random, marked it, put it somewhere in the pile, and mixed |
| them all up; having a blind man enter the state, wander to the right place |
| and pick the marked silver dollar is roughly equal to the odds of any    |
| other man fulfilling all the Messianic Prophecies that Jesus did "    |
|    -Josh McDowell "Evidence That Demands a Verdict, Vol 1."    |
+-----------------------------------------------------------------------------+
=========================================================================
Date:    Mon, 19 Dec 1994 09:25:03 -0500
Reply-To:    Electronic Music Discussion List <[e-mail]>
Sender:    Electronic Music Discussion List <[e-mail]>
From:    "B. Kirsch" <[e-mail]>
Subject:    Re: Transferring MIDI Files

The application MIDI Typer requires System 7.0 or greater. My program, SMF
Utilities works in System 6 also. It is available from ftp at
sumex-aim.stanford.edu in the directory info-mac/snd/util/smf-utilites-10b8.hqx
I also submitted a Freeware version called SMF TypeCaster to Sumex but it
doesn't seem to be there any more. It also works with System 6. I'll resubmit
it, or I'll email it to anyone who wants it. It is about 28K Binhex'd.

The SMF Utilities program changes the file Type to 'Midi' and also put a
Creator tag on it so that your SMF can be associated with any sequencer.
SMF Utilities will also remap program changes and drum maps of your SMF.
If you also have System 7, you can do bulk conversions and remappings.

-Barry Kirsch