issue3

EMUSIC-L Digest                                    Volume 16, Number 3

   A few quick questions, if you please (4 messages)
   Basic needs, sound colors, philosophy (18 messages)
   International Computer Music Festival in Seattle
   its not me...
   Korg MS-10
   question about renting keyboards. (4 messages)
   Speaking of D-50 mods ...
   SQ/80 patches
   C-Lab and Transcriptions (3 messages)
   SY22
   Tascam 644 (2 messages)
   Vector Synthesis (2 messages)
   WX7's again (2 messages)
   Yamaha HX-1 (10 messages)

Your EMUSIC-L Digest moderator is Joe McMahon .
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----------------------------------------------------------------------

Date:         Thu, 17 May 90 10:22:54 -0400
From:         Brian Adamson 
Subject:      A few quick questions, if you please

	To anyone who has the answers,

		What is a Yamaha PSR-7 synth?
   Is it worth $99 US?
     What is an Akai VX-90 MIDI Module?
	Is it worth $99?




   Local music store is having some sort of sale.  These were a couple of things
which caught my eye in the list.  Any info is appreciated.

			Thanks,
				Brian A.

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

Date:         Thu, 17 May 90 11:05:36 EDT
From:         "James P. Goltz" 
Subject:      Re:  A few quick questions, if you please

>                 What is a Yamaha PSR-7 synth?
>    Is it worth $99 US?

     It's a keyboard with 100 presets and some rhythms with a
distinctly "lounge-lizard" sound (the rhythms), even to me.  The
presets are OK, although the piano sound is a little dull (Casio
programs their presets better).  No access to programming your
own sounds, and there's no MIDI interface.  Sells for about $150,
but for that kind of instrument you're probably better off with
something from Casio (which *does* have MIDI).  $99 is a bargain,
but a relative one.

     Only an opinion.

                                        --Jim

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

Date:         Thu, 17 May 90 13:32:00 EDT
From:         "b.klassen" 
Subject:      RE: A few quick questions, if you please

>     What is an Akai VX-90 MIDI Module?
>       Is it worth $99?

It's a fairly simplistic analog synth module.  I have a write-up that appeared
on the list some time ago (see below).  I'm looking for one to team up with my
S950.

>   Local music store is having some sort of sale.  These were a couple of thing
   s
>which caught my eye in the list.  Any info is appreciated.

If you don't buy the VX90, could you pass the store info on to me?  I haven't
found one for under $200 Cdn.

>                       Thanks,
>                               Brian A.

No trouble.  VX90 write-up follows.

brian


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

Subject: Re:  The Akai VX90, and....?

Metlay asks:
> Help! Can you help me get more data on the VX90, and on its keyboard
> version? I'm desperately curious: I need another analog synth to take
> the load of "easy" patches off of my Xpanders for my album, and I was
> considering a Matrix 1000, but I need more data.

Your command is my wish, or something like that.  Here, for you and
for everyone else, is what I've dug up on the VX90.

This information is taken from the Akai catalog, 1986, volume 2.

First and foremost, it would appear that the VX90 rackmount unit
and the AX73 synth are *almost*  the same thing, although Akai doesn't say so.
They have nearly the same specs, appear on adjoining pages in the catalog, etc.
The AX73 appears to have two features that the VX90 doesn't: chorusing,
the ability to split the keyboard (which kinda makes sense!).

Neither unit is any great shakes as an analog synth by today's standards;
however, if you own an Akai X7000 or S900 sampler, you can use the output
of sampler as the input to these boxes; it's sort of the same idea as
the Korg DSS-1, where samples are used to drive the synthesis chain.

Going prices for these machines: I've seen an AX73 (I believe it was
used) advertised by Rogue Music for $369; Maggio Music is advertising
new VX90's for $239.  If anyone has an AX73 they'd like to unload, let me
know; even though it doesn't have weighted keys (as far as I know),
it would make a nice keyboard for me to add to my setup, and since I
already have an X7000 and AX-80, it would fit in nicely.

Here are the specs for these beasties:

Keyboard: 73 keys (velocity sensitive) AX73 only
True voice range: 24-120 (C1-C9)
Voices: 6 voice
Tone Generator: VCO
Internal Memory: 100 sound programs
External Memory: cassette interface
Parameters:
        VCO Section:
                Octave: 2', 4', 8', 16'
                Wave form: ramp, triangle, square(pulse?), ramp+triagle
                Pulse Width
                PWM speed
                EG Depth
                Sampler on/off
                Noise on/off
                A/B Balance [ I'm not just sure what this is; I wonder if it's
                        the balance between the sampler input and the internal
                        oscillator. ---Rsk ]
        VCF Section:
                Cut off freq
                Resonance
                Key follow
                VCO Modulation
                EG depth and polarity
                Key velocity
                HPF
        EG Section (two independent EG's)
                EG Destinations Select (VCF, VCA, VCF+VCA, VCA gate)
                Attack
                Delay
                Sustain
                Release
        VCA Section:
                Level
                Velocity
        LFO Section:
                LFO select (VCO, VCF, VCA)
                Waveform: (ramp,triangle,reverse ramp, square, RND)
                Speed
                Depth
                Delay
        Chorus (off, 1, 2) (AX73 only)
        Key assign: (poly, unison)
        Bend: VCO (-1 to +1 octave)
                Cut off frequency (min-max)
                Modulation Depth (min-max)
        MIDI channel (1-16)
        MIDI split (off, 0-6 upper, 6-0 lower) (AX73 only)
        MIDI split point (AX73 only)
Functions:
        Edit control section:
                Value control slider
                Value up/down keys
                Compare on/off
                Edit
                Write
                Bank
                Tenkey (bank, program, parameter select) [ this is a ten-key
                        keypad ---Rsk ]
                BWD verify key
                FWD load key
                0 save key
        Master level control
        Master tune control (+/- 50 cent)
        Auto tune on/off
        Key transpose on/off
        Memory protect on/off
        LCD contrast
Wheels (AX73 only):
        Pitch bend/cutoff freq
        Modulation

Display: LC + LED
Jacks: Midi in, out, thru
        Sampler In (13 pin DIN)  [ This is the voodoo DIN cable that connects
                to the Akai samplers ---Rsk ]
        Audio output (left(mix), right)
        head phone jack
        tape (load/in, save/out)
        sustain pedal jack
        program up jack (AX73 only)

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

Date:         Thu, 17 May 90 13:42:00 EDT
From:         "b.klassen" 
Subject:      Credit for reply on VX90 info

I should have included the source for my reply to the request for VX90
information:  it was from Rich Kulawiec .  My
apologies.

brian

(Hopefully the original reply gets to you all before this does ...)

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

Date:         Tue, 15 May 90 09:54:47 BST
From:         Nick Rothwell 
Subject:      Basic needs

>What is your favorite color? :-)

Smiley apart - who else sees synthesised (and orchestral) sounds in
colours? The reason I bought a VFX (sigh, not arrived yet...) is that
I have enough Roland gear (which paints quite richly in reds and
yellows), and the VFX is quite colourless in comparison. Detailed and
textured, yes, but not too rich in colour. Rather like drawing with
charcoal, in fact.

Seriously...

Nick.

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

Date:         Tue, 15 May 90 09:05:00 EST
From:         "William R(ay) Brohinsky" 
Subject:      RE: Basic needs

Colors, no. Physical abstractions, yes.

I close my eyes when I hear/play music, and my `virtual space' is
filled with `physical' shapes. These are mostly abstract, and I have
never had a good lexical grip of abstractions---I usually don't name
the animals I see in clouds.

However, a renaissance loud band usually presents me with a brick wall
which is beautiful, solid (if they are on tune) and simultaneously subtle,
capable of supporting (within its structure) all sorts of filligree. You
can do that with abstractions...

I currently don't do much performance with synths. I have an amiga,
two FB01's, a borrowed mirage (which I never let speak directly-
I only use it for input to the computer). I used to have a charvel
GTM-6, but dumped it for a hard disk for the amiga (when they were
mucho expensive). I am now looking for a WX-7 at a good price.
(any takers?).

raybro

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

Date:         Tue, 15 May 90 09:40:52 EDT
From:         Patrick Robinson 
Subject:      Re: Basic needs

I'm not sure if 'in color' is the phrase I'd use to to describe how
I 'see' synth/orch sounds... I find it difficult to meaningfully
describe sounds in terms of physical senses (other than the obvious,
How-It-Sounds, which is not what we're talking about).  Seems to me
there's a level of abstraction which goes beyond colors and shapes.
I would have to pay closer attention (mentally, intellectually...
whatever...) to see colors.  Or maybe I'm just insane.
-Patrick

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

Date:         Tue, 15 May 90 15:10:58 BST
From:         Nick Rothwell 
Subject:      Basic needs

I feel that the actual notes have colour, shape and texture, but the structure
of the music (from chords onwards) is more emotional and perhaps intellectual
at the same time.

Nick.

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

Date:         Tue, 15 May 90 09:31:25 EDT
From:         Joe McMahon 
Subject:      Re: Basic needs

I dunno, Nick. I'd tend to think of it as cool colors rather than gray ones.
The range (to me) seems to run from purples and dark blues for most of the
solo voices to aquas and greens for the sustaining pads. I think that may
be due to the filtering setups on most of the patches so far. The VFX is
not a warm machine, but it doesn't have that cold digital edge, either.
The "double-reed" patch is a warmer one, especially in the upper ranges,
but it's still a cool greenish-yellow. The brass patches strike me as
electric blues and metallic purple/green/aqua colors. I think it'll be a
good pairing with the Roland gear, as it'll give you either a neutral
backdrop to paint on top of, or a nice cool line to slip into a warm
background structure.

 --- Joe M.

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

Date:         Tue, 15 May 90 16:17:22 EDT
From:         Patrick Robinson 
Subject:      Re: Basic needs

On Tue, 15 May 90 15:10:58 BST Nick Rothwell said:
>I feel that the actual notes have colour, shape and texture, but the structure
>of the music (from chords onwards) is more emotional and perhaps intellectual
>at the same time.

Yes, I suppose I'd agree with that... A given patch (even a given note
or range of notes in that patch) can have a certain color... and
a particular machine tends to do best at producing those colors.
My immediate (knee-jerk?) reaction was to characterizing music and its
structure in terms of color and shape...

>Nick.

-Patrick

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

Date:         Wed, 16 May 90 10:03:07 BST
From:         Nick Rothwell 
Subject:      Basic needs

>I dunno, Nick. I'd tend to think of it as cool colors rather than gray ones.

My colleague has a piece of music mostly sequenced on his VFX, and it comes
across, as you say, as cool colours, steely greys and blues. He's put
an Edgar Froese-style slow keyboard motif on the fade-out, done on his
D-50 (I think), which is a wonderful splash of colour at the end.

>I think it'll be a
>good pairing with the Roland gear, as it'll give you either a neutral
>backdrop to paint on top of, or a nice cool line to slip into a warm
>background structure.

This is why I bought one. I was getting a little fed up with the Roland
sound (and the Japanese sound in general), and decided to get a horse of
a different (cooler) colour, so I could do the kinds of things you
mention.

This is all a good argument for having a good selection of equipment from
various manufacturers, and an argument against the w*rkstation.

Nick.

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

Date:         Wed, 16 May 90 08:51:16 EDT
From:         Patrick Robinson 
Subject:      Re: Basic needs

>This is all a good argument for having a good selection of equipment from
>various manufacturers, and an argument against the w*rkstation.
>
>Nick.

I'm not sure I see what this discussion has to do with the relative
merits of workstations.  Certainly, there are good arguments (of which
this is one...) for having equipment from different vendors, but
why shouldn't a 'workstation' (gawd, what an unfortunate cannibalism of
language) simply be ONE of the machines in this collection?
I don't think the problem with w*rkstations is with their capability,
but with their application (or should I say, folks' *perception* of
their application ;-} ...)

...here we go again!

-Patrick

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

Date:         Wed, 16 May 90 09:24:58 EDT
From:         Joe McMahon 
Subject:      Re: Basic needs

My take on this is that someone who is not experienced with orchestration
(in a loose sense) may be fooled into thinking, "Well, I've got effects
and 12/16/21/32 voices; I won't need anything else."

Now, this could be true, within certain limits. After all, Picasso did
just fine with only shades of blue for a while :-). But then again, most
people are not Picasso. And most music will sound better if warmer tones
and cooler tones can be used together. Think of it this way. Having one
room in your house painted white with cream colored furniture might work
very well, but an entire house done that way would be rather boring.
Metaphorically speaking, music which is only blue and green may not
(unless it is exceptionally good) make it without some added splashes
of contrasting color.

Don't get me wrong. I think the VFX is probably the best thing that ever
happened to me, musically speaking. But I don't see it and it alone as
the only thing that I will ever need. Maybe a nice used Xpander or a
D-550 with the multi-timbral mod? What the heck, I don't need to eat
or have a car, anyway... :-)

 --- Joe M.
                                    |  "We got a whole back room full of
Internet: xrjdm@scfvm.gsfc.nasa.gov |  your audio oscillators, gunshot
  BITNet: XRJDM@SCFVM               |  machines, contact mikes, every-
   Phone: (301) 286-8090            |  thing, man."
                                    |  --Pynchon, _The Crying of Lot 49_

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

Date:         Wed, 16 May 90 08:48:07 CST
From:         Jayson TIpp 
Subject:      Re: Basic needs

Funny- all this conversation over sound colors.  It occurs to me that I always
"see" colors when I hear music, and sound patches alone especially.  For
instance, I hear an organ as red-orange. More one or the other depending on
depth and bite.  My favorite sound is the classic jazz organ sound with a
little bit of bell on the attack.  To me this sound reminds me of one of those
orange or red sponge rubber balls I played with as a kid.


- Buzz.............

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

Date:         Wed, 16 May 90 10:01:32 EDT
From:         Patrick Robinson 
Subject:      Re: Basic needs

On Wed, 16 May 90 09:24:58 EDT Joe McMahon said:
>My take on this is that someone who is not experienced with orchestration
>(in a loose sense) may be fooled into thinking, "Well, I've got effects
>and 12/16/21/32 voices; I won't need anything else."

...And Drums.  Don't forget Drums.  ;-}

I guess this depends on the motive/purpose/goal of this person.  It
may well be that this is a person who just likes to dabble a bit...
Maybe he DOESN'T need anything else.  On the other hand maybe he's
a professional musician:  but just because a machine has effects,
sequencer, and drums doesn't mean its a piece of crap.  That's a
ridiculous (and reactionary) kind of sentiment.

If a musician (and his ear) can be fooled into believing that
Everything He Needs can be had in a single black box, then chances are
he's in the wrong field (as a professional...)

-Patrick

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

Date:         Wed, 16 May 90 11:39:27 EDT
From:         Joe McMahon 
Subject:      Basic Needs

Patrick's comments about drums are indeed true, though I've got them
on the VFXsd... :-)

I was actually trying *not* to be reactionary; after all, I went for
a workstation! Referring back to the subject line again, what *are*
basic needs? Again, I suppose it depends on the music and the musician.
Certainly there have been any number of classical performers who
never saw a need to have 15 violins or pianos onstage to get that
"just right" sound...I suppose that the greater simplicity of the
means of sound production in most synths requires more equipment to
approach that same kind of expressiveness.

Things to think about...Have we (at least a little) bought into the
guitar-hero myth ("wow - are these all your guitars?"), making us
feel as if we're not up to speed unless we have lots of equipment? Or
is it indeed the relative lack of expressiveness that requires more
equpiment to overcome? I think this is the inarticulate desire behind
the yearning for old equipment - our memories of the flexibility with
which we could shape nearly any characteristic of the sound just by
reaching out and making a physical gesture, instead of selecting a
voice, going into edit mode, flipping to the proper page, entering a
new number, etc. Our desire for control of the sound leads us to
reminice about old machines that wouldn't stay in tune, could only play
one note at a time, and were terribly frustrating to attempt to reproduce
a setting on. We have advanced at lot; sometimes we don't appreciate it.

 --- Joe M.
                                    |  "We got a whole back room full of
Internet: xrjdm@scfvm.gsfc.nasa.gov |  your audio oscillators, gunshot
  BITNet: XRJDM@SCFVM               |  machines, contact mikes, every-
   Phone: (301) 286-8090            |  thing, man."
                                    |  --Pynchon, _The Crying of Lot 49_

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

Date:         Wed, 16 May 90 16:28:33 BST
From:         Nick Rothwell 
Subject:      Basic needs

>I'm not sure I see what this discussion has to do with the relative
>merits of workstations.

Workstations set themselves up as self-contained instruments which are
all you need to make music. That was what I was objecting to, I think,
since then you just have one manufacturer's idea of a nice sound.

As part of a set-up, yes, fine. It would be wonderful if my associate
and I were both using VFXsd's, since then we could throw ideas around
on floppies with most of the orchestration done "locally" on the VFX,
in scratch form, prior to moving parts to the Roland analogue gear
and so on. Once that was done, we'd be using the VFXsd as a combined
common synth/sequencer/floppy drive. And *not* as a workstation.

Rather academic, anyway, since he has a plain VFX already, I have one
on order ("the carriers will have it here tomorrow morning, sir,
definitely"), and the VFXsd has a huge price here ($3500 or so, or 550
quid higher than the VFX, for which you could buy a complete Atari
ST and sequencer).

		Nick.

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

Date:         Wed, 16 May 90 12:52:23 EDT
From:         Patrick Robinson 
Subject:      Re: Basic needs

>As part of a set-up, yes, fine. It would be wonderful if my associate
>and I were both using VFXsd's, since then we could throw ideas around
>on floppies with most of the orchestration done "locally" on the VFX,
>in scratch form, prior to moving parts to the Roland analogue gear
>and so on. Once that was done, we'd be using the VFXsd as a combined
>common synth/sequencer/floppy drive. And *not* as a workstation.

*Workstation* ... Ick.  What a word.  What you've described here is
what I see to be the primary advantage of what we all call
'workstations'.  Convenience.  Even if you had no colleague with whom
you wished to swap floppies with, the idea is the same.  A self-
contained scratch pad Box.  Get a good general idea of the groove,
the orchestration, effects, etc.  Even get the tracks down (i.e. in
their 'final' form) which ultimately can be driven by the on-board
sequencer.  I'm assuming, of course, that the sequencer is capable
of driving external devices.

>Nick.

-Patrick

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

Date:         Wed, 16 May 90 13:10:42 EDT
From:         Patrick Robinson 
Subject:      Re: Basic Needs

On Wed, 16 May 90 11:39:27 EDT Joe McMahon said:
>I was actually trying *not* to be reactionary; after all, I went for
>a workstation! ...

Yeah ... so did I.  And truth be told, I love it (Korg T2).  Although,
I'm not sure its mere 8 tracks of sequencer is adequate for the
purposes I've been ranting about... ;-}

>I think this is the inarticulate desire behind
>the yearning for old equipment - our memories of the flexibility with
>which we could shape nearly any characteristic of the sound just by
>reaching out and making a physical gesture, instead of selecting a
>voice, going into edit mode, flipping to the proper page, entering a
>new number, etc. Our desire for control of the sound leads us to
>reminice about old machines that wouldn't stay in tune, could only play
>one note at a time, and were terribly frustrating to attempt to reproduce
>a setting on. We have advanced at lot; sometimes we don't appreciate it.

Don't get me wrong: I appreciate machines that can remember things,
and that stay in tune.  What I DON'T appreciate is 'front panels' with
some numbered buttons and a slider or two, and scads of menus as the
sole interface.  I thought the Memorymoog interface idea was fairly
good: an LED that displayed the stored/current knob value.  Wouldn't
it be nice if machine-makers could combine a bunch of well organized
knobs with a few (a FEW) well-laid-out menus ...?

-Patrick

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

Date:         Thu, 17 May 90 10:11:00 EST
From:         "Richard S. Holmes" 
Subject:      RE: Basic needs

Joe McMahon  writes:
>
> To everybody:
> - We ought to come up with some basic recommendations as to some
>   machines which are "better than most" in a given range. For
>   instance, the K1 over the DPM-1, etc. Send me your preferences,
>   and I'll try to make a coherent whole out of them. I want to
>   hear about the good, the bad, and the ugly.
>
>  [ ... etc ... ]
>
>   --- Joe M.

Had any replies to this yet?  I'd be very interested in what you get from the
cognoscenti.  And then on the other had, there's me:

> Specifically about basic needs:
>   What do you have now?
>   Do you have any equipment whatsoever, or are
>   you starting at ground zero?

A Macintosh...

>   Are you a composer, or a performer?

When I perform, it's morris dance music on a two-row button accordion (w/o
MIDI).  I would use a synth for composition and my own amusement.

>   Do you have any means of amplifying or recording your synth, once
>   you get it?

I've got a stereo system with a cassette deck.  Up in the attic is an old
open-reel 4-channel TEAC I could consider setting up again.

>   Do you want to multi-track, or use a sequencer and
>   produce as many parts as possible at once?

The latter, if the equipment I get permits.

>   Do you want to design your own sounds, or are presets good enough?

The former.  Definitely.

>   Most important, how much can you afford to spend?

This week?  Say $1200 = $1000 (synth) + $200 (MIDI interface + software) -- for
an initial basic setup to be added to and upgraded as money and technology
permit.  Except I'm not going to buy anything this week, and next week or month
or year I may have more saved up.  Or I may have spent it on something else.

>   Are you willing to spend *all* of it?

Willing?  Yes.  I'd be happier down at around the $700-$800 level.  This week.

>   Are you more interested in the "workstation" concept, or would you
>   prefer to start small with a master keyboard and a module or two,
>   growing your system incrementally?

The latter.

>   What is your target music?
>   Classical, rock/pop, or avant-garde?

Yes, and folk and jazz.  Or more accurately, "my stuff" which partakes of all
the above in varying amounts at various times.  One particular interest I'd
like to be able to pursue -- money and technology permitting -- is microtones
and/or alternative temperaments.  (Anyone else out there familiar with Easley
Blackwood's "Twelve Microtonal Etudes"?)

>   What is your name?
>   What is your quest?
>   What is your favorite color? :-)

Blue.  No.  Gr
%SYSTEM-F-FLTDIV_F, arithmetic fault, floating divide by zero at PC=00000402,
PSL=03C00020
%TRACE-F-TRACEBACK, symbolic stack dump follows
module name     routine name                     line       rel PC    abs PC

X$MAIN          X$MAIN                              3      00000002  00000402



                                                   Rich Holmes

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
|  Richard S. Holmes    |                     |                            |
|  Physics Department   |    (315)443-5973    |  rich@suhep.bitnet         |
|  Syracuse University  |    or      -2701    |  rich@suhep.phy.syr.edu    |
|  Syracuse, NY 13244   |                     |                            |
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

DISCLAIMER: I have no opinions.

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

Date:         Thu, 17 May 90 12:21:18 MDT
From:         schabtac@SPOT.COLORADO.EDU
Subject:      Re:  Basic Needs

Joe M. writes:

>Things to think about...Have we (at least a little) bought into the
>guitar-hero myth ("wow - are these all your guitars?"), making us
>feel as if we're not up to speed unless we have lots of equipment? Or
>is it indeed the relative lack of expressiveness that requires more
>equpiment to overcome?

One of the tenets of the MIDI studio philosophy is that you can do everything
with sequencing rather than multitrack tape recording (except, of course,
vocals and other strictly "acoustic" phenomena), provided, of course, you
have enough equipment to pull it off. If you want a lot of tracks, you need
a lot of sound sources, i.e. many keyboards, or fewer multi-timbral modules.
There's the concern of available voices -- e.g. the TX81Z can do eight
independent timbres, but these will be strictly monophonic voices. If you want
to do a decent piano, seems to me you need around 16 voices, depending on
how heavy on the pedal you are. And then, as Nick points out, you need
equipment from different manufacturers to have complementary timbres (or
colors) at your disposal. So you end up with lots of equipment, if you really
want to do everything with a sequencer in real time (which certainly has its
advantages).  Pretty good marketing ploy, eh? :-)

>                     I think this is the inarticulate desire behind
>the yearning for old equipment - our memories of the flexibility with
>which we could shape nearly any characteristic of the sound just by
>reaching out and making a physical gesture, instead of selecting a
>voice, going into edit mode, flipping to the proper page, entering a
>new number, etc. Our desire for control of the sound leads us to
>reminice about old machines that wouldn't stay in tune, could only play
>one note at a time, and were terribly frustrating to attempt to reproduce
>a setting on. We have advanced at lot; sometimes we don't appreciate it.

Yeah -- during the few weeks I had the Prophet T8 in my posession, it was
really a trip down memory lane to have one knob/switch for EVERY parameter.
Want more resonance? turn the resonance knob. Faster pitch modulation? turn
the LFO frequency knob. Brilliant. Of course, if the Xpander was set up the
same way, it wouldn't in my apartment.

--Adam

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

Date:         Fri, 18 May 90 10:14:27 BST
From:         Nick Rothwell 
Subject:      Basic Needs

Joe M. writes:

>Things to think about...Have we (at least a little) bought into the
>guitar-hero myth ("wow - are these all your guitars?"), making us
>feel as if we're not up to speed unless we have lots of equipment? Or
>is it indeed the relative lack of expressiveness that requires more
>equpiment to overcome?

I had an interesting experience last night. I got the VFX home,
plugged in and MIDIed up, and suddenly felt, well, a little
overweight. Too much gear now, so I won't be making the most of it.
Stuff which is underused. Too many cables and so on. So, this weekend
I'll drop into my second-hand dealer and try to get rid of the MKS-7
(I have the Super-JX rack and the Matrix-6, which is plenty of
analogue power) and the TX7 (which I don't really like that much, and
was using for bells and plucks which the VFX can do well enough).

Interesting feeling, though. Sort-of like eating too much.

		Nick.

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

Date:         Fri, 18 May 90 15:26:55 PLT
From:         Joshua Yeidel 
Subject:      International Computer Music Festival in Seattle

I hear through the grapevine that there will be an International
Computer Music Festival in Seattle in connection with the Goodwill
Games (a sort of off-year Olympics).  The dates are July 5 - 14th,
and they are asking $10 per ticket.  (I don't know if the program
is the same or different from night to night -- all performaces 8pm).
Tickets are available through TicketMaster in Seattle (206) 292-1990.

Of course, I have no affiliation with any of this -- I can't even go
due to schedule conflicts and poverty -- but I thought someone out
there in Nettia might get a bee in the bonnet and go.

- -- - -- - -- - -- - -- - -- - -- - -- - -- - -- - -- - -- - -- - --
Joshua Yeidel                         YEIDEL@WSUVM1.BITNET
Academic Computing Services           YEIDEL@wsuvm1.csc.wsu.edu
Washington State University           (509) 335-0441
Pullman, WA 99164-1226
DISCLAIMER: I'm speaking solely for myself here, not Washington State U.
-- - -- - -- - -- - -- - -- - -- - -- - -- - -- - -- - -- - -- - -- -

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

Date:         Wed, 16 May 90 10:15:00 EDT
From:         Danny Weiss 
Subject:      its not me...

John -

> All right, I'll bite.  You say "I've been in and out and in and out...of
> various bands".  I have two albums with a Danny Weiss on them: Iron Butterfly
> and Rhinoceros.  Is that you by any chance?

its not me....

the other Danny Weiss

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

Date:         Mon, 21 May 90 13:47:00 N
From:         "WALTHER BESET, BITNET: P144WALT@HTIKUB5" 
Subject:      RE: Korg MS-10

David, thanks for responding!

Do you have any info about interfacing a korg ms10/ms20 with a computer
(a/d-d/a converter on a printer or modem-port perhaps) ?

"Yes of course the Ms20 is midi compatible" That would result in some strange
looks around here :-)

greetings, walther

walther beset
BITNET: p144walt@kub.nl

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

Date:         Mon, 21 May 90 10:20:00 EDT
From:         "SONGWRITER (A.K.A. TIM PHILLIPS)" 
Subject:      question about renting keyboards.

Hey Guys,

    A friend is wanting to rent my keyboards for their group, maybe on
the weekends, maybe for the entire month at a time.   My question is,
I don't know what a fair price would be to charge him.  My monthly payments
on the machine are only $58 (because I financed for 3 years), and  I don't
feel right charging him anymore than that, but at the same time, I don't
feel very right about charging him much less than that, if he is going to
rent it on a monthly period.   If he is going to rent it for just weekends,
then if  I charge over  $15 a weekend, then that is more than $60 a month...
and  I feel bad....mainly I guess, cause I Have no IDEA WHATSOEVER for a
fair price to charge.   Any suggestions??


                                                Tim Philips

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

Date:         Mon, 21 May 90 13:28:00 EST
From:         "William R(ay) Brohinsky" 
Subject:      RE: question about renting keyboards.

Tim:
are your keyboards insured for renting? If not, you'll have to consider
that if the keyboard gets zeroed, you still have to pay. Don't think
that this is a negative comment about your friend. I was in an accident
(the other guy's fault) and because of legal manouvering, I am out for
a significant part of the cost of both lost property and medical care.
In addition, If a settlement happens today, it will be five years after
the losses were incurred. Wanna pay for three years to wait two years
to maybe get reimbursed for your lost equipment?

The fact that the accident was not my fault does not negate that fact
that it happened to me, nor that the guilty party (in a 3ton dump truck)
sufferen no physical nor property damage. Bands get whacked every week
and there's no guarantee that your friend's group won't be next.

I understand your not wanting to bilk your friend, but you also have
to consider how much of a friend he/she will still be if something
happens to that keyboard and it is not properly covered.

raybro, the doomsayer

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

Date:         Mon, 21 May 90 14:03:00 EDT
From:         "John Young, Southern CT State Univ" 
Subject:      question about renting keyboards

>    A friend is wanting to rent my keyboards for their group, maybe on
>the weekends, maybe for the entire month at a time.   My question is,
>I don't know what a fair price would be to charge him.  My monthly payments
>on the machine are only $58 (because I financed for 3 years), and  I don't
>feel right charging him anymore than that, but at the same time, I don't
>feel very right about charging him much less than that, if he is going to
>rent it on a monthly period.   If he is going to rent it for just weekends,
>then if  I charge over  $15 a weekend, then that is more than $60 a month...
>and  I feel bad....mainly I guess, cause I Have no IDEA WHATSOEVER for a
>fair price to charge.   Any suggestions??

If you want your friend to remain your friend, don't rent him your keyboards.

Seriously... if you decide to rent him your equipment that is not even paid
for yet, he should not only be paying for the equipment, but ALSO for the
risk that something might happen to it.  You might want to check out the
cost of insurance (theft, damage, etc...) on the gear and include it in
the price of the rent.  Rental places around here charge between $25 and
$50 a night for a keyboard, depending on the model, so $60 a month is
quite a bargain.  So is $15 a weekend.  Besides, if he is willing to rent
your keyboard for what you are paying for it, why is he not willing to
buy his own???  I've also learned that people do not take care of other's
equipment as well as they take care of their own.  It's just human nature.

Its just my opinion, but I think the best way to stay friends is not to
let business deals get in the way.

                                        good luck,
                                        john young

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

Date:         Mon, 21 May 90 12:59:00 EST
From:         MCINTYRE@MSUPA.BITNET
Subject:      re: renting keyboards

Open answer to Tim:

First off I would say you should not base your rental fee on your monthly
payment for the instrument(s).  There is no relation between the two.  A
more rational correlation would be between what you charge him/her and
what he/she/it makes for the gig; i.e. the player should be able to pocket
some money after paying you off.  If the gig is a freebie, base your charge
on what the player would make for a normal gig unless you feel like being
charitable.

Second, be ABSOLUTELY SURE there is COMPLETE agreement between the two of you
as to  what is done in case of damage, regardless of who does the damage.
"Well, the roadies for the other band put their drinks on top of it and a few
of them got spilled but it wasn't my fault..."

Actually, unless you really need the money or the person asking is a really
good friend, I cannot recommend the practice; the chance of damage is too
great.  If you do rent your gear, don't feel guilty about asking for money;
you are earning it by putting your equipment at risk.

John McIntyre
Physics - AStronomy Dept
Michigan STate University

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

Date:         Wed, 16 May 90 13:15:00 EDT
From:         "b.klassen" 
Subject:      Speaking of D-50 mods ...

Speaking of D-50 mods, has anyone had any experience with that multitimbral
modification that's out?  I'd like to hear some feedback before I shell out
$500 US or so on the thing.

Thanks,

brian

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

Date:         Mon, 21 May 90 13:21:00 EDT
From:         "SONGWRITER (A.K.A. TIM PHILLIPS)" 
Subject:      SQ/80 patches

Greetings!

     I sent once to this list, but I received no replies, so I thought I
would try once again.  Does anyone out here have any patches for the
Ensoniq SQ/80, or konw where I can obtain some relatively inexpensively?
I am tired of the same ones over and over.   Also, once I pay the SQ/80
off, am considering purchasing another one,  how do you like the VFX, NICK?


                                                  Tim


_______________________________________________________________________________
|  Tim Phillips                                                               |
|  Box 44                                                                     |
|  Gauley Bridge, WV 25085                                                    |
|  (304) 632-2194                                                             |
|_____________________________________________________________________________|

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

Date:         Tue, 15 May 90 07:18:00 EST
From:         "William R(ay) Brohinsky" 
Subject:      C-Lab and Transcriptions

Mauro,

How does the C-Lab interface `feel' when you are doing a long transcription?
My objection to ``more MOUSE than keyboard oriented'' has always been two
fold:
	1) It always requires SOME keyboard use. This drives me nuts,
	since I suffer from the kind of concentration that sends people
	like David Avram to the roof every 5 hours to exercise...
	I also find that few mostly-mouse applications are set
	up to avoid the `drop the mouse, find the key' syndrome:
	they don't have a sensible set of keys that can be `played'
	by one hand while the other does the mouse.
	2) Despite how wonderful the mouse is for pointing, when it comes
	to dragging things from a graphic menu and placing them, it
	stinks. (Especially, IMHO, for music).

I'd be interested in your evaluation of the feel of the program.

raybro

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

Date:         Wed, 16 May 90 14:37:00 N
From:         Max 
Subject:      RE: ST midi port

>Mauro,

>How does the C-Lab interface `feel' when you are doing a long transcription?
>My objection to ``more MOUSE than keyboard oriented'' has always been two
>fold:
>       1) It always requires SOME keyboard use. This drives me nuts,
>       since I suffer from the kind of concentration that sends people
>       like David Avram to the roof every 5 hours to exercise...
>       I also find that few mostly-mouse applications are set
>       up to avoid the `drop the mouse, find the key' syndrome:
>       they don't have a sensible set of keys that can be `played'
>       by one hand while the other does the mouse.
>       2) Despite how wonderful the mouse is for pointing, when it comes
>       to dragging things from a graphic menu and placing them, it
>       stinks. (Especially, IMHO, for music).

>I'd be interested in your evaluation of the feel of the program.

>raybro

raybro:
        Well, first give me a chance to get stuck into the thing, then I
will let you know how it feels. (I'm up to my ears in paper and lab work
till the late night hours, with my wife and baby girl complaining for my
absence and my computer fuming from the overwork.......that's another story!)
        I suppose I should be able to get it all over and done with by this week
and then I'll really give it a go.................
        When you refer to the `drop the mouse, find the key' syndrome are
you talking about computer console 'keys' or musical keyboard 'keys'.... as
you (and everyone else on Emusic-l) know by now I am the crazy guy who doesn't
use a musical keyboard (or controller of sorts at that....).

Ciao for now (be patient I'll come alive on the issue soon)

-Mauro-

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

Date:         Fri, 18 May 90 07:55:00 EST
From:         "William R(ay) Brohinsky" 
Subject:      RE: ST midi port

Mauro,

The `drop the rodent, find the keys' syndrome is valid for both
kinds of keyboards. And also for other kinds of programs. I have
some PC board layout/routing and schematic-capture programs here
at work (on a Compaq) which suffer the same problem. I haven't found
a single program which is laid out so that EVERYTHING can be done
by mouse (except where EVERYTHING can not be done at all!).

Good luck on the work vs. domestic overload problem. My baby is a boy,
and our fourth child... We have them from diapers to puberty, evenly
spaced! I have to share my time with all of them, and my computer with
the two older ones. We have a rule (since they are home at 3:00, and
I get home from 5 to 6, depending on the day and how hard I flex my
hours) that they can have unrestricted access before I get home, and
then they have to beg!

raybro

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

Date:         Tue, 15 May 90 09:49:45 BST
From:         Nick Rothwell 
Subject:      SY22

>Overall it appears to be four or so waveforms
>with control of each one's amplitude, ie a digital mixer on each wave of
>the DCO...

So, does it sound any different to (say) a D-50, D-70 or VFX with
envelope control of the output level of the partials/voices/whatever?
I've not heard a vector machine, but from what you say, I don't see
why it's a step forward sound-wise (although it may be easier to set
up sequences of wave mixes and use them). I still think that a real
wavetable machine, with a large number of specially-constructed
harmonic changes between the single-cycle waves, is more interesting.
But then, I've heard the PPG, Waldorf and VFX, and not the VS or
Yahaha.

>after all, how
>long can these companies continue bringing out products with only a six-month
>lifespan?

Just as long as we keep buying 'em, pal...

		Nick.

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

Date:         Mon, 21 May 90 16:53:00 EET
From:         "J. Riitala, University of Turku,
Subject:      Tascam 644

Bzzzzzrkz!

There was some conversation about the Tascam 644 while I wasn't here to read
it... I thought I might have something to say:

Well, today I went and bought the thing! I guess I should give some reasons,
especially in the light of Patrick's (it was you weren't you - I went and
deleted the damn file a bit too early) quite negative opinions. So:

I used to have a 244. 4 tracks, 4 inputs + stereo FX return. I am running
a sequencer that can do SMPTE. So I go and stripe one track. I get three
analog tracks for funny guitars, basses, vocals, whatever, and an unlimited
number of virtual tracks (well, limited by my humble sound generators DX7 and
D110 to 3, maybe 9).  Having the three analog tracks full (of weird noises)
I wind up with only one channel left for mixing the n (read: 3) virtual
tracks. With n=3 it could be done, puttung the DX into the free channel and
getting the D110 heard through the FX returns but them I lose my Quadraverb or
I have to record it. (Why not record all the synths? Stereo synth mix takes two
tracks and SMPTE only one. I get one extra track.)

The point is I run out of channels, four just ain't enough! So I have three
alternatives: 1) get a mixer 2) get a bigger 4 track 3) upgrade more tracks
while you're at it. It sure is true that one could get an 8 track reel to reel
with a bearable extra investment (say 30%) compared to the 644 but then
there's no mixer at all! Any reasonable 16:8:2 or 8:8:2 mixer would roughly
double the total price and that's out of my league, so I've killed option
three. How about getting an extra mixer? I asked around: any good one costs
around 75% of the price of the 644. Plus I lose centralized monitoring
control.

So I made a logical choice. Got 8 inputs with full controls (2 accepting
balanced XLR - lovely for miking) and 8 line inputs (pan & volume -just what
you need for synths). Flexible signal routing. MIDI mutes & patch (routing
definitions, not volume) changes. Internal MIDI sync with song position
pointer (though I think I'll still use SMPTE since they both take one track
and I do prefer SMPTE) so you don't have to start the overdub in the beginning
of the song.

Of course if you plan to use the 4 tracker as a demo maker only and go to a
studio to do the real recording. I hardly will since I do this for myself
only without any commercial fantasies (well fantasies of course but..) and I
can have much more fun with the 644 in a few years than in the 30 hours of
decent studio time which is roughly its price. I agree it can't be quite the
same fidelity than good studio equipment but it comes damn close when used
properly.

I don't think the original question was stupid at all. And any answer is just
a personal decision of things and their values. Remember, people buy expensive
cars, too, and mostly don't get considered dumb.

                                 feel better, blew out some steam

                                                - Jari

--------------------------------------------------------------------------------
           Jari Riitala                      !   snail mail:
                                             !          Kuusiharjunkatu
     JRIITALA@KONTU.UTU.FI                   !          20660 Littoinen
     still also T6M-RIIT@MAMMUTTI.UTU.FI     !          Finland
--------------------------------------------------------------------------------
 - There's nothing to fear but the fear itself (Neil Peart of Rush)
--------------------------------------------------------------------------------

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

Date:         Mon, 21 May 90 13:41:26 EDT
From:         "David A. Roth" 
Subject:      Re:  Tascam 644 ( really about using SMPTE)

>From: "J. Riitala, University of Turku,
>              Finland" 
>Subject:      Tascam 644
>
>Bzzzzzrkz!
>
>There was some conversation about the Tascam 644 while I wasn't here to read
>it... I thought I might have something to say:
>
>Well, today I went and bought the thing! I guess I should give some reasons,
>especially in the light of Patrick's (it was you weren't you - I went and
>deleted the damn file a bit too early) quite negative opinions. So:
>
>I used to have a 244. 4 tracks, 4 inputs + stereo FX return. I am running
>a sequencer that can do SMPTE. So I go and stripe one track. I get three
>analog tracks for funny guitars, basses, vocals, whatever, and [...]

I have a TASCAM porta-02 4-track cassette and I use SMPTE with it a lot!
I don't know if you have run across this problem but I thought it
would be worth sharing with others since it caused me a lot of
problems till I got things to work.

Yes, I have 4-track but when using SMPTE I put the sync tone on track
4 and had to leave track 3 un-used as a "guard" track. I have a friend
that has the same machine and run into this same problem. After you
have filled up tracks 1 & 2 with overdubs and tried to overdub on
track 3 it would cause the sync tone to become VERY flakey making the
whole SMPTE thing unusable. I have heard suggestions to put very quiet
stuff on track 3 and it will work but this has only work some times.

I later found out that is pro studios that lock 24-track analog
machines together that they use a "guard" track.

So when I use SMPTE I have to count on the loss of 2 tracks not just
one.

I hope this is of help to others that have had these problems and sort
of gave up and to people who are considering this operation only to
find out that they have one less track to use than they thought.

David
------------------------------------------------------------------------
              _TT    /|    |~
         >====ttt===< |   O|   |~       att!osu-cis!david!david
            {_|||_}  \|       O|        	or
					n8emr!david!david
	David A. Roth
	Columbus, Ohio
------------------------------------------------------------------------

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

Date:         Tue, 15 May 90 09:59:54 +0100
From:         White Rabbit 
Subject:      Vector Synthesis

>VS was a term coined by Sequential Circuits when they introduced the Prophet
>VS. It is indeed additive synthesis with four complex waveforms; however,
>the big innovation was how you controlled the relative amplitudes of each
>wave. The VS has a joystick that you move around -- imagine one wave at each
>corner of a square; as you move the joystick around in the square, you vary
>the amplitude of the waves.

   Yeah, I know how it worked, I remember when the machine came out, but
its main innovation wasnt the synthesis method, but the user-inteface...
sorry for giving the impression I didnt know about the VS' implementation

>How well either the SY22 or the Korg WS manage to reproduce this technique
>of synthesis remains to be seen. Given what Roland is pandering as "Super
>LA Synthesis", I'm not too optimistic about VS in the '90s, but hey, I'm
>cynical about the industry in general.

  You and me both.  Looks a bit like the SY22 might just be using the
user-interface idea, going by the decription posted here: 2 PCM and 2 4-op
FM 'waves' dynamically mixed via a trackerball...


>>  When are we gonna stop getting this hype bullshit full of buzzwords and
>>numbers and get some reality back in the intrument business... after all, how
>long can these companies continue bringing out products with only a six-month
>>lifespan?

>Just as long as folks keep forking over their money so they can take home
>their very own new shiny keyboards, with the big buzzwords and numbers printed
>right on the front panels.

  I know.  Sad, isn't it?   Meanwhile people are making good music with old
analogue gear (SH101's et al) and the 'punters' are forking out thousands
for the complete 'chart success in a box wondermachine' workstation, only
to get told its obsolete in six months... Fear and delusion, delusion and
fear...


*******************************************************************************
White Rabbit : found in these burrows          *
                                               *
JANET      : sxa@uk.ac.dl.cxa                  *
Internet   : sxa%cxa.dl.ac.uk                  *   ...and the dormouse said
EARN/Bitnet: sxa%cxa.dl.ac.uk@UKACRL           *
UUCP       : sxa%cxa.dl.ac.uk@ukc.uucp         *       feed your head.
Ean        : sxa%cxa.dl.ac.uk@ean-relay.ac.uk  *
********************************************************************************




--Adam

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

Date:         Tue, 15 May 90 11:36:48 BST
From:         Nick Rothwell 
Subject:      Vector Synthesis

>It is indeed additive synthesis with four complex waveforms; however,
>the big innovation was how you controlled the relative amplitudes of each
>wave.

There was (I think, if the review is correct) another big innovation
here which I don't know if the Yamaha can match. On the VS, you can
freeze the waveform mix, take a sample of the single-cycle wave, and
use that as the playback wave for one of the oscillators, and then off
you go again, mixing and sampling and so on. The VS also accepts
sample dumps (one cycle long).  This is what appeals to me about it
(and what frightened me last week).

		Nick.

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

Date:         Wed, 16 May 90 14:05:00 EST
From:         "William R(ay) Brohinsky" 
Subject:      WX7's again

I've tried almost everyone in New England. When LaSalle (Boston) said they'd
sent theirs all back to Yamaha, I talked the salesman out of Yamaha's
phone number. They gave me the ``Consumer Hotline'' number:
(800)443-2232
John Geiger, at yamaha, said that he has none in any of his stocking
locations, including broken ones waiting to be `surplussed'.

Here's my request:
Would those of you in America check with your favorite synth store,
and if you find one that has a WX7, message me with price and
location (and phone number)?
I can be reached at (203)722-7746 (days) if someone has one for under
US$350 and won't hold it.

raybro

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

Date:         Thu, 17 May 90 16:11:00 MET
From:         Robert Belleman 
Subject:      Re: WX7's again

[...]
> Here's my request:
> Would those of you in America check with your favorite synth store,
> and if you find one that has a WX7, message me with price and
> location (and phone number)?
> I can be reached at (203)722-7746 (days) if someone has one for under
> US$350 and won't hold it.

While you're at it ... I'm also still looking for one, so could you also reply
or call me ... please ?!?

> raybro

Thanks in advance,
-- Rob

        Robert Belleman, system-manager
        the Netherlands Cancer Institute Amsterdam.
        Plesmanlaan 121,
        1066 CX Amsterdam,
        the Netherlands.

        Tel.        : (+31) 20-5122458
        Home number : (+31) 2206-1789

        ROBBEL@VAXH.NKI.NL
        PSI%02041291011::ROBBEL

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

Date:         Tue, 15 May 90 15:14:38 EDT
From:         "Kurt A. Geisel" 
Subject:      Yamaha HX-1

Ok, I posted this on rec.music.synth and got zilcho replies, so I'm
afraid I'll have to pester the Big Guns.

Does anyone know what on earth a Yamaha HX-1 is?

Any information will be greatly appreciated.

Thanks,

- Kurt
Kurt Geisel                       SNAIL :
Carnegie Mellon University            65 Lambeth Dr.
ARPA : kg19+@andrew.cmu.edu           Pittsburgh, PA 15241
UUCP : uunet!nfsun!kgeisel  "We just need to short-circuit the continuum on a
BIX  : kgeisel               5 or 6 parsec level."  - Forbidden Planet

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

Date:         Tue, 15 May 90 16:23:12 EDT
From:         Patrick Robinson 
Subject:      Re: Yamaha HX-1

>Does anyone know what on earth a Yamaha HX-1 is?

Perhaps a typo?
-Patrick

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

Date:         Wed, 16 May 90 19:21:27 CST
From:         Jason Keeler 
Subject:      Re: Yamaha HX-1

HX-1 hmm..... I dunno exactly;  What I DO know though, is that Yamaha made a
synth called the GX1 mega-synth sometime back in the 70's.  I can't tell you
anything about it though, except that it was used most notably by Keith
Emerson.       ....Jason

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

Date:         Thu, 17 May 90 08:41:00 EST
From:         "William R(ay) Brohinsky" 
Subject:      Re: Yamaha HX-1

HX-1? GX1 mega-synth? I thought Emerson called it a QX1 in the keyboard
mag interview I read some years back.

This is beginning to look like a Hee-Haw routine, where everyone tries
to tell what a word is by describing something that sounds like the
original word. Does anyone know about this thing for sure?

raybro

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

Date:         Thu, 17 May 90 09:09:00 EDT
From:         "John Young, Southern CT State Univ" 
Subject:      Yamaha HX-1

Are you sure its not a motorcycle???  :-)

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

Date:         Thu, 17 May 90 11:12:03 EDT
From:         Dean Swan 
Subject:      Re: Yamaha HX-1

The QX-1 was Yamaha's first MIDI sequencer.  It had eight outs and used
5.25" floppies.

-Dean

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

Date:         Thu, 17 May 90 15:37:32 BST
From:         Nick Rothwell 
Subject:      Yamaha HX-1

>Are you sure its not a motorcycle???  :-)

Nahh, it's a tennis racquet.

Actually I think I've heard of the HX-1, but I've no idea what it is.

...unless you mean the DX1 (the huge old flagship of the original DX5/DX7
range, a monster FM machine with poly aftertouch and a front panel the
size of a planet).

Nick.

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

Date:         Fri, 18 May 90 09:19:13 EDT
From:         kgeisel 
Subject:      Re: Yamaha HX-1

Since this is causing so much trouble, I will tell you a little more
about it.  I saw it referenced on a CD- you know, one of those cheesy
renditions of popular songs with one unknown guy and his synthesizer.
They had a bad picture of the "HX-1".  About all I could tell was that
it was huge and it had two manuals.  It went along with flowering
quotes from "critics" like, "The range of his synthesizer is amazing..."

- Kurt

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

Date:         Fri, 18 May 90 10:00:37 BST
From:         Nick Rothwell 
Subject:      Yamaha HX-1

>The QX-1 was Yamaha's first MIDI sequencer.  It had eight outs and used
>5.25" floppies.

I had a play with one of these. A real monster, built like a tank, and with
the same kind of level of intelligence. The eight outs are pretty
useless, actually, since you only have 16 MIDI channels total, regardless
of where they're routed.

Nick.

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

Date:         Fri, 18 May 90 10:29:00 BST
From:         Tony Jewell 
Subject:      HX-1 - I know what it is !!!

> >Are you sure its not a motorcycle???  :-)
>
> Nahh, it's a tennis racquet.
>
> Actually I think I've heard of the HX-1, but I've no idea what it is.
>
> ...unless you mean the DX1 (the huge old flagship of the original DX5/DX7
> range, a monster FM machine with poly aftertouch and a front panel the
> size of a planet).

I was starting to get the feeling that this was going to go on for ages -
off the top of my head I could think of the following ?x-1's:

DX-1, QX-1, RX-1, KX-1, GX-1

Who knows, there could even be a TX-1 and a CX-1 !

But an HX-1 ? Never heard of it - so I cheated, I phoned up Yamaha UK, and
spoke to some nice little secretary who thought I was completly ga-ga.

I can now reveal that the HX-1 is ... a dual manual organ (yawn)

oh well.

--

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  Tony J Jewell
  Systems OfficerCity Of London Polytechnic
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  JANET:          tonyj@uk.ac.clp.unixa                   /   \   /    /   \
  EARN/BitNet:    tonyj@unixa.clp.ac.uk                  /       /    /___ /
  EAN:            tonyj%clp.unixa@ean-relay.ac.uk       <____/  <___ /
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End of EMUSIC-L digest
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