issue10

EMUSIC-L Digest                                      Volume 54, Issue 10

This issue's topics:
	
	Dss 1 editor/lib
	efm, etc. (3 messages)
	korg 01 cd demo (2 messages)
	Korg DDD-1 editor/lib
	Korg Dss 1 Ed/lib
	KORG DSS-1, where to get sounds (4 messages)
	Matrix-6
	MICROTONAL EPS? (2 messages)
	MIDI Systems (4 messages)
	MIDImixer (2 messages)
	Need to find a line mixer
	Noise interference in Emu SoundEngine/Roland MA-12C system
	p5 update
	Roland
	Sound Card info
	Syquest drive for EPS (2 messages)
	TG-100 vs SD33 or DS33 or whatever it is (2 messages)
	the dss and me
	Wanted : D-110 patches

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------------------------------------------------------------------------
Date:         Tue, 27 Jul 1993 19:24:40 -0400
From:         peter Rothbart 
Subject:      Dss 1 editor/lib

Does anyone know of a mac-based editor/librarian for the Korg DSS-1, something
that will handle multisounds, etc?  Has anyone tried MOTU's Unisyn for the
DSS-1?  And what about Betty-Lou?

------------------------------
Date:         Tue, 27 Jul 1993 09:02:09 EDT
From:         ronin 
Subject:      efm, etc.

we seem to be converging, here, so i thought i'd flog the nag just
a little more, in the hopes either of discovering that we really
are talking about different things, or of normalizing the nomenclature...
first, i guess it would help if you explained mfm to me. i gather that the
little smileys mean that what you provided as the expansion of the acronym
was meant ironically, and not seriously. efm stands for "eight-to-fourteen
modulation", of course, not "extended fm." what is mfm?
efm encodes the data in such a way as to be able to be read within what
amounts to a 'time window' enforced by the nature of the pickup optics.
i think that this is along the lines of something you were saying earlier.
if transitions occur too rapidly, they fall outside the frequency response
of the pickup, as defined by their aperture. therefore, you don't want any
successive transitions. on a smaller scale, 1001 is ok, 0110 is ok, 0011 is
ok, 1100 is ok. 1010 or 0101 are not. in fact, the minimum time period
for the 'up' or 'down' portion of a code waveform is 3T, where T is one period
of the clocking rate (4.3218MHz). on the other hand, leaving the waveform
in one state for too many clock periods increases the probability of error
due to jitter, so an upper limit is imposed of 11T. no strings of ones or
zeroes longer than 11 clock pulses. now, you'll notice that this is about
half in agreement with your earlier discussion. on one end of the time
window (the longer end), the coding scheme does indeed specify a minimum
number of transitions per time period, keeping the 'noise level' (as you
term it) above a certain threshold. on the other end, though (the shorter
end), it also specifies a *maximum* number of transitions per time period,
providing a 'noise floor', if you will. (maybe someday we'll have a discussion
on the difference between noise and information). at any rate, the coding
scheme does not (as i understand you to have asserted) simply dictate
that there will be 'the most transitions possible'. it also places a lower
limit on that 'possible', which is greater than one transition per clock
period. sorry to be redundant, but i'm trying to make clear the distinction
between your explanation and my understanding from the literature. it's
a little subtle, but significant.
further, i am confused by your reading of my three-beam tracking discussion
as being in essence the same as your 'noise tracking' explanation. the three-
beam system does not make use of transition-rate information at all, it in fact
removes the 'noise' (the data, actually) and responds to changes in average
amplitude differential. ahh, wait a minute... i think i see how you're looking
at it. when the beams are off track, the differential changes because the
'noise' (information) levels of the offside beams diverge. the inference you
are making is that more 'noisy' information will provide a higher-resolution
differential. i think that the counter-assertion then is that as long as the
transition rate is within a certain window ( <12T ), then that requirement
is met, and the differential can be read as accurately as necessary... and
further that the transition also is subject to another limit ( >2T ), which
was not addressed by your earlier explanation.
whew. i think i'm done. i think i know what i'm saying, what you were saying,
and where the crossovers and meeting-points are. how about you?
and oh yes... i remember the pinholes. didn't the old apple drives use
them for registration?

-----------< Cognitive Dissonance is a 20th Century Art Form >-----------
Eric Harnden (Ronin)
 or 
The American University Physics Dept.
4400 Mass. Ave. NW, Washington, DC, 20016-8058
(202) 885-2748  (with Voice Mail)
---------------------< Join the Cognitive Dissidents >-------------------

------------------------------
Date:         Thu, 29 Jul 1993 07:31:26 +0000
From:         Nick Rothwell 
Subject:      Re: efm, etc.

So is this coding scheme the original meaning of PCM (Pulse Code Modulation)?

(I've never understood why synth ROM cards and the like are referred to as
PCM when AFAIK they're just sample word vectors in ROM; or are they
actually encoded in the same way within the memory words? If so, why?)

                        Nick Rothwell   |   cassiel@cassiel.demon.co.uk
     CASSIEL Contemporary Music/Dance   |   cassiel@cix.compulink.co.uk

------------------------------
Date:         Fri, 30 Jul 1993 08:02:21 GMT
From:         w.purvis@DARESBURY.AC.UK
Subject:      Re: efm, etc.

Nick wrote:
> (I've never understood why synth ROM cards and the like are referred to as
> PCM when AFAIK they're just sample word vectors in ROM; or are they
> actually encoded in the same way within the memory words? If so, why?)

This all dates back to the early days (around 1960-ish as far as I remember)
when any form of encoding was considered very new! Digital techniques were
non-existent, but a number of `encoding' schemes were explored. Pule-width
modulation was one of these - it seemed to be a good way of using the fast
switching power transistors that were appearing to replace the (relatively)
inefficient Class-A output stages in audio amps. Pulse code modulation was
discussed, but everyone said it was too complicated to ever catch on - after
all you would have to encode to at least 8 or 10 bits and that would take an
awful lot of transistors!

That was all long before the integrated circuit of course and the hardware
used in modern samplers would have been considered to be way beyond the realms
of possibility.

Bill

------------------------------
Date:         Wed, 21 Jul 1993 14:15:02 CDT
From:         "Kevan L. Moore" 
Subject:      korg 01 cd demo

A month or so ago i ordered the 01/w demo cd from korg.
at the time their 800 number was 1-800-for-korg.  i called
a few times to see the status of my order and was politely
told that there had to be at least 500 ordered before they
could ship them so they could get the bulk mail rate.

now, the 1-800-for-korg number gives me a demo line.
i still don't have the demo cd, even though my check has
been cashed for more than a month.

i'm rather irate, looking forward to a korg demo.  i've always
liked korg's sound.

any suggestions?

klm

------------------------------
Date:         Tue, 27 Jul 1993 16:48:32 MET
From:         root@SIHP03.SI.ESTEC.ESA.NL
Subject:      Re: korg 01 cd demo

> Here's a suggestion... Change your taste in synths.
> John

I really like this one .. John ..
hi hi hi .. really really like this ..one ..

and by the way welcome back in netland .. !!

and by the way part II .. I have a tiny question about Wendy/Walter ..
opsss sorry ..  couldn't resist this one .. sorry sorry .. too nasty ..

Ciao,
------------------------------------------------ENV---ENV---ENV----------------
 Andrea TONI (andrea@sihp03.si.estec.esa.nl)     |     |     |
 Planetary and Space                            VCO-->VCF-->VCA--> DUCATI 900SS
 Science Division (SI)                           |     |     |
------------------------------------------------LFO---LFO---LFO----------------

------------------------------
Date:         Wed, 28 Jul 1993 12:36:18 EST
From:         David Crocombe 
Subject:      Re: Korg DDD-1 editor/lib

I would like to know if there is a MAC based editor/librarian for the Korg DDD-1
 drum machine.

It could alternatively (but unlikely) be one that would run on my Fairlight
 C.M.I. (Computer Musical Instrument).

I would prefer to just run all sequences on the C.M.I. but the DDD-1 seems to
 have capabilities that are not all accessable via MIDI and also sometimes I
 perform live with the drum machine for backing (the C.M.I. is a bit big to lug
 around to small gigs).

David William Crocombe.
EMAIL:  david@abc.gov.au

------------------------------
Date:         Thu, 22 Jul 1993 10:10:13 -0400
From:         peter Rothbart 
Subject:      Korg Dss 1 Ed/lib

Does anyone know of an editor/librarian for the Korg DSS-1.  Not just Alchemy
or Sound Designer, but something that saves and transmits multisounds, etc.
Has anyone worked with MOTU Unisyn?  They claim it works for the DSS-1 but to
what extent?  And what about Betty Lou?  Thanks, Rothbart@Ithaca.

------------------------------
Date:         Sat, 10 Jul 1993 01:01:01 GMT
From:         Paul Shafer 
Subject:      KORG DSS-1, where to get sounds

 I need to find a source for sounds for a Korg DSS-1.
I would also like to here from someone who owns one.
How do you like it? What are it's strengths/weaknesses?
Thanks.

Paul Shafer
workhorse@caer.uky.edu

------------------------------
Date:         Mon, 12 Jul 1993 11:09:50 GMT
From:         Jan Erlandsen 
Subject:      Re: KORG DSS-1, where to get sounds

caerpds@aix3090b.uky.edu (Paul Shafer) writes:

> I need to find a source for sounds for a Korg DSS-1.
>I would also like to here from someone who owns one.
>How do you like it? What are it's strengths/weaknesses?
>Thanks.

I own a DSS-1 too.
I bought it when it was pretty new on the market, and shortly
after that, it disappeared. That is NOT a good sign...
Well, it has been true to me ever since I bought it, but
it isn't really that a wonderful machine as I thought. I've
mostly sampled drums from records, since it's difficult to
sample tuned instruments really good (not to mention FINDING
the source of a single, traight pitched instrument to sample!).
The thing about the sampling synth I've more and more become
frustrated with is the lack of panning facilities.
What's the use of sampling lost of nice sound effects when you
have to put them all in the same spot in the mix? It would
have increased the versatility and usefulness of the DSS-1
if KORG allowed the sounds/samples to be panned in the stereo
image. Separate outputs wouldn't have been too bad either.
Apart from that it's a nice but expensive instrument.

Its strength is the combination of sampler and synthesizer + the
digital delays, and the weakness is as mentioned above.

        May THe Force be with You
        Jan "Electric Cowboy" Erlandsen

------------------------------
Date:         Wed, 14 Jul 1993 08:23:27 -0500
From:         Eric Stratton Moseley 
Subject:      Re: KORG DSS-1, where to get sounds

Paul - I also have a DSS-1. The samples can be obtained through various
places. Check out magazine ads. I've seen some in Electronic Musician. The
main problem with the DSS-1 is that it's so hard to program your sounds
onto disks. You can't just mix and match your favorite sounds onto one
disk. Also, not being multi-timbral is somewhat of a drawback. I only use
mine every once in a while. I like the sounds, but it's not versatile
enough for my every-day use.

Eric

On Mon, 12 Jul 1993, Jan Erlandsen wrote:

> caerpds@aix3090b.uky.edu (Paul Shafer) writes:
>
> > I need to find a source for sounds for a Korg DSS-1.
> >I would also like to here from someone who owns one.
> >How do you like it? What are it's strengths/weaknesses?
> >Thanks.
>
> I own a DSS-1 too.
> I bought it when it was pretty new on the market, and shortly
> after that, it disappeared. That is NOT a good sign...
> Well, it has been true to me ever since I bought it, but
> it isn't really that a wonderful machine as I thought. I've
> mostly sampled drums from records, since it's difficult to
> sample tuned instruments really good (not to mention FINDING
> the source of a single, traight pitched instrument to sample!).
> The thing about the sampling synth I've more and more become
> frustrated with is the lack of panning facilities.
> What's the use of sampling lost of nice sound effects when you
> have to put them all in the same spot in the mix? It would
> have increased the versatility and usefulness of the DSS-1
> if KORG allowed the sounds/samples to be panned in the stereo
> image. Separate outputs wouldn't have been too bad either.
> Apart from that it's a nice but expensive instrument.
>
> Its strength is the combination of sampler and synthesizer + the
> digital delays, and the weakness is as mentioned above.
>
>         May THe Force be with You
>         Jan "Electric Cowboy" Erlandsen

------------------------------
Date:         Thu, 15 Jul 1993 15:20:24 +0800
From:         "Andy \"LEd~\" Chia" 
Subject:      Re: KORG DSS-1, where to get sounds

On Sat, 10 Jul 1993, Paul Shafer wrote:

>  I need to find a source for sounds for a Korg DSS-1.
> I would also like to here from someone who owns one.
> How do you like it? What are it's strengths/weaknesses?
> Thanks.
>
> Paul Shafer
> workhorse@caer.uky.edu

Hi, I'm Andy. I'd like to find out from you how u can get your dss to play
the samples after u've gotten your samples from the net. Do u use the PC
and what program do u use?

Thanks.
****====****====****====****====****====****====****====****====****====****
My Name is : Andy Chia
I'm at: National University of Singapore
What do I do?: Mechanical Engineering (Graduating Student)
Call me at:  eng00436@leonis.nus.sg
             (65) 4545901

             "Vision with Action can change the World..."

****++++****++++****++++****++++****++++****++++****++++****++++****++++****

------------------------------
Date:         Fri, 9 Jul 1993 20:23:47 -0400
From:         Roth Ritter 
Subject:      Matrix-6

Does anyone happen to know where I can pick up some patches for the Ober.
Matrix-6? (via ftp or other easy way to get'em). Thanks...

::::::::::::::::::::::::::::::::::::::::::::
::              Roth Ritter               ::
::  >>    artcrrx@gsusgi2.gsu.edu     <<  ::
::::::::::::::::::::::::::::::::::::::::::::
::  Georgia State University Art & Music  ::
::::::::::::::::::::::::::::::::::::::::::::

------------------------------
Date:         Fri, 23 Jul 1993 09:48:49 LCL
From:         Michael Vitali 
Subject:      MICROTONAL EPS?

Hi -- anybody have any experience with making the EPS microtonal?  Years ago I
had a Mirage disk operating system that enabled you to play unusual
temperaments -- is there anything analogous on the EPS (16+ Turbo in my case).
Thanks.

Michael

------------------------------
Date:         Fri, 23 Jul 1993 11:08:52 CDT
From:         Mark Borcherding 
Subject:      Re: MICROTONAL EPS?

Have you posted to eps@reed.edu? I am on that list and 3-6 months ago
some posted how to do this.

Mark

------------------------------
Date:         Thu, 22 Jul 1993 12:45:33 -0400
From:         "Larry-Hartzell (lhartzel@rs6000.baldwinw.edu" 
Subject:      MIDI Systems

To anyone out there who may have some information.
I am in charge of a small electronic music studio at a private liberal
arts college.  We currently have synths and samplers made by Ensoniq
and Yamaha, as well as a Proteus 1.  Additionally, we have various
effects processors.  Our MIDI lines run through a Yamaha MJC8 patcher
into an OpCode Studio 3 to a Mac IIci.  Except for the Ensoniq VFX all
our synths can be edited through OpCode editor/librarians.  We are at
the point where we will soon have more equipment than MIDI INs on the
MJC8.  Since I am trying to keep the studio as simple as possible for
beginning students I would like to avoid plugging and unplugging MIDI
lines.  Therefore, I feel the need to go to a patcher than can handle
more than 8 MIDI INs.  Any suggestions?  Our sequencer is MOTU
Professionl Performer, consequently I have considered that company's
patcher.  However, some people have suggested moving to Studio Vision
so that we could install OMS and use Studio 5.  Does anyone out there
have any suggestions from personal experience?  It makes more sense to
me to listen to people who actually use the equipment rather than the
people who sale it.  Thanks for your input.

Larry

------------------------------
Date:         Sat, 24 Jul 1993 09:56:31 +0000
From:         Nick Rothwell 
Subject:      Re: MIDI Systems

>It makes more sense to
>me to listen to people who actually use the equipment rather than the
>people who sale it.

This should be cast in stone somewhere. Anyway: I'd suggest Opcode software
and Studio-5 for the OMS integration, unless you are really attached to
Performer. MOTU's stance on system integration and maintenance is currently
pitiful and will stay that way until/unless FreeMIDI (i) comes out and (ii)
works.

I've just dumped Performer in favour of Vision btw, after five years with
the former. I'm still using MOTU's MIDI Time Pieces because OMS's support
for them is pretty good, but you're still stuck with MOTU's software for
programming them, and setting that up reliably is non-trivial. I would go
for Studio-5's myself but their UK price is three times the US price, and
they're 2U high rather than 1U which is a disadvantage for me. The
Studio-4's in the field are not yet reliable for networking use and don't
have onboard patching, but you might want to check out these with the
latest firmware.

                        Nick Rothwell   |   cassiel@cassiel.demon.co.uk
     CASSIEL Contemporary Music/Dance   |   cassiel@cix.compulink.co.uk

------------------------------
Date:         Tue, 27 Jul 1993 14:41:15 EDT
From:         James R Black 
Subject:      Re: MIDI Systems

>
> I've just dumped Performer in favour of Vision btw, after five years with
> the former. I'm still using MOTU's MIDI Time Pieces because OMS's support
> for them is pretty good

        Can you operate it in FAST mode with OMS?

------------------------------
Date:         Thu, 29 Jul 1993 07:32:14 +0000
From:         Nick Rothwell 
Subject:      Re: MIDI Systems

>        Can you operate it in FAST mode with OMS?

Yes.

                        Nick Rothwell   |   cassiel@cassiel.demon.co.uk
     CASSIEL Contemporary Music/Dance   |   cassiel@cix.compulink.co.uk

------------------------------
Date:         Mon, 12 Jul 1993 09:44:11 +0100
From:         H6228SIP@HUELLA.BITNET
Subject:      MIDImixer

Hi !

Does anybody know about a 16 channel, cheap MIDI mixer ? It would be enough
to control the faders, pans and effects with MIDI. Or, I could use a schema
of a good digitally controlled potenciometer.

Attila Sipos
h6228sip@ella.hu
Hungary

------------------------------
Date:         Mon, 12 Jul 1993 18:02:00 EDT
From:         John Rossi III 
Subject:      Re: MIDImixer

Peavey makes just the ticket.  As I recall, you can get them for less than $200
and they do an amazing amount of MIDI fader control.

John

------------------------------
Date:         Fri, 2 Jul 1993 12:07:08 -0500
From:         Arne Claassen ISE 
Subject:      Need to find a line mixer

I've been looking around music stores in my area, trying to find a good
line mixer for my purposes of MIDI music. So far I've only found one mixer
that was really what I needed. A Peavey 8 channel board, which was line and mic
input, for about $395. If anyone could give some pointers towards good mixers
i'd much appreciate it. These are my needs:

1) 8 or more mono channels (could be line and mic, but only need line)

2) At least a three band EQ for each channel.

3) Volume sliders, not knobs (disqualified the entry level Mackie for me)

4) at least two FX sends/returns

5) optional: external power supply

That's pretty much it.
Thanks...

--
--------------------------------------------------------------------------
|Arne F. Claassen                            |
|                                                     |
| "It is by my will alone I set my mind in motion"                       |
--------------------------------------------------------------------------
.

------------------------------
Date:         Sun, 11 Jul 1993 21:07:08 -0500
From:         Betty Aune 
Subject:      Noise interference in Emu SoundEngine/Roland MA-12C system

I recently purchased the Emu Sound Engine (a General MIDI music module) and the
Roland MA-12C powered speakers. I hooked the RCA audio outs from the SoundEngine
into the line inputs on the MA-12C speakers. Everything was okay up to this
point. But then I connected the cable from the Sound Engine's built-in MIDI
interface to the Mac's modem port and all hell broke loose! There was an
extremely annoying hum coming out of the speakers and even more bizarre-when I
moved my mouse, a high pitched buzz came out of the speakers. When I
disconnected the cable from the SoundEngine, everything was quiet again.
Also, when I disconnected the audio cables from the Roland speakers and plugged
them into my home stereo, the hum disappeared.

So obviously, there is some kind of interference problem, and it only seems to
occur when I am using the built-in MIDI interface port and have the audio outs
connected to the Roland speakers. What can be done to alleviate this situation?



(Please send replies directly to the address above.. thanks)



--------------------------------
Betty Aune, Disability Services
University of Minnesota
Email: aunex001@staff.tc.umn.edu

------------------------------
Date:         Wed, 14 Jul 1993 14:38:02 EDT
From:         ronin 
Subject:      p5 update

you may remember my saying that my prophet 5 was choking, and wondering
if it might be the midi getting confused by multiple channel data
(or my midi clock, which was nick's suggestion). well, i was plowing through
my old EMs, and found a november '87 service clinic column which says that
the factory midi retrofit (which is what i got from wine country) puts
a bit of a strain on the power supply, which requires a slight modification
(the addition of a diode) in order to handle it. thank you, alan gary campbell,
wherever you are. no thanks to wine country, who had no clue.

-----------< Cognitive Dissonance is a 20th Century Art Form >-----------
Eric Harnden (Ronin)
 or 
The American University Physics Dept.
4400 Mass. Ave. NW, Washington, DC, 20016-8058
(202) 885-2748  (with Voice Mail)
---------------------< Join the Cognitive Dissidents >-------------------

------------------------------
Date:         Fri, 9 Jul 1993 12:03:25 CDT
From:         Bill Parrill 
Subject:      Roland

Does anyone know if Roland has an Internet ID?  Thanks!

Bill P.
bparrill@vnet.ibm.com

------------------------------
Date:         Tue, 13 Jul 1993 12:20:27 GMT
From:         Martin Rootes 
Subject:      Sound Card info

Dear All,

    Just a quicky, I'm looking at changing from my current ST setup to a PC
setup (almost definately a 486). What I'd like to know is information on the
various soundcards and midi cards on the market. I definately need midi but I'd
also like to explore things like Csound etc. Is there any info out there
available via annonymous ftp? Or any kind soul willing to give me a quick run
down of available cards? Ideally I would like a sound card with 16bit stereo
(16A/D as well as D/A, although 12 would do on A/D).

    Thanks for your help

    Martin.






------------------------------------------------------------------------------
Martin Rootes - Senior Systems Programmer/Analyst, Sheffield Hallam University
Email :         M.Rootes@shu.ac.uk
------------------------------------------------------------------------------

------------------------------
Date:         Thu, 22 Jul 1993 16:33:21 ADT
From:         Alan Edwards 
Subject:      Re: Syquest drive for EPS

> Does anyone have experience with an EPS Classic (or later) and a SCSI Syquest
> drive?

yup. thats me.

> Does it work, any particular model?

I have an old EPS with SCSI/4*memory card from Maartists, and it works fine.
   [ ya ya metlay...I know...I meant the _CARD_ works fine ;-| ]
They suggest using SCSI id 2 for the drive. I have heard that not all SyQuest
drives work with the EPS. Mine is a Powerdrive from Hard drives international.
I have tried other models (don't recall names) with no trouble, though.

> Other noteworthy things about EPS's and that type of removable media.

The drive has to be turned on first, and up to speed before the EPS is
powered up. I have not done much exchanging of disks while running.

> I plan to use the Syqyest for both the Mac
> and the EPS, although not at the same time, i.e. different cartridge formatted
> either Mac or EPS, not partitioned for both.
>
good idea. People have claimed that you can run them all together, but I
think that it would take a fair amount of Magic (woojie-woojie) to do that.

Good luck,

Alan

------------------------------
Date:         Thu, 22 Jul 1993 14:12:22 -0500
From:         Arne Claassen ISE 
Subject:      Syquest drive for EPS

I'm going to be putting a 44 MB syquest drive in the 5-1/4" bay of my Centris
650, and hooking my EPS to the Mac via SCSI.

Does anyone have experience with an EPS Classic (or later) and a SCSI Syquest
drive? Does it work, any particular model? Other noteworthy things about EPS's
and that type of removable media. I plan to use the Syqyest for both the Mac
and the EPS, although not at the same time, i.e. different cartridge formatted
either Mac or EPS, not partitioned for both.

Any help is greatly appreciated.
Thanks.

--
--------------------------------------------------------------------------
|Arne F. Claassen                            |
|                                                     |
| "It is by my will alone I set my mind in motion"                       |
--------------------------------------------------------------------------
.

------------------------------
Date:         Thu, 22 Jul 1993 08:30:17 CDT
From:         "Kevan L. Moore" 
Subject:      TG-100 vs SD33 or DS33 or whatever it is

I'm torn right now between getting the cheap TG-100 and
a more-expensive cheap roland SD33/DS33 whatever it is.

Any ideas? on:

    1) user interface comparisons
    2) how easy is it to change voices live in a multi-tibral setting
      (like an eps, you can turn on/off 1 of 8 voices on the fly)
    3) sample quality (like, lower octaves in the piano)
    4) i have a stereo chorus.  would a TG-100 thru the chorus
        be just as good as the roland?
    5) is reverb mix independent on each instrument in a multi-timbral
        setting?

i've heard the roland, i'll hear the TG100 tonight; just requesting
info from somebody who's worked with either/both & your opinions.

thanks.

klm

------------------------------
Date:         Fri, 23 Jul 1993 15:39:43 +0200
From:         Kalev Tiits 
Subject:      Re: TG-100 vs SD33 or DS33 or whatever it is

in my opinion, tg-100 user interface sucks (is rather inconvenient,
to put it nicely). sounds are ok if you can generally stand yamaha
sample-based machines sounds. sound a lot like some other yamaha
cheapish boxes like tg-33 for instance. i find them usable and the
selection is fair but quality leaves a few things to be wished for.
like clarity for instance. it is not a bad little unit though
considering its price, especially if you find use for the host
computer serial connection and if you can live with the user
interface. i would like to know if tg-100 is a 16-bit thing because
it kinda sounds like 12 or so to me. (and at what sampling rate)
anybody know?

kalev tiits

------------------------------
Date:         Wed, 14 Jul 1993 14:23:32 EDT
From:         ronin 
Subject:      the dss and me

yeah, i've got one of those. hrmph.
the blasted thing's just too expensive to unload for what it's actually
worth and recoup my investment in it, so i hang on to it. besides,
i actually kind of like the keyboard itself, so it's my main controller.
also, it's got that korg joystick, which generates breath controller.
everything sounds the same on it. something about those filters gives
everything the same sort bell-like tonality, a kind of fixed resonance.
the output filters suck, and don't seem to track. the akai s612 doesn't
alias. the dss does, and badly. shift down a few notes and squeeeeeee,
way up there, is that damn noise. it's operating system is horrifying,
and makes the process of sampling, editing, and assembling so difficult
that i basically don't do it, unless i absolutely have to. i'm writing
my own editor for it, and hope to clean up some of that just by making
an usable interface. but the memory management bites... you absolutely
have to save your samples to disk as you make them. you can't just let
them lounge around in memory like on the akai s900. again, i hope
i can augment that functionality with the offboard cpu, and basically
just use the dss as a finished-edit repository. i like the harmonic
synthesis tool. the basic-patch synthesis engine is cute, and i'm
a sucker for onboard delays. oh yeah, one more gripe... the sampling
rate selection is really limited, so you can either get reasonably clean
samples that won't shift up very far, or you can play with grunge.
speaking of which, the output dac is really noisy. and the output amps
are too low power.
so basically... blecch. but nobody i know's got anything i'd trade
it for, so i keep it.

-----------< Cognitive Dissonance is a 20th Century Art Form >-----------
Eric Harnden (Ronin)
 or 
The American University Physics Dept.
4400 Mass. Ave. NW, Washington, DC, 20016-8058
(202) 885-2748  (with Voice Mail)
---------------------< Join the Cognitive Dissidents >-------------------

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Date:         Mon, 12 Jul 1993 10:05:06 +0100
From:         H6228SIP@HUELLA.BITNET
Subject:      Wanted : D-110 patches

Where can I find a good ftp source with Roland D-110 patches ?

Attila Sipos
h6228sip@ella.hu
Hungary

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End of the EMUSIC-L Digest
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