issue15

EMUSIC-L Digest                                      Volume 61, Issue 15

This issue's topics:
	
	*** CARDS *** (2 messages)
	*PICK A CARD* (3 messages)
	Akai S01 sampler- any comments? (3 messages)
	ASR-10 Questions
	CMS 401 PC MIDI INTERFACE
	CPU and MIDI performance
	Diference between Korg X3 and 01/wfd (2 messages)
	Dream GMX-1 Midi Sound Module
	Drum Triggers
	Dumbass Godforsaken D-70's. (3 messages)
	Good Drum, Synth Expressiveness
	MIDI controlled slide projection (4 messages)
	My pc is freaking (2 messages)
	Networking Macs
	Orchid Soundwave ROM Upgrades
	Peavey DPM 4 ?!!?
	Proteus....
	Quadrasynth mini-review... (5 messages)
	request recommendation for percussion machine
	Roland JUNO-106
	Roland PG-200 Programmer for MKS-30 PlanetS
	Roland S-10/220 Storage Medium
	SoundBlaster MIDI basics? (2 messages)
	Vocalist-II

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------------------------------------------------------------------------
Date:         Thu, 17 Feb 1994 09:03:27 +0000
From:         Buchanan Blake 
Subject:      *** CARDS ***

Could anybody give me advice on memory cards that can adapt to
a ROLAND D5. I have been told that some cards that run on ROLAND D10's
and D20's are compatible.
I am shit bored with the sounds already on the D5 so any help would be great.
(I am only interested in ROM cards as I am skint)

hnd205@dcs.napier.ac.uk
(scotland)


thanks!!!!!

------------------------------
Date:         Thu, 24 Feb 1994 18:00:11 +0100
From:         Dimitri Van De Ville 
Subject:      Re: *** CARDS ***

On Thu, 17 Feb 1994, Buchanan Blake wrote:

> Could anybody give me advice on memory cards that can adapt to
> a ROLAND D5. I have been told that some cards that run on ROLAND D10's
> and D20's are compatible.

I'm quite sure that you can use memory cards of the Roland D20.
Personally I obtain a D20 (it's not my best synth) and I have the three
first cards :

 PN-D10-01  :  New 'synthesizer' alike sounds
 PN-D10-02  :  Nice new drumsounds
 PN-D10-03  :  More imitation sounds

> I am shit bored with the sounds already on the D5 so any help would be great.
> (I am only interested in ROM cards as I am skint)

I'm quite bored of my D20 , even with cards ! ;) But happily, my Yamaha
TG77 can bring some joy.

Bye!
        * Dimitri


------------------------------
Date:         Tue, 22 Feb 1994 10:36:40 +0000
From:         Buchanan Blake 
Subject:      *PICK A CARD*

Hello,
Could anybody please recommend a suitable memory card that would be
compatible with a ROLAND D5. I have been told that some ROM cards for the
D20 re compatible. I am after specific sounds like ACID, TECHNO and the
like. Any help would be good.
All the best.................

buchanan blake
hnd205@dcs.napier.ac.uk

------------------------------
Date:         Wed, 23 Feb 1994 13:29:02 GMT
From:         Kon Wilms 
Subject:      Re: *PICK A CARD*

In article  Buchanan Blake
 writes:
>Date: Tue, 22 Feb 1994 10:36:40 +0000
>From: Buchanan Blake 
>Subject: *PICK A CARD*

>Hello,
>Could anybody please recommend a suitable memory card that would be
>compatible with a ROLAND D5. I have been told that some ROM cards for the
>D20 re compatible. I am after specific sounds like ACID, TECHNO and the
>like. Any help would be good.
>All the best.................

I had a D5 many years ago and the D20 ram card M256d?? works fine in it.
In fact it even loads most of the patches (but not sequences I dont think)
off a d20 card. I use a mate's d20 cards on my d5.

As for acid and techo - program em yourself. Sine and raw waves are the
best places to start. Just assign the filter to the mod wheel, use two
oscillators slightly detuned and away you go!

Later
                             ToneDEF Productions

                        Raytracing, MIDI productions
                   email/fax us for your game productions!

                             Fax ++27-41-38-2061

------------------------------
Date:         Wed, 23 Feb 1994 21:29:34 -0500
From:         "Jamie M. Hodge" 
Subject:      Re: *PICK A CARD*

>                             ToneDEF Productions
>
>                        Raytracing, MIDI productions
>                   email/fax us for your game productions!
>
>                             Fax ++27-41-38-2061

Is that ToneDEF as in the Jungle label!? .. if so, I'd really like to try and
get a some of your catalog.. my buddy JJ Jellybean in Chicago gets ToneDEF cuts
and I really dig 'em.. My number is (914)451-3304.. I'm a +8 recording artist,
and Dj alot.. Cheers..
      **
   ********
  **********
  **********
   ********
      **Born Under A Rhyming Planet
        +8 Records, Chicago, Il.
       +--------------------------------------------------------------------+
       | Respect to da Chicago Hardcore Authority as they dominate the year |
       |1994.. Jason Berry, Aaron Stigberg, and da Phantom + the bad girls  |
       | Su, Candice, and Sara.. And we hear ya Dave, way out der in Cisco..|

+--------------------------------------------------------------------+

------------------------------
Date:         Tue, 1 Feb 1994 17:22:49 -0800
From:         Adam Schabtach 
Subject:      Re: Akai S01 sampler- any comments?

>Anyone have first hand experience with the Akai S01 sampler they care to share?
>
>I'm considering buying one (used for $600).

I considered the same purchase recently. I lost interest in the S01 when I
found out that it has only one output (i.e. mono, no stereo) and a max.
sampling rate of 32kHz.

--Adam

Adam Schabtach                                       nebulous@netcom.com
"The instant you speak about a thing, you miss the mark."

------------------------------
Date:         Wed, 2 Feb 1994 09:38:58 GMT
From:         Philip Jones 
Subject:      Re: Akai S01 sampler- any comments?

Hi all,

As far as I can see the best sampler to buy at the moment from a price to
function ratio is the Roland S760. This sampler is around $1700 and gives
16 bit stereo sampling at 41.1kHz and 48kHz, has four assignable outputs,
24 voice polyphony, is only 1U high and via built in SCSI interface can read
S1000 etc files. An additional board for around $300 also allows the sampler
to be connected to an RGB monitor and mouse to facilitate easy editing etc.

All in all better than anything Akai has to offer for a similiar price

Bye Bye
Phil Jones (pj02@ee.ic.ac.uk)

------------------------------
Date:         Thu, 3 Feb 1994 11:41:23 +0000
From:         Nick Rothwell 
Subject:      Re: Akai S01 sampler- any comments?

>I'm considering buying one (used for $600).

Waste of money IMHO: limited sample RAM, floppy storage only (no SCSI), no
stereo samples, only a single audio jack out, programming by 7-segment
display.

Our sycophantic local music press loved it, but I don't see any point to
it; look for a second hand Peavey SP/SX combination instead.


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

------------------------------
Date:         Mon, 31 Jan 1994 22:31:48 PST
From:         Vic Icasas 
Subject:      ASR-10 Questions

Subject: Need help with Ensoniq servicing

I've got a couple of questions about the Ensoniq ASR-10 keyboard ... I recently
 bought one from Tsang Fook Music in Hong Kong (lousy service!) and upon arrival
 (BTW, I live in the Philippines) found out that the darn thing was operating
 intermittently. (i.e. turning on the power sometimes gets nothing but garbage
 on the screen) Sent it back to them, of course, but they sent it right back to
 me saying that it worked perfectly.

It still acts up from time to time, but I've found that if I don't move it
 around too much, it works fine. Obviously, something's loose, but who can I
 turn to in this part of the world for help? I really don't want to rely on the
 bozos who sold me the thing.

And in a similar manner, I also would like to upgrade the internal system BIOS
 to the new version, (and maybe eventually install the SCSI controller, digital
 I/Os, and multiple outs) but am considering shipping the keyboard to the US for
 the upgrades only as a last resort. Do I have any other options?


Vic Icasas / Manila, Philippines
Tel: (632) 842-3906 or (632) 842-3909
Fax: (632) 87-88-97
FIDO: 6:751/399.9
Internet: vic.icasas@p9.f399.n751.z6.fidonet.org
--
uucp: uunet!m2xenix!puddle!6!751!399.9!Vic.Icasas
Internet: Vic.Icasas@p9.f399.n751.z6.fidonet.org

------------------------------
Date:         Thu, 24 Feb 1994 13:25:59 GMT
From:         "JOHN D. HEBENTON" 
Subject:      CMS 401 PC MIDI INTERFACE

I bought a CSM 401 MIDI Card a few years ago. It was a 16 Channel affair and
it was fine. However I now want to upgrade to 32 channels. CMS have gone bust
and so I now can't get the EPROM and new lead which constitute as the upgrade.
I was told that it didn't work well anywas as it wasn't MPU Compatible, but
Cakewalk comes with a driver for it, so does anyone have a CMS 402 II and an
EPROM Programmer ?

------------------------------
Date:         Mon, 28 Feb 1994 08:28:43 GMT
From:         "Steven D. Bramson" 
Subject:      CPU and MIDI performance

HARRY HAECKER writes ...

About the MIDI slowdown problem...I'm a bit fuzzy on the relationship
between
the 31K bit-rate and your CPU clock rate: how can you tell if the limiting
factor is the CPU or MIDI baud?      I've been holding off on ever buying
a 486 just for music, since MIDI can send info just so fast- and that's
all.
My more complex cut/paste operations would be calculated faster, but so far
that's not a problem.

---------

IF your PC is doing nothing but MIDI comms (ie no graphics diaply) then a
4.77 MHz 8088 is fine.  As soon as you want a real time graphical diaply,
particularly in Windows, and even more particularly with on the fly
notation, you need much more CPU.  I was using a 16 MHz 386DX for some time
which was borderline.  Cakewalk 1.0 was fine, Cubase 1.0 worked just about
but Recording Session was hopeless.  I now have a 33 MHz 486DX which is
what I would recommend for a minimum sensible purchase for a desktop system
to run Windows applications.

 Steven D Bramson    Data Management Group   JET Joint Undertaking
 Abingdon     Oxfordshire              OX14 3EA     United Kingdom
 E-mail sdb@jet.uk   Voice 0235 465 013           Fax 0235 465 399
------------------------------------------------------------------
 JET is Europe's fusion research project
 Disclaimer: Any views expressed are mine and do not represent those of JET

------------------------------
Date:         Tue, 1 Feb 1994 09:25:36 GMT
From:         Philip Jones 
Subject:      Re: Diference between Korg X3 and 01/wfd

Alper Kerman wrote:

>Korg X3 is a cross between Korg M1 and Korg 01/Wfd.<  ?????
>They've
integrated the sounds of M1 and the sequencing, wave shaping
capability of 01/Wfd into one unit.  From what I understand,
it is meant for market who previously loved M1 sounds, and
yet suffered from a lack of a built in sequencer.
>

As far as I can tell my M1 has a sequencer and I think all the other M1's
in the world probably have one too!!

>If you need more info on Korg 01/Wfd, just let me know!

                                The Young Turk
>

Just don't ask the Young Turk for info on anything other than the
Korg 01/Wfd cos he might tell you a load of .......

Phil Jones (pj02@ee.ic.ac.uk)

------------------------------
Date:         Tue, 1 Feb 1994 10:38:24 -0500
From:         Alper Kerman 
Subject:      Re: Diference between Korg X3 and 01/wfd

> >Korg X3 is a cross between Korg M1 and Korg 01/Wfd.<  ?????
> >They've
> integrated the sounds of M1 and the sequencing, wave shaping
> capability of 01/Wfd into one unit.  From what I understand,
> it is meant for market who previously loved M1 sounds, and
> yet suffered from a lack of a built in sequencer.
> >
>
> As far as I can tell my M1 has a sequencer and I think all the other M1's
> in the world probably have one too!!
>
> >If you need more info on Korg 01/Wfd, just let me know!
>
>                                 The Young Turk
> >
>
> Just don't ask the Young Turk for info on anything other than the
> Korg 01/Wfd cos he might tell you a load of .......
>
> Phil Jones (pj02@ee.ic.ac.uk)
>

If I've made a mistake about Korg M1s, I'M SORRY!...
I'm not familiar with M1s, nor am I familiar with X3s!...
I was merely transfering the information that I've received
from a sales rep. when I saw and asked him about the X3.
That's why at the beginning of my previous posting first thing
I said was; "I can tell you what little I know;" which turns
out to be incorrect anyway!...May be he was new, or just
didn't know much about Korgs, I don't know!  But anyway, I
sincerely apologize if I've offended anyone who owns
a Korg M1.

Also, my special thanks to Phil Jones for noticing this
misleading information in my previous posting.

                                Take care,

                                The Young Turk

------------------------------
Date:         Sat, 19 Feb 1994 20:24:23 +0000
From:         Paul McGettrick 
Subject:      Dream GMX-1 Midi Sound Module

The RS232C socket on this module is described in the specifications as-

RS232C line: transmit real time, set tempo.

Can a pedal be inserted into this socket for the purpose of marking the
beat in real time transcription as, for example, in Finale 3.0.1a ?

Thanks in anticipation,
Paul McGettrick
arar6013@iruccvax.ucc.ie

------------------------------
Date:         Mon, 28 Feb 1994 17:18:48 GMT
From:         Andy Farnell 
Subject:      Re: Drum Triggers

Re: Physical modelling/synthesis for expressive drum sounds

David Chandler(chandler@nethost.multnomah.lib.or.us) writes:

> Has anyone else explored
> building their own drum (trigger device)?  I am making a single drum with
> all twelve triggers mounted on various areas such that hitting (with
> hands) different parts of the drum results in different levels (velocity
> sensitive triggers here) of multiple simultaneous triggers.  I'm using
> crosstalk to its' advantage!  A center-of-head hit has a very different
> mix of timbres than a side-slap or rim-slap (left and right rim slaps are
> tuned differently, too!)

If you've got quite a bit of time and energy try this, I have done some
experiments and so far the results are pretty mental. You dont have to be
a math head or programmer like me to understand the powerful concept but
it takes a little thinking about.

Real time control is all about mapping a set of performance data onto a set
of parameters of the synthesis system. The performance data describes a 'space'
(if you like, each performance parameter is a dimension and the space contains
all of the possible ways of playing the instrument). The performance matrix
is what is derived from the physical instrument and the performace space
exists 'inside the synthesiser' It is really all about how much information
you are communicating to the synthesiser.
In your case you have 12 one dimentional instruments all running in parallel.
The next logical step is goes like this...
You need to know exactly where on the skin the drum is hit and how hard, this
forms the 'performance matrix'.

The matrix is 3 dimentional if viewed as a plane (the drum skin) multiplied
by a velocity.  - You need this if you want a drum that is asymetrical, like
a snare that is tuned higher at one side or a tabla with pressure at one side
of the skin.

If you dont mind a simpler model you can reduce your dimentions to 2, velocity
and distance from the centre point.


So what are these dimentions really and how does it work in practice?

Well, the dimentions are midi data, and you can have as many as you like
almost by using midi controller values.

Here is a plan of the skin

               -----             This is supposed to be a circle showing
             --    --            three sensors placed at 120 degrees from
          --    *     --         each other.
         -              -
         -              -
          -- *      * --
            --      --
               ----

This is all you need. Now the first hard bit is to map the relative levels from
each sensor to your performance matrix. Perhaps you could do something like this
in MAX, but I have tried stand alone programs. For the simple model above you
compute the average of the relative levels of any two sensors from the remaining
one. This tells you how far from the center you are (when you are in the middle
all the values are the same) Using this value you need to normalise the
velocity (this discriminates a gentle tap close to a sensor from a hard tap
far away by taking into account the values from the other sensors).

Now you have two values in your 'matrix'. Map the velocity to volume
and the second to:

1) filter cutoff - a snare that sounds sharper in the middle
2) mix of odd and even harmonics - a snare with a realistic tone
   change across the skin
3) tuning - you know what I mean ... etc.

Advantages:

12 sensors to get one sound is going to eat up your polyphony, this
method uses only one voice but modifies it using controller data.

Can be extended to really complex performance spaces, try:

 1) A 3D mapping of XY skin coordinates and velocity to tuning
    volume and timbre, a lovely snare which sounds different
    everywhere you hit it.

 2) Use a decent analogue synth with ring modulation to make cowbells
    and metal percussion that has very expressive performance (use matrix
    values to control mix ratio, frequency of one or more inputs and level
    of sidebands.

 3) Extend your performance dimensions using:

       i) magnetic (hall effect) transducers under the skin to detect position
      ii) air pressure sensors inside (sealed) tabla to get skin bends

Good tip:  Think about the sound you want and how to control it. Program the
sound or get all the samples together and assign them to acheive the minimum
possible performance dimensions that can carry the expression. Now design
your mapping functions to reduce the data set from the sensors. This way round
always seems easier to me than working it the other way about.


Andy J Farnell
Music technology research
Computing and Cognition
Dept. Applied Computing and Electronics
Bournemouth University
England

------------------------------
Date:         Fri, 25 Feb 1994 10:57:38 -0800
From:         metlay 
Subject:      Dumbass Godforsaken D-70's.

>Mike Metlay writes:
>>
>> Glad to as soon as my fever comes down and my brain unfuzzies. Word to
>> the wise...don't play in your studio if you're not thinking
>> straight. I just barfed the brains out of my D-70 and I think I've
>> lost a fair chunk of patches (unless of course those backups DID work).
>
>So what's the problem?  Just find an ftp site and get some new ones...   :-)
>
>brian good
>bgood@sundagger.lerc.nasa.gov

NOT! The D-70 can actually lose part of its OS if memory is
mishandled; the machine can literally dump the stuff it needs to
function properly out the MIDI port and not be able to get it back the
same way. This makes resurrecting a dead D-70 a very novel experience,
best left to Roland themselves.

Yes, it was a good joke, Brian, but it was also a good opening for a
D-70 gritch. ;->

--
   mike metlay    |
   atomic city    | QUOTE OF THE WEEK: From Joe McMahon, moderator of EMUSIC-L:
  p.o.box 81175   |
pgh pa 15217-0675 |         "Whee! "
metlay@netcom.com |

------------------------------
Date:         Fri, 25 Feb 1994 16:36:01 -0500
From:         Brian Good 
Subject:      Re: Dumbass Godforsaken D-70's.

>
> >Mike Metlay writes:
> >>
> >> Glad to as soon as my fever comes down and my brain unfuzzies. Word to
> >> the wise...don't play in your studio if you're not thinking
> >> straight. I just barfed the brains out of my D-70 and I think I've
> >> lost a fair chunk of patches (unless of course those backups DID work).
> >
> >So what's the problem?  Just find an ftp site and get some new ones...   :-)
> >
> >brian good
> >bgood@sundagger.lerc.nasa.gov
>
> NOT! The D-70 can actually lose part of its OS if memory is
> mishandled; the machine can literally dump the stuff it needs to
> function properly out the MIDI port and not be able to get it back the
> same way. This makes resurrecting a dead D-70 a very novel experience,
> best left to Roland themselves.

So Nick Rothwell explained.

> Yes, it was a good joke, Brian, but it was also a good opening for a
> D-70 gritch. ;->

Always glad to play the straight man.

brian good

------------------------------
Date:         Sat, 26 Feb 1994 16:32:17 -0500
From:         Bob Ceely 
Subject:      Re: Dumbass Godforsaken D-70's.

Hi - I was one of Bob Ceely's students (I happen to be reading
email with him) - I've replaced my D& D70 ROMS because the early
rev 1.0.X versions were buggy (and also had MIDI delays).  This
is not hard to do - also, there is a new motherboard (oops)
motherboarsd that offers a big improvement.  If you want more
info you can email me as robert@osf.org.

(Rob DiCamillo)

------------------------------
Date:         Sun, 27 Feb 1994 13:58:47 CST
From:         John Eichenseer 
Subject:      Good Drum, Synth Expressiveness

>Absolutely not, IMHO. Percussion was the first casualty of the sample-based
>convenience revolution, and it's way past time things moved back, such that
>synthesised percussion could be really expressive, like conga, tabla,
>marimba and so on.

Hell, I can't wait for physical modelling to come up to speed... meanwhile,
though, the K2000 has some of the best drum sounds out there, as they
respond to dynamics more and better than any others I have heard. I guess
that with all the filtering possibilities and so on, there are umpteen ways
to modulate the sound over, say, velocity, and simulate some of the
acoustical properties of a physical drum. Their rok drumz are pretty good,
d00d, but really its the incidental percussion (timbales, shakers, bongos,
etc) that benefit most from a bit of VAST...

The nice thing is that a LOT of the drum sets I have heard on the K2k make
use of this dynamic processing to lend realism and variety to the sounds.
Makes a big difference. Even on a TR808 kit, say.

Ain't the real thing, but shore beats a dead sample. Actually, this points
to an interesting issue - one of the great things about the K2k is that
most of the people who take the time to program it actually USE the
capabilities of the synthesis engine to do subtle or dramatic things to the
sound. I use a combination of my own sounds and other folks' sounds
(usually tweaked), so I am glad that other programmers bother to add
dynamic processing and interesting stuff to their patches.

All the capabilities are no use if we don't USE them, y'see. I guess that
sample players have historically suffered from staticism more than any
other genre of synthesizers. Mehopes this is changing, and I think it is.

Cuz dig, I don't have the time to meticulously program every sound that I
use, and moreover it doesn't make sense for me to do so. I would rather
build incremetally on the occasionally excellent work that others have
already done. And so what it amounts to is this: if Other Folks' Sounds are
expressive, and make use of a particular synths capabilities, and allow me
to modulate and change the sound as I perform with it, then I am much
better able to make use of that sound, make it sound like me, turn it into
a unique piece, than if that OFS was just a static, cut-n-dried sound (even
a good one). So, more expressive sounds means I have to go through less
grief trying to change them to fit what I am doing.

Of course, I screw around with them endleessly anyway... :)

Enough, this started as a post saying, "The k2k has good drums" - and I
keep adding to it. I better shove it out the door and get on wit' mah life,
such as showing off all my blinking lights to a member of the opposing
gender. Funny, they never seem as impressed as me... :)

"betternbetternbetternbetter..."

-jhno

Delicate Ear
eichen@trilogy.com

------------------------------
Date:         Mon, 7 Feb 1994 12:55:28 -0500
From:         Ben Neill 
Subject:      MIDI controlled slide projection

Does anyone have information regarding MIDI control over slide projectors?
 Iwant to be able to use continuous MIDI controllers to control the
brightness of the lamps and on/off MIDI controllers to advance/reverse the
projectors.  Any ideas will be appreciated.

------------------------------
Date:         Tue, 8 Feb 1994 21:56:34 +0000
From:         Simon Kunath 
Subject:      Re: MIDI controlled slide projection

In article 
           beneill@PANIX.COM "Ben Neill" writes:

> Does anyone have information regarding MIDI control over slide projectors?
>  Iwant to be able to use continuous MIDI controllers to control the
> brightness of the lamps and on/off MIDI controllers to advance/reverse the
> projectors.  Any ideas will be appreciated.
>
--Sayy that's a good idea,I'd be interested in what you turn up.There are
various MIDI>light controller boxes around quite cheaply,but I would imagine
finding a compatable projector is the real problem....
MIDI I know abot projectors zilch..
Good luck,
      Simon
--
***************************************************************************
* Simon Kunath at Unstable Sounds *  "If you think you're a scape-goat,    *
*       Sussex. U.K.              *    you've only got yourself to         *
*  (sck@unstable.demon.co.uk)     *            blame"                      *
****************************************************************************

------------------------------
Date:         Thu, 10 Feb 1994 19:00:51 -0800
From:         David Chandler 
Subject:      Re: MIDI controlled slide projection

On Mon, 7 Feb 1994, Ben Neill wrote:
> Does anyone have information regarding MIDI control over slide projectors?
>  Iwant to be able to use continuous MIDI controllers to control the
> brightness of the lamps and on/off MIDI controllers to advance/reverse the
> projectors.  Any ideas will be appreciated.
     For that matter, does anyone have any information/specs on making midi
controlled switches/potentiometers/toggle switches?  I'd love to build
some "remote control" machinery to dance to my sequences.  I've been
thinking of this for a few years now...  It seems totally feasible if
pre-midi control voltages can be tiggered, then electronically triggered
toggle switches could be too... :-)    It would be a gas to "sequence"
computer keyboard input or a remote-control toy car!

David Chandler  -  chandler@nethost.multnomah.lib.or.us  (503)241-2949

------------------------------
Date:         Fri, 11 Feb 1994 12:19:47 +0000
From:         S L Gilbey 
Subject:      Re: MIDI controlled slide projection

>
> On Mon, 7 Feb 1994, Ben Neill wrote:
> > Does anyone have information regarding MIDI control over slide projectors?
> >  Iwant to be able to use continuous MIDI controllers to control the
> > brightness of the lamps and on/off MIDI controllers to advance/reverse the
> > projectors.  Any ideas will be appreciated.
>      For that matter, does anyone have any information/specs on making midi
> controlled switches/potentiometers/toggle switches?  I'd love to build
> some "remote control" machinery to dance to my sequences.  I've been
> thinking of this for a few years now...  It seems totally feasible if
> pre-midi control voltages can be tiggered, then electronically triggered
> toggle switches could be too... :-)    It would be a gas to "sequence"
> computer keyboard input or a remote-control toy car!
>
> David Chandler  -  chandler@nethost.multnomah.lib.or.us  (503)241-2949
>

It depends on what expertise/equipment/facilities you have available, of
course. Here are the options as I see them:

(1) Use a microcontroller. You need to be able to program in assembler, blow
EPROMS etc. Most microcontrollers have serial ports (for the MIDI) and plenty
of output lines to drive switches etc. Try the alt.comp.hardware.homebuilt
newsgroup for more advice.

(2) Use any microcomputer with a MIDI port and a parallel port (e.g. printer
port). The obvious one is the Atari ST - get a used one cheap (a 520STFM
would be more than adequate). You need to be able to program, but even
BASIC should be satisfactory, I would guess. You've got 8 output lines
easily available on the printer port for switching etc. Look at books on
Robotics for the Atari for ideas about controlling the external devices.
Also try comp.sys.atari.st and comp.sys.atari.st.tech newsgroups.

(3) Use a MIDI-CV converter. These are a bit expensive and may not have too
many outputs, but even the simplest provides at least one trigger output
(use for switching) and one control voltage output (use for continuous
control e.g. lamp brightness). No computer programming skills would be
required, but you would need to build some interfacing electronics.

(4) Use a MIDI light show controller. I've seen reviews of at least one of
these; I guess they are set up to control mains lighting but might be
adaptable to control other mains devices..?

If you want a bit more discussion with me on the microcontroller or Atari
options, feel free to email me personally; this wouldn't really be
suitable EMUSIC-L fodder.

 ---------------------------------------------------------------------------
|                         |      email: Steve.Gilbey@bristol.ac.uk          |
|     Steve  Gilbey       | ----------------------------------------------- |
| Bristol University, UK  |   'They were all of them fond of quotations'    |
|                         |    Lewis Carroll, The Hunting of the Snark      |
 ---------------------------------------------------------------------------

------------------------------
Date:         Wed, 23 Feb 1994 10:30:56 -0500
From:         DEMOLITION MAN 
Subject:      My pc is freaking

Hey guys.  This post is not really midi oriented, but the problem I have has bee
   n wreaking havoc with my damned midi setup.

I got crashed out of windows the other day, i.e. wallpaper all fractured,
system hung up, the works.  When I try to reboot, I get screens full of crap,
or a blank screen and a bunch of beeps, or a hangup on the initial bootup
screen, or sometimes it goes through but I keep getting extraneous blinking
cursors all oer the screens.

I have a gig in the next week and I am going to be dead meat if this does
not get together.  Anyone who has had a similar problem out there?  or,
if anyone happens to have an email address for AMI (american megatrends)  I
would be ever so grateful.

Thanks,
Phil

------------------------------
Date:         Wed, 23 Feb 1994 09:15:32 -0700
From:         jk 
Subject:      Re: My pc is freaking

Phil,
If you have a buddy with a PC, try taking out your video card and switching
it with your friend's.  I had a similar problem and it turned out to be the
video card.  Someone out here in EMUSIC might have some other bright idea.

I guess I should have replied on SYNTH-L as a computer is necessary
gear for today's synth setups........Excuse me please, everyone, so
sorry, really sorry......................
                                                      _
-john       ___                                    __/ |
___        |   |     JKrikawa@CCIT.Arizona.Edu    |    |___      ________
   \______/     \__________ Tucson, AZ ___../\./\/         \____/        \____

------------------------------
Date:         Tue, 22 Feb 1994 21:37:05 GMT
From:         Mark Etherington 
Subject:      Networking Macs

Has anyone any experience networking Macs with either LocalTalk or
EtherTalk, or using Macs with TCP/IP, together with musical applications?
I'm concerned that networking may interrupt the computer to the point that
it distrupts timing-critical applications.

Any thoughts?

Cheers,

Mark

---------------------------------------------
Mark Etherington     finger at
Queens' College      rme1000@hermes.cam.ac.uk
Cambridge UK         for PGP public key

------------------------------
Date:         Thu, 17 Feb 1994 17:08:49 GMT
From:         Orchid Technology 
Subject:      Orchid Soundwave ROM Upgrades

"InVision Interactive, a supplier of sound samples for leading synthesizer
manufacturers (Korg, Ensoniq, Yamaha and others), has designed a custom
sound set for Orchid Technology's SoundWave 32 card.  This new sound set,
with over 200 instrument and effects sounds , improves the quality of both
the General MIDI and MT-32 instruments by utilizing InVision's patented
sound processing techniques.  "Originally aimed at music markets, this new
sample set is great for games and other multimedia applications, enhancing
the realism and depth of the Orchid SoundWave 32 card. These ROM sets are
available now from InVision Interactive. The price is $39.95 (plus
shipping and handling), and includes the new ROM chips and software. A new
ROM upgrade for Orchid's GameWave 32 will also be available February 1,
1994, from InVision. InVision Interactive can be reached at 800-468-5530
(orders only) or 408-438-5530."

------------------------------
Date:         Fri, 25 Feb 1994 12:01:15 -0700
From:         Michael Logozar 
Subject:      Peavey DPM 4 ?!!?

Does anybody out there know the scoop on the Peavey DPM 4 synth?  They've been
advertising it for over a year now, but I have yet to see one that exists.
It sounds really good & I have anxiously been awaiting an upgrade for my
DPM 3se.  How 'bout the DPM 488 (88 note version)?  I read on one of the
newsgroups that someone in the southeastern states has seen one...

Help!!

Michael Logozar
email:  logozar@cpsc.ucalgary.ca

------------------------------
Date:         Wed, 16 Feb 1994 12:37:03 -0500
From:         DEMOLITION MAN 
Subject:      Proteus....

Hey guys.  Does anyone know of an E-MU mailing list (Proteus...etc), and if so,
could they post it to the list or forward it to me?  Also, has anyone ever
seen an email address for Emu or for Korg?  I am running a Korg signal processor
   and the midi implementation sheet in the manual is, shall we say, less than
helpful.

Thanks,
Phil
sps5251@siena.bitnet

------------------------------
Date:         Thu, 3 Feb 1994 21:34:53 -0600
From:         Arne Claassen ISE 
Subject:      The elusive Quadrasynth

I just got a used Juno 106 and had to go to the store to get some cables and
stuff. And lo and behold, there was one of those post-modern, neat enough for a
yuppie ysnth boxes called a "Quadrasynth" on display. I said, can this be, or is
it another one of those Alesis mock-ups that proove that the outside of the
synth is streamlined, although the inside will have to be thrown together at
some later time.

Of course, i grabbed the nearest representative and said "lemme, play, will ya,
will ya? Huh, huh?" and he let me.

Synth wise speaking i cannot claim it to be some great inovation. It's got very
nice sounding patches and the string patches were the best i've heard as
standard patches. The 64 voice polyphony and three separate effects channels
were not to be snickered at either. Overall, the machine was very usable and
had beautiful sounds and frankly was incredible at a $1400 price tag at a local
store.

The last thing that was neat, although i wouldn't have a use for it, is the
digital output jack for an ADAT.

But the main thing is that it actually exists...

--
Arne F. Claassen                 |"In cows we trust | EPS Classic * D4
     | E pluribus Moo"  | Mac Centris 650
              |                  |

------------------------------
Date:         Fri, 4 Feb 1994 07:29:14 -0800
From:         metlay 
Subject:      Re: The elusive Quadrasynth

>I just got a used Juno 106 and had to go to the store to get some cables and
>stuff. And lo and behold, there was one of those post-modern, neat enough for a
>yuppie ysnth boxes called a "Quadrasynth" on display. I said, can this be, or
 is
>it another one of those Alesis mock-ups that proove that the outside of the
>synth is streamlined, although the inside will have to be thrown together at
>some later time.
>
>Of course, i grabbed the nearest representative and said "lemme, play, will ya,
>will ya? Huh, huh?" and he let me.
>
>Synth wise speaking i cannot claim it to be some great inovation. It's got very
>nice sounding patches and the string patches were the best i've heard as
>standard patches. The 64 voice polyphony and three separate effects channels
>were not to be snickered at either. Overall, the machine was very usable and
>had beautiful sounds and frankly was incredible at a $1400 price tag at a local
>store.
>
>The last thing that was neat, although i wouldn't have a use for it, is the
>digital output jack for an ADAT.
>
>But the main thing is that it actually exists...

Well, I'll be dipped. It's about TIME. Now, I wonder how long it'll
take before it shows up at my local Alesis dealership? :)

--
mike metlay * atomic city * box 81175 pgh pa 15217-0675 * metlay@netcom.com
---------------------------------------------------------------------------
"In Metlay We Trust."                                          (j. krikawa)

------------------------------
Date:         Fri, 4 Feb 1994 16:28:08 -0500
From:         YOUNG_J@SCSUD.CTSTATEU.EDU
Subject:      Quadrasynth mini-review...

In case anyone has been waiting with baited breath for the last two
years to look at one of these babies, they are finally out.  I thought
I'd share my opinions.  I'd be very interested to hear anyone else's who
got to test drive one....
                                        JY
-----------------------------------------------------------------------
I called a local store the other day to see if any Quadrasynths had
appeared and lo and behold they had one (1) available for demo purposes
only. Of course they were happy to take deposits and put your name on
the list, if you so desired, but they could not give me a firm date
as to when they really would be available.

I trucked on over that afternoon and had a very hyper salesperson give
me the spiel about how wonderful the machine is and I did get to play
it for a bit, so I thought I would share my impressions for anyone
who is considering purchasing one of these.

All statements are IMHO and if anyone else got to try one out, I would
be very willing to hear what they have to say:

 - The sounds were in the good to very good range.  I heard no killer
sounds.  It did not have the brightness of the JV series and certainly
doesn't have the engine of something like the JD-990 or the K2000 or
anything like that.  Basically a sample playback machine with some
decent meat and potato sounds.   I did NOT get a chance to check all
of the presets out.  Heard some samples of several things:
        - a decent piano
        - pretty nice strings (but somewhat limited)
        - OK brass
        - not so OK sax
        - some pretty nice analog sounds (actually pretty full sounding)
        - a mellotron sound (I wasn't really convinced)
        - nice electric pianos
        - really nice drums (the salesperson said it was basically the
          Alessis D4 kit)
There is a built in demo, which gives you a pretty good idea of what it
can do.

- The keyboard is not bad.  76 keys.  Not weighted.  A bit on the springy
side (which I'm not crazy about), but pretty good action.

- The size of the unit is impressive.  Its nice and light.  Great for a
gig.  And its probably smaller that most 76 note keyboards (e.g. JV1000
and 01/W pro).

- The display is a little confusing, although I have to admit, I wasn't
sure what I was looking at.

- I wish the salesperson was a little more informative as far as things
like the ability to zone the keyboard and the midi implimentation, etc.
There is a "sound card" slot in the back, but he couldn't tell me if it
were for a ROM card or RAM card.

- Price was $1499 US (which I believe is list price) and did not seem
negotiable.

At any rate, the final summary:

        Pros: - 64 note polyphony (this is really nice)
          - nice effects
          - decent keyboard, 76 keys
          - decent standard sounds
          - really nice drum kit
          - nice and light.  Good gigging piece.
          - hard to find all of the above for < $1500

        Cons
          - no disk drive
          - keys are not weighted
          - sounds are not spectacular
          - still not in stock here (check your local store)

------------------------------
Date:         Fri, 25 Feb 1994 14:24:36 -0500
From:         "Andy B. Mcdonough" 
Subject:      new keys, anyone?

emusic-ers...
anyone out there with alesis quadra-synth (or whatever they call it)
experience?  i've seen some ad.s and it looks interesting.

for those who might not have seen the same ads, it's a keyboard/synth with
many (16) zones for <$2000 US  (i've heard) with built-in effects.
                                        .....andy

------------------------------
Date:         Fri, 25 Feb 1994 13:39:15 -0600
From:         Arne Claassen ISE 
Subject:      Re: new keys, anyone?

> emusic-ers...
> anyone out there with alesis quadra-synth (or whatever they call it)
> experience?  i've seen some ad.s and it looks interesting.

I played with one for about two hours last week and i like thee price
performance ratio. The discrete channels of multi-effects are quite useful
and the patches sound great. As for programming it, well, they let the visual
reign. It is quite versatile, but the hardware sucks (IMHO). Sure it looks real
groovy, but those knobs and especially mod and pitch wheels get real annoying
after about an hour use. It's so sleek, that it's hard to get a good feel
for it unless you constantly look where your fingers are. Probably would
consider the rack-mount. With 64 note polyphony and its effects, it would make
a lovely support work-horse to fill in tracks. But i think that a wavestation
has priority right now.

--
Arne F. Claassen               |"In cows we trust    | EPS Classic * D4
   | E pluribus Moo"     | Juno 106
            | MTV for eMpty minds | Mac Centris 650

------------------------------
Date:         Wed, 2 Feb 1994 14:02:32 CST
From:         bq Mackintosh 
Subject:      request recommendation for percussion machine

I am beginning work on a soundtrack project for which i require a wealth of
percussion sounds.  It has been a while since i have delved into the world
of drum and percussion machines, and thus request any recommendations,
comments or suggestions anyone might have regarding this subject.  My
projected requirements are as follows:  large range of sounds (including,
if possible, orchestral percussion), flexibility in editing and adjusting
the preset sounds, price range at or below one thousand US dollars.

Direct replies would be most appreciated.


bq Mackintosh
C489745@Mizzou1.Missouri.Edu
UC489745@Mizzou1.Missouri.Edu

------------------------------
Date:         Mon, 21 Feb 1994 06:35:10 GMT
From:         General Bat Guano 
Subject:      Roland JUNO-106

I just got a Roland JUNO-106, and I was wondering if anyone knew any
interesting history or helpful tips concerning this synth.  I have the
owners manual, but it doesn't say much.  Are there patches available for
this synth anywhere on the net?  I looked but could not find any.  Any
information you can give me about this synth would be greatly appreciated.

Rob.

------------------------------
Date:         Wed, 16 Feb 1994 19:45:59 CST
From:         "Steven T. Awiszus" 
Subject:      Roland PG-200 Programmer for MKS-30 PlanetS

To anyone on the net:

        I am looking for a Roland PG-200 programmer for
my MKS-30 Planet-S (the same as for a JX-3P).  I am sick
of trying to create new patches for my machine one parameter a time!  If any one
 has any info on where I can
pick one of these things up, I'd be greatful.

                        Thanks in advance!

                        Steve Awiszus
                        Electrical/Recording Engineer
                        System X Productions

                        (v00012@kanga.stcloud.msus.edu)

------------------------------
Date:         Thu, 17 Feb 1994 01:10:24 GMT
From:         Jason S Hoffman 
Subject:      Roland S-10/220 Storage Medium

This is probably the group I should have been posting to all along, but I just
found it today.

Here's my problem, and I'm hoping that those of you with more experience than
I can help me.  I have a Roland S-220, the famous Roland "Quick Disk" sampler,
rack version.  I would like to find a way to transfer samples from it to
        a)My Macintosh
        b)My Alesis DataDisk.

The Datadisk manual says that the 220's big brother, the S-50, is incapable of
sending standard sample dumps.  Then I noticed in the Mac Sound Bible that
there was a piece of shareware available which acted as a librarian for the
S-10 on Mac.  It is by a fellow named Gary Becker, but that's all the book
says.

If anyone can tell me how to dump samples to my Alesis or how to get a hold
of Becker's libraian can either post here, alt.music.techno, or mail me
at hirez@iastate.edu.

Your assistance is appreciated and you will win my eternal gratitude and
worship if you can comply.

Well, gratitude anyway.

Thanks,
MC Max 1 aka J. Scott Hoffman,AQUAMARINE



--
Jason S Hoffman
hirez@iastate.edu

------------------------------
Date:         Tue, 22 Feb 1994 10:11:56 LCL
From:         David Farningham 
Subject:      


HI,
    I am a beginner in the midi field and would like to connect a
yamaha keyboard (via a standard 5 pin DIN plug) to the midi port
on a soundblaster v2.0 card in a PC.

Can anyone give me details of the wiring connections required?

Thanks

David Farningham

DAHF@UK.AC.SARI.RRI

------------------------------
Date:         Tue, 22 Feb 1994 10:57:22 GMT
From:         Buchanan Blake 
Subject:      

>
> Can anyone give me details of the wiring connections required?
>

Hello,
I would suggest you left that standard plug. Contact ORCHID dealers who
make the sound producer cards. They sent me the standard MIDI cable
that plugs directly into the keyboards and into the back of the sound
blaster.
It's priced at about 16 quid and worth every penny.
The Email address is .-
orchid@COM.NETCOM

Good luck, let me know how you get on.
see you later.

bucanan blake

email.-
hnd205@dcs.napier.ac.uk

------------------------------
Date:         Fri, 4 Feb 1994 10:36:48 PST
From:         Ned Kartchner 
Subject:      Vocalist-II

Are there any MIDI Gurus out there in EMUSIC land that have experience with
programming the Digitec Vocalist II?  I have had mine for two months now and
have not yet found the magic that will enable me to run it in MIDI mode.
Does anyone know of some PC based software that would take the drudgery out
of programming it?  I have written to the company and they have not responded
to my call for help.

Ned.Kartchner@chinalake.navy.mil

------------------------------
End of the EMUSIC-L Digest
******************************