EMUSIC-L Digest Volume 12, Number 4 Today's Topics: Administrivia - Archive Cleanup Korg rumors (3 messages) Akai Analog Synths (9 messages) Wind Controllers (2 messages) More on Computers for Music Request for Mac MIDI File Conversion Request for MIDI Spec Info and Reply (2 messages) Human Ryhthm Composer Ensoniq VFX Sounds and Architecture (4 messages) Small 4-track Recorders (6 messages) SISEA Call for Papers & Participation Request for Kawai K1 Programmers MIDI Optoisolator Availability Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. ---------------------------------------------------------------------- From Joe McMahon Date: Wed, 24 Jan 90 13:49:13 EST Subject: Administrivia - Archive Cleanup Hello, all. Due to space getting tight on the LISTSERV at AUVM, we are going to have to sacrifice the July and August message archives. Those who would like a copy should ask LISTSERV for them *now*, as they will be going away soon. I will see if I can archive them offline here, but it will take considerably longer to get them from me. {Note: they may already be gone by the time you read this. Drop me a line here at scfvm.gsfc.nasa.gov for a copy.} --- Joe M. ------------------------------ From Nick Rothwell Date: Mon, 22 Jan 90 10:49:55 GMT Subject: more on that juicy rumor 20 Jan 90 13:42:00 EST <28974.9001220033@lfcs.ed.ac.uk >More from my source, who says that "tell one tell all" may as well be >the rule now that NAMM is on, on the new device So-o-o, Son-of-VS in the red corner and Son-of-PPG in the blue corner. It's gonna be quite a fight, and the resulting din should shut out all that sample-based rubbish. Better nip out and grab myself some popcorn. Nick. ------------------------------ From METLAY@PITTVMS.BITNET Date: Mon, 22 Jan 90 21:47:00 EST Subject: Re: more on that juicy rumor The first reports from the NAMM show are filtering in, and nobody who went through the Korg booth has mentioned seeing anything unusual, just the M3R and the T series on display. I think I may have been burned, people... but hell, I said it was only a rumor, didn't I? (Yeah, so why didn't I listen to me? I went and got my hopes up, and now...*sigh*....) Oh, well, back to waiting for the Waldorf and something with as many mod wheels as the SY77 at half the price.... One worthwhile note: apparently a $1500 stripped version of the SY77 exists, called the SY55. What it lacks, I dunno. disappointedly, metlay ------------------------------ From Dan Bornstein Date: Tue, 23 Jan 90 20:05:58 EST Subject: Re: more on that juicy rumor >From: METLAY@PITTVMS.BITNET >Oh, well, back to waiting for the Waldorf and something with as many >mod wheels as the SY77 at half the price.... > >One worthwhile note: apparently a $1500 stripped version of the SY77 exists, >called the SY55. What it lacks, I dunno. Could someone in the know please describe the SY77 and/or SY55 further? Sorry if this has been hashed over already; I just got back so I may have missed it. Thankx! -dan ------------------------------ From Nick Rothwell Date: Mon, 22 Jan 90 10:25:02 GMT Subject: Akai VX70 or something? 19 Jan 90 11:30:00 EST <17355.9001192307@lfcs.ed.ac.uk >An attractive alternative >to having some unknown geek in California who claims he can add >audio inputs to my Xpander go into my beloved synth with a soldering >iron and cutting torch, YES. "Don't worry, Mr. Metlay sir, I've done this a thousand times, it's a quick operation, quite painless, and it'll just..." *KAPOWIE* ...tinkle... >PS. Please stop talking about the WX7. 's tut mir leid... >I wonder if you can get them with relatively cheap >in new overstock. I don't think I'd want a used one that somebody else >had been slobbering into. (ick) The one I've ordered (where is it, fidget fidget) is new and boxed; I wasn't interested in ex-demo/2nd-hand, since I don't know how delicate the mechanics are and didn't want to buy an ex-demo model without inspecting it first (or catch any exotic disease!). I've paid $\pounds$275. If I were you, Mike, I'd save up for the WX7IIFD (wind controller with floppy drive, what a thought...) Hoping to get a MicroWave demo this week, a unit is being shipped specially from the dealer in England to Dunfermline, and thence to Edinburgh. Let me know if you want me to ask my local dealer about US orders and the like... >PPS. Concerning Matrix-6-like patch trading: Sam Ash is now blowing >out Matrix 1000s for $300 a pop. If they go much lower, I'm buying a >couple to take the easy-stuff load off my Xpanders. Yah, go for it, I'm after patches. I now have Matrix-6 support in my Mac editor/librarian (but I forget, you don't have a computer...), except it isn't ideal because I don't have the full SysEx spec and had to fudge some things. If anybody out there has a documented SysEx spec of the Matrix-6/1000, pleeeze let me know... Nick. ------------------------------ From "b.klassen" Date: Mon, 22 Jan 90 15:50:00 EDT Subject: Re: Akai VX70 or something? I glance through my 1989 Akai catalogue and found something like what Metlay described ... 6-voice analog synth with short keyboard, matrix routings, etc. I think it was called the VX700 ... if anyone cares about the info, I'll post the description tonight when I get home. brian ------------------------------ From Rich Kulawiec Date: Sun, 21 Jan 90 19:37:31 MST 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) ------------------------------ From Joe McMahon Date: Mon, 22 Jan 90 12:20:45 EST Subject: Just in time... These instruments sound really nice, but what kind of availability are we talking about here? And what kind of price? I'd love to have an analog level of control and digital storage, but how much will I have to pay for it? I hate to get all excited about something and then find out that I'd have to be a professional to afford it... For those in New York, a local (Maryland) dealer is also selling off his EW1000's (no sales tax?). Chuck Levin's, (301) 946-8808; don't know how they are as far a mail-order. --- Joe M. P.S. Starting another thread, I'd like to put together a list of "dependable mail order dealers". Also, UNdependable ones to stay away from! ------------------------------ From METLAY@PITTVMS.BITNET Date: Mon, 22 Jan 90 21:40:00 EST Subject: Re: Just in time... ALERT! I have been red-herringed unintentionally by a fellow EMUSIC-L member and myu own overeagerness. The VX90 is NOT the analog Akai synth that I'm looking for; it's a prior-generation model with very limited architecture (hence the low price from Maggio). The search is still on for the name and specs of the mystery synth; I'll keep y'all posted. My wholehearted vote for best mail order house in America goes to Rogue Music. I've never been burned, and they do very good deals. My rule of thumb is to sell in private and buy from Rogue, to get the best resale differential. metlay ------------------------------ From "b.klassen" Date: Tue, 23 Jan 90 14:27:00 EDT Subject: the Akai VX600! Okay Metlay, other fans of analog, here's the poop from the 1989 Akai catalogue: ________________________________________________________________________________ "Stand out in the Digital Era with the Rich Warm Sound of Matrix Analog Synthesis" VX600 - Programmable Matrix Synthesizer The VX600 is a 6-voice 37 eky analog sythesizer featuring the traditional concept of modular patching. Two VCOs/voice give you the thick rich sound of analog sythesis to create lush warm string sections, full round fat bass lines, enhanced vocal and rhythm sections, powerful crisp brass sections, and eerie SFX sounds. Patch programs are stored in a memory program. Each program can have a maximum of 6 key group splits with each key group having its own library sound patch, MIDI channel, and voice allocation. Up to 40 different program combinations can be stored in memory. A special code memory function allows you to play an entire 6 instrument stack from one key. And a dedicated connector jack allows direct connection to the EVI1000 and EWI1000 wind sythesizers. The VX600 combines rich warm analog sounds with the advanced performance control of digital technology to create a powerful new dimension in analog synthesis. * 6 voices, 2 VCOs/voice, 37 keys. * Matrix modulation allows maximum patching flexibility. Each sound library patch contains VCO 1 (FREQ/PW), VCO 2 (FREQ/PW), VCO 1/2 (Freq.), CUT OFF, RESONANCE, FM DEPTH, HI PASS, VCA AMP, LFO 1 (SPEED/DEPTH), LFO2 (SPEED/DEPTH), OSC BALANCE. Controllers consists of EG1, EG2, EG3, LFO1, LFO2, VELOCITY, PRESSURE, VOLUME PEDAL, MIDI BEND, MIDI MODULATION, MIDI CONTROL CHANGE, KEY GATE, EWI/EVI BREATH, EWI/WVI VIBRATO, EWI/EVI BEND, EWI/EVI GLIDE. * Internal memory capacity: 50 sound library patches, 20 code memories, 40 programs, 10 packets. * External memory: 16K IC memory card, BR-16 (2 banks). * Each program has 6 key groups, and each key group can be assigned a library sound, voice allocation setting, tuning, transposition, volume, and MIDI channel. * Normal polyphonic mode (POLY/6), 6 unison, multi-sound stack (MONO/6), multi-timbral mono (MONO/1) for six independent mom voices. * Selections from the program or code memory can be prioritized and stored as a PACKET. * 13 pin DIN connector with 6 individual voice outputs (VOICE OUT). * Dedicated connector for direct interfacing to the EVI1000 and EWI1000 wind synthesizers. * Connector jack: MIDI IN x 1, MIDI OUT x 1, MIDI THRU x 1, INST x 1, EXT IN x 1, VOICE OUT x 1, LINE OUT x 1, PROGRAM UP/DOWN x 1, PEDAL x 2. * Dimensions: 602(W) x 115(H) x 350 (D) mm * Weight: 8.4 kg. ________________________________________________________________________________ Whew! Make sense out of that and win a prize. Certainly has peaked my interest though. The picture shows a tiny thing in white and grey, a rather large looking display with a row of buttons underneath, 5 knobs, one slider, cursor keys, keypad. It's about the size of a microMoog. There doesn't appear to be any pitch bend or mod wheels. ... and now you're going to cry. According to my sources, the VX600 has been discontinued! ARRRGHH! I called Steve's Music in Toronto and they said they did have one a while ago, but the guy couldn't remember what it sold for. He's going to call me back if he finds one. Maybe you guy south of the border can find out more. I wouldn't mind picking one up if the price is reasonable ... More later, if anything developes ... brian ------------------------------ From "b.klassen" Date: Wed, 24 Jan 90 12:01:00 EDT Subject: more on VX600 Update on the VX600 from the Canadian distributor of AKAI ... the unit IS available, but only on a special chas-up-fron order from Japan, and the cash they want is in the order of $3200 Canadian! Ouch! According to the guy I talked to, the unit is very sophisticated and sounds HOT. What do you say, Metlay ... how many Xpanders can I get for $3200??? brian ------------------------------ From METLAY@PITTVMS.BITNET Date: Wed, 24 Jan 90 18:52:00 EST Subject: Re: more on VX600 Brian: Used, at least two. New, one and a few Matrix 1000s in change. Still, $3200 Canuck is a lot of moola for an instrument that's SO damn highfalutin they haven't bothered advertising it. I'm just glad it exists; that shows (a) there's someone else out there who believes in building sophisticated, high-ticket analog gear, and (b) I wasn't hallucinating. VX600, huh? I wonder if there's any store in the USA that has one to show around? Oh, and here's a heartbreaker for you Xpander-owner-wanna-bes: It pays to be persistent in contacting dealers who are getting frustrated with Oberheim and are blowing out their old stock. I just heard from a guy who got a new Xpander off the shelf from a dealer that wanted to dump their last unit to clear space for Yamahas (ech)... HE paid $900 for it. Ouch! metlay ------------------------------ From METLAY@PITTVMS.BITNET Date: Wed, 24 Jan 90 19:04:00 EST Subject: Re: the Akai VX600! That's it? THAT'S IT? What a load of herniation over nothing! It's got two, count 'em , TWO things the Xpander desn't have: a keyboard and an external signal input. It has half the memory or less, fewer LFOs, fewer Envelopes, no stereo outs or panning, a 13-pin DIN (oh, PLEASE!) for its voice outputs, no Lag processor, no Tracking Generators, a two-mode filter as opposed to 15.... The next time I start foaming at the mouth over something like this before I get the facts straight, somebody please kick me. And many thanks to you, Brian, for posting the data. You've saved me a lot of legwork and worry. metlay ------------------------------ From Nick Rothwell Date: Mon, 22 Jan 90 11:03:25 GMT Subject: Akai EW1000 17 Jan 90 17:47:57 EST <265.9001221035@lfcs.ed.ac.uk >Supposedly the idea was that MIDI didn't allow enough resolution for >the type of continuous control the EWI is capable of. And frankly, I >agree. One thing's for sure- the EWI/EWV combination sounds awesome >in the hands of a skilled player and IMHO the EWI is a far superior >controller to the WX7. I've not heard anything played on either a EWI or WX7 (just as well, perhaps, otherwise I'd be too disillusioned to try and learn), but I'm inclined to agree, in principle. I don't think there was much to choose between the performances when these machines were publicised, but that comes down to patch selection and mix as much as anything else. I've heard disapproving comments about the EWI's ergonomics, but can't comment first-hand. I've also heard reports that the WX7's pitchbend resolution isn't quite as good as might be expected, though a contact on USEnet hasn't noticed this problem with his. I'd rather go for MIDI and decreased resolution than a better-performance closed system, but that's because I sequence everything and want the flexibility. >I was especially blown away by pulse-width >modulation with embroucure pressure!!! Wow! Surely that's another matter, and just depends how flexible the modulation architecture of the synth is. I'm looking forward to plugging a WX7 into the Matrix-6 and setting up some serious modulation routings, both on the Matrix and on the QuadraVerb (EQ sweep by embroucure, anyone?) >Now what I'd really like is to control crossfades on a wavetable >synth... I'm doing my best to accomodate, but the Waldorf hasn't crossed the border from England yet... >Blow away those sakuhachi samples!!! Literally? Nick. ------------------------------ From "David A. Roth" Date: Mon, 22 Jan 90 15:38:57 EST Subject: Re: Akai EWI 1000 & EVI 1000 If you are interesting in hearing a collection of EWI (woodwind-type) & EVI(trumpet-type) playing you can get a 60 min tape from the user's group for $10.00. It is published by Valley Productions. Here is the info: "EVI/EWI Compilation Tape. A 60-minute audio cassette featuring 12 EVI/EWI artists. A veritable audio encyclopedia of possibilities for the EVI and EWI. $10.00 " All prices are postage paid. Make checks payable to: VALLEY PRODUCTIONS P. O. BOX 3220 ASHLAND, OR 97520 David ...att!osu-cis!david!david ...uunet!abvax!osu-cis!david!david Columbus, OH ------------------------------ From jeff beer Date: Tue, 23 Jan 90 20:52:00 CST Subject: .E: The best computer for music . know this is old, but I have been on vacation, and our site has been down for a month to move... but I vote for the ATARI!!! I know things change fast, and you can probably get a MAC+ used for less than a Mega... But... People talk about running sequencers as if it was the end. I write my own software to do creative stuff like improvisation... So the built in MIDI ports are nice for that, as is the way of writting interrupt driven software. George Lewis, the very creative trombonist, has another system of software for doing this improvisation stuff. As for the user end, the Atari software is every bit as good as the MACs. I will take Hybrid Arts SMPTE any day. And if you survey the recording studios, at least in Chicago, and from what I hear Minneapolis, the ST seems to be more prominant. But like one reader said, in a few years this will all be a moot point. So why take the flames seriously? Ciao, Jeff Beer, Chicago ------------------------------ From ANDY PTAK Date: Wed, 24 Jan 90 14:11:00 EST Subject: Macintosh conversion program Does anybody out there know of a utility to convert between either MIDI file format or MIDIPAINT/One Step format and either DMCS format or SMUS format? I have One Step and Deluxe Music Construction Set and would like to go between the two. Thanks. Andy Ptak The Johns Hopkins University ------------------------------ From A089FLUM@HTIKUB5.BITNET Date: Thu, 25 Jan 90 16:20:00 N Subject: midifilespecification Hi, I'm looking for a description of the MIDIFILE-protocol, so I can couple my own basic-inventions to programs as NOTATOR/CUBASE etc. Can someone help me?? Thans in advance Frans L. Hummelman (a089flum@HTIKUB5) ------------------------------ From "Kevin R. Weiner" Date: Thu, 25 Jan 90 12:52:23 EST Subject: Re: midifilespecification The MIDI file spec is in the EMUSIC-L archives. Send: "GET FILEFMT MIDISPEC" to LISTSERV@AUVM Kevin Weiner Lehigh University Computing Center (215) 758-3991 ------------------------------ From Date: Thu, 25 Jan 90 10:16 EST Subject: Human Rhythm Composer >To: EMUSIC-D@AUVM >X-Original-To: EMUSIC-D@AUVM, R_GELINAS Does anyone have info re/ the Roland Human Rhythm Composer? It's relatively new. It is selling for about $800 around here. I was planning to buy an Alesis HR-16 drum machine ( for $400) and was wondering if the Roland was worth the extra $ (I am a guitar player, not too sell versed in MIDI, etc.. I want the percussion machine for demos, etc., mostly "normal" music, but sometimes pretty far out there........). I'd appreciate any help. Russ Gelinas R_GELINA@UNHH ------------------------------ From Nick Rothwell Date: Fri, 26 Jan 90 10:16:09 GMT Subject: VFX sounds Joe Says: >I really liked the feel of the VFX -- ... *clickety clickety clack klunk klink clack* :-) (nah, the keyboard isn't *that* bad... :-)) >I have to admit that the salesman and I somehow managed to crash the VFX >while we were fooling with it, though we couldn't duplicate the problem. I'm wary of the software quality of the VFX, myself, and have heard similar reports of the EPS. Otherwise, the VFX is a very powerful machine, in terms of programmability and flexibility. If I didn't have such bad feelings in my bones about the software, I'd be very interested in one. Maybe it's not that bad, but I distrust American synth software in view of Oberheim's efforts with the Cyclone. (play too fast in certain modes and it crashes/hangs/locks/etc, and a number of parameters just don't work, period.) >The big disadvantage is that you get essentially the sounds that you buy >with the machine. *ahem*, the VFX is a synthesiser, which means you can program your own sounds. It seems to have a pretty powerful voice architecture as far as I can tell, as well. I don't know whether you can add new PCM samples or not, but given the programming/modulation/wavesweep facilities, I'm not sure that's important. After all, I don't hear many MiniMoog owners complaining that you can't add new waveforms apart from Square/Pulse/Saw/whatever... The VFX doesnae have resonant filtas, tho. I don't know too much about the M1, but if the voice architecture is too simple, then you're more tied to the actual sample data itself. Exhibit A, m'lud: Proteus. (Disclaimer: I haven't actually played with one. What sort of original sounds have any Proteus owners out there actually programmed? Has anyone?) Nick. ------------------------------ From Joe McMahon Date: Fri, 26 Jan 90 09:26:22 EST Subject: Re: VFX sounds >>The big disadvantage is that you get essentially the sounds that you buy >>with the machine. > >*ahem*, the VFX is a synthesiser, which means you can program your >own sounds. It seems to have a pretty powerful voice architecture >as far as I can tell, as well. I don't know whether you can add >new PCM samples or not, but given the programming/modulation/wavesweep >facilities, I'm not sure that's important. After all, I don't hear >many MiniMoog owners complaining that you can't add new waveforms >apart from Square/Pulse/Saw/whatever... I stand corrected in a major way, Nick. In addition to your gentle clarification, I (finally) got a flyer from Ensoniq and found an article in a back issue of Music Technology that gave a real nice block diagram of the VFX. The salesperson I spoke to at the store must not have been up on its internals, either. :-) I *did* find out it has variable tuning, scads & heaps of modulation sources, and aftertouch (yay!). As far as adding new samples, I haven't been able to find out much. Apparently, you can load more stuff, but it may be encoded in some proprietary format. I do know, however, that the disks can be read and copied on an IBM 3.5" drive (and me with my Mac. Oh well). >The VFX doesnae have resonant filtas, tho. Yeah, that's something that would really be great. Sigh. I really miss those nice "plonks" you could get from that. >I don't know too much about the M1, but if the voice architecture is >too simple, then you're more tied to the actual sample data itself. True. However, there's an addon from Frontal Lobe that lets you load samples using the PCM card slot. The samples apparently can be in MIDI sample dump format, so you've got a mondo cheap sampler (relatively speaking). Now, how well this all really works is another question... Actually, I may end up springing for the M1, because then I'd have enough left over to at least consider getting a used Xpander :-) or a Matrix-1000. --- Joe M. ------------------------------ From WFELTEAU@SCTNVE.BITNET Date: Fri, 26 Jan 90 11:15:42 00800 Subject: Reply to VFX sounds Hi, Im new.. But, speaking of the M1.. That is one bad machine. I had access to one for about six months and learned how to use most of it. The sounds are great but, you are limited to the pre-sampled sounds. I understand that the new Roland workstations arc. is simaliar to that of the M1 with the exception that the Roland will also sample. I am going to try to get my hands on one to play with, I will let you know what happens. The New one, WES. ------------------------------ From WFELTEAU@SCTNVE.BITNET Date: Fri, 26 Jan 90 11:15:42 00800 Subject: Reply to VFX sounds Hi, Im new.. But, speaking of the M1.. That is one bad machine. I had access to one for about six months and learned how to use most of it. The sounds are great but, you are limited to the pre-sampled sounds. I understand that the new Roland workstations arc. is simaliar to that of the M1 with the exception that the Roland will also sample. I am going to try to get my hands on one to play with, I will let you know what happens. The New one, WES. ------------------------------ From ERL@SARA.NL Date: Fri, 26 Jan 90 13:07:57 LCL Subject: Tascam Porta-05 and Fostex X26 Hi Net, Considering the purchase of the cheapest multitrack cassette recorder money can buy, I am very interested in comments/remarks/experiences/ advice/flames/suggestions/pros/cons regarding the following equipment: TASCAM Porta-05, PortaOne and PortaTwo FOSTEX X-26 ... Previous experiences have shown that before buying what my dealer tells me to, I'd better consult you electronic oracles first. So, l-l-l-let it roll... puh-lease? Thanks. Edo Roos Lindgreen e-mail: erl@sara.nl Amsterdam Oh freddled gruntbuggly, thy nacturations are to me! ------------------------------ From Chris Iverson Date: Fri, 26 Jan 90 10:13:00 EST Subject: Re: Tascam Porta-05 and Fostex X26 I don't know the Fostex X26, but I have a Fostex X15 (presumably even cheeper than the X26) which I got, with power supply, for about $450.00. Actually, my wife bought it for me, which is why we paid list for it, but that's another story... I have been very happy with my deck, as long as I don't get delusions of grandeur about it. It is good for trying out ideas in multitracking, and can do fairly well if you don't do much ping-ponging of tracks, but it is definitely not a replacement for a professional multitrack. The EQ adjustments onboard are coarse, headroom is extremely limited, and overall quality is mediocre. Even so, I am very glad that I have it, since it is the only way I could afford to go multitrack. If you want to hear examples of what one can do with the X15, send a cassette and return postage to Cecelia Tan (her bitnet address is ST902235@brownvm.BITNET), 438 Wickenden Street Apt. #3, Providence, RI 02903-4428, and ask her to make you a copy of 'Magnetic Filings'. I have two pieces on there, both of which were done on Fostex X15's. Of the two, "Ruminations" is an example of using the deck purely to record two stereo sources without bouncing any tracks around (although the guitar echo effect is pretty noisy), the other piece, "Waditis" is the other extreme: I bounced tracks until my head was spinning (with sometimes disastrous effects) to fit everything on, and the resulting quality of the recording shows it. I could probably do the same piece over again now with less noise after going through the learning experience of recording "Waditis", but in any case, with a cheap deck, bouncing tracks means more loss of quality than with a better deck. If I wanted to produce a professional demo that my future income depended on, I would use the X15 to work out the kinks in the arrangement, then rent a good deck to do the real thing. -chris ------------------------------ From WFELTEAU@SCTNVE.BITNET Date: Fri, 26 Jan 90 11:05:07 00800 Subject: Reply to Tascam Porta-05 and Fostex X26 I had the Tascam PortaTwo and it served it purpose as a drawing board for my stuff. But after a while it really got old. You might want to save a little and look at getting a Fostex 8track they arn't really that spensive. The sound quality on the PortaTwo really sucks. I think that the Fostex sounds better. Well, hope this helps. ------------------------------ From MTG@CSI.COMPUSERVE.COM Date: Fri, 26 Jan 90 13:19:52 EST Subject: About my Porta-Two... I bought a Porta-Two oh so long ago, and haven't really regretted it. It's certainly better than the Porta-One; a lot more flexible. I must say that I like DBX's quality over Dolby B (which is what the Fostex uses, I believe). The -Two has six channels in, MONO effect out but stereo effect in, has a tape monitor output (same output as if your headphones are set to "Cue"; you have four dials to control the volume of each track). Lessee... Dunno what more to say about its specs; if you wanna know something specific about it, ask... Personally, it's held up well for a few years without needing any fixing, and I've even used it on the road for the last year and a half (I need it everytime I perform; roughly, one every other week). My only annoyance is that I pick up a local over-powered radio station on the headphones, but that could be a headphone problem rather than the -Two's problem. The tape doesn't get the radio on it, and that's what counts. It's pretty decent for the money. I wish I had an 8-track now, but... - Mark G. ------------------------------ From "Kurt A. Geisel" Date: Fri, 26 Jan 90 18:27:10 EST Subject: Re: Tascam Porta-05 and Fostex X26 The PortaOne gets thumbs up in this studio. I've been using it for about four years with no trouble. The dbx works well and it's an amazingly quiet and good sounding box. I've never had problems with crosstalk on the tracks that I can hear, but there must be some crosstalk during recording because if I record an FSK output from my Oberheim DX, it will have syncing trouble if I lay in a loud (percussion) track adjacent the FSK track- but ONLY during record when the FSK track is being cued. If the adjacent track is laid down first (which kind of loses the point of syncing....) there is no problem. So, it's no Otari but it works and it's not likely to be replaced soon because tape is the last thing I want to spend alot of money on. I'm thinking about getting an R-8 next year, but these new TASCAM MIDI decks are awfully nice. - Kurt ------------------------------ From WFELTEAU@SCTNVE.BITNET Date: Fri, 26 Jan 90 11:05:07 00800 Subject: Reply to Tascam Porta-05 and Fostex X26 I had the Tascam PortaTwo and it served it purpose as a drawing board for my stuff. But after a while it really got old. You might want to save a little and look at getting a Fostex 8track they arn't really that spensive. The sound quality on the PortaTwo really sucks. I think that the Fostex sounds better. Well, hope this helps. ------------------------------ From Stephen Travis Pope Date: Sat, 27 Jan 90 04:21:14 pm Subject: SISEA Call for Papers & Participation CALL FOR PAPERS & PARTICIPATION SECOND INTERNATIONAL SYMPOSIUM ON ELECTRONIC ART (SISEA) GRONINGEN, THE NETHERLANDS, NOVEMBER 12-17, 1990 Organized by: Rijkshogeschool Groningen (Groningen State Polytechnic) Academie Minerva (Department of Visual Arts, Music & Architecture) SCAN, National Institute for Computer Animation Steering Committee: C.L.H.B. Verstegen (Chairman of the Board, Groningen State Polytechnic) A. van Hijum (Director, Department of Visual Arts, Music & Architecture, Groningen State Polytechnic) P.G.J. Leijdekkers (Director, School of Visual Arts & Architecture) J.H.J.M. van de Vijver (Director, Post Graduate Studies, Academie Minerva) Organizing Committee: Wim van der Plas (Director SCAN) Eric Kluitenberg Ben Warner (advisor) INTERNATIONAL PROGRAM COMMITTEE (proposed) Jurgen Claus (BRD, MIT) Roger Malina (USA, ISAST) Raymond Lauzzana (USA, ASTN) Charles Csuri (USA, OSU) Tom Linehan (USA, Texas A&M) Stephen Pope (USA, CMJ) Donna Cox (USA, SIGGRAPH) Yoichiro Kawaguchi (Japan) Michael Girard (NL, SCAN) Felix Hess (NL,RUG) Theo Hesper (NL, SCCA) Paul Berg (NL, CMA) Cees van Overveld (NL, TUE) John Lansdown (UK, Middlesex Poly/CAS) Christine Schopf (Austria, Ars Electronica) Paul Brown (Australie, ANAT) Francois Bayle (France) >From 12-17 November 1990 the Second International Symposium on Electronic Art (SISEA) will be held in the historical city of Groningen, Holland. Organizers are the Groningen State Polytechnic, the Department of Visual Arts, Music & Architecture "Academie Minerva" of the Groningen State Polytechnic and SCAN, the National Institute for Computer Animation. The Symposium will be the heart of a week of electronic art events. During this week, a large number of artistic applications of electronic technology will be brought together. The manifestation consists of: -a scientific symposium -workshops/tutorials on computer graphics and computer music -performances, concerts, film & video shows -an exhibition -events for the general public During the symposium the Inter-Society for the Electronic Arts will be founded. The Inter-Society aims at connecting all existing Electronic Art organizations and institutions. Target Groups The manifestation aims at several groups, ranging from specialists to the general public. The symposium aims at both scientific and artistic experts in the field. The workshops/tutorials aim at students, teachers and practicing artists. The performances and exhibition aim at the general cultural public. The special manifestations are meant for the general public at large. SYMPOSIUM For the purpose of the symposium, Electronic Art is defined as all art forms that use electronic technology as an essential prerequisite for their production. This symposium is a continuation of the successful FISEA of 1988, where many of the top experts of the Electronic Art world were present. The aim of the ISEA's is to systematically investigate the problems and potentials of Electronic Art. The ISEA's bring together all relevant organizations and many important individuals in the different fields and disciplines in Electronic Art. The symposium will be held on Wednesday, November 14, Thursday, November 15 and Friday November 16. It will take place in the cultural center De Oosterpoort, a perfect location, right in the middle of the city, close to the main hotels. The topics are: Computer Graphics, Computer Animation & Image Processing Electronic Music and Computer Music Video Art & Interactive Electronic Art Computer Poetry Computer-assisted Dance Robotics and Art Research & Development of New Electronic Mediums Systems Integration Special User Interfaces for Artists Artistic Productions in Realtime Synchronization of Electronic Images and Sound Encoding Standards for Electronic Music Databanks for Artists/a World-wide Art Network for E-mail A Permanent Electronic Art TV-channel Integration of different Electronic Art Forms Aesthetics of Electronic Art The Application of A.I. to Art Relationship between Modern Communication Media & Electronic Art SISEA is inviting PAPERS to be given during the symposium. The papers and proposals must be directly related to the above mentioned topics. A selection of papers presented at the symposium will be published in a supplementary issue of LEONARDO, the Journal ofthe International Association for the Arts, Sciences and Technology, that will appear on the occasion of SISEA. Since the ISEA's aim at connecting the existing organizations and institutions in the field of Electronic Art, these institutions and organizations are invited to propose a short PRESENTATION about their work and future plans to be given during some special sessions at SISEA. The proposals for both papers and presentations should focus on the currently most innovative (and preferably interdisciplinary) developments within the field. For further information see: Instructions to Authors. WORKSHOPS/TUTORIALS The workshops/tutorials will take place on Monday, November 12 and Tuesday, November 13. The following tutorials/workshops are planned: -Computer Graphics (using the Aesthedes design system) -Computer Animation (beginning) using Amiga's -Computer Animation and Simulation (advanced) using Apollo's -Computer Music, using Atari's, Mac II's and synthesizers PROPOSALS for computer music workshops are welcomed as well as proposals that aim at connecting the results of both computer music and computer animation workshops. For further info see: Instructions to Authors. The tutorials/workshops will be held in the Electronic Music Department of the School of Music of the Groningen State Polytechnic and in SCAN, the National Institute for Computer Animation. SCAN is an independent educational institute, founded by the Groningen State Polytechnic. Equipment includes a network of Apollo workstations (including several DN 590's and a DN 10.000). PERFORMANCES/CONCERTS/SHOWS On all evenings from Monday, November 12 to Thursday, November 15, Electronic Art Performances will be presented, meant for both the symposium participants and the interested public. Planned are an evening with Computer Music Concerts, a film and video show (Computer Animation/Image Processing/Video Art) and an evening consisting of Electronic Multi Media Performances. Most of the program is planned in the same location as the symposium. PROPOSALS for PERFORMANCES and CONCERTS from institutions, organizations or individuals are welcome. A selection will be made on the following criteria: -aesthetic quality -originality (favourably premieres) -(especially for the Performances:) interdisciplinarity (f.e. combining music and graphics) FILMS and VIDEO TAPES: Electronic Art organizations and institutions, but individuals as well, are invited to submit the best and most recent examples of their work in the fields of COMPUTER ANIMATION, IMAGE PROCESSING and VIDEO ART. A selection of the materials will be made for inclusion in the Film and Video Show. A broad selection of all entered (video)materials will be shown continuously at the symposium location on monitors. Some of the materials will be included in the Exhibition. All participants whose work is accepted for the Film and Video Show will receive a letter of acknowledgement including a possible request to use materials for SISEA publicity. Entered materials will be returned shortly after SISEA. All participants will be credited properly for their work and the best of the entries will be shown to the international press during a press conference. EXHIBITION During the symposium an exhibition will be held. The Exhibition will consist of PRINTS, VIDEOTAPES, SLIDES and INTERACTIVE INSTALLATIONS. Again, SISEA is inviting Electronic Art organizations and institutions, but individuals too, to submit PROPOSALS. The best of the entered works will be presented to the international press during a press conference. All materials will be returned after SISEA. GENERAL EVENTS Entries are invited for Electronic Art EVENTS that reach the public at large. These can be open air events, events involving the local cable television or even national television. INSTRUCTIONS TO AUTHORS All proposals, papers or other entries should be accompanied by a first page stating full name, address and position of the author(s), the title and a short abstract of the contents. Please note that only an abstract of maximum 200 words is required before the first deadline: February 1, 1990. After a pre-selection, authors will be requested to send their full materials, including illustrations. PAPERS Papers must be original, unpublished and in English. An abstract of the paper (maximum 200 words) must be received by the secretariat before February 1, 1990. PRESENTATIONS OF INSTITUTES AND ORGANIZATIONS Proposals should describe the work done by the institute or organization, the way the presentation is to be given and by whom. Documentation material concerning the organization or institute should be included. WORKSHOPS The proposal should describe the content of the proposed workshop, the aim, the target group and the intended result. It must include a clear statement of the necessary equipment, preparation time and other prerequisites. CONCERTS/PERFORMANCES The proposal should give a clear indication of content and duration of the piece. Visual or audio material (preferably audio cassettes and U-matic video tapes) should be included. The proposals must be accompanied by a complete list of the necessary prerequisites (hard and software, peripherals, preparation time, assistance etc.). FILM & VIDEO SHOW Entries must be accompanied by a letter, stating the copyright owners, the names and adresses of the makers, the format, the duration, information concerning hard and software used, other technical information (if relevant) and information concerning the artistic aim (if relevant). Since SISEA does want to show the most recent material, films and video's send later than April 1st (but before October 1st) will be accepted too, as long as a letter, stating date of entry, duration, format and the content (including names of authors)is received by April 1st. Film must be either 16 or 32 mm. Video must be 3/4 Inch Umatic (NTSC, Secam or PAL). EXHIBITION Proposals should clearly describe the content of the materials to be submitted, the necessary prerequisites (including hard and software, audio-visual equipment, necessary assistance etc) and include audio and/or visual material (pictures, tapes etc) to give an impression of the work. GENERAL EVENTS Proposals should clearly indicate the content and meaning of the piece as well as a complete list of the necessary prerequisites. REPLY CARD NAME INSTITUTE/ORGANIZATION ADDRESS CITY/STATE/POSTAL CODE COUNTRY PHONE/FAX/E-MAIL ADDRESS O I intend to submit a paper entitled: O The paper is enclosed (see instructions) O I have a proposal for: O Presentation of institute/organization, named........... O Workshop O Concert O Performance O Exhibition O General Events (Please note: only an abstract is required before the first deadline) O I plan to submit O Video Tape O Film (please describe) O I am interested in an advertisement (industry only) O Please send preliminary program SISEA Westerhavenstraat 13 9718 AJ Groningen The Netherlands phone: 31-50-138160 31-50-138343 fax: 31-50-138242 E-mail:SCAN@HGRRUG5 (Bitnet) ------------------------------ From U31529@UICVM.BITNET Date: Sun, 28 Jan 90 18:46:06 CST Subject: Oh boy!!!!!! A new toy!!!!!!!!! Well, guess what this kid did last week????? That's right, he went out and got himself his first new synth in five years! David here is now the proud owner of a Kawai K1 II. And is he going to contently play off the factory presets? Of course not! He's going to reprogram most of that thing the way he does with everything else. (Aside from a few good patches, like a truly scary pipe organ patch...) Now, this is where you people come in on this. I understand the instrument in theory, but it would help if I had a few hints on how to get the most out of it. If anyone knows something of Kawai programming, I'd appreciate the help. Beyond my enormous ego, (let's face it) I don't know it all....yet! :) Thanks! End of EMUSIC-L Digest *********************** From "Michael B. Hutzel" Date: Fri, 26 Jan 90 11:32:42 EST Subject: Sharp PC900 Hi, Just a quick note in response to anyone searching for the Sharp PC900 optoisolator. It does appear in the 1990 Jameco Electronics catalog. Jameco Electronics 1355 Shoreway Rd. Belmont, CA 94002 (415) 592-8097 Good luck, Mike Hutzel Microcomputer Consultant Computing Services West Virginia University ***** Standard Disclaimer****** ***** ****** ------------------------------