EMUSIC-L Digest Volume 17, Number 1 Casio Midi Horn Coda's Finale Effects noise Greetings/Two Questions (6 messages) In the Avenues and Alley-ways... (2 messages) Joe's influences Korg T3 upgrades Master file (8 messages) NeXT/MIDI interfacing (3 messages) Notator (2 messages) Pitchrider: request for comments (2 messages) Roland Analog gear -- info, opinions requested (8 messages) Rolodex (10 messages) What is FB01 (8 messages) Widgets etc (4 messages) Your EMUSIC-L moderator is Joe McMahon Please send articles to EMUSIC-L@AUVM.BITNET. Send administrative mail to xrjdm@scfvm.gsfc.nasa.gov. Digests are distributed weekly. For faster response to questions, subscribe to EMUSIC-L at LISTSERV@AUVM.BITNET. Subscribers to this list may send mail to EMUSIC-D; it will be forwarded to EMUSIC-L. ---------------------------------------------------------------------- Date: Wed, 6 Jun 90 07:27:00 EDT From: Craig Hicks Subject: Casio Midi Horn A brief foray into the world of budget alternate controllers... Well, I don't know if any of you are familiar with this little item, maybe you have discussed it into the ground already, but I recently purchased a Casio MIDI Horn from a local catalogue store and thought I would sound off about it. The thing looks like the saxaphone that Baby Huey might use if he ever decided to front a jazz band. It is one of those strange products obviously directed at the consumer market, but with a couple of MIDI-fications that could make it interesting for the electronic musician on a budget. First of all, let me tell you that I got this thing for around $50 on sale. I originally saw it in a Service Merchandise catalogue for around three times that amount, and I frankly wasn't interested. But when the price was cut, I broke open my piggy bank and snatched on up. I was looking for a wind controller that would simply allow me to record note data with aftertouch information on my MIDI sequencer program, and this little MIDI horn does it, with a MIDI output (CH 1 only, MONO). It has six internal sounds that are reminiscent of Casio's pre-MIDI days (i.e., they have a high "cheese" factor) that are outputted from a speaker in the "bell" of the instrument (Baby Huey, remember?) There is also a minijack for headphones. I'm sure that anyone who has ever played a real wind instrument (beyond the kazoo or harmonica level) will think that the Casio MIDI Horn is pretty lame--the keys have a pretty cheap feel, the mouthpiece is plastic (but they give you a couple of replacements in the box), but hey, it is pretty interesting to try and compose a melody on this thing if you want to escape the bounds of familiar keyboard-based phrases and fingerings. I used it to drive my Yamaha TX-81Z module, and it seemed to work pretty well, depending on the patch. I had fun with the "BC" horn patches, and the sax and french horn. The clav and piano sounds were interesting, and I got to the point where some of my e-bass riffs sounded pretty good. The breathy pads and washes were not as good, I think the poly voicings one can achieve using a keyboard are superior. Response time seemed quick, depending on the breath and tongue action employed, and the aftertouch worked pretty well, although it seemed a little "grainy" at times (although the internal voices are VERY responsive to variations in breath intensity). The owner's manual indicated that it could generate the full range of aftertouch (yes, there is even a midi implementation chart included!), but there could be a problem here as it "steps" from level to level. I do not have a keyboard that generates aftertouch, so I really do not have a basis for comparison. There are two fingering modes, either standard "recorder" fingering (another consumer-market feature, no doubt) which gives you two octaves, and my fave, the "Casio" fingering, which seems more sax-like (again, I am not a sax player, so don't take my word--it is probably very different, after all, they call it "Casio" fingering) and can cover four octaves with relative ease. The thing runs off of either batteries (the manual said for six hours, but I must have put at least eight on it so far) of the dreaded AC adapter. A lightweight strap is included. There are some patch change buttons that allow you to change the six internal sounds and will change the patches on any connected MIDI devices set to CH 1. For about $50, not a bad experimental tool. And I found it fun to play. I would recommend this for someone who is interested in exploring alternate MIDI controllers and doesn't have a lot of expectations in terms of what a good wind instrument is supposed to be. Craig Hicks National Academy of Sciences Washington, DC USA CHICKS@NAS (Bitnet) ------------------------------ Date: Sat, 2 Jun 90 17:19:32 SST From: Gan Seum-Lim Subject: Coda's Finale Does anyone have any opinion on this integrated MIDI software ? What are the good things and what are the no-good things ? ------------------------------ Date: Wed, 6 Jun 90 19:48:30 BST From: "Patrick C.K.Tsang" Subject: Effects noise >What were the early problems with the QV, was it JUST the original 1.) Quality Control not doing their jobs properly, or 2.) Rushing the units to the shops even though they may be faulty. I presume they have got it right with the QV II, they had better get it right or they are going to ruin their reputation. No ideas on the serial numbers because I wasn't one of the unfortunate ones. I was very cautious at the time. >Yamaha SE-312 guitar into one channel of ALESIS limiter/compresser into >the mono-in of the QVII. The two output channels go into the boss mixer, >which feeds thru a BSR 10-band stereo equalizer into a Randall 250W >(150x150) stereo amp to AR speakers. In my opinion it is a bad idea to place the 10-band EQ after the mixer because it will boost the mixer's noise as well as your signal. Much better to EQ after the QVII and then put the signal into the mixer (unless you have other instruments going in the mixer which needs EQ as well). To split the signal, get one of these little passive 4-in-1 mixers and use it backwards (1-in-4). It'll only cost you $25. Even cheaper is to split the signal at the Compressor/Limiter output and feed that into the mixer, just do make up a phono lead with two phono plugs at the output, only takes 10 minutes. Patrick. ------------------------------ Date: Mon, 4 Jun 90 05:33:00 EDT From: Craig Hicks Subject: Greetings/Two Questions Hi there! I am a new subscriber to this list, and just wanted to let y'all know I was here. I am involved in composing and recording electronic music using a small midi studio. I am chiefly interested in music for theatre, film or video animation, and dance. I have performed live in bands before, but prefer not having to haul my equipment around so much! Question #1) I am looking for other people who use a rack mount midi module made by Roland, the MKS-30 Planet S. Can anyone help me out? Question #2) I am in the market for a low-cost (under $500) digital reverb or effects unit. Any recommendations? Hope to get some feedback soon.... Craig Hicks National Academy of Sciences Washington, DC USA CHICKS@NAS.BITNET ------------------------------ Date: Mon, 4 Jun 90 22:58:46 BST From: "Patrick C.K.Tsang" Subject: Welcome Craig ! >Question #2) I am in the market for a low-cost (under $500) >digital reverb or effects unit. Any recommendations? Craig, I strongly recommend the Alesis Quadraverb which is a 16-bit multi-effects unit. It can do four effects at a time from a selection of delay/reverb, chorus/ flanger, 5-band parametric EQ and even a simulation of the rotating Leslie speakers of the Hammond organ. It is very versatile indeed and the sound is clean, spacious, simply the business. It is equally suited to keyboards, guitars and acoustic instruments. It does has problems though. Earlier on many units were found to be faulty and had to be returned to Alesis from all over the world, which is a shame. I would otherwise have bought one myself at a time that I had the money. For reverb alone the Lexicon LXP-1 is the best for your price bracket. For dedicated reverb unit it is in my opinion the cleanest, smoothest sounding unit that I have got my ears onto. The decay of the sound is just beautiful. The LXP-5 is their multi-effects box which is also very good. If you are a guitarist then Yamaha has a few good boxes designed for guitarist which incorporate things like distortion along the standard chorus and delays. Patrick. ------------------------------ Date: Tue, 5 Jun 90 08:32:26 -0400 From: Brian Adamson Subject: Re: Greetings/Two Questions Craig, I have been playing with the ART SGE effects processor which you can find for just under $500. It has several options beyond reverb. If you are interested in reverb only, I have an Alesis MidiVerb II which I like alot. Unlike the SGE you select from a large number of preset reverb programs but there is alot of variety 30+ reverb programs, plus flanging, reverse reverb, gated reverbs, chorus, and a few special effects. The SGE lets you select from a variety of reverb algorithms and then set parameters such as delays, regeneration, etc to get the desired effect. The SGE also does digital delay, pitch shifting, compression, distortion (for metal-head guitarists), panning effects, equalization (limited), As a total package it's an unbeatable box. I've only played with it for about a week now (am borrowing it from a friend) but I think I like the Alesis reveb algorithms a little better, although time may change my mind about this. Other boxes that look good to me include the Lexicon boxes which seem fairly capable and reasonably priced plus Lexicon has a history of quality effects although I haven't personally played with one. Brian Adamson ------------------------------ Date: Tue, 5 Jun 90 14:10:07 BST From: Nick Rothwell Subject: Greetings/Two Questions > I have been playing with the ART SGE effects processor which >you can find for just under $500. It has several options beyond >reverb. The ART ProVerb 200 is being shifted for around #130 ($200) here at the moment. Were I not broke, I'd buy one to dedicate to the Waldorf for chorusing (for that *real* PPG sound). MIDIverb II's seem to have vanished off the face of the earth, which is a shame. Nick. ------------------------------ Date: Wed, 6 Jun 90 08:38:00 EST From: "William R(ay) Brohinsky" Subject: RE: Welcome Craig ! {I shoulda renamed it quadraverb problems!} Patrick (and Craig) I have a Quadraverb II. I am a guitarist, having just returned to the electric after leaving it for years in favor of acoustic/classicals. The major factor was feedback. I have used the Quadraverb II with all the above. I have two questions, one of which was sparked by Patrickk (sorry-early in my day, no caffein yet...) Patrick's response to Craig: What were the early problems with the QV, was it JUST the original QV and not the QVII, and if anyone knows of problems with the QVII, what are the serial numbers which are effected? Mine is about a year old, and it must warm up for some time before it stops sending cannon-shot pops thru the system! Other than that one thing (warm-up time is usually about 20 minutes; no problem for live performance, I just plug it in when I get there, then set up) I like everything about the QVII for live performance but one. I would like to have some dry sound from my guitar to mix in with the QVII, but the effects loop of my mixer (a boss 8-channel grey wedge) is so noisy that it is necessary to run the guitar thru the effects first. Does anyone know of a good splitter which will CLEANLY split my guitar output so I can run one line through the QVII and the other straight in? [for info's sake, my current setup is: Yamaha SE-312 guitar into one channel of ALESIS limiter/compresser into the mono-in of the QVII. The two output channels go into the boss mixer, which feeds thru a BSR 10-band stereo equalizer into a Randall 250W (150x150) stereo amp to AR speakers. raybro ------------------------------ Date: Thu, 7 Jun 90 10:40:19 BST From: Tony Jewell Subject: Re: Greetings/Two Questions > Question #2) I am in the market for a low-cost (under $500) > digital reverb or effects unit. Any recommendations? Well, the best selling cheap Multi-FX box in this country at the moment is the Yamaha FX500 - although primarily designed as a top end guitar effects unit, it is also a very good box for a small studio. It can do the following - Compression + Distortion + 3 band EQ + Plus one of Tremelo Chorus Flange Symphony - Sort of stereo chorus / flanger thing And one of Delay Echo Delay + Reverb Delay -> Reverb Reverb -> Delay I've got one and I like it a lot. > Hope to get some feedback soon.... Is this a pun ? -- ----------------------------------------------------------------------------- Tony J Jewell Systems Officer City Of London Polytechnic ___ . ___ JANET: tonyj@uk.ac.clp.unixa / \ / / \ EARN/BitNet: tonyj@unixa.clp.ac.uk / / /___ / EAN: tonyj%clp.unixa@ean-relay.ac.uk <____/ <___ / ----------------------------------------------------------------------------- ------------------------------ Date: Mon, 4 Jun 90 11:46:11 BST From: Nick Rothwell Subject: In the Avenues and Alley-ways... ... where the soul of a man is easy to buy, Everybody's wheeling, everybody's dealing All the low are living high... Well, having bought the VFX a couple of weeks ago, I suddenly got this urge to cut out some of the dead wood from my synth setup, and rationalise things (not least, the wiring... yuck). I've managed to sell the TX7 (thanks Patrick!), since I was only using it for a few specific sounds, and the VFX can do all of them to a close enough degree. I sent back the faulty WX7 (five months, and still no joy out of the dealer or Yamaha wrt. a manual or a functional machine). And, I traded in the MKS-7 and the Matrix-6R and bought the Waldorf. [...applause, cheers, etc...] Oh yes, the Macintosh has been transformed into to an SE/30 as well, which was a wise move wrt. our live sequencing requirements (the original D-50 loan is now paid off, so I can take out another...) I'm now down from 7 synths to 5, and a lot happier as a result. Partly because I don't like having under-utilised machines around; it's much easier to be disciplined about composition and sequencing when there are less instruments, which are being properly used. The main reason I'm a lot happier is because I've got the Waldorf (that's a rackmount PPG to you). This machine is magnificent. It has all the original PPG WaveComputer wavetables (plus some extras), and they're still very well textured with lovely timbral character, even ten years on. They're better source material than the VFX's wavetables, for instance. The Waldorf will also accept new wavetables via MIDI (though I don't have the SysEx specs. yet). The extensive MIDI modulation and control facilities (things like sideband modulation sources, ADSR envelopes with individually modulatable time and level segments, and the 8-point wave enveloping, for instance) are well thought out. No doubt about it, Wolfgang Palm is a (mad) genius. The filtering is gorgeous. Analogue resonant filters, of course, and rock solid. For example, I managed to program a vocal sweep with the delicate breathy part of the vocal provided by the filter resonance. This is where it really leaves today's Japanese gear standing. The manual is still preliminary, with parts in German (and illustrations marked as fehlt (missing)). It has an "interesting" German sense-of-humour as well. Oh, the presets are lousy. I'm ignoring them and programming from scratch. I now have two Real Synthesisers (the Waldorf and the Super-JX rack) plus the digital stuff (D-50, D-110, VFX). Sure, the latter are very versatile and do most of the work, but there's nothing to beat a machine with soul. The Waldorf is beautiful in a mix. Keyboard actually slated the Waldorf for not providing built-in effects or drums. *Choke*. Well, it's one thing to have the latest Japanese instrument with the latest fashionable samples, features and designer looks. It's another to have a truly classic instrument. You can keep your WaveStations and your AWM; there's nothing, ah say nothing, to beat the sounds you can get from a well-designed quality machine with high-precision analogue resonant filters. So: *bleah*. Nick. ------------------------------ Date: Mon, 4 Jun 90 22:33:20 BST From: "Patrick C.K.Tsang" Subject: Nick and Brian going on the road !!! >(my new band's got its first gig June 24th! I'm beside myself ... three men >and a lot of technology ... now, I wonder what's going to break ...) June the 24th ? Where in Canada ? I will be visiting my old mates in Boston from 22nd and those in from Toronto 27th. Wouldn't be anywhere near where you play Brian ? By any chance ? Anyway, let me know how your band is going. I have once upon a time attempted to combine jazz/fusion players of my live band with sequenced music and they never let a sequencer into the rehearsal room again. Nevertheless I will wait another chance to try again. Here is what happened to me: ---------------------------------------------------------- Five months ago I decided to explore if musical life can be extraterrestrial of the C-lab, where mysterious aliens, apparently more sophisticated than the average home MIDI recordists, well-trained in dexterity, scales, theory and highly experienced in fighting off the occasional drunken punters, survives in the most grilling conditions. In the absence of VCO, DCO, LFO, AWM, FM ... and the life-saving SEQUENCER, exposed to death by 240V electric shock every day, these ancient worriers defended their territory with their 57' Stratocasters, Marshalls and Beyerdynamics. With my Linear-Arithmetric Mother-board, the Roland-D, an old H/H single-cone and a vital circuit-breaker, I lifted off into orbit. Soon I was encountered by the leader of the band of worriors: 'No keyboard players here ... don't suppose you can play bass for us can you ?' Desperate to exploit any chances of playing, I made the brave decision of abandoning my Mother-board, in order to get in touch with these extra-terrestrials. My only life support now being four chrome strings attached to an old Ibanez Bass which I borrowed. On the second day of my voyage I discovered, in terror, that in giving up my digital filters, I had lost immunity against the infection of in-harmonics. I was horrified to find that my Velocity sensitivity, Aftertouch, Pitch Bend and Modulation were all gone ! I could no longer achieve pitch-modulation at the touch of a wheel, nor could get instantaneous tonal variation by finger pressure. Every cry for variation in the sound had to be done the hard way --- by finger technique alone. Furthermore my ear was constantly penetrated by the sound of less-than-perfect tuning. Right from the first day of our crusades the Axeman, with a huge Marshall stack, would be on constant volume battle with the stick-wizard, otherwise known as the Drummer. On each count of 2 and 4 the wizard would smash his wand with such thunderous power against what they called a snare, (although it doesn't look like snares at all from the top) that a cracking sound, somewhat reminds me of a small-size nuclear explosion, would come out. The Axeman, not content with being a sideman during these short bursts of raw-power demonstrations, would attempt to strike across his Axe in a perpendicular motion with equal, if not excessive, brutality. No body dares to be within a lightyear's distant away from these two while they are at it, or they would be fried in the exchange of heat, light and thunder....... (to be continued ... ) Patrick. ------------------------------ Date: Thu, 7 Jun 90 11:01:00 EST From: "Richard S. Holmes" Subject: Joe's influences > Spike Jones, P.D.Q. Bach, Stockhausen. Good lord. Sounds like a VERY -- uh -- interesting combination. >Real job: IBM mainframe systems programmer... That might explain it... :-) - Rich ------------------------------ Date: Wed, 6 Jun 90 14:27:00 +0200 From: Joseph C Pistritto Subject: Korg T3 upgrades >Mailer: Elm [revision: 64.9] I have a T3, bought about 6 months ago. Just got a letter from the distributer (in Germany), saying a new version of the operating software was available (for free even). Does anyone know anything about this? The brief description seemed to indicate that more kinds of parameter changes (from Combinations), could be programmed into the sequencer memory, for instance. This upgrade applys to all T series instruments. At the same time, they mentioned that for the sum of DM 690, I could get 1 Megabyte of sample memory installed so that I could use Korg sample diskettes to load new samples. The T-1 already has this memory installed. Questions: 1) is this cheaper in the States, 2) can I install it myself?, and 3) is anyone out there USING sample memory, and have an opinion on the additional diskette based Korg samples available? Also, is there any other way to source new samples yourself for the T series? (I'd really like to add some Indian percussion samples, for instance). best regards to all, -jcp- -- Joseph C. Pistritto (bpistr@ciba-geigy.ch, jcp@brl.mil) Ciba Geigy AG, R1241.1.01, Postfach CH4002, Basel, Switzerland Tel: +41 61 697 6155 (work) +41 61 692 1728 (home) GMT+2hrs! ------------------------------ Date: Tue, 5 Jun 90 14:33:14 PLT From: "Bill Flowers (MuSIG)" Subject: Administrative idea Since we are struggling with ways to handle both novice and veteran e-musicians, and I doubt the trend will stop, I put forth this idea to help manage the numerous posts we see that say things like, "...any information on *******?" How about if whenever anyone posts a request for information, he or she saves all the replies and compiles a "master file" of info on that product? Then, when the next person asks for info on that same product, and we won't necessarily have to go over previously covered territory. I might even volunteer and go through the archived digests and extract posts on gear that I'm interested in, just to get the process started. Any comments? """" O^O~ Bill Flowers FLOWERS@WSUVM1.BITNET c Microcomputer Support flowers@wsuvm1.csc.wsu.edu = / Washington State University (509) 335-0501 ------------------------------ Date: Wed, 6 Jun 90 07:59:19 PLT From: "Bill Flowers (MuSIG)" Subject: Archive idea details Okay, let me clarify this idea a bit more (really, I'm just making this up as I go along). I'll start going back through the archives looking for info on, say, the Mirage sampler (since I happen to own one) and the Roland JX-8P/JX-10/MKS-70 stuff (since I happen to want one). When I get it together, I'll post it in the archives so that anyone else interested in this stuff can call back my work. Also, what I'll do is capture any new posts on, say, the new Roland S-770 sampler module. You all can discuss it without worring about saving your great literary creations; I'll collect the vital stats, person remarks, etc. Then two months from now when we've completely sickened of the S-770, if a newcomer pops in and unwittingly asks if we've heard anything about it, he or she doesn't become the target of harrassment and ridicule. The great thing about this plan is that while I'm saving all this info on the S-770, everyone else out there (this means *you*) is doing the same for their current interest. Pretty soon, we'll have a valuable resourse, and no one ends up "having to do all the dirty work." I guess I'll officially volunteer for the products I've mentioned above. So, now what do you think? """" Bill Flowers FLOWERS@WSUVM1.BITNET O^O~ Microcomputer Consultant flowers@wsuvm1.csc.wsu.edu c Desktop Computing Services MIDI@WSUVM1.BITNET = / Washington State University (509) 335-0501 ------------------------------ Date: Wed, 6 Jun 90 15:54:09 BST From: "Patrick C.K.Tsang" Subject: Master file >for information, he or she saves all the replies and compiles a "master >file" of info on that product? Then, when the next person asks for info >on that same product, and we won't necessarily have to go over previously >covered territory. I might even volunteer and go through the archived >digests and extract posts on gear that I'm interested in, just to get the >process started. Any comments? If you are willing to volunteer it would be great. It kind of reminded me how Cecilia Tan used to collect up all the info on 4-tracks when she was buying one, and posted them here in one go. It was very useful. Patrick. ------------------------------ Date: Wed, 6 Jun 90 12:28:12 EDT From: "David A. Roth" Subject: Re: Master file Would it possible to put it on a server someplace so it could be request via e-mail? David ------------------------------ Date: Thu, 7 Jun 90 08:11:02 PLT From: "Bill Flowers (MuSIG)" Subject: Back on my own crusade... Hah! I thought I'd take this opportunity to ask someone to volunteer to save that message on the Casio horn and start a file on alternate wind controllers (alternate to the Yamaha stuff, I suppose. We probably ought to have a separate file for it). Okay, any takers? Bill Flowers FLOWERS@WSUVM1.BITNET flowers.wsuvm1.csc.wsu.edu MIDI@WSUVM1.BITNET ------------------------------ Date: Thu, 7 Jun 90 12:40:00 EST From: "William R(ay) Brohinsky" Subject: RE: Back on my own crusade... Ok, Bill, I'm for it! Can you give me the directions to the archives you mention? (or should I have already known that?) Numerical FTP addresses seem to work best from here. raybro ------------------------------ Date: Thu, 7 Jun 90 09:22:00 EDT From: Craig Hicks Subject: RE: Back on my own crusade... Bill -- I will volunteer to start a file on alternate midi controllers, starting with the Casio horn bit I sent. Since I am currently interested in effects boxes, I will try and compile the messages that are sent on that topic too. Craig Hicks National Academy of Sciences Washington, DC USA CHICKS@NAS (Bitnet) ------------------------------ Date: Thu, 7 Jun 90 11:03:00 EDT From: Craig Hicks Subject: RE: Crusade Ok, Bill, I'm for it! Can you give me the directions to the archives you mention? (or should I have already known that?) Numerical FTP addresses seem to work best from here. raybro Well, since raybro has also volunteered to save the wind controller info, I volunteer to save just the info on effects units, instead of both. Craig Hicks National Academy of Sciences Washington, DC USA CHICKS@NAS (Bitnet) ------------------------------ Date: Tue, 5 Jun 90 09:16:01 EDT From: "James P. Goltz" Subject: NeXT/MIDI interfacing First off, I haven't nearly the disposable income to even consider doing anything like what I'm about to discuss, so this really is only a blue-sky question. I've had the oppotunity in the past few months to fool around with some NeXT machines, and based on the technical info I've seen (and the sounds I've heard from some of the sample programs), the NeXT DSP seems pretty awesome. Given that it can process nearly any kind of signal, it could serve not only as a sound synthesizer in its own right, but as a MIDI controller for other equipment (with some additional hardware). My question is: since the DSP combined with the wonderful graphic display makes it a natural for some sort of MIDI software package, is anyone currently working on such a bundle? Or is the market too small as yet for anyone to be concerned with it? (Come to think of it, given NeXT voicemail, you could send a friend a new MIDI patch and a sample of the sound at the same time...) Just dreaming. --Jim ------------------------------ Date: Wed, 6 Jun 90 09:08:00 EST From: "William R(ay) Brohinsky" Subject: RE: NeXT/MIDI interfacing Jim, Are you familiar with the Commodore Amiga? What you describe with the NexT is being done, now, on the Amiga. If you want more info, email me directly. If there's enough interest, one of us amiga-users can surely put up summary info on the net. raybro raybro%utrc@utrcgw.utc.com ------------------------------ Date: Wed, 6 Jun 90 17:11:12 BST From: "Benjamin M. J. Ellis :->" Subject: NeXT Yo Raybro, Tell us amiga users out here about DSP's on the amiga, I've heard mention of it, but never managed to get any details!!! - Benjamin U.K.C. England ------------------------------------+------------------------------------------- E-mail: bmje.ukc.ac.uk : Snail Mail: B.M.J. Ellis, University of Kent : 33 Parkfield, at Canterbury : Chorleywood, England : Herts. WD3 5AZ ------------------------------------+-------------- England -------------------- "Today I am a small blue thing, like a marble or an eye... I am cool and smooth and curious, I never blink, I am turning in your hand, turning in your hand small blue thing..." - Suzanne Vega. -------------------------------------------------------------------------------- ------------------------------ Date: Sat, 2 Jun 90 12:17:00 CST From: jeff beer Subject: Re: Notator Does it have printer support for the HP series II laser printer? I know hybrid arts EZ-SCORE does not, you have to have an HP printer with the Epson emulator, which is unfortunate. jeff ------------------------------ Date: Fri, 1 Jun 90 14:00:00 N From: Max Subject: Notator Raybro, Hello there.... I'm back again (having got rid of most of the impending work!!!). I have finally had a little work out with the C-Lab package...... First of all: I have'nt had any experience with other software which permits transcription of music directly onto a score sheet with the possbility of having the notes typed in by hand transformed directly into MIDI events by the program. My brief "visit" into Notator land tells me that I'm probably working with the sort of thing I was looking for (not accidentally though, I bought the thing only after an extenuating round of searching through the literature....the music stores around here sell the damn thing but don't seem to have any idea as to the real potential and/or applications of the package!!!!). Now whether this is or not the best package of its kind on the market (for the Atari) I don't know.... but what I can say is that after a few hours spent on the manual, I got down to work and everything was pretty intuitive enough. Transcription of music is a breeze: You have a part box on the left hand of the computer screen from which to pick the most used symbols and drag them by mouse onto the score sheet. A whole lot of other symbology is available from a pop up menu which you get by touching the bottom of the screen, same procedure as before:select, drag and place..... If you happen to have your MIDI apparatus hooked up and switched on then you can click the MIDI out port "on" and this allows you to hear the note you are about to place on the stave (you can actually hear the scale running up and down as you drag the note around on the score sheet....). In the background one can constantly keep the MIDI events table under control so that it is easy to modify events at that level (Program changes, Pitch control, Modulation wheel etc.....), without ever leaving the score sheet. It is possible to work on up to 32 pentagrams at once. Each stave can have 2 voices assigned (each with the direction of the rests assigned to up or down), each voice in turn is polyphonic and can be assigned to an indipendent MIDI channel. Obviously if you are working on piano style sheets then you have two staves defined and 4 voices (2 for each stave) etc........ Keys are very easy to define and transpose (at any time during editing). Copying, moving, deleting of single and/or groups of notes is very straightforward. NOTE: UP TO THIS POINT I HAVE NOT PUT HAND TO THE COMPUTER KEYBOARD YET!!!!!!! The score environ- ment is fully integrated INTO the sequencer environment, so that the program (Notator) is actually living in symbiosis with Creator (which is the sequencer part of the software). This means that all the functions of the sequencer are directly accessible without exiting the score sheet. The sequencer (I am told) is one of the most powerful around (for the Atari), perhaps with the exclusion of Steinberg's Cubase........ All in all this brief panoramic probably lets my enthusiasm transpire, b ut what I can say is that I'm pretty satisfied. I know that this cannot absolutely be considered an exhaustive report, but if you have any specific questions to ask please do!!!! That' all for now.............. Ciao -Mauro- ----------------------------------------------------------------------------- Mauro A. Zordan Dept. Biology, University of Padova Chemical and Environmental Mutagenesis Laboratory Via Trieste, 75 35131 Padova (ITALY) tel: 049-8286276 FAX: 049-8286261 Bitnet: biolev@ipdunivx ______________________________________________________________________________ ------------------------------ Date: Fri, 1 Jun 90 11:49:42 EDT From: Tony Audas Subject: Pitchrider: request for comments I have an opportunity to purchase a Pitchrider 400 by IVL Technologies. (new, US$50) (microphone/pickup input MIDI controller). anyone have any experience/ opinions on this product? --- Tony Audas ------------------------------ Date: Sat, 2 Jun 90 12:39:00 CST From: jeff beer Subject: Pitchrider, Voicetracker and Pitch to Midi. Regarding pitch to midi, I have a couple things to talk about. First I am not aware of the Pitch Rider. Is it the same thing as the Cherry Lane. All I can say is I hear there are a lot of delays, but for $50, that is pretty cheap, considering the Fairlight Voicetracker once sold for $3000. Find out if it has velocity sensitivity. If so, then it is probably a good deal, and you can at least check that stuff out. Otherwise, the Roland is the only thing left, I think. What are you going to convert? Some instruments convert petter than others, and higher pitches work better than lower, because you get a complete waveform faster. As for using it with violins, I picked this up from a BB in Minneapolis. 90May31 3:49 pm from (612-825-4296 Minneapolis, MN) Subject: ZETA Well not to belabor the point but I think the ZETA midi violin pickup system does all* of that stuff, and I've heard it in extensive demonstrations while I was doing namm shows and I can vouch for the systems excellence, its well worth the price, even if the price is* sky high. My experience with trying to use the voicetracker or roland vp-70 with violin proved frustrating at best, too much resonating going on in the wooden body don't ya know, it might've helped to dampen the inside with some insulation or something but it just wouldn't be worth it. Barret carries the full line of zeta midi violin equipment. Luckily for me trumpet isn't all that hard to midify, and it works pretty good, very nicely. Which gets us to the Fairlight Voicetracker, which I also have. The Fairlight has been discontinued, as has Fairlight, and the company that has picked up Fairlight's stuff is not doing anything with the VT. Unfortunately, the software version I have does NOT have velocity sensitivity, but at least it does send out velocity continuous controllers. It plugs into a composite monitor, and has some nice readouts. Great for practicing intonation. As for how fast it is, I think it does pretty good. The person from Minneapolis uses it on a lot of gigs with R&B bands. I tend to use it just to pick up what I am playing to control computur-interactive compositions, I don't use it as a real time controller so much. That is to say, I don't have it play what I am playing. I could, but there seems to be too many glitches by the trumpet player, and these glitches are amplified by the fact that it sends a NOTE ON to the closest semitone with a velocity of 112, which could be clunky to say the least. I could put on the pitch bend, and that would smooth it out. Other than that, in the Fall 1989 issue of Computer Music Journal, there is a blurb on a product called the MidiMic, which is manufactured by Digigram, France. These is a microphone that converts analog audio information into Midi data. It is distributed by Imagine Music Group, (805) 683-1183 in California. I have no idea how it works, or what data it converts. Jeff ------------------------------ Date: Fri, 1 Jun 90 14:03:00 EDT From: "b.klassen" Subject: Roland Analog gear -- info, opinions requested Here I go again. I've located two used boards, and need some info on each: they are the Roland Jupiter-6 and the Roland JX-10. Any info/opinions anyone can give me will be appreciated (including ideas on what the going prices are). Thanks in advance, brian ------------------------------ Date: Mon, 4 Jun 90 10:50:54 BST From: Nick Rothwell Subject: Roland Analog gear -- info, opinions requested Is the JX-10 the same as/similar to the Super-JX? I have the latter as a rackmount, and will gladly comment on it if that's useful, but won't bother if they're too different. Nick. ------------------------------ Date: Mon, 4 Jun 90 09:28:00 EDT From: "b.klassen" Subject: RE: Roland Analog gear -- info, opinions requested >Is the JX-10 the same as/similar to the Super-JX? I have the latter as >a rackmount, and will gladly comment on it if that's useful, but won't >bother if they're too different. What I found out on the weekend, from talking to my somewhat knowledgeable Roland dealer is that the JX-10 is the keyboard version of the MKS-70 (or vis versa). So, I would appreciate your comments (and anyone else's for that matter) on the unit. My dealer told me all he knew in one sentence ("Yeah, I remember selling a few of those ...") > Nick. brian (my new band's got its first gig June 24th! I'm beside myself ... three men and a lot of technology ... now, I wonder what's going to break ...) ------------------------------ Date: Mon, 4 Jun 90 15:52:40 BST From: Nick Rothwell Subject: Roland Analog gear -- info, opinions requested >What I found out on the weekend, from talking to my somewhat knowledgeable >Roland dealer is that the JX-10 is the keyboard version of the MKS-70 (or vis >versa). Ah-ha. I have an MKS-70, which (as Metlay would put it) I love to pieces. A quick run-down: 12-voice 2-DCO-per-voice analogue synth, splittable into 2 tones of 6 voices, which can receive independent program changes, volume messages, aftertouch and so on. There are also other configurations (keyboard splits, velocity crossfades and so on). Voice architecture: fairly straightforward. Two oscillators per voice (with the usual saw/square/pulse/noise waves, I don't remember the details). No pulse-width modulation, I'm afraid, but the oscillators can be synced together in various ways (varying levels of sync, plus cross-modulation). One LFO per voice, although the two oscillators can track the LFO to differing degrees. One filter per voice (plus a simple HPF, a la Roland). That's good-quality resonant filters, but you knew that already. One VCA. Two envelope generators (simple ADSR), which control VCF cutoff and VCA level, although they're also available for DCO pitch (the DCO's can have different env/pitch amounts, although they may not have a choice of envelope; I forget). It's also possible to mix the oscillator balance by envelope. There's a two-program stereo chorus (OFF/Rich/Expansive (!)) per "tone" - that's two in the unit. Outputs: two independent stereo pairs (certainly in the rack, don't know about the keyboard version), or a stereo summed pair, or mono (boo!). The voice architecture is fairly typical Roland, and rather restrictive, but this is a very nice sounding machine indeed, and you can do a surprising number of things with it. Silky smooth strings, bright electric piano sounds (just like a DX7 in fact) due to the cross-mod facilities, good marimba and metal percussion sounds, and rich bass. The editing interface (at least on the rack) is rather hostile, but you might be able to get along with it on a keyboard, with more buttons and so on. MIDI control: not bad at all. It accepts volume and patch change for each tone independently, which is the important thing (for me). The SysEx implementation is rather buggy, though, making bulk loading difficult, although I can audition and edit sounds from my Mac. I don't know how the JX-10 keyboard behaves at all - sorry. >(my new band's got its first gig June 24th! I'm beside myself ... three men >and a lot of technology ... now, I wonder what's going to break ...) Snap... we're playing the UK Electronica in Sheffield on September 15th (this has just been announced in Sound On Sound magazine, although they forgot to mention our band name ("Cassiel") and put somebody else's name instead of mine, of course...). Two men, one Macintosh, five keyboards, two racks of steaming silicon (including the wonderful Waldorf, bless her analogue heart), 15 miles of cables, and lots of flashing LED's. Nick. ------------------------------ Date: Mon, 4 Jun 90 11:42:00 EDT From: "b.klassen" Subject: RE: Roland Analog gear -- info, opinions requested Thanks for the MKS-70 blurb, Nick. If the JX-10 is indeed the same beast, I may be parting with some cash very soon. Speaking of the this mystical (mythical) Waldorf, has anyone on this side of the pond come across one yet? Any info on (North) American distibution? BTW, my band is called "Hands On Too Large", a name coined by my vocalist (I think to reflect my keyboard playing!), not that any of you will ever hear of us ... brian ------------------------------ Date: Tue, 5 Jun 90 14:04:18 BST From: Nick Rothwell Subject: Roland Analog gear -- info, opinions requested >Thanks for the MKS-70 blurb, Nick. If the JX-10 is indeed the same beast, I >may be parting with some cash very soon. Ya, it's a very nice machine. This is why I no longer needed my Matrix-6 and/or MKS-7. If you want to have it talk to a computer, let me know, and I'll let you have my SysEx routines. The machine is rather buggy SysEx wise, but you can get round the problems. I have patch and tone editing working from the Mac without too much hassle. >Speaking of the this mystical (mythical) Waldorf, has anyone on this side of >the pond come across one yet? Any info on (North) American distibution? I think it's being distributed there by Steinberg/Jones. Nick. ------------------------------ Date: Tue, 5 Jun 90 14:06:37 BST From: Nick Rothwell Subject: Roland Analog gear -- info, opinions requested By the way (for someone who asked): I don't know what the US price is on the MKS-70. I saw mention of it at $600 or so. Over here it stayed at #900 for a while at a shop in London, and then dropped to #430 + tax. I was down there so fast I left skid marks. Then, the price went up again, and I think they're all gone now. Nick. ------------------------------ Date: Tue, 5 Jun 90 10:19:00 EDT From: "b.klassen" Subject: RE: Roland Analog gear -- info, opinions requested >By the way (for someone who asked): I don't know what the US price is >on the MKS-70. I saw mention of it at $600 or so. Over here it stayed >at #900 for a while at a shop in London, and then dropped to #430 + >tax. I was down there so fast I left skid marks. Then, the price went >up again, and I think they're all gone now. Well, um, this guy with the JX-10 wants $1600 Cdn (gulp). Oh, but that includes a programmer. So I guess I'm still looking. I give him a call back in a month or so, just for grins ... Meanwhile, I gotta find out about these Steinberg/Jones cats. There's no sign of them in Toronto (nor is there of the Waldorf). brian ------------------------------ Date: Wed, 6 Jun 90 13:23:00 EDT From: "SONGWRITER (A.K.A. TIM PHILLIPS)" Subject: A new idea!!!!!! I don't know how much everyone here is into privacy, but I think this is another good idea. Why don't we form like a ROLADEX, everyone submit a letter to the list, with their name, home address and phone, as well as their work address and phone, and the equipment they own. That way, when some of us who don't have permanent accounts, can have a resource to get in touch with when our accounts die in case we should have problems. This will also allow contact and transfer of files when the network isn't feasible. Hear is my 'DATA' for the ROLADEX. NAME: TIM PHILLIPS HOME: Box 44, Gauley Bridge, WV 25085 USA WORK: Computer Center, WVIT, Montgomery, WV 25136 USA HOMEPHONE: (304) 632-2194 WORKPHONE: (304) 442-3364 EQUIPMENT: ENSONIQ SQ/80 DESIRED EQUIPMENT: AMIGA 3000, EPS, VFX, 4-track recorder (or better) now everyone who wants to, fill out a similar form. and just submit it to the list. Then we can have a group of 'experts' that we can contact anytime. What do you all think??? Tim Phillips WT123762@WVNVAXA ------------------------------ Date: Wed, 6 Jun 90 20:11:25 BST From: "Patrick C.K.Tsang" Subject: WARNING !!! >I don't know how much everyone here is into privacy, but I think this >is another good idea. Why don't we form like a ROLADEX, everyone submit >a letter to the list, with their name, home address and phone, as well >as their work address and phone, and the equipment they own. That way, HOLD ON ! Yes, it is a great idea to let people directly get in touch with you, but I am afraid you have just posted something like: NAME: TIM PHILLIPS HOME: Somewhere near a bridge ............... WORK: Certain computer centre................ 'I HAVE RIGHT HERE A NICE ENSONIQ SQ/80 FREE FOR FOR ANYONE WITH ENOUGH GUTS TO BREAK INTO MY HOUSE AND PINCH IT.......' PLEASE ! PLEASE do not disclose the location of your expensive gear. There are 165 guys on the list, ALL of whom I am positively sure are honest folks with solid, secure jobs in Computing and won't ever consider committing a crime. However it might not be apparent to you that once your address is public property, it may be left lying around in directories or printouts and anyone with the evil idea can come and break into your place. Just yesterday I was still telling Nick to be careful with his gear on the road and how he reminded me of an article I once read in 'Making Music' magazine : It tells of some poor guy who posted 'Korg M1 for sale...' in a second-hand magazine, gets a phonecall, tells the guy over the phone that he is two houses away from the pub ... and the next thing he gets his house broken into and his Korg M1 stolen. Also, are your stuff insured ? I think most of us are but I would like to remind everyone that we should all have our expensive toys insured. Patrick. ------------------------------ Date: Thu, 7 Jun 90 17:19:54 EDT From: THEISS@CSHLAB.BITNET Subject: Re: Rolodex I'd hate to be untrusting, but wouldn't it suffice to give just a town & state where we live rather than a complete home address, considering we are listing all this expensive equipment? Tho I do find it very interesting to see what people have and 'really' do for a living. (a liason) ------------------------------ Date: Thu, 7 Jun 90 17:41:38 EDT From: Joe McMahon Subject: Rolodex Good point. Before too many more of these come in, put down your work address or a P.O. box or something if telling Lord knows how many people where you live makes you nervous. --- Joe M. ------------------------------ Date: Wed, 6 Jun 90 17:49:51 EDT From: Dean Swan Subject: Re: A new idea!!!!!! Re: The Rolodex thinger. Great idea. Who wants to administer and compile the thing though? Here's my info: NAME: Dean Swan HOME ADDRESS: Rural Rt. 2, Box 79, May Road, Potsdam, NY 13676-9608 USA WORK: Turbett Associates Consulting, Potsdam, NY HOME PHONE: (315) 265-2679 WORK PHONE: (315) 265-8461 EQUIPMENT OWNED: Roland- A50, D110 Yamaha- DX7 IIFD with E!, MV802 Ensoniq- EPS Alesis- QuadraVerb Casio- AZ-1 Roland- A-880 (Oops! I forgot about this above) EQUIPMENT PREVIOUSLY OWNED: Roland- Alpha Juno 2 Kawai- K5 Alesis- MIDIVerb II Yamaha- TX81Z, DX7, DX7s Axxess- MIDI Mapper Roland- MT32 (I've had so much Roland stuff I keep forgetting.) Korg- M1r EQIPMENT DESIRED: Sequential- Prophet T8 (Metlay will probably sell me his someday.) I've also at least test-driven one of everything else, so if you have questions, I probably know something about it. A friend of mine owns the local music store, so he lets me borrow new things when they come out to see how I like them . The only problem with this is that I end up buying too many of these loaners. As for my day job, I do professional consulting. This includes anything from MIDI related work to multi-user, multi-tasking networked, distributed database systems. Most of my work is with PC's, but I *like* Unix, and I may buy a Mac, just so I can run Vision. -Dean Swan dean@sun.soe.clarkson.edu P.S. This is a permanent account, so this e-mail address is good basically, forever. ------------------------------ Date: Thu, 7 Jun 90 10:17:30 EDT From: Joe McMahon Subject: Re: A new idea!!!!!! >Re: The Rolodex thinger. > >Great idea. Who wants to administer and compile the thing though? I'll do it, since I've got access to store this stuff on LISTSERV... And mine: NAME: Joe McMahon HOME ADDRESS: P.O. Box 13, Lothian, MD 20177 USA WORK: NASA/Goddard Space Flight Center, Code 931, Greenbelt, MD USA HOME PHONE: (703) 354-6560 WORK PHONE: (301) 286-8090 (calls to work preferred) EQUIPMENT OWNED: Ensoniq VFXsd Various recorders/tin whistles/etc. Trumpet (but very out of practice) EQUIPMENT PREVIOUSLY USED: Micromoog EQUIPMENT DESIRED: Decent multi-track recorder Sequencer and MIDI i/f for the Mac Major Mac Upgrade (currently using a 512KE) Style: a random assortment, from transcriptions to Looney Tunes "classical" electronic music to whatever strikes my fancy. Influences: W. Carlos (esp. the "Clockwork Orange" soundtrack), Larry Fast, Spike Jones, P.D.Q. Bach, Stockhausen. Real job: IBM mainframe systems programmer, with side trips into anything else that crosses my desk, especially Mac-related stuff. --- Joe M. ------------------------------ Date: Thu, 7 Jun 90 11:34:30 BST From: Tony Jewell Subject: Re: A new idea!!!!!! And now for my pitiful equipment list: NAME: Tony Jewell HOME ADDRESS: 69 Mount Pleasant Rd, Lewisham, London WORK: City of London Polytechnic, 100 Minories, London HOME PHONE: 081-690-6442 WORK PHONE: 071-283-1030 ex244 EQUIPMENT OWNED: Casio FZ1 sampler (1 meg) Kawai K1 Cheetah MS6 Roland R5 drum machine Atari ST running: C-LAB Notator and Creator Steinberg Cubase Steinberg Pro 12 Yamaha FX500 multi-fx Alesis Microverb Seck 12-2 Mixer PREVIOUSLY OWNED Yamaha CX5M computer Roland MT32 Roland SH101 Korg MS10 Yamaha RX21 Casio SK1 sampler -- ----------------------------------------------------------------------------- Tony J Jewell Systems Officer City Of London Polytechnic ___ . ___ JANET: tonyj@uk.ac.clp.unixa / \ / / \ EARN/BitNet: tonyj@unixa.clp.ac.uk / / /___ / EAN: tonyj%clp.unixa@ean-relay.ac.uk <____/ <___ / ----------------------------------------------------------------------------- ------------------------------ Date: Thu, 7 Jun 90 11:15:00 EST From: "Richard S. Holmes" Subject: Rolodex And mine: NAME: Rich Holmes HOME ADDRESS: 1319 Madison St., Syracuse, NY 13210 USA WORK: Physics Dept., Syracuse University, Syracuse, NY 13244 USA HOME PHONE: (315) 476-3792 (answering machine) EQUIPMENT OWNED: Macintosh SE Hohner & Castagnari 2-row melodeons Various recorders/tin whistles/etc. Clarinet (out of practice) EQUIPMENT IN THE ATTIC: TEAC A2340SX 4-channel open reel tape deck El cheapo 4->2 mixer (PAIA) El cheapo reverb (Radio Shack) EQUIPMENT PREVIOUSLY USED: PAIA Gnome (mine) ARP 2600, Odyssey, Axxe, String Synthesizer (not mine) Commodore 64 EQUIPMENT DESIRED: Basic synth; K4, maybe MIDI i/f for the Mac SOFTWARE DESIRED: Sequencer Patch editor/librarian STYLE: We'll see. All over the map, in the past. INFLUENCES: W. Carlos, Larry Fast, Easley Blackwood, P.D.Q. Bach, Peter Schickele, John Adams, David Byrne, morris dance music, practically anything sufficiently weird and interesting, EMUSIC-L (flattery ought to get me somewhere) REAL JOB: Postdoc, medium energy physics. -- Rich ------------------------------ Date: Thu, 7 Jun 90 16:21:22 -0400 From: Brian Adamson Subject: Rolodex Here's my profile: NAME: Brian Adamson HOME ADDRESS: 7756 Lakecrest Drive, Greenbelt, MD 20770 USA WORK: Naval Research Laboratory, Code 5523, Washington, DC 20375 USA WORK PHONE (202) 767-5110 HOME PHONE: (301) 345-4312 EQUIPMENT OWNED: Macintosh SE & Altech MIDI interface (or in use) Southworth JamBox 2 Southworth MidiPaint Sequencer & Electronic Arts Deluxe Music Construction Set Roland TR-505 drum machine Korg DSS-1 sampling synthesizer Korg Poly-800 synthesizer Moog Rogue synth Acoustic guitar, Electric bass, banjo Jamaican rhumba box, assorted percussion things Fostex 1/4" 8 track recorder Teac 8 channel, 4 buss mixer Alesis MidiVerb II ART SGE signal processor (on loan) Peavey guitar amp & Kustom bass amp EQUIPMENT PREVIOUSLY OWNED: Roland MT-32 (personality conflict) Fostex X-15 4-track cassette EQUIPMENT DESIRED: Multi-timbral synth maybe capable of loading and playing percussion samples, capable of a good mix of natural and synthesized sounds (probably more than one black box) Something with a weighted keyboard (pref. 88 keys) Anything technically cute (alternate controllers?, etc) SOFTWARE DESIRED: Affordable sample/patch editing for the DSS-1 Something like DMCS, but better (as easy to use, better user interface, more features . ..?) STYLE: variation, music with very specific statements, sometimes words, too. INFLUENCES: (In no specific order)Richard Wagner, Donald Fagen/Steely Dan, Joe Jackson, even the Beatles, blue grass, anything interesting although I tend to get into phases with my listening tastes .... some New Age although I have been listening to more Progressive stuff lately. REAL JOB: Communication systems/ DSP / electronics engineering both bs and real. Brian Adamson ------------------------------------------------------------------------- P.S. Doesn't this seem like a 'Playmate of the Month' profile. ------------------------------ Date: Thu, 7 Jun 90 17:36:00 EST From: "Richard S. Holmes" Subject: Re: Rolodex THEISS@CSHLAB.BITNET writes: >I'd hate to be untrusting, but wouldn't it suffice to give just >a town & state where we live rather than a complete home address, >considering we are listing all this expensive equipment? Yup. But it makes a difference only if your phone number is unlisted. Oh; add to my entry: PETS: Doberman; Pit bull. -- Rich Holmes ------------------------------ Date: Fri, 1 Jun 90 14:51:00 EST From: "William R(ay) Brohinsky" Subject: RE: What is FB01 Subj: What is FB01 From: "Patrick C.K.Tsang" <@utrcgw.utc.com:ckt%UKC.AC.UK@PSUVM.PSU.EDU> >I have a chance to purchase a Yamaha FB-01 for not too much money. >Problem is, I don't know what a Yamaha FB-01 is. >Seller claims it is an Excellent multitimbral sound module. >Can anyone shed some light on this? Thanks! # I think I will just add on to what Nick has said. # Whereas the TX81Z is the module of the DX11, the # FB01 is the module of the DX21/100, one generation # before the DX-11/TX81Z which used 4-operators FM # per voice and 8 voice in total for either single # or multi-timbral playing. However the multi-timbral # mode doesn't allow dynamic voice allocation, and # you have to fix how many of the total of 8 you # give to each channel. This is where Roland's MT-32 # is much better at, and which I consider a better # alternative. # # The DX-21/DX-100/FB01 series is is based on 8-bits, # 4-operator circuitry, which sounds very cheesey to me # whatever it is trying to emulate. I have never thought # that the DX-21/DX-100/FB01 series are good example of FM. # # Of course, if it is dirt cheap and you have not many other # pieces of gear, you could pick one up. # # Patrick. I really do want to correct a bit of misinformation contained herein. The FB01 is a mid-generation module, in that it is neither totally compatible with the dx100/21's nor up to par with the TX81Z technology. There are parameters listed for the FB's operator parameters in the sysex listings in the FB01 book which are not there for the dx100/21. Also, The dx100/21 machines cannot send voicing to the FB01s. I got my dx100 to use as a programming machine for my 2 FB's, but then found out that they wouldn't talk that way. The TX81Z (and the DX11, if it is really a TX81Z with a keyboard---I don't know this personally) are the `next generation' four-op synths. They added some serious improvements: better tone generation (referred to, subjectively, as `cleaner' and `smoother' in different mags of the times), microtunings internal to the box (unlike the FB's which can be microtuned note-by-note from an external source capable of sending sysex note-on-with-tuning- adjust messages for each note), and there were probably other things of which I know nothing, having not been able to afford one. raybro ------------------------------ Date: Fri, 1 Jun 90 15:44:00 EDT From: JLYSAGH@CLEMSON.BITNET Subject: Re: What is FB01 If you don't know what an FB01 is why do you want to buy it. Obviously it is not something you seriously need to enhance your musical capabilities or you would no what it is. As for what it is I just say DITTO to the reply that came outjust after the question He had it down pretty acurately. I don't mean to sounnd faciscous It justs seems strange to consider buying something when you don't know what it is. Jim ------------------------------ Date: Fri, 1 Jun 90 16:23:48 EDT From: Joe McMahon Subject: Re: What is FB01 >It justs seems strange to consider buying something when you >don't know what it is. >Jim In an attempt to stop a flamewar before it starts, it seems to me that this is a valid question. If you're a beginner, and someone you know, but not necessarily well, tells you, "oh yeah, here's this Ronco XPk-2, it'll do everything you need and I'll sell you mine for $100", I think it's reasonable to ask an opinion from people who have no vested interest in the transaction, *especially* when you're unsure as to what the box would do for you. If I knew a large group of people who knew a lot about cars, and someone wanted to sell me a 1947 Hillman, I'd appreciate having someone who could tell me, "It's a real dog, don't even consider it" or "it's fine, as long as you don't plan to drive up any hills" or "don't pay more that $35 for it, because Sam Ash's Used Cars has it for that" :-). Not everyone has the resources or time to keep up with the technology, or even to stay reasonably behind; one of the that this group is, is a repository of such knowledge. --- Joe M. | "We got a whole back room full of Internet: xrjdm@scfvm.gsfc.nasa.gov | your audio oscillators, gunshot BITNet: XRJDM@SCFVM | machines, contact mikes, every- Phone: (301) 286-8090 | thing, man." | --Pynchon, _The Crying of Lot 49_ ------------------------------ Date: Fri, 1 Jun 90 17:24:00 EDT From: JLYSAGH@CLEMSON.BITNET Subject: Re: What is FB01 First, I think part of my message which made it sound a little less volitle than what was returned via the list was missing. Anyway i think you missed the point. In your example the thing in question is still a car and everyone knmows what a car is and therefor knows if they want one. I did not mean to sound insulting, It just seemed strange to consider buying something just because you can if you don't know what to do with it when you buy it. Now that you do know what it though you might decide that it is something you can not live without. Or you might decide that remco could offer you a better product to sink money into deoendeing on how much you like it. I was just kidding around and curious at the same time, did not mean to be insulting. Jim Lysaght ------------------------------ Date: Wed, 30 May 90 11:58:51 BST From: "Patrick C.K.Tsang" Subject: What is FB01 >I have a chance to purchase a Yamaha FB-01 for not too much money. >Problem is, I don't know what a Yamaha FB-01 is. >Seller claims it is an Excellent multitimbral sound module. >Can anyone shed some light on this? Thanks! I think I will just add on to what Nick has said. Whereas the TX81Z is the module of the DX11, the FB01 is the module of the DX21/100, one generation before the DX-11/TX81Z which used 4-operators FM per voice and 8 voice in total for either single or multi-timbral playing. However the multi-timbral mode doesn't allow dynamic voice allocation, and you have to fix how many of the total of 8 you give to each channel. This is where Roland's MT-32 is much better at, and which I consider a better alternative. The DX-21/DX-100/FB01 series is is based on 8-bits, 4-operator circuitry, which sounds very cheesey to me whatever it is trying to emulate. I have never thought that the DX-21/DX-100/FB01 series are good example of FM. Of course, if it is dirt cheap and you have not many other pieces of gear, you could pick one up. Patrick. ------------------------------ Date: Mon, 4 Jun 90 10:18:55 EDT From: Dean Swan Subject: Re: What is FB01 I don't want to start a thread here, but there is nothing wrong with inquiring about equipment when you don't know what it is. If you don't find out what it is, you'll never know whether it will seriously enhance your musical capabilities or not. -Dean Swan dean@sun.soe.clarkson.edu ------------------------------ Date: Mon, 4 Jun 90 09:20:50 EDT From: Joe McMahon Subject: Re: What is FB01 I understand, Jim. I'm just a little sensitive about beginners -- we've had a number of people sign off who said they felt like they were being put down by the experienced people. I'm afraid I rather made an example of you, in retrospect; I'm sorry if I rubbed *you* the wrong way! Anyway, I understand your point. If you view it as someone asking, "A friend says he'll sell me his 1967 VW to me for $400. What's a car?", then you're absolutely right. If you view it as someone saying "I want a car, but I don't know if this is right for me", which is what I think the original writer meant, then it's better to tell him/her if it is a good car, instead of giving him/her a hard time for asking. That's all. I just want people to feel as though they can ask any question and get a civil answer. Assuming, of course, that they are asking about E-MUSIC! --- Joe M. ------------------------------ Date: Thu, 7 Jun 90 14:22:09 LCL From: ERL@SARA.NL Subject: "What-is-an-FB01" Wrapup Hi list, Some time ago, I stumbled across a "For Sale"-ad offering a Yamaha FB01 for 360 guilders = approx. $180 = approx. 120 pounds sterling. Further inquiry taught me that this was an 8-voice multitimbral FM sound module, which sounded like a useful complementary, sound-wise, to my current equipment: a Roland D5, an Alesis MMT-8, a Fender strat (77, I think) and some acoustic percussion. Interested, I called some major music dealers in town. Fruitless. Quoting a recent EMUSIC-L reader, the general reply was "Yeah, I remember selling a few of those...", which didn't exactly satisfy my curiosity. So I turned to EMUSIC-L. OK. My original letter said: >I have a chance to purchase a Yamaha FB-01 for not too much money. >Problem is, I don't know what a Yamaha FB-01 is. >Seller claims it is an Excellent multitimbral sound module. >Can anyone shed some light on this? Thanks! Now, the second line was not entirely serious. Perhaps I should have appended a smiley. (Mounting soapbox... OK, here's my $0.02 worth: let's quit those net cliches, folks. Especially this whole smiley thing is getting out of hand. Do we really want a smiley after each sentence? Yech. Imagine a cabaretier apologizing after each joke. And this soapbox fad is wearing off, too. Falling off soapbox, fried) Anyway, I forgot the smiley, so the second line triggered a tiny and typically mild flame rumble about stupid questions, beginners, and old cars. Yes, EMUSIC-L is mild! That's why I like it here. How mild? Re-read this recent discussion: Jim Lysagh (JLYSAGH@CLEMSON.BITNET) says: > If you don't know what an FB01 is why do you want to buy it. Now, you might call this a bold statement, but a flame? Joe McMahon replies: > In an attempt to stop a flamewar before it starts, it seems to me that > this is a valid question. If you're a beginner, and someone you know, > but not necessarily well, tells you, "oh yeah, here's this Ronco XPk-2, > it'll do everything you need and I'll sell you mine for $100", I think > it's reasonable to ask an opinion from people who have no vested interest > in the transaction, *especially* when you're unsure as to what > the box would do for you. Dean Swann (dean@sun.soe.clarkson.edu) says: > I don't want to start a thread here, but there is nothing wrong with > inquiring about equipment when you don't know what it is. If you don't > find out what it is, you'll never know whether it will seriously enhance > your musical capabilities or not. Joe and Dean, thanks for your support. By the way, what's a Ronco XPk-2? Fortunately, Jim didn't mean it so bad: > I did not mean to sound insulting, It just seemed strange to consider > buying something just because you can if you don't know what to do > with it when you buy it. And here's Joe again, erasing every trace of a possible misunderstanding: > I understand, Jim. I'm just a little sensitive about beginners -- we've > had a number of people sign off who said they felt like they were being > put down by the experienced people. I'm afraid I rather made an example > of you, in retrospect; I'm sorry if I rubbed *you* the wrong way! By the way, I think the politeness shown in this excerpt says it all for EMUSIC-L. Such good manners... Ever read news on USENET? Of course, Jim's right. The question "I want to buy an X! What is an X?" is rather stupid. I hope I have made clear that this was not the real question. I knew, but didn't know enough. And no seller, no dealer, no oracle could make me know. So I went, looking for unbiased FB-01 owners (a contradictio in terminis) and Wise Men in general, and turned to EMUSIC-L without hesitation. As you may have noticed, I have received ample factual response and advice from several of the Acknowledged List Gurus, for which I am grateful. Thanks Nick, Patrick, and raybro. Response was received only through the mailing list, no personal mail, so I guess most of you've read the replies. For those interested, I'll make a summary. What happened? I didn't buy the FB-01. After an aural investigation and considering the information you gave me, I decided that the thingy wasn't worth the money. I think I'd settle for a TX81Z or some analog gear for the same money, because my music is demanding sounds that sound, well, er, uhmm... different than Roland LA. Anyway, I saved some money, which I immediately spent on a Boss RV-2-or-something digital reverb pedal, which sounds quite good, looks rugged, and fits in my bedroom. I'm happy now. So again, thanks for the info, thanks for the thread, and now, back to work. Cheers, Edo Roos Lindgreen/SARA/Amsterdam (erl@sara.nl) ------------------------------ Date: Tue, 5 Jun 90 11:04:34 +0100 From: White Rabbit Subject: Widgets etc Dean, Re that Synth-engine box you were talking about... do you have any more details of it, and do you know if there's a UK supplier I might be able to get info off... it sounds interesting. Additionally, anyone got any idea if Peavey are gonna 'open' the architecture of the DPM-3 for people to write for themselves? Pity it aint got any inputs... Finally in response to the original question, I think there are quite a few PC cards carrying ADC, DAC and DSP chips onboard... a leaf through Byte might give you some info... the boards usually come with assemblers rather than C compilers though, although Forth is a common option. White Rabbit ******************************************************************************* White Rabbit : found in these burrows * * JANET : sxa@uk.ac.dl.cxa * Internet : sxa%cxa.dl.ac.uk * ...and the dormouse said EARN/Bitnet: sxa%cxa.dl.ac.uk@UKACRL * UUCP : sxa%cxa.dl.ac.uk@ukc.uucp * feed your head. Ean : sxa%cxa.dl.ac.uk@ean-relay.ac.uk * ******************************************************************************** ------------------------------ Date: Tue, 5 Jun 90 08:47:44 -0400 From: Brian Adamson Subject: Re: Widgets etc I am familiar wit most DSP expansion board products available for PC's, Mac's, etc but there are several problems which don't let them attain the goal I am interested in. 1) They are dependent upon specific PC's, IBM PC bus, Apple Nubus, etc 2) They have no MIDI interface/controller which makes them rely upon the PC in question for this function and impedes the PC from doing other things at the same time. 3) The boards I have seen cost more than they should. 4) Usually aren't designed to be easily expandable to multi-processot (processor) architectures. Because I am fortunate enough to have access to the tools necessary I am thinking of pursuing this project further on my own (Because I occasionally do DSP programming and hardware design for a living, it shouldn't prove overly difficult other than allocating time to work on this notion) However, the synth engine sounds interesting and definitely is a step in the right direction. Brian Adamson ------------------------------ Date: Tue, 5 Jun 90 09:18:11 EDT From: Dean Swan Subject: Re: Widgets etc All I remember off the top of my head is that the SyntheEngine is a system of PC Expansion cards. Each card has 2 TMS32C025's on it, and they have a proprietary bus the connects the DSP's for communication. You can have up to seven of these cards in a system, which is based on an AT class machine. The software is all done under Microsoft Windows, and looked pretty nice, but it was about 18 months ago that I first saw it. I'm sure it's much more refined now. The company is Spectral Synthesis, and they are located someplace in Washington state. If you check back issues of EM, you should be able to find more info. If not, I can look. Oh! The cards are about $2000 each, so this thing ain't cheap. I also think they have direct-to-disk recording now too. -Dean Swan dean@sun.soe.clarkson.edu ------------------------------ Date: Tue, 5 Jun 90 16:38:19 BST From: Nick Rothwell Subject: Widgets etc > 2) They have no MIDI interface/controller which makes them rely upon > the PC in question for this function and impedes the PC from > doing other things at the same time. I would have thought that, for the Mac at least, these things would be coming with MIDI Manager drivers. So, you set up your DSP as some kind of virtual instrument, then you can see it from your favourite sequencing package; or, you just patch an external MIDI port to the virtual DSP port, and you can play the thing from a keyboard, while the Mac is happy doing other things. This is an Ideal World visualisation. Apple are being very slow about developing, fixing and shipping MIDI Manager, and they aren't giving out technical specs for their drivers, which is holding up the software companies. I don't even want to think about this kind of thing for the PC. Nick. ------------------------------ End of EMUSIC-L digest ******************************