EMUSIC-L Digest Volume 19, Number 2 CD's (AUGH!) and MKS-50 (4 messages) Fun with Digital Delays (3 messages) Hardware Synth Programmers (5 messages) Korg DW-8000 (2 messages) Mellotron Muart Midi Interface midi/cv MIDIVerb Dependability? (2 messages) MS-DOS Music Printer Plus, v 3.0 samplers? Software Synth Programmers (7 messages) Usenet crossfeed Vocoder Stuff Yamaha Breath Controllers 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. ---------------------------------------------------------------------- Date: Tue, 07 Aug 90 22:22:05 PLT From: "Bill Flowers (MuSIG)" Subject: CD's (AUGH!) and MKS-50 I hate making these kinds of claims without the references to back myself up, but a CD does change speed as it plays. The disk plays from the inside toward the edge, the bits are lined up evenly in a continuous spiral, and the motor slows down as it tracks the disk. The Constant Linear Velocity thing is the biggest problem with CD-ROM disks for computers (takes for ever to jump to a new spot on the disk 'cause the motor has to slow down, things have to get in sync, etc.). But that's for another list to discuss. Really. I mean it. Trust me. That's how these things work. Anyway, I just picked up a Roland MKS-50. Now I'm starting to get a taste for real sound. (I'm just about ready to toss my U-20 because of that, but I owe too much and I need the keyboard controller.) The guy in the store offered me a Roland PG-200 programmer for the little beast. As I recall, that's the same programmer as was used with the JX-8P. Am I mistaken here? The salesman is telling me that the MKS-50 is the rack version of the Alpha Juno 1. I'm interested in knowing exactly what the genealogy is. Nick? @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- Bill Flowers BITNET: MIDI@WSUVM1 MIDI Users Group InterNet: midi@wsuvm1.csc.wsu.edu Micro Support Group Snail: Pullman, WA 99164-1220 Washington State U. Voice: (509) 335-0501 My reality check just bounced. -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ ------------------------------ Date: Wed, 08 Aug 90 09:47:00 EDT From: METLAY@PITTVMS.BITNET Subject: Re: CD's (AUGH!) and MKS-50 Bill: My name's not "nick," but.... The MKS-50 is a rackmount version of the alphaJuno 2, I believe, as the only differences between the 1 and 2 were the length and capabilities of the actual keyboard (4 vs 5 octaves, vel vs vel+press). The PG-200 does NOT correspond to it, however--that's the programmer for the JX3P, or the MKS-30 "Planet-S" rackmount, or the GR-700 guitarsynth. The other programmers are (jump in and correct me if I miss one, folx): PG-300: JX-10 and MKS-70 PG-800: JX8P PG-1000: D-50 and D-550 There does exist a programmer for the MKS-50, but I don't know what its number is. There may also be one for the D-1*/D-2* series.... metlay ------------------------------ Date: Thu, 09 Aug 90 07:17:45 PLT From: aa588@cleveland.Freenet.Edu (Eddie Anthony) Subject: Re: CD's (AUGH!) and MKS-50 Found this in my mailbox, not sure if it made it to the list, so I'm forwarding it: ----------------------------Original message---------------------------- >Anyway, I just picked up a Roland MKS-50. Now I'm starting to get a taste for >real sound. (I'm just about ready to toss my U-20 because of that, but I owe >too much and I need the keyboard controller.) The guy in the store offered me >a Roland PG-200 programmer for the little beast. As I recall, that's the same >programmer as was used with the JX-8P. Am I mistaken here? The salesman is >telling me that the MKS-50 is the rack version of the Alpha Juno 1. I'm >interested in knowing exactly what the genealogy is. Nick? This is just a suggestion, but you might want to think about using a piece from each major manufacturer in your system. I built mine one part at a time like most people do, and I use mainly Ensoniq gear, but there is Yamaha, Sequential Circuits and Roland in my system, too. This gives you different sound structures in each piece and I found that to be a plus. And on the subject of Ensoniq, I highly recommend an ESQ-1 module for your rack if you can find one. I have the workstation version but since you already have a sequencer you can get by with a rack mount. Sounds are great and there is a large user base for patch swapping. Just a thought. -- --------------------------------------------------------- Compuserve >INTERNET: aa588@cleveland.freenet.edu Internet aa588@cleveland.freenet.edu Bitnet aa588%cleveland.freenet.edu@cunyvm ------------------------------ Date: Fri, 10 Aug 90 20:05:24 CST From: Jason Keeler Subject: Re: CD's (AUGH!) and MKS-50 Yep, the MKS-50 is the rack version of the Juno-2 and 1. As for the programmers, the PG-300 is the one you need. The PG-800 is designed for use with the Super JX and JX-8P. The PG-200 is for the MKS-30 and I belive the JX-3P. By the way, that MKS-50 sure can put out some nice bass sounds for a single oscillator synth don't you think? ...Jason ------------------------------ Date: Mon, 13 Aug 90 17:07:54 EDT From: ronin Subject: fun with delay remember the bit about the fall curriculum? well here's an idea... i'll throw a few things around, then sit back and pick *your* collective brains. actually, this could be interesting... i'd like to get a few tutorial files compiled and placed in the archive. so, our topic for today is DELAY. the topic is particularly apropos, as the latest issue of EM had a very nice article on the uses of delay, including a little roadmap that gave time-regions for different delay effects. very nice. very concise. now, i'd like to compile a list of more exotic delay applications. there are plenty of interesting chorusing, echoing, and similar configurations, but here are a couple of different ones... 1) use a DDL to compensate for head-azimuth error, or anything that sounds like it. when an analog deck's azimuth is out, parallel tracks are not in sync with each other. if it's bad enough, a comb-filtering effect can result. similar artifacts can result from dubbing through cables of unmatched length. passing the 'early' track through a DDL with numeric control allows you to realign the signals. 1B) the question arises as to how to measure the amount by which the tracks are out of sync. an ideal method would be to use a dual trace storage scope, and look at the period-distance between a recognizable point in the signal on the two channels. not having a scope handy, i took a stereo sample of the tracks, lined up cueing pointers at the recognizable point in the two sides of the sample, and took the difference between the pointers. 2) use a DDL to resync timecode. it sometimes occurs that, for one reason or another, timecode, or any similar control signal, will fall out of sync with the events that it is driving, while maintaining proper speed ratio. this can happen when the same TC source is driving systems in different rooms, and the cable distance to one of the rooms is significantly greater than to the other. in this case, it's not so much the TC that's out of sync with either of the systems, as the two systems not really being in sync with each other. in other cases, a set of tracks may have been recorded, with the TC track not in SELSYNC, so when all the tracks get bounced, including the TC, it's out of whack... in any case, dropping the TC through a DDL (on the shorter TC path in the first case) and dialing in the correct delay will relock your stuff. it's sort of important to know the delay time for a given length of cable (i've got the formula around here somewhere... i'll put it out tomorrow). so what weird little ideas have *you* got? ----------< Extremism In The Pursuit Of Good Noise Is No Vice >---------- Eric Harnden (Ronin) | V.P., Chief Engineer | Transmedia Music, inc. The American University Physics Dept.| (202) 347-8050 Washington, D.C | ------------------------------ Date: Tue, 14 Aug 90 13:18:18 EDT From: "Daniel B. Singer" Subject: digital delay Ideas for digital delays: The ghost of stephen reich: Have two infinite (closed) delay loops running, one of miliseconds shorter length. Feed them both the same signal, simultaneously. Only feed enough signal to fill the delays up, no more. Less is ok. Mix the two output signals. What you will get is a very subtle phasing which is really quite interesting. It will bore you after a while, but it could have potential as background. You might take two noise sources and do something like that.... you'll have a cyclic noise that won't sound at all cyclic. If you have THREE delays, you might take the mix, feed it to the third delay, and inject the delayed signal into one/both of the source delays. A variation on this might be to make one of the delay loops go backwards after it was filled. Another would be to slow one of them down once it runs. You might combine the use of a delay with a multitrack "tape delay" trick. Mix all the track outputs and send that to an EQ for fun (gotta have lots of bands...) DBS ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Daniel B. Singer -- Tuba player masquerading as an Engineer. Return addresses: dbs4@lehigh.bitnet ////// dbs4@ns.cc.lehigh.edu ------------------------------------------------------------------- ------------------------------ Date: Tue, 14 Aug 90 10:44:11 EDT From: MTG@CSI.COMPUSERVE.COM Subject: Fun with Digital Delays >so, our topic for today is DELAY. > >so what weird little ideas have *you* got? Well, lessee... probably most people here are familiar with the good ol' reverse reverb trick... for the benefit of those who aren't, that's where you take your multitrack (you DO have a multitrack recorder, don't you?), record a track/dialogue/whatever on it, turn the tape over (so it will play backwards), bounce the track to another one but add reverb to it, then turn the tape rightways up and play it forwards. The result: a really cool effect (I call it "premonition") where the reverb precedes the noise. One day I decided to try taking that to some extremes. I don't have a closed ("infinite") digital delay; I have a Midiverb II which I have to loop to itself via patch cables to make something similar (which means noise gets into the loop). For once, that came in handy: The piece ends with a quote, leading off with the word "Time". So, I turned over the tape, looped "Time" but let it go so that it degenerated into this noisy loop, played around with treble and bass and such. Turning it back over and playing it back, I got a wonderful looped clump of undulating noise that eventually evolved its way out of the primordial musical sludge and finally up to the original "Time", which lead right into the ending quote. Along that scale (it evolved over a period of about five minutes), it's a very subtle and unobvious effect. I'm trying to think of other things... a loop with a digital delay going to a pitch shifter (or harmonizer) and then feeding back to the DDL (delay) makes for an interesting effect, where the noise either trickles down to an icky bass pool or rises like helium to the musical stratosphere. That seems to be all my brain's caughing up for the moment... Good topic! - Mark G. ------------------------------ Date: Wed, 08 Aug 90 10:48:00 EDT From: Craig Hicks Subject: MKS-50, MKS-30, and PG-200 > The MKS-50 is a rackmount version of the alphaJuno 2, I >believe, as the only differences between the 1 and 2 were >the length and capabilities of the actual keyboard (4 vs 5 >octaves, vel vs vel+press). The PG-200 does NOT correspond >to it, however--that's the programmer for the JX3P, or the >MKS-30 "Planet-S" rackmount, or the GR-700 guitarsynth. The >other programmers are (jump in and correct me if I miss >one, folx): Hmmm...can anyone tell me if the MKS-30 is a "rackmount version" of another Roland keyboard? Also, could anyone suggest a good source for a PG-200 programmer? I might bewilling to buy it with a synth (JX3P or another MKS-30) if I had to.... /craig ------------------------------ Date: Thu, 09 Aug 90 23:26:56 PLT From: "Bill Flowers (MuSIG)" Subject: Hardware Synth Programmers Sorry to confuse you all, but I blew it. It's a PG-300 that the salesman was trying to sell me to go with the MKS-50. So, once again, is there a definitive answer about the MKS-50 and PG-300? Shawn at the store assures me that it will work, but this is an "as-it, no return" deal. I'd hate to get burned. I could pull the MKS-50 out of my rack and take it to the store for a test, but that's a major hassle I'd like to avoid if possible. Also, what's one of these programmers worth these days? They're asking me to start the bidding, and I'm somewhat at a loss. All I know is, after trying to program the MKS from the front panel, the programmer is worth a lot of time and reduced hair-pulling. @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- Bill Flowers BITNET: MIDI@WSUVM1 "My reality- MIDI Users Group Internet: midi@wsuvm1.csc.wsu.edu check just Micro Support Group Snail: Pullman, WA 99164-1220 bounced." Washington State U. Voice: (509) 335-0501 -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ ------------------------------ Date: Mon, 13 Aug 90 09:11:05 PLT From: "Bill Flowers (MuSIG)" Subject: Net Access Delays I've suddenly realized just how dependent on the network I've become. Our net connection was down between here and AUVM, the EMUSIC-L machine... In case any of you are interested, I was wrong about the programmer; it was a PG-300 they were offering up. I did buy it, and I am quite amazed at how much easier it is to dork around with new sounds. I heartily recommend that anyone with the opportunity to add this type of programmer to a "push-button 8-character display" synth do so. My productivity has jumped 10 times when it comes to working with the MKS-50. Also, I did not (yet) get the DW-8000, though after Metlay's comments, I just may go back up and get it. Thanks a bizillion, everyone. @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- @>->- Bill Flowers BITNET: MIDI@WSUVM1 "My reality- MIDI Users Group Internet: midi@wsuvm1.csc.wsu.edu check just Micro Support Group Snail: Pullman, WA 99164-1220 bounced." Washington State U. Voice: (509) 335-0501 -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ -<-<@ ------------------------------ Date: Tue, 14 Aug 90 09:08:00 EDT From: Craig Hicks Subject: Roland Synth Programmers, New Toys, and Emusic-L Well, I'm glad to hear that Bill has his new PG-300 and is happily noodling with it even now. I am sorry that he was confused last week and mis-identified the PG-300 as a PG-200, because I got all excited and called the music store in Spokane, WA and tried to order a PG-200, only to find out they didn't have one. Que sera, sera, I 'spose. If anyone out there in list-land knows of a likely source for a working PG-200, *puhleez* let me know. I might even be willing to buy a JX3P or another MKS-30 along with it if I had to, depending on the price. I have finally installed my cheezy home-built rca patch panel and am happy to say that it is making life a lot easier. Now I don't have to climb behind my gear to change routing--and just in time for the arrival of my brand-new Lexicon LPX-1. Digital reverb, yahoo! I have held out for quite some time now when it came to new gear purchases, but unfortunately unlike Sinead O'Connor, I cannot say "I don't want what I don't have" or whatever that is that she says. Reverb report to follow in the coming weeks. Our connection to emusic-l and the outside world was disrupted for several days as well (maintenance at the GWU node, I believe) and I was itching to get connected again. Also fearful of the deluge of stored mail that I'd find forwarded to my mailbox this a.m. Only 8 messages though, and all from emusic-l. What can I say, I'm a popular guy... Craig Hicks National Academy of Sciences Washington, D.C. USA CHICKS@NAS (bitnet) ------------------------------ Date: Tue, 14 Aug 90 10:33:33 EDT From: "Daniel B. Singer" Subject: sliders and $ If you can't afford to buy a big slider box, just build one! Jeewhiz, you can even use scrap ones from old audio equip. All you need is a mess of slide pots, an a/d encoder, and a coding scheme to represent all slides. Now, granted, it's not the EASIEST thing to do in the whole wide world, but it shoudn't be so tough. The hard part is going to be writing the interface program. It will be a pain in the butt on a mac, but on an IBM it should be pretty easy if you have a parallel port. If you need to do it serially, then it's getting complicated. DBS ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Daniel B. Singer -- Tuba player masquerading as an Engineer. Return addresses: dbs4@lehigh.bitnet ////// dbs4@ns.cc.lehigh.edu ------------------------------------------------------------------- ------------------------------ Date: Thu, 09 Aug 90 23:57:51 PLT From: "Bill Flowers (MuSIG)" Subject: Korg DW-8000 My local (100 miles away) music store is offering me a Korg DW-8000 for $399. Is this fair? I hate to sound like a moron, but what does this unit have that might make we go gaga for it? I played it for all of 15 minutes, and it does sound real nice, but I am starting to reach the point where I think I have enough (Yikes! Did I really say that?!). Metlay, didn't you make some noises about wanting such a beast? (Fear not; I'm not going to buy this just because you want one and I want to be like you. But I do respect your assessment of its merit and value.) I would wait until I had access to the archives again, but I'm under a bit of a time crunch and I need info and opinions fairly quickly (like before Saturday morning (8/11/90, U.S. Pacific time)). Thanks for your comments and patience. ------------------------------ Date: Sat, 11 Aug 90 18:04:00 EDT From: METLAY@PITTVMS.BITNET Subject: Re: Korg DW-8000 Sorry, but I didn't read the note until about 3pm pacific time. Your advice is a little late coming, I'm afraid, but I'd still like to know what you did. The DW-8000 is one of the two pieces of gear in my studio that I consider "neither fish nor fowl." Its oscillators are digital waveform-based, true , but the rest of it is thoroughly analog, especially the tasty filters. It (like the Prophet VS) combines digital power with what I would term "analog character," and can stand quite nicely with one foot in each camp. For sheer breadth of sound capability, from analogish brasses to convincing FM-style Epianos to grungy sound FX, it's a remarkable instrument, and $399 for a new or excellently-maintained unit is by far the best price I've ever heard of. It has a velocity/monopressure kybd, and with the addition of a $200 CPU upgrade (the Angel City "Turbo-DW") it can do certain types of MIDI splits and layerings and function as a master keyboard that's not too shabby. The Angel City mod is NOT bugfree, but most of the bugs are fairly minor to work around and none are serious enough to lock up the DW. When I replace mine someday, I plan to install one. (My current unit is an EX8000, a DW in a rack; it won't take the Angel City board. I've nicknamed it "Wincent," in anticipation of getting "Choolius" some day. |-> ) Beware of a key-contact problem, and ask if it's been fixed. Korg service centers should do this fix for free. The symptoms are delayed or non-firing notes when the keyboard is played, intermitten from note to note. metlay ------------------------------ Date: Tue, 14 Aug 90 07:50:00 EDT From: Marc TARDIF Subject: Mellotron Muart Midi Interface Date: 14-AUG-1990 07:45:57 Hi Emusicians, I just got a Mellotron Muart Midi Interface for an IBM PC. Is anyone can tell me (or send me) where i can have software who support this card. If you have any software who works with the Muart, please send it to me to the address below. Thanks everybody. ------------------------------ Date: Tue, 14 Aug 90 21:11:38 EDT From: ronin Subject: midi/cv a quicky sideline, and then we can get back to expanding the curriculum... has anyone had an opportunity to evaluate the PAiA MIDI/CV kit? it seems a great deal for $110, but then, so did the vocoder, and, well, pheeew... ----------< Extremism In The Pursuit Of Good Noise Is No Vice >---------- Eric Harnden (Ronin) | V.P., Chief Engineer | Transmedia Music, inc. The American University Physics Dept.| (202) 347-8050 Washington, D.C | ------------------------------ Date: Mon, 13 Aug 90 09:17:27 EDT From: David Mantripp Subject: MIDIVerb Dependability? From David Mantripp (dm%v7.mssl.ucl.ac.uk): I'm thinking about buying a Midiverb 3 (UK price 240 pounds), but hesitated when one blew up on stage not 5 yards away from (I wasn't using it, thankfully). Has anybody suffered any reliability problems with this device ? My Microverb 1 is about the solidest bit of gear I've ever had... ------------------------------ Date: Mon, 13 Aug 90 15:34:00 EDT From: Craig Hicks Subject: midiverb iii >I'm thinking about buying a Midiverb 3 (UK price 240 pounds), but >hesitated when one blew up on stage not 5 yards away from (I wasn't >using it, thankfully). Has anybody suffered any reliability problems >with this device ? My Microverb 1 is about the solidest bit of gear >I've ever had... Yikes! Do you mean to say the power supply exploded, or what? I've never heard of this happening before. ------------------------------ Date: Mon, 13 Aug 90 17:20:27 +0200 From: mdc@LIBECCIO.TECSIEL.IT Subject: MS-DOS I am currently an Atari user (Pro-24, and son), but i will have a quite powerfull 486 based machine with a lot of ram and disk, that i will use for my real work. I am considering moving my musical environment to the 486. I am considering composing/sequencing software and Sample editing/synthesis/resynthesis. Any suggestions, experience and so on .... ? Sorry if the matter has been already discussed. Write to me, if needed i will summarize. __________ Maurizio De Cecco ___/ \___ Tecsiel S.p.A. (until end of August) ___\__/___ Via S.Maria 19 56100 Pisa - Italy email: mdc@tecsiel.it (or mdc%tecsiel.it@cunyvm.cuny.edu ) phone: +39-(50)-512514 fax: +39-(50)-589015 ------------------------------ Date: Wed, 08 Aug 90 20:07:00 EDT From: "SONGWRITER (A.K.A. TIM PHILLIPS)" Subject: Music Printer Plus, v 3.0 hey guys, Well, I went ahead and did it. sorry to all you mac fans, and amiga fans, but I just ordered a 386 machine. The deal was too good to pass by (40 meg hard drive, 4 meg ram, vga graphics, color monitor, 20 Mz clock, 2400 baud internal modem...all for $1700 US). so, I guess now, I will definitely need to get the IBM setup. Does anyone out here use one..and what about music printer plus....I have seen it, and it looks great. Any comments? any suggestions? tim ------------------------------ Date: Mon, 13 Aug 90 17:04:00 EDT From: STEARNS@BIOVAX.BITNET Subject: samplers? Would anyone like to compare Roland's S330, an Ensoniq EPS, and an Akai S900 or S950? I'd like to buy one, and I'm unsure whether one really stands out or whether they're roughly equivalent -- Any opinions? Tim Stearns ------------------------------ Date: Tue, 14 Aug 90 08:04:38 EDT From: "Daniel B. Singer" Subject: Software Synth Programmers I've seen (though forget where) programs for the mac which give graphical displays that mimic the analog programmer modules. What you do is point and slide the "slider" and the program sends sysEx messages to the tone generator to modify the tone. They often come with sound librarian software. This may be advantageous over just a programming pad, since you can store your creations, named, with comments, on disk, instead of using expensive data cartridges only manufactured by the company who made your synth. Thought I'd mention it. DBS ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Daniel B. Singer -- Tuba player masquerading as an Engineer. Return addresses: dbs4@lehigh.bitnet ////// dbs4@ns.cc.lehigh.edu ------------------------------------------------------------------- ------------------------------ Date: Tue, 14 Aug 90 20:56:13 EDT From: ronin Subject: generic programmers the reason that i have generally shied away from cpu-based editors is that they have never really offered me any increase in power for the types of machinery that i prefer. granted, such a thing is necessary for something like a D50, whose architecture/ control structure is ludicrously laid out. but for all analog-type doohickeys and even the DX7, my fingers learn the keystrokes easily enough, and i use my ears to make adjustments, not my eyes. the only case where this is not strictly true is for envelope shapes. curves can be nice sometimes, especially on more modern multi-stage envelopes. the other thing is that those programs don't provide me with simulataneous access to multiple parameters, so that i can quickly make a set of interacting adjustments (say, to envelope bias and VCA gain). when working with the matrix 6, i conceived of a set of ten knobs, interfaced to a computer, whose ten digit keys would instantly map the knobs to any of the ten 'pages' in the m6's patch structure. such an arrangement would provide with the most important features of a programmer, without having to duplicate every control in the box. the design calls for the actual knobs to be those continuous-turn things that click as you spin them, and simply register the direction of their last change, when polled. no need for fancy ADCs! and, no, don't you laugh, either... the design was for the thing to be hosted by a C64. the general application of the thing is fairly clear. i think it's got some advantages, for certain applications, over the JL Cooper thingummy. i *do* so like knobs. ----------< Extremism In The Pursuit Of Good Noise Is No Vice >---------- Eric Harnden (Ronin) | V.P., Chief Engineer | Transmedia Music, inc. The American University Physics Dept.| (202) 347-8050 Washington, D.C | ------------------------------ Date: Tue, 14 Aug 90 14:08:37 BST From: Nick Rothwell Subject: Programmers >I've seen (though forget where) programs for the mac which give >graphical displays that mimic the analog programmer modules. and I've written such things at various times. I suspect that a physical unit is slightly nicer to work with, since you have real sliders to touch, and this physical interface always helps. >This may be advantageous over just a programming >pad, since you can store your creations, named, with comments, on disk, >instead of using expensive data cartridges only manufactured by the >company who made your synth. You also tend to have better cut/paste facilities, random patch generation, graphical feedback, A/B comparison, and all sorts of other things. The best of both worlds would be a generic box'o'sliders (JLCooper FaderMaster or whatever) sending info into a software package, which was interpreting the controller info and sending out SysEx messages. I've been thinking along these lines for my package. I can't afford the $500 or so for the FaderMaster, though. Nick. ------------------------------ Date: Tue, 14 Aug 90 15:13:00 BST From: hvmpa!apearson@IHLPB.ATT.COM Subject: Re: Programmers I was writing a screen-based programmer for my Atari/DX11 setup, then I went and bought an M3R (which of course is markedly differrent from the Yamaha)... Result: need to rewrite the programmer. I never actually got round to this - my idea was to write one which could be customised; you could save different setups for different synths, specify a subset of parameters to be assigned to one controller (like Yamaha's "Quick Edit") etc. Still haven't got round to it! One day... Alan Pearson. ------------------------------ Date: Tue, 14 Aug 90 09:13:29 MDT From: Adam Schabtach Subject: Re: Programmers > my idea was to write one which could be customised; you could save different > setups for different synths, specify a subset of parameters to be assigned to > one controller (like Yamaha's "Quick Edit") etc. > > Still haven't got round to it! One day... You could save yourself some time, but lose some $$$, by buying one of the newfangled universal patch editor/librarians, like GenEdit. I don't have one of these yet, but it's getting tempting, since I've got a couple of synths and signal processors that I'd like to have visual editors for. Or maybe Nick will get back to work on Anodyne, once he's done being a star... :-) --Adam ------------------------------ Date: Tue, 14 Aug 90 14:06:14 CDT From: Philip Galanter Subject: Re: Programmers Just for the record, and for those who might want to contact me via E-mail, I wrote most of the GenEdit device drivers, a couple of the editors (Proteus for example), and am now becoming a value-added retailer of GenEdit. The Mac version is very close, and the Atari version is shipping. GenEdit may\ well have editors for all of your synths, and where it doesn't thats where my value added comes in. Phil ------------------------------ Date: Tue, 14 Aug 90 16:30:00 EDT From: Craig Hicks Subject: Re: Programmers How about a Commodore 128 version? (stop laughing, it's not *that* funny!) Craig Hicks National Academy of Sciences Washington, DC USA CHICKS@NAS (bitnet) ------------------------------ Date: Fri, 10 Aug 90 13:18:08 EDT From: Joe McMahon Subject: Usenet crossfeed Would persons reading this list via a Usenet newsgroup please send me a note? I'm trying to determine the size of our readership. W A R N I N G: Send it to xrjdm@scfvm.gsfc.nasa.gov. *DON'T POST IT TO THE LIST!* Thanks. --- Joe M. ------------------------------ Date: Fri, 10 Aug 90 10:43:33 BST From: not theoretical! Simon undergoing chaos Subject: Vocoder Stuff I heard lots of discussion a couple of weeks ago, about the Vocoders, and their prolific use during the 1970s. I'm a little young to remember those days, well something like that, but they were heavily used by Scrittit Politti on their 1988 album, whose name I have temporarily forgotten, to, I think very good effect. Anyone know where and how much I can pick up one of these things for? A second but much shorter point, does anyone know how I can go about finding lists of Amiga stuff available over the various networks. As you can see from the address I'm mailing from England. Cheers....Turtle Power... Simon ------------------------------ Date: Fri, 10 Aug 90 21:35:21 -0400 From: "Jerry A. Jelinek" Subject: Yamaha Breath Controllers Earlier in July, there were discussions on alternate controllers. I have been trying to find information on the Yamaha BC1 and BC2. The problem that I want to solve follows: I have an Ensoniq ESQ1 and a Proteus 1. I would like to control the volume of the the Proteus via MIDI through a breath controller hooked into the ESQ1. The ESQ1 has a 1/4" input marked "Pedal/CV". This is where a volume pedal is hooked into. I believe the input voltage is 0 - 10 VDC; I don't know tha load capacity. Here are the questions: Can the Yamaha BC1 or BC2 be used for this??? What are the differences in the BC1 and BC2??? If this is possible, where can I find them (Mail Order - the local keyboard shop closed - something to do with differences in opinions with the IRS : The IRS WON !!!). How much are these critters???? Any info someone has would be appreciated. Thanks Jerry Jelinek ------------------------------ End of EMUSIC-L digest ******************************