EMUSIC-L Digest Volume 27, Number 6 This issue's topics: Poly-6 meltdown Looking for sampler advice... Electronic Music Geography (3 messages) No money! SoundBlaster???? (2 messages) Dynamic parm changing, and a DSS trick SoundBlaster/AdLib Programming TX77 / FM-Synthesis Casio's "digital horn" (5 messages) Sonic Delights k5 calibration Re: Question: PC's in MIDI... (7 messages) TX81Z (2 messages) Piano MIDI retrofit? VFXsd patches -> VFX? Mac MIDI Interface (3 messages) Your EMUSIC-D moderator is Joe McMahon. Please send articles to emusic-L@auvm.american.edu (or EMUSIC-L@AUVM.BITNET). Administrative mail should be directed to xrjdm@scfvm.nasa.gov. Digests will be distributed semi-monthly to monthly. For faster response to questions, subscribe to EMUSIC-L@AUVM.BITNET (or emusic-l@auvm.american.edu). The EMUSIC-L discussion group can alo be accessed via bit.listserv.emusic-l on Usenet. Subscribers to this list may send articles to EMUSIC-D@AUVM.BITNET (or emusic-d@auvm.american.edu); they will be reviewed and forwarded to EMUSIC-L. Back issues are available from xrjdm@scfvm.gsfc.nasa.gov. This is a manual operation, so requests for things like "all back issues" will take a long time. ------------------------------ Date: Thu, 7 Mar 91 00:58:26 GMT From: John Benfield Subject: Re: Poly-6 meltdown In article , STEARNS@BIOVAX.BITNET writes: > Korg Poly-6 fixing? > > The local Poly-6 repairman said that the battery in mine had disintegrated > and was short-circuiting the board, and estimated cost of repair was $175 > to $275, depending on how much time it took to clean the board. Would anyone > know a book or method I could learn for cleaning such a board? Or know where > to buy the parts? Or want to sell their own Poly-6? > Tim Stearns Well....the best thing to do is get out your trusty soldering iron, remove the old battery and then, using very fine steel wool, remove the corrosion/deposits from the board. It's not very easy to damage the traces on the Poly-6. As long as you stop 'sanding' shortly after you see the actual copper of the traces (as opposed to the green insulating coating) you should be just fine. One you've done that, use a bit of clear nail polish to cover the traces. Alternatively, put a wad of electrical tape over the bare section and mount a new battery over the tape. If you have a problem, feel free to email me privately or call. It's a real pain-in-the-ass job to do, but it's relatively straight-forward. (I've had to do the same thing on a number of different boards in the past) ______Opinions stated are my own. Transcripts available by request______ === =--==== AT&T Canada Inc. John Benfield =----==== 3650 Victoria Park Ave. Network Support Analyst (MIS) =----==== Suite 800 ==--===== Willowdale, Ontario attmail : ~jbenfield ======= M2H-3P7 email : uunet!attcan!john === (416) 756-5221 Compu$erve: 72137,722 ____Eagles may soar, but weasels don't get sucked into jet engines._____ ------------------------------ Date: Mon, 11 Mar 91 07:46:51 MEX From: EM307087@VMTECMEX.BITNET Subject: Looking for sampler advice... If you answered back a week ago a note concerning samplers, don't be insulted if I request again that information, because I was sick and couldn't check my mail for a week... So, the question is, I need a sampler, with sequencer... I've been thinking of the Ensoniq EPS-16. Maybe there's another one someone could recomend...I need some especifications (say, price, sampling time, etc...) I need it to sample from TV and making sound effects, Industrial and Cyberpunk effects, any ideas? Thanks Jose Luis Mexico ------------------------------ Date: Sun, 10 Mar 91 13:29:00 CDT From: SRSKAL@MACALSTR.EDU Subject: Electronic Music Geography Hi, this is just a somewhat broad inquiry regarding the development and geography of Electronic Music. I am writing a paper on just this topic for a geography class, and I was curious if anyone ther knows of any resources relating to this topic. I already have "Electronic and Experimental Music" by Thomas Holmes & "The Evolution of Electronic Music" by David Ernst as well as a few other "scholarly" texts and a number of various small-press/alternative publications. Can anybody suggest other texts relating to the development of this type of music with specific geographic information??? Any hints or directives would be greatly appreciated. Roger Skulback - Prose In Cannes ------------------------------ Date: Tue, 12 Mar 91 16:40:16 EDT From: "allen h. lutins" Subject: Re: Electronic Music Geography Try John Schaeffer's _New Sounds_ (companion bok to the syndicated radio series), published by (i think) Holt, Rinehart & Winston around 1987...some excellent non-jargon ridden discussions of the history of electronic music & its relationships to other modern forms...includes quotes from the composers & discographies... -allen ------------------------------ Date: Thu, 14 Mar 91 10:53:39 GMT From: Nick Rothwell Subject: Re: Electronic Music Geography >Try John Schaeffer's _New Sounds_ I found it rather biased to the American scene, totally omitting some important history, personalities and events in Europe, but otherwise well worth a read. it isn't a book about electronic music, but more about new and contemporary trends in music generally. There are chapters on ethnic influences and stuff like this (this is fine - I'd rather learn about more general material and trends than just electronics). I was rather taken with Schaeffer's condemnation of Tangerine Dream in the opening chapter. Oh: the discography in the appendix makes this book worth having. Nick. ------------------------------ Date: Sun, 10 Mar 91 21:28:38 EST From: Ziad Mansouri Subject: No money! SoundBlaster???? Question: I'm looking to jump into the EMusic thing but have no money. I don't have and don't want to buy a MIDI keyboard. "They" told me that about the only thing I can do is plunk down about $500 for a card I can hook up to my stereo, or go with the SoundBlaster (although its sounds aint great). So what can I do? I just want to be able to type in some music and hear it played back...... Ziad Mansouri mzm0@ns.cc.lehigh.edu ------------------------------ Date: Mon, 11 Mar 91 11:05:24 EST From: Joe McMahon Subject: Re: No money! SoundBlaster???? Ziad, the best advice I could give you would be to wait until you do have some money to spend. You will otherwise find that you've spent a good bit of money on something that is essentially a dead end. I'm not sure what the SoundBlaster is running for these days, but it isn't pocket change. Perhaps what you need to do is find someone who'd be willing to trade time on his or her studio for something from you, be it collaboration on work they're doing, or taking care of backing up their hard drives, or whatever. Another option is to see if you can hook up with someone at a community college who is setting up an electronic music facility or who doesn't have that many students and would be willing to allow you to take some courses. Maybe you could rent some time from someone you know who already has some equipment. Used equipment is also a possible alternative. Then again, you might want to try to make a virtue of cheapness. Do all your sampling with a Casio SK-1. Generate sound by using the touch-tones on the telephone and recording them on a cheap used reel-to-reel recorder. Mix live in your bathroom for reverb. Make contact mikes out of Radio Shack piezo transducers and record the sounds your bed makes while you're asleep. Then again, if you wanted to do string quartets or dance music, maybe this isn't the way to go. But there are a lot of unusual areas that can be explored without a lot of money. --- Joe M. ------------------------------ Date: Mon, 11 Mar 91 02:46:31 EST From: "Mark G." <70004.77@COMPUSERVE.COM> Subject: Dynamic parm changing, and a DSS trick ... I'm in that post-performance state of things right now, but managed to get my over-taxed bottom moving enough to write a brief message: As a matter of fact, the performance I was just doing has some (non- MIDI) parm-changing-while-playing in it. The DSS "synth"-sampler allows you to do this, to a limited extent. I got some very nice sounds with a loop of a kick bass with both digital delays on, both modulating in nice ways, and changing the modulation and delay times (both DDL's should have the effect and feedback as high as possible [15]). Makes for an interesting background machine-type noise. Now, here's a trick for you DSS lovers, which you may or may not have known, so I thought I'd share it: Wanna use your DSS as a REAL-TIME vocal effects processor? No prob! Edit the program parameters to your liking; for a simple test, why not turn on the digital delays. Now, go into sample mode, and change the volume/gain or the trigger or wherever else you want to go, where it echos back the audio in. You'll hear the audio being treated by the delays! Now that I think about this, I haven't tried it with anything but the delays... ... there are a number of parameters that surely would do nothing (what would changing the release time do for your voice, hmmm?) so I don't really know if other things would do anything... well, it'll give you something to play with tonight, won't it? - Mark G. ------------------------------ Date: Mon, 11 Mar 91 13:06:00 CST From: Steve Albrecht Subject: SoundBlaster/AdLib Programming I am setting up a mailing list specifically for anyone interested in programming AdLib and Creative Labs(SoundBlaster/ GameBlaster/ CMS) sound boards in PCs. Subcription requests may be sent to salbrech@nis.naitc.com. If one exists already, please tell me about it and I will relay that info to all those who request a subscription. Thanks. *) Steve Albrecht =/= Nielsen Advanced Information Technology Center *) salbrech@nis.naitc.com naitc!salbrech@uunet.uu.net CIS 73657.1342 VOICE (708) 317-3496 FAX (708) 317-3508 Bannockburn, Illinois ------------------------------ Date: Tue, 12 Mar 91 07:16:00 LCL From: Martin Roth Subject: TX77 / FM-Synthesis I`m thinking of buying an Yamaha TX77 (rack version of SY77), which seems to be a combination of sample-player and FM-synth, right ? Now, I have not much experience in sound programming (I tried with a Roland D10 "LA"-synth, but preset sounds were better...). How does FM-synthesis work (what's the difference for programming them) ? Any general comments on the TX77/SY77 ? (If you think, that doesn't interest others, you can try to e-mail me directly at roth@ips.ethz.ch) Thanks _______________________________________________________________________ _ Martin Roth Martin Roth ETHZ, ips, IFW D28.2 |\ /|_) Mail: roth@ips.ethz.ch Sandacker 14 g 01/256 55 68 | \/ | \ (Student of Computer CH-8154 Oberglatt Science / Engineering) Switzerland p 01/850 32 75 ----------------------------------------------------------------------- ------------------------------ Date: Tue, 12 Mar 91 10:58:18 EST From: Simon Weatherill Subject: Casio's "digital horn" Does anyone know about Casio's digital horn? Damark is selling it for $45. I suppose I could always return it if I didn't like it. How is it set up? Is it like a saxophone? I play recorder & I think I know most of the fingering for so I could get by. I also have friends that can play sax/clarinet. Thanks in advance, Simon_Weatherill@coat.com ------------------------------ Date: Tue, 12 Mar 91 11:24:53 EST From: Jon Deutsch Subject: Re: Casio's "digital horn" The Casio horn uses recorder fingerings. It supports pitch bend, aftertouch, and program changes (00-04). It also has a built-in speaker with some cheezy PD-sounds (sax, clarinet, trumpet, etc...) It is _not_ a wind controller. It's a toy with some nice features. If you buy it with that in mind, you won't be disappointed. X-------------------+--------------+-----------------------X NEW! | | |\ |>jon@brahms.udel.edu<| "For my 2 cents, | \ | \|on |/eutsch |>jon@chopin.udel.edu<| I'd pay a dollar" | \ X------+--------------------+--------------------+---------X -> |Korg/Roland/Kawai Listserve> listserv@freezer.acs.udel.edu| \---------------------------> Subject: HELP / \-----+--------------------+--------------------+--------/ ------------------------------ Date: Tue, 12 Mar 91 11:54:00 EST From: "Richard S. Holmes" Subject: RE: Casio's "digital horn" Simon Weatherill writes: >Does anyone know about Casio's digital horn? Damark is selling it for $45. I >suppose I could always return it if I didn't like it. How is it set up? Is it >like a saxophone? I play recorder & I think I know most of the fingering for >so I could get by. I also have friends that can play sax/clarinet. Realize that (1) it's the only wind "controller" I've ever used (2) I haven't even used it as a controller, since I own no (other) synths or other MIDI equipment. From what I've heard its MIDI implementation is kind of on the cheesey side, but take that as second-hand knowledge from an uninformed source. So all I can compare to is "real" wind instruments -- I play or have played clarinet, recorder, and pennywhistle. The following description is from memory (I'm not near the thing at the moment) and may deviate slightly from reality as we know it. The fingering is set up to be like a recorder's. (There are two kinds of recorder fingerings, Baroque and German? I forget... anyway, the Casio corresponds to the one I'm less used to, but that makes it a bit more like a pennywhistle which I am used to, so I get by). There are round keys under the 3 left fingers and 3 right fingers; there are also levers near both 4th fingers, one above the left 1st finger, and one above the left thumb. Ignoring the three levers other than the right 4th finger, these keys and lever give you the equivalent of the holes on a recorder. Obviously you can't half-hole, but most of the cross-fingerings seem to work; in fact, some useful ones that wouldn't work on a recorder do on the Casio. The keys seem to be chrome-plated plastic and on examination seem pretty cheesey, but in fact once I start playing they seem to work fine. The main ideosyncracy that trips me up is register shifts. Pressing the left thumb lever raises you an octave. Raising the left first finger also raises you an octave, for notes in the lower part of the register. Doing both takes you to the 3rd register for a total of about 2 1/2 octaves range. I tend to fumble on these keys, resulting in a highly amusing (for the spectator, not me) rapid fluttering between octaves. Actually there's a different fingering system available, one which bears no resemblance to real woodwind fingering, whose main advantage is that it gives you a range of about 4 octaves. Aside from its weirdness, which you could certainly learn, its other disadvantage is that it provides almost no cross-fingerings. Oh, those other two levers. Left 4th finger raises anything by a semitone. Nicer than the half-holing you can't do anyway, if you can remember it's there. Left 1st finger, which as I hold the instrument is too high for easy reach, gives you portamento. (The MIDI implementation does have portamento out). Breath control: It works fine. Blow, you get a note. Blow harder, it gets louder. Feels very natural to me as a wind player. You get an extra mouthpiece -- actually 2 extra, I think -- which is nice if you share the instrument. (The mouthpiece is just a piece of molded plastic that you push onto the end). Controls: Breath control on/off. (With it off, just fingering a note plays it). Voice (6 of them: sax, trumpet, synth reed, oboe, clarinet, flute. Press the button n times to get voice (n mod 6). No visual indicator.) Transpose (+ or - 13 semitones. Press the button n times to get transposition by n semitones (mod 26, and all that). No visual indicator.) Speaker volume. (The speaker's in the "bell" of the instrument). Outputs: MIDI out, audio out. Inputs: None. Power: 5 AA batteries (supplied) good for, I think, 5 hours. Or plug in a 7.5V, >400 mA DC converter. (I bought a "universal" DC adaptor locally for under 10 bucks). Undocumented feature: the little hole in the bottom. It's where the air comes out. And the spit. Other stuff supplied: neck strap, manual, fingering chart. Unexplained discrepancy: The latest Damark catalogs show a silver instrument; the earlier ones showed a black one. My understanding is that the silver one is the DH-100, the black is the DH-200, and I know of no other differences between the two. But the Damark catalog says "DH-200" and "Color: silver". (I ordered from a catalog with a black one pictured, and got a black DH-200). If you want a cheap wind controller to have fun with, I'd say this is the thing to get. If you're Tom Scott and want a wind controller for your next gig, I'm sure there are better choices around. I'm an avid collector of cheap-instruments-to-mess-around-with (and button accordions, but that's another story) and this beast was not to be missed. Rich Holmes =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- | Richard S. Holmes | | | | Physics Department | (315)443-5973 | rich@suhep.bitnet | | Syracuse University | or -2701 | rich@suhep.phy.syr.edu | | Syracuse, NY 13244 | | | =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- DISCLAIMER: I have no opinions. ------------------------------ Date: Tue, 12 Mar 91 11:18:02 CST From: Joseph Fosco Subject: Casio's "digital horn" >Does anyone know about Casio's digital horn? Damark is selling it for $45. I >suppose I could always return it if I didn't like it. How is it set up? Is it >like a saxophone? I play recorder & I think I know most of the fingering for >so I could get by. I also have friends that can play sax/clarinet. For $45 it is not too bad, however be sure you realize what you are getting. This is by no means a professional (or even near professional) wind controller. It does send pitch, velocity, aftertouch, program change. I believe, pitch bend is also implemented, but the amount and rate are fixed. There are some presets but these are mostly useless. The worst aspect of this is its feel. It really feels like a toy. The keys are extremely loose, and offer no resistance. Blowing into it seems like blowing into a straw. If you just want to "mess around" and see what a wind controller mignt be like, this is ok but it will only make you want a real one. Joseph Fosco Internet b38669@anlvm.ctd.anl.gov Bitnet b38669@amlvm ------------------------------ Date: Thu, 14 Mar 91 10:01:48 GMT From: Dr David England Subject: Re: Casio's "digital horn" In bit.listserv.emusic-l you write: >Does anyone know about Casio's digital horn? Damark is selling it for $45. I >suppose I could always return it if I didn't like it. How is it set up? Is it >like a saxophone? I play recorder & I think I know most of the fingering for >so I could get by. I also have friends that can play sax/clarinet. >Thanks in advance, >Simon_Weatherill@coat.com I have a Casio Digital Horn DH800 (I suppose the model numbers will vary from country to country). Its quite a fun instrument but with some drawback s for the serious midi player. It has two styles of fingering - recorder and casio's own layout. It has six voices including sax, recorder, flute, synth, trumpet and clarinet/oboe. They are not very realistic. It also has a rom chip. The default chip has four tunes and several rythms. You can switch of the tune melody to play along to the backing harmony. The best thing is the midi output. You can output to any midi equipment and so use an external sound module or synth to get higher quality and a wider range of sounds. However it either it doesn't transmit breath control or my sound module (Roland CM32LA) doesn't recieved it. Also hitting the keys hard produces a velocity signal - fine for keyboards but rather disconcerting for a wind instrument. Despite these limitations (probably fixable with a good patch editor?) its a fun instrument and probably the cheapest midi input device around. Dave p.s. Don't mind if you sumarise this to the net. -- ARPANet: de%cs.glasgow.ac.uk@{nsfnet-relay.ac.uk,ukacrl.bitnet} JANET: de@uk.ac.glasgow.cs Phone: +44 (0)41 339-8855 ext 5620 UseNet: mcsun!ukc!cs.glasgow.ac.uk!de ------------------------------ Date: Tue, 12 Mar 91 11:40:42 cst From: "Eric the Red (Carlstedt,Eric S)" Subject: Sonic Delights Hello- If you'd like to hear some of the Newest music, then write to: SONIC DELIGHTS PO Box 332 South Orange, NJ 07079 and ask for a catalogue. (It's FREE!) The tapes are quite cheap; $3.00 for most. (including postage) Sonic Delights is a non-profit cassette label for home recording artists. (Not all the music is electronic, but much of it is.) It was started about a year ago by a few New Jersey artists, and is quickly growing. Anyone is welcome to submit tapes to be distributed, so if you have made some recordings that so-far only your friends have heard, you might want to consider this... Write to SD for more info. Cheers, eric the red ------------------------------ Date: Tue, 12 Mar 91 13:39:12 EST From: ronin Subject: k5 calibration currently have a graduate student characterizing the Kawai K5 for a project. got some preliminary measurements, here... seems that those little bars in the harmonic generator window correspond to a db scale. except for a dramatic drop off below settings of 10, the line equation for db down versus level seems to be about 0.35(X)-34 to 35. somewhere in there. so, for instance, a level setting of 70 gives you about -10dn for that harmonic. --------------------------< Eschew Obfuscation >------------------------- Eric Harnden (Ronin) The American University Physics Dept. Washington, D.C ------------------------------ Date: Wed, 13 Mar 91 14:23:59 EST From: YA@TAURUS.BITNET Subject: Re: Question: PC's in MIDI... In article you ask about PC's for MIDI. About your question: if you go and buy a ps/2 system, make sure it is not a model 35 or higher. midi will only work on the ps/2 model 25 or 30 (the ones that are not Micro Channel.) the truth is that if you buy an accelerated AT macine it will work just fine. i also recomend the CMS type MIDI cards. (it's hard to belive, but these cards are better than the MPU-401 by roland which they clone. have fun !! Dror liwer YA@TAURUS ------------------------------ Date: Wed, 13 Mar 91 14:47:07 EST From: YA@TAURUS.BITNET Subject: Re: Question: PC's in MIDI... Hello tim. the requireents for usage of midi on pc are 1. normal board (no 386 or micro channekl) 2. no higher speed than 12Mhz 3. at least 512k ram. a hard disk is highly recommended. so is a nice video adapter (not just a crappy monochrome) this is all you need. there will be no trouble with such a setup - but it will not be as uch fun as it could be. have fun YA@taurus YA@mathtau.ac.il ------------------------------ Date: Wed, 13 Mar 91 17:35:58 EST From: Pam Subject: PC's and MIDI Previously on the list: Subject: Re: Question: PC's in MIDI... Subject: RE: PC/MIDI comment In regard to the message posted by YA@TAURUS, (sorry I didn't copy the name), where he recomends some options for IBM machines for midi applications, I kind of disagree with two of his notes: Why a 386 is Not recomended?, this machines are becoming realy affordable, and there is a lot of computing power in that chip. much more than a 286 at the same speed. The 386 is the door to next generation applications that will finally forget about DOS memory limits, and will allow virtual memory applications to be designed for the Micro environment. The other point... Why not more than 12 Megahertz ???, with all the deserved respect, but this is absurd. If the recomendation was made because more than 12 meg is not going to improve the performance of MIDI, this is not true, specially because it depends a lot on the particular MIDI application to be used. The micro has to do many other things different than sending and receiving data to and from MIDI, and each additional meg in speed will definitively improve the machine performance. eg. if you are going to use a scoring program, you better have a VERY FAST processor if you don't want to wait eternally each time you generate a particular complex score. Some sequencers don't use the Smart mode of the MPU and compatible interfaces, and their performance will highly depend on the speed of the machine, for example the new Cakewalk 4.0 doesn't uses smart-mode anymore, to support very small time resolution, and of course that a fast machine is recomended for "dense" sequencing sessions. The new software being written for IBM & compatibles, is aiming to multitasking environments, like Windows 3.0, and the speed of the processor and its type, is a key element. In this case, a 386 is strongly recomended, because you can use its virtual 8088 machine mode to manage several DOS sessions simultaneously, or simply yo multitask among several applications. For example, I have a set of Windows 3.0 applications that they sort of "manage" my keyboard setup, doing rechanalizing, editors/librarians, and my sequencer is on line too all at the same time. If I don't have a 386/20 I wouldn't be able to do this. So, going back to the original problem, of course that I will recomend a 386 and the faster the better. In regard to the other points, I agree with YA@TAURUS and other users that had extended several comments. Get a hard drive, don't even think about micro-channel (translation: IBM PS/2'es) and I'll add another recomendation that is to get memory. Altough almost all programs will perform well with 640K,(the dos limit), many of them are supporting extended and expanded memory improving the overall performance quite a bit. Frank UCS_FNB@SHSU ------------------------------ Date: Thu, 14 Mar 91 10:53:59 GMT From: Nick Rothwell Subject: RE: PC/MIDI comment >For example, I have a set of >Windows 3.0 applications that they sort of "manage" my keyboard setup, doing >rechanalizing, editors/librarians, and my sequencer is on line too all at the >same time. Cor, I didn't realise the 386/Windows systems were capable of this kind of thing. Do you mean that each virtual DOS MIDI application can read and write the MIDI ports with no interference (which would imply splitting of input data and merging of output data)? For example, can you run the sequencer and make alterations with the editor/librarian at the same time? Can the applications pass data between one another? I'm finding this kind of facility invaluable in my setup. I tend to use Performer to do keyboard routing since I have two keyboards (one of which can do MIDI splits on output) and often want to route them to several destinations. As well as this echoing, I can run my editor to alter patches. And, I can run a sequence, make edit changes and echo the keyboard(s) at the same time. It's not always trivial to set up (some synthesisers have weird Multi-Modes, the Waldorf being one of them), but it's a very nice way to work. Nick. ------------------------------ Date: Thu, 14 Mar 91 11:43:00 CST From: Frank Bello Subject: Windows & MIDI Nick In regard to your comment about the windows stuff, of course right now it is not as beautiful as you imagined. The MIDI port as well as communications ports, are mutualy exclusive shared resources and therefore they're subject to device contention algorithms. Multiple applications can co-exist in memory, but they can easily interfere because windows have no device contention for the MIDI ports "Built-in" when executing DOS applications. However, if the applications were specifically designed to run under windows, they will co-exist without any trouble. I wish to see in a near future, a device driver for windows 3.0 that will support safe device sharing on the MIDI port for every application. To be sincere with you, I'm currently working in this project right now, and we have managed to define an application's protocol that will let multiple MIDI applications to co-exist as long as you're in Windows 3.0 REAL Mode. We're trying to make this thing to survive in STANDARD and 386 modes so that DOS applications can be involved too. The MIDI applications that I use are "custom" made to run specifically under windows and they use the protocol that I mentioned before. In a DOS window, what I normally run is Cakewalk 4.0A, which is the sequencer that I use. The "windows" applications take care of the other operations. I'm still tuning-up this programs, but I promise to the list, that I'll make them available in a near future for those interested. Frank.- ------------------------------ Date: Thu, 14 Mar 91 11:00:52 GMT From: "Benjamin M. J. Ellis :->" Subject: TX81Z Hi! Long time no post... Just a quick question: does anyone know any FTP sites that actually have patch for TX81Z???? -Thanks for any help! Benjamin. ------------------------------ Date: Thu, 14 Mar 91 11:48:42 CST From: Frank Bello Subject: RE: TX81Z Patches I'm not sure, but try: UCSD.EDU Frank.- ------------------------------ Date: Thu, 14 Mar 91 10:07:41 EST From: Moe Methot Subject: Piano MIDI retrofit? I'm looking for some feedback on a MIDI retrofit for acoustic piano keyboard ma de by a company by the name of Crystal (it may be spelled "Krystal"). The pric e is right (under $2,000.00) but I'd like to know if anyone has heard of them, tried the system, and what they think of it.--- thanks ------------------------------ Date: Thu, 14 Mar 91 10:27:35 EST From: Joe McMahon Subject: VFXsd patches -> VFX? Nick, I just posted the VFXsd "comes with the machine" patches to louie.udel.edu, in /pub/midi/patches/VFX, if you're interested. There's also a few of mine in /pub/midi/patches/VFXSD. --- Joe M. ------------------------------ Date: Wed, 13 Mar 91 23:14:00 EST From: KOS@CUNYVMS1.BITNET Subject: MIDI Interface Hi. I'm looking for a MIDI interface for a Mac SE and a Yamaha Clavinova. I'm not looking for something elaborate--all I need is really just one MIDI-in jack, and if there are multiple outputs--fine. Can someone make a recommendation? I'm not on the EMUSIC list, so please respond directly to me. Thanks very much. Bob Kosovsky New York Public Library--Music Division bitnet: kos@cunyvms1.bitnet internet: kos@cunyvms1.gc.cuny.edu ------------------------------ Date: Thu, 14 Mar 91 08:15:23 PST From: Brian Gaon Subject: Re: MIDI Interface > Hi. I'm looking for a MIDI interface for a Mac SE and a Yamaha Clavinova. > I'm not looking for something elaborate--all I need is really just one MIDI-in > jack, and if there are multiple outputs--fine. Can someone make a > recommendation? Bob, I highly recommend Key Electronics, Inc interfaces. They offer a couple of flavors that are all Roland MPU-401 compatible and range from $100 - $200. If you're interested I can provide you with their ph# and you can order direct. They are located in Texas. -- Brian Gaon Internet: brain@foghorn.sfsu.edu Systems Analyst Bitnet: SGSAAAA@CALSTATE.BITNET Finger: brian@foghorn.sfsu.edu San Francisco State University Department Of Facilities Operations 1600 Holloway Avenue San Francisco, Ca. 94132 USA. ------------------------------ Date: Thu, 14 Mar 91 18:12:17 EST From: Joe McMahon Subject: Re: MIDI Interface Bob, Brian may have misread your message. I agree that the interface he suggests is a good one...but only if you're running an IBM PC or a clone, not a Mac. Just keeping things clear... --- Joe M. ------------------------------ End of the EMUSIC-L Digest ******************************