EMUSIC-L Digest Volume 27, Number 7 This issue's topics: Krystal MIDI retrofit Midi Library for Mac (3 messages) Comments/opinions-Ensoniq (3 messages) Questions again-MRC (2 messages) Who is Synergy? (2 messages) 32 Midi channels + MUSIC without MONEY Re: Question: PC's in MIDI... A to D for Sun ? (2 messages) VFXsd patches -> VFX? Mac MIDI Interface New equipment confusion. (2 messages) Theremins (2 messages) EPS, EPS 16+ and TX16W Sample Source TX7 tape interface 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: Tue, 19 Mar 91 09:53:32 EST From: Moe Methot Subject: Krystal MIDI retrofit Hello out there... still looking for some user feedback on the "Krystal" MIDI r etrofit for acoustic keyboards. It's new, it's cheap, but is it any good? Thanks! ------------------------------ Date: Tue, 19 Mar 91 12:53:09 EST From: Andrew Mayo (4) Subject: Sound Question on a Mac >From a frustrated Mac programmer on EMUSIC-D: Can anybody help me ?? I am writing a musical application on a Macintosh SE and I have 2 major problems generating sound : 1) Having read the Sound Manager chapter in a working draft copy of Inside Macintosh V , I still haven't the faintest idea how to use internal Sound. I only want to generate simple 4 note chords. 2) It would also be desirable to interface my application to MIDI, I have a copy of MIDI Management tools (version 2) by APDA, however I am programming in the THINK Pascal environment ( by Symantec) and I cannot get THINK Pascal to access the MIDI routines. I have tried writing several interfa routines with absolutely no sucess. If I can get the Macintosh to produce sound, this application will be very useful in musical education. Can anybody please help me. Deadlines are getting close and I am desparate. Any help would be very gratefully accepted. Andrew Mayo, Aberdeen University. ------------------------------ Date: Thu, 21 Mar 91 09:51:25 MET From: Leonello Tarabella Subject: Midi Library for Mac To Andrew Mayo: You can find a very clear, easy to use and efficient library for Midi-IN and Midi-OUT operations for Macintosh computer on MacTutor Magazine, July 1987. (written by Kirk Austin) This is a set of procedures and function(e.g. TxMidi(byte), RxMidi, etc.) you can Call by Think Pascal. I currently use them. I have developped an "evironment" called PascalMusic that allows algorithmic composition and interaction during the live performance. You can find an essay about it on ARRAY, Computer Music Association magazine, Volume 10 n.4, fall1990. You can also consider MIDI-SHARE, a multi-tasking software environment. This is a set (about 100) of functions callable from Pascal, C, etc.. Midi-Share has been developped at GRAME, Lyon-France. Dr. Leonello Tarabella Computer Music Dept. of CNUCE/CNR, Pisa - Italy ------------------------------ Date: Wed, 20 Mar 91 08:16:00 EDT From: "William R(ay) Brohinsky" Subject: Re: Sound Question on a Mac Andrew, your fastest solution would be to get DMCS (Electronic Art's Deluxe Music Construction Set) or one of Dr. T's programs for notation and playback. As for programming the Mac, I hope someone else on EMUSIC has done it. I can't be any help. Sorry. raybro ------------------------------ Date: Mon, 18 Mar 91 19:00:24 GMT From: John Benfield Subject: Comments/opinions-Ensoniq Greetings! I was wandering around a local keyboard shop on the weekend trying to get a handle on what sort of new bells and whistles were around. (and actually scouting out prices on the SY-77 and TG-77) and I was introduced to a keyboard that I really hadn't taken the time to look at seriosuly before, the Ensoniq EPS-16. Now, my question is "What's wrong with it?". From what I saw of it, it packed more features (not just glitterware, but real features) than anything else they had on the floor and it was %25 cheaper than anything that seemed even close. I also haven't seen much in the way of reviews or articles on it. In it's favour, I did some research and found a considerable amount of support in the way of sound libraries. So, what's the scoop? Is it just a general fear of sampling technology, or is there some serious problem with it that I'm overlooking? I'm trying to get ahold of a demo unit, but the best I can probably wrangle is a couple of nights and that's not enough to really go over it with a fine tooth comb. Your help is appreciated. (anyone who can give me some real insight into it will go on my "I owe you cookies/beer list" :-) Cheers ______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: Wed, 20 Mar 91 10:50:14 GMT From: Nick Rothwell Subject: Re: Comments/opinions-Ensoniq >and I was introduced to a keyboard that I really hadn't taken the >time to look at seriosuly before, the Ensoniq EPS-16. Now, my >question is "What's wrong with it?". Well, bear in mind that you folks in the US get Ensoniq stuff cheaply because it's American - over here, it costs more, although it's still competitive given the features you get. Ensoniq stuff is nicely designed in terms of features and so on - the VFX (which I have) is little short of superb as a performance keyboard, and has a nice voice architecture although the filtering is rather bland. Ensoniq gear has a sound which could be described as "clear" (if you like it) or "boring" (if you don't). I found the sound of the ESQ-1 boring in the extreme, whereas the VFX sound quality is clear, punchy and sampler-like, and complements my other gear. However: Ensoniq have a crappy reputation for quality control and reliability. The VFX has been out for a couple of years now - early models just crashed for no apparent reason, and the latest ones still have software bugs (from cosmetic display bugs to faults in MIDI performance/control features to bugs in the SysEx implementation to ...) and inexplicable hardware glitches (the DSP chip randomising its effects setting, keyboards locking up, buttons not registering, ...). In addition, physical construction can be dodgy - Ensoniq gear doesn't like being supported in the centre (like on an Apex), I'm told. The VFX buttons stick, the wheels and data entry slider drift around, and so on. Re: the original EPS - my local store stopped stocking it because of reliability problems (and political ones as well, to be fair...), and it's "innovative" SCSI implementation was problematic to say the least (or so I've been told), as was the software. Flaming aside: I love my VFX, it's a very powerful machine. I was lucky to get a recent unit which is pretty solid. I know where the bugs are and work round them. In terms of ergonomic design and performance features, it wipes the floor with anything else I've seen. I know people who love their EPS samplers as well (for similar reasons, I expect). If I were in the market for a sampler, I'd certainly give the EPS 16+ a look over, but I'd make damn sure it was solid by trying to break it in several ways first, and I'd demand a written guarantee of immediate turn-around servicing. And I wouldn't touch an early unit - Ensoniq tend to use their customers as beta-testers. Maybe Ensoniq have finally learned some lessons (the VFX keyboard flux fiasco was an embarrassment for them) and made damn sure the 16+ is debugged and working properly. But I wouldn't risk a lot of money and/or important concerts on that assumption. Nick. ------------------------------ Date: Wed, 20 Mar 91 08:39:27 AST From: Alan Edwards Subject: Comments/opinions-Ensoniq > and I was introduced to a keyboard that I really hadn't taken the > time to look at seriosuly before, the Ensoniq EPS-16. Now, my > question is "What's wrong with it?". From what I saw of it, it > === > =--==== AT&T Canada Inc. John Benfield Ensoniq has learned a lot from the EPS, and most of the weaknesses on it have been fixed on the 16+. The reviews are good so far, and the list of improvements over the EPS has me thinking about moving up. Ensoniq had a poor reputation for some time for lack of support and reliability problems, but I have not heard too much negative talk lately. It does take some time to regain ones reputation, which could be why people arn't getting too excited about it. It is better than the EPS, so it must be pretty good. Alan Edwards UNB Canada ------------------------------ Date: Wed, 20 Mar 91 07:48:13 EST From: "D. Yuen" Subject: Re: Questions again-MRC Nick, Hi. You were kind enough to answer some of my questions on the Lexicon MRC before, I then buried your answers under an anonymous pile of papers some where. If you don't mind- the MRC when connected to an LXP-5 can program patches with some kind of useful information displayed in some format on the display, and can store up to 64 of theses patches internally as well? I just want to make sure it really works the way I would like to think it does. Thanks! Danny PS Have you heard anything about the Waveslave (as an unoffical member of the I like Waldorf Team) Maybe you've heard some advance discription...? ------------------------------ Date: Thu, 21 Mar 91 13:46:13 GMT From: Nick Rothwell Subject: Re: Questions again-MRC >If you don't mind- the MRC >when connected to an LXP-5 can program patches with some >kind of useful information displayed in some format on the display, >and can store up to 64 of theses patches internally as well? Yes. You can load patches from the MRC to the LXP-5 and store them there; however, there's no (easy) way to get patches back. >PS Have you heard anything about the Waveslave (as an unoffical > member of the I like Waldorf Team) Maybe you've heard some >advance discription...? All I know is that it's 1U in size and adds 8 voices to a MicroWave. I expect some kind of mailer from TSI in Germany about it sometime... Nick. ------------------------------ Date: Wed, 20 Mar 91 13:51:46 EST From: Jon Deutsch Subject: Who is Synergy? I recall my father having many albums by "Synergy" (sp??). Who is this fabulous e-music person? Is *anything* by him on CD? If so, I can't find it under Synergy. Any information appreciated. X-------------------+--------------+-----------------------X | | |\ |>jon@brahms.udel.edu<| "For my 2 cents, | | \|on |/eutsch |>>-----------------<<| I'd pay a dollar" | X------+--------------------+--------------------+---------X ------------------------------ Date: Thu, 21 Mar 91 09:43:22 EST From: Joe McMahon Subject: Re: Who is Synergy? Boy, do I feel old. "Synergy" is Larry Fast, an extremely accomplished synthesis and a damn fine composer as well. He made a number of albums, the best of which were probably "Cords", "The Jupiter Menace" (which you may still be able to find in the "Soundtrack" bins), and "Sequencer". The reason you don't see Synergy in the bins anymore is that Fast's record company, Audion, bit the dust a while back. Sad. No more Synergy on CD, and, worst of all, no more "Beauty in the Beast" from Carlos, either. Apparently no other record company has tried to (or wants to) work out a deal allowing these albums to get back into print. I was planning a trip to some local used CD places this week - I want 'em bad. --- Joe M. ------------------------------ Date: Thu, 21 Mar 91 00:25:36 CST From: Rod Lemcke Subject: 32 Midi channels + Hi, I've currently got a band together called Music-X, and the reason that we a re called Music-X is because we are endorsing the sequencer for the Amiga of th e same name. The problem is that we are running 17-synthesizers from the Amiga and we DESPERATELY nedd MORE midi channels. The program, Music-X is capable of running numerous banks of midi channels. So does anybody know where I can get a midi interface for the Amiga which can run numerous midi channels??? By the way we use an Amiga 500. Your reply is dseperately needed. P.S. - Any other Music-X users out there? ------------------------------ Date: Fri, 15 Mar 91 01:56:18 EST From: "Mark G." <70004.77@COMPUSERVE.COM> Subject: MUSIC without MONEY Hey, Joe M. brings up a good point, that I think most people miss: You don't have to be RICH to be an ELECTRONIC MUSICIAN... Sure, low-tech music is a lot more limiting... but it can be just as exciting! And besides that, it's HIP! I have a combo of equipment; I've got a bunch of portable old open reel recorders and then I've got my DSS-1 sampler; I've got a chorus of 49 cent green thumbs that play "How dry I am" when out of water, and I've got my Tascam Porta Two. There's a lot of things to be done with you, five bucks, and a Salvation Army or St. Vincent DePaul thrift store! Some experiences come to mind... SMALL OPEN REEL RECORDERS can usually be gotten for $5 or less. Great, because they can be portable loop machines... just string a tape loop and punch in, punch out. Good rhythmic percussion module there; make eight tape loops and you've got the equivilent to a sampling Dr. Rhythm, right? (And it even saves the samples when you turn it off!) Another fun party trick: Get two (or more) recorders and run a single loop between them. Record on one, play on the other; instant four-second or so analog delay. Make the loop bigger and increase the sample length. Put the mike near the speaker/mix the output into the recording one, and you'll get an echo; put it too close and make yourself a nice distorted loop. TURNTABLES are an endless source for amusement. Go to the thrift store and buy a cheapie or dig in someone's attic for one; take the belt off and have fun. Get some records to play with. Spin the table backwards and play it from the inside out; without the belt, it should go for a while. Some very fun records can be gotten at the thrift store, including old home recording discs. Talk about your found sounds... CONTACT MICROPHONES can be made from cheap transducers from Radio Shack; get 'em for less than $2 each and stick 'em on something.... like a microscope for sound. So maybe these will give you an idea or two. I find these activities just as fun as sampling or messing around with parms on my DSS or another synth. Sure, none of these have a keyboard... but you weren't planning to do that electronic version of the Sabre Dance on tape loops, were you? They have their purposes, which are very different from the more expensive things; but I really think they're worth exploring. - Mark G. ------------------------------ Date: Thu, 14 Mar 91 10:59:00 CST From: greg@IHLPM.ATT.COM Subject: Re: Question: PC's in MIDI... Hi, I just had a comment on something Dror liwer posted: > 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 !! I thought I'd temper this by some information uncovered while trying to help another e-mail cohort eliminate a buzz in his equipment. It turns out the buzz was being caused by a design flaw in his CMS-401 MIDI interface card. One feature of the MIDI specification is that it eliminates any direct electrical connection between units. An opto-isolator is used on the receiving end. This is basically an LED that is driven by the current on the MIDI cable, which gets bright and dim as the signal changes. This light excites a detector which provides the signal into the receiver's UART. Thus the only signal that passes from the transmitter into the receiver's electronics is this LED's light. This electrical isolation is also maintained by the fact that the MIDI spec requires the receiving end to leave the ground wire (pin 2 of the MIDI connector) unconnected, while the transmitter will connect this pin to its ground providing the shielding for the cable. The CMS-401 card had its pin 2 of the MIDI-IN connector (the receiving side) directly wired to the pin 2 of its MIDI-OUT connector. This is a clear violation of the MIDI spec, and was causing the very problem that the MIDI spec intended to avoid by using the opto-isolator. I'm not sure, but I think that this could also cause some serious damage to the equipment if the computer were plugged in to an outlet that happened to be on a different phase of the power line than the synth was plugged into. Someone else had asked, and I'm wondering too, what makes the CMS card better than the Roland card? Would software that was not written specifically for that card (which I assume includes most commercial packages) be able to take advantage of its improved features? Please explain this comment further. -- Greg Youngdahl AT&T Bell Laboratories Naperville, IL att!ihlpm!greg ------------------------------ Date: Fri, 15 Mar 91 09:28:39 EST From: Tony Jewell Subject: A to D for Sun ? Well, I'm in the lucky position now of having my own 700M sparc on my desk at work for developement purposes, and I've been pondering uses for it ... A friend of mine was telling me about the wonders of these Akai direct to disk recorders, and a little bell went off in my head - Now there's a use for my Sparc. So .. 1) For a simple project I'd need (I think) two 16bit A-D's and D-A's. Does anyone supply these on a nice simple plug in board, or does anyone have any ideas how I'd go about attaching these ? - Bare in mind I am not at all technical ! 2) I presume my SCSI disk is fast enough for, say, 42.1KHz direct to disk sampling ? Any other thoughts - A quick calculation reckons on about 10-15 mins of 16bit sampling at 41.2K. Gosh ! Cheers -- |\/\/\/| | | Tony Jewell ___ _ ___ | | Senior Systems Officer / \ / / \ | (o)(o) / / /___ / C _) JANET: jewell@uk.ac.clp.unixa <____/ <___ / | ,___| EARN/Bitnet: jewell@unixa.clp.ac.uk | / EAN: jewell%clp.unixa@ean-relay.ac.uk /____\ / \ CITY OF LONDON POLYTECHNIC ------------------------------ Date: Fri, 15 Mar 91 16:33:56 EST From: JOnathan Subject: Re: A to D for Sun ? You might be interested in a gadget I built. It's an interface that makes a DAT recorder look like a streaming tape drive to a Sun (over the SCSI port). It's pretty cool: write a file to the DAT and it plays! PLay a tape on the DAT (or just put analog into it) and get a digitized file on the Sun. We've even made a real-time oscilloscope using X windows. Or you can make a direct-to- digital (DAT) master of anything you've computed on the Sun. All in the 48-kHz sampling rate, 16-bit resolution of the DAT. Fun, fun, fun. This, folks, was NOT a weekend project. I'm doing a redesign that will talk to a new Panasonic SV-3900 DAT recorder which has a digital interface to the transport controls. We plan to sell these in limited quantities as sort of "share-hardware;" I can't really do technical support (I'm a grad student), so if you buy one of these gadgets, you get full documentation, schematics, and source code, but no warranty. I suspect we'll sell the box for somewhere around $1000 and you'll need a SV-3900 (about $1800). Zap me a line if you're interested. Mac hacks: We'll probably release some sort of software for the Mac, but you might have a problem getting it to work with say, Sound Designer. Jonathan Foote : : Division of Engineering : internet: : BITNET: Brown University, Box D : jtf@lems.brown.edu : JFOOTE@BROWNVM Providence, RI 02912 : : ------------------------------ Date: Fri, 15 Mar 91 15:40:55 GMT From: Nick Rothwell Subject: Re: VFXsd patches -> VFX? I think I have all of the standard VFXsd patch banks already. I'll have to upload my sounds sometime. I'm currently generating VFX patches like crazy since I've got a live set to prepare for 5 weeks from today [argh!] and I'm using the VFX for a number of breathy, non-electronic timbres rather like the atmospheric stuff which opens Gabriel's Passion (if I want electronic sounding, I'll use the Waldorf). What format are your banks in? I have VFX support in Anodyne - I used pretty much the raw data format, but packed the nibbles into 8-bit bytes. Nick. P.S. To my knowledge, the VFX and VFXsd are equivalent patch-wise, except that the 'sd has the drum waves. Hmm, doesn't the 'sd have a second pair of stereo outs? Where is that handled in the patch? ------------------------------ Date: Fri, 15 Mar 91 15:41:02 GMT From: Nick Rothwell Subject: Re: MIDI Interface >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. But (as Joe has said) you don't need this kind of thing for a Mac. Mac MIDI interfaces are generally simple electronic things; the Mac SCC does all the work. Hence, as far as I know, there's not much to choose between interfaces as long as they're constructed reasonably well. I'm using a dual-port interface I made for about $20, and it works perfectly (the mini-DIN's on the cables are another matter...). Nick. ------------------------------ Date: Fri, 15 Mar 91 16:43:00 EST From: TUTTEROW@UNCG.BITNET Subject: New equipment confusion. Hello to EMusic. I have been reading now for two months and learning a lot. I receive this list through the Univ. of North Carolina at Greensboro where I am a Piano Performance major. I am quickly becoming interested in Electronic Music, but remain after talking to salesmen who say what they have in stock at the moment is what I need. Help me out if you can. Here is a partial list: 1: A keyboard. 76 or 88 keys with synthesized or sampled sounds built in. 2: A sampler with good orchestral sounds and,this is the tough one, good samples of various pipe organ stops. I want to be able to build my own organ registrations and change them via inputs from a sequence or from the keyboard. 3: A sequencer, preferably 16 track, with full editing and the ability to get the beat from some realtime input that I can control so I can adjust the tempo while I am playing along with the sequence. I have looked at a Roland D-70 keyboard and a Roland U-220 sampler but no salesman has left me alone long enough to get a feel for anything else. My terminology may not be totally correct as I am new to this side of music. My apologies. Correct me if need be. Thanks. Kirk Tutterow. My address is "TUTTEROW@UNCG.BITNET" ------------------------------ Date: Mon, 18 Mar 91 14:00:22 EST From: Simon Weatherill Subject: Re: New equipment confusion. In response to your quest for a good orchestral sampler, the PROteus/2 has excellent sounds. I can't remember what it has for pipe organ though. If you need something to sample your own sounds, this won't work (it's ROM only :-). Simon_Weatherill@coat.com ------------------------------ Date: Thu, 14 Mar 91 22:46:16 GMT From: John Benfield Subject: Re: Tape project & Theremin Inquiry In article , JFOOTE@BROWNVM.BITNET (Jonathan) writes: > Hey, man, this is the 90's, and only greybeards understand analog anymore > (much's the pity.) How about this: Polaroid or somebody sells little > experiment kits containing the sonar gadgets they use to determine distance > so as to focus the camera automatically. How about using two of those > and a microcontroller to make a MIDI theremin? It would be difficult to get > the pitch to swoop smoothly over several octaves, as in the real thing, but > even semitone pitch quantization might not be a bad thing for oafs like me > with less-than-perfect hand-ear coordination. I have a few of those sonar kits from Polaroid and the sample time can't be cut to anything less than 0.3 seconds/sample. It's an inherent limitation in the method they use to determine the distance in a wide range of circumstances. What you can do is connect the digital output to a d/a converter and feed that into some sort of a 'sweep' oscillator. A much easier and more fun thing to do is use a couple of pressure sensors instead. Just mount them in the coils of those hand exercise dohickeys (you know...the ones you squeeze to releive stress). Another fun one is to use the output of an alpha monitor (a type of biofeedback device) to a frequency multiplier and use the output to modulate your synth output. [it's tough to get 'real' results without a lot of pratice]. Talk about 'mood music' =8) > (I understand the original > Theremin is exceedingly difficult to play: it has no "frets" or pitch/distance > calibration.) > Niether does a trombone. (well..no more so than a theremin) Or any 'orchestral' string instrument. A theremin is no harder to play than an old fashioned slide whistle. As a matter of fact, they sound pretty similar too. :) ______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: Thu, 14 Mar 91 22:53:27 GMT From: John Benfield Subject: Re: Tape project & Theremin Inquiry > Come on! my beard isn't grey, and I do analog! > > the poloroid sonar gadget is out: it has a minimum sensing distance of > 3 or 5 feet (I forget which), so you'd have to be very far from you're > `instrument'. It is also calibrated in either feet or tenths, either > of which would require a LOT of movement! (have fun :-) It's minimum range is .9 feet and it's default calibration is in tenths of a foot (inches...well, close enough for rock'n'roll) > As for playing things with no "frets" or pitch/distance calibration, > you should take up string bass. It's an education. A theremin would be > just as easy, if you practiced it. It just takes a bit more practice at > first than a keyboard (snicker, snicker!) > > raybro Have you tried any of the MIDI string controllers? There's a tone and semi-tone mode on some that lets you 'get close to the mark' and the system automagically outputs the nearest 'valid' note. So much for talent. *TechnoPagan* ------------------------------ Date: Sun, 17 Mar 91 07:53:52 GMT From: Commander Brett Maraldo Subject: EPS, EPS 16+ and TX16W Sample Source Correction and more information... There is a reputable source for samples for the EPS and TX16W samplers in Ontario, Canada (accessable elsewhere by mail). Their sounds are first rate and very inexpensive. The EPS disks are $4CDN each and they have about 120 in the library, teh EPS 16+ disks are $8CDN each and there are 30, and the 16W disks are $5CDN each with over 150 in the library. Demo disks are $2CDN per disk. Contact: 3D Sounds P.O. Box 114, Station C Kitchener, Ontario N2G 3W9 Canada Please tell them that Brett Maraldo of Plexus Productions sent you. Brett Maraldo Plexus Productions -- -------- Unit 36 Research --------- "Alien Technology Today" bmaraldo@watserv1.UWaterloo.ca {uunet!clyde!utai}!watserv1!bmaraldo ------------------------------ Date: Mon, 18 Mar 91 13:06:00 EET From: "Jari J. Riitala" Subject: TX7 tape interface (Didn't see this come out so I'll try again..) Hi! Anybody out there with a TX7 in his/her rack? I'd like to know how the tape interface cable is wired, which lead goes to where. I didn't get one with my TX and I think I should build one but the damn manual doesn't say anything about this. I'd greatly appreciate any info! -Jari -------------------------------------------------------------------------------- ! Jari Riitala ! snail mail: ! Conform ! ! ! Kuusiharjunkatu ! or ! ! JRIITALA@KONTU.UTU.FI ! 20660 Littoinen ! be cast out ! ! jriitala@utu.fi ! Finland ! ! ! ! phone: +358 21 442 371 ! - Neil Peart ! -------------------------------------------------------------------------------- ------------------------------ End of the EMUSIC-L Digest ******************************