EMUSIC-L Digest Volume 54, Issue 10 This issue's topics: Dss 1 editor/lib efm, etc. (3 messages) korg 01 cd demo (2 messages) Korg DDD-1 editor/lib Korg Dss 1 Ed/lib KORG DSS-1, where to get sounds (4 messages) Matrix-6 MICROTONAL EPS? (2 messages) MIDI Systems (4 messages) MIDImixer (2 messages) Need to find a line mixer Noise interference in Emu SoundEngine/Roland MA-12C system p5 update Roland Sound Card info Syquest drive for EPS (2 messages) TG-100 vs SD33 or DS33 or whatever it is (2 messages) the dss and me Wanted : D-110 patches 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, 27 Jul 1993 19:24:40 -0400 From: peter Rothbart Subject: Dss 1 editor/lib Does anyone know of a mac-based editor/librarian for the Korg DSS-1, something that will handle multisounds, etc? Has anyone tried MOTU's Unisyn for the DSS-1? And what about Betty-Lou? ------------------------------ Date: Tue, 27 Jul 1993 09:02:09 EDT From: ronin Subject: efm, etc. we seem to be converging, here, so i thought i'd flog the nag just a little more, in the hopes either of discovering that we really are talking about different things, or of normalizing the nomenclature... first, i guess it would help if you explained mfm to me. i gather that the little smileys mean that what you provided as the expansion of the acronym was meant ironically, and not seriously. efm stands for "eight-to-fourteen modulation", of course, not "extended fm." what is mfm? efm encodes the data in such a way as to be able to be read within what amounts to a 'time window' enforced by the nature of the pickup optics. i think that this is along the lines of something you were saying earlier. if transitions occur too rapidly, they fall outside the frequency response of the pickup, as defined by their aperture. therefore, you don't want any successive transitions. on a smaller scale, 1001 is ok, 0110 is ok, 0011 is ok, 1100 is ok. 1010 or 0101 are not. in fact, the minimum time period for the 'up' or 'down' portion of a code waveform is 3T, where T is one period of the clocking rate (4.3218MHz). on the other hand, leaving the waveform in one state for too many clock periods increases the probability of error due to jitter, so an upper limit is imposed of 11T. no strings of ones or zeroes longer than 11 clock pulses. now, you'll notice that this is about half in agreement with your earlier discussion. on one end of the time window (the longer end), the coding scheme does indeed specify a minimum number of transitions per time period, keeping the 'noise level' (as you term it) above a certain threshold. on the other end, though (the shorter end), it also specifies a *maximum* number of transitions per time period, providing a 'noise floor', if you will. (maybe someday we'll have a discussion on the difference between noise and information). at any rate, the coding scheme does not (as i understand you to have asserted) simply dictate that there will be 'the most transitions possible'. it also places a lower limit on that 'possible', which is greater than one transition per clock period. sorry to be redundant, but i'm trying to make clear the distinction between your explanation and my understanding from the literature. it's a little subtle, but significant. further, i am confused by your reading of my three-beam tracking discussion as being in essence the same as your 'noise tracking' explanation. the three- beam system does not make use of transition-rate information at all, it in fact removes the 'noise' (the data, actually) and responds to changes in average amplitude differential. ahh, wait a minute... i think i see how you're looking at it. when the beams are off track, the differential changes because the 'noise' (information) levels of the offside beams diverge. the inference you are making is that more 'noisy' information will provide a higher-resolution differential. i think that the counter-assertion then is that as long as the transition rate is within a certain window ( <12T ), then that requirement is met, and the differential can be read as accurately as necessary... and further that the transition also is subject to another limit ( >2T ), which was not addressed by your earlier explanation. whew. i think i'm done. i think i know what i'm saying, what you were saying, and where the crossovers and meeting-points are. how about you? and oh yes... i remember the pinholes. didn't the old apple drives use them for registration? -----------< Cognitive Dissonance is a 20th Century Art Form >----------- Eric Harnden (Ronin) or The American University Physics Dept. 4400 Mass. Ave. NW, Washington, DC, 20016-8058 (202) 885-2748 (with Voice Mail) ---------------------< Join the Cognitive Dissidents >------------------- ------------------------------ Date: Thu, 29 Jul 1993 07:31:26 +0000 From: Nick Rothwell Subject: Re: efm, etc. So is this coding scheme the original meaning of PCM (Pulse Code Modulation)? (I've never understood why synth ROM cards and the like are referred to as PCM when AFAIK they're just sample word vectors in ROM; or are they actually encoded in the same way within the memory words? If so, why?) Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Fri, 30 Jul 1993 08:02:21 GMT From: w.purvis@DARESBURY.AC.UK Subject: Re: efm, etc. Nick wrote: > (I've never understood why synth ROM cards and the like are referred to as > PCM when AFAIK they're just sample word vectors in ROM; or are they > actually encoded in the same way within the memory words? If so, why?) This all dates back to the early days (around 1960-ish as far as I remember) when any form of encoding was considered very new! Digital techniques were non-existent, but a number of `encoding' schemes were explored. Pule-width modulation was one of these - it seemed to be a good way of using the fast switching power transistors that were appearing to replace the (relatively) inefficient Class-A output stages in audio amps. Pulse code modulation was discussed, but everyone said it was too complicated to ever catch on - after all you would have to encode to at least 8 or 10 bits and that would take an awful lot of transistors! That was all long before the integrated circuit of course and the hardware used in modern samplers would have been considered to be way beyond the realms of possibility. Bill ------------------------------ Date: Wed, 21 Jul 1993 14:15:02 CDT From: "Kevan L. Moore" Subject: korg 01 cd demo A month or so ago i ordered the 01/w demo cd from korg. at the time their 800 number was 1-800-for-korg. i called a few times to see the status of my order and was politely told that there had to be at least 500 ordered before they could ship them so they could get the bulk mail rate. now, the 1-800-for-korg number gives me a demo line. i still don't have the demo cd, even though my check has been cashed for more than a month. i'm rather irate, looking forward to a korg demo. i've always liked korg's sound. any suggestions? klm ------------------------------ Date: Tue, 27 Jul 1993 16:48:32 MET From: root@SIHP03.SI.ESTEC.ESA.NL Subject: Re: korg 01 cd demo > Here's a suggestion... Change your taste in synths. > John I really like this one .. John .. hi hi hi .. really really like this ..one .. and by the way welcome back in netland .. !! and by the way part II .. I have a tiny question about Wendy/Walter .. opsss sorry .. couldn't resist this one .. sorry sorry .. too nasty .. Ciao, ------------------------------------------------ENV---ENV---ENV---------------- Andrea TONI (andrea@sihp03.si.estec.esa.nl) | | | Planetary and Space VCO-->VCF-->VCA--> DUCATI 900SS Science Division (SI) | | | ------------------------------------------------LFO---LFO---LFO---------------- ------------------------------ Date: Wed, 28 Jul 1993 12:36:18 EST From: David Crocombe Subject: Re: Korg DDD-1 editor/lib I would like to know if there is a MAC based editor/librarian for the Korg DDD-1 drum machine. It could alternatively (but unlikely) be one that would run on my Fairlight C.M.I. (Computer Musical Instrument). I would prefer to just run all sequences on the C.M.I. but the DDD-1 seems to have capabilities that are not all accessable via MIDI and also sometimes I perform live with the drum machine for backing (the C.M.I. is a bit big to lug around to small gigs). David William Crocombe. EMAIL: david@abc.gov.au ------------------------------ Date: Thu, 22 Jul 1993 10:10:13 -0400 From: peter Rothbart Subject: Korg Dss 1 Ed/lib Does anyone know of an editor/librarian for the Korg DSS-1. Not just Alchemy or Sound Designer, but something that saves and transmits multisounds, etc. Has anyone worked with MOTU Unisyn? They claim it works for the DSS-1 but to what extent? And what about Betty Lou? Thanks, Rothbart@Ithaca. ------------------------------ Date: Sat, 10 Jul 1993 01:01:01 GMT From: Paul Shafer Subject: KORG DSS-1, where to get sounds I need to find a source for sounds for a Korg DSS-1. I would also like to here from someone who owns one. How do you like it? What are it's strengths/weaknesses? Thanks. Paul Shafer workhorse@caer.uky.edu ------------------------------ Date: Mon, 12 Jul 1993 11:09:50 GMT From: Jan Erlandsen Subject: Re: KORG DSS-1, where to get sounds caerpds@aix3090b.uky.edu (Paul Shafer) writes: > I need to find a source for sounds for a Korg DSS-1. >I would also like to here from someone who owns one. >How do you like it? What are it's strengths/weaknesses? >Thanks. I own a DSS-1 too. I bought it when it was pretty new on the market, and shortly after that, it disappeared. That is NOT a good sign... Well, it has been true to me ever since I bought it, but it isn't really that a wonderful machine as I thought. I've mostly sampled drums from records, since it's difficult to sample tuned instruments really good (not to mention FINDING the source of a single, traight pitched instrument to sample!). The thing about the sampling synth I've more and more become frustrated with is the lack of panning facilities. What's the use of sampling lost of nice sound effects when you have to put them all in the same spot in the mix? It would have increased the versatility and usefulness of the DSS-1 if KORG allowed the sounds/samples to be panned in the stereo image. Separate outputs wouldn't have been too bad either. Apart from that it's a nice but expensive instrument. Its strength is the combination of sampler and synthesizer + the digital delays, and the weakness is as mentioned above. May THe Force be with You Jan "Electric Cowboy" Erlandsen ------------------------------ Date: Wed, 14 Jul 1993 08:23:27 -0500 From: Eric Stratton Moseley Subject: Re: KORG DSS-1, where to get sounds Paul - I also have a DSS-1. The samples can be obtained through various places. Check out magazine ads. I've seen some in Electronic Musician. The main problem with the DSS-1 is that it's so hard to program your sounds onto disks. You can't just mix and match your favorite sounds onto one disk. Also, not being multi-timbral is somewhat of a drawback. I only use mine every once in a while. I like the sounds, but it's not versatile enough for my every-day use. Eric On Mon, 12 Jul 1993, Jan Erlandsen wrote: > caerpds@aix3090b.uky.edu (Paul Shafer) writes: > > > I need to find a source for sounds for a Korg DSS-1. > >I would also like to here from someone who owns one. > >How do you like it? What are it's strengths/weaknesses? > >Thanks. > > I own a DSS-1 too. > I bought it when it was pretty new on the market, and shortly > after that, it disappeared. That is NOT a good sign... > Well, it has been true to me ever since I bought it, but > it isn't really that a wonderful machine as I thought. I've > mostly sampled drums from records, since it's difficult to > sample tuned instruments really good (not to mention FINDING > the source of a single, traight pitched instrument to sample!). > The thing about the sampling synth I've more and more become > frustrated with is the lack of panning facilities. > What's the use of sampling lost of nice sound effects when you > have to put them all in the same spot in the mix? It would > have increased the versatility and usefulness of the DSS-1 > if KORG allowed the sounds/samples to be panned in the stereo > image. Separate outputs wouldn't have been too bad either. > Apart from that it's a nice but expensive instrument. > > Its strength is the combination of sampler and synthesizer + the > digital delays, and the weakness is as mentioned above. > > May THe Force be with You > Jan "Electric Cowboy" Erlandsen ------------------------------ Date: Thu, 15 Jul 1993 15:20:24 +0800 From: "Andy \"LEd~\" Chia" Subject: Re: KORG DSS-1, where to get sounds On Sat, 10 Jul 1993, Paul Shafer wrote: > I need to find a source for sounds for a Korg DSS-1. > I would also like to here from someone who owns one. > How do you like it? What are it's strengths/weaknesses? > Thanks. > > Paul Shafer > workhorse@caer.uky.edu Hi, I'm Andy. I'd like to find out from you how u can get your dss to play the samples after u've gotten your samples from the net. Do u use the PC and what program do u use? Thanks. ****====****====****====****====****====****====****====****====****====**** My Name is : Andy Chia I'm at: National University of Singapore What do I do?: Mechanical Engineering (Graduating Student) Call me at: eng00436@leonis.nus.sg (65) 4545901 "Vision with Action can change the World..." ****++++****++++****++++****++++****++++****++++****++++****++++****++++**** ------------------------------ Date: Fri, 9 Jul 1993 20:23:47 -0400 From: Roth Ritter Subject: Matrix-6 Does anyone happen to know where I can pick up some patches for the Ober. Matrix-6? (via ftp or other easy way to get'em). Thanks... :::::::::::::::::::::::::::::::::::::::::::: :: Roth Ritter :: :: >> artcrrx@gsusgi2.gsu.edu << :: :::::::::::::::::::::::::::::::::::::::::::: :: Georgia State University Art & Music :: :::::::::::::::::::::::::::::::::::::::::::: ------------------------------ Date: Fri, 23 Jul 1993 09:48:49 LCL From: Michael Vitali Subject: MICROTONAL EPS? Hi -- anybody have any experience with making the EPS microtonal? Years ago I had a Mirage disk operating system that enabled you to play unusual temperaments -- is there anything analogous on the EPS (16+ Turbo in my case). Thanks. Michael ------------------------------ Date: Fri, 23 Jul 1993 11:08:52 CDT From: Mark Borcherding Subject: Re: MICROTONAL EPS? Have you posted to eps@reed.edu? I am on that list and 3-6 months ago some posted how to do this. Mark ------------------------------ Date: Thu, 22 Jul 1993 12:45:33 -0400 From: "Larry-Hartzell (lhartzel@rs6000.baldwinw.edu" Subject: MIDI Systems To anyone out there who may have some information. I am in charge of a small electronic music studio at a private liberal arts college. We currently have synths and samplers made by Ensoniq and Yamaha, as well as a Proteus 1. Additionally, we have various effects processors. Our MIDI lines run through a Yamaha MJC8 patcher into an OpCode Studio 3 to a Mac IIci. Except for the Ensoniq VFX all our synths can be edited through OpCode editor/librarians. We are at the point where we will soon have more equipment than MIDI INs on the MJC8. Since I am trying to keep the studio as simple as possible for beginning students I would like to avoid plugging and unplugging MIDI lines. Therefore, I feel the need to go to a patcher than can handle more than 8 MIDI INs. Any suggestions? Our sequencer is MOTU Professionl Performer, consequently I have considered that company's patcher. However, some people have suggested moving to Studio Vision so that we could install OMS and use Studio 5. Does anyone out there have any suggestions from personal experience? It makes more sense to me to listen to people who actually use the equipment rather than the people who sale it. Thanks for your input. Larry ------------------------------ Date: Sat, 24 Jul 1993 09:56:31 +0000 From: Nick Rothwell Subject: Re: MIDI Systems >It makes more sense to >me to listen to people who actually use the equipment rather than the >people who sale it. This should be cast in stone somewhere. Anyway: I'd suggest Opcode software and Studio-5 for the OMS integration, unless you are really attached to Performer. MOTU's stance on system integration and maintenance is currently pitiful and will stay that way until/unless FreeMIDI (i) comes out and (ii) works. I've just dumped Performer in favour of Vision btw, after five years with the former. I'm still using MOTU's MIDI Time Pieces because OMS's support for them is pretty good, but you're still stuck with MOTU's software for programming them, and setting that up reliably is non-trivial. I would go for Studio-5's myself but their UK price is three times the US price, and they're 2U high rather than 1U which is a disadvantage for me. The Studio-4's in the field are not yet reliable for networking use and don't have onboard patching, but you might want to check out these with the latest firmware. Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Tue, 27 Jul 1993 14:41:15 EDT From: James R Black Subject: Re: MIDI Systems > > I've just dumped Performer in favour of Vision btw, after five years with > the former. I'm still using MOTU's MIDI Time Pieces because OMS's support > for them is pretty good Can you operate it in FAST mode with OMS? ------------------------------ Date: Thu, 29 Jul 1993 07:32:14 +0000 From: Nick Rothwell Subject: Re: MIDI Systems > Can you operate it in FAST mode with OMS? Yes. Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Mon, 12 Jul 1993 09:44:11 +0100 From: H6228SIP@HUELLA.BITNET Subject: MIDImixer Hi ! Does anybody know about a 16 channel, cheap MIDI mixer ? It would be enough to control the faders, pans and effects with MIDI. Or, I could use a schema of a good digitally controlled potenciometer. Attila Sipos h6228sip@ella.hu Hungary ------------------------------ Date: Mon, 12 Jul 1993 18:02:00 EDT From: John Rossi III Subject: Re: MIDImixer Peavey makes just the ticket. As I recall, you can get them for less than $200 and they do an amazing amount of MIDI fader control. John ------------------------------ Date: Fri, 2 Jul 1993 12:07:08 -0500 From: Arne Claassen ISE Subject: Need to find a line mixer I've been looking around music stores in my area, trying to find a good line mixer for my purposes of MIDI music. So far I've only found one mixer that was really what I needed. A Peavey 8 channel board, which was line and mic input, for about $395. If anyone could give some pointers towards good mixers i'd much appreciate it. These are my needs: 1) 8 or more mono channels (could be line and mic, but only need line) 2) At least a three band EQ for each channel. 3) Volume sliders, not knobs (disqualified the entry level Mackie for me) 4) at least two FX sends/returns 5) optional: external power supply That's pretty much it. Thanks... -- -------------------------------------------------------------------------- |Arne F. Claassen | | | | "It is by my will alone I set my mind in motion" | -------------------------------------------------------------------------- . ------------------------------ Date: Sun, 11 Jul 1993 21:07:08 -0500 From: Betty Aune Subject: Noise interference in Emu SoundEngine/Roland MA-12C system I recently purchased the Emu Sound Engine (a General MIDI music module) and the Roland MA-12C powered speakers. I hooked the RCA audio outs from the SoundEngine into the line inputs on the MA-12C speakers. Everything was okay up to this point. But then I connected the cable from the Sound Engine's built-in MIDI interface to the Mac's modem port and all hell broke loose! There was an extremely annoying hum coming out of the speakers and even more bizarre-when I moved my mouse, a high pitched buzz came out of the speakers. When I disconnected the cable from the SoundEngine, everything was quiet again. Also, when I disconnected the audio cables from the Roland speakers and plugged them into my home stereo, the hum disappeared. So obviously, there is some kind of interference problem, and it only seems to occur when I am using the built-in MIDI interface port and have the audio outs connected to the Roland speakers. What can be done to alleviate this situation? (Please send replies directly to the address above.. thanks) -------------------------------- Betty Aune, Disability Services University of Minnesota Email: aunex001@staff.tc.umn.edu ------------------------------ Date: Wed, 14 Jul 1993 14:38:02 EDT From: ronin Subject: p5 update you may remember my saying that my prophet 5 was choking, and wondering if it might be the midi getting confused by multiple channel data (or my midi clock, which was nick's suggestion). well, i was plowing through my old EMs, and found a november '87 service clinic column which says that the factory midi retrofit (which is what i got from wine country) puts a bit of a strain on the power supply, which requires a slight modification (the addition of a diode) in order to handle it. thank you, alan gary campbell, wherever you are. no thanks to wine country, who had no clue. -----------< Cognitive Dissonance is a 20th Century Art Form >----------- Eric Harnden (Ronin) or The American University Physics Dept. 4400 Mass. Ave. NW, Washington, DC, 20016-8058 (202) 885-2748 (with Voice Mail) ---------------------< Join the Cognitive Dissidents >------------------- ------------------------------ Date: Fri, 9 Jul 1993 12:03:25 CDT From: Bill Parrill Subject: Roland Does anyone know if Roland has an Internet ID? Thanks! Bill P. bparrill@vnet.ibm.com ------------------------------ Date: Tue, 13 Jul 1993 12:20:27 GMT From: Martin Rootes Subject: Sound Card info Dear All, Just a quicky, I'm looking at changing from my current ST setup to a PC setup (almost definately a 486). What I'd like to know is information on the various soundcards and midi cards on the market. I definately need midi but I'd also like to explore things like Csound etc. Is there any info out there available via annonymous ftp? Or any kind soul willing to give me a quick run down of available cards? Ideally I would like a sound card with 16bit stereo (16A/D as well as D/A, although 12 would do on A/D). Thanks for your help Martin. ------------------------------------------------------------------------------ Martin Rootes - Senior Systems Programmer/Analyst, Sheffield Hallam University Email : M.Rootes@shu.ac.uk ------------------------------------------------------------------------------ ------------------------------ Date: Thu, 22 Jul 1993 16:33:21 ADT From: Alan Edwards Subject: Re: Syquest drive for EPS > Does anyone have experience with an EPS Classic (or later) and a SCSI Syquest > drive? yup. thats me. > Does it work, any particular model? I have an old EPS with SCSI/4*memory card from Maartists, and it works fine. [ ya ya metlay...I know...I meant the _CARD_ works fine ;-| ] They suggest using SCSI id 2 for the drive. I have heard that not all SyQuest drives work with the EPS. Mine is a Powerdrive from Hard drives international. I have tried other models (don't recall names) with no trouble, though. > Other noteworthy things about EPS's and that type of removable media. The drive has to be turned on first, and up to speed before the EPS is powered up. I have not done much exchanging of disks while running. > I plan to use the Syqyest for both the Mac > and the EPS, although not at the same time, i.e. different cartridge formatted > either Mac or EPS, not partitioned for both. > good idea. People have claimed that you can run them all together, but I think that it would take a fair amount of Magic (woojie-woojie) to do that. Good luck, Alan ------------------------------ Date: Thu, 22 Jul 1993 14:12:22 -0500 From: Arne Claassen ISE Subject: Syquest drive for EPS I'm going to be putting a 44 MB syquest drive in the 5-1/4" bay of my Centris 650, and hooking my EPS to the Mac via SCSI. Does anyone have experience with an EPS Classic (or later) and a SCSI Syquest drive? Does it work, any particular model? Other noteworthy things about EPS's and that type of removable media. I plan to use the Syqyest for both the Mac and the EPS, although not at the same time, i.e. different cartridge formatted either Mac or EPS, not partitioned for both. Any help is greatly appreciated. Thanks. -- -------------------------------------------------------------------------- |Arne F. Claassen | | | | "It is by my will alone I set my mind in motion" | -------------------------------------------------------------------------- . ------------------------------ Date: Thu, 22 Jul 1993 08:30:17 CDT From: "Kevan L. Moore" Subject: TG-100 vs SD33 or DS33 or whatever it is I'm torn right now between getting the cheap TG-100 and a more-expensive cheap roland SD33/DS33 whatever it is. Any ideas? on: 1) user interface comparisons 2) how easy is it to change voices live in a multi-tibral setting (like an eps, you can turn on/off 1 of 8 voices on the fly) 3) sample quality (like, lower octaves in the piano) 4) i have a stereo chorus. would a TG-100 thru the chorus be just as good as the roland? 5) is reverb mix independent on each instrument in a multi-timbral setting? i've heard the roland, i'll hear the TG100 tonight; just requesting info from somebody who's worked with either/both & your opinions. thanks. klm ------------------------------ Date: Fri, 23 Jul 1993 15:39:43 +0200 From: Kalev Tiits Subject: Re: TG-100 vs SD33 or DS33 or whatever it is in my opinion, tg-100 user interface sucks (is rather inconvenient, to put it nicely). sounds are ok if you can generally stand yamaha sample-based machines sounds. sound a lot like some other yamaha cheapish boxes like tg-33 for instance. i find them usable and the selection is fair but quality leaves a few things to be wished for. like clarity for instance. it is not a bad little unit though considering its price, especially if you find use for the host computer serial connection and if you can live with the user interface. i would like to know if tg-100 is a 16-bit thing because it kinda sounds like 12 or so to me. (and at what sampling rate) anybody know? kalev tiits ------------------------------ Date: Wed, 14 Jul 1993 14:23:32 EDT From: ronin Subject: the dss and me yeah, i've got one of those. hrmph. the blasted thing's just too expensive to unload for what it's actually worth and recoup my investment in it, so i hang on to it. besides, i actually kind of like the keyboard itself, so it's my main controller. also, it's got that korg joystick, which generates breath controller. everything sounds the same on it. something about those filters gives everything the same sort bell-like tonality, a kind of fixed resonance. the output filters suck, and don't seem to track. the akai s612 doesn't alias. the dss does, and badly. shift down a few notes and squeeeeeee, way up there, is that damn noise. it's operating system is horrifying, and makes the process of sampling, editing, and assembling so difficult that i basically don't do it, unless i absolutely have to. i'm writing my own editor for it, and hope to clean up some of that just by making an usable interface. but the memory management bites... you absolutely have to save your samples to disk as you make them. you can't just let them lounge around in memory like on the akai s900. again, i hope i can augment that functionality with the offboard cpu, and basically just use the dss as a finished-edit repository. i like the harmonic synthesis tool. the basic-patch synthesis engine is cute, and i'm a sucker for onboard delays. oh yeah, one more gripe... the sampling rate selection is really limited, so you can either get reasonably clean samples that won't shift up very far, or you can play with grunge. speaking of which, the output dac is really noisy. and the output amps are too low power. so basically... blecch. but nobody i know's got anything i'd trade it for, so i keep it. -----------< Cognitive Dissonance is a 20th Century Art Form >----------- Eric Harnden (Ronin) or The American University Physics Dept. 4400 Mass. Ave. NW, Washington, DC, 20016-8058 (202) 885-2748 (with Voice Mail) ---------------------< Join the Cognitive Dissidents >------------------- ------------------------------ Date: Mon, 12 Jul 1993 10:05:06 +0100 From: H6228SIP@HUELLA.BITNET Subject: Wanted : D-110 patches Where can I find a good ftp source with Roland D-110 patches ? Attila Sipos h6228sip@ella.hu Hungary ------------------------------ End of the EMUSIC-L Digest ******************************