HDTenEightyP/NetNews huggingface dataset:
Newsgroups: bit.listserv.emusic-l
Date:         Wed, 15 Apr 1992 09:27:00 EST
From:         wbf1@CBEMA.ATT.COM

Subject: Jeff Preston's Yamaha DD5 questions

Hi Jeff,

>   Silly question (but just had to ask, anyway): If I were to buy a MIDI
> merge box and acquired a second DD5, could they be made to each trigger
> 4 seperate voices apiece on the SR-16?  Sorry if this is too rudimentary
> for the list, but I'd love a response...  :)

	No such thing as a silly question, although I've been known to
give silly answers from time to time.  This isn't one of those!  Yes,
you can trigger eight sounds on your drum module from two merged pad
controllers... IF you set each pad to a unique MIDI note number
corresponding to the sounds you wish to trigger.  Here's a diagram.

   -------------     --------------     ---------
   | DD5 #1 out|-----|in1         |     | SR-16 |   NOTE: Only MIDI
   -------------     |            |     |       |   connections are
                     | MERGER  out|-----|in     |   shown.
   -------------     |            |     |       |
   | DD5 #2 out|-----|in2         |     ---------
   -------------     --------------

	You might want to read the DD5 manual and look for a parameter
called MIDI echo or MIDI through.  If the pad has this feature, then
you'll be able to save money by forgetting the separate merger and using
one pad to do the merging.  This requires that the pad (DD5) has a MIDI
input.  Just feed DD5 #1's MIDI out to DD5 #2's MIDI in, turn MIDI echo
(or through) paramter to on or yes in the DD5 #2, and feed its MIDI out
to the SR-16.  Sorry, I have no suggestion at this time to save you from
resetting the pads upon power up.  Good luck.

Bill Fox
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Newsgroups: bit.listserv.emusic-l
Date:         Wed, 15 Apr 1992 08:57:00 EST
From:         wbf1@CBEMA.ATT.COM

Subject:      Mirage SoundProcess

Concerning a previous posting:

> Date:         Sat, 21 Mar 1992 13:44:23 -0500
> From:         Robert Doyle <RDOYLE%BROCK1P.bitnet@AUVM.AMERICAN.EDU>
> Subject:      Mirage SoundProcess
> To:           Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>
>
> Are there any users of the SoundProcess OS for the Mirage out there?
> If anyone has any experience with this I'ld like to talk with you.
> I've had the mirage for years, I'm happy with it and just found this other
> OS that looks interesting.
> rdoyle@brock1p.bitnet

Are you talking about the old Ensoniq Mirage 8 bit sampler?  What is this
alternate OS all about?

Bill Fox
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Date:         Tue, 7 Apr 1992 15:15:00 EST
From:         NLEONARD@RCNVMS.RCN.MASS.EDU
Subject:      index
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

ind music-l
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Date:         Thu, 9 Apr 1992 11:39:49 MDT
From:         Julius Pierce <julius@MATH.UTAH.EDU>
Subject:      sampling & playback
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

   I have two questions about digitizing & playback:
   1. I assume that oversampling is an output technique where recorded
samples are emitted at a faster rate (by duplication of the samples)
and these samples are then digitally low-pass filtered.  What kind
of low-pass filter algorithm is used?  Is it just a linear interpolation
or something more sophisticated?
   2. I know what "flash conversion" and "successive approximation" ==
"binary search" methods of A/D conversion are.  What is "1 bit delta-
sigma" conversion?

   julius@math.utah.edu
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Date:         Fri, 17 Apr 1992 09:38:39 EDT
From:         "D. Yuen" <yuen@NADC.NADC.NAVY.MIL>
Subject: Re: Lexicon MRC
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

Nick Rothwell writes: Waht particular defect is this?  I bought my MRC...
a year ago and it's been fine.

If your MRC works don't worry about it.  The problem I had was a ground shield
shorting out the Power Supply.  The unit would turn on but the PS burned up
in about 5 minutes.  Unfortunately I wasn't anywhere near when it happened.

The mod was to connect the case via conductive tape to the grounded metal
face plates to try to prevent static electric discharges from causing harm.

Dan Y

Actually Nick used the word "what" not "waht"
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Date:         Wed, 15 Apr 1992 08:58:00 EST
From:         wbf1@CBEMA.ATT.COM

Subject:      Experience w/voice to midi interfaces

I have the Roland VP-70 vocal processor.  One of its modes IS pitch to MIDI
conversion.  It seems to work well, thought I haven't had recent need to
use it.  It can be set up to generate pitch bend to really follow your
voice or monophonic instrument (like a saxophone).  This feature can be
turned off, if memory serves, so that the VP-70 will jump to another pitch
if your voice goes too far off.  It was quite expensive when I bought it for
about $1200 (US).  This device was so popular that its close out sale price
was about somewhere in the $200 to $400 range!

Bill Fox
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Date:         Mon, 6 Apr 1992 11:49:27 +0000
From:         Nick Rothwell <nick@DCS.EDINBURGH.AC.UK>
Subject:      Re: Waldorf Wave kbd: Valve-driven Filter upgrade
Comments: To: Electronic Music Discussion List <EMUSIC-L@auvm.american.edu>

>	Unless someone was turning it around on you and fooling you back
>(and it looks like you bit :-)!

Sh*t.

Naahh... I have heard of miniature valves from elsewhere. Honest. I have.

Nick.
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Date:         Thu, 9 Apr 1992 13:02:06 EDT
From:         Marshall Gilula <mgilula@MIASUN.MED.MIAMI.EDU>
Subject:      Re: Listening to music from a remote location
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

in reply to the following message [which was missing any antecedant).
----------------
I don't really think EMUSIC is the right place for this.  If you have access
to NEWS you should try posting to 'sci.electronics'.  There are a lot of
talented people there and they should be able to help you out.  I like the
fibre-optics idea.  I guess you should be able to send it FM through the fibre?

Good luck!

Gunnar Andersson   --  d1gunnar@dtek.chalmers.se
   Chalmers University of Technology, Sweden

------------------------------

Why limit EMUSIC in this suggested way?  The interface is pretty
difficult to delineate at times...i.e. where is it located....

It is good to know that 'sci.electronics' exists, but I think that
a lot of programming, and otherwise high-tech information
appropriately belongs in EMUSIC also.  I'm an EMusician, and LI
I will be pleased to see such information

Marshall Gilula
Life Energies Research Institute
mgilula@miasun.med.miami.edu
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Date:         Thu, 16 Apr 1992 01:25:18 GMT
From:         "Tony Hood and Ian Fredericks at SUESS" <ianf@EXTRO.UCC.SU.OZ.AU>
Subject:      Antipodean WX7s
Comments: To: EMUSIC-L%AUVM.BITNET@munnari.OZ.AU

Attn: Jon Crystal

Thanks for the info. Just one thing - from which part of the world is the
PRISM sax quartet? I would like to get in touch with them.

Does anyone know of anyone else who performs on WX7 or similar device and
who may have music? I did see a Toronto-based group in a concert in
London some years ago but I can't remember the details.

Anthony Hood
(ianf@extro.ucc.su.oz.au)
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Date:         Mon, 13 Apr 1992 03:48:00 CDT
From:         Z3KPW@TTACS.BITNET
Subject:      Re: Cadenza for Windows

Does anyone know if there's going to be a sequencer that'll support the new
Gravis 16-bit sampling board for PC clones?  If there's a good one, I'll
probably be moving over to the PC for sequencing (I'm using an Amiga now).

Thanks...
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Date:         Thu, 16 Apr 1992 15:40:00 GMT
From:         Eric McCormick <0004775674@MCIMAIL.COM>
Subject:      DD5 Default Assignments

If you have a Sequencer you can put it on "Record" and then play each of the
pads, perhaps one per quarter note.  Then, go into your Event list and see
what the note# is for each note.

I don't have an SR-16 but I have an HR-16, and to change the Midi Note/Pad
assignments you can go into the MIDI Note feature (I think it's function
15.  Actually it's been awhile since I've done this.)  As you press each
pad you can see what note is assigned, and then use the slider to change the
note to the one you witnessed from the DD5.

Hope this helps!

      +--------------------------------------------------------------+
      |       _&_                                                    |
      |     /     \                                                  |
      |    |       |                                                 |
      |    |  (0)(0)       Eric McCormick                            |
      |    C   .---_)                                                |
      |     | |.___|       MCI Telecommunications                    |
      |     |  \__/                                                  |
      |     /_____\        0004775674@MCIMAIL.COM                    |
      |    /_____/ \                                                 |
      |   /         \                                                |
      +--------------------------------------------------------------+
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Date:         Wed, 8 Apr 1992 17:21:26 EDT
From:         Keith <PERRYKC@DUVM.BITNET>
Subject:      Comments on Quadraverb, SE-50, E-mu's MPS

Hi peoples,

   I was just wondering if the list could help me out.  I getting ready to
but some more equipment, and even though I have made up my mind (or at least
I think I have) I always like to chat with other fellow musicians to hear
their opinions- ok- ok...

Now here we go...
   I am buying another keyboard- something along the controller lines- but
with sounds.  So that rules in my opinion rules out pieces like Rolands
A series controller's.  It also rules out the SY-22, which I have used
a little.  It would do but I'm trying to get more controller functions.
So, now my attention points E-mu's Master Performance System (ergo MPS).
I like the sound on the MPS and I does have more controller and it does
have controller functions.  Now recently, my co-engineer started raving
about the Roland JV-80.  I read the reviews- sounds decent but I haven't
had a chance to check it out (I probably go this weekend).  So, I like to
hear you'll opinion on the too...

Next...
    Ok, I also need an effect box.  I was looking at the SE-50 and Quadra-
Verb.  This again is just what I have been really playing around with.  I
have'nt had a chance to extensively use the SE-50, but a friend of mine
who has a MidiVerb III let me check it out one day...
...I saxaphone as well a keyboard, and when I play my horn though some
of those reverb program on the MIdiVerb III, I was really hyped up.
One program that I really liked gave the sound aspects of a small night club
scene.  Since I used to gig at jazz club (where a lot of the old guys don't
use the electronic stuff), I was surprised that a box could create sound
space so realistic.  But how does this compare to the SE-50.  And also
that was a MidiVerb III- I'm thinking about the QuardraVerb are the programs
any better.  Somebody gimme some feedback...

That's it.  Feel free to be as subjective or objective as you want I know
what I need for my set up so strong opinions one way or the other are wel-
come.  Also, I know I did not give any great list of equipment I have check-
ed out here because I demo and check A HELL OF A LOT.  So if you feel there's
something else out there that I should SERIOUSLY consider, by all means
let me know.  In terms of money, I am look to spend no more that $1500 dollars
on the keyboard and $800 of the effects processor.


...and if need be you could e-mail me privately at:
   perrykc@duvm.bitnet
   perrykc@duvm.ocs.drexel.edu  (internet)

Thank you for your time and  patience...
...hope to hear from.


-Keith
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Date:         Tue, 7 Apr 1992 09:07:47 -0700
From:         Phil Burk <phil@MILLS.EDU>
Subject:      Re: S100 computer music
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

I don't know about the Casheab but Don Buchla built some
synths that have a connector that plugs into an S-100.  The
Buchla 400 in particular is a waveshaping synth with digital
oscillators.  They may be hard to find. We used one connected
to an ERG 68000 S-100 system way back to develop the first
prototypes of HMSL.  They sound pretty nice.

In general I feel that these old systems are fun to hack on but
have been so far surpassed by current technology that they are
not worth the time spent.  This does not apply to old
modular analog synths which are still really useful.
I have and old Z80/68000 system that runs off tape and does
some pretty interesting guitar tracking but I could not
imagine dusting it off except to kill time.

--------------------------------------------------------------
| Phil Burk, Center for Contemporary Music at Mills College, |
| Frog Peak Music, and Delta Research   (HMSL and JForth)    |
| Email: phil@mills.edu        Phone: (415) 461-1442         |
--------------------------------------------------------------
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Date:         Tue, 14 Apr 1992 13:09:33 CST
From:         Jason Keeler <KEELERJA@MAX.CC.UREGINA.CA>
Subject:      MTPro with SoundBlaster

Hi;

I've recently heard that the new version of Master Tracks Pro now supports
SoundBlaster; can anyone confirm this?
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Date:         Fri, 10 Apr 1992 13:13:34 EST
From:         The Radio Gnome <V2002A@TEMPLEVM.BITNET>
Subject:      Re: MIDIverb II
              10 Apr 1992 10:52:50 +0100 from <nick@DCS.EDINBURGH.AC.UK>

Hi,

     What I meant by headroom was the signal 'space' between when the
green LED goes and clipping.  The booklet explained that the 'best' sound
is achieved when the green LED is on most of the time.  This is especially
critical with the triggered phasor and gate sound programs.

     Re: wall packs...  I have in front of me a Mouser Electronics catalog
with some interesting looking 'micro' transformers.  Any caveats to mounting
one of these inside the Midiverb unit?  The pcb doesn't take up much space
and I think I have room for a computer type 3 pin AC jack as well.

     Also, are there ROM revisions available for the Midiverb?  I got mine
in January of 88.  I guess its out of date by now.

                  Andy Wing
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Date:         Wed, 15 Apr 1992 05:44:00 EDT
From:         PRESTON@MOREKYPR.BITNET
Subject:      Yamaha DD5 questions

  I recently bought a Yamaha DD5 drum pad quite cheaply, and I'm using
it to trigger voices in my Alesis SR-16. Knowing next to nothing about
MIDI and not being able to make much sense out of the instructions that
came with the DD5, it took me some time to finally get the pads assigned
the way I wanted. Now, I discover, if you switch the DD5 off, you have to
go through the pad assignment process all over again (wow, imagine that).
Does anyone know of a way around this, other than leaving the unit powered
up all the time?
  Silly question (but just had to ask, anyway): If I were to buy a MIDI
merge box and acquired a second DD5, could they be made to each trigger
4 seperate voices apiece on the SR-16?  Sorry if this is too rudimentary
for the list, but I'd love a response...  :)

  Jeff Preston
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Date:         Sat, 11 Apr 1992 12:52:35 -0400
Reply-To:     au462@cleveland.Freenet.Edu
From:         Robert Drake <au462@CLEVELAND.FREENET.EDU>
Subject:      Re: MIDIverb II
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

andy sez--

>     Re: wall packs...  I have in front of me a Mouser Electronics catalog
>with some interesting looking 'micro' transformers.  Any caveats to mounting
>one of these inside the Midiverb unit?  The pcb doesn't take up much space
>and I think I have room for a computer type 3 pin AC jack as well.

the reason for/advantage ov wall packs is the isolation of power supply from
the rest of the circuitry, eliminating some sources of hum & noise, requiring
less sheilding.  putting the power supply back in the box is likely to make
 these
problems worse.  i agree the wall-warts are a pain, but they do save the
manufacturer (us) a few bucks...
lbd
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Date:         Tue, 14 Apr 1992 16:49:23 CST
From:         Gregory Taylor
              <vme.heurikon.com!gtaylor%heurikon.UUCP@CS.WISC.EDU>
Subject:      Martin
Comments: To: "Matthew Rogalsky" <EMUSIC-L@AUVM.AMERICAN.EDU>
              14, 92 12:50 pm

Yeah. I met Martin at STEIM in Amsterdam a number of years ago
[gee whiz, must have been '85 or '86]. He seemed like a nice
guy.
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Date:         Wed, 15 Apr 1992 09:35:16 EST
From:         PRESTON@MOREKYPR.BITNET
Subject: Thanks a bunch! (DD5 questions)

  [Bill's excellent diagram and kind words deleted, but saved locally for
  future reference]

>	You might want to read the DD5 manual and look for a parameter
>called MIDI echo or MIDI through.  If the pad has this feature, then
>you'll be able to save money by forgetting the separate merger and using
>one pad to do the merging.  This requires that the pad (DD5) has a MIDI
>input.  Just feed DD5 #1's MIDI out to DD5 #2's MIDI in, turn MIDI echo
>(or through) paramter to on or yes in the DD5 #2, and feed its MIDI out
>to the SR-16.  Sorry, I have no suggestion at this time to save you from
>resetting the pads upon power up.  Good luck.

>Bill Fox

  Thanks very much, Bill!  This is a very exciting bit of news for me...
I envision a poor man's Octapad coming out of this unholy union (and better
yet, maybe even getting a third DD5 to trigger all 12 voices per drum set
on the SR-16).  I got this DD5 for $30 used, and I figure I could probably
find one or two more for about the same (they originally sold for ~$99, I
think). Alas, the DD5 has nothing but a MIDI IN jack, so that's why I was
figuring on the merge box (I know *next* to nothing about MIDI, but I know
"the knee bone's connected to the leg bone"  :).  Again, thank you very much!

  Anyone have any suggestions for a cost-effective (read: inexpensive) MIDI
merge device...?   :)

  Jeff Preston
  (who is very glad to be here this morning!)
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Date:         Fri, 10 Apr 1992 12:22:00 -0200
From:         EJANKOVM@YUBGEF51.BITNET
Subject:      lETTER

Hello,
I'm a new here on these list.
I would like to join it.
Please send me some informations.
I'm spesially interessing in pop and roc'n'roll music.
    With a best wishes
        Marko Jankovic - Belgrade
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Date:         Thu, 9 Apr 1992 14:53:00 EDT
From:         RAY BROHINSKY <RAYBRO%HOLON@UTRC.UTC.COM>
Subject:      Re: sampling & playback
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

Julius,

I can't answer 1, because I just don't know.

2, however, I can explain, but only in terms of the only implementation
I've ever seen.

This consisted of a GAP-1 (which was a pair of op-amps connected
to a switch in a single package) which was wired so that one of
the amps would charge a cap, and the other would discharge it.
(oh, yeah, the package also had a comparator that drove the switch!)

If the cap voltage was above the input, the comparator drove the switch
to connect the discharge amp, and the cap voltage would come down to
the input level. The opposite held if the cap voltage was below the
input. The comparator was run at a 1Mhz rate, so that the  input was
sampled at that rate, and corrections were in quanta of charge or
discharge that lasted for 1 microsecond.

Once the cap voltage is matched to the input, it will tend to follow it
with a hunting-like pattern, charging above and below it alternately,
with more quanta devoting to charging if the input is rising, more to
discharging if the input is falling.

Once the comparator drive signal is determined in this way, it can be
transmitted to a similar device through a single line, but in the
similar unit, instead of the comparator sampling the difference between
an input and the local cap, it is simply driven as a slave from the
master switch drive signal.

I have also seen a similar system that determined how far off the cap
was from the input, and adjusted the slew rate of the amps. To keep the
system to a single bit of information, however, the converters worked
on the basis that if so many consecutive bits were positive, then the
slew rate would be raised. (actually, if so many consecutive bits were
positive or were negative). If the bits alternated, the slew rate would
be lowered.

In any case, because of the high sample rate, and the fact that
there was no storage involved in the cases I'd seen, the parts count
was very low, and CMOS drivers and receivers for the one bit digital
line made the system very resistant to noise that was generated
outside the system.

I can't say a lot about noise generated in the system, although the
write-up seemed to think that having a clock freq that was about
50 times above the highest freq of interest would allow very
simple low-pass filtering.

Translating all that into digital language is left to the student 8^)

raybro

 *** Nieder mit den Tueten!  Freiheit fuer Gummibaerchen! ***
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Date:         Tue, 14 Apr 1992 13:27:29 CST
From:         Jason Keeler <KEELERJA@MAX.CC.UREGINA.CA>
Subject:      Re: Cadenza for Windows
              13 Apr 1992 03:48:00 CDT from <Z3KPW@TTACS.BITNET>

Hi;

You've caught my attention with the 16-bit sampling board; could you possibly
tell me a bit more about it?  Thanx.
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Date:         Thu, 9 Apr 1992 22:06:47 MDT
From:         Julius Pierce <julius@MATH.UTAH.EDU>
Subject:      Re: sampling & playback
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

   Thanks Brian.  That's certainly the way I'd prefer to increase the
sampling rate.  I just didn't know how sophisticated the li'l Si chippies
were getting.

   julius@math.utah.edu
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Date:         Wed, 8 Apr 1992 14:00:00 CST
From:         "JOHN S. CONRADER" <CONRADERJ@H8700A.BOEING.COM>
Subject:      pulsar
Comments: To: EMUSIC-L <EMUSIC-L@AUVM.AMERICAN.EDU>

Hi,
  I saw a post not too long ago about someone looking for info or albums
from a group called Pulsar.  I dont remember if it was on this list
or not, but I got a list of CDs availible from ranjit@genesis.synopsys.com
and it included two from Pulsar [Holloween, and Pollen].  Just send a
email to janjit to get the listing.

Hope this helps.

	-John :)

CONRADERJ@h8700a.boeing.com
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