Conference napalm::commusic_v1

    A non-touch sensitive keyboard simply sends no after-touch messages
    and sends some default velocity.  My Juno 106 sends 64 (midway through
    the range).  You HAVE to send some velocity, as the MIDI standard
    defines a NOTE ON with 0 velocity to be a NOTE OFF (this allows
    NOTE OFFs to take advantage of "running status", i.e., if you don't
    send another status byte (which specifies the function; I don't
    know why they called this "status" rather than "function" or
    "command"), assume the last one you saw).  What value a non-velocity
    sensitive synth sends is the manufacturer's design decision.  The
    receiver (the <TX7 in your example) does whatever it does with that
    particular velocity.
    
    len.
    

    	Thanks for the reply.  
    
    	I went home and took out the documentation on my DW6000.  The MIDI 
    implementation specs briefly mentioned the transmission of velocity 
    information but gave no indication of the default value sent out.  I
    guess I'd just have to try it with a velocity module to find out.

    I'm currently driving a TX7 module from an OB-Xa, which is not touch
    sensitive.
    
    It "sounds" like the velocity is right in the middle of the spectrum.
    Tones from the TX7 are not too harsh - not too muffled.  Just right.
    
    Touch is not the problem.  If you're going to drive a module from
    an older board, you're going to have a lot of grief in dealing with
    pitch bend, sustain pedals, modulation, and the like.
    
    My Xa has all analog keyboard control - i.e., no pitch bend sent
    (although 1 note bend received), no modulation sent or received,
    and no sustain sent or received.
    
    If you're thinking about getting a TX, I would suggest that you
    trial-play one from your Korg before investing.  Might save you
    some heartburn.

8^)

    The MIDI spec does state that non-velocity sensitive keyboards
    should use a default value of 64 when sending note on/offs.
    
    The DW6000 does implement this.  It also sends a separate note
    on, or note off event, not taking advantage of "running status."
    It will correctly interpret running status on input, though,
    because I've hooked a TR707 up to it for kicks, and let the
    drum machine play the synth.
    
    You don't happen to have a good string patch for the 6000, do you?
    I heard one once down at Wurlitzers, but since I'm not the keyboard
    player in our band, I couldn't look at the setting and make sense
    out of how they got the sound, and I didn't have time to try and
    remember the settings.
    
    -Dave

    RE .3
    
    	You're right, Brad, I'd definately hook the two up together
    before making any decision.  Concerning sustain info and the like,
    I got the idea from the documentation that these things weren't
    forgotten in the MIDI implementation.  It's not really an older
    instrument in the history of MIDI instruments.  The only factor
    that made it obsolete was the lack of touch sensitivity - this being
    upgraded in th DW8000 (add a digital delay to boot).
    
    RE .4
    
    	I'm not sure what you're looking for in strings, but the factory
    string patch has been all I could ever want.  I have gone in and
    tightened up the attack and release for more moving passages, but
    for presence and texture I haven't neede to touch it at all.  I've
    even used that patch for a friend in the studio and they were very
    pleased.  If you need the parameter listing, I could copy them down
    for you.
    
    	Dan.

    I've got the original parameter sheet.  Our keyboardist's POLY6
    has a better string patch than the DW, but it isn't MIDI, so we
    would like to get something as good as the POLY6 patch on the DW.
    
    Of course, I used to play the violin when I was a kid, so maybe
    my ear is biased to want to hear more that the synths can do.
    
    -Dave

    What is it about the POLY6 patch that you like?  What do you feel
    is missing in the DW?  Have you tried to analyze the sound to edit
    it accordingly?  
    	I am certainly not any great synthesist when it comes to creating 
    textures, but I have been able to edit some of the existing sounds to 
    suit my personal taste.  It's frustrating at times, especially when you 
    hear a professional do it using techniques learned over a long period 
    of time, but there are some patches that can be tailored with little 
    experience that give very satisfying results.  I've had a blast doing 
    it!  (I'm thinking in particular of the factory brass patch that I was 
    able to mellow down to a 'french horn' section - it has been the most 
    useful ones I have).
    
    	Dan

    After about 4 hours of messing with the thing, I hadn't done much.
    I could get a halfway decent solo instrument out of it, but it only
    sounded good in a one octave range, above or below that, and it
    didn't sound right.
    
    We gave it to our keyboardist for about a week to try and come up
    with a better patch, and he couldn't come up with anything he was
    happy with.
    
    I've got it in my mind to write up a program to edit patches.
    Having to change parameters each time you want to change something
    is a bit of a pain.  I've already written something to save all
    the patches, and I've got the bit-map sheet.  All I need is time.
    
    -Dave

    	Well, there is another alternative.  I know of at least two
    companies that sell cassette data tapes containing patches.  The
    most recommened one to me is the Don Muro collection.  It costs
    $24.95 and contaions 64 programs.  I just happen to have the listing
    of programs here, since I have been pondering the purchase of said
    commodity.  Let's see here, string patches...
    
    		Full strings (low)
    		full strings (crescendo)
    		Light strings
    		Full strings
    		High bright strings
    		High sustained strings
    		solo violin
    		solo cello
    
    	They also have a number of 'ensemble', bass, organ, piano, lead
    and bell patches.  I would have bought it a while ago, but the salesman
    at Union Music, Worc. couldn't get the data to load for a demo (I
    have not had very good experiences with Union Music).  It seemed
    a little foolish to me to pay $25 for a library of sounds without hearing
    a sampling of them.  I believe KEYBOARD magazine has advertized
    DEEP MAGIC patches for the DW6000.
    
    	Hope that helps.
    
    Dan Eaton
    
    	P.S.  - If you live near the Maynard area and wanted to go half
    on it maybe we could work out something.

    ... or is that illegal?

    Have you considered throwing a chorus on one of the single voice
    patches?  It might help "fatten" it up or give more of an ensemble
    effect.
    
    len.