Conference napalm::commusic_v1

I played one the other day.  I was less than impressed.  O.K. sounds, but it
didn't impress me as a front-runner alongside the TX81Z.  The rythm sounds
(various percussion instruments) were far from what I would consider usable as
a replacement of a drum machine.  They might be adequate as an *addition* to
a drum machine to add a certain ethnic influence...

	BTW, although I haven't gotten the full explanation, the guy at 
Wurlizter's implied to me that its MIDI implementation is nowhere's near as
flexible as Yamaha's FB or TZ.  You get 8 midi channels (if what your lit
says is true) and you get a pre-allocated amount of voices to each channel
(presumably 4 each).

	The sounds are digital in flavor, not analog like I had hoped.  To my
ears, I felt like I was hearing something that was a poor copy of FM 4-op
synthesis.  It sounded to me like it would *not* complement FM synthesis like
analog would.  Given the choice of sounds (IMO) Yamaha wins hands down.  Maybe
Roland is putting its hopes on the internal digital reverb.  Unless this is
going to become a standard in the industry (building in effects processors, I'd
say that it is much more flexible to buy a couple of Microverbs and have them
available on *any* unit, not stuck in one.  What with the price of reverbs these
days...  I was really hoping this would be analog's answer to Yamaha's FB or TZ.
I guess I'm still looking.  

	BTW, it is not programmable via the front panel.  Only with a computor
(ala FB01).  Jack seemed to implicate the limited use of the programmer module 
that goes with the D-50 (around $400!!!), but even that seemed to not address 
all the parameters.  It seems to me that in Roland's rush to compete with the 
Yamaha low-end market, they came out with something that's not even competitive.

	The front panel, by my memory, has about four functions that are 
assigned values by a (surprise!) alpha wheel.  The only ones I remember fiddling
with were 1) volume, 2) Patch Bank and 3) Patch.  There were other buttons, but
once I heard the sounds of the unit, I lost interest in exploring it any 
further.

	Oh, and the best price I've heard yet on it was $487.

	Dan

    
    Re: .1
    
    Just a thought, Dan...
    
    Considering that synths like the CZ-101, DX-100 and FB-01 are
    dirt cheap at $300 or less, and the cheapest new analog machines
    are the Roland Junos at $600 and up, maybe the only way to keep
    costs down is to go digital.        
    
    Notice also that except for the defunct Sequential Trak series,
    noone seems to make multi-timbral analog synths, with the possible
    exception of the (hybrid) ESQ-1.
    
    And since digital *anything* is a hot ticket these days, there probably
    isn't much impetus for the situation to change, either.
    
    

RE < Note 989.2 by AQUA::ROST "Independent as a hog on ice" >

>                 -< Analog Is Being Passed By, Like It Or Not >-


#6	BUT I LIKE ANALOG!!!!!!!!!

    .2 is accurate.  Digital voices are cheap.
    
    Its easy to get lots of oscillators which are just a glimmer in
    the computer's eye until you hit a D/A these days.  All the components
    which go into just one analog voice cost a bundle.
    
    Analog is still cool, no doubt.  Nuthin like a Matrix-6 (or better
    yet, an Xpander)
     
    -------------------
    The MT32 is designed to service two disparate communities--the
    professional musician, and the home type.
    
    The most obvious is the home type.  First she buys an RD series
    piano instead of a real one.  This is a common practice these days.
    
    Then, when she feels like ``stepping-out'' into the world of
    composition, she is supposed to buy an MC-100 (or whatever they call
    that new sequencer) and an MT-32 (never mind the mixer and the amp and
    the speakers--mere ``accessories'' which the kind music store lass will
    gladly sell her for a MODEST cost.).  She is then supposed lay down all
    those groovy tracks on the sequencer which are played as sounds
    selected from the MT32s ROM palette.  Strings, timps, brass, and
    basoons, yes indeed, a whole orchestra!  She can be a Vivaldi. 
    
    But she is never going to get in there and actually twiddle with
    the sounds (get serious.  I know lots of people who never use more
    than the presets on their DX7s), just incorporate them into her
    arrangements.
    
    
    Then the Roland girls figure ``what the hell'', we may as well make
    it programmable, so they do it through MIDI.
    
    Think of it in those terms.
    
    Almost everything is accesible through MIDI.  There are even 32
    RAM tone (Roland's word for timbre) locations which are completely
    unaccessible through the front panel.  There is much which is
    unaccesible from the front panel.
    
    The long and the short is that you will need a resonably sophisticated
    program (and a computer) to exploit the programmability.
    
    No MT-32 editors exist yet, but Roland has announce one for the
    IBM-PC (BFD.).
    
    I can produce more grizzly details (voice allocation, other sundaries)
    if anyone really wants to hear them.
    
    I listened to it, and it didn't sound that bad.  Some of the sounds
    were pretty close to D-50.  I don't think any REAL datapath compromises
    have been made compared to the D-50, but it sounds like it, perhaps,
    uses cheaper D/As at the end, and cheaper analog (what little of it there
    is).
    
    Steph
    
    

    re .4	With all the feminine gender stuff you could at least
    have found a female composer to make your point a little more strongly
    <Vivaldi>

                 -< Appartantly ? Certainly ! >-

   
    The problem with paying regular visits to your friendly local
    music shop is that whilst you're there trying to buy a cheap
    8 channel mixer you tend to make casual enquiries about any other
    goodies which have arrived since your previous visit. This leads
    to the obliging sales person happily demonstrating the latest in
    compact disk player lookalike expanders - the aforementioned MT-32.

    To cut a long story short, the next thing you know you've carefully 
    considered the suitability of the beast for your needs, how it will
    fit into your existing setup, and the financial implications of the
    purchase (this process is the fastest operation performable by the
    human brain - the whole lot takes about 1 nanosecond), and then
    you're on your way home with an MT-32 in your hot little hand.

    As the more astute amongst you will have guessed by now, the above
    scenario is exactly what I went through last Saturday (31st Oct), so 
    I am now the (fairly) happy owner of my first bit of Roland kit (I'm 
    not counting Boss guitar effects here !). My first impressions are
    as follows :

    *  If you've got a Mk1 DX-7 then you CANNOT play the MT-32 from it,
       unless you can re-program the MT-32 over MIDI (which I can't yet).
       On power-up the MT-32 defaults to assigning its eight parts to
       MIDI channels 2 to 9, and seeing as the DX transmits only on channel
       1 then silence is all you will hear. So far the only way I've been
       able to play the MT is via the good old Atari ST/sequencer combination.

    *  Regardless of some of the earlier replies to this note, I like the 
       sounds ! Some of them are admittedly fairly weak, but some are 
       superbly non-FM (just what I need). The drum sounds are perfectly
       adequate for my immediate needs, and will be for some time to come.
       The reverb certainly helps things, and bearing in mind the quality
       of some of the DX-7 factory presets (i.e. pretty naff), I can only
       assume that the MT is capable of greater things !

    Well all I need now is some form of MIDI channel changer like the
    AKAI ME-15F (or whatever it was called) so that I can play in real
    time (as opposed to real tempo). Any suggestions in this area will be
    most gratefully received !

    I suppose the obvious next purchase apart from that is an editing package
    for the ST, but there are none in the UK yet (again I would appreciate
    news of such things from either side of the pond - has anyone tried
    to write their own ?).

    All for now, but I'll keep you informed of any interesting discoveries !


    Derek Kay,  (SWAS, Warrington, UK)


    

    Weelllll ... my QX5 has no problem converting any midi channel to
    any other midi channel.  For example, I can make channels 1, 2,
    3 and 4 coming in go out as 4, 3, 2 and 1 or whatever.  Piece o'
    cake.
    
    Steve

    Does the MT-32 have the "strange-loops" through the sample memory
    as used in the D50 Native Dance patch?
    
    How many LFO's are there?  Many have commented that it doesn't seem
    to have the 3 LFO's/voice that the D50 has, but I haven't seen a
    clear statement.
    

>    Does the MT-32 have the "strange-loops" through the sample memory
>    as used in the D50 Native Dance patch?

    The MT-32 has the "One-note jam" patch, which I understand is also
    on the D50.

>    How many LFO's are there?  Many have commented that it doesn't seem
>    to have the 3 LFO's/voice that the D50 has, but I haven't seen a
>    clear statement.
    
    I don't know the answer to this iff the top of my head, but I shall
    try to find out.

    On the subject of MT-32/DX-7 interfacing, it IS possible to get
    the MT-32 to receive on channel 1 (just by pressing the right
    buttons), but this is not explained in the manual ! This means
    that any of the MT-32's sounds can be played straight from a 
    Mk 1 DX-7, except for the drum sounds. Oh well, suppose I'll have
    to save up for an Octapad (unless anyone knows of an alternative
    MIDI drum trigger pad set ?)



    Derek Kay  (SWAS Warrington, UK)
    

    	All this talk about add-on units is makin' me itchy! 
    
    1) What is the difference between the FB-01 and the TX817?
       
    2) Re. -.1, Dan, you've heard both the FB-01 and the MT-32. 
       Which do you consider the better value? (Other folks' 
       opinions are also welcome).
        
    3) Re. -.4, Steve, you've got a K5 (yeah!).  Which of these 
       unit augments what we already have the capability to do?
       Or is this even the right line of reasoning?
    
    4) How are we all going to pay for all of this stuff ?!?
                                                           
    Santa Clusters,
    Bill
    

    I've compared the FB-01 and the MT-32.  I much favored the MT but
    it is significantly more expensive than the FB-01.
    
    The MT imitations of things like organ, strings, etc sounded more
    realistic to my ears.  The MT also had some killer patches with
    fairly complex sounds (I had to be careful not to let that orchestra
    patch cloud my overall judgement).  The MT is also more flexible
    and has 4 times as many voices.
    
    The MT also has some good drum patches.
    
    My advice is that if you can afford an MT, it's worth the difference.
    If not, the FB-01 is still one of the best bargains around.
    
    	db

RE < Note 989.11 by NCVAX1::ALLEN >

>    1) What is the difference between the FB-01 and the TX817?

	There are a few differences, some more important than others...
	a) The FB01 is a pre-set instrument (no internal voice editing, though
		it can be done via computer interface), the TX is programmable
		from the front panel.
	b) The TZ (as it is called here) is rack width, th FB is half width.
	c) The FB has more memory (over 300) than the TZ (can't remember - 128?)
	d) The FB uses 10 bit resolution, the TZ uses 12 - makes a significant
		difference in some cases.
	e) The TZ can save patches (and other things) to tape, the FB cannot.
	f) The TZ has alternate wave-forms available than the sine-waves seen
		previously on all FM instruments.  This is a BIG deal, I think,
		but has yet to be REALLY exploited, from what I've seen.

	I'm sure there's more, but my memory fails.  The TZ, in many people's
opinion, seems to be the better deal for the technowiz, but the FB is a great
addition to anyone's MIDI studio as well.  You're just stuck with it's
factory voices unless you have a 'putor with the right software.

	Regarding an FB/MT comparison - I'm not sure I really know enough about
the MT to compare.  Personally, from what little I heard of the MT, I'd go with
Yamaha.  But I have had a lot more time with Yam's stuff.  I have certain things
I look for in a synth and use them accordingly.  Neither box does well, from
my hearings, at analog style voices - which are my favorites.  But I like many
of the voices available on the FB and have found them no-where else.  I would
probably come to like the MT after some time, too, but my initial listen to it
proved dissapointing.

	Now, getting down to brass tacks, the prices are significantly 
different.  I've not seen the MT going for lower than $500 anywhere (but then 
again, it just came out).  Whereas, by dutifully shopping, the best prices on
an FB is $249, and on the TZ - $347.  Big difference.  Money talks.

	Dan

    I just went and played with one of these things at a local piano-and-
    organ store trying to be a rock-n-roller store. The price tag said 
    $695. When I asked for the 'real' price, the manager/salesman looked 
    like I'd just kicked his cat. Stifling an urge to explain how
    financial reality works, instead I requested and got the guided
    tour. Then he mercifully had to leave, allowing me to explore.
    
    How did it sound ? How did it work ? The front panel control, esp.
    the volume/parameter knob (NOT an Alpha-dial) seemed cheesy. The
    display panel was terse, but sufficient.
    
    First, it's NOT the fat analog synth I was hoping for, instead,
    it's a D-50 in a box, minus the stupid looped 'monster' patches.
    But I liked it ! Clean, stereo patches, many of which are VERY close
    to good samples. As an Emax owner, the 1/4 second 'orchestral hit'
    didn't impress. The percussion was adequate if not punchy. Appreciated
    the 14-position stereo pan parameters. The reverb was.. there.
    
    The patches were spotty, most fine, a few real grabbers. The plucked
    /struck metallophone patches may as well not be there, for me.. 
    prefer my MKS-20. The ratio of goodies-to-baddies was much better
    than the Fb01 to my ears.

    There was also a 3rd-party 'how to live with your MT-32' manual
    there, and it does seem the MIDI channel implementation is pretty
    inflexible, that is it requires 8 or 9 CONTIGUOUS channel numbers.
    I'd like to be instructed on this point.
        
    I managed to layer two patches at a time from the KX76, and it 
    sounds very good. The real strength will be as a multimbral sequencer 
    assistant module. It eats the Fb01 for lunch. I bet I could get 
    ~$200 for the Fb01 from some underinformed being. The MT32 would 
    free the Emax of some mundane instrument emulation, and let me get 
    to the good stuff. 

    plotting, karl    

    Yeah Karl, that's pretty much my feeling about it.
    
    My ESQ-1 will handle all the stuff that is prominent in the mix.
    The MT-32 will handle the less important stuff and be used
    to 'thicken' up ESQ-1 patches.
    
    The key thing is that you get 32 very decent if not exceptional
    voices and that gives you a lot of room to play with orchestration,
    patch layering, etc.
    
    And as you say, it eats the FB-01 for lunch.  Much more 'bang for
    the buck'. 
    
    	db

                                -< caveat huh? >-
    I called my favorite store and got a first price of $550.
    
    However, the owner, whose hobby is sampling instruments into his
    Emax, said the MT-32 was too 'grungy' to get good samples from.
    Not hissy, but that the samples themselves had aliasing and 
    grit. He said he went back to the D-50, which was 'a little better'.
    
    The demo I got was thru some very small lo-fi speakers,
    so I think I'll check it again thru headphones... as I've found
    with the Fb01, it's pretty infuriating to have a piece of gear
    that doesn't stand up to repeated listening/recording.

    Comments, MT-32 owners ? DOES it work in a recording situation?
    
    karl    

    
    I read the short review in KEYBOARD.  It suggests that the reverb
    is either on or off for any given voice, and that you *cannot* adjust
    the wet/dry ratio on each voice.
    
    I.e., I can't have lots of verb on my strings but only a tad on
    my drums....
    
    At the dealer the (confused) salesman showed me the (awful) manual,
    which suggested the level is only adjustable by sys-ex!!!!
    
    Dave, can you elaborate???
    
    Also, KEYBOARD suggests the verb is kind of dirty on the tail end
    and that the lack of separate outs makes it "unsuitable for pro use"
    but OK for home or semi-pro (like what, GB bands???) applications.
    
    

>    I read the short review in KEYBOARD.  It suggests that the reverb
>    is either on or off for any given voice, and that you *cannot* adjust
>    the wet/dry ratio on each voice.
    
    I'll have to check on this.  I think this is wrong.
  
>    At the dealer the (confused) salesman showed me the (awful) manual,
>    which suggested the level is only adjustable by sys-ex!!!!
    
    This I know is wrong.  The method of adjusting it is somewhat obscure.
    You have to press two buttons (RECORD and "1" I think) to invoke
    the menu for adjusting the reverb level.
    
    I have yet to find a dealer who knows anything about the MT-32.
    
    Gee, I think I'm gonna start bringing my MT-32 and HR-16 manuals
    to work with me.
    
>    Also, KEYBOARD suggests the verb is kind of dirty on the tail end
>    and that the lack of separate outs makes it "unsuitable for pro use"
>    but OK for home or semi-pro (like what, GB bands???) applications.
    
    I'm not prepared to disagree with this.  
    
       	db

    One thing you need to keep in mind with the MT-32 is that it was
    designed by the group at Roland that does products intended for
    the home market.  To keep it cheap, they had to make some compromises.
    
    I would expect Roland to do something like what Yamaha did with
    the FB01 and TX81Z: introduce a more "professional" version of the
    MT-32 at a slightly higher price with better audio quality than
    the MT-32 but less features and functionality than the D-550.
    
    Then again, why confuse the market with too many products? :-)
    
    		Derek

    What issue of KEYBOARD was the MT-32 review in ? 
    
    I agree on the lack of multi-outs re effects on certain voices and
    not others.. however ! My Emax has stereo outs as well as 8 indiv.
    channel outs.. in order to guarantee that only the signal I want
    comes out 1 or more of the indiv. outputs, I have to 'channelize'
    the sample, which ties up those audio outputs and prevents the
    unit from dynamically using the audio outs as needed.. robbing
    polyphony, sort of.. so, bottom line, I don't use the individual
    outs anyhow !
    
    Also I'm concerned about rack space.. DB, over in the HR-16 note
    you mentioned there is an MT-32 rack adapter, and that it takes 
    1 rack space.. I remember it's wider than 1/2 of 19".. I'm VERY 
    tight on rackspace, in one 2-hi space I have a Sonus MIDI switcher,
    Yword Fb01, a MIDIverb and MIDIfex... even if I dump the Fb01
    I still have the other 3 to worry about. Comments ?
    
    Also, I even looked thru a 3rd party 'cuddle up to your MT-32'
    manual, and it's VERY unclear how to invoke banks/patches utilizing
    patch changes either from controller or sequencer.. Comments ?
    
    Finally, db, will we be hearing this beast on your COMMUSIC IV 
    contribution(s) ?????
    
    koll

    
    Re: .20
    
    The review is in the issue with Stewart Copeland on the cover....January??
    
    It seems that the banks can appear in only two places...
    On power up bank 1 is at channel 2 and bank 9, the drums, at channel
    10.  You can drop everything one channel (but it will forget when
    you turn it off) but you can never access the MT32 over MIDI channels
    11 to 16.  Then you assign a patch to each bank (except the drums, which are
    fixed).
    
    The obvious question:  if you send a program change on channel 2,
    will the patch in that bank change??
    
    KEYBOARD said that the unit responds to pitch bend (fixed at one
    octave), MIDI volume, modulation...they did *not* say it supported
    program change, though that sounds ridiculous.
    
    BTW, the drums are supposedly 30-note poly (!!!!!) and you can *pitch
    bend* the drums to tune the *entire* kit up or down one octave!!!!!
    
    Another warning....the 32 note polyphony is based on single partial
    patches....when all banks use four-partial patches, you have
    effectively 8 monosynths, just like an FB-01.  Question is, how
    many of the good patches need multiple partials....this sounds like
    the same gotcha used on the CZs and Poly 800.
                                       
    Despite all this, KEYBOARD gave it high marks...after all, pros
    can always get a few D-50 rackmounts  :-)  :-)  :-)  :-)
    
              
    

  re: .20

>    The obvious question:  if you send a program change on channel 2,
>    will the patch in that bank change??

    Guaranteed.  I have verified this with my ESQ-1.  Each channel also
    responds to MIDI volume as well.
    
>    Another warning....the 32 note polyphony is based on single partial
>    patches....when all banks use four-partial patches, you have
>    effectively 8 monosynths, just like an FB-01.  Question is, how
>    many of the good patches need multiple partials....
    
    I also read that in the Keyboard review.  I didn't see any mention
    of it in the manual, but they give you a chart of all the sounds
    and one column makes an unexplained reference to partials.  I'll
    look more closely at it (knew I shoulda brought that damned manual
    in).

>    Also I'm concerned about rack space.. DB, over in the HR-16 note
>    you mentioned there is an MT-32 rack adapter, and that it takes 
>    1 rack space.. I remember it's wider than 1/2 of 19".. I'm VERY 
>    tight on rackspace, in one 2-hi space I have a Sonus MIDI switcher,
>    Yword Fb01, a MIDIverb and MIDIfex... even if I dump the Fb01
>    I still have the other 3 to worry about. Comments ?
    
    Well, I've got an 8-space rack with room to spare.  It might well
    be that this will take up a whole slot.  Another minus to consider
    is that it uses an external power supply (boo!!!).  Sure, it's not
    the insidious 'wall bug' kind, but still you probably have to find
    space for it in your rack and find some way to secure it to the
    rack.
    
>    Also, I even looked thru a 3rd party 'cuddle up to your MT-32'
>    manual, and it's VERY unclear how to invoke banks/patches utilizing
>    patch changes either from controller or sequencer.
    
    Each channel responds individually to patch change AND MIDI volume
    information.
    
>    Finally, db, will we be hearing this beast on your COMMUSIC IV 
>    contribution(s) ?????
    
    Sigh, my contribution was going to be "The Low Calorie Blues", 
    obviously a musical tribute to the battle of the bulge.  It's a
    collaborative effort between me and my girlfriend.  I created a
    demo for her of the arrangement I was planning to use which used
    nearly all of my MIDI gear.  I did one verse (as a demo for her)
    It had drums, horns, screaming organ, tack piano, fretless bass.
    Her comment: "I liked it much better when you just played acoustic 
    guitar."  
    
    After being acused of compromising her artistic control, I surrended
    to her artistic judgement.  My plan is to just whip the guitar track
    up some night this week and continue on to the next project, but
    I doubt that'll be done in time for Commusic IV.  I suppose I could
    put the acoustic guitar version on Commusic IV, but it's almost
    completely devoid of anything having to do with Commusic with one
    possible exception: I'm planning to add a little reverb when she's
    not looking if I get the chance.
    
	db

>    I read the short review in KEYBOARD.  It suggests that the reverb
>    is either on or off for any given voice, and that you *cannot* adjust
>    the wet/dry ratio on each voice.
    
    Oops, this is right.  I sorta didn't read the second sentence the
    first time through.  The only control you can apply to each channel
    is whether the reverb is on or off.
    
    	db

    < Note 989.23 by DREGS::BLICKSTEIN "Dave" >
>It's a collaborative effort between me and my girlfriend...
>Her comment: "I liked it much better when you just played acoustic 
>guitar."  

    Although my wife is very supportive, I get the same stuff..
    "I liked it much better when you just played acoustic piano."
    
    Soldier On, Stiff upper lip and all that..

    I get the same totally unsupportive put-downs:
    	
    	"Can't you just play the CD ? "
                                    
    ...even the cat runs out of the room when it hears the power-on THUNK
    of the ESQ through the Carver.  It's a sad commentary on the world when
    even your pets don't stick up for you.
    					 :-) 

    Looked at the manual last night.  MANY, even most, of the sounds
    do you more than one partial.  The great majority use two, some
    use three, even less use four (Orchestra Hit and various Piano sounds
    for example).
    
    This definitely does detract from the 32 voice figure, but in looking
    at the nature of the sounds that use multi-partials, I still think
    I'm not very likely to run out of voices.
    
    The number of partials used is generally a function of the complexity
    of the voice.  To my ears, the more complex voices on the MT-32
    just aren't that good (piano is a good example) and I'd tend to use 
    the ESQ-1 or the MKS-20 to handle those kinds of things.  I'm mainly
    using this thing for fill parts (strings, brass, etc.) and to do
    patch layering.
    
    However, some of you folks may have other intentions for this thing
    and you should definitely weigh this in your decision.  You really
    do NOT get 32 voices, but you DO get the drum machine (no hidden
    gotchas have been revealed there yet) and you do get some reverb.
    
    It's still a good deal for the money, but these limitations might
    be severe for some folks.
    
    	db

    A couple of points to bear in mind about the MT-32...

    Firstly, the partials are dynamically assigned. This means that if
    you have part 1 assigned to a voice which uses 4 partials, then
    the 4 partials are only tied to that part when notes are being
    played - once there is no MIDI traffic on part 1 then the partials
    are available for use by another part. In real terms this means that
    you can work out in advance whether the combination of voices and 
    notes you wish to use will be possible.

    You can put the MT-32 into 'Overflow' mode, whereby any notes which
    cannot be played (due to a lack of free partials) will be sent out
    of the MIDI thru port (doing this puts a cute little overflowing
    goblet icon on the LCD display !).

    I would agree that some of the 4-partial sounds (especially the
    pianos) are disappointing, but I still can't wait to get hold
    of a voice editor for the ST - at the moment by best bet would
    seem to be to write one !

    With a voice editor the reverb can be turned on or off for each
    part, and the reverb type can be varied between room, hall, plate
    and something else. I don't know if the reverb can be turned on
    or off for each drum voice, but it would be nice if you could 
    have, say, dry bass drum and reverbed snare.
    
    Despite its limitations I still think that the MT-32 is the best
    compliment to a DX-7 at the price (400 pounds sterling) - I just
    can't wait until we can swap voices for it !


    Derek Kay  (SWAS, Warrington, UK)

    I heard one again yesterday, MC500 demo sequences sounded great.
    
    Some things be unclear: there are lots (12/13?)of banks with 4-8 
    sounds each. Now each bank gets assigned to a MIDI channel thru
    A) the front panel B) Sysex. right so far? Then one could assign
    or change sounds within that bank just by a regular patch change
    command. right so far ? Also, this means that your 'layering'
    of separate sounds on one played part must consist of sounds from
    DIFFERENT BANKS, not two or more in the same bank. right so far?
    
    The biggie: it appears this unit wants MIDI chs 1-8 or 2-9 + 10
    (fixed) for percussion.. what if you only have one or two sounds
    you wanna make ? You wouldn't assign the banks to unneeded MIDI
    chans, but are those MIDI chans available for OTHER units ?
    
    karl

    It's the other way around.  Each channel gets assigned a bank/sound.
    
    Several channels can be assigned programs within the same bank.
    
    The banks are:
    
    	PIANO, ORGAN, KEYBRD (harpsi, Clav, Celesta), S-Brass (syn brass),
        SYNTH 1 & 2 (sound effects mostly), SYNBASS (bass sounds), STRINGS,
        GUITAR, BASS (acoustic, elect, slap and fretless), WIND 1 (flute,
    	piccolo, recorder, Pan Pipes), WIND 2 (Sax, Clarinet, oboe, Engl
    	Horn, Bassoon, Harmonica (???)), BRASS (trumpet, bone, fr horn,
    	tuba, brs sect), Mallet (vibe, xyl, glock, marimba, etc),
    	SPECIAL (Koto, whistles bottles, breathpipe, etc.), PERCUSSION
    	(timpani, taiko, castanets, triangle, etc), and EFFECTS (Orchestra
     	Hit, Telephone, tweet, etc.)
    
    Regarding the question about unused MIDI chans available for other
    units.  This *IS* a potential gotcha.  You can of course, turn the
    volume all the way down on the unused channels, but if you wanna
    send a MIDI volume change to the instrument on that channel....
    Well... You're outa luck.
    
    Not a problem yet for me.  I don't have 7 other MIDI devices that
    accept MIDI volume.  Even if I did, I'm not sure I'd use them all
    in one tune anyway.  But no question, this can be a limitation.
    
    	db

    Speaking of having 32 voices, I have _finally_ run out of voices
    on the ESQ.  Yes, it's sequenced, but the truly interesting thing
    is that it sounds BETTER when I run out of voices (and the ESQ does
    voice claiming) than when I don't enable those voice-hungry parts.
    
    It must be an "uncrowd-the-sound" phenomenon.
    
    The bad news is that I want to add a part playing the THEREMin patch,
    and I can't, because the theremin voices get quickly reclaimed by
    the bass guitar and the chimes.
    
    Anybody have a good 4-op FM (DX100) choir patch?  I don't want to
    buy a whole ESQ-M just to do this one song.  Especially when I am
    waiting for the blasted EPS!  
    
    Is a Mirage polytimbral?
    

    > Is a Mirage polytimbral.
    
    Yep. Up to 16 voices can be available at any time. It is 8 note
    polyphonic though, so you can only get at half of them.
    
    One gotcha; you can't have more than one sound assigned to any 
    particular key.
    
    Edd
    
    

    re: .31
    
    Well you're not really stuck, only inconvenienced.  Why not do
    the Theremin track as a virtual track using the FSK that's builtin to
    your ESQ-1?  Then you don't have to wait for anything nor spend
    any money on stuff you may not generally need.
    
    	db

    > Why not do
    > the Theremin track as a virtual track using the FSK that's builtin
    > to your ESQ-1?
      
    The only problem with that is that I don't have a multitrack recorder!
    I could "bounce" it once between the VHS HiFi and the cassette deck,
    but that's pretty slimey and I won't have the ability to sequence
    edit the theremin track.  
    
    The other "tracks" are CHOIR2, BASS, SHAKER, and (I think) KLUNKS.
    Each of them has a "proper place" in the stereo image, which I'll
    lose if I fake multitracking with two tape decks.
    
    Oh well, I didn't really want to buy a condo anyway.  :-) 

>    Anybody have a good 4-op FM (DX100) choir patch?  I don't want to

I've got one that's a variation of the "VOICES" patch that comes with the
DX100 that I think is significantly better, but I'm sure it's not as good
as the choir patch in the ESQ.  If you want it, I'll post it.

Todd.

    Just the mods, please.
    

This came over the USENET last night:

*************************************************************************
For anyone with a MT-32 out there, Roland has announced the D-110, which is
a MT-32 with a front panel which can alter any of the parameters. This
rackmount unit also has 6 individual outputs which can be assigned to any
of the 8 voices + 1 rhythm part. Suggested list price is $995. Basically,
the D-110 is a MT-32 without all the disadvantages, but still doesn't have
all the nice effects the D-50/D-550 have. Also, Roland has announced the
D-10 and D-20, which are basically MT-32/D-110's with a keyboard, and the
D-20 has a built-in sequencer and disk drive. Oh yeah, Roland is also
coming out with the S-330 16-bit sequencer with a REAL 3.5" disk drive.
 
 
	Stephen Lui
	UCLA Department of Computer Science and
 
***************************************************************************

Sound like the MIDI expander market is about to explode.  If the MT32 and 
D-110 are as successful (sales-wise) as I expect, maybe we will see more 
mega-timbral boxes real soon.  Lets hope so.

Now how long do I have yo wait before the MT-32 is available second hand 
for $250?????   8^)  8^)  8^)  8^)

    I can't tell the players without a scorecard anymore.
    
    Would someone please post the Roland family tree?
    
    Lessee, The D-50 begat the MT-32 which knew the Juno-II and begat
    the D110 which begat....
    
    Edd

    
    At Union Music yesterday, heard the following tidbits:
    
    D-110...list price $1000
    
    D-10....list price $1400, will be programmable
    
    D-20....list price $1800
    
    
    Super-JX has been discontinued, Alpha Junos to be discontinued soon.
    
    That leaves only Oberheim waving the analog flag......
    
    
    
    Also heard the MT-32 "one-note jam" which now beats out "orchestra hit",
    "helicopter", "typhoon" and "machine gun" as most ridiculous factory
    preset......

    Geez that's too bad...I demoed a D-50 and didn't like it, too sterile
    sounding...if this is the wave fo the future maybe I'll be looking
    for a memory moog too...analog is dying as we speak..sigh...
                                                             
    dave

    I really like my MT-32. There are some idiotic patches (take your
    choice of machines - all have them), however, with the right software,
    you can change them.
    
    I did notice that the MIDI THRU function seems to throw away MIDI
    channels above 10. Why this is, I don't know, however, When I hooked
    up our keyboard players Yamaha SHS-10 (a $150 midi controller, one
    that you wear like a guitar, with tons of built in functions - some
    actually pretty goo) - the BASS follow  function is hardwired to
    MIDI channel 13) the MT-32 won't pass this on via the THRU port, however,
    channels 2 thru 10 seem to go just fine. When I put on a generic
    THRU box, it works just fine.  So far, it's not a problem.
    
    I like the sound, especially since I'm Mixing FM (Yamaha), LA (Roland),
    and PD (Cazio) waveform control into the PA system. I think that
    it sounds very good. The MT-32's reverb is a bit noisy, but fine
    for live work & it looks like that adding a MicroVerb or MidiVerb
    will solve any problems that are there. The keyboard player loves
    being able to switch to Midi Channel 10 & play the bongos, Timbales,
    Cowbell & most of the percussion (he can't reach the Bass Drum or
    Snare, as he runs out of keyboard, but he can get the other 26 
    available sounds - all from this $150.00 Midi Controller).
    
    I'm looking into the ROLAND MIDI guitar stuff, to see how it works.
    At the moment I'm trying to figure out which MAC to buy. 
    
    As a side note, the MT-32 is pretty user obnoxious thru the front
    panel. It's as if they changed thier minds a few times when designing
    the front panel & eventually just left it in one of it's past
    incarnations. It's really designed to be driven from a computer,
    or sequencer. It's one RACK mount high, & there is ample room in
    a 19 inch RACK to put it there (at least 2 inches on each side).
    The only drawback is that the Idiots put the on/off switch in the
    back of the box. I'll make my own rack mount adapter & jury rig
    an on/off switch for this, otherwise, it's just what the doctor
    ordered.
    
    							Jens

    
    Re: .41
    
    That MIDI channelization thing really is a drag...after I heard
    the demo, it was that "how much can I hock my car for?" type of
    feeling. 
    
    Only the MT32 is useless without a *good* sequencer.  Mine only
    drives MIDI channels 1 to 8...can't get at the drums!!!!!

    Plus, since it takes up nine MIDI channels whether or not you wanna
    use all the parts you have to be careful about where you put your
    other keys.  For instance, my CZ responds as eight mono-synths on
    eight *adjacent* channels.  Since the MT uses up nine channels,
    I can only use the CZ as *seven* synths, and then only if you do
    the (undocumented) relocation of the MT-32 to channels 1 to 9.
    (Ok, I know, how often am I gonna need eight polysynths plus eight
    monosynths in a given sequence?)    
    
    The other gotcha is that each "part" has its own channel, splits/layers
    like on the Yamaha FB-01 aren't possible (unless one of you owners
    has figured out to do it).
    
    I still want one, but I guess the sequencer comes first!!!!
    

    re .40 - the D-50 sounded "too sterile"?  What patches did you listen
    to?  The D-50 is capable of some unbelieveably fat stuff, and has
    onboard chorus and reverb.  I think you got a bad demo, Dave.
    
    Of course, I've got a D-550 on order, so my opinion here is not
    exactly objective.
    
    Glad I got my JX, too.
         
    len.
    

    No doubt about it. Roland came up with an obnoxious interface.
    Since I plan on roughly 90% computer control, with an occasional
    channel open for either me or my Keyboard Player's exclusive use,
    I think that it will work out ok.
    
    Just as a side note for all of you HR-16 fans. I tried out the drums
    side by side (HR-16 versus MT-32). The HR-16 is better, but not
    by a whole lot. The HR-16 has more variations on each drum sound,
    but, from my experiance, a good solid general sound works very well
    also, and I don't think that I'll suffer that much for it. Out here
    in Colorado Springs, all the shops have are DEMO HR-16's, with none
    in stock. I didn't have to wait for my MT-32. Took it home after
    I wrote the check. Also, if you can live with the interface, it's
    got lots to offer.
    
    While it can be used in other fashions, if you don't have a computer
    to set the MT-32 up with, or program your sequencer, then, it's
    quite painful to use in a Live situation. It's easy to accidently
    change MIDI patches (the SHS-10 always transmits patch change info),
    so, out of nowhere, you might swap from a Sax to a ringing telephone.
    Quite a surprize for the band, as well as the audience. Interesting
    Solo opporitunity, but not necessarily a desired one.
    
    						Jens

>    Plus, since it takes up nine MIDI channels whether or not you wanna
>    use all the parts you have to be careful about where you put your
>    other keys.  
    
    Each channel has individual volume control.  Turn the unwanted channels
    down to zero and you can use them for other things.
    
    However:
    
    	1) You can't send those other things MIDI volume changes
    
    	2) The things you send out on those channels DO get assigned
    	   voices.  That means that sounds on the active channels may
           not get a voice because sounds on the unused channels are
           stealing all the voices.  You can minimize this by selecting
           patches that use only one partial for the unused channels.
    
    Do these suggestions sound like they come from experience?  ;-)
    
    Well, I've had the thing for a few months now.
    
    I'm not nearly as up on it as I was when I bought it.  But I'd
    still buy one if I didn't already have one.  It's just incredible
    bang for the buck.
    
    Some of the things I'm not pleased about:
    
    	1) Inflexibility of the MIDI implementation
    
    	2) Sounds ARE noisey.  Fine for live, acceptable for background
    	   sound in recording or for layering.  Cheesey-sounding and
    	   noisey for sounds that are up front in the mix.
    
    	3) Default tuning is to A-442.  Everything else in my rig is
    	   tuned to A-440 (and I wanna keep it that way cause 442 sounds
    	   "sharp" to my ears).  I have to retune it every time I turn
    	  it on.
    
    	4) I (greatly) prefer builtin power supplies even at the expense
    	   of size and cost.
    
    	5) The business about some patches using up 4 "voices" came
    	   as a surprise.  I don't like surprises like that.  It's false
    	   advertising.  The good news,is that even so, it still has
     	   never been a problem: I haven't run out of voices.
    
    	6) I'm already bored with the patches.
    
    	7) Some (most) of the drums sound GREAT!!!  The bongo's are incredible.
    	   But some of the key drum sounds (cymbal, snare, etc.) 
    	   sound a bit cheesey.  It's not an issue for me, and it's
    	   still unilaterally better than my RZ-1 (geez, I effectively
    	   have 3 drum machines - can anyone top that? How about just
           non-drummers?).
    
    	8) As mentioned, the user interface leaves a lot to be desired.
    	   I can never remember those "compose" sequences (key combinations
    	   that get you to special pages like reverb mode, tuning, etc.)
    
    	db
    
    eight *adjacent* channels.  Since the MT uses up nine channels,
    I can only use the CZ as *seven* synths, and then only if you do
    the (undocumented) relocation of the MT-32 to channels 1 to 9.
    (Ok, I know, how often am I gonna need eight polysynths plus eight
    monosynths in a given sequence?)    

    >3 drum machines. Can any (non-drummers) top that?
    
    After Wednesday, I can. :^)
    
    Edd

    re .45, .46 - yeah, I've got three real drum machines (TR-707, TR-727,
    TR-909) and there're drum sounds in *all* of my synths, some of
    which are potentially useful.  Then there's my SDS-1, my MXR "Pad",
    and I won't bother counting the Synsonics.
    
    And of course, when I sit behind my acoustic kit, I'm a drum machine
    of sorts.
    
    len.
    
    

    I did some playing around, and the source of the noise is the MIDI
    data coming in. I have quite long cables, and my guess is that I
    need cables that are:
    
    1) Shorter
    2) Better ground continuity on the shield
    
    For now, I can cut down the high end, and the noise all but disappears.
    This doesn't interfere with the timbre very much, since most of
    the noise seems to be above 10Khz. ( 3 bytes data @ 32Kbaud ~ 10Khz )
    When I get the chance, I am going to try better cables.
    
    						John.

    
    John
    
    I was reading a review of the Dr T MT32 Editor which I believe you
    have on order.   The review was very complementary except for one
    issue. Were you aware that because the MT32 has no memory backup
    that all Voice edits are lost at each power down. This would involve
    you reloading your voice library at the beginning of each session.
                                                       
    Seems a bit of a PITA to me !
    
    						Paul                      
                                                
                                                
    						 
                                               
                                                      

    re -.1:
    
    Yeah, I know. This is one of the things I don't like about it, but
    that I can easily live with. It means an extra five minutes every
    time. Oh, well . . .
    
    						John.

    Are you sure that the noise (which could very well be MIDI related)
    isn't internal?  I've heard lots of physically small synths with
    switching garbage in the output.  They really have to cram that
    stuff in, and they probably cut cost on the shielding.
    
    My K5m has a similar problem with the switching power supply.
    I'm almost ready to take it apart and put the power
    supply in a separate box--make one of those wall bugs that
    everybody seems to hate.  They're quiet, though.
    
                                  
    Steph

    Wall bugs are not necessarily quiet power supplies.  Some of them
    can float a little 60 cycle hum or other scuz on the "DC" they output,
    which can, via various obscure paths, find its way into the audio
    output of the device they power.  Just 'cuz the power supply's
    outboard doesn't guarantee low noise.  It can help, but it ain't a
    sure thing.
    
    len.
    

    This is a brief synopsis of LA synthesis and the MT32 implimentation.
    
    The front panel on the MT32 is garbage, I have sworn to never again
    use it. All the comments and descriptions following pertain to what
    you can do with the MT32 through software. The software package
    I'm using is the MT32 editor/librarian published by Dr. T's. This
    editor has the added value that you can run it from the Keyboard
    Controlled Sequencer.
    
    Reverb: 4 types, room, hall, plate, and delay. level 0-7, delay
    1-8.
    
    There are eight voice channels, all assignable to any midi channel.
    Each channel can be stereo panned, with reverb on or off.
    
    There is an additional drum channel which allows you to assign specific
    voices to specific keys.
    
    Voices: LA synthesis is actually a blending of PCM and PD synthesis.
    The are about 150 PCM sounds, about half of which are loops. PD
    has a choice of two types of waveform, square and sawtooth. The
    square wave has an assignable duty cycle. The PCM samples include
    mostly percussive sounds, drums, cymbals, hammer strikes, flute
    chiffs, etc. The PCM has the same envelopes as the PD, with the
    exception of the Time Variant Filter.
    
    The envelopes:
    Pitch, Filter, and Amplitude. Five points before sustain, one to
    end. The envelope can be assigned no sustain for percussive effects.
    
    Keyboard follow: All the envelopes have keyboard follow, so they
    have different effect on different ranges on the keyboard.
    
    Vibrato: depth, frequency, effect of Mod wheel.
    
    LA structure:
    
    A voice can have as many as four partials. Each partial is either
    a PD or PCM tone as described above. These can be combined in groups
    of two: stereo, mix, ring modulate, mix and ring modulate.
    
    The MT32 can handle 32 partials, which means that if you use voices
    that use four partials, it is only 8 note polyphonic.
    
    Drums:
    
    The 9th channel is the drum channel. Each key can be assigned to
    either the builtin drum sounds, or to a tone you have put in memory.
    
    Memory: The MT32 has 30 drum sounds, 128 presets, and 64 user
    programmable voices.
    
    Over all, there is alot of stuff to diddle with.
    
    						John.

    re .53
    
    >There are eight voice channels, all assignable to any midi channel.
    
    Does this mean you can get around the 1-8 adjacent channel assignments
    via sysex messages?
    
    len.
    

    re -.1: yes.
    
    Using the keyboard follow, it's possible to create split keyboard
    patches. I also forgot to mention that the envelopes have velocity
    follow.
    
    I was playing around with a patch using a PCM loop source. It was
    a bass drum going boom, boom, boom, etc., except I cranked up the
    pitch until it sounded like a very satisfying burp. Now if I can
    only think of a way to use it . . .
    						John.

    
    I've been seeing a lot of used MT32s hitting the market, including
    two or three in this notesfile.  Most common comment: upgrading
    to a D-110 or D-50.
    
    Anyone who's leaving their MT behind care to comment on what aspect
    of the machine you were dissatisified with?
    
    

>    Anyone who's leaving their MT behind care to comment on what aspect
>    of the machine you were dissatisified with?
    
 
    I am keeping it as no good bites came and I am not at all dissatisifed
    with it.  The old 'bigger is better' syndrome probably is a cause in
    some instances...

   Chad
   

    I'm going to be selling mine.
    
    My purpose in buying it was to add horsepower ("voices") to my setup
    as I was running out.   
    
    My main reason for selling it is that I'm getting a sampler with 16
    voices.  The sampler is uniformly better sounding in the sounds I use
    the MT for and thus I regard it as a replacement.  But also note that
    it costs almost 4 times as much.
    
    	db

    I'm running PRO24 on my ST at the moment with my MT32, you realy
    need a sequencer with this box, but the effects you can get with
    it are possatively amazing!  All my patch changes, volume changes,
    pan changes, and rythm section I put on the ST you don't even need
    a studio (oh well maybe you do somtimes) but I do all my stuff on
    the ST, set all the mixing using system exclusive codes and then
    just whack it down onto a normal stereo system.  For the price I'd
    say it was about the best box on the market (with the exception
    of the D110, which is almost the same anyway).
    
    I'll be getting steinberg MT32 editior in a couple of weeks, Is
    there anyone out there with any MT32 voices on atari ST disks? If
    so what about archiving them onto the NET?
    
    If there is anyone who has an ST and needs a sequencer, I've got
    two or three PD ones which I'll put on the NET when I get the chance,
    They are : MIDI SEQUENCER, EZTRACK, SUPERCONDUCTOR.  I can also
    get hold of a few pieces of software to be used with the DX7 (yuk)
    if you realy want them.
    
    I'm determined to get better than my friend who has a DX7 (yuk)
    
    Any other pieces of PD software would be well received.
    
    Chris.
    

    
    Question on the MT32 for owners:
    
    When used *without* sysex support, can you do the following with
    the MT32 parts from the front panel?
    
    1. Pan them on a part by part basis
    
    2. Shut off the reverb on a part by part basis

    

    1. Pan them on a part by part basis
	-- Yep, Set up CONTROLLER 10 from your sequencer (if it has access
	   to it - the MMT-8 does, the ESQ-1 doesn't) to pan left/right.
	   for example, 10:064 is dead center (the default on the MT-32,
	   except for the drum on midi channel 10). You can enter
	   10:000 or 10:127 (I don't recall which is left or right) &
	   your sound will be all the way one way or the other. I
	   usually shoot for 20 to 40 away from the center (above or
	   below). It sounds more real to me. The Reverb accents this nicely.
	   Note, I'd put any Bass instruments dead center (they seem to
	   feel wrong otherwise - I don't know why).
    
    2. Shut off the reverb on a part by part basis
	-- Never tried it. Probably can with SYSEX, Don't think so with
	   just the front panel or CONTROLLERs.
								Jens

    

    
    Hi folks, dumb question time again....
    
    1.  I understand that the MT-32 defaults to A=442 tuning on power up. 
    Is this correct?  How do you retune to A=440?  Can this be saved across
    power transitions?  Can this be dumped via sys-ex?
    
    2.  I understand panning is only possible via controller #10 over MIDI.
    Is this correct?
    
    3.  Can sys-ex dumps be initiated from the front panel?  Is handshaking
    with the receiving unit needed?  Can loads back to the MT-32 be done
    without handshaking?  Any idea how large a full dump is (magic number
    is less than 64Kbytes)?
    
    4.  Jens made a comment that it appeared that the THRU port would not
    pass data for MIDI channels above channel #10.  Has this been confirmed
    by anyone else?
    
    							Brian

>    1.  I understand that the MT-32 defaults to A=442 tuning on power up. 
>    Is this correct?  How do you retune to A=440?  Can this be saved across
>    power transitions?  Can this be dumped via sys-ex?

	Yes. Front panel or SYSEX. No. Probably.
    
>    2.  I understand panning is only possible via controller #10 over MIDI.
>    Is this correct?

	Yes, at least on the MT-32 - it works fine for everything except
	the drums, which ignore this info.
    
>    3.  Can sys-ex dumps be initiated from the front panel?  Is handshaking
>    with the receiving unit needed?  Can loads back to the MT-32 be done
>    without handshaking?  Any idea how large a full dump is (magic number
>    is less than 64Kbytes)?

	Not that I'm aware of (some handshake is needed). I've never
	tried it, so, I'm not sure of the size.
    
>    4.  Jens made a comment that it appeared that the THRU port would not
>    pass data for MIDI channels above channel #10.  Has this been confirmed
>    by anyone else?

	I was wrong, It works fine. I had my other SGU's set to different
	channels than I thought they were.
    
								Jens

    Last night when my group was practicing (it's actually worse than that
    - we wre auditioning for an agent) my MT-32 acted up. I set up in my
    usual way, which includes doing a full MIDI sysex load of my D-10 and
    sysex initialization of the MT-32, making sure they are both tuned to
    the same frequency. Then I ran a sound check, which started to show
    problems. The two synths seemed to be slightly out of tune with each
    other. I checked that they were both tuned to the same frequency to be
    sure, and ran the sound check again. It still seemed a little off, but
    I was in a hurry and decided they couldn't possibly be off, it must be
    my ears.
    
    As we were playing along it was mostly unnoticeable, because most of
    the sequences we were using didn't have both synths playing unison
    parts. But occasionally it was noticeable that something was definitely
    out of tune. When I had a chance I checked it out more carefully, and
    found that the D-10 sounded fine, but the MT-32 sounded out of tune
    even with *itself*. The only recourse I could think of was to
    disconnect the power supply from the extension cord that it was sharing
    with the D-10 and my keyboard mixer, and plug it into a separate wall
    outlet.
    
    Voila! This seemed to make the problem go away. My assumption is that
    for some reason the circuit was loaded and was delivering a weak
    current, and the MT-32 wall bug couldn't maintain a steady 60 cycles.
    I have a couple of questions about this for people with more
    electronics background than me. 1) Does this theory make sense? 2) Is
    this a known characteristic of these power supplies, and should I
    expect similar behavior in the future? 3) If the answers to 1 & 2 are
    yes, is there something I could do to avoid this happening (like get a
    better power supply, use some kind of filter, dump the MT-32, etc.)
    
    This has never happened before.
    
    - Ram

	It's happened to me on all of my MIDI gear before. Power Spikes
	seem to affect the MT-32, where tiny brownouts screw up the
	ESQ-1 and cause hard resets on the TR-505. I play at lots of places
	where the power is very poor. Minimally, add surge protection and
	line filters (Radio Shack used to sell these as seperate items)
	to all of your synth/sequencer gear.

	Also, beware of pitch bends. I always start all of my sequences
	with setting all 16 channels of pitch bend to '0000'. I don't
	always know how this bugger gets set wrong, but it probably relates
	to allowing the MT-32 to be driven from any of 4 controllers (my
	keyboard player uses pitch bend quite a bit & 2 of his devices send
	them). Also I've noted that the Yamaha SHS-10 often detunes my
	CZ-101 when powered up/down.

	There be MIDI gremlins in your network. Power is a fair guess, 
	however, and quite possibly what you saw happen.

								Jens

    Took the words right out of my mouth Jens.
    
    If you get this problem everytime you power it up, I might suspect
    power.  But I would actually be suprised if low power affected
    tuning on anything with digital signal generators (based on admittedly
    a very limited knowledge of such things.)
    
    Otherwise, it's not clear.  It's happened to me quite often that
    I nudge the mod wheel without knowing it and then thinking it was
    a tuning problem.  It stays modded until you send it more mod controls.
    
    Another question would be did it have this problem on a bunch of
    different channels.

    Having been bitten by this very bug in a BIG way at a gig once, I'd
    say check the PB. If you've got any lights on the D110 that flicker or
    blink in response to MIDI messages, check them to be sure they are
    acting properly.
    
    Edd

    I routinely send a Reset All Controllers (CC 121 0) to all channels on
    both synths at the start of every tune, so it seems very unlikely that
    this was a PB (pitchbend) problem. I might have mentioned that I had
    just setup and powered up the equipment in this room, it's not where I
    usually keep it. I'm still inclined to think it was a power problem.
    But if it happens again I'll try powering off and on before I change
    the circuit the power supply is plugged into to see if it clears up.
    
    Any other thoughts on how to improve the quality of the AC signal,
    (at a reasonable cost) would be welcome.
    
    - Ram

>    Any other thoughts on how to improve the quality of the AC signal,
>    (at a reasonable cost) would be welcome.

	Get a filtered/surge suppressor AC wall strip.

	I agree that AC power problems can cause bizzare things to happen
	and have experianced many unexplainable problems that go away when
	I'm at a different location.

	There is this place called 'Cuchara' with a population of about 12
	humans and 30 dogs. I had nearly every piece of MIDI gear act up
	on me there (my MIDI disk drive wouldn't load files, My MT-32
	would randomly change patches in the middle of a song, the ESQ-1
	would give soft reset errors frequently and my CZ-101 would jump
	out of tune). This was absolutely no fun at all.  Of course this is
	a town that it 50 miles from its power plant, and located way up in 
	the mountains.

	The owners of the place told me that the house PA systems seems to
	just blow up every now and then. Hmmmm.......

	To be honest with you, I felt like buying a portable generator after
	spending 2 nights playing there. It was not my idea of a good time.

	We've played there 3 times and either the power is very poor, or
	there are 'ghosts' that haunt the area and like to push buttons,
	or simply don't like the music.

	I've played other mountain communities with similar, but not quite
	as nasty results. Indeed your problem could be power related.
	
							Jens

    From USENET, a mod to lower the digital grunge on your MT32...better
    yet, it looks easy to do and *cheap*.
    
    
From: [email protected] (Martan)
Subject: MT32 Noise Modification
Date: 7 Aug 90 19:57:02 GMT
Noise Mod for MT32
------------------
 
This mod should help those with 'noisy' MT-32's.  As the amount of grundge
seems to vary greatly from MT to MT, this may or may not make much of a
difference on your unit.  This is taken from the Burr Brown manual on the
PCM54 (which is used in the baby D's and the MT) and from the D110 schematics.
Luckily, there is no cutting of traces or desoldering of pins as the MT
design is well suited to adding this mod.  Be sure to use a good trimpot
(like a Bournes or equivalent) and keep your leads nice and short.
 
The D/A is on the left hand side of the board (assuming the front of the
module is facing you) and is a standard 28 pin chip.  Appropriately enough,
the words Burr Brown are printed on the top :)  Here is the stock wiring:
 
      ---------
      !       !-- Pin 1 (no connection)
      !       !
      !       !
      !       ! Pin 27
      ! PCM54 !----------+
      !       !          !
      !       !         ---  .1uf cap
      !       !         ---
      !       ! Pin 22   !
      !       !----------+
      !       !          !
      ---------          !
                        GND
 
 Add this:
 
 
      --------- Pin 1              470K ohm       100K trim pot
      !       !-----------------------RR--------------RRRRR-------+
      !       !                                         !         !
      !       !                                         !         R 470K ohm
      !       ! Pin 27                     1 Meg ohm    !         !
      ! PCM54 !----------+---------------------RR--------         ! to Pin 28
      !       !          !                                        ! (-v)
      !       !         ---  .01uf cap
      !       !         ---
      !       ! Pin 22   !
      !       !-----------
      !       !          !
      ---------          !
                        GND
 
 
Don't expect a lot - the MT only has so-so samples anyhow and this can't cure
that.  But this should help the MT's that are equipped with marginal D/A's.
 
 
 
Martin Sant
Blue Ridge Music
3571 Sandstone Rd
Ch'ville, VA 22901
[email protected]

       
       
       
       
       
       Thanks for re-posting this.  The diagram was seriously skewed
       when I read this on my Xerox 6085, and I was concerned about
       attempting to reconstruct the drawing and then modifying my MT32
       based on that reconstruction.  I'll let you know how it works.
       
       
       
       
       

    
    I have posted the PD MT32 editor for the Atari ST to MIDIlib.  
    
    						Brian

Has anyone seen any MT32s for sale recently?  I notice a dirth of MT32 or D110
sales in the For Sale note here.  I guess everyone loves them so much they
won't part?

Anyone have any idea of current prices.  (I know they are not made anymore...)

Burns

    About a month ago, EU's in Boston was selling D-110's for $299 I think.

Sorry, who is EU?

Burns

    
    E.U. Wurlitzer's, one of the larger music stores in Boston.
    Don't know what the EU stands for 8^).
    
    Rob

Turns out that:

1.  Wurly's is all out of D110's and
2.  They were $399 anyway.

Burns

Manny's in NYC has D110s for $399.  Sam Ash also, same price, but they are out
of stock.  They CLAIM to be getting more next week, but that might be a good
trick since they are not being made anymore.

Manny's also has a few D10's FWIW.  I forget the price.  In the $700 range
I think.

Burns