Conference napalm::commusic_v1

    a vote for the midiverb II.....awesome!
    
    dave

    
    Biggus secundus on that. I use mine quite a bit - it's noticably
    cleaner than my studio-mate's SPX90. It is somewhat less "fiddle-able"
    than an SPX90 but how much do you need to edit parameters?
    
    /pjh

            Does the MidiVerb II have any digital delay effects ? If
    so, then can you mix the delay with the reverb ?
    
               Frank

>    < Note 1060.0 by NCVAX1::ALLEN >
>Since I have a synth, drum machine, mixer, PC-based
>sequencer, and monitors, I've been toying with the idea of either
>a sampler or some sort of signal processor.  
    
    You can always add some effects.. you got the 16-voice Kawai K5,
    right ? Well, you'll use those up in no time, since you mentioned 
    the PC sequencer and not a multitrack deck.. MORE VOICES may be
    indicated. However, you ain't gonna get a multitimbral sampler for 
    cheep... possibly consider one of the Yamaha 8voice rack FM synth 
    units like the Fb01 or TX81Z.
    
    Dollar range you are looking at ? Effects (or these two Yamaha units)
    will be in the low 3digits.. lowend samplers start ~$1K, and they're
    MONOtimbral, but polyphonic. I've seen the (discontinued?) AKAI
    612 rackmount sampler discounted as low as $450.. this is a
    monotimbral, 6 voice, 12bit linear unit.
    
    decisions�
    
    karl

    re .3 Well the midiverb II has 99 presets sounds you control the
    input level, output level and dry/wet mix...the first 20 sounds
    are reverb sounds basically three sounds, dark, bright and large
    with different room sizes. The next bank of ten sounds is gated
    reverbs, then ten reverse sounds, the ten flange, ten chorus, 20
    delay (note: delay has *one* repeat with twenty different delay times
    seperated by 5-10msec) the last ten are different things like a
    mono to stereo, and some other interesting but marginally useful
    effects.
    
    You can only select one patch at a time ie: you can't chorus and
    reverb at the same time....sad but true.
    
    it's clean and bright sounding, with a 15Khz bandwidth, pseudo stereo
    that seems to work ok ie stereo in mixed to mono, verbed etc. then
    pseudo stereo out. It has little effect on the placement of stereo
    images.
    
    I love it. Not only is it good as a studio effect it also does a
    dynamite job on my guitar
    
    dave
    

    I would also look at the REX50.  It's most of an SPX90 with
    guitar-style distortion added in.
    	
    It can listen to MIDI.  It does stereo.  It seems to have a fair
    amount of programmability.  It does pitch-shifting- but not sampling.
    	
    The REX50 has 30 basic programs, plus sixty RAM locations.
    Programmability does not extend to creating new programs, just copies
    of old programs with different parameters.
    
    Test listen before you buy.  Some people who've heard it claims
    it sounds "dirty".  
    
    Cost:  429$ at Only Guitar just north of Albany, NY.  
    

    
>    Programmability does not extend to creating new programs, just copies
>    of old programs with different parameters.
    
    What's the difference? 
    
    /pjh
    

I tried a number of different rack mount reverb units in my studio, including
MIDIverb and MICROverb. I kept coming back to the Roland SDE-2000. The other
units had too much of a metallic sound, reminiscent of the old spring reverb
units. I've tried a number of different brands (on loan from E.U. Wurlitzer)
and to my ears, the Roland wins hands down. I'm using a $1k Carver Amp and
$1500 worth of TOA speakers. With this sound gear, you can really hear the
difference in the clearity of the reverb unit.

happy shopping,

Dave    

    Programmability?  Well, I'm trying to make clear that it isn't like
    you had direct access to the data flow paths, etc.  You don't. 
    You have to take the basic paths given by the manufacturer and only
    alter the (few) things the manufacturer saw fit to give you access
    to.
    	
    (this is important to me, because my ideal system is a fully
    programmable DSP that has a nice box, nice plugs, and has software
    tools to make it easy to program.  The REX50 is about a third the way
    there) 

    Depending on what you are doing, you might want to consider getting
    a multi-track tape deck before the reverb.  If your sequencer will
    sync to tape you can use the PC's whole memory for each track, instead
    of having to fit the whole song into memory.
        John Sauter

    
    re: .9 
    
      Ahhh. That makes more sense. Have you seen a fully programmable
    DSP on the market (for any amount of money)? I wish, I wish...
    
    re: .10
    
      Right on! Good advice. Virtual tracks are wonderful. I have a
    Porta-Two and I am just beginning to work with virtual tracks. Amazing
    what you can do.
    
    /pjh

    re: .11
    >Have you seen a fully programmable DSP on the market (for any amount
    of money)?
    sure.
    Read computer music journal.  The ad is on the back cover sometimes.
    There are a few, I think good for music.  some for DEC PDP-11 control,
    some for personal computer control.
    Read the new products listings in the back of CMJ.
    Think of Keyboard as Popular Computing, and Computer Music Journal
    as IEEE proceedings on computer applications
        Tom

    
    re: .-1
    
     I will. I haven't read that magazine in years. If I remember they
    are somewhat more expensive (that's why I qualified my question
    with "for any amount of money") than the ones in the consumer
    electronic music glossies.
    
    Thanx for the reference.
    
    /pjh

    Actually, I was thinking of some of the hardware I had heard about
    for sonar signal processing.  The sort of thing you buy from
    Submarines "R" Us.
    	
    There's a bit (groan) in this month's Keyboard on the "Samson Box"
    at Stanford, and another on a multi-card DSP at U of I.  Neither
    article is technical, unfortunately.
    
    When do Chowning's patents on FM run out, anyway?
    

    re .10
    
    	I must be missing something here.  If I have a PC-based sequencer
    am I not already using the PC's 640KB as a multi-track recorder?
    What do I gain by adding a separate multi-track deck on top of that?
    I had briefly considered the TASCAM Porta units, but decided to
    simply go with a mixer (YAMAHA KM6208(?) since I could always use
    the sequencer to perform whatever track mixing/merging/etc. and
    then record two stereo tracks out to a stereo cassette deck.  No?
    
    Puzzled, 
    	but Happy Holidays,
    		anyway........Bill

>< Note 1060.15 by NCVAX1::ALLEN >
>    	I must be missing something here.  If I have a PC-based sequencer
>    am I not already using the PC's 640KB as a multi-track recorder?

    Yes, up to the note polyphony of your multi-timbral synth(s)
        
>    What do I gain by adding a separate multi-track deck on top of that?

    *If* you get a small (~$100) MIDI sync to/from AUDIO (FSK) sync 
    box (like the Yamaha YMC-10), you can *MULTIPLY* the number of 
    parts you can 'record' into the PC by transferring onto tape 
    when your polyphony limit is reached.. and then continuing to 
    record into the PC while in 'sync to external MIDI clock' mode,
    and transfer to another open tape track, up to the # of tracks on
    your tape deck.. the formula:
    
    Total Synth note polyphony * tape tracks available.
    
    multitimbral 16-voice synth x 4 tracks = 64 total voices
        
    I know you lose one for the FSK track but you get it back at the
    end as a 'virtual' track.. that is, one of the 4track's tape tracks
    is tied up with this FSK tone, but when you're mixing to stereo
    you can also be driving the synth(s) direct from the PC. Your final
    mix to stereo includes already-recorded tape tracks plus your
    synth's outputs.     
    
>    I had briefly considered the TASCAM Porta units, but decided to
>    simply go with a mixer (YAMAHA KM6208(?) since I could always use
>    the sequencer to perform whatever track mixing/merging/etc. and
>    then record two stereo tracks out to a stereo cassette deck.  No?

    Well, if you are content with the total polyphony available to you,
    then there's no reason to get a multitrack deck and FSK converter
    box, and your scenario above is absolutely valid.. that's a 
    Yamaha KM802 mixer, and I have one too.
    
    karl moeller

    I don't if there's real confusion here or just some sloppy writing,
    but delay and reverb are not the same effect.  The Roland SDE-2000
    is a delay, not a reverb.  The reverb is the SRV-2000.  A delay
    can produce echo effects, but echo is not reverb.  Reverb requires
    a much wider variety of delay times (not just integer multiples
    of the basic delay) and frequency dependent attenuation of the
    "reflected" signals.  A good reverb does not introduce the same
    kind of comb-filtering effects that a fedback delay will.
    
    In my humble opinion, a reverb is a *far* more useful effect for
    general recording than a delay.  Some reverbs may also include
    basic delay capabilities, but you can't get anything approximating
    reverb out of most delay units.
    
    Finally, chorusing, although a delay based effect, is quite different
    from echo and reverb, and is intended to simulate an ensemble rather
    than simulate ambience.
    
    len.
    

    >  When do Chowning's patents run out...
    
    I dunno about Chowning's, but Yamaha's already ran out--at the same
    time that the Korg DS-8 came on the market.   Korg is a subsidiary
    of Yammy these days, so I assume they just transfered the technology
    from one lab to another.
    
    I'm not sure Chowning has patents on FM.
    
    Steph
    

    
    	re: .16
    
    Karl: Thanks for the explanation!  I think I will live with the
    capability (and # of voices) I have for the time being (ie. 30 days).
    Also, I checked my mixer and it is the next model down from yours,
    the KM6402.  It has 6 inputs, four of which have switchable "Chorus",
    and AUX returns.  One input can accept a MIC input.  The unit has
    a STEREO output.  I figure that since the K5 only has 4 individual
    outs (in addition to the MAIN out), I wouldn't need more capacity
    until I buy another synth or other sound source (ie. 30 days). 
              
    Santa Clusters,
    Bill

    Here's the difference between flange, reverb, chorus, and time delay:
    They are all based on the concept of summing time-delayed signals in
    slightly different ways. And yes, I want something I can type this sort
    of formula into and have the hardware do the signal processing in real
    time. 
     	
    
    Time Delay:                                                   
    			A:B --> wet/dry ratio
    			F   --> feedback (sometimes labeled "REGEN")
                        z   --> delay time (some number of seconds)
    			Vin(u), Vout(u) --> instantaneous in and output 
    				signal at time u (note- "U" can be
    				a function of something else! )
    
    	Vout (t) = A * Vin (t) 
    		 + B * Vin (t-z) 
    		 + F * ( B^2 * Vin (t-2z) + B^3 * Vin (t-3z) +...)
        
    			(infinite number of terms- a perfect time delay
    			 with nonzero regen is ALWAYS playing something
    			 that it heard a long time ago...but very quietly)
                                     
    
    		Having an infinite number of terms makes this hard to
    		put on a chip, so what is often done is that the output
    		singal is fed back DIRECTLY into the input (inside the
    		box) which lets you build:
    
    	Vout (t) = A/B * Vin (t) 
    		 + F * B/A * Vout (t-z) 
                       
    			This can be built with just one time delay element
    			(CCD or RAM).                                     
    
    
     Reverb:           
    			e1,e2,... --> pre-programmed constants, usually
    					in decreasing order.  These
    					control the output level of
    					each of a number of delays.
    			x1,x2,... --> pre-programmed delay times, usually
    					not multiples of each other.
    	     
    	Vout(t)	= Vin (t)
    		  + e1 * Vin (t - x1)
    		  + e2 * Vin (t - x2)
    		  + e3 * Vin (t - x3)
    		  + e4 * Vin (t - x4)
    		  + e5 * Vin (t - x5)
    		  + e6 * Vin (t - x6)
    		  + e7 * Vin (t - x7)                              
    
    		with some fixed number of terms.  For example, an SPX-90
    has about 30 terms in it's most complex function of this type. Changing
    the "reverb time" is done by scaling the x terms longer and longer.
    Reverbs in general do NOT have feedback (regen), hence a reverb
    will quiet when the last Vin term (x7 seconds later) has played.
                                       
    Again, to save having to build a lot of big time delays, a single
    delay with multiple taps is used.  Each tap is set to one of the
    x's worth of seconds.
    
    
    Flange:              
                                              
    			A:B --> wet/dry ratio
    			d --> depth of flange
    			s --> speed of flange 
    
    	Vout(t) = A * Vin(t)
    		+ B * Vin(t + d * sin (s * t)) 
                                             
    	Flange is a lot like a simple time delay (a time delay with
    	no regen) except that the amount of time delay "wiggles" back
    	and forth (that's why there's a "sine" function in the second
    	term.  This sine function makes the delayed signal frequency
    	shift (same as if you used a sampler on it).  Usually there's
    	also a little extra delay in the wriggled path (to avoid causality
    	problems.)
          
                                                      
    Chorus/Phasor:

    			A:B --> wet/dry mix
    			e --> some short time for delay (.1 second or so)
    			d --> depth of chorus/phase
    			s --> speed of chorus/phase
    			F --> feedback (regen)
        
    	Vout (t) = A/B * Vin (t) 
    		 + F * B/A * Vout (t-z + d * sin (s*t)) 
    			                              
    
    A chorus/phasor unit is just like a time delay with feedback ON that is
    constantly wriggling the delay time.  You can fake a chorus/phasor by
    manually twiddling the delay time on a stomp box; the effect is rather
    bizarre. The delay time is short- about .1 second 
    	
    Chorusing usually uses a fast (about 1 cycle/sec or faster) and only a
    little depth (a few cents plus and minus), while phasing usually
    goes slower (cycle every 3 seconds) and deeper (a semitone or more).
    
                                                      
    Hope this helps to see how the different effects are all based on
    summing of time-delayed signals.
                                    

< Note 1060.17 by DRUMS::FEHSKENS >
                            -< Picky, Picky, Picky >-

>>I don't if there's real confusion here or just some sloppy writing,
>>but delay and reverb are not the same effect.  The Roland SDE-2000
>>is a delay, not a reverb.  The reverb is the SRV-2000.

Sorry Len, you are right, I had the model numbers mixed up and realized it
too late. I have the SRV-2000 Digital Reverb and the SDE-2500 Digital Delay.    
These units are so much better than the others we tried, there was just no
contest.

Dave

The most realistic sounding reverb unit is not necessarily the unit
with the most bits of resolution or the best frequency response.  As Bill
points out, the software algorithms (and the hardware horsepower necessary
to execute these very high order algorithms) is what I think gives a reverb
unit the "best" sound.

This is the only explanation I have as to the richness I hear in the SRV-2000
that no Alesis unit comes close to reproducing.

An aside: Bill's reverb model gets real complex when adding the effects
of pre-delay, time dependent frequency changes, decay time, decay curve, etc.

Todd.

    Yeah, that's one thing I didn't want to get into: where and when
    there's a lowpass filter in the various mathematical models.
    	
    If you're interested (and don't mind mixing time-domain and
    frequency-domain notations), throw a lowpass filter (for digital
    reconstruction, if nothing else) onto the 2nd through N'th 
    terms of the series (serieses?).
    
    -Bill
    
    
    

    
    I think the SRVs sound so good because of their attention to detail;
    things like early reflection density, the use of two completely
    separate and distinct (not just phase inverted) halves for the stereo
    image, HF damping, etc.  The SRVs sound *so* good, even when you're
    heavy handed you don't notice the reverb until you bypass it.  The
    operational word here is "natural".  Don't forget, when these monsters
    first came out they were $1595.  I'll bet the bulk of that was to
    amortize their software/algorithm development.  Now that you can
    pick one up for $500 (if you can find one), it's clear how much of the
    price was hardware and how much was software.

< Note 1060.23 by FROST::HARRIMAN "How do I work this?" >
                    -< What is the price of the SRV-2000? >-

Are you ready?

List price when first announced: $1495.00
Current list price:              $1295.00
E.U. Wurlitzer normal price:     $850.00
E.U. Wurlitzer in Worcester:     $449.00 last one, demo model (means it works)
                                  full warranty, manuals, etc.

If anyone wants this unit, you had better call and/or get a deposit on it
right away. When they restock, the price goes back up to $850.00. I have two
of them, one in the studio, and one in the gig rack. I got them both at Wurly
for $449.00. I have never been disappointed or had any trouble. They are full
MIDI and very easy to use and program. You can easily save favorite patches
and recall them. I had two of the Alesis reverbs. The first one blew up in
the middle of a song at a gig. It also took out the TASCAM M216 mixer.
Fortunately, since I deal with E.U. Wurlitzer as a regular customer, they
gave me replacement units the next day, and we were back in business the
next night. Two weeks later, the replacement Alesis blew up, but was
intermittent and didn't take out the mixer. It just pegged the mixer VU
meters. Probably some kind of feedback problem. All you heard was
bbbbuuuuuuuzzzzzzzzzzzZZZZZZZZwwwwwhhhhhiiiiiirrrrrRRRRRRRRRRRRR *POP*!!!!!!
Kiss your reverb and mixer goodbye! At a gig?!! I patched the tape and
microphone directly to the graphic EQ and we made it thru. Fortunately,there
was a snow storm starting and everybody left anyway. Roland has really got
it together. I go to these music stores every week, and nothing so far beats
the SRV2000 MIDI Digital Reverb, SDE2500 MIDI Digital Delay, S-50 sampling
keyboard, D-50 LA Synth, JX8P for gigs, and MKS20 for gigs. This equipment
is so well designed, so nicely integrated, and relatively easy to use. The
documentation tends to be typically poor, but then Kurzweil's documentation
is so bad that I can't figure out what they are talking about. They
created a whole new language, but forgot to tell anybody what it means.

Contact:

Eddie Fritz
E.U. Wurlitzer
Worcester, MA.
582 Park Ave.
(617) 754-5271    

    
    Once upon a time I lived in Wormtown and I knew Eddie Fritz. It's
    quite a haul from beautiful Burlington Vermont. 
    
    $449 eh? that's about $75 more than my Alesis cost. I had none of
    the problems you mentioned with mine (it seems to be built very
    well as a matter-of-fact)
    
    I believe your statements about Roland - I think it's some of the
    best made consumer electronics on the planet. I was under the
    impression that the SRV2000 was much more expensive than a  MVII.
    
    /pjh_who_has_a_budget_to_deal_with

    you can get a mvII for $320 from Profound sound..
    
    personally since I've discovered some decent mail order houses,
    Profound, East coast sound etc...I can't for the life of me see
    paying the proce the local dealers charge...
    
    dave who ordered an HR-16 at $399....
    

    Happy New Year, People !
    
    	Has anyone had any experience with the BOSS RV-10 (?).  It looks
    like a full-function alternative to the Alesis MIDIverb II, and
    at a very low price ($175-$190 out here).  
    
    Waiting...
    
    Bill
    

    The RV-10 is probably a good bet.  I don't have any direct experience
    with one, but I have two RCE-10s (the Boss half rack width chorus),
    and that's a pretty nice chorus.  My guess is the RV-10 uses the
    SRV-2000/DEP-5/DEP-3 technology, suitably cost reduced/amortized,
    as Boss is a subsidiary of Roland and the Boss half rack width units
    seem to be very strongly Rolandish.
    
    len.
    

RE < Note 1060.30 by DRUMS::FEHSKENS >

	Not to get too far off the topic... but

	Len, the RCE-10's you have...  Have you ever compared them to Boss's
CE-300 (full rack-width chorus unit)?  I'd be interested in how well they
compare to each other.

	Regarding chorusing... How many people have effectively used a digital 
delay as a chorus?  I've been auditioning one to serve that dual purpose and
all I can say so far is that I haven't been able to get the 'depth' of chorus
that I'd like.  Is it generally better to find a dedicated chorus unit, or
do I just need to find a higher quality delay?  The one I'm trying out is an
Ibanez DD-700.

	Thanks for any help on this...

	Dan

    The DOD Digitech RDS 1900 (obsolete or redesigned or somethign)
    has so much depth for modulation it's ridiculous, so of I've used
    it that way to way distort my voice.  Like 8:1 frequency modulation,
    but variable depth.
    I would expect the current versions of the line to do that too.
    Tom

    re: digitals as chorus units
    
    I use my DM-1000 as a chorus. I find that to get good depth the
    adjustments are a bit touchy and that you must make the mix of dry
    to wet heavy in the wet direction. Theoretically when the wet and
    dry signals are at the same level your depth is max'd out. on my
    Dm-1000 I usually just max out both knobs.
    
    dave

    	re: -.30
    		Thanks, Len.  
    
    	Have people read thru 1140 on the DIGITECH DSP-128?  This does
    seem to complicate matters a bit.  I am currently considering the
    following three units:
    
    	1) Alesis MIDIverb II ; ol' reliable and something of a standard
    		priced at around $250.00 .
    	2) BOSS DRV-10 (?); Best Value at $190.00 .
    	3) DIGITECH DSP-128 ; Most function of the three at about $350(?).
    
    Are these units comparable?  I have heard that the MIDIverb II is
    now old technology; is this accurate?  Am I better off scraping
    together the extra ducats and going for the DSP-128 now, to avoid
    having to upgrade later?  What is the meaning of life?
    
    Thanks for your help,
    
    Bill   
    

RE < Note 1060.34 by NCVAX1::ALLEN >

	You can get the Boss unit for $159 at Sam Ash.  (Have to keep up the 
reputation, right Todd?)  I'd hardly call the MIDIVERB II *old* tech!  It's
still one of the better bets, and at the new price, well, I'm getting sweaty 
palms just thinking about it.

	Remember, too, that DIGITECH has not always had a top-line reputation.
Sometimes its better to wait a while and watch its track record...  (My $.02)

	Dan

        Not that I want to throw too many spanners in the works at this
    late stage of the note, but I've just read a review of one of the
    new Akai mini-rack effects. These look very similar to the Boss
    Micro-rack series, and cover the same areas. The review I read was
    of the reverb (I forget the serial number). 

        I can't remember all of the details, but the bottom line was
    that the Akai was far superior in sound quality and flexibility
    to the Boss. The Akai is a non-preset type of effect (you remember
    those - the ones with knobs on the front and no LED/LCD display !).

        I can't state a price (why did I bother starting this reply ?),
    but it was a couple of pounds of the realm cheaper than the Boss.

        If anyone is interested, I'll post some more details.


    May your reverbs never be spongy,


    Derek.

    

    	I am definitely interested...
    
    Clusters, 
    Bill
        
    

    re .31 - I have a CE-300 in addition to the RCE-10s.  I'm looking
    for another CE-300, which is in my humble opinion the best chorus
    ever made.  The RCE-10s are pretty good, and have one interesting
    feature that the CE-300 lacked (which I'll explain in a moment),
    but the CE-300 seems more subtle and transparent (yes, that's me
    using subjective terms like "subtle" and "transparent").  I think
    the CE-300 is quieter too; the RCE-10s seem more susceptible to
    picking up digital noise, which pervades the modern studio environment.
    You can make a CE-300 do outrageous things if you want to, but in
    most normal applications it has the same kind of "invisibility"
    that the SRV-2000 does - you don't notice it's there until you
    bypass it.
    
    The RCE-10s have a delay control, which (like the LFO delay common
    to synths) determines how long it is before the chorus effect begins.
    I have not found this feature to be terribly useful in practice.
    The RCE-10s also have a "brightness" control (essentially a treble
    tone control) for the chorus path, which is often useful.
    
    The CE-300 has a 6-LED (3 green, 2 yellow, 1 red) level indicator
    which is helpful.  It also has an "effect only" switch, which I
    don't think the RCE-10 has.  This switch eliminates the dry signal
    from the output.  I almost never use it. 
    
    In all other respects they have the same features (bypass switch,
    footswitch input, stereo outputs, etc.).
    
    
    Regarding use of digital delays as choruses - get a real chorus.
    Even the best DDL can provide only a crude approximation of what
    goes on inside a dedicated chorus.  A half dozen delays, all set
    to slightly different delay times, modulation rates and equalization
    might come close.
    
    len.
    

re < Note 1060.38 by DRUMS::FEHSKENS >

	Thanks, Len - that's just the kind of comparison I was looking for.
Just to let you know, Since the CE-300's have been discontinued, very few places
have any left.  LaSalles has a couple of 'em, and are asking $225.

	Does anyone else but BOSS make a dedicated rack-mountable chorus?  I 
haven't seen any others!  Sure, the MIDIVERB's and such have them for one or
two of the settings, but that frustrates me that you can't use the effect unit 
for anything else!  Anyone have any other leads?

	Dan

    more re DDLs as choruses - if you want to find out more about what
    goes on in a dedicated chorus, check out Hal Chamberlin's "Musical
    Applications of Microprocessors", which you all ought to have a
    copy of anyway.
    
    len.
    

        Thanks to an amazingly out of character attack of planning, I have
    the review of the Akai EX90R in front of me (viewers in the UK can
    tune to the Feb. 88 issue of International Musician).

        The Akai features are as follows:

    *   Boss Mico-rack sized (but it can be mounted in a 19" rack by
        using an adaptor);

    *   External power supply (ho hum)

    *   Front panel controls:

             Input level
             Reverb mode (Small hall, Small room, Plate, Reverse, Large
                          hall, Loft, Large room, Gate)
             Pre-delay (0.01 - 200 milliseconds)
             Decay/gate time (dual function knob depending on reverb mode,
                              delay and gate range 1 - 15 seconds)
             High cut filter (20 db/octave, 1 - 16Hz sweep)
             Dry output level
             Reverb output level
             Effect on/off button

    *   Front panel indicators:

             Input level peak LED
             Power on/off LED
             Effect on/off LED

    *   Rear panel:
 
             Power on/off
             Effect on/off footswitch input
             Inputs 1 & 2
             Outputs 1 & 2 (stereo - what else these days !)
             Effects loop send
             Effects loop recieve

        I must emphasise that I haven't heard this unit in action, but words
    like 'full' and 'rich' are bandied about in the review when comparing to
    the Roland RRV-10 and MIDIverb. The Akai has a 12-bit sampling rate of 
    39 Hz, compared to the Roland's 31 Hz, and a claimed frequency response
    of 50 Hz to 15 Hz compared to 30 Hz to 10 Hz for the Roland.

        The retail price in the UK is 199 pounds (about the same as the 
    Roland). Who knows, maybe someone will listen to one of these and give
    us a review ?


        Derek (who still relies on a spring reverb !!)
    

    	Well, I took the big plunge!!  I decided to go for the ALESIS 
    MIDIverbII *and* the Yamaha MTX-2 4-track recorder.  The decision
    on the MVII came down to reading through all of the back notes and
    all of the favorable comments from COMMUSICers.  The decision to 
    get the Yamaha MTR was tougher, but seemed like the right thing to 
    do in view of the increased flexibility it would give me.  Also,
    I figured to get a good trade-in on the KM602.  I got started on
    the new toys over the weekend and all of what people said was true:
    these units really do open up a new dimension to this game.
    
    	I'm afraid that this move is starting to take me beyond the
    bounds of a "happy hacker".  I realize many of you have much more
    involved set-ups, but it suddenly hit me over the weekend that I
    better start producing something to justify all this hardware!!!
    Maybe I should start a note on PMS : Post MIDI Syndrome?
    
    	Anyway I would likt to thank all of you who helped on this one
    including (but not limited to):
    	John 	-.10	On MTRs  
    	PJH	-.11	On Virtual Tracks
    	Karl	-.16	On VTs and other Stuff
    	Len	-.17    On the difference between Delay and Reverb
    	Dan	-.35	On the MIDIverbII
    	Derek	-.36    On the Akai (Backai to Akai...ugh!)
    
    You each will receive autographed copies of my first Platinum Sequence.
    
    Until then, may the Muses shine upon you!
    
    Clusters,
     Bill                                                      

>    but it suddenly hit me over the weekend that I
>    better start producing something to justify all this hardware!!!
>    Maybe I should start a note on PMS : Post MIDI Syndrome?
    
    Oh!  Does this sound familiar.
    
    	db

    
    tsk tsk....RIP.....oh the goood old days of when
    there was money in my wallet.....
    
    ron
    

    
    I too have the Yamaha MT2X it is a really nice unit. You will enjoy
    it. I use the Yamaha DSP-1 for a delay/signal processing system.
    You will not rgret the MT2X the two additional mixing channels come
    in quite handy.
    
    Jim
    

    
    Can anyone out there provide some info and/or an opinion on 
    the Korg SDD-2000 Digital Delay?
    
    I'm looking for a delay and this one seems to attract my attention
    more than, say an SDE-3000 (partly due to the MIDI cap.).  I know
    a bit about the 3000 and have worked with it, but I know little
    about the SDD-2000...can anyone help?
    
    adv<thanks>ance,
    wjb
    

I've got one. I find it to be a versatile delay with only a few nits. Are
you aware you can do sampling with this delay? If you want I'll post a 
review and all the specs tomorrow (can't remember everything off the top
of my head).

Dan	

    Re: -1
    
    yes, please do, I'd be interested to see what it's like.
    
    I heard it did sampling, but not in any great detail of the hows/whys.
    
    Buck

    I've got one which I picked up for $300 at sam ash.
    Ive had it for 1 year, and can't live without it.
    (delay synchronized to midi clock is something you'll never leave
    once you start)
    Reliable, quiet, and very useful.
    

    You can sync the delay to MIDI clock?? 
    
    Do you set the delay in terms of PPQ??
    
    Edd

The SDD-2000 is in my opinion a very versatile unit. I've been able to get it 
to do just about everything I've tried (which in my case is a substantial
accomplishment). This product is not made anymore and you should be able to
find one in the $200-250 range. 

There are two main functions in this unit; Digital Delay, and Sampling.

DIGITAL DELAY 

Holds 64 presets and can produce the standard delay effects; short/long
delay, chorus, flanging, doubling, and vibrato.  All presets are user
programmable. Korg groups the presets into effect types, but you are not
bound to this.
   
There are three outputs (+mix/-mix and direct) which allow you to get full
spectrum effects when using chorus/flanging. With delay settings and proper
modulation you can get some fairly believable panning effects.
     
Two delay time modes are available, X1 and X4. X1 mode allows delay times
from 0 to 1092ms, adjustable in .1m steps from 0-10ms and in 1ms steps
thereafter. x4 mode allows delay times from 0-4368ms adjustable in 1ms
steps.      

Adjustable parameters (besides delay time) for each preset include

  Frequency - determines the modulation speed. Range is 0-31, where 31 is
  the fastest speed. Modulation is accomplished by a single LFO.

  Intensity - determines the modulation depth. Range is 0-31, where 31 is
  the deepest.

  Effect - determines the signal volume. Range is 0-31, where 31 is maximum
  volume.

  Feedback - determines the regeneration or number of repeats. Range is -31
  to +31. 

   
SAMPLING

You can sample sounds with or without midi control. Sample time is up to
4368ms depending on the x1/x4 mode. When sampling, the delay time parameter
represents the time length of the passage and it is modifiable once the
passage has been recorded. Actually, all parameters except feedback are
modifiable.

There is tune control pot on the rear of the unit which can be used to
change the pitch of the sample +/- 50 cent.

While the unit is playing back the sample data you can play over it.
               
When sampling without midi control you can use two modes; Seq, and Sample.
If you record using seq mode the passage is repeated immediately, and
continues until you stop it. If you use sample mode the passage waits for
you to trigger manually.

When sampling with midi control the supported note range is 1 octave in x1
mode, and 4 octaves in x4 mode, and the sample starting note can be
specified. To trigger the sample you strike a key within the specified
range. The sample will playback faster/slower depending on the key struck.
(The examples in the manual use a midi keyboard, but I imagine a midi guitar
could be used as well). There is also a calibration feature which allows you
to fine tune the sample pitch. 
     
The unit does respond to velocity data.

GENERAL 
-------
Presets can be changed by the front panel (increment control), by a
footswitch (program up), or through Midi control.

Triggering the unit can be accomplished via footswitch, drum machine, or by
Midi clock. The latter two make it easy to get delays in time with rest of
the music.

Midi Channels 1-16, OMNI On/Off, accepts Sysex messages

Programming this unit is a breeze. Parameters can be viewed and changed by
pressing a switch and turning the increment control.

Sound quality and noise level is great on direct output and x1 mode.
HORRIBLE in X4 mode.


NEGATIVES
---------
Clipping occurs easily so you really have to monitor your input and output
levels on this unit.

There is no switchable hold capability. You can get around this by sampling
a quick passage into the sequencer, but in a real time situation it would be
tricky.
     
There is no way to save sample data. 

When using standard delay mode, the feedback value controls the number of
repeats. It is rather difficult to get the delay to repeat just once. You
always get a subtle (but noticeable) 2nd repeat. If you try adjusting the
levels you can almost eliminate this, but then your output level decreases. 

Horrendous frequency response in the x4 mode. Around 4.5KHz. Uck!   


SPECIFICATIONS
--------------
Size           o Single rack space

Front Panel    o Displays/Indicators - Headroom Display, Rec Cancel LED, 
                 Trig LED, Program Indicator(2 Digit), Data/Time (4 digit)
               o Controls - Input Level, Direct Out Level, Incremental Control
               o Switches - (most switches have led indicators) Trig Overdub,
                 Seq, Sampling, Midi, Freq, Effect, Intensity, Feedback, Time, 
                 Time x 4, Write, Prog/Para, Power
     

Rear Panel     o Midi In, Midi Thru, Tune, Trig, Rec, Prog Up, Rec Cancel, 
                 Bypass, Direct Out, +Mix Out, -Mix Out, Input Level Switch,
                 Input

Input Specs    o Level(1) -35dB   Imp  47k ohm  Clip + 6dB
                      (2) -10dB       500k ohm       +19dB
     
Output Specs   o Level(1) -35dB   Imp  600 ohm  Clip -20dB Direct, -20dB Eff
                      (2) -10dB        600 ohm       + 6dB Direct, + 3dB Eff

Freq Response  o Direct Output     20 - 20KHz  +/- 1dB 
                 Effect (x1 Mode)  30 - 18KHz  +1dB 
                 Effect (x4 Mode)  30 - 4.5Khz +1dB 

Distortion     o Direct    .05%
                 Effect    .10%

Delay Time     o 0-1092ms (x1 mode) (in .1ms steps 0-10ms, 1ms steps thereafter)
                 0-4368ms (x4 mode) (in 1ms steps)

Feedback       o -31 to +31 (single step)
               
Modulation     o Triangle Waveform
                 Frequency 0.1Hz to 10Hz
                 Range 2:1 

Midi           o In, Thru

 	Sync to midi clock is done as follows:
	    
	Set sync timing to 16,8,6,4, or 2 beat
    	Press record, and start sequencer or other midi controller.
    	The unit will measure the delay time when it receives the first
   	Midi timing clock signal.
    	After the selected number of clock signals are received (ie,
        16-2 beat), the unit syncs and sets the delay time.
    	You can edit the parameters, AND change the sync beat on the
    	fly.

    
    re: .42  PMS Post MIDI syndrome
    
    	ARRAUGH! I agree. I got MIDIfied a while back and get freaked
    out at the possibilities. One day I'll work on my sound synthesis,
    or maybe some amazing sequences, or maybe a few new drum licks,
    or maybe just work on my technique, or maybe... maybe,... ARRAUGH!
    	Then I open up this notes file and learn about all these amazing
    new toys that I should buy... just trying to keep it all in my head
    is about as easy as juggling kittens!
    
    					Mark-who-would-never-go-back