| T.R | Title | User | Personal
Name | Date | Lines |
|---|
| 2306.1 | What Organization? | DRUMS::FEHSKENS | | Wed Apr 04 1990 14:26 | 13 |
| I've tried to keep things under control by using the S-MRC software's
"memo" facility, which allows me to attach a 99 line * 14 character
note to each file. In this note I indicate what's on each track
(what part, what channel, default synth and patch id, rom or cartridge
name).
I've tried things like assigning each synth a base channel, but that's
never worked, especially when I multitrack and reuse the same synth.
I also leave patch bindings flexible until play time, because I always
change my mind about what sounds best.
len.
|
| 2306.2 | hardware vs. software | HPSTEK::RENE | Luckless Pedestrians | Wed Apr 04 1990 14:27 | 19 |
| Edd,
First, never ASSUME any commusician is organized !!!! 8^). As far
as my organization/lack of goes, my hardware/MIDI config is pretty
consistant:
SQ-80 (local)--MIDI out-->EPS (ch 1-8)--MIDI thru-->K1000 (ch 9)--->
MIDI thru-->Obie M1000 (ch 10)
Howvever, my software organization is HORRIBLE at best.
- sequences saved to some disk and not labeled ...
- sequences saved to factory patch (cuz there wuz room)disk ..
- EPS instrument configs scratched on backs of sheet music...
ugh the list goes on...
8^)
Frank
|
| 2306.5 | I hate floppy disks | PAULJ::HARRIMAN | bzzzzzzzTHWACK!hmmmmmmm | Wed Apr 04 1990 14:53 | 33 |
|
Hmmm. I kind of think one person's organization is another's chaos,
but...
I try to get the KCS to remember as much for setup as possible. KCS has
a text page as part of a file, so I use that. I use ESQ-1 sequences
as "song configurations", which I map to reality via the KCS text
page (who's gonna remember what song is SEQ-7?). If I can, I try to
save the EPS banks onto a disk, although I also document the channels
in the KCS. Stuff like the Midibass and the HR-16 get selected via
a program change event in the KCS, since 9 times out of 10 I'll forget
to set them until I hit play and it's wrong.
The Atari has a hard disk, so I keep two partitions for KCS and Copyist
(both use both partitions). I separated the ST software onto it's
own partition and "pictures 'n CAD" stuff is on another partition.
Makes backups a lot easier, usually only one partition gets changed
in a session.
I have lots-o-floppies. The EPS floppies are currently under a semi-
lousy filing system which I thought would be a reasonable way to
do it but turned out to be useless after I hit 100 disks. First,
samples can be difficult to categorize, second, nonsequitur samples
are stored on the same disk. (like percussion and a piano, or
gong and chorus). I'm trying to find the perfect librarian, but
then I'd probably need the computer which is running KCS instead.
The ST floppies are eithe distribution disks or backups, so they're
easy to stash (I don't use them much).
Anybody got a decent catalogue process, program or both?
/pjh
|
| 2306.6 | re-enter | NRPUR::DEATON | | Wed Apr 04 1990 15:01 | 47 |
| Good topic!
Back when I had the MKS7, I was practically forced into some degree of
organization. The drums defaulted to Midi ch 10 (seems to be Roland's
standard), the bass came up on ch 2, pads came up on Ch 3 and leads came up on
ch 1. I left it that way (it was possible to change it manually after booting)
because it was convenient and I didn't want to be bothered with any unnecessary
manual intervention. Since the next open channel was 4, I set the TZ to that.
Recently, I've had to re-think it all, as more equipment has come in and
expressed its own intentions (sort of). Since I was using the Oberheim to do
analog pads that were previously on the MKS, I automatically set it to Midi Ch
3. But, it can operate bi-timbrally, and in order to leave it room to do so, I
left the next channel up for that (though I've never used that function) - the
Matrix6R forces the use of n+1 for the secondary channel.
This, of course forced me to bump the TZ onto the next channel (5). The
bass stayed on ch. 2 (in TZ performance setup) as did the drums on ch 10.
Current config:
ch 1: ch 9:
ch 2: bass ch 10: Drums
ch 3: analog pads ch 11:
ch 4: Secondary analog patches ch 12:
ch 5: Percussive and breathy patches ch 13:
ch 6: Secondary controller ch 14:
ch 7: ch 15:
ch 8: Piano & primary controller ch 16: Effects Unit
Looking at it now, I can think of some ways to change it...
I've only just begun to encounter the need to start organizing my
patches more efficiently. I really don't know what I'll do about that. I'd say
it would probably be best to do a periodic backup of all synths and date them,
plus have a dump based on each performance I do. That way, I'd be able to call
things up based on time slots. My arrangements haven't gotten complex enough
to necessitate much of this (I don't think I've used even � of the patches in
my synths), but I'm trying to look ahead.
One other thing I've started to do is create a disk log for the MC500.
I'll post it in the next note for anyone to extract and print out. It uses
standard escape sequences and I've printed it out on the local laser printer.
Any comments on how to improve it will be gratefully received.
Dan
|
| 2306.7 | To see: type "EXT TT" | NRPUR::DEATON | | Wed Apr 04 1990 15:05 | 65 |
|
Disk # [4m [0m
[1;4mMC500 Sequencer Disk Log[0m
Song Title: [4m [0m Mem. Used: [4m [0m
[1mRD200[0m: (ch 08) Piano voice: [4m [0m
[1mR5[0m: (ch 10) Song # [4m [0m (SYSEX Dump saved on disk # [4m [0m Date: [4m [0m)
[1mSPX50D[0m: Patch (ch 16) [4m [0m Used on: [4m [0m
[1mTX81Z[0m: (ch 05) PF[4m [0m: [4m (Bass &) [0m
Instr 1: [4m (I07 - Bass) [0m Polyphony: [4m (01) [0m Ch: [4m (02) [0m CC7: [4m 127 [0m
Instr 2: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 3: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 4: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 5: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 6: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 7: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 8: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
[1mMATRIX-6R[0m: (ch 03/04) Patch/Split: [4m [0m
Instr 1: (MIDI ch 03)[4m [0m Polyphony: [4m [0m CC7: [4m [0m
Other Controllers Used: [4m [0m
Instr 2: (MIDI ch 04)[4m [0m Polyphony: [4m [0m CC7: [4m [0m
Other Controllers Used: [4m [0m
[1mYS200[0m: (ch 06) Patch: [4m [0m Multi: [4m [0m
Instr 1: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 2: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 3: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
Instr 4: [4m [0m Polyphony: [4m [0m Ch: [4m [0m CC7: [4m [0m
[1mOther[0m: [4m [0m (ch [4m [0m)
[1mOther[0m: [4m [0m (ch [4m [0m)
[1mNotes [0;4m [0m
[4m [0m
[4m [0m
[4m [0m
[4m [0m
[4m [0m
[4m [0m
|
| 2306.8 | of all people! | MUDDIN::DEBARROS | | Wed Apr 04 1990 16:13 | 13 |
|
Well.. I'm in the same boat! And when I do housekeeping for a couple
of days and everything is organized, I dont take care of it. I can't
even get myself to keep a consistant log book of volumes, reverb
params, mixer settings per song. If I could have a file called
Song_load.com and let it fly... things would be so much easier.
If I could come up with a Naming scheme as simple as Song 01 and keep
all the info in a log... That would solve my problem. (What am I
talking about, I already attempted that. If its not software, I dont
want to deal with it.
Leeeeeeeeeeeeeee R_______
|
| 2306.9 | The W Word | AQUA::ROST | Bass is the place | Wed Apr 04 1990 17:08 | 36 |
| My studio is a lot smaller than what most of you have, but the idea of
keeping things organized had a lot to do with my buying an SQ-80 (The
other main influence was db holding an Uzi to my head...no, just
kidding). The disk drive allows me to save patches, sys-ex and
sequences all in one place. In fact, when saving sequences, the
current internal patch bank is also saved (no choice) so any custom
edits you make for a particular sequence (things like pan, controller
assignments, etc.) are stored away with a pointer to the sequences they
belong to. I went out and got a cart to hold my "everyday" patches so
I could get to them regardless of what was stuffed into the internal
bank.
The only drag is that while for a given sequence track, internal voices
are displayed by name, the patches for external modules are simply
"midi", not too descriptive. You can easily see the program number,
though, so it's not too bad. By hitting "more" in the "mix/midi" page
of the display I scroll from channel assignments to CC7 settings to
patch names to track status (local/midi/both). Pretty easy to see
what's happening at a glance.
I currently don't use the sys-ex storage, but can see where if I add a
module more complex than my sample player, I'll be using it as well.
The only restriction is that the sys-ex dump is a separate procedure
that must happen before you load the sequencer (you cannot have sys-ex
midstream in a sequence).
Once I've powered up the boxes, I hit the "multi" switch on the sample
player and I'm ready to go, the setup gets configured as soon as I hit
"start".
The biggest problem in getting organized was getting the *space*
organized. Now that I have a keyboard stand (I was using the top of my
organ plus some desk space before) it's real easy to sit down and start
playing. Now I just need to get some *ideas* 8^) 8^) 8^)
Brian
|
| 2306.10 | time is music | HPSRAD::NORCROSS | Change! | Wed Apr 04 1990 18:40 | 16 |
| Organization is my middle name.
That's why I use preset-patches only, and fixed channel assignments for
each sound unit - so I never have to think about where I'm going to get a
patch from. I just keep a list of which patches are available on which
channels, then call up the one I need. - no sysex patch dumping and no
disk loading - Not a whole lot of flexibility either, but then I do have
300+ preset-patches to choose from.
Computer based sequencing is also inherently organized, especially with a
hard disk, since there are usually notepad capabilities and plenty of
user comments and midi setup info embedded within each sequence file.
/Mitch
btw, There is a related topic around called "Studio Ergonomics".
|
| 2306.11 | I B Organized (?) | SALSA::MOELLER | I know-let's speed up the Blues! | Wed Apr 04 1990 21:16 | 46 |
| Good topic - I was thinking of posting essentially the same thing.
I use a fat looseleaf binder, one or more sheets per piece. The first
thing it lists is what media/label does the original of the piece reside
on, separate stereo master mixdown location (if different) and where are
the copies. Also BPM if I know it.
Possible original/mix/copy locations are 4-track, 8-track, cassette,
PCM, or Performer data disk (floppy).
Another issue is of course 'track' assignments. This is clearcut for
the 8 track/4track, and a bit hazy for the sequencer. Tape tracks list
instruments, effects recorded (if any) for each track, mixdown-time
effects to be imposed (in case I mix it to stereo again), pan position,
and any special info.
Sequencer pieces, I list the Instrument(K for Kurzweil, E for Emax),
Patch number/name and the MIDI channel assignment. Also, special notes
for compound sounds, made of multiple patches responding to the same
MIDI channel - not intuitively obvious looking at the limited patch
label space afforded by Performer. Also a comment on whether a track
was transferred to 8-track for sample space or specific effects
reasons, plus what track# it's on on the 8-track. So this last covers
compound pieces, with some parts on the 8-track and some parts played
realtime by Performer. The samples have pan information imbedded, so I
don't need to add that.
The EMAX allows me to set up a specific floppy for each piece,
containing the samples used plus a 'map' of MIDI-to-sample assignments.
This floppy is just labeled XXXXX Map and is kept separate from the
regular sample library floppies. I use three 5x8 index card boxes for
floppy storage, one for MAC/Performer and two for EMAX flops. The EMAX
samples are organized by human voice, strings, horns, sound FX,
percussion, synth sounds, guitars, and 'maps'.
Organizing the Kurzweil sounds has been a challenge all its own. I
have over 225 sounds in the PX/A now. Have set up a special Preset
which brings all my faves into MIDI patch# range. Now follow this:
from Performer, the patch change is straight Preset number. So I have
a Macwrite document that remaps MIDI patch # to Kurzweil #. However,
for live playing, my KX88 uses 16-patch 'banks' to generate MIDI patch
changes. So now my Kurzweil cheatsheet shows
KX88bank/patch > MIDI patch > Kurzweil patch
..in REAL small print, to get all 128 of them on.
enough for now ! karl
|
| 2306.12 | Chart it out first! | WEFXEM::COTE | Bain Dramaged | Thu Apr 05 1990 09:26 | 40 |
| One thing I *have* done that makes sequencing a tune infinitely easier
is to chart it out from the record/CD before I even enter the studio.
It's nothing major, but it saves a whole lot of time, especially when
creating drum patterns...
A simple one would look like this:
"Guilty"
Intro: ..|...|...|...|...|...|...|...|...
|...|...|...|...|...|...|...|...
Verse 1: |...|...|...|...|....|...|....|...|...
|...|...|...|...
Chorus: |...|..|...|...|...|... etc...
I sit down with a piece of graph paper and just make long marks on the
downbeat and short marks on the others. I used the above example because
there are measures of 4/4, 5/4, 3/4 thru out the tune.
During the sequencing process I make all kinds of notes on the chart.
First are the measure numbers at the beginning of each section and any
place else I want a quick reference to. Then are some cryptic codes
indicating drum events; crash cymbal hits, rolls, anything. Then the
HR-16 pattern number that I'm using on that measure...
|-----28----|-29|
|...|...|...|...|
...that makes it easy to keep track of the patterns in case I want to
re-use them someplace else...
I find that drum patterns often work best if the length is a multiple
of 4, minus one. This lets me have a bunch of 1 measure 'riff' patterns
that I can throw out to complete a 4 measure sequence. I also have a
one measure pattern that has no riff that I can use just to keep the
basic pattern going.
Edd
|
| 2306.13 | I Did That When I was 7 | DRUMS::FEHSKENS | len, EMA, LKG2-2/W10, DTN 226-7556 | Thu Apr 05 1990 11:02 | 5 |
| Gee Edd, where'd you ever get an idea like that?
len (who has notebooks full of similar charts, even for original
tunes).
|
| 2306.14 | me too, (sorta) | NRPUR::DEATON | In Tents | Thu Apr 05 1990 11:10 | 16 |
| RE < Note 2306.12 by WEFXEM::COTE "Bain Dramaged" >
In the past, I have always fully mapped out each drum part before I even
sat down in front of the drum box/sequencer. That has gotten to be quite
cumbersome. I have dome something that falls somewhere in between my old
routine and the one you outlined.
I now make a song map as you have explained, but I'll go through the
song before I start doing the drum parts and make notes in various measures -
things like "tom fill", "8th HH ride", etc.
As with my MC500 disk log, I also have forms I have made for both
pattern mapping and song measure mapping.
Dan
|
| 2306.15 | Good idea regardless of origination... | WEFXEM::COTE | Bain Dramaged | Thu Apr 05 1990 11:10 | 5 |
| Did I rip that off from you??
Independant discovery...
Edd
|
| 2306.16 | ! is my cymbal symbol | WEFXEM::COTE | Bain Dramaged | Thu Apr 05 1990 11:14 | 12 |
|
> I now make a song map as you have explained, but I'll go through the
> song before I start doing the drum parts and make notes in various measures -
> things like "tom fill", "8th HH ride", etc.
Yeah, that's what my cryptic little symbols are for, to let me know
that *something* outta the ordinary is happening there.
I never notate my drums before hand. It's beyond me.
Edd
|
| 2306.17 | misc comments | DYO780::SCHAFER | Brad - boycott hell. | Thu Apr 05 1990 12:02 | 59 |
| Gee - I always just record a "phony" track (usually using piano for a
gauge) and then pound in the drums in real time right into the
sequencer (usually just kick and snare). But again, I don't use
"pattern" sequencing for drums anymore, either.
In short, I don't use the HR16 for anything except different kit
configurations (and 100 do me just fine). All drum sequences are
stored as separate tracks on the Atari in MTP.
I used to have a nasty config problem with MTP, an ESQ1, and without a
merger or MIDI switcher. I've since decided to use MTP as the main
sequencer. Like others, I've defined a set of channels to modules:
ch 1: MKS70 ch 9:
ch 2: * ch 10:
ch 3: 1000PX ch 11:
ch 4: 1000PX ch 12:
ch 5: 1000PX/OB-Xa ch 13:
ch 6: Proteus ch 14: HR16
ch 7: Proteus ch 15: MIDIverb II
ch 8: Proteus ch 16: Quadraverb
Channel 2 is reserved for MKS in bi-timbral mode, but not normally
used. Since the Oberheim doesn't respond to controllers, I can blast
the Kurzweil a CC7=0 (MIDI volume) and the OB is content to play right
along. If I'm not using the Oberheim, I just turn the volume down.
Hmmm - I *could* make the OB channel 2 and forget that ....
As a rule, computer-based sequencers have a track-sheet or notepad
facility to store notes about the sequence. MTP is no exception.
As for SYSEX, since MTP has a built-in SYSEX facility, any special
setups associated with a sequence can be stored right along with the
sequence. I use file names to keep track of things. For example:
MYTUNE.MTS MTP sequence
MYTUNE.HR6 HR16 sysex
MYTUNE.JX JX10 sysex
MYTUNE.PRO Proteus sysex
Of course, this is not conducive to live work. When I've had to play
live in the past, I found that I usually used no more than 20 or so
distinct patches per SGU for an entire gig (usually far less than
that). I've got a librarian program for the Atari that lets me set up
custom patch banks, so I listed patches used on a piece of paper, then
built custom banks and loaded the SGUs before gigging. This eliminated
SYSEX twiddling (and time) at the gig.
What I would like to see is a command line based MIDI "shell", like
so:
$ copy/sysex PATCHLIB:mytune /modules=(HR16, DX7a, DX7b, Proteus)
$ MTP /input=SEQLIB:mytune /delay=5 /tempo=107
$ copy/sysex DX7a PATCHLIB:dx7dump.tmp
$ copy/ascii DX7a/patch=15 LP:
To blazes with point & grunt.
-b
|
| 2306.18 | Emphasizing a point Brad made | DREGS::BLICKSTEIN | Conliberative | Thu Apr 05 1990 13:55 | 10 |
| re: .17
Yes, not using the drum machines sequencer has two advantages IMO:
1) You don't have to save and restore pattern memory
2) I think drum programming via patterns is usually a bad idea.
I don't want to go into it in detail or defend that position
but IMO it causes folks to have overly repetitive drums that
don't "respond" to the music/lyrics.
|
| 2306.19 | Subject for another note anyhow... | WEFXEM::COTE | Bain Dramaged | Thu Apr 05 1990 14:31 | 5 |
| Well, since you don't want to defend it I won't attack it.
Let's just say I disagree.
Edd
|
| 2306.20 | The REAL real world. | BAHTAT::KENT | peekay | Fri Apr 06 1990 04:01 | 32 |
|
Being the untidiest bastard I have evet met I have disciplined myself
(in a fun way of course) over a nunber of years to get very organised
about the things that I do. One of the most influential things that
happened was my vist to Dave Drehers studio where he was just able to
pop a new disk into the MC and out came a different song. No massive
repatching of cables (cords). No dissapearing behind the patch panels
to rewire everything.
I try do this myself. I have always had pre-assigned midid channels I
can walk in turn on and away I go.
CUBASE is a major help I can store patches,sysex patch mods
8 track assignment notes notes and even lyrics all on the song file
The only paper I have up there these days is one sheet of patches for
the midi patch panel. As I think I mentioned elsewhere, Cubase even
has a mixer built in so that I don't have to touch the sliders on the
MIDI sub-mixer anymore.
I redesign the studio (sic) once every 3 months and believe I have just
about got the optimum set up, unfortunately this may mean that the KX88
will have to go (takes up to much room and I have resigned myself to
never being that good a pianist anyway).
In terms of disks all I need now is a CUBASE program disk and a library
of song disks.
Still looks untidy though! What I need is a lake to look out at like
the one MR Gabriel has.
Paul
|
| 2306.21 | The joy of sys-ex... | WEFXEM::COTE | A friendly stranger in a black sedan | Tue Apr 17 1990 09:36 | 40 |
| Sunday was rainy, so I decided to start implementing the rules I laid
down for myself in .0....
Writing sys-ex is a pain in the tuckus, but the results were well worth
it.
Each synth now has 1 disposable RAM slot for each 'degree of
multitimbrality'. F'rinstance, my DX can do splits and layers, so it
gets 2 disposable slots, one in each bank. The TZ's can do 8 part
multi-timbral, so they get 8 slots. Disposable slots are always the
last ones, like I32-I25 on the TZ, or A16 and B16 on the DX.
TZ's also get a disposable performance, again, the last one PF24.
Each song now has a 1 or 2 measure lead-in, with all the sys-ex
imbedded in it. I was kind of shocked at how fast one can fill up
a buffer. This is kind of a pain, as I found myself moving sys-ex
strings around by CPTs in order to give the buffer time to flush.
On Striesand's "Guilty" I have to set up a TZ performance with
4 2-note voices. Both patches are custom, so they have to be loaded
in. That's over 300 bytes right there. Plus, the performance itself
has to be loaded. 7 bytes times 12 parameters times 4 parts = 336
bytes, plus a 70 byte name string. Plus probably another 50 - 100
bytes of remote switch control and I'm pushing 1K for the 1st TZ alone.
Judiciously spacing them out allowed me to squash them into 1 80 BPM
measure without buffer overflow. (I suppose if I knew how big the
buffer was and the internal processing speed I could avoid the trial
and error.)
The HR gets a custom kit and a program change. No biggie, I found I
could plop it anywhere in the stream.
Remote switching is preferably to sys-ex patch dumps for use of ROM
patches. Obviously, it's silly to load a patch that you know is gonna
be there...
Next! We start sys-exing to the DEP-5... Now, if the Mirage would only
take a sample over MIDI...
Edd
|
| 2306.22 | Spring Cleaning For The Technodweeb | AQUA::ROST | Bass is the place | Tue Apr 17 1990 10:09 | 20 |
|
Boy, all this MIDI stuff is supposed to make it easier to play more
music, so how come we all gotta spend hours setting up the equipment???
8^) 8^)
I spent two *hours* on Saturday going through three disks of patches
and pulling out *80* patches to fill up a cart so I could have the
patches I would need most often on call. Whew, what a slow process!
Now, I have to go through those *same* three disks and organize all the
patches I've got (somewhere around 2000) and organize them into banks
by instrument type (i.e. pianos, e-pianos, organs, winds, strings,
etc.) so if I need just the right patch for some sequence I can find it
more easily. I figure that's about a 12 hour project!!!
And I though having a disk drive would make everything more
organized....8^) 8^) 8^)
Brian
|
| 2306.23 | Overhead in high-tech | PAULJ::HARRIMAN | bzzzzzzzTHWACK!hmmmmmmm | Tue Apr 17 1990 10:24 | 11 |
|
Yeah, it's amazing how much overhead is involved in high-tech
studio work. Between diddling with patches and samples, editing
sequences, reading piles of manuals, disk organizing on multiple
format disks (I have Atari and EPS floppies, gaaawwwd do I need a
hard disk for the EPS...)...I even had to stop and tune my piano
the other day (remember tuning pianos? ;^) )... It's amazing we
ever get anything done ;^)
/pjh
|
| 2306.24 | | 4GL::DICKSON | | Tue Apr 17 1990 10:32 | 1 |
| Sounds like you need one of those librarian programs.
|
| 2306.25 | Need The 'Puter Too | AQUA::ROST | Bass is the place | Tue Apr 17 1990 12:04 | 7 |
|
> Sounds like you need one of those librarian programs.
Only a true MIDIholic would say that. Unfortunately, a librarian
requires a computer to run it on....
Brian
|
| 2306.26 | | 4GL::DICKSON | | Tue Apr 17 1990 14:09 | 18 |
| Right. Which strongly makes the case for computer-based sequencers.
Once you have the computer, you can also run librarians and patch
editors on them.
My sequencer (Vision) has a companion librarian (which I don't have)
and the libraries contents show up in the scroll windows when you go to
pick an instrument.
As it is, I can tell the sequencer what the program names are for the
128 patches in my TZ, and when I want to change the voice I click on
the current patch name and up pops a menu of my programs. As I move
the mouse over the menu, you can see the program names zooming by in
the TZ's display. Where you release the mouse sets the new patch. And
you can do this while a sequence is playing.
The same popup menu appears when you go to insert a PC event, etc.
Well, I was impressed.
|
| 2306.27 | {choke} | WEFXEM::COTE | A friendly stranger in a black sedan | Tue Apr 17 1990 14:15 | 5 |
| > programs zooming by in the TZ's display...
Ever run into "MIDI BUFFER FULL" while doing this???
Edd
|
| 2306.28 | | 4GL::DICKSON | | Tue Apr 17 1990 14:35 | 12 |
| No, but then I haven't done it much.
According to the manual, it takes about one time unit to send one
event, and warns against trying to send too many program change, etc
events at the same tick. But all it says will happen is that the
sequencer will fall behind momentarily.
With playback stopped, me moving the mouse over the menu doesn't seem
to push it. This is running on a 2meg Mac with lots of memory free.
(Says it has room for 92000 notes. And there is a 600KB Ramdisk
holding the system, since I lack a hard disk and Vision 1.1 almost
fills an 800KB floppy all by itself.)
|
| 2306.29 | | 4GL::DICKSON | | Tue Apr 17 1990 14:37 | 5 |
| Or do you mean a MIDI BUFFER FULL message from the TZ? I can see how
it might fall behind repainting its display. This didn't happen
either.
Oh yeah: Vision's clock ticks are 480 per quarter note.
|
| 2306.30 | | WEFXEM::COTE | A friendly stranger in a black sedan | Tue Apr 17 1990 17:39 | 4 |
| Yeah, I meant the TZ. I found overloading the TZ's buffer was pretty
easy...
Edd
|
| 2306.31 | Computer Sold Separately Dept. | AQUA::ROST | Bass is the place | Wed Apr 18 1990 09:35 | 62 |
| Re: .26
> Right. Which strongly makes the case for computer-based sequencers.
> Once you have the computer, you can also run librarians and patch
> editors on them.
Wrong...8^) 8^)
It makes a case for the *computer*, maybe, but not necessarily the
sequencer.
While all of you out there with PCs of one form or another may find
computerization of your rig a good deal, look at it this way: I have
no computer, because outside of MIDI, I have no application for one. I
have a VaxStation in my office and a terminal at home so what the heck
do I need a PC for? What "home computing" needs I have I do on my
workstation (on my own time, of course...); that includes stuff like
homework for grad school, etc.
It's become increasingly commonplace for manufacturers to make MIDI
gear extremely user-unfriendly unless you have a computer. I'm sure
this is a marketing decision based on the old chicken and the egg
concept; oh, all MIDI freaks have computers so why bother putting in a
decsnt user interface, just make everything accessible from sys-ex, but
that's why everybody went and got a computer, etc. Heck, a $2000+
(list) box like a Korg M1 has *no way* to archive data except (not
cheap) RAM cards, unless you have some sort of external sys-ex filing
capability. Sheesh! This is progress? For $5 they could throw in a
cassette port for Luddites like me, but, hey nobody uses cassettes
anymore, right (oh, if you were cute, you could always have the tape
port do double duty as a tape sync interface for your sequencer, after
all, both use FSK...waitaminnit, that's what my w-word does)?
So, off to buy a computer...lessee, a second hard Atari runs about $400
at best, toss in a sequencer and patch librarian and we're up to about
$700, minimum. Go to a PC clone or maybe a new ST and we're pushing
$1K, howzabout a Mac? Uh, time to sell the car 8^) 8^). And *none*
of this stuff makes music. My $1100 "workstation" sure does and has a
sequencer and disk drive, too. Moving patches around is a minor
annoyance, sure, but that's because of all the disk accesses you have
to make (the OS lets you store individual patches on disk as well as
banks). Besides, half of the time is spent *auditioning* the patch to
figure out what it is (so I know where to archive it). Quick, tell me
what a patch called WALDO is. If you answered an electric piano, you
win a prize. If you happen to know what FISCAS, ZOLA or SYN67 are, let
me know, OK?
I have nothing against computers but I do have a beef with
manufacturers who come up with such lovely marketing decisions like
backing up memories with lithium batteries that are *not*
user-replacable, or using RAM cards (why not EEPROM like Ensoniq, that
way ther's no battery involved at least) or the lovely UIs that Roland
comes up with (hold down this button, grab this lever, hit the switch
with your nose while stomping on this footswitch on alternate
Thursdays). For the prices that these MIDI boxes go for, I figure it's
reasonable to expect a way to inexpensively archive all these
programming parameters we've been blessed with. Which is why I bought
a workstation with a disk drive in it.
Brian
Still_looking_for_MIDI_IN_on_his_string_bass
|
| 2306.32 | a computer is a multi-use tool | SALSA::MOELLER | Can you say 'filesystem' ? | Wed Apr 18 1990 13:20 | 26 |
| re .31 - Brian, as I read I saw your message move from 'why I shouldn't
need to buy a PC just for music' to 'and they all cost too much anyway'
to a general complaint about unrelated music product design zits..
You may be correct that some mfr's are cutting corners based on the
assumption that there will be a computer of some sort available. If I
were a mfr., and PC-resident software existed or could be written to do
a function that would cost me big bux, I'd cut corners too.
Perhaps insanely, in 1987 I bought a used MAC exclusively for MIDI
sequencing. A funny thing happened - it started to get used FOR OTHER
THINGS - like
o developing my cassette cover layout
o maintaining a music marketing address database
o music marketing correspondence
o my wife's papers for grad school
o funny cards to friends
o ............................
karl
|
| 2306.33 | take it easy, man !! | HPSTEK::RENE | Luckless Pedestrians | Wed Apr 18 1990 13:26 | 10 |
| Hey Bri, a bit touchy today , eh??? 8^) 8^)
Did someone reinitialize your SQ-80 as a joke? Did someone get
into the MASTER menu and change pedal from MOD to VOL? (I almost
through my SQ-80 out the window cuz I thought it was busted when
someone did this to me). Can't come up with any cute names for patches?
8^) 8^) 8^)
frank DIGPNO rene
|
| 2306.34 | but what if I'm in the red? | SALSA::MOELLER | Can you say 'filesystem' ? | Wed Apr 18 1990 13:40 | 23 |
| <<< Note 2306.31 by AQUA::ROST "Bass is the place" >>>
-< Computer Sold Separately Dept. >-
> no computer, because outside of MIDI, I have no application for one. I
> have a VaxStation in my office and a terminal at home so what the heck
> do I need a PC for? What "home computing" needs I have I do on my
> workstation (on my own time, of course...); that includes stuff like
> homework for grad school, etc.
Well, I missed this part. I too have a personal VAXstation (KEYS::)
in my office, and I have steadfastly refused to admit a DEC terminal
and modem to my home - the temptation to do MAIL and NOTES from home
would be overwhelming. Also I'd have a problem personally and
professionally using DEC equipment to run my studio BUSINESS. Not to
mention that I'd have to print all my cute PAINT program output on the
office's LN03R..
No, thanks. I found that the home system DOES get used, and that using
DEC gear for all non-MIDI but music/home/correspondence use is
unappealing. Not to mention grounds for dismissal if I'm running a
business with it.
karl
|
| 2306.35 | A Cooler Head | AQUA::ROST | Bass is the place | Wed Apr 18 1990 14:38 | 34 |
|
Re: .32
I guess I did digress a bit 8^) 8^)
To me, the need to have a computer to download memory is a simple
marketing decision, based on the fact that many users will *never*
download their memories, or for that matter even ever change patches.
I read once that Sequential found that something like 90% of all
Prophets returned for service had the factory patches intact. Even
some computer owners don't bother....Mitch Norcross has stated several
times in here that although he sequences on a Mac, he chooses to
use only factory presets.
The fact that some some users *do* need data storage is evident by the
recent introductions of MIDI data filers. You may have seen the add-on
disk drives for the Korg M1...here you have an expensive synth with a
sequencer, for pete's sake, where you can't offload sequences except to
RAM cards!! ???
Sometime in the future I may find enough reasons for owning my own
computer. MIDI right now is not enough to justify the expense. When I
*do* get a computer, I can assure you I will hook it up to my rig PDQ. I
didn't really say they all cost too much, it's just that for the cost
of an SGU, I got a sequencer and data filer essentially for free, and
therefore didn't need to go out and spend an additional $700 or more to
get rolling. Heck, my first sequencer only cost me $50 and was worth
every penny 8^) 8^)
Re: .33
Frank, maybe I should start drinking coffee in the morning 8^) 8^)
Brian
|
| 2306.36 | Gee, if only I could afford a computer... | MILKWY::JANZEN | Life's beautiful from a Distance | Wed Apr 18 1990 16:03 | 15 |
| I would imagine that having a little computer is probably useful for
making videos for local cable TV, learning C, writing music improvising
software, writing scripts for performances, writing short stories,
signing on to work to read notes over the weekend, doing a little real
work for work from home, learning to program windowing applications for
computer-music improvising software,
recording all the music one wrote in 18 years using midi, making
cartoons, making ray-trace images and nice graphics of words for making
privately-distributed postcards, making posters, press releases, and
other publicity for performances, writing personal letters, playing
chess, playing jet fighter, playing dc10 pilot, printing cassette
inserts for privately distributed tapes of computer-improvised music,
and so on.
But I'm only guessing, mind you.
Tom
|
| 2306.37 | Herald for the age of software | DREGS::BLICKSTEIN | Conliberative | Wed Apr 18 1990 17:58 | 25 |
| I sorta disagree on two counts.
Brian sorta implied that manufacturers are compromising on UI's based
on the assumption that a computer will be used.
I think that may be true for very high end pro audio gear, but I think
it's very untrue for mid and low range stuff. For example, Roland has
come out with a variety of stuff which is mainly old SGU technology
packaged with a slick new display/interface technology.
In the case of the high end, I think that is the right way to go.
I don't want to learn/pay-for/lug/maintain/repair stuff that my
computer can do.
I think the ultimate is to have functionality that's delivered
"on a floppy" instead of "in a box". I like the idea of buying
general purpose hardware that becomes whatever I need it to be
based on whatever program I run on it.
To me, the IDEAL is to have a synths and such delivered in black
rack-mountable boxes with NO buttons on them that are controlled
entirely by my computer. Unfortunately, that's not pragmatic
today (the problem is with the computers, not the boxes), but
someday I think that's how things will look.
|
| 2306.38 | I'd like more, sir! | SWAV1::STEWART | As a matter of fact, it's all dark | Wed Apr 18 1990 19:04 | 4 |
| CRTs with mice & ASCII kbds on my SGUs and a multi-windowed
master computer to talk to them all...and an attendant to pack,
unpack, backup, & debug the mess & fetch nice cold ones while I
piddle around...
|
| 2306.39 | Don't need no steenking 'puter.... | DCSVAX::COTE | A friendly stranger in a black sedan | Wed Apr 18 1990 22:32 | 13 |
| After spending the last few days hacking sys-ex I'm absolutely thrilled
with what I have. All my addressable SGUs configure themselves with
patches, performances, functions, etc., on the fly right at the
beginning of each tune.
I have to spend a little time up front setting the strings up, and
frankly, that's a pain. The upside is I understand my hardware at a
much deeper level than I did a week ago.
Does anybody else use sys-ex this way? Ya know, really getting down and
entering F0...........F7 stuff?
Edd
|
| 2306.40 | It's trivial on the SQ-80 | DREGS::BLICKSTEIN | Conliberative | Thu Apr 19 1990 11:00 | 26 |
| > All my SGUs configure themselves with patches, performances,
> functions, etc on the fly right at the beginning of each tune
> Does anybody else use sys-ex this way?
I do, but I don't have to use sys-ex.
And I do this all with my modest Ensoniq SQ-80. I push one button,
I get the list of loaded tunes - I push the button underneath the
tune I want and
o Each SGU/channel is set to the correct patch
o The mix is setup correctly and automatically using MIDI
volume
o The right effects are called up
o Each controller is connected to the right sound
o The sequence (if any) is ready to go by pushing play
o If there are patch changes that can occur only in the middle
of a song (i.e. there are more sounds than I have controllers)
I push one more button and I get a menu of all the patch
changes I will need to do. Pushing one button does it.
(I could make it even easier than this if I needed to).
o If there isn't a sequence, I can still get a count-in that
will start me off at the right tempo.
db
|
| 2306.41 | I will do it | NORGE::CHAD | Ich glaube Ich t�te Ich h�tte | Thu Apr 19 1990 12:15 | 18 |
| re: -.1
Except that I think Edd is also sending custom patches down the wire
in his sysex, so to do what he is doing you need sysex.
pretty neat anyway.
-
I plan on doing this someday when I have the musical parts of a tune
all set up and I'm ust twiddling oatches and whatnot for final production.
To get the musical parts down I use preset approximations of what the tune's
voices are.
Chad
|
| 2306.42 | | WEFXEM::COTE | A friendly stranger in a black sedan | Thu Apr 19 1990 12:31 | 12 |
| Right. Any custom patch is imbedded in the sequence. ROM patches get
dealt with differently, but the selection process is still pure sys-ex.
Dave, can the SQ-80 configure other SGU's via sys-ex???
What I like about the sys-ex scheme is I don't have to continually
find a place to store a custom patch. The librarian software assures
me that I'll have it *somewhere*, but blowing it in on the fly is
just soooo much easier.... just make sure I don't store anything I
don't want to lose in my dedicated slots and I'm all set.
Edd
|
| 2306.43 | question | NORGE::CHAD | Ich glaube Ich t�te Ich h�tte | Thu Apr 19 1990 12:58 | 14 |
| Edd,
Are you saying that the TZ won't respond on each instrument to patch change
on that instruments channel in a performance?
If that is true, somethings wrong.
From my little bit of play on the U220 it has "patches" (like Y "perf"s) and
"tones" in slots in a patch (like Y* "instruments") but each tone-slot responds
to patch change commands and changes the tone in that slot. I assume it is also
possible to change patch/performance too but I haven;t had it long enough to
worry about it. I also don't think I'll have too -- set up one patch/perform.
and just diddle it the whole time.
Chad
|
| 2306.44 | Re .39(?) My hands are dirty with F0..F7 | PRNSYS::LOMICKAJ | Jeffrey A. Lomicka | Thu Apr 19 1990 13:09 | 11 |
| I've been slurping the F0...F7 stuff out of my Roland D5 for a couple
of days now, using some code I wrote for the Atari ST. I can accept
the dump from the D5, and pigeon-hole all the information in easily
accessible data structures in C, and now all I have to do is put a user
interface on it for save/restore/edit. The idea is that by putting in
a few days :-) of hard-core hacking, I should be able to graphically
enter new sounds with lots of sliders and buttons graphs and stuff like
that. Plus the audition/compare will be automatic. When you change
something, you will hear the original and the changed back to back, so
you can quickly get some intuition into what changing the numbers will
do.
|
| 2306.45 | Yes and no = kinda | DREGS::BLICKSTEIN | Conliberative | Thu Apr 19 1990 13:12 | 28 |
| > Dave, can the SQ-80 configure other SGU's viaq sys-ex?
The legitimate answer here is "no".
However, I do pretty much the same thing anyway.
My organization is based around one SQ-80 sequencer bank. That is,
for each sequencer bank file on the disk, there is a specific
configuration for all my other stuff.
Each sequencer bank can contain several songs. The SQ-80 can't send
sys-ex at the beginning of a song, but because of how I do things, I
don't need to.
Most MIDI devices have a "dump/load current configuration by MIDI".
(The one exception in my rig is the sampler, which I don't use much
live.)
The SQ-80 also can act as a MIDI filer.
Thus when I am about to load a sequencer bank, I "load" the other
devices via the sys-ex dump file. A typical load takes only a few
seconds, and an SQ-80 sequencer bank is easily one sets worth of
material for me (not everything is sequenced of course, sometimes
a "song" does nothing more than configure all the other devices
in my rig, and that doesn't take up much memory).
db
|
| 2306.46 | I would be king! | WEFXEM::COTE | A friendly stranger in a black sedan | Thu Apr 19 1990 13:22 | 13 |
| One of the other noters in here confirmed that the TZ will accept
patch changes on the instrument channel. I've never done it.
I've also taken to making short little sys-ex utility files and storing
them away. For instance, I've got one file that does nothing but blow
ASCII into the name buffer. My DX won't do lower case or any special
characters from the front panel, but will accept them over the wire.
I just store this little 1 measure "song" on all my discs and it's
always there when I need it...
Now, if I only had a PROM blaster...
Edd
|
| 2306.47 | | NRPUR::DEATON | In Tents | Thu Apr 19 1990 13:41 | 8 |
| RE Using Sysex in sequences...
Yeah, I've been doing a form of this for some time - I believe I wrote
up a note or two about it a while back. The TZ is great for this kind of thing,
as is most of Yamaha's professional and semi-pro synths.
Dan
|
| 2306.48 | New device - MIDI prompter | DREGS::BLICKSTEIN | Conliberative | Thu Apr 19 1990 14:08 | 19 |
|
> blow ASCIII into the name buffer
Is that to mean that you can just post something up on an ASCII
numeric display?
I would love to have something that does "MIDI prompting" - that is,
I could create songs with little notes that are supposed to pop up
at a certain time like:
"Solo coming up" "Stop coming up"
"Bars left in solo - 8 7 6 5 4 3 2 1"
"Remember Adim, *NOT* A minor!!!"
"Call your mother" ;-)
db
|
| 2306.49 | ok | NORGE::CHAD | Ich glaube Ich t�te Ich h�tte | Thu Apr 19 1990 14:14 | 9 |
| re: Edd
OK. I sort of remember now the discussion on patch change on TZ instruments
in a performance.
Thanks for jogging my memory
Chad
who_doesnt_have_a_TZ
|
| 2306.50 | Good idea... | WEFXEM::COTE | A friendly stranger in a black sedan | Thu Apr 19 1990 14:15 | 6 |
| Ya know, I'd never thought of that application but the answer would be
an unqualified "YES".
There's no reason the LCD has to display only patch names...
Edd
|
| 2306.51 | | WEFXEM::COTE | A friendly stranger in a black sedan | Thu Apr 19 1990 14:17 | 4 |
| Hey! With some effort you could put the words to the song in
your sequence!
Edd
|
| 2306.52 | a new alternative for pencil & paper! | SALSA::MOELLER | virtual bumper sticker | Thu Apr 19 1990 14:58 | 5 |
| <<< Note 2306.51 by WEFXEM::COTE "A friendly stranger in a black sedan" >>>
> Hey! With some effort you could put the words to the song in
> your sequence!
A truly mind-boggling concept..
|
| 2306.53 | Midi prompts | KOBAL::DICKSON | | Thu Apr 19 1990 15:05 | 16 |
| I think Dave's question was about general text messages in Midi. What
we are talking about here is changing the NAME of a patch, specifially
on the TZ, which displays the patch name on its LCD screen (unless you
happen to be in PERFORMANCE mode, which I am all the time).
The Midi file spec does provide for a whole host of text information
that can be associated with a certain point in time, just like any
other event. These can be cues, or lyrics, or anything else you want.
"This is the first violin part". "Jump up in the air now".
"Copyright 1990 by Fred Fretboard". "Smoke bomb in 3 seconds".
But the Midi protocol does not have a defined way to send them. Some
manufacturer could define a SYSEX sequence to carry them, though,
for the prompt function you are talking about. If it got standardized
then sequencers would be able to convert the Midi file pseudo-event
into the proper protocol message.
|
| 2306.54 | <take break> | WEFXEM::COTE | A friendly stranger in a black sedan | Thu Apr 19 1990 15:49 | 5 |
| ...but if one thinks of the LCD as a "blank sheet of paper" that the
manufacturers just happen to write patch names in, then the message
facility, and means of addressing it via sys-ex, are already there.
Edd
|
| 2306.55 | Write to display without affecting "patch name" | PRNSYS::LOMICKAJ | Jeffrey A. Lomicka | Fri Apr 20 1990 12:46 | 43 |
| Roland, at least on the D5, has a SysEx message explicitly for writing
the LCD display. From my code, a "printf" that writes to the LCD:
displayf( s) /* printf into D5's LCD display */
char *s;
{
static unsigned char str[ 100];
sprintf( str, "%r", &s);
str[ 32] = 0;
sendex( 0x200000L, strlen( str), str);
}
sendex( address, count, data) /* Send Roland exclusive message */
unsigned long address; /* Roland's exclusive data address */
unsigned count; /* Number of bytes to send */
unsigned char *data; /* Data to send */
{
unsigned char checksum, b;
checksum = 0;
Bconout( MIDI, 0xF0); /* Start exclusive data */
Bconout( MIDI, 0x41); /* Roland */
Bconout( MIDI, unit); /* Current unit number */
Bconout( MIDI, 0x16); /* Model number */
Bconout( MIDI, 0x12); /* Command (DT1) */
b = (address>>16) & 0xFF; checksum -= b;
Bconout( MIDI, b); /* Address bytes */
b = (address>>8) & 0xFF; checksum -= b;
Bconout( MIDI, b);
b = (address) & 0xFF; checksum -= b;
Bconout( MIDI, b);
while( count--)
{ /* Send out the data */
address++; checksum -= *data;
Bconout( MIDI, *data++);
}
checksum &= 0x7F; /* Mask off the checksum to 7 bits */
Bconout( MIDI, checksum); /* Send the checksum */
Bconout( MIDI, 0xF7); /* Terminate system exclusive */
Vsync(); /* Let it sink in */
Vsync();
}
|
| 2306.56 | Right on SYSEX | NWACES::PHILLIPS | | Fri Apr 20 1990 17:41 | 18 |
| I find this topic extremely useful and interesting. I would like to be
able to do all this sysex stuff from my software sequuencer, however, I
am not sure I can download patches from the sequencer ( Voyetra Sp2+),
that would be really rad you know. :)
RE:.21- >The HR gets a custom kit and a program change. No Biggie.....
I got a question for Edd or anyone else who may have the answer. Can
I change the note/pad assignments on the HR16 from sysex? I use it
together with the drum kits on the M1, I find it easier to
store/program(Of course from my Yamaha DD-5) the drum sequence
on the HR-16.
Also to do these sysex things with HR-16 one need to have the MIDI
implementation chart. I'll appreciate it, if some kind person can
send me a copy of theirs.
Errol
|
| 2306.57 | When I get a spare month maybe... | WEFXEM::COTE | A friendly stranger in a black sedan | Sat Apr 21 1990 11:01 | 13 |
| My documentation for the HR-16 doesn't even mention sys-ex, so frankly,
I don't have a clue.
My gut reaction though is "Of course it does." I'll have to dump it to
the MC-500 and take a look. Without a doc-set deciphering each word in
the string would be simply trial and error. I imagine if it's possible
at all, the effort would be monumental. The HR-16 dumps it's *entire*
pattern and song memory, which can be pretty huge. I don't think I'm
up for it...
Edd
|
| 2306.58 | Sysex sometimes | PAULJ::HARRIMAN | It's a dog eat dog food world | Mon Apr 23 1990 09:49 | 24 |
|
re: .25 or so on
I've found I haven't used as much sysex stuff as I thought I originally
would when I started mucking with this (back in October I think). But
I have been using registered and nonregistered parameters - it must be
the SGUs, since their SYSEX implementations mostly document patch
and sequence transmission/reception.
But I use a lot of registered parameters. Volume, especially.
I have found that nonregistered parameters which are assigned to a
particular channel work fine (so long as you know your SGU's
parameters). I actually sequenced a filter Fco change, which I
thought was pretty neat (used to be you just turned a knob, yaknow?)
I still haven't figured out the brain-dead HR-16 sysex, four months
later. Not documented in earlier versions, as far as I can tell.
Seems to understand "load everything" and "dump everything", but
other than that, it's been indecipherable. If anybody gets farther,
post it (I remember asking this once before but I don't remember any
progress).
/pjh
|
| 2306.59 | Why is their air? (B. Cosby, 1963) | DOOLIN::HNELSON | | Wed Apr 25 1990 19:35 | 9 |
| Would anybody mind if I wrote an article based on this topic, and tried
to get it printed in Electronic Musician? Would anybody care to review
it before I mail it out? Am I stepping on toes? Is anybody interested
in reading a cogent, concise encapsulation of the prior 50-odd replies?
Is there life after death, and if so, can they break a $20 (W. Allen,
1966)?
- Hoyt
|
| 2306.60 | not my decision, but | CANYON::XEROX | | Wed Apr 25 1990 20:46 | 14 |
|
You'd better get somebody to review it after looking at the way you
misspelled the title of Bing's tune...Sorry, feeling a little cruel
today and the thought of making a profit by rephrasing other's ideas
brings out the beast.
SWAV1::(John)STEWART
|
| 2306.61 | Not his real name | DOOLIN::HNELSON | | Thu Apr 26 1990 08:32 | 23 |
| Re -1:
I'd be writing the article for the fun of it, to learn something, and
to share useful information with a wider audience. If I got paid for
it (I have no idea if that's likely), the rate would probably work out
to $1/hour -- there are LOTS of better ways for me to spend my time if
my goal is profit maximization (my wife and I are spending a fortune on
home improvement contractors!).
And "B. Cosby" refers to Bill, not Bing. One of my minor personality
foibles is getting (momentarily) really annoyed when someone goes
"Gotcha: You made a MISTAKE!" and the error is theirs.
I'd really like to avoid rat-holing this topic. Maybe y'all should ust
send mail, if anybody has strong opinions or esp. policy statements?!
And now we return to our Feature Presentation:
Organization in the Studio
- Juan
|
| 2306.62 | Spell my name right!! | WEFXEM::COTE | A friendly stranger in a black sedan | Thu Apr 26 1990 09:24 | 37 |
| SET MODE/MODERATOR=ON
The contents of this note and this conference are the property of
Digital Equipment Corporation.
SET MODE/MODERATOR=OFF
Now, I can't imagine any reason why you can't write an article about
things you know. I can write an article about habenero peppers and
submit it to whoever I want, but...
Not to long ago I co-authored a story about a bunch of DECcies saving
the life of a cat. Since the FELINE:: notesfile was an integral part
of the story, we did the right thing and ran it thru corporate PR
before submitting in. To make the story short, the hoops we jumped thru
trying to balance the requirements of DEC against the requests of the
publisher were numerous. Of no small concern was the possiblity of some
stockholder getting upset at the way in-house resources could appear to
be being used.
A word to the wise: You'll be better off NOT mentioning DEC, NOT
mentioning a "computer bulletin board", or any other reference to
the source of the info.
...and a request! If you do write it, I'd expect full credit for
anything you may use that was fom me! Something along the lines of...
"We greatfully and humbly acknowledge the words of wisdom passed down
by Edd Cote, MIDI wizard, FM programmer extraordinaire, sequencist el
supremo, and general nice guy (35, single!) for leading us out of the
darkness".
I don't think that's too much.
;^)
Edd
|
| 2306.63 | op cit. Ed Cody | DOOLIN::HNELSON | | Thu Apr 26 1990 10:12 | 7 |
| Gee, that's kind of you, Edd, to keep the bio so short. The editor was
arguing that the article itself should be longer than your bio, and
I'll be delighted to cut out the parts about your early childhood
development, smoking corn silk out behind the barn with Emmy Lou, etc.,
even though that part IS a little steamier that the usual EM stuff.
- H
|
| 2306.64 | | KOBAL::DICKSON | | Thu Apr 26 1990 10:25 | 3 |
| Ok, we know it wasn't der Bingle.
But you still mis-spelled it.
|
| 2306.65 | I use MemoryMate to org. text on the PC | DOOLIN::HNELSON | | Thu Apr 26 1990 12:28 | 7 |
| I get REALLY, REALLY annoyed when people catch me in mistakes and I
publicly and permanently tell them they're (their, there) mistaken, and
then I'M mistaken, and I apologize for all preceding and subsequent errors
of spelling, judgement, humor, and everyting else, and NOW would
someone please return to the topic at hand?
- Hoyt
|
| 2306.66 | point obscured, retry... | SWAV1::STEWART | As a matter of fact, it's all dark | Thu Apr 26 1990 12:43 | 12 |
|
Would anybody mind if I, too, wrote an article based on this topic, and
submitted it to Electronic Musician? Would anybody care to review
it before I mail it out? Am I stepping on toes? Is anybody interested
in reading a cogent, concise encapsulation of the prior 50-odd replies?
Is there life after death, and if so, can they break a $20 (W. Allen,
1966)?
- John
Get it?
|
| 2306.67 | Just don't do it OK? | DREGS::BLICKSTEIN | Conliberative | Thu Apr 26 1990 13:18 | 28 |
| A quick note on Notes etiquette.
It's generally considered to be inappropriate to point out minor
spelling and grammatical errors.
o It tends to derail the topic (case in point)
o It is a common reaction to feel somewhat humiliated when it's
done (case in point)
o It accomplishes nothing (case in point) other than perhaps to
embarress someone.
o EVERYONE makes mistakes, including folks whose grammar and spelling
are usually well above average. Notes are frequently composed
as a "train of thought", and the words are typed shortly
after they pop into the mind.
Under these conditions, everyone screws up once and awhile.
Noting is supposed to be a relaxing diversion. We shouldn't
do anything that might cause folks to feel they have to scrutinize
anything they might write for fear of being brought to the front
of the class and being admonished for a minor, probably accidental,
violation of the language.
My two cents...
db
|
| 2306.68 | wot db said... | MIDI::DAN | Dan Gosselin, CUP Engineering | Thu Apr 26 1990 13:27 | 0 |
| 2306.69 | | MIZZOU::SHERMAN | ECADSR::SHERMAN 235-8176, 223-3326 | Thu Apr 26 1990 13:33 | 3 |
| Git 'em, db! Git 'em!
Steve
|
| 2306.70 | Pleeze?? | WEFXEM::COTE | A friendly stranger in a black sedan | Thu Apr 26 1990 13:38 | 5 |
| Could I request, as a participant, that if this string must be
continued it be done in another note??? Maye "Conference Issues
and Gripes"?
Edd
|
| 2306.71 | chad replies :-) | NUTELA::CHAD | Ich glaube Ich t�te Ich h�tte | Thu Apr 26 1990 13:49 | 21 |
| RE: db
Gee, I usually type the words before they pop into my mind.
RE: The article request
If you goal is just to write an article on studio organization,
go ahead and do it. If you use ideas from here that are really
things "everyone knows about" then just use them. If they
are somewhat unique ideas (like using sysex to blast messages
to the LCD), common courtesy would suggest you (offline) ask
the originators if they minded you using their ideas.
talking about COMMUSICs ideas for studio organization and COMMUSIC
(as opposed to just the ideas) is a little more touchy. There was
already a note about wwriting an article about COMMUSIC somewhere here
you can refer to..
Chad (from LJO today through a 9600 bps modem into EASYnet then up to
ZKO through EASYnet -- can you say slow?)
|
| 2306.72 | | SALSA::MOELLER | Never trust a Prankster. | Thu Apr 26 1990 14:25 | 17 |
| re - a few back : db, you misspelled 'embarrass'. (snicker)
re the current rathole : I asked a while back about writing a general
article about COMMUSIC.. and consensus was that it would substantially
endanger the continuation of COMMUSIC, *IF* I mentioned it or DIGITAL
(tm) by name.
Another twist is that I'd be mighty angry if you used any of my ideas
slash quotes verbatim without credit, and it would be difficult to
credit 20 odd (emphasize odd) contributors to this topic, without
putting it into context, i.e. we be on a "bulletin board".
So *I* dropped my idea about an article about COMMUSIC.
Which I REALLY appreciate, most of the time..
karl
|
| 2306.73 | Oh yeah???? ;-) ;-) ;-) ;-) | DREGS::BLICKSTEIN | Conliberative | Thu Apr 26 1990 16:49 | 17 |
| > you misspelled 'embarrass'
I noticed that before your reply but (unfortunately) after someone
had already replied to mine.
By the way, I could find no clear-cut flaw in .72 (A+), so I sorta went
back to the beginning of this topic and looked for your first reply
(.11) and found two common errors in the first four paragraphs.
"Looseleaf" and "clearcut" are actually hyphenated words ("loose-leaf"
and "clear-cut"). (My 12th grade English teacher made me very
sensitive to hyphenated words, although I'm sometimes lazy about them
myself.)
;-) ;-) ;-) ;-)
db
|