From silver.lcs.mit.edu!jna Mon Jan 18 23:23:40 1993 Return-Path: Received: from 18.52.0.230 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Mon, 18 Jan 93 23:22 PST Received: by silver.lcs.mit.edu id AA03854; Tue, 19 Jan 93 02:22:57 -0500 Date: Tue, 19 Jan 93 02:22:57 -0500 From: jna@silver.lcs.mit.edu (Blue bell knoll) Message-Id: <9301190722.AA03854@silver.lcs.mit.edu> To: eps@reed.edu Subject: Output Expander , Internals?! I'm buying an EPS tomorrow, and I know that the output expanders are hard to find ... well, what's in them? is it a DIN-6 plug that just goes out to a bunch of 1/4" jacks? or is there some propretiory system that the EPS uses on the output connector? I'd assume it's just a bunch of jacks, and I'd like to build one... Hardware hackers? People from Ensoniq? Help! It's a classic EPS I'm building for. -john From AB.WVNET.EDU!WILLIAMS Tue Jan 19 05:31:37 1993 Return-Path: Received: from 129.71.2.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 05:31 PST Received: from DECNET-MAIL (WILLIAMS@AB) by WVNVMS.WVNET.EDU (PMDF V4.2-5 #042B1) id <01GTP2KZI5349OD46S@WVNVMS.WVNET.EDU>; Tue, 19 Jan 1993 08:30:30 EST Date: Tue, 19 Jan 1993 08:30:30 -0500 (EST) From: Tom Williams Subject: Output Expander To: eps@reed.edu Message-id: <01GTP2KZJQYQ9OD46S@WVNVMS.WVNET.EDU> X-VMS-To: NET::"eps@reed.edu" X-VMS-Cc: ME MIME-version: 1.0 Content-transfer-encoding: 7BIT > From: WVNET::IN%"jna@silver.lcs.mit.edu" 19-JAN-1993 02:53:09.03 > Subj: Output Expander , Internals?! > > I'm buying an EPS tomorrow, and I know that the output expanders are hard to > find ... well, what's in them? is it a DIN-6 plug that just goes out to a > bunch of 1/4" jacks? or is there some propretiory system that the EPS uses > on the output connector? I'd assume it's just a bunch of jacks, and I'd like > to build one... Don't try. It is a multiplexed signal, I think in the digital domain, but definitely *not* a ground and 8 hot leads. If you attempt it, I'm told that you could fry the whole output section. BTW, the output expansion jack is a DB-9. On to a slight tangent, here is a product development suggestion to Whom-it-May-Concern@Ensoniq.com: A few years ago, there were problems with plugs coming out of OEX-8 jacks during road use. One scheme that might be useful in subsequent machines would be to use a locking arrangement such as the DB-15 connectors used for Ethernet transceivers. -Tom Williams Alderson-Broaddus College WILLIAMS@AB.WVNET.EDU From fys.uio.no!t.g.finstad Tue Jan 19 05:59:09 1993 Return-Path: Received: from 129.240.2.202 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 05:58 PST Received: from ulrik.uio.no by gandalf.uio.no with local-SMTP (PP) id <18135-0@gandalf.uio.no>; Tue, 19 Jan 1993 14:58:22 +0100 Received: from [129.240.22.194] by fidibus.uio.no ; Tue, 19 Jan 1993 14:57:03 +0100 Date: Tue, 19 Jan 1993 14:57:03 +0100 Message-Id: <9301191357.AAfidibus23169@fidibus.uio.no> To: eps@reed.edu From: Terje Finstad Sender: t.g.finstad@fys.uio.no Subject: CD ROMs and players ?? Info request on the subject line In the the Ensoniq PR pamphlet on accessories for last year is stated that CDROMs for EPS would be available in August 1992, so they should be available now. The best way to find out about the availability is through an Ensoniq dealer or directly from ENSONIQ. I have not seen any advertisement. Are third companys also making CDROMS for the EPS? In what price-range are they? Is there a list of SCSI CD players that will work with the EPS? Apple have had a dramatic price drop on their CD-150 player. It's now almost free. Will that work on my EPS?. Any information or comments are appreciated From cornell.edu!ga12 Tue Jan 19 07:10:36 1993 Return-Path: Received: from 132.236.56.7 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 07:10 PST Received: from [128.253.224.48] by postoffice.mail.cornell.edu with SMTP id AA20818 (5.65c8/IDA-1.4.4 for eps@reed.edu); Tue, 19 Jan 1993 10:10:01 -0500 Message-Id: <199301191510.AA20818@postoffice.mail.cornell.edu> Date: Tue, 19 Jan 1993 11:17:25 -1000 To: eps@reed.edu From: ga12@cornell.edu Subject: mac_midi2eps utility I just wanted to express my appreciation for the work that Terje put into this utility. It works great. The instructions are comprehensive and easy to follow. The midi channel map dosn't seem to be fully implimented yet but you can work around this by saving the midi file with the midi channels in the order that you wish them to appear as tracks on the EPS. Another note about aDownloader: if you use DOS Mounter (a utility that allows dos diskettes to show up on your desktop and maps dos extensions to mac os type and creator info) then aDownloader hangs the cpu after you insert your EPS formatted disk. To use aDownloader first remove DOS Mounter from the Control Panels folder and reboot, then aDownloader runs fine. Once again a big thanks to Terje and all the other talented people that contribute to this list on a regular basis. I love this list!! mike a. ---------------------------------------------------------------------------- | mike allinger |Now some people say that you shouldn't tempt fate ga12@cornell.edu |And for them I could not disagree m3a@cornellc.cornell.edu |But I never learned nothin' from playin it safe m3a@crux1.cornell.edu |I say fate should not tempt me phone:607.254.6430(work) | 607.564.3669(home) | Mary-Chapin Carpenter | "I Take My Chances" | | ---------------------------------------------------------------------------- From fernuni-hagen.de!martin.erwig Tue Jan 19 07:53:57 1993 Return-Path: Received: from 132.176.64.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 07:52 PST Received: from amundsen.fernuni-hagen.de by fuhainf.fernuni-hagen.de (4.1/SMI-4.1-fu-ha) id AA16978; Tue, 19 Jan 93 16:51:55 +0100 Received: by amundsen.fernuni-hagen.de (4.1/SMI-4.1) id AA05981; Tue, 19 Jan 93 16:51:42 +0100 From: martin.erwig@fernuni-hagen.de (Martin Erwig) Message-Id: <9301191551.AA05981@amundsen.fernuni-hagen.de> Subject: Lost ASR10 disk directory To: eps@reed.edu Date: Tue, 19 Jan 93 16:51:41 MET X-Mailer: ELM [version 2.3 PL0] Hi, Last night I tried to save a song file on my ASR 10, but unfortunately, a wrong disk (containing instruments) was in the disk drive. The drive was operating for a while but could not save the song to the disk (no error message was displayed), thus after some time I had to take the disk out of the drive. Then the operation ended, and the message FILE OPERATION ERROR was displayed. After that I entered the correct disk and tried saving again, this time successfully. Now, some time later I tried to load another song from my song disk, and I had to realize that the only song file on the disk was the one I had saved, all others were lost (at least their directory entries). Instead, the directory of the instrument disk mentioned above was displayed. Since loading instruments from the song disk is not possible I guess that only the instruments directory was copied to the disk and that the original song data is still there. So my question is: Does anybody know how to repair the directory? Possibly, there is some utility out there for doing that? (I need to mention that both disks are high density, ENSONIQ format) It would be great if anybody could help me. Many thanks, Martin. ------------------------------------------------------------------- Martin Erwig FernUniversitaet Hagen, Praktische Informatik IV, Postfach 940, D-5800 Hagen, Germany Phone: +49 2331 25496 Fax: +49 2331 31794 E-mail: martin.erwig@fernuni-hagen.de ------------------------------------------------------------------- From bsc.no!tored Tue Jan 19 08:22:26 1993 Return-Path: Received: from 129.177.21.11 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 08:21 PST Received: from critte (critte.bsc.no) by mailroom.bsc.no id ; Tue, 19 Jan 1993 17:21:33 +0100 From: Tore Dimmestol Received: by critte id ; Tue, 19 Jan 1993 17:21:44 +0100 Message-Id: <9301191621.AA22366@critte> Subject: pitch tables for eps To: eps@reed.edu Date: Tue, 19 Jan 1993 17:21:44 +0100 (MET) Cc: tored@mailroom.bsc.no (Tore Dimmestol) X-Mailer: ELM [version 2.4 PL17] Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 8bit Content-Length: 655 A while back (during the golden days of the Triceratops) Transoniq Hacker had an article on pitch tables (scales) for the eps classic, but I never saw them on print or offered on disc or in cyberspace. Do anyone have such a set of (untempered) tunings, and are they willing to share these? Tore -- ________________________________________________________________________________ - Tore D. - + + - Reading is for the body what excercise is for the mind - | - isn't it? - @ ________________________________________________________________________________ From whitefish.rtsg.mot.com!macenski Tue Jan 19 09:15:13 1993 Return-Path: Received: from 129.188.136.100 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 09:14 PST Received: from pobox.mot.com ([129.188.137.100]) by motgate.mot.com with SMTP (5.65c/IDA-1.4.4/MOT-2.6 for ) id AA23849; Tue, 19 Jan 1993 11:14:35 -0600 Received: from rtsg.mot.com ([136.182.254.10]) by pobox.mot.com with SMTP (5.65c/IDA-1.4.4/MOT-2.6 for ) id AA07715; Tue, 19 Jan 1993 11:14:33 -0600 Received: from catfish5.. by rtsg.mot.com (4.0/SMI-4.1) id AA19224; Tue, 19 Jan 93 11:13:42 CST Date: Tue, 19 Jan 93 11:13:56 CST From: macenski@whitefish.rtsg.mot.com (Charles D. Macenski) Message-Id: <9301191713@catfish5> To: eps@reed.edu Subject: Re: Output Expander > On to a slight tangent, here is a product development > suggestion to Whom-it-May-Concern@Ensoniq.com: A few years > ago, there were problems with plugs coming out of OEX-8 > jacks during road use. One scheme that might be useful in > subsequent machines would be to use a locking arrangement > such as the DB-15 connectors used for Ethernet transceivers. > > -Tom Williams > Alderson-Broaddus College > WILLIAMS@AB.WVNET.EDU >From my experience, the Ethernet connector is not really all that much better....I would think using some kind of RJ-XX shielded phone connector would be ideal. I think IBM uses such a connector on the back of it's PS/2 keyboards. Chuck Macenski Motorola Inc. macenski@rtsg.mot.com From ads.com!pdel Tue Jan 19 09:23:09 1993 Return-Path: Received: from 128.229.30.16 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 09:22 PST Received: from bert.ads.com by ads.com (5.65+/1.34v1.3) id AA22074; Tue, 19 Jan 93 09:24:40 -0800 From: pdel@ads.com (Peter Delevoryas) Received: by bert.ads.com (5.65+/4.7) id AA01166; Tue, 19 Jan 93 09:24:39 -0800 Date: Tue, 19 Jan 93 09:24:39 -0800 Message-Id: <9301191724.AA01166@bert.ads.com> To: ga12@cornell.edu Subject: Re: mac_midi2eps utility Cc: eps@reed.edu Once again a big thanks to Terje and all the other talented people that contribute to this list on a regular basis. I love this list!! YES YES YES !! HERE HERE !! PD From Ensoniq.COM!fred Tue Jan 19 09:27:57 1993 Return-Path: Received: from 128.126.220.104 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 09:27 PST Received: from ensoniq.UUCP by gvls1.VFL.Paramax.COM (4.1/mls/4.0) id AA20920; Tue, 19 Jan 93 12:27:35 EST X-Info: VFL.Paramax.COM is the new name for GVL.Unisys.COM Please change any mailing lists or aliases. Both the old and the new addresses will work for a short time. Received: by ensoniq.Ensoniq.COM (4.1/mls/3.5) id AA26690; Tue, 19 Jan 93 12:26:31 EST Date: Tue, 19 Jan 93 12:26:31 EST From: fred@Ensoniq.COM (Fred Shaul) Message-Id: <9301191726.AA26690@ensoniq.Ensoniq.COM> To: eps@reed.edu ENSONIQ disks have extra sectors/track. To the best of my knowledge there are no disk sector editors (freeware, shareware, buy-ware) that are capable of handling the extra sectors/track. If such a software package did exist, and one knew the delicate structures used by ENSONIQ DOS, one could potentially reconstruct file entries in a damaged directory. BIG IF!! For now ... Accept that your data is lost. If the data was extremely important you could save the disk (or do a DISK COPY to make a backup) and hope a utility becomes available in the future. Future? Since the MAC's High Density disks have the same sectors/track as ENSONIQ High Density disks, a disk sector editor could potentially become available for reconstructing damaged ENSONIQ disks. For ENSONIQ Low Density disks I feel there is little hope, maybe an Atari ST sector editor exists for the extra sectors, probably not though. The Amiga transfers an entire disk track and then decodes internally sector info, which could potentially allow a disk editor to have extrodinary sector and gap! reconstruction capabilities, but alas such a utility does not exist either. Note also, until the ASR-10, deleted files were completely cleared away leaving no traces behind. The ASR only clears the file type, leaving other potentially critical info intact. - fred@ensoniq.com P.S. Want to bring a MAC running System 7 to its knees, insert a formatted ENSONIQ High Density disk into it :-) From psuvax1.cs.psu.edu!sol4.cs.psu.edu!mchen Tue Jan 19 10:37:27 1993 Return-Path: <@psuvax1.cs.psu.edu:mchen@sol4.cs.psu.edu> Received: from 130.203.1.6 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 10:37 PST Received: from sol4.cs.psu.edu ([130.203.2.12]) by psuvax1.cs.psu.edu with SMTP id <293762>; Tue, 19 Jan 1993 13:36:09 -0500 Received: by sol4.cs.psu.edu (4.1/SMI-4.1) id AA02831; Tue, 19 Jan 93 12:50:02 EST From: mchen@sol4.cs.psu.edu (Michael Chen) Message-Id: <9301191750.AA02831@sol4.cs.psu.edu> Subject: Re: your mail To: fred@Ensoniq.COM (Fred Shaul) Date: Tue, 19 Jan 1993 12:50:00 -0500 Cc: eps@reed.edu In-Reply-To: <9301191726.AA26690@ensoniq.Ensoniq.COM>; from "Fred Shaul" at Jan 19, 93 12:26 pm X-Mailer: ELM [version 2.3 PL11] You say that there isn't a sector editor for EPS disks, but I have written a relatively simple one for the IBM-compatible computer. If you can mail me the formats of EPS/ASR disks and files, I can work on a program to recover them. I already know that classic EPS (low-density) disks are 80-track, 2-side, 10-sector, 512 bytes/sector, and can read, write, and format them. I have also placed the ability to format what you guys call PC-compatible low density (720K), which uses 9 sectors per track instead, for the EPS with no problems. If you give me the info for the ASR high-density formats, I can patch the code to work for those, although I don't own an ASR and can't test them. (Want to loan me one? :) ) Is there sufficient demand to merit working on a program to help recover data from damaged EPS disks (undelete files, etc.)? -- Mike From poda.wins.icl.co.uk!A.Spiceley Tue Jan 19 10:37:46 1993 Return-Path: Received: from 158.43.128.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 10:37 PST X400-Received: by mta relay.pipex.net in /PRMD=pipex/ADMD=cwmail/C=GB/; Relayed; Tue, 19 Jan 1993 18:34:53 +0000 X400-Received: by /PRMD=icl/ADMD=gold 400/C=GB/; converted (ia5 text (2)); Relayed; Tue, 19 Jan 1993 18:33:50 +0000 X400-Received: by /PRMD=iclexpo/ADMD=gold 400/C=GB/; converted (undefined (0)); Relayed; Tue, 19 Jan 1993 18:33:03 +0000 Date: Tue, 19 Jan 1993 18:33:03 +0000 X400-Originator: A.Spiceley@poda.wins.icl.co.uk X400-Recipients: eps@reed.edu X400-MTS-Identifier: [/PRMD=iclexpo/ADMD=gold 400/C=GB/;ICLPODA 0000001300007659] Original-Encoded-Information-Types: undefined (0) X400-Content-Type: P2-1984 (2) Content-Identifier: 7659 From: A.Spiceley@poda.wins.icl.co.uk Message-ID: <"7659*/I=A/S=Spiceley/OU=poda/O=icl/PRMD=iclexpo/ADMD=gold 400/C=GB/"@MHS> To: eps@reed.edu Subject: Tuning tables for EPS/EPS16 Tore Dimmestol asked about tuning tables for the EPS; I have a set of disks which were prepared by Brian McLaren, an American composer who has worked extensively on microtonal music. The disks cover ET scales going from 5-53 notes per octave and a whole bunch of weirder ET scales based on non-octave structures (that is, given that normal 12 notes to the octave gives a basic interval of the 12th root of 2, these have things like the 43rd root of 11 ...). The only non equal tempered scales are a few devised by Wendy Carlos (ref her article "Tuning at the Crossroads" in the Computer music journal sometime in 1986). Brian told me he was moving, so I don't have a recent postal address, nor do I believe his old email address (mclaren@pnet01.cts.com) is likely to work. So I'd be happy to copy these disks for you Tore (or anyone else) and post them. (I'll need your postal address of course!!) Unfortunately I have neither ftp access nor a sensible & reliable link between this Unix host and my EPS. So if anyone feels sufficiently generous to put a copy of whatever are the latest PD tools for manipulating EPS disks onto a PC disk for me that will obviously make the job of copying these disks of tuning instruments rather easier. Anyone tried microtuning on the ASR-10 yet? I read somewhere that it has better accuracy, which would be very nice... Andy Spiceley A.Spiceley@poda.wins.icl.co.uk +44 734 787181 / +44 344 424842 x2616 20 Langborough Road Wokingham RG11 2BT United Kingdom From ibm4381.onet.edu!gwiner%UTCADMIN Tue Jan 19 11:39:08 1993 Return-Path: Received: from 141.110.8.15 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 11:38 PST Received: from OSCS_MAIL_GATE ([141.110.8.16]) by cognomen.onet.edu (5.59/1.34) id AA13851; Tue, 19 Jan 93 14:36:32 EST From: gwiner%UTCADMIN@ibm4381.onet.edu Received: by OSCS_MAIL_GATE with Network-Courier id <2B5C82EA@OSCS_MAIL_GATE>; Tue, 19 Jan 93 14:38:34 Subject: Tuning tables for EPS/EPS16 To: , <@IBM4381.ONET.EDU:A.Spiceley@poda.wins.icl.co.uk> Date: Tue, 19 Jan 93 14:38:00 Message-Id: <2B5C82EA@OSCS_MAIL_GATE> X-Mailer: Network Courier V2.1a Encoding: 20 TEXT "I have a set of disks which were prepared by Brian McLaren, an American composer who has worked extensively on microtonal music. The disks cover ET scales going from 5-53 notes per octave and a whole bunch of weirder ET scales based on non-octave structures (that is, given that normal 12 notes to the octave gives a basic interval of the 12th root of 2, these have things like the 43rd root of 11 ...). The only non equal tempered scales are a few devised by Wendy Carlos (ref her article 'Tuning at the Crossroads' in the Computer music journal sometime in 1986)." Not having that much FORMAL training in music, I hope that you will excuse my ignorance in this next question: What exactly are micro-tunings good for? What exactly is the point? I do understand that one is essentially re-mapping the keyboard, but to what end? Is the point to arrange (or re-arrange) the keys into another configuration other than ...CDEFGAB... to produce unusual tonalities and/or chords? Can someone give me an example of this? Thanks! I understand that this list is not music 101, but any clues would be a "growth experience" for me. From fys.uio.no!t.g.finstad Tue Jan 19 18:09:38 1993 Return-Path: Received: from 129.240.2.50 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 18:08 PST Received: from ulrik.uio.no by pat.uio.no with local-SMTP (PP) id <03169-0@pat.uio.no>; Wed, 20 Jan 1993 03:08:38 +0100 Received: from [129.240.22.194] by fidibus.uio.no ; Wed, 20 Jan 1993 03:08:31 +0100 Date: Wed, 20 Jan 1993 03:08:31 +0100 Message-Id: <9301200208.AAfidibus03519@fidibus.uio.no> To: eps@reed.edu From: Terje Finstad Sender: t.g.finstad@fys.uio.no Subject: midi2eps bug in 16+ Thanks to Peter Delevoryas it was discovered that when he/you/anyone makes an EPS classic sequence by the program midi2eps and then let the 16+ read that sequence, the number of bars reported in that sequence will be reported to be zero by the 16+.( if you go to the [com][seq][sequencer information] -page.) Sounds very serious to me. Well this has actually nothing to do with my program. It is a bug in the 16+ software, at least in the 1.3 version. They just forget to fill in the sequence length in the sequence header when they make the translation, so all classic single sequences that are translated with the eps 16+ (made by a classic) have zero length. (That tells you where to place one/the comma in the subject line) The sequences plays back OK. I believe any editing where you specify bar numbers will be difficult, so watch out you, 16+ people. Terje From moria.cs.su.oz.au!groo Tue Jan 19 18:46:00 1993 Return-Path: Received: from 129.78.8.208 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 18:45 PST Message-Id: Date: Wed, 20 Jan 1993 13:42:25 +1100 From: groo@moria.cs.su.oz.au (Michael John Flanagan) Subject: eps classic and IBM pc connectivity To: eps@reed.edu The story is this. I have this eps classic and a 386DX 40 pc with lots of music software that I wrote in the days before my soundblaster card caught fire and died. I am looking for any recomendations from people who have successfully hooked up an eps to a PC. I would prefer to get a midi connection without forking out for another sound board but would like something that is reasonably well documented so that I can adapt the software I have already written. Any advice or words of wisdom greatfully accepted. GRoo. From cco.caltech.edu!tod Tue Jan 19 20:12:45 1993 Return-Path: Received: from 131.215.48.151 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 20:12 PST Received: from sandman.caltech.edu (sandman.cco.caltech.edu) by punisher.caltech.edu (4.1/DEI:4.41) id AA22784; Tue, 19 Jan 93 20:12:40 PST From: tod@cco.caltech.edu (Tod Edward Kurt) Received: by sandman.caltech.edu (4.1/UGCS:4.41) id AA10533; Tue, 19 Jan 93 20:14:50 PST Date: Tue, 19 Jan 93 20:14:50 PST Message-Id: <9301200414.AA10533@sandman.caltech.edu> To: eps@reed.edu Subject: EPS <-> Mac via SCSI... Any luck? Hey all, I've been trying to hook up my EPS to my Mac IIci via the SCSI port so I can transfer samples quickly in Alchemy. Has anyone done this? I'm talking about a direct connection between the computer and the sampler, no external hard drives hooked up. From the Ensoniq SCSI manual, I was able to gleen that the EPS 16+ SCSI port is *un*terminated. Why would they do that? And if that's true, how does one go from DB-25 to DB-25 with terminators in there somewhere (all terminators I've seen are the 50-pin flavor and cost about $20 US. Eck!) Any ideas appreciated... -Tod From PUCC.PRINCETON.EDU!OUACCVMB.BITNET!CLEARY Tue Jan 19 21:03:24 1993 Return-Path: <@PUCC.PRINCETON.EDU:CLEARY@OUACCVMB.BITNET> Received: from 128.112.129.99 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 21:02 PST Message-Id: Received: from PUCC.PRINCETON.EDU by pucc.PRINCETON.EDU (IBM VM SMTP V2R2) with BSMTP id 9449; Wed, 20 Jan 93 00:02:32 EST Received: from OUACCVMB.BITNET (NJE origin CLEARY@OUACCVMB) by PUCC.PRINCETON.EDU (LMail V1.1b/1.7e) with BSMTP id 2507; Wed, 20 Jan 1993 00:02:32 -0500 Date: Wed, 20 Jan 93 00:01:09 EST To: eps@reed.edu From: CLEARY%OUACCVMB.BitNet@pucc.PRINCETON.EDU Comment: CROSSNET mail via SMTP@INTERBIT Date: 19 January 93, 23:54:39 EST From: CLEARY at OUACCVMB To: EPS at REED.EDU Sub: Response to Paul Paul, I tried to deliver direct to you but your e-mail address didn't work for me from this network for some reason. No, I have not gotten a response from Ensonique as why they did not write software which would allow tempo changes. At least an explanation would be nice. Maybe it was just an oversight and they didn't think to do it. Maybe someone at Ensonique (or one of you on this list) could upgrade the O.S. to allow them. (Sorry to everyone else on the list for having to listen to me on my soapbox again. Just maybe someone at Ensonique will take the hint.) Someone like Bill or Fred? Please, guys. From microsoft.com!bartoszm Tue Jan 19 23:24:37 1993 Return-Path: Received: from 131.107.1.3 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Tue, 19 Jan 93 23:24 PST Received: from ingate.microsoft.com by netmail.microsoft.com with SMTP (5.65/25-eef) id AA01556; Tue, 19 Jan 93 23:22:34 -0800 Received: from microsoft by ingate.microsoft.COM id aa14183; Tue, 19 Jan 93 23:20:53 PST X-Msmail-Message-Id: 97769BC4 X-Msmail-Conversation-Id: 97769BC4 From: Bartosz Milewski To: A.Spiceley%poda.wins.icl.co.uk@ibm4381.onet.edu, eps@reed.edu, gwiner%UTCADMIN@ibm4381.onet.edu Date: Tue, 19 Jan 93 17:57:02 PST Subject: RE: Tuning tables for EPS/EPS16 Message-Id: <9301192320.aa14183@ingate.microsoft.COM> Let me jump on this one. Most keyboard instruments are tuned using a tempered scale. It means that the octave is divided into 12 (logarithmically) equal intervals. For instance, the frequency of C# is to the frequency of C in the same proportion as the frequency of D to the frequency of C#, and so on (that's what I mean by "logarithmically equal"). On the other hand there are the "pure" intervals: the octave, the fifth, the fourth, (the latter maybe not that pure) which can be defined by the ratio of frequencies that are rational fractions with small numerators and denominators. For instance: the ratio 1:2 corresponds to the octave, 2:3 is a pure fifth, etc... Now here's the rub: these pure intervals (with the exception of the octave) are nowhere to be found in the tempered scale. They can only be *approximated*. Now, how much the *really* pure intervals sound better than their approximations within a tempered scale is a matter of taste (or hearing). Personally, I can't tell them apart. Wendy Carlos recorded her "Switched on Bach 2000" using alternative tunings. Such tunings tend to work well for one key, but they sound funny when you change the key (or modulate). You just can't have a cake and eat it too. Some composers (or theoreticians of music) try to claim that the whole idea of dividing the octave into 12 semitones is primitive. Why not 24 or 48? With modern synthesizers sky is the limit. The problem is that we don't really know what to do with this much freedom... Bartosz ---------- Not having that much FORMAL training in music, I hope that you will excuse my ignorance in this next question: What exactly are micro-tunings good for? What exactly is the point? I do understand that one is essentially re-mapping the keyboard, but to what end? Is the point to arrange (or re-arrange) the keys into another configuration other than ...CDEFGAB... to produce unusual tonalities and/or chords? Can someone give me an example of this? Thanks! I understand that this list is not music 101, but any clues would be a "growth experience" for me. From eua.ericsson.se!Hans.Malm Wed Jan 20 04:16:00 1993 Return-Path: Received: from 130.100.2.2 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 04:15 PST Received: from eua.ericsson.se by mailgate.ericsson.se (4.1/SMI-4.1-MAILGATE1.10) id AA21734; Wed, 20 Jan 93 13:15:35 +0100 Received: from ms.eua.ericsson.se by eua.ericsson.se (4.1/EUA-2.1) id AA08295; Wed, 20 Jan 93 13:15:33 +0100 Received: from euas28c38.eua.ericsson.se by ms.eua.ericsson.se (4.1/MS-2.1) id AA01874; Wed, 20 Jan 93 13:15:32 +0100 From: Hans.Malm@eua.ericsson.se (Hans Malm) Received: by euas28c38.eua.ericsson.se (4.1/client-1.3) id AA24168; Wed, 20 Jan 93 13:15:24 +0100 Date: Wed, 20 Jan 93 13:15:24 +0100 Message-Id: <9301201215.AA24168@euas28c38.eua.ericsson.se> To: eps@reed.edu Subject: Going shopping ! Hello. A friend of mine is about to buy a used keyboard. What she want is: - Good string, piano and organ sounds. - An easy-to-handle sequencer for simple demos of songs for her band. (She's been using an ESQ1 and likes its sequencer) - Stability = no crashes on stage please ! - A used one. To keep down the price. Since the sounds that are most important to her are those imitating real instruments, I recommended a sampler. And since I have a 16+ myself, and she likes the ESQ1 sequencer, I recommended an EPS classic. (The 16+ is still too expensive on the second hand market here in Sweden). So , my questions are: - What to watch out for when buying a used EPS classic ? (Apart from all the usual things when buying a used keyboard) - Is double/quadruple memory enough to be able have good versions of the sounds mentioned above loaded at the same time ? (Approx. how many blocks do the different expansions allow ?) - Which OS is the latest/best ? - Is the EPS classic reliable on stage ? (Not using the sequencer). - Any other aspects on live use of the EPS classic ? (Annoying loading times etc.) - What about SQ1 and VFX ? Can they compare ? Pros and cons ? - Any other (non-Ensoniq) alternative ? (I guess this is not the proper forum ;-) If you have answers to one or more of the above questions, please mail them to me. (My friend is planning to buy within the next couple of weeks) Thanks in advance, Hans From fys.uio.no!t.g.finstad Wed Jan 20 04:50:28 1993 Return-Path: Received: from 129.240.2.50 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 04:49 PST Received: from ulrik.uio.no by pat.uio.no with local-SMTP (PP) id <28486-0@pat.uio.no>; Wed, 20 Jan 1993 13:49:38 +0100 Received: from [129.240.22.194] by fidibus.uio.no ; Wed, 20 Jan 1993 13:49:29 +0100 Date: Wed, 20 Jan 1993 13:49:29 +0100 Message-Id: <9301201249.AAfidibus06544@fidibus.uio.no> To: eps@reed.edu From: Terje Finstad Sender: t.g.finstad@fys.uio.no Subject: re: soap, boxes, tempo changes In respons to CLEARY's soap boxing: >No, I have not gotten a response ... > as why they did not write software which would allow tempo >changes. At least an explanation would be nice. I will not defend the eps sequencer and I don't use it myself, but.. Nothing is preventing you from making tempo changes. You make the tempo changes by the way you play not by the setting of the eps front panel. You say you need the click track otherwise you cannot keep the time? Nothing prevents us from recording a click track. You say you need the cue points so you can quickly go to a certain section so you can rehearse the tap dancers in the section where they tap with the legs over their shoulders? You can mark the score with the locations in the eps sequence. And for songs as opposed to single sequences you can have tempo changes and a click track and 1:1 correlation between bar numbers in your score and in the sequencer. With many sequencers it is not easy to make good ritardandos or acellerandos by just inputting numbers for the changing tempo. One need experimentation. That is a problem if working with the eps sequencer- I believe -since you can not from the machine make easy changes in the way you acellerate the tempo in your iterations to find the best way. ( that is the exact locations where you put them ) I was thinking the following scheme could perhaps help these poor guys that either can not afford a descent sequencer or find it practical to only carry an eps when going to rehearse the tap dancers. Here it goes: You record your entire piece as one single sequence in sync with the internal metronom/click at a steady rate. This will become the songtracks. And the individual sequences would contain absolutely no information exept tempo, meters and bar lengths. Again it would still be inconvenient to iterate towards the perfect division of number of sequences to yeild the perfect result. So you could have a simpel utility that allowed you to dump your one sequence to a computer, the utility would take that sequence and a list prepared by you where you specify the tempos. That list should be easy to edit in a text editor. So you could prepare several versions and pick the best one. The utility would produce a song where the input sequence functions as the song tracks and all your tempo and meter changes determines where individual sequences stop and start. If you start with a high end sequencer, and save your stuff as a standard midi sequence file, then the utility let the first track which is the meter and tempo track decide where the division into individual sequences will be. -Just an idea for easy implementation in case someone would do things like that. I think a cheap midi-player is a better choice though. > >(Sorry to everyone else on the list for having to listen to me on my >soapbox again.) > No problems, but I think you should not put the blame on any engineer. They are generally on your side anyhow. If they were allowed to put all the features they could dream up into the synths, we wouldn't have the money to buy it. nuff said about what everyone knew from before. Terje From metronet.com!iczer Wed Jan 20 11:39:29 1993 Return-Path: Received: from 192.245.137.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 11:39 PST Message-Id: Received: by feenix.metronet.com (16.8/16.2) id AA06607; Wed, 20 Jan 93 13:42:06 -0600 From: ted uhlemann Subject: digested format? To: eps@reed.edu Date: Wed, 20 Jan 93 13:42:02 CST Full-Name: ted uhlemann In-Reply-To: ; from "CLEARY%OUACCVMB.BitNet@PUCC.PRINCETON.EDU" at Jan 20, 93 12:01 (midnight) Mailer: Elm [revision: 70.30] Is there any way to get this mailing list in digested format? If not, would someone be willing to change the software to allow that? I'd rather not have my mailbox cluttered up with 20 separate eps list msgs each day. From acd4.acd.com!greene Wed Jan 20 14:15:39 1993 Return-Path: Received: from 192.48.96.7 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 14:15 PST Received: from uunet.uu.net (via LOCALHOST.UU.NET) by relay2.UU.NET with SMTP (5.61/UUNET-internet-primary) id AA26757; Wed, 20 Jan 93 17:15:30 -0500 Received: from acd4.UUCP by uunet.uu.net with UUCP/RMAIL (queueing-rmail) id 171406.17285; Wed, 20 Jan 1993 17:14:06 EST Received: by IEDVB.acd.com (5.57/Ultrix2.3-C) id AA18602; Wed, 20 Jan 93 16:49:07 -0500 From: greene@acd4.acd.com ( Jonathan Greene ) Message-Id: <9301202149.AA18602@IEDVB.acd.com> Subject: Re: digested format? To: eps@reed.edu Date: Wed, 20 Jan 93 16:49:06 EST X-Mailer: ELM [version 2.3 PL11] > > Is there any way to get this mailing list in digested format? > If not, would someone be willing to change the software to allow that? > I'd rather not have my mailbox cluttered up with 20 separate eps list > msgs each day. > > I'm on a few mailling lists, 1 of which is digested. I find it annoying to edit the digest for the parts I wish to keep. With the EPS mail, I save it in a separate folder and look at it when I have a chance. That gets it out of my way, and collected for when I have time. I like being able to quickly delete the messages that I don't need. I'd prefer to keep the list the way it is. If there's a way to leave it as an option (receive the digested version or not) that would be the best soultion. -Just my opinion, Jon Greene From Ensoniq.COM!fred Wed Jan 20 15:35:40 1993 Return-Path: Received: from 128.126.220.104 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 15:35 PST Received: from ensoniq.UUCP by gvls1.VFL.Paramax.COM (4.1/mls/4.0) id AA07253; Wed, 20 Jan 93 18:35:13 EST X-Info: VFL.Paramax.COM is the new name for GVL.Unisys.COM Please change any mailing lists or aliases. Both the old and the new addresses will work for a short time. Received: by ensoniq.Ensoniq.COM (4.1/mls/3.5) id AA01563; Wed, 20 Jan 93 18:34:07 EST Date: Wed, 20 Jan 93 18:34:07 EST From: fred@Ensoniq.COM (Fred Shaul) Message-Id: <9301202334.AA01563@ensoniq.Ensoniq.COM> To: eps@reed.edu > ... > I've been trying to hook up my EPS to my Mac IIci via the SCSI port > so I can transfer samples quickly in Alchemy. Has anyone done this? > ... EPS Classic = EPS 16+ from an Alchemy point of view, I think. For best results, connect an external SCSI drive between the MAC and the EPS. This helps supply termination power to the SCSI bus since neither the MAC or the EPS provide adequate termination. The ASR-10, I believe, is better at providing termination power. With an external drive, 2 cables both DB25 to Centronics 50, should allow the EPS to be connected to the MAC via the external SCSI drive. Direct EPS to MAC connection (no external SCSI drive) should use the shortest DB25 to DB25 cable possible (to minimized on signal ringing due the inadequate termination power of the hosts). MIDI SYS-EX=ON, Alchemy is lost without this enabled. - fred@ensoniq.com P.S. Alchemy has been updated recently, check to make sure the version you are using actually supports the ENSONIQ SCSI sample dump protocal. From ads.com!pdel Wed Jan 20 15:43:11 1993 Return-Path: Received: from 128.229.30.16 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 15:42 PST Received: from deimos.ads.com by ads.com (5.65+/1.34v1.3) id AA02424; Wed, 20 Jan 93 15:44:39 -0800 From: pdel@ads.com (Peter Delevoryas) Received: by deimos.ads.com (5.65+/4.7) id AA02263; Wed, 20 Jan 93 15:44:37 -0800 Date: Wed, 20 Jan 93 15:44:37 -0800 Message-Id: <9301202344.AA02263@deimos.ads.com> To: eps@reed.edu, fred@ensoniq.com Subject: SCSI transfers w/Alchemy I've been able to use the SCSI feature of Alchemy with both my EPS-12 and 16+. It works great. Almost instantaneous transfer of wavesamples (at least of the size I work with - about 256k max ) You still have to have your midi cables hooked up both ways to and from the Mac/EPS My setup was EPS w/no HD, Mac w/internal and external HD. 25 pin ribbon cable from the EPS to a switch box - from there one side of the switch box went to a 25-50pin SCSI cable which was hooked up to the Mac external. PD From ebs330.eb.uah.edu!claassen Wed Jan 20 15:54:18 1993 Return-Path: Received: from 146.229.4.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 15:54 PST Received: by ebs330.eb.uah.edu (4.1/SMI-4.1) id AA21601; Wed, 20 Jan 93 17:51:03 CST Date: Wed, 20 Jan 93 17:51:03 CST From: claassen@ebs330.eb.uah.edu (Arne Claassen (ISE)) Message-Id: <9301202351.AA21601@ebs330.eb.uah.edu> To: eps@reed.edu Subject: Sharing a Mac HD with the EPS Ok, sample dump through SCSI works, but is it possible to share a disk between the Mac and and EPS (or ASR-10), or would I still need to get a separate disk for the sampler? If that doesn't work, is it possible to have the sequencer dump a new bank of samples into the sampler, when a new song is started (maybe along with other patch changes)? If these questions seem silly, please bear with me, i'm just starting on the MIDI thingy. Thanks, Arne From silver.lcs.mit.edu!jna Wed Jan 20 17:10:12 1993 Return-Path: Received: from 18.52.0.230 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 17:10 PST Received: by silver.lcs.mit.edu id AA24576; Wed, 20 Jan 93 20:10:02 -0500 Date: Wed, 20 Jan 93 20:10:02 -0500 From: jna@silver.lcs.mit.edu (We need, we take) Message-Id: <9301210110.AA24576@silver.lcs.mit.edu> To: eps@reed.edu Subject: Couple questions.. Couple questions about my new eps :) 1. Is there a way to set all the velocities in a sequence to one value? I know you can scale controllers, but there's no veloctiy one. .Same goes for duration.. -john From sndcrft.dialix.oz.au!steveq Wed Jan 20 19:03:07 1993 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 19:02 PST Received: from uniwa.uwa.edu.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA11617; Thu, 21 Jan 1993 14:02:41 +1100 (from steveq@sndcrft.dialix.oz.au) Received: from perth.DIALix.oz.au (DIALix.oz.au) by uniwa.uwa.edu.au with SMTP (5.65c) id AA07673; Thu, 21 Jan 1993 10:26:38 +0800 Received: from sndcrft by perth.DIALix.oz.au id aa24900; 20 Jan 93 22:05 WST Received: by sndcrft.DIALix.oz.au (V1.16/Amiga) id AA006bt; Sun, 1 Jan 78 00:52:40 PST Date: Sun, 1 Jan 78 00:52:40 PST Message-Id: <7801010852.AA006bs@sndcrft.DIALix.oz.au> In-Reply-To: <9301190722.AA03854@silver.lcs.mit.edu> (from jna@silver.lcs.mit.edu (Blue bell knoll)) (at Tue, 19 Jan 93 02:22:57 -0500) X-Mailer: //\\miga Electronic Mail (AmiElm 1.19) Organization: Sound Craft Creative Music Reply-To: steveq@sndcrft.dialix.oz.au From: Steve Quartly To: jna@silver.lcs.mit.edu Cc: eps@reed.edu Subject: Re: Output Expander , Internals?! >From the desk of Blue bell knoll: > > I'm buying an EPS tomorrow, and I know that the output expanders are hard to > find ... well, what's in them? is it a DIN-6 plug that just goes out to a > bunch of 1/4" jacks? or is there some propretiory system that the EPS uses > on the output connector? I'd assume it's just a bunch of jacks, and I'd like > to build one... > > Hardware hackers? People from Ensoniq? Help! It's a classic EPS I'm building > for. > > -john > Hmmmmm, I'd suggest you look back through the eps.reed.edu archives as I seem to remember this being discussed. >From what I remember, the signal is multiplexed and that it is an extremely BAD idea to play with it! see ya, <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> S t e v e Q u a r t l y, P e r t h W e s t e r n A u s t r a l i a, _--_|\ N PH: Aus [61] Perth (09) Local (295 3359). / \ W + E Perth --> *_.--._/ S 43rd Law of Computing: Anything tha can go wr v error: Segmentation violation -- Core dumped. steveq@sndcrft.DIALix.oz.au <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> From sndcrft.dialix.oz.au!steveq Wed Jan 20 19:03:33 1993 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 19:03 PST Received: from uniwa.uwa.edu.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA11621; Thu, 21 Jan 1993 14:02:46 +1100 (from steveq@sndcrft.dialix.oz.au) Received: from perth.DIALix.oz.au (DIALix.oz.au) by uniwa.uwa.edu.au with SMTP (5.65c) id AA07676; Thu, 21 Jan 1993 10:26:45 +0800 Received: from sndcrft by perth.DIALix.oz.au id ab27167; 20 Jan 93 22:47 WST Received: by sndcrft.DIALix.oz.au (V1.16/Amiga) id AA006cq; Sun, 1 Jan 78 00:52:39 PST Date: Sun, 1 Jan 78 00:52:39 PST Message-Id: <7801010852.AA006cp@sndcrft.DIALix.oz.au> Organization: Sound Craft Creative Music From: Steve Quartly To: fred@ensoniq.com Cc: eps@reed.edu Subject: Re: your mail >From the desk of Fred Shaul: > For ENSONIQ Low Density disks I feel there is little hope, maybe an Atari ST > sector editor exists for the extra sectors, probably not though. The Amiga > transfers an entire disk track and then decodes internally sector info, which > could potentially allow a disk editor to have extrodinary sector and gap! > reconstruction capabilities, but alas such a utility does not exist either. Whilst writing Disk Wizard on the Atari ST, I used Knife ST to check and edit sectors. This worked extremely well for the EPS 16+, even though the BPB (Bios Parameter Block) was non-existant on the EPS. Perhaps this will do the trick? > Note also, until the ASR-10, deleted files were completely cleared away > leaving no traces behind. The ASR only clears the file type, leaving other > potentially critical info intact. Good move!! > > - fred@ensoniq.com > > P.S. Want to bring a MAC running System 7 to its knees, insert a formatted > ENSONIQ High Density disk into it :-) > <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> S t e v e Q u a r t l y, P e r t h W e s t e r n A u s t r a l i a, _--_|\ N PH: Aus [61] Perth (09) Local (295 3359). / \ W + E Perth --> *_.--._/ S 43rd Law of Computing: Anything tha can go wr v error: Segmentation violation -- Core dumped. steveq@sndcrft.DIALix.oz.au <><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><> From silver.lcs.mit.edu!jna Wed Jan 20 20:16:23 1993 Return-Path: Received: from 18.52.0.230 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Wed, 20 Jan 93 20:16 PST Received: by silver.lcs.mit.edu id AA26228; Wed, 20 Jan 93 23:16:04 -0500 Date: Wed, 20 Jan 93 23:16:04 -0500 From: jna@silver.lcs.mit.edu (if your heart skips a beat stay on your feet) Message-Id: <9301210416.AA26228@silver.lcs.mit.edu> To: eps@reed.edu Subject: Questions! Couple questions about my new eps :) 1. Is there a way to set all the velocities in a sequence to one value? I know you can scale controllers, but there's no veloctiy one. .Same goes for duration.. -john From ibm4381.onet.edu!gwiner%UTCADMIN Thu Jan 21 05:36:56 1993 Return-Path: Received: from 141.110.8.15 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 05:36 PST Received: from OSCS_MAIL_GATE ([141.110.8.16]) by cognomen.onet.edu (5.59/1.34) id AA15854; Thu, 21 Jan 93 08:34:33 EST From: gwiner%UTCADMIN@ibm4381.onet.edu Received: by OSCS_MAIL_GATE with Network-Courier id <2B5ED116@OSCS_MAIL_GATE>; Thu, 21 Jan 93 08:36:38 Subject: Re: digested format? To: Date: Thu, 21 Jan 93 08:36:00 Message-Id: <2B5ED116@OSCS_MAIL_GATE> X-Mailer: Network Courier V2.1a Encoding: 8 TEXT "If there's a way to leave it as an option (receive the digested version or not) that would be the best soultion." Jon Greene I agree. GW From Ensoniq.COM!bill Thu Jan 21 07:12:53 1993 Return-Path: Received: from 128.126.220.104 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 07:12 PST Received: from ensoniq.UUCP by gvls1.VFL.Paramax.COM (4.1/mls/4.0) id AA09218; Thu, 21 Jan 93 10:12:31 EST X-Info: VFL.Paramax.COM is the new name for GVL.Unisys.COM Please change any mailing lists or aliases. Both the old and the new addresses will work for a short time. Received: from zippo by ensoniq.Ensoniq.COM (4.1/mls/3.5) id AA04267; Thu, 21 Jan 93 10:11:25 EST Message-Id: <9301211511.AA04267@ensoniq.Ensoniq.COM> Received: by zippo (NeXT-1.0 (From Sendmail 5.52)/mls/3.5) id AA04163; Thu, 21 Jan 93 10:08:05 EST Date: Thu, 21 Jan 93 10:08:05 EST From: bill@Ensoniq.COM Received: by NeXT Mailer (1.63) To: jos@ccrma.stanford.edu Subject: NAMM Cc: eps@reed.edu Dear Julius, I didn't go to NAMM, nor did Ensoniq officially. A few people from here went; John Senior from my department was one. He reported that there was little buzz about some great new thing. He noticed that: Alesis' new vapor keyboard is still under glass (64 voices for $1500); Roland has a new workstation keyboard, including a 28-voice expander option; Kawaii has a DP/4 clone, with fewer effects, fewer parameters, and twice as many input and output jacks as the DP/4; Yamaha has an A/D/A box for hard-disk recording; it requires a computer to control it and attaches to a SCSI hard disk directly; Akai has a 4 track hard-disk recorder; it does not require a computer and it attaches to a SCSI hard disk directly ($2000); Anatek has a pocket 24-track hard disk recorder. It runs off the power from a MIDI cable. (just kidding); Akai has a new line of samplers; the list prices start around the price of an ASR-10 and go up from there. You can get a 128MB optical drive (MO) built in. Akai has a new $995 sampler. 16 bits but only 8 voices; no memory expansion. One important development that went down is that Opcode has relinquished control of OMS to Apple, who will distribute it without royalties. This is a boon to all Mac software developers who wanted to have OMS but didn't want to dear with their competitor (Opcode.) Bill From fys.uio.no!t.g.finstad Thu Jan 21 08:26:32 1993 Return-Path: Received: from 134.10.2.61 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 08:26 PST Received: from 129.240.2.50 by itchy.reed.edu (/\==/\ Smail3.1.25.1 #25.23) id ; Thu, 21 Jan 93 08:26 PST Received: from ulrik.uio.no by pat.uio.no with local-SMTP (PP) id <02675-0@pat.uio.no>; Thu, 21 Jan 1993 17:24:15 +0100 Received: from [129.240.22.194] by fidibus.uio.no ; Thu, 21 Jan 1993 17:24:02 +0100 Date: Thu, 21 Jan 1993 17:24:02 +0100 Message-Id: <9301211624.AAfidibus15237@fidibus.uio.no> To: eps@reed.edu From: Terje Finstad Sender: t.g.finstad@fys.uio.no Subject: RE: Tuning tables for EPS/EPS16 and other instruments. This thread started by Tore asking for tuning tables for the EPS. Andy then announced the availability of a very interesting set of experimental equal tempered scales. Then "gwiner" might have thought that "this mailing list is located at an educational institution on an educational network so we better educate ourselves". Anyhow, he simply ask a few good questions. And the education comes along from Bartosz having an industrial adress. In my opinion this is just great. The party may be over. I have a few comments on microtunings, not exclusively about the eps. If you are at an educational institution you may check out the library in the physics department for books about musical acoustics. Most of them explain the (physical) origin of the common tunings. Some comments on examples of micro-tunings: Some people do claim that.. ALL REAL music, as opposed to music beeing limited by technology, have always had,- and so should also be expected to continue to have-, pitches that are not coincident with the equal tempered scale found on many electronic keyboard instruments. Don't be tempted to argue. Just say you prefer unreal music. The point is that pitches that can only be represented on a synth by alternative pitchtables (no modulation) are very common, not at all exotic, allthough it can be that too. Ethnic music, as opposed to bourgeois classical european concert music, is often rich in expression found by the pitches. The origin of some of this varies. Some of it is inventions made by individual people. And so the master teaches his "students" and a tradition becomes richer and richer and more pitches are added. These pitches definitely adds character to the music. At first one could think it is their inability to tune their instruments,( sometimes true of coarse) but it gives the music character never the less and other people will pick up the atmosphere and use it deliberately in their music. I did resently listen to many tapes from groups playing traditional instruments like electric guitars, e-bas from a small region of Africa. The music sounded not very strange in a way in that it had familiar rythms. But these guys tuned their guitars just awful, if you expect it to sound like Glenn Campell. But there was a certain consistency to it between those different bands when playing certain moods. These guys had definitly invented their own style, in my ears heavily based upon the tuning of their guitars. My point in an EPS connection is: the a newcomer to this should not be afraid to experiment with pitchtables. They can be effective at creating moods and character. I have listened to the alive tradition in the music from the valleys in my part of the globe. One cannot represent that with a common equal tempered 12 notes to the octave keyboard. There are performers of these traditions that have been studied extensively that show an extreme consistency and control in their intonations for a given song. Yet they can have a relatively rich palette of pitches to choose from altogether for different songs. There are certain instruments and sounds that are suited for specific scales and some are not. These things has to go hand in hand, If one wants a certain character to the music. This may often have to do with the harmonics or rather the partials of a sound. This summer I downloaded Brian Adamsons WILDEHORN from the mailing lists ftp site. That patch immidiately struck me as suggesting a certain scale alltogther, by the attack. I used the WILDEHORN together with sounds from other synths. I controlled these instruments by assigning aftertouch to control the pitch, and putting up a chain of midi applications on the Mac which where setup so that a key struck on my keyboard controller would yield a certain pitch and a certain aftertouch yielding a certain pitch. I didn't finish it before I had a fatal hard disk crash. I could have used the pitch tables in the EPS for this if I wanted the sounds on the EPS. As was stated by Bartosz, in european concert music, the 12 tone equal temperament is dominating and it gives a crude approximation to the tunings that where it's origin but allow modulations where all key signatures are principally equal. There have been many attempts at improving on that situations. Most of you may have seen various keybord controllers ( for organs ) in KEYBOARD MAGAZINE having more then 12 keys/tangents to the octave. These are quite difficult to play, out of pure ergonomic as well as motoric reasons. Less known is an invention made by a cantor in this town. Around 1930 he designed and built a pipe (church) organ having 48 pitches per octave. However it had 12 normal tangents per octave on the keyboard. He designed logic to dynamically switch in different pipes depending upon which other pitches where sounding, and which "program" he was running. The logic was made by radio tubes and electronic relays. The whole design was later rebuilt in the late 50's (I think) with transistors. Once a month I am invited to concerts where this organ is used in the performance. The organ is also usable for accompanying singers or violin players when they use their folklore pitches. About 50-100 people may attend a concert. Many of them have very strong opinions against twelve tone equal temperament. The same concepts as used in the organ mentioned above is of coarse well suited for MIDI. There is now a student here in the physics department making his master thesis project where he also has implemented this. The EPS pitch tables may not be well suited for this. A very large number of tables are needed. The guy is using tables residing in a pc. The synth generating the sound (K2000) is set up to respond to pitch on key assignable controllers. After touch is one such that can be used on many synths. -- This is meant to secure my alibi for being signed to the list Ha det Terje From ebs330.eb.uah.edu!claassen Thu Jan 21 08:55:12 1993 Return-Path: Received: from 146.229.4.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 08:54 PST Received: by ebs330.eb.uah.edu (4.1/SMI-4.1) id AA00965; Thu, 21 Jan 93 10:50:58 CST Date: Thu, 21 Jan 93 10:50:58 CST From: claassen@ebs330.eb.uah.edu (Arne Claassen (ISE)) Message-Id: <9301211650.AA00965@ebs330.eb.uah.edu> To: eps@reed.edu Subject: Re:Re: Sharing a Mac HD with EPS. I am reformulating my question in response to a letter from Terje , since I can't seem to mail to his host. Anyway, I was responding to using the "load instrument from hard disk"-command on the EPS-16+, which i believe requires an HD for the EPS, instead of using the Macs Actually, I was referring to doing this from the Mac since the only HD I have right now is the Mac HD. Considering the response to the first part of my question was negative, I'll restate it: Could you, running your EPS through a sequencer on the Mac dump Samples into the memory of the EPS by programming it into the sequence. With "dump" i refer to dumping via SCSI the way Alchemy does it. I.e. In a performance, as the next song comes up, the sequencer would dump the new bank into the EPS from the Mac, so eliminate or minimize dead air between songs. Thanks, Arne From ibm4381.onet.edu!gwiner%UTCADMIN Thu Jan 21 09:28:11 1993 Return-Path: Received: from 141.110.8.15 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 09:27 PST Received: from OSCS_MAIL_GATE ([141.110.8.16]) by cognomen.onet.edu (5.59/1.34) id AA16068; Thu, 21 Jan 93 12:25:36 EST From: gwiner%UTCADMIN@ibm4381.onet.edu Received: by OSCS_MAIL_GATE with Network-Courier id <2B5F073F@OSCS_MAIL_GATE>; Thu, 21 Jan 93 12:27:43 Subject: RE: Tuning tables for EPS/EPS16 and oth To: , <@IBM4381.ONET.EDU:t.g.finstad@fys.uio.no> Date: Thu, 21 Jan 93 12:27:00 Message-Id: <2B5F073F@OSCS_MAIL_GATE> X-Mailer: Network Courier V2.1a Encoding: 18 TEXT I guess I'll be repeating an someone's original question, but are there microtuning files available for the EPS somewhere? Since, as I previously stated, I don't have a formal music background, I think it might be beyond my capabilities to program an acceptable alternate table myself. Perhaps some kind soul would take the time to go through this with me. I DO know how to program the info into the keyboard if I had a listing of the settings or a file or something (I was once REALLY bored and remapped the keyboard to play notes Right to Left as opposed to Left to Right, so I know the proceedure, I guess) Finally, thanks to everyone for the great info. I'll definatly be spending some time trying to fully comprehend all of it this weekend =). It will be interesting to see how I can apply this to my particular genere of expertise (techno-industrial dance) this might yet yield some interesting results. P.S., Since my editor doesn't append a .sig like I thought it did, my name is Gregory...I guess I'll have to do this manually =) From horde Thu Jan 21 11:44:07 1993 Return-Path: Received: from local by romulus.reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 11:43 PST Date: Thu, 21 Jan 1993 11:13:18 -0800 (PST) From: "Mr. Heiji Horde" Subject: Re: digested format? To: ted uhlemann cc: eps@reed.edu In-Reply-To: Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 20 Jan 1993, ted uhlemann wrote: > Is there any way to get this mailing list in digested format? > If not, would someone be willing to change the software to allow that? > I'd rather not have my mailbox cluttered up with 20 separate eps list > msgs each day. Well, I was going to say it was impossible, but... Once a week when I swizzle the digests around I can have it mail the latest digest to people who want to get it just once a week. I don't have the time to set this up right now (going to be at USENIX). There's also another problem with the digest scripts I need to fix (it lost all of the December and half of Januarys posts). As for getting many messages a day, I use a mail filter (procmail) that sorts all my mail into the appropriate folder. When you get 50-100 messages/day this is an important thing to have. -Heiji (horde@reed.edu) From fys.uio.no!t.g.finstad Thu Jan 21 13:22:44 1993 Return-Path: Received: from 129.95.10.2 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 13:22 PST Received: by ogicse.cse.ogi.edu (/\==/\ Smail3.1.25.1 #25.3) id ; Thu, 21 Jan 93 13:22 PST Received: from ulrik.uio.no by pat.uio.no with local-SMTP (PP) id <13175-0@pat.uio.no>; Thu, 21 Jan 1993 22:21:50 +0100 Received: from [129.240.22.194] by fidibus.uio.no ; Thu, 21 Jan 1993 22:21:44 +0100 Date: Thu, 21 Jan 1993 22:21:44 +0100 Message-Id: <9301212121.AAfidibus16318@fidibus.uio.no> To: eps@reed.edu From: Terje Finstad Sender: t.g.finstad@fys.uio.no Subject: RE: Tuning tables for EPS/EPS16 In response to Gregory, who finally got a real name and wrote: >program the info into the keyboard if I had a listing of the settings or a I did upload a textfile to eps.reed.edu:/pub/eps/incoming called tunings.txt.Z. If anyone cannot get it from there I'm willing to mail you the text file. Then you have to have a subject line saying "Tuning Request". The file on the site will only be available one week. It is something written by Neil E. Midkiff, He gives tables which should be easy to follow for inputting into the eps as they are in deviations from "factory default" tuning. There is something like 9 different tunings; Various meantone and well tempered tunings. These are tunings used in eoropean music from well before Bach. Nothing earth shaking Why don't you Gregory take the first table and input into the EPS and then you say the same to the next one in the alphabet : ) Terje From microsoft.com!bartoszm Thu Jan 21 14:32:41 1993 Return-Path: Received: from 131.107.1.3 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 14:32 PST Received: from ingate.microsoft.com by netmail.microsoft.com with SMTP (5.65/25-eef) id AA08849; Thu, 21 Jan 93 14:30:34 -0800 Received: from microsoft by ingate.microsoft.COM id aa08309; Thu, 21 Jan 93 14:28:49 PST X-Msmail-Message-Id: 36E26368 X-Msmail-Conversation-Id: 36E26368 From: Bartosz Milewski To: eps@reed.edu, t.g.finstad@fys.uio.no Date: Thu, 21 Jan 93 11:20:59 PST Subject: re: soap, boxes, tempo changes Message-Id: <9301211428.aa08309@ingate.microsoft.COM> ---------- In response to Terje Finstad |Nothing is preventing you from making tempo changes. You make the tempo |changes by the way you play not by the setting of the eps front panel. |You say you need the click track otherwise you cannot keep the time? |Nothing prevents us from recording a click track. |You say you need the cue points so you can quickly go to a certain section |so you can rehearse the tap dancers in the section where they tap with the |legs over their shoulders? You can mark the score with the locations in the |eps sequence. |And for songs as opposed to single sequences you can have tempo changes and |a click track and 1:1 correlation between bar numbers in your score and in |the sequencer. I find it confusing when the sequencer bars do not correspond to my click track bars. How are you supposed to edit such tracks? Can you change the length of a sequence by a fraction of a bar? In particular, I have no idea how to combinine such sequences into a song without screwing up the timing. |No problems, but I think you should not put the blame on any engineer. They |are generally on your side anyhow. If they were allowed to put all the |features they could dream up into the synths, we wouldn't have the money to |buy it. It's very nice of you, Terje, to defend the engineers. I am a (software) engineer myself. Im my professional opinion the EPS operating system could have been designed and implemented better. As far as hardware goes, the user interface is poorely designed. I understand the limitations (small LCD, limited number of buttons, etc.), still, it could have been better. (On the other hand, I would have yet to see a well designed synth/sampler on the market). All engineers who design user interfaces should be required to read the book "The Psychology of Everyday Things." ( or its newer edition "The Design of Everyday Things"). Also, I don't believe that indiscriminately adding new features is the way to go. In our profession we call it "featuritis." I'd rather see the features that are already there refined and made more usable. For instance, I would prefere to drive my EPS 16+ from a computer. But how can I transmit the information about my hard disk from EPS to the computer? How can I remotely change directory? List its contents? Why is the disk format proprietary, rather than exchangeable with PC's or MACs? I keep hearing that if you want to do some serious sequencing or sampling, you have to use an external computer. I can hardly imagine anybody doing the editing of MIDI tracks on the EPS. So what's the use of all these features? Why not just make a sampler that works well with a computer? Bartosz From nwnexus.wa.com!sounds!brianw Thu Jan 21 17:25:10 1993 Return-Path: Received: from 192.135.191.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 17:24 PST Received: from sounds.UUCP by nwnexus.wa.com with UUCP id AA12336 (5.65c/IDA-1.4.4); Thu, 21 Jan 1993 17:12:05 -0800 Received: by sounds. (NX5.67c/NX3.0S) id AA06579; Thu, 21 Jan 93 16:48:11 -0800 Date: Thu, 21 Jan 93 16:48:11 -0800 From: Brian Willoughby Message-Id: <9301220048.AA06579@sounds.> Received: by NeXT.Mailer (1.87.1) Received: by NeXT Mailer (1.87.1) To: Bartosz Milewski Subject: Re: soap, boxes, tempo changes Cc: eps@reed.edu Reply-To: sounds!brianw@nwnexus.wa.com | ... For instance, I would prefere | to drive my EPS 16+ from a computer. But how can I transmit the | information about my hard disk from EPS to the computer? How can | I remotely change directory? List its contents? Why is the disk | format proprietary, rather than exchangeable with PC's or MACs? All good points, but re: disk format; exchangeability is hampered by the fact that FAT (PC) format SUCKS (especially for hard disks and CD-ROM) and the Mac format seems to be too complicated for anyone but Apple Co. to handle both reading and writing its complicated, b-tree structure. | I keep hearing that if you want to do some serious sequencing or | sampling, you have to use an external computer. I can hardly | imagine anybody doing the editing of MIDI tracks on the EPS. So | what's the use of all these features? Why not just make a sampler | that works well with a computer? Ensoniq is targeting very near the bottom-of-the-line of samplers (based upon the $1500 to $2000 price tag), but they do have a lot of features. They are understandably limited in the scope of what they can accomplish within their realm, especially considering that requiring a computer would raise the price and ruin their chance of hitting their target market. However, remembering our conversations from when I still worked for Microsoft, you have a very good point that Ensoniq could probably make a few simple improvements to their MIDI SysEx/SCSI communications which would enable better computer control without actually requiring a computer. | Bartosz --- Brian Willoughby Software Design Engineer, BSEE NCSU BrianW@SoundS.WA.com Sound Consulting: Software Design and Development NeXTmail welcome From PUCC.PRINCETON.EDU!OUACCVMB.BITNET!CLEARY Thu Jan 21 17:51:28 1993 Return-Path: <@PUCC.PRINCETON.EDU:CLEARY@OUACCVMB.BITNET> Received: from 128.112.129.99 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 17:51 PST Message-Id: Received: from PUCC.PRINCETON.EDU by pucc.PRINCETON.EDU (IBM VM SMTP V2R2) with BSMTP id 4819; Thu, 21 Jan 93 20:51:27 EST Received: from OUACCVMB.BITNET (NJE origin CLEARY@OUACCVMB) by PUCC.PRINCETON.EDU (LMail V1.1b/1.7e) with BSMTP id 8426; Thu, 21 Jan 1993 20:51:27 -0500 Date: Thu, 21 Jan 93 20:50:14 EST To: eps@reed.edu From: CLEARY%OUACCVMB.BitNet@pucc.PRINCETON.EDU Comment: CROSSNET mail via SMTP@INTERBIT Date: 21 January 93, 20:31:06 EST From: CLEARY at OUACCVMB To: EPS at REED.EDU Sub: Soap Box, tempo changes In response to Bartoszn; in response to Finstad: I guess I could do all those things Finstad suggested if: 1. I was a technician or programer instead of a musician 2. I was more interested in electronic gear than electronically generated music 3. I prefered manipulating data to manipulating musical elements 4. I knew what the hell Finstad was even talking about. My Roland QX5 can even produce tempo changes by 1 - 99 % at start and stop points which the user designates. Sure, I could just use it instead of the EPS16+ but it would just make it a little more convenient if I didn't have to. What would the engineers have to sacrifice to write an OS that would allow the EPS to do this? Am I missing something? To Bartoszn: Thanks. Points well made. From nwnexus.wa.com!sounds!brianw Thu Jan 21 20:25:42 1993 Return-Path: Received: from 192.135.191.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 20:25 PST Received: from sounds.UUCP by nwnexus.wa.com with UUCP id AA15103 (5.65c/IDA-1.4.4 for reed.edu!eps); Thu, 21 Jan 1993 20:19:16 -0800 Received: by sounds. (NX5.67c/NX3.0S) id AA07920; Thu, 21 Jan 93 18:23:46 -0800 Date: Thu, 21 Jan 93 18:23:46 -0800 From: Brian Willoughby Message-Id: <9301220223.AA07920@sounds.> Received: by NeXT.Mailer (1.87.1) Received: by NeXT Mailer (1.87.1) To: sounds!brianw@nwnexus.wa.com Subject: Re: EPS Output Expander questions, etc. Cc: eps@reed.edu Reply-To: sounds!brianw@nwnexus.wa.com In response to recent questions and discussions about the Classic EPS Output Expander - and also due to the fact that I left out some important information the last time I posted this (thanks to "Scott Bartlett" for asking for clarification) - I am sending an edited/updated summary of the famed TH article by Dick Lord (just the OEX stuff, though). P.S. This information is not too useful to anyone without a basic experience in the design of simple operational-amplifier chip-based circuits. If anyone would like to take a look in their OEX and give me a part list (or better yet, a schematic), it could take some of the guesswork out of making 8-channel or 16-channel home-brew OEX's (e.g. I'm still not sure if OUTCLK is active high or not). ------------------------------------------------------------------------- "Inside The EPS"- that happens to be the title of an article by Dick Lord in issue #39 of the Transonic Hacker, way back in Sept. 1988. Here, the signals inside the EPS which drive the OEX are explained as follows (a short excerpt): "The 8-output expander uses these output selection lines to route the differential signals at pin 5 and pin 9 of J16 to one of the eight outputs. Since only three pins are available for selection, outsel0 and outsel3 are combined by an op-amp and fed to pin 2 of the connector. When pin 2 is non-negative, it can control bit 0 of the external output selector. Pin 1 supplies a clock to gate each output sample. In the Ensoniq expander the differential signals probably are not re-combined immediately, but pass through a differential pair of output selectors to minimize switching noise. Power for the output expander circuitry is available from the positive and negative 12V supplies on pins 3 and 4." J16 OUTPUT EXPANSION 5 4 3 2 1 9 8 7 6 1 -> OUTCLK 2 -> OUTSEL0/3 3 -> +12 4 -> - 12 5 -> Differential output - 6 -> OUTSEL2 7 -> OUTSEL1 8 -> GND 9 -> Differential output + (OUTSEL0/3 is described in a graph, but since I can't do graphics here I'll just transcribe it into a table:) J16-2 (pin 2 -> OUTSEL0/3) Level OUTSEL3 OUTSEL0 ----- ----- ----- +5V 1 1 +0V 1 0 -2V 0 1 -7V 0 0 EXTRA ----- I have a few things to add to Dick Lord's notes, but I haven't actually looked inside an OEX. Siliconix makes a few analog multiplexer chips, and they have one which fits the bill for the OEX exactly. The DG507A is a Differential 8-Channel Multiplexer. Here is how it would connect to the DB-9 on the back of the EPS (J16 in the article): pin 1 (V+) = J16-3 pin 2 (Db) = J16-9 pins 4 - 11 are + outputs pin 12 (GND)= J16-8 pin 15 (A2) = J16-6 pin 16 (A1) = J16-7 pin 17 (A0) = "OUTSEL0" from J16-2 through a dc-shifting op-amp circuit pin 18 (EN) = J16-1 AND ("/OUTSEL3" from J16-2 thru op-amp comparator) pins 19 - 26 are - outputs pin 27 (V-) = J16-4 pin 28 (Da) = J16-5 OTHER NECESSARY CIRCUITRY ------------------------- You would probably want to buffer the signals instead of taking a chance on blowing out the DG507 or the EPS. Of course, the more difficult circuit is the op-amp comparator and the 8 sample-and-hold op-amps to store the individual channels as they are clocked by the EPS. The op-amp comparator would need to generate OUTSEL3 by generating 5V whenever OUTSEL0/3 is greater than -1V and generating 0V whenever OUTSEL0/3 is less than -1V. Another section should use an op-amp to generate OUTSEL0 by passing through OUTSEL0/3 when the comparator says OUTSEL3 is logic 1, but a positive dc offset of 7V should be added to OUTSEL0/3 to generate OUTSEL0 whenever the comparator has OUTSEL3 as logic 0. Not too tricky to design this, but I don't have a working/proven circuit to share. The 8 sample-and-hold op-amps should be connected to combine the respective differential outputs (e.g. S1a, pin 19, would connect to the inverting input, and S1b, pin 11, to the non-inverting input - the output of this would be Solo 1). This circuit would be repeated eight times to combine each demultiplexed differential output, this design cancels out any switching noise generated by the DG507 during demultiplexing (thanks, Ensoniq!). Also, it would be just as easy (sure :-) to do a 16-channel output expander. In this case the 8 pre-panned settings would be available individually as monophonic outputs (hopefully without affecting the quality of the internal stereo outputs). A second DG507 would be wired like the first, except that its pin 18 (EN) would be J16-1 AND OUTSEL3 (instead of the inverted /OUTSEL3). Enough for now, --- Brian Willoughby Software Design Engineer, BSEE NCSU BrianW@SoundS.WA.com Sound Consulting and Signal Processing Software NeXTmail welcome From psychok.dialix.oz.au!leigh Thu Jan 21 21:43:11 1993 Return-Path: Received: from 128.250.1.21 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 21:42 PST Received: from uniwa.uwa.edu.au by munnari.oz.au with SMTP (5.83--+1.3.1+0.50) id AA01531; Fri, 22 Jan 1993 16:42:35 +1100 (from leigh@psychok.dialix.oz.au) Received: from perth.DIALix.oz.au (DIALix.oz.au) by uniwa.uwa.edu.au with SMTP (5.65c) id AA05903; Fri, 22 Jan 1993 13:42:26 +0800 Received: from psychok by perth.DIALix.oz.au id aa12320; 22 Jan 93 13:35 WST Received: by psychok.DIALix.oz.au (/\==/\ Smail3.1.25.1 #25.1) id ; Thu, 21 Jan 93 12:23 PST Message-Id: Subject: SCSI to EPS on other than Macs. To: Ensoniq EPS mailing list Date: Thu, 21 Jan 93 12:23:30 PST From: Leigh Smith Organisation: Psychokiller, Qu'est-ce que c'est? X-Mailer: ELM [version 2.3 PL11] Hi, While we're on the subject of SCSI communications to the EPS and 16+, has anyone been able to get anything communicating via SCSI using a PC, a NeXT or similar? I know the Ensoniq have NeXT's as well as Macs, so perhaps Bill or Fred know of any attempts to communicate with that platform. (Yes, I have a PC and yes I'm getting a NeXT :-) ). -- =--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--= | Leigh Smith _--_|\ Email: leigh@psychok.DIALix.oz.au | | / \ Tel (H): +61-9-450-2014 | | Perth --> *_.--._/ Perth, Western Australia | | v | =--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--=--= From cco.caltech.edu!tod Thu Jan 21 22:49:03 1993 Return-Path: Received: from 131.215.48.151 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Thu, 21 Jan 93 22:47 PST Received: from sandman.caltech.edu (sandman.cco.caltech.edu) by punisher.caltech.edu (4.1/DEI:4.41) id AA06816; Thu, 21 Jan 93 22:47:55 PST From: tod@cco.caltech.edu (Tod Edward Kurt) Received: by sandman.caltech.edu (4.1/UGCS:4.41) id AA06290; Thu, 21 Jan 93 22:50:06 PST Date: Thu, 21 Jan 93 22:50:06 PST Message-Id: <9301220650.AA06290@sandman.caltech.edu> To: eps@reed.edu Subject: EPS16+ <--> Mac via SCSI (It worked!!!) Well, everyone, thanks for the help, I got the connection to work! I now know my SCSI port works on my EPS16+ (had the thing for 1 1/2 years, and only now do I learn if that silly add-on functioned!) So, anyway, what I did to get Alchemy on a Mac IIci to work with my EPS 16+ with a SCSI interface: * EPS MIDI out -> Mac MIDI in * EPS MIDI in -> Mac MIDI out * EPS "SYS-EX ON" in edit/command page * EPS SCSI to Mac SCSI via DB25-DB25 serial cable (make sure all 25 pins go through) * in Alchemy, Edit Instrument so EPS listens to SCSI. After that, everything worked sweet and FAST! ...just in case anyone wanted to know... -Tod From poda.wins.icl.co.uk!A.Spiceley Fri Jan 22 03:15:49 1993 Return-Path: Received: from 158.43.128.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 22 Jan 93 03:15 PST X400-Received: by mta relay.pipex.net in /PRMD=pipex/ADMD=cwmail/C=GB/; Relayed; Fri, 22 Jan 1993 09:47:58 +0000 X400-Received: by /PRMD=icl/ADMD=gold 400/C=GB/; converted (ia5 text (2)); Relayed; Fri, 22 Jan 1993 09:42:32 +0000 X400-Received: by /PRMD=iclexpo/ADMD=gold 400/C=GB/; converted (undefined (0)); Relayed; Fri, 22 Jan 1993 09:41:16 +0000 Date: Fri, 22 Jan 1993 09:41:16 +0000 X400-Originator: A.Spiceley@poda.wins.icl.co.uk X400-Recipients: eps@reed.edu X400-MTS-Identifier: [/PRMD=iclexpo/ADMD=gold 400/C=GB/;ICLPODA 0000001300007698] Original-Encoded-Information-Types: undefined (0) X400-Content-Type: P2-1984 (2) Content-Identifier: 7698 From: A.Spiceley@poda.wins.icl.co.uk Message-ID: <"7698*/I=A/S=Spiceley/OU=poda/O=icl/PRMD=iclexpo/ADMD=gold 400/C=GB/"@MHS> To: eps@reed.edu Subject: Why microtunings? A number of you have made good points about why alternative tunings might be of interest (non-western music, western music before equal-temperament) but I should come clean and say that in my case the principal reason behind buying an EPS was that I wanted to experiment with unusual divisions of the octave. I got my EPS explicitly in order to realise a piece I was writing with a mix of live instruments and electronics: the electronics being the EPS doing a reasonable interpretation of being a Steinway built with 13 or 16 keys/sets of strings to the octave. (13T and 16T tunings sound very dissonant to my ear, whereas for example 10T and 15T sound much less jangly.) ObEPS: the EPS is (or was 2 years ago, anyway) just about the only affordable sampler with real microtuning capability. What is nice is being able to extrapolate an interval across the entire range. As I understand it, the Yamaha family of synths mostly have good tuning capability but to retune the entire keyboard using a non-standard interval requires tuning each note individually, which sounds a bit laborious. What I need to do now is pick apart the Steinway sample and re centre the wavesamples so that they occur at the right "real" pitch. What would be nice would be a GUI program which would let me restructure the instrument on a computer. Does such a thing exist? I don't actually want to edit the waveforms at all, but instead the data which hooks the waveforms together as an instrument. Meanwhile I recommend anyone who is curious to get hold of music by Harry Partch, or Charles Ives' studies for quarter-tone piano :-) OK, back to SCSI, HD and lists of essential features for son-of-ASR10 :-) ########################################################################## Andy Spiceley A.Spiceley@poda.wins.icl.co.uk ICL Bracknell Berks, UK From Ensoniq.COM!fred Fri Jan 22 14:47:02 1993 Return-Path: Received: from 128.126.220.104 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 22 Jan 93 14:46 PST Received: from ensoniq.UUCP by gvls1.VFL.Paramax.COM (4.1/mls/4.0) id AA11230; Fri, 22 Jan 93 17:46:41 EST X-Info: VFL.Paramax.COM is the new name for GVL.Unisys.COM Please change any mailing lists or aliases. Both the old and the new addresses will work for a short time. Received: by ensoniq.Ensoniq.COM (4.1/mls/3.5) id AA09783; Fri, 22 Jan 93 17:45:20 EST Date: Fri, 22 Jan 93 17:45:20 EST From: fred@Ensoniq.COM (Fred Shaul) Message-Id: <9301222245.AA09783@ensoniq.Ensoniq.COM> To: eps@reed.edu > Could you, running your EPS through a sequencer on the Mac dump Samples into > the memory of the EPS by programming it into the sequence. With "dump" i refer > to dumping via SCSI the way Alchemy does it. I.e. In a performance, as the > next song comes up, the sequencer would dump the new bank into the EPS from > the Mac, so eliminate or minimize dead air between songs. A computer based sequencer that is ENSONIQ SCSI sample dump aware could potentially perform what your describing. Sort of a Super MIDI/SCSI "patch" programmer which includes actual sample data. However: - Such a sequencing package for the MAC (or any platform) to the best of my knowledge does not exist yet. - While servicing SCSI sample transfers (Alchemy style), the keyboard is effectively crippled until the transfer is complete (Pretty sure anyway). Perhaps there are alternative solutions to what you have in mind. - fred@ensoniq.com From essex.ecn.uoknor.edu!cmparris Fri Jan 22 16:48:31 1993 Return-Path: Received: from 129.15.20.4 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 22 Jan 93 16:47 PST Received: by essex.ecn.uoknor.edu id AA27246 (5.65c/IDA-1.4.4 for eps@reed.edu); Fri, 22 Jan 1993 18:47:41 -0600 From: Chris Michael Parrish Message-Id: <199301230047.AA27246@essex.ecn.uoknor.edu> Subject: Sequenced SCSI dumps.... To: eps@reed.edu Date: Fri, 22 Jan 1993 18:47:40 -0600 (CST) X-Mailer: ELM [version 2.4 PL8] Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Length: 904 With apple events, it seems like Alchemy and a Sequencer could do what was just discribed. Imagine putting an apple event to alchemy in the proper point in your sequence, then when alchemy recieves it, the proper sample is trans- fered. Even if the keyboard is disabled, it seems as if this would automate live performances a little more, and you could store your samples on your Mac's HD, rather than having to get a separate drive for both the keyboard and the computer (of course, I imgaine it would be a little slower this way than just loading straight from a HD connected to the EPS, but for those of us trying to get more for our money...) -- _______________________________________________________________________________ Chris Parrish | University of Oklahoma | "To share is to split..." cmparris@essex.ecn.uoknor.edu | - KMFDM From ebs330.eb.uah.edu!claassen Fri Jan 22 20:43:27 1993 Return-Path: Received: from 146.229.4.1 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Fri, 22 Jan 93 20:42 PST Received: by ebs330.eb.uah.edu (4.1/SMI-4.1) id AA02624; Fri, 22 Jan 93 22:39:36 CST Date: Fri, 22 Jan 93 22:39:36 CST From: claassen@ebs330.eb.uah.edu (Arne Claassen (ISE)) Message-Id: <9301230439.AA02624@ebs330.eb.uah.edu> To: eps@reed.edu Subject: Re: Sample dumps to EPS Since I can't seem to reach fre@ensoniq.com (host unknown from here) i'll go through the list again (my nameserver sucks...) fred@Ensoniq.com writes: > - While servicing SCSI sample transfers (Alchemy style), the keyboard is > effectively crippled until the transfer is complete (Pretty sure anyway). I thought that the EPS could read in samples while playing. I know this works from disk, so i'd assume that it should work via SCSI. Then again, loading a bank, kills the old bank before a new bank is loaded. Hm. So, I could limit my performance bank to only four instruments and this way, swap out four while still using the other four, or maybe have a drawn out fade out, which slowly drops one instrument at a time and replaces the killed one with a new one for the next song. This should work, right? Best, of course would be to have two and just swap keyboard betweem songs. Unforunately I don't have that luxury. I'm going to be hard enough pressed to buy my own EPS. On a different line of thinking, could an EPS rack or the future ASR-10 rack be controlled from a midi keyboard the same way the normal keyboard does it? I.e., use multiple instruments and layering of the eight instruments with a controller keyboard that only has a single MIDI out. I would guess so, since the layering is internal to the unit, not the keyboard and all you send is key press information. Is this assumption correct? -Arne claassen@ebs330.eb.uah.edu ** The opinion expressed herein are solely mine, and i'd like to keep it that ** ** way. Any association with statements by the University of Alabama in ** ** Huntsville are purely accidental and have no relation to anything real. ** From ecn.purdue.edu!davisonj Sat Jan 23 15:04:05 1993 Return-Path: Received: from 128.46.128.59 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Sat, 23 Jan 93 15:03 PST Received: by en.ecn.purdue.edu (5.65/1.32jrs) id AA25905; Sat, 23 Jan 93 18:03:51 -0500 From: davisonj@ecn.purdue.edu (John M Davison) Message-Id: <9301232303.AA25905@en.ecn.purdue.edu> Subject: 9-pin RS232C extension cord availability query To: eps@reed.edu (EPS Mailing List) Date: Sat, 23 Jan 93 18:03:50 EST X-Mailer: ELM [version 2.3 PL11] Last summer I visited a Radio Shack in order to get their joystick extension cord (a nine-pin male RS-232C to nine-pin female RS-232C extension cord, which I think was six feet long) for use with my OEX-8 Output Expander and EPS. Luckily, I was able to pick one up for $1.00 since their joystick extension cord was being discontinued. Like the dummy I am, though, I failed to pick up the other remaining one they had; now it's impossible to get one at any Radio Shack. Can anyone tell me where I could buy such an extension cord nowadays? Ribbon cable is not acceptable; the Radio Shack extension cord was made of the same cable that old Atari joysticks used, and seemed to work fine. The more rugged, the better! From silver.lcs.mit.edu!jna Sun Jan 24 07:07:47 1993 Return-Path: Received: from 18.52.0.230 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Sun, 24 Jan 93 07:06 PST Received: by silver.lcs.mit.edu id AA02447; Sun, 24 Jan 93 10:06:36 -0500 Date: Sun, 24 Jan 93 10:06:36 -0500 From: jna@silver.lcs.mit.edu (Our leaders are only drunk with fear) Message-Id: <9301241506.AA02447@silver.lcs.mit.edu> To: davisonj@ecn.purdue.edu, eps@reed.edu Subject: Re: 9-pin RS232C extension cord availability query This isn't to say that the connectors , hoods , and high quality cable aren't still available.. you could build your own cable, fill the connector ends with epoxy, and they'd never fall apart. -john From silver.lcs.mit.edu!jna Sun Jan 24 07:14:32 1993 Return-Path: Received: from 18.52.0.230 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Sun, 24 Jan 93 07:13 PST Received: by silver.lcs.mit.edu id AA02517; Sun, 24 Jan 93 10:13:27 -0500 Date: Sun, 24 Jan 93 10:13:27 -0500 From: jna@silver.lcs.mit.edu (Hey You) Message-Id: <9301241513.AA02517@silver.lcs.mit.edu> To: eps@reed.edu Subject: 909 DrumKit available for FTP? Does anyone have a roland 909 drum kit in EPS classic format? And if so, could you send it to the ftp site so I could get it? I NEED one.. I saw a couple files there today, a tekperc.eui one , and a couple othere.. are these "techno percussion" perhaps? thanks in advance -john From telerama.pgh.pa.us!raver909 Sun Jan 24 21:27:26 1993 Return-Path: Received: from 128.2.55.33 by reed.edu (/\==/\ Smail3.1.25.1 #25.21) id ; Sun, 24 Jan 93 21:27 PST Received: by telerama.pgh.pa.us id AA20483 (5.65c/IDA-1.4.4 for eps@reed.edu); Mon, 25 Jan 1993 00:26:48 -0500 Date: Mon, 25 Jan 1993 00:26:47 -0500 (EST) From: Rave Crusader Subject: Re: 909 DrumKit available for FTP? To: Hey You Cc: eps@reed.edu In-Reply-To: <9301241513.AA02517@silver.lcs.mit.edu> Message-Id: "Watcha gonna do when the bass hits you???" -Adrenaline 92 Toronto, Ontario. On Sun, 24 Jan 1993, Hey You wrote: > > Does anyone have a roland 909 drum kit in EPS classic format? And if so, > could you send it to the ftp site so I could get it? I NEED one.. I > saw a couple files there today, a tekperc.eui one , and a couple othere.. > are these "techno percussion" perhaps? > > thanks in advance Ok. Where is the ftp site? I have a 909 kit that I used to use before I bought my 909 but I have no way of uploading it to my computer in any format you're likely to use. I have a C-64 and if I were to upload it it would be in Sample Trader SDS format. Maybe someone else had one. I could always trade you a disk through the US snail.