From greenboy@bigsky.net Tue, 31 Mar 1998 08:12:34 -0700
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: Software Interfaces
Date: Tue, 31 Mar 98 16:12:00
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Gord Clink wrote:
>Personally I prefer the interface style used by Studio16.... Very >straight forward, but nice to look at too. I find the Bars&Pipes >interface too cluttery for my taste. Lots of color can be nice though, >if used properly!

Hi Gord! The Studio16 interface is nice. After seeing some on other
platforms, i found that release was a real eye-pleaser. And for its
time, it was designed well for getting some things done.

But if B&P is cluttered, it is because midi programs need to display
quite a bit of information as well as offer control. Compared to S16,
any sequencer, especially one with windows, looks cluttered.

I really prefer user-configurability myself. Directory Opus Magellan or
some of the larger MUI apps like IBrowse allow the user to see what they
want to see, and use the model of control that works best for them.
DOpus probably would be improved with even user-configurable menus, and
it binds a few keyboard shortcuts I wish I could change, but the vast
(99.9%) of them are assignable.

IBrowse allows one to easily move the controls and displays around in
the window, or run only those one wants. FI, I have no navigation
controls, waitanim, quicklink buttons, or any of the other stuff you see
in a browser. It is Spartan! But all that stuff is just in the way for
doing what a browser is designed to do: read html. I can see a large
amount of a page at one time at 1024x768, and there are so few
navigation key shortcuts to remember. So that's IBrowse.

In another prog I might look rather florid in comparison. I would still
want to see lots of information, but might need more controls available
at one time. Each of the best sequencer programs has a nice twist here
and there on mouse use; so do some of the sample editors and midi
patch-editors. But to be able to make your own environment easily allows
the program to be a real productive friend.

It probably makes the evolution of the artist/user more natural as well.
I have tweaked on my Directory Opus setup since the first release many
years ago. As my needs changed or I thought of a better way to do
something, I made it so. If something would be cool, I made that so.
GPSoft didn't need to do revision after revision for the program's
usefulness to improve--they could concentrate on other matters.

An aside:

When one sees the Windozzze 1895 interface, a few things seem pretty
decent. But wow, what opaque windows these are! Someone painted 'em;
file management and disk-management on the PC is a joke! I know that
fits somewhere into the discussion of interface. ;^)

Take care, buddy!

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From gclink@dryden.net Tue, 31 Mar 1998 10:50:17 -0600
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From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: Drifting
Date: Tue, 31 Mar 98 17:50:00
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When syncing my AD516 to my 8-track reel-reel, everything works great. Everything is in sync. But the other day we recorded a song.... Drums and SMPTE time code on the reel-reel, and vocals, keys, hats, & cymbals on Studio16. Everything was synced up great, we played it back over and over again, 30 or 40 times, getting a good mix. We dumped it to a cassette.... No problem. Then a week later we load everything up, and played back our recording. And the reel-reel was out of sync by about one frame (24fps), as well as it started drifting. By the end of the song, it was really drifted bad.

Any ideas as to why?

Gord Clink


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From sag@cae.ca Tue, 31 Mar 1998 14:11:35 -0500
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From: Serge A Guilbert <sag@cae.ca>
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Subject: Mixer -Reply
Date: Tue, 31 Mar 98 20:11:00
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-->I've noticed when you play a sample in the sample editor, it shows up then, but
-->not from the cue list.

I've got the same problem. It works with the Sample list, but not the Cuelist. If
you look at the manual, it states specifically that it will show files from the
"Sample List". I guess it's meant to be taken literally.  :>)


SAG






Any suggestions?

Gord Clink


** The Studio 16 mailing list (unofficial)


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From hanssen@plex.nl Tue, 31 Mar 1998 23:59:06 (+0100)
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From: Job Hanssen <hanssen@plex.nl>
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Subject: Re: Drifting
Date: Wed, 1 Apr 98 00:59:00
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Gord Clink <gclink@dryden.net> wrote about Drifting:
> Then a week later we load everything up, and played back our
> recording. And the reel-reel was out of sync by about one frame (24fps), as
> well as it started drifting. By the end of the song, it was really drifted
> bad.
> 
> Any ideas as to why?

Have a look at your Studio16  preference-settings. It could be that accidently
changed the SMPTE-settings to 24fps, while you recorded everything in 25fps
(or the other way around).
 
> Gord Clink
-- 
     Job Hanssen - hanssen@dds.nl
     Job Dimensional Computing - computer graphics design and production.



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From tc_silvey@juno.com Tue, 31 Mar 1998 20:27:10 -0500
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Re: Scala: A better way!!
Date: Wed, 1 Apr 98 02:27:00
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>I've noticed that after you load the studio16 EX, if you go to scala's 
>system menu then go to the timeing menu, you will see "Studio16
timeing"!
>With this you can time scala's grafix to studio16....But, don't use 

what is this studio 16 EX? and where can I get It?
I would like to try some presentations with scala 
and studio 16.

troy

_____________________________________________________________________
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From sag@cae.ca Tue, 31 Mar 1998 22:26:16 -0500
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From: Serge A Guilbert <sag@cae.ca>
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Subject: Drifting -Reply
Date: Wed, 1 Apr 98 04:26:00
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Sure thing. I'm assuming you're using the reel-to-reel as your SMPTE master. The
most likely culprit has got to be your reel-to-reel. As we have discussed on this
list previously, using your reel-to-reel as a master is dicey, at best, no matter
how $$$ your reel-to-reel is. I have one of the better ones, which was brand,
spanking new when I brought it in to be calibrated (just to be sure), and to my
surprise, it was running a bit fast.

Ideally, you should be using a hardware standalone SMPTE generator as master.

If you're going to use the reel-to-reel as an open-loop SMPTE master, I believe it
absolutely essential to keep it calibrated on a regular basis, and to make sure
that it's properly warmed up before using it. You've also got to make sure the
pinch roller, and other mechanically strained parts are cleaned, and changed at
regular intervals. Parts wear down, lose calibration, and start to drift. Maybe
the ear doesn't notice, but SMPTE timing requirements are a lot more discerning
than the ear. In your case, the lapse of time was a week. Imagine what could
happen after a year, or more.

I'm going to climb down from my soapbox now.

Off the cuff, perhaps your machine was not warmed up enough during one of your
sessions?

BTW: Keep in mind that if you do get your machine re-calibrated, all the tapes you
striped before that will most probably be out of synch.


SAG


>>> Gord Clink <gclink@dryden.net> 31/03/98 11:50am >>>
When syncing my AD516 to my 8-track reel-reel, everything works great. Everything
is in sync. But the other day we recorded a song.... Drums and SMPTE time code on
the reel-reel, and vocals, keys, hats, & cymbals on Studio16. Everything was
synced up great, we played it back over and over again, 30 or 40 times, getting a
good mix. We dumped it to a cassette.... No problem. Then a week later we load
everything up, and played back our recording. And the reel-reel was out of sync by
about one frame (24fps), as well as it started drifting. By the end of the song,
it was really drifted bad.

Any ideas as to why?

Gord Clink


** The Studio 16 mailing list (unofficial)


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From baff@stc.net Tue, 31 Mar 1998 22:55:03 +0500
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From: Brian Fields <baff@stc.net>
To: dhomas trenn <studio16@thule.no>
Subject: EatTheEvidence
Date: Tue, 31 Mar 98 18:55:00
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Hi dhomas,

Please notice my new address. baff@stc.net

I no longer have to call long distance.

>to you?  For your eyes only.  And you should probably delete it after

OK. I'll burn the code and eat the ashes.

Thanks for letting me see it though.
I hope to have more exciting news soon.

>--

>dhomas.

>**********************************************************************
>*                                                                    *
> *    young monkey studios     EMail:  dhomas@youngmonkey.ca        *
> *      ----------------         WWW:  http://www.youngmonkey.ca/   *
>  *       dhomas trenn                                             *
>  *                            Snail:  797 Mitchell Street         *
> *                                     Fredericton, NB              *
> *   Phone:  (506) 459-7088            CANADA    E3B 3S8            *
>*                                                                    *
>**********************************************************************

TTYL

--

Brian

baff@stc.net



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From net@dutch.nl Wed, 1 Apr 1998 17:35:05 +0900 
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From: Rene' Schaap <net@dutch.nl>
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Subject: RE: Drifting
Date: Wed, 1 Apr 98 09:35:00
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On Tue, Mar 31, 1998, at 10:50 AM, Gord Clink wrote:

> When syncing my AD516 to my 8-track reel-reel, everything works great.
> Everything is in sync. But the other day we recorded a song.... Drums and
> SMPTE time code on the reel-reel, and vocals, keys, hats, & cymbals on
> Studio16. Everything was synced up great, we played it back over and over
> again, 30 or 40 times, getting a good mix. We dumped it to a cassette....
> No problem. Then a week later we load everything up, and played back our
> recording. And the reel-reel was out of sync by about one frame (24fps), a
> s well as it started drifting. By the end of the song, it was really
> drifted bad.
> 
> Any ideas as to why?
> 
> Gord Clink
> 
Maybe it's the Whether.
If you recorded it on a hot day and do a playback on a cold day the reel to reel
could be out of sync because it has shrinked a little bit.
Even the tape has shrinked, not much but enought to get a sync problem.
Because the Ad516 has no mechanical parts nor Tape, it has no  sync problems when
it is hot or cold.

BTW, did you have a SMPTE time-code track on the TAPE or is it synced in another
way.
Or do you just use Punch in and Out ?????

Which of the 2 is the Master en which is the Slave ????????



Succes with solving your problem.




SeeYaa




Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

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From 74667.3434@compuserve.com Wed, 1 Apr 1998 10:32:49 -0500
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From: charles hess <74667.3434@compuserve.com>
To: studio16 <studio16@thule.no>
Subject: Re: Software Interfaces
Date: Wed, 1 Apr 98 16:32:00
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H e y ,  J o h n !

``I've chatted with you a couple times on the
Compuserve Amiga forums, how's tricks? ;-)''

It's the I-play-drums guy! How's it going? My current setup now is B&P,
DMCS2, OSMS attached to a Fatar 610 Plus Controller on an A4000. And AD516
on my A3000, with Studio16 3.0 'cause there's no room for more boards on my
A4000. Is the 3.1 version better than 3.0? Could I have both of them on  the
hard drive? Could I have all three (v.2.0 too)?


.Greetings from W. Reading, PA!!
.Charlie Hess -- Team *AMIGA*


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From gclink@dryden.net Wed, 1 Apr 1998 09:51:15 -0600
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From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: RE: Drifting
Date: Wed, 1 Apr 98 16:51:00
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BTW, did you have a SMPTE time-code track on the TAPE or is it synced in another
way.

SMPTE time code on track 4 of the reel to reel

You would think that the smpte reader would produce an error if the tape shunk, but it tracks the code quite nicely!!

Or do you just use Punch in and Out ?????

Which of the 2 is the Master en which is the Slave ????????

The reel to reel is the master, studio16 the slave

Succes with solving your problem.




SeeYaa




Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

Homepage:    http://www.dutch.nl/net

Voice   :    0031 (0)35 52 42 72 0

FAX     :    0031 (0)35 52 66 31 7





** The Studio 16 mailing list (unofficial)


** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Wed, 01 Apr 1998 10:16:34 -0800
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From: John Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Re: Software Interfaces
Date: Wed, 1 Apr 98 19:16:00
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charles hess wrote: ! How's it going?

Not to bad!


>  Is the 3.1 version better than 3.0? Could I have both of them on  the
> hard drive? Could I have all three (v.2.0 too)?

I think you can have all three on there at the same time.  When I first set up
my system someone in the Amiga Arts forum ( John Abney I think ) was helping me
with some problems and had me try something with ver. 2 and then ver. 3.1 (
turned out I just had to get the newest versions of the custom chips ) so I have
both of those on there at the same time.

Take care!



    ImJohn@worldnet.att.net
        .......I play drums.



PS - Hey, wasn't your 'tag line' "Dr. Pepper Rules!" or was that someone else?
;-)


** The Studio 16 mailing list (unofficial)


From roofdoc@dircon.co.uk Thu, 02 Apr 1998 05:16:27 -0000
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From: Wayne Olding <roofdoc@dircon.co.uk>
To: John Rice <studio16@thule.no>
Subject: Studio 16 v3.1
Date: Thu, 2 Apr 98 06:16:00
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On 01-Apr-98, John Rice wrote:
>charles hess wrote: ! How's it going?
>>  Is the 3.1 version better than 3.0? Could I have both of them on  the
>> hard drive? Could I have all three (v.2.0 too)?


Hi list,
        Is there really a Version 3.1 of the Studio 16 software or are 
some people mixing this up with version 3.01! (this is the version I
have) If there really is a version 3.1 I'd be interested if someone 
could tell me where I might be able to get a copy? 

Cheers for now.

-- 

Wayne :-)





                                               
                                              Amiga - A4000T                  
                                 
 CybStorm 060_50 + Cybscsi + CybVision3D + 2xIBM 4.3GB + SyJet 1.5GB +
            IIyama Pro17 + 128 Meg Ram + TBCPlus + Emplant Deluxe +
   Toshiba 32x SCSI CD-Rom + Yamaha CDR400t Writer + HP ScanJet 4C + 
                            Epson Stylus 800 + AD516 + OpalVision


Thought: If PC's could fly, there would be a lot of air disasters...


** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Thu, 2 Apr 1998 07:48:47 -0600
X-SystemInfo: Studio 16: EMail
X-Message-No: 2110 (database)
From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: RE: Studio 16 v3.1
Date: Thu, 2 Apr 98 14:48:00
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Everyone confuses 3.01 with 3.1, so I just ignore it.... I think most everyone on this list knows what your talking about if you refer to  3.1....  as this question come up about once every two weeks or so.... :)

Gord

----------
From:  Wayne Olding[SMTP:roofdoc@dircon.co.uk]
Sent:  Wednesday, April 01, 1998 11:16 PM
To:  John Rice
Subject:  Studio 16 v3.1

On 01-Apr-98, John Rice wrote:
>charles hess wrote: ! How's it going?
>>  Is the 3.1 version better than 3.0? Could I have both of them on  the
>> hard drive? Could I have all three (v.2.0 too)?


Hi list,
        Is there really a Version 3.1 of the Studio 16 software or are 
some people mixing this up with version 3.01! (this is the version I
have) If there really is a version 3.1 I'd be interested if someone 
could tell me where I might be able to get a copy? 

Cheers for now.

-- 

Wayne :-)





                                               
                                              Amiga - A4000T                  
                                 
 CybStorm 060_50 + Cybscsi + CybVision3D + 2xIBM 4.3GB + SyJet 1.5GB +
            IIyama Pro17 + 128 Meg Ram + TBCPlus + Emplant Deluxe +
   Toshiba 32x SCSI CD-Rom + Yamaha CDR400t Writer + HP ScanJet 4C + 
                            Epson Stylus 800 + AD516 + OpalVision


Thought: If PC's could fly, there would be a lot of air disasters...


** The Studio 16 mailing list (unofficial)


** The Studio 16 mailing list (unofficial)


From 74667.3434@compuserve.com Thu, 2 Apr 1998 10:06:22 -0500
X-SystemInfo: Studio 16: EMail
X-Message-No: 2111 (database)
From: charles hess <74667.3434@compuserve.com>
To: studio16 <studio16@thule.no>
Subject: Studio 16 v3.1
Date: Thu, 2 Apr 98 16:06:00
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W a y n e , 

``Is there really a Version 3.1 of the Studio 16 software or are 
some people mixing this up with version 3.01!''

No, there is, however, a person (me) who doesn't read version numbers
closely enough! Okay, so it's v2.0, v3.0, and v3.01 correct?

What kind of economical mixers are people out there using?


.Greetings from W. Reading, PA!!
.Charlie Hess -- Team *AMIGA*


** The Studio 16 mailing list (unofficial)


From 74667.3434@compuserve.com Thu, 2 Apr 1998 10:06:18 -0500
X-SystemInfo: Studio 16: EMail
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From: charles hess <74667.3434@compuserve.com>
To: studio16 <studio16@thule.no>
Subject: Re: Software Interfaces
Date: Thu, 2 Apr 98 16:06:00
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J o h n , 

I'm going to try to put the other versions of Studio16 onto my HD too just
to see what they look like. 

Oh, and Dr. Pepper does rule! Now you made me have to go and get one!


.Greetings from W. Reading, PA!!
.Charlie Hess -- Team *AMIGA*


** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Wed, 8 Apr 1998 10:36:56 -0500
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X-Message-No: 2114 (database)
From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: Rapture?
Date: Wed, 8 Apr 98 16:36:01
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Did the rapture happen, and everyone on the mailing list accended except me?

Gord


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 08 Apr 1998 10:42:41 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Rapture?
Date: Wed, 8 Apr 98 17:42:00
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Gord Clink: 
>Did the rapture happen, and everyone on the mailing list accended except
>me?

That would be the logical conclusion. ;^) Ennui, overwork, poor morale
because of no further news of S16 progress--who knows?

I kind of miss the discourse here; but my excuse: blown A4000 proc-board,
waiting for mail-order replacement. In the meanwhile suffering through on
a P2@300mhz, wishing I was using YAM and CygnusEd and IBrowse and DOpus,
and had access to my email addressbook and web hotlist.

BTW, digital audio hardware and software on the PC is proliferate, and
some is quite good--if you don't mind plug-and-pray, unexplained system
crashes and lockups, and Windozzze1895, which encourages needless
complexity and bloatware. (It takes a 8-gig drive on a PC to feel like
you have a 2-gig drive on Ami.)

Take care, see you on the funway!

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From net@dutch.nl Wed, 8 Apr 1998 18:30:40 +0900 
X-SystemInfo: Studio 16: EMail
X-Message-No: 2116 (database)
From: Rene' Schaap <net@dutch.nl>
To: studio16 <studio16@thule.no>
Subject: RE: Rapture?
Date: Wed, 8 Apr 98 10:30:00
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On Wed, Apr 8, 1998, at 10:36 AM, Gord Clink wrote:

> Did the rapture happen, and everyone on the mailing list accended except
> me?
> 
> Gord
> 
> 
> ** The Studio 16 mailing list (unofficial)


No , i am here but i can hear some silence between the email.

I think some of the studio16 users are busy with projects, like me.
So less time to reply Email and surfing on the Internet.

SeeYaa



Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

Homepage:    http://www.dutch.nl/net

Voice   :    0031 (0)35 52 42 72 0

FAX     :    0031 (0)35 52 66 31 7





** The Studio 16 mailing list (unofficial)


From goodidea@aye.net Wed, 08 Apr 1998 13:43:38 -0500
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From: GOOD IDEA! <goodidea@aye.net>
To: Rene' Schaap <studio16@thule.no>
Subject: RE: Rapture?
Date: Wed, 8 Apr 98 19:43:00
Message-ID: <yam7402.1942.140535008@aye.net>
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On 08-Apr-98, Rene' Schaap wrote:
>On Wed, Apr 8, 1998, at 10:36 AM, Gord Clink wrote:

>> Did the rapture happen, and everyone on the mailing list accended except
>> me?
>> 
>> Gord
>> 
>> 
>> ** The Studio 16 mailing list (unofficial)


>No , i am here but i can hear some silence between the email.

ditto
-- 
Mark Needham
GOOD IDEA!
goodidea@aye.net

Graphic design Photography Illustration Video Architecture Advertising
Multimedia


** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Wed, 8 Apr 1998 14:50:57 -0500
X-SystemInfo: Studio 16: EMail
X-Message-No: 2118 (database)
From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: Prostation
Date: Wed, 8 Apr 98 20:50:01
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So what's the latest on Prostation..... or will that become a reality?

Gord


** The Studio 16 mailing list (unofficial)


From baff@mindspring.com Wed, 08 Apr 1998 17:53:27 +0500
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From: Brian Fields <baff@mindspring.com>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Rapture?
Date: Wed, 8 Apr 98 13:53:00
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>Gord Clink:
>>Did the rapture happen, and everyone on the mailing list accended except
>>me?

On 08-Apr-98, greenboy wrote:

>That would be the logical conclusion. ;^) Ennui, overwork, poor morale
>because of no further news of S16 progress--who knows?

>I kind of miss the discourse here; but my excuse: blown A4000 proc-board,
>waiting for mail-order replacement. In the meanwhile suffering through on
>a P2@300mhz, wishing I was using YAM and CygnusEd and IBrowse and DOpus,
>and had access to my email addressbook and web hotlist.

Hi folks,

I'm still here too albeit looking up from a dark hole of non-functional
Broadcaster ware. National Association of Broadcasters convention meeting
in Las Vegas will be over soon and hope to get some help then. Hate it
that I am not in the throes of massive digital audio editing projects yet
but think it will come soon enough.

I hope I run Qmaster ragged!

--

Brian Fields

baff@mindspring.com

>** The Studio 16 mailing list (unofficial)



** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Wed, 08 Apr 1998 19:58:41 -0600
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From: CMM <turk@gulftel.com>
To: studio16 <studio16@thule.no>
Subject: Mixers
Date: Thu, 9 Apr 98 02:58:00
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Someone on the list recently inquired about mixers, I can't remember
who it was, but I just wanted to recommend you take a look at a 
Carvin catalog or the Carvin web site. I have used Carvin equipment
for years and it is quality throughout and the prices cannot be touched
by any other manufacturer I've ever seen. The specs on their equipment
are awesome and they are not afraid to tell you what they are.

I can highly recommend anything made by Carvin, Guitars, Basses, Mixers,
PA, Amps, crossovers, etc. It is all top quality and the prices cannot
be
touched for what you get. For example the Studio Mate 16 Channel mixer
for
$299.00 cannot be touched even by much more expensive boards, and it is
built like a tank. 

Anyway if you're interested check out their webpage and request a
catalog.

Their products are top quality with awesome specs and componets, I
cannot
stess this enough. And it is all made in the USA! They have been in
business
for 50 years. I have several items including many guitars and basses,
and their equipment is the choice of many, many professional bands and
musicians as well.

Their website is http://www.carvin .com request a catalog and see for
yourself.

regards,

Lee


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 08 Apr 1998 20:04:20 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Mixers and Mack trucks
Date: Thu, 9 Apr 98 03:04:00
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CMM wrote:
>Someone on the list recently inquired about mixers, I can't remember
>who it was, but I just wanted to recommend you take a look at a
>Carvin catalog or the Carvin web site. I have used Carvin equipment
>for years and it is quality throughout and the prices cannot be touched

My Carvin 5-string bass is a tone-monster, has the greatest neck and
materials, looks smashin', and cost 1/2 what the other serious basses I
looked at! Peavey of course introduced a great new model right after I
bought it.

But when you buy a mixer, I think you need to sit down and write yourself
a feature list, like--what is it that you need? Ever since Mackie entered
the fray, there have been an incredible amount of sonically-superior, cheap
mixers. They all have slightly different features or design philosophies,
or implimentations.

Peavey has always had good models for the price, as does Carvin. Now some
good British companies like StudioMaster and Spirit have "cheapies" as does
Behringer, Sampson (I got one of these I really like as a submixer) and many
others. (Not like those nasty Fostex and Tascams that started coming out in
the early midi years.) I prefer companies that have made mixers as a major
part of their enterprise, as honest specs only tell part of the story.

Mackie's original 1604, for instance, is especially suited for AD516 use
because of its routing design, and that is one reason I purchased one. And
a good midi automation option.

But if it wasn't for the Carvin come-on I probably wouldn't have thrown an
answer out this time around either. Asking what mixer is best is like
asking, "What is the best color?" or "Who makes the best motor-vehicle?"
For what--a heavy troop transport, or weekend street stock?

There ain't no substitute for actually thinking about this stuff, reading
reviews, learning to ask informed questions, and then--purchasing and
repurchasing, always chasing the ever-receding horizon of features, specs,
price-point, and status.

Oops! Did I write that last part out loud?

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 08 Apr 1998 20:38:25 -0600
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To: studio16 <studio16@thule.no>
Subject: Re: S16> Rapture?
Date: Thu, 9 Apr 98 03:38:00
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Gord Clink:
>>>Did the rapture happen, and everyone on the mailing list accended
>>>except me?

greenboy (that's me!):
>>That would be the logical conclusion. ;^) Ennui, overwork, poor morale
>>because of no further news of S16 progress--who knows?

Brian Fields:
>I'm still here too albeit looking up from a dark hole of non-functional
>Broadcaster ware.
>
> I hope I run Qmaster ragged!

Are you giving it a head start, and what is the caffeine handicap?

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From 74667.3434@compuserve.com Wed, 8 Apr 1998 23:09:33 -0400
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From: charles hess <74667.3434@compuserve.com>
To: studio16 <studio16@thule.no>
Subject: Rapture?
Date: Thu, 9 Apr 98 04:09:00
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G o r d , 

``Did the rapture happen, and everyone on the mailing list accended except
me?

Gord''

I'm here. I haven't left. But I just got here last month. Please don't tell
me everybody's gone!


.Greetings from W. Reading, PA!!
.Charlie Hess -- Team *AMIGA*


** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Wed, 08 Apr 1998 23:20:44 -0600
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From: CMM <turk@gulftel.com>
To: studio16 <studio16@thule.no>
Subject: Re[2]: S16> Mixers and Mack trucks
Date: Thu, 9 Apr 98 06:20:00
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On 08-Apr-98, greenboy wrote:
> CMM wrote:
>> Someone on the list recently inquired about mixers, I can't remember
>> who it was, but I just wanted to recommend you take a look at a
>> Carvin catalog or the Carvin web site. I have used Carvin equipment
>> for years and it is quality throughout and the prices cannot be
touched
> 
> My Carvin 5-string bass is a tone-monster, has the greatest neck and
> materials, looks smashin', and cost 1/2 what the other serious basses
I
> looked at! Peavey of course introduced a great new model right after I
> bought it.
> 
Ahhhh...Carvin guitars are awesome. IMHO they have NO equal. The necks
are unbelievable. Nevertheless, my point was that the SM162 has tons of
features, is very, very high quality, built like a tank and cost only
$299.00. It is a steal.


** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Thu, 09 Apr 1998 01:02:57 -0600
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From: CMM <turk@gulftel.com>
To: studio16 <studio16@thule.no>
Subject: What has happened to Ben and the AHI drive for AD516 ? Was Rapture?
Date: Thu, 9 Apr 98 08:02:01
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I haven't seen any post from Ben in guite a while. What
has happened to him. Also, what has happened to the AHI
driver for the Sunrize boards?

regards,



** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Thu, 09 Apr 1998 01:05:01 -0600
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From: CMM <turk@gulftel.com>
To: studio16 <studio16@thule.no>
Subject: Re[2]: S16> Mixers and Mack trucks
Date: Thu, 9 Apr 98 08:05:00
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On 08-Apr-98, greenboy wrote:
> CMM wrote:
>> Someone on the list recently inquired about mixers, I can't remember
>> who it was, but I just wanted to recommend you take a look at a
>> Carvin catalog or the Carvin web site. I have used Carvin equipment
>> for years and it is quality throughout and the prices cannot be
touched
> 
> My Carvin 5-string bass is a tone-monster, has the greatest neck and
> materials, looks smashin', and cost 1/2 what the other serious basses
I
> looked at! Peavey of course introduced a great new model right after I
> bought it.
> 

I have serious doubts that a Peavy or anything else for that matter
could
come even close to the quality and sound of Carvin guitars. There is
nothing
like a Carvin neck for playability and that tone....geez


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 09 Apr 1998 01:09:19 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 08:09:00
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greenboy (that's me!):
>>My Carvin 5-string bass is a tone-monster, has the greatest neck and
>>materials, looks smashin', and cost 1/2 what the other serious basses I
>>looked at! Peavey of course introduced a great new model right after I
>>bought it.

CMM wrote:
>Nevertheless, my point was that the SM162 has tons of features, is very,
>very high quality, built like a tank and cost only $299.00. It is a steal.

Ah... But each person needs to get the RIGHT steal for their dream...
And I was about to mention the new Ramsa digital board, or the Yamaha 03R.

>I have serious doubts that a Peavy or anything else for that matter
>could come even close to the quality and sound of Carvin guitars. There
>is nothing like a Carvin neck for playability and that tone....geez

For the price that is probably true. But the sun does not rise or set in
any one place. (Though now I believe in my One True Bass.)

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Thu, 09 Apr 1998 01:12:47 -0700
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From: John Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 09:12:00
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>or the Yamaha 03R.

or the 02D.  And have you checked out the new PCI card by Yamaha for PC and MAC
that has almost the entire functionality of the 02D and is only $1000 list
price???????? It's amazing.



    ImJohn@worldnet.att.net
        .......I play drums.



** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Thu, 09 Apr 1998 03:13:11 -0600
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Subject: Re[2]: S16> ReMixers, and ReMacks about Truckin'
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On 09-Apr-98, greenboy wrote:
> greenboy (that's me!):
>>> My Carvin 5-string bass is a tone-monster, has the greatest neck and
>>> materials, looks smashin', and cost 1/2 what the other serious
basses I
>>> looked at! Peavey of course introduced a great new model right after
I
>>> bought it.
> 
> CMM wrote:
>> Nevertheless, my point was that the SM162 has tons of features, is
very,
>> very high quality, built like a tank and cost only $299.00. It is a
steal.
> 
> Ah... But each person needs to get the RIGHT steal for their dream...
> And I was about to mention the new Ramsa digital board, or the Yamaha
03R.

Whatever, I'm not going to argue with you over this. Someone had asked
about an inexpensive mixer and I replied that they might take a look
at Carvin equipment. That is all. If you don't like that idea then YOU
should look elsewhere. If anyone else is interested then I suggest you
got to http://www.carvin.com and look at what they have and compare
that with other stuff. I think you will find a tremendous difference in
quality and price. If not then hop on out to your local music store or
order something from Musicians Friend, etc. and pay twice the amount for

half the features and quality. It is up to you! I could really care
less.
Have them send you a catalog and look at how their specs are laid out.
Everything is there for you to look at. And of course they have mixers
of various types and prices, but still less than what you could buy
something else with more features.
> 
>> I have serious doubts that a Peavy or anything else for that matter
>> could come even close to the quality and sound of Carvin guitars.
There
>> is nothing like a Carvin neck for playability and that tone....geez
> 
> For the price that is probably true. But the sun does not rise or set
in
> any one place. (Though now I believe in my One True Bass.)
> 
Hmmmmm....gotta disagree with you here. From what I've seen the Sun does
in fact rise and set at the Carvin factory. Carvin Rules...there is NO
equal for the price.

regards,




** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Thu, 09 Apr 1998 12:17:18 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 13:17:00
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On 09-Apr-98, John Rice wrote:
>> or the Yamaha 03R.
> 
> or the 02D.  And have you checked out the new PCI card by Yamaha for
PC and MAC
> that has almost the entire functionality of the 02D and is only
$1000 list
> price???????? It's amazing.

It looks as though various people are planning to add PCI slots to
Amigas over the next year or so. Then it will just be a matter of
getting drivers written.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 09 Apr 98 14:02:48 +0100
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From: Kenny Nilsen <kenny@bgnett.no>
To: charles hess <studio16@thule.no>
Subject: Re: Rapture?
Date: Thu, 9 Apr 98 14:02:00
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charles hess wrote:
>I'm here. I haven't left. But I just got here last month. Please don't tell
>me everybody's gone!

There're currently 97 people subscribed to the list (per 8/April/98).


- Kenny


** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Thu, 09 Apr 1998 08:14:41 -0700
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From: John Rice <ImJohn@worldnet.att.net>
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Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 16:14:00
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CMM wrote:

> > For the price that is probably true. But the sun does not rise or set
> in
> > any one place. (Though now I believe in my One True Bass.)
> >
> Hmmmmm....gotta disagree with you here. From what I've seen the Sun does
> in fact rise and set at the Carvin factory. Carvin Rules...there is NO
> equal for the price.
>
> regards,
>

Uhhhhh.... does 'CMM' stand for 'Carvin Marketing Manager'? ;-)



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 09 Apr 1998 09:36:35 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 16:36:00
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Don Cox wrote:
> It looks as though various people are planning to add PCI slots to
> Amigas over the next year or so. Then it will just be a matter of
> getting drivers written.

I am putting a deposit down for Siamese System's PCI-card Amiga. Since
Alpha-powered boxes with PCI slots have come down in price, having an Amiga
running on that hardware should be inspiring! (But a fast Pentium2 will
have to do, for me). The card is either $500 or $600.

I suggest everybody trumble over to cucorg Amiga News, which will further
point your surf limos at Siamese Systems, since I don't have an URL handy.
I believe the Siamese stuff may be very significant for the future of Amiga.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 09 Apr 1998 09:36:44 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 16:36:00
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CMM wrote:
>Whatever, I'm not going to argue with you over this. Someone had asked
>about an inexpensive mixer and I replied that they might take a look
>at Carvin equipment. That is all. If you don't like that idea then YOU
>should look elsewhere. --snip--
>half the features and quality. It is up to you! I could really care less.

Whhhho, dude! Swallow the hostility. WHO is arguing? Me (a very satisfied
Carvin customer!), I'm just presenting a few alternatives. It is always
good to have a full perspective.

> Hmmmmm....gotta disagree with you here. From what I've seen the Sun does

So, the deal is: no arguing with turk, but turk can disagree? How 
very generous, definitely a road leading to higher levels of discourse.

I am getting a new high-output power amp. The Carvin one I'm looking at is
fairly light for its wattage, purports to do well with 2 ohm loads (I have
little doubt it does), has a high slew-rate, and is CHEAP! Let me say it
in another way: BARGAIN ALERT!

But I am considering a few others that cost more because (surprise) they
have features I consider useful, and it does not. If I was buying for a
different application I wouldn't desire those features, and the Carvin
would be a shoe-in.

Peavey is releasing a digital power amp that weighs in at 16 pounds in a
single space, can accept crossover modules (not yet confirmed on this
point), can handle 2-ohm loads also--or bridged 4-ohm, and develops
600 a side @4 ohms. It has a digital version of Peavey's DDT circuit, which
is a good, fairly low-coloration limiting scheme.

The fan is variable speed. As the output demand goes up, so does the speed
of the fan. So it increases cooling, while being masked by the audio it is
amplifying. Cool. Methinks this is a great piece in my bass-rack, along with
my tube preamp.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 09 Apr 1998 09:36:30 -0600
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From: greenboy <greenboy@bigsky.net>
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Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 16:36:00
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>>or the Yamaha 03R.

John Rice wrote: 
>have you checked out the new PCI card by Yamaha for PC and MAC that has
>almost the entire functionality of the 02D and is only $1000 list price???

That is eminently lustworthy! But I would settle for what I've got. Putting
more stuff into computers, even with decent breakout-box designs no longer
has the zing it used to...

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Thu, 09 Apr 1998 11:42:21 -0600
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From: CMM <turk@gulftel.com>
To: studio16 <studio16@thule.no>
Subject: Re[2]: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 18:42:00
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On 09-Apr-98, John Rice wrote:
> 
> CMM wrote:
> 
>>> For the price that is probably true. But the sun does not rise or
set
>> in
>>> any one place. (Though now I believe in my One True Bass.)
>>> 
>> Hmmmmm....gotta disagree with you here. From what I've seen the Sun
does
>> in fact rise and set at the Carvin factory. Carvin Rules...there is
NO
>> equal for the price.
>> 
>> regards,
>> 
> 
> Uhhhhh.... does 'CMM' stand for 'Carvin Marketing Manager'? ;-)
> 
Hehehe...no it doesen't but that is a job I would gladly take! :)

regards,

Lee



** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Thu, 09 Apr 1998 11:55:11 -0600
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From: CMM <turk@gulftel.com>
To: studio16 <studio16@thule.no>
Subject: Re[2]: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 18:55:00
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On 09-Apr-98, greenboy wrote:
> CMM wrote:
>> Whatever, I'm not going to argue with you over this. Someone had
asked
>> about an inexpensive mixer and I replied that they might take a look
>> at Carvin equipment. That is all. If you don't like that idea then
YOU
>> should look elsewhere. --snip--
>> half the features and quality. It is up to you! I could really care
less.
> 
> Whhhho, dude! Swallow the hostility. WHO is arguing? Me (a very
satisfied
> Carvin customer!), I'm just presenting a few alternatives. It is
always
> good to have a full perspective.

Whoa greendude, I am not arguing. I simply stated that whoever it
was wanting to know about an inexpensive mixer should take a look
at the offerings from Carvin. Apparently this short circuited your
brain? 
> 
>> Hmmmmm....gotta disagree with you here. From what I've seen the Sun
does
> 
> So, the deal is: no arguing with turk, but turk can disagree? How 
> very generous, definitely a road leading to higher levels of
discourse.


Hmmmm, higher levels of discourse! hehehe
:)

> 
> I am getting a new high-output power amp. The Carvin one I'm looking
at is
> fairly light for its wattage, purports to do well with 2 ohm loads (I
have
> little doubt it does), has a high slew-rate, and is CHEAP! Let me say
it
> in another way: BARGAIN ALERT!
> 
> But I am considering a few others that cost more because (surprise)
they
> have features I consider useful, and it does not. If I was buying for
a
> different application I wouldn't desire those features, and the Carvin
> would be a shoe-in.
> 
> Peavey is releasing a digital power amp that weighs in at 16 pounds in
a
> single space, can accept crossover modules (not yet confirmed on this
> point), can handle 2-ohm loads also--or bridged 4-ohm, and develops
> 600 a side @4 ohms. It has a digital version of Peavey's DDT circuit,
which
> is a good, fairly low-coloration limiting scheme.
> 
> The fan is variable speed. As the output demand goes up, so does the
speed
> of the fan. So it increases cooling, while being masked by the audio
it is
> amplifying. Cool. Methinks this is a great piece in my bass-rack,
along with
> my tube preamp.
> 

It sounds interesting, really it does.

Personally I've never cared too much for Peavy products. I've found
them to be cheaply made and not too reliable.

Who knows. To each his own.

regards,

Lee



** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Thu, 9 Apr 1998 13:24:58 -0500
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From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: Re[2]: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 19:24:01
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Well... I think your all nuts... nothin but a Ford for me.... A good old 302 FI.... There's no better engine around!

Gord

----------
From:  CMM[SMTP:turk@gulftel.com]
Sent:  Thursday, April 09, 1998 12:55 PM
To:  studio16@thule.no
Subject:  Re[2]: S16> ReMixers, and ReMacks about Truckin'

On 09-Apr-98, greenboy wrote:
> CMM wrote:
>> Whatever, I'm not going to argue with you over this. Someone had
asked
>> about an inexpensive mixer and I replied that they might take a look
>> at Carvin equipment. That is all. If you don't like that idea then
YOU
>> should look elsewhere. --snip--
>> half the features and quality. It is up to you! I could really care
less.
> 
> Whhhho, dude! Swallow the hostility. WHO is arguing? Me (a very
satisfied
> Carvin customer!), I'm just presenting a few alternatives. It is
always
> good to have a full perspective.

Whoa greendude, I am not arguing. I simply stated that whoever it
was wanting to know about an inexpensive mixer should take a look
at the offerings from Carvin. Apparently this short circuited your
brain? 
> 
>> Hmmmmm....gotta disagree with you here. From what I've seen the Sun
does
> 
> So, the deal is: no arguing with turk, but turk can disagree? How 
> very generous, definitely a road leading to higher levels of
discourse.


Hmmmm, higher levels of discourse! hehehe
:)

> 
> I am getting a new high-output power amp. The Carvin one I'm looking
at is
> fairly light for its wattage, purports to do well with 2 ohm loads (I
have
> little doubt it does), has a high slew-rate, and is CHEAP! Let me say
it
> in another way: BARGAIN ALERT!
> 
> But I am considering a few others that cost more because (surprise)
they
> have features I consider useful, and it does not. If I was buying for
a
> different application I wouldn't desire those features, and the Carvin
> would be a shoe-in.
> 
> Peavey is releasing a digital power amp that weighs in at 16 pounds in
a
> single space, can accept crossover modules (not yet confirmed on this
> point), can handle 2-ohm loads also--or bridged 4-ohm, and develops
> 600 a side @4 ohms. It has a digital version of Peavey's DDT circuit,
which
> is a good, fairly low-coloration limiting scheme.
> 
> The fan is variable speed. As the output demand goes up, so does the
speed
> of the fan. So it increases cooling, while being masked by the audio
it is
> amplifying. Cool. Methinks this is a great piece in my bass-rack,
along with
> my tube preamp.
> 

It sounds interesting, really it does.

Personally I've never cared too much for Peavy products. I've found
them to be cheaply made and not too reliable.

Who knows. To each his own.

regards,

Lee



** The Studio 16 mailing list (unofficial)


** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Thu, 9 Apr 98 11:20:44 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Thu, 9 Apr 98 19:20:00
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In article <yam7403.931.139268568@smtp.enterprise.net> Don Cox <doncox@enterprise.net> writes:
> On 09-Apr-98, John Rice wrote:
> >> or the Yamaha 03R.
> > 
> > or the 02D.  And have you checked out the new PCI card by Yamaha for
> PC and MAC
> > that has almost the entire functionality of the 02D and is only
> $1000 list
> > price???????? It's amazing.
> 
> It looks as though various people are planning to add PCI slots to
> Amigas over the next year or so. Then it will just be a matter of
> getting drivers written.

And software.

What would really be cool would be to run the Paris inside an Amiga
(www.paris.ensoniq.com)

> Don Cox
> doncox@enterprise.net

Best Regards,
 -Jamie


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 09 Apr 1998 16:19:03 -0600
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Date: Thu, 9 Apr 98 23:19:00
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Jamie Krutz wrote:
> What would really be cool would be to run the Paris inside an Amiga
> (www.paris.ensoniq.com)

Or Event Electronics' (purveyors of fine near-field monitors and mics)
Darla, Gina, or Layla (http://www.event1.com). The beauty of running a
Siamese System Amiga-on-a-PCI-card would be not having to wait and see if
the Amiga gets a jump-start. One could use so much great stuff on Intel or
Alpha boxes, and use the Amiga stuff like DOpus Magellan to help keep that
unruly Microsloth OS in line.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Fri, 10 Apr 1998 00:32:17 -0700
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Date: Fri, 10 Apr 98 08:32:00
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> Or Event Electronics' (purveyors of fine near-field monitors and mics)
> Darla, Gina, or Layla

Also the new MOTU 2408 ( Mark Of The Unicorn )  is another really nice $1000
unit similar to the Layla setup.  It has a PCI card and external rack mount
converter box like the Layla, but with lots of flashing indicator lights. (
oooohhh pretty! ) The Layla has 8 in / 10 out analog balanced where the MOTU
2408 only has 8 in / 8 out unbalanced BUT the MOTU 2408 can connect up 3 ADATs
and 3 Tascam DA-88 type units at the same time and then you can select any
combination of three units at once.  Very slick especially if you have or can
afford several digital tape machines.  Go to <http://www.motu.com/> to check
it out.




    ImJohn@worldnet.att.net
        .......I play drums.



** The Studio 16 mailing list (unofficial)


From Dave_Hardy@panam.wimsey.com Thu, 9 Apr 98 15:30:05 PST
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From: Dave Hardy <Dave_Hardy@panam.wimsey.com>
To: studio16 <studio16@thule.no>
Subject: Prostation
Date: Fri, 10 Apr 98 00:30:00
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ON Apr. 9 Gord Clink wrote.

>So what's the latest on Prostation..... or will that become a reality?

Never seen any specs on this. Don't know whether its hardware or software
or just a name that Maurizio dreamed up to deflect attention from the fact
that there seems to be no development happening on AudioLab.

Dave Hardy
Vancouver B>C>
dave_hardy@panam.wimsey.com

-- Via DLG Pro v1.16


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Fri, 10 Apr 1998 08:58:58 -0600
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greenboy (that's me!) wrote:
>>Or Event Electronics' (purveyors of fine near-field monitors and mics)
>>Darla, Gina, or Layla

John Rice wrote:
>Also the new MOTU 2408 ( Mark Of The Unicorn ) is another really nice
>$1000 unit similar to the Layla setup.  It has a PCI card and external
>rack mount converter box like the Layla

Good way to get some stuff out of the noisy computer environment and have
a decent i/o contingent.

>The Layla has 8 in / 10 out analog balanced where the MOTU 2408 only has
>8 in / 8 out unbalanced BUT the MOTU 2408 can connect up 3 ADATs and 3
>Tascam DA-88 type units at the same time and then you can select any
>combination of three units at once.  Very slick especially if you have or
>can afford several digital tape machines.

Boy. Tough trade-off. I love balanced connections for several reasons.
But you would have to buy yet another card to handle the DADs if you got
the Layla. You've got the DADs online with the MOTU piece, but no
balanced connections. Hmmm.

>Go to <http://www.motu.com/> to check it out.

Will do. I've had a few Mark Of The Unicorn toys; MOTU have been real
comers since day one.
 
>         .......I play drums.

-- 
greenboy
         .......I play many things, but not drums

** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Fri, 10 Apr 1998 00:25:34 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Fri, 10 Apr 98 01:25:00
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On 09-Apr-98, greenboy wrote:
> Jamie Krutz wrote:
>> What would really be cool would be to run the Paris inside an Amiga
>> (www.paris.ensoniq.com)
> 
> Or Event Electronics' (purveyors of fine near-field monitors and
mics)
> Darla, Gina, or Layla (http://www.event1.com). The beauty of running
a
> Siamese System Amiga-on-a-PCI-card would be not having to wait and
see if
> the Amiga gets a jump-start. One could use so much great stuff on
Intel or
> Alpha boxes, and use the Amiga stuff like DOpus Magellan to help
keep that
> unruly Microsloth OS in line.

I think all three of Index's boards (Access, BoXeR, InsideOut) will be
very useful for different setups. For instance, an Access with the
MindEye gadget and a projector would be good for clubs.

MickTinker keeps talking about long-term development plans, too: this
year's BoXeR won't be the last. The nice thing about this is that for
the kind of investment that would normally go to developing three
Zorro cards, Index have created 3 computers. The basic concept of
using Altera Flex chips has infinite possibilities.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Fri, 10 Apr 1998 12:26:43 -0600
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Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Fri, 10 Apr 98 19:26:00
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greenboy (that's me!) wrote:
>>The beauty of running a Siamese System Amiga-on-a-PCI-card would be not
>>having to wait and see if the Amiga gets a jump-start. One could use so
>>much great stuff on Intel or Alpha boxes, and use the Amiga stuff like
>>DOpus Magellan to help keep that unruly Microsloth OS in line.

Don Cox wrote: 
>I think all three of Index's boards (Access, BoXeR, InsideOut) will be
>very useful for different setups. For instance, an Access with the
>MindEye gadget and a projector would be good for clubs.

Yes. If only that annoying software interface for MindsEye would get
brought up to something beyond Amiga 1988 standards. After that was
streamlined, bugified, and modernized, then using the "Viz" would become
awesome again. (And then tinkering with its midi abilites, just so its
discussion on this m-list wouldn't be totally irrelevant. ;-)

>MickTinker keeps talking about long-term development plans, too: this
>year's BoXeR won't be the last. The nice thing about this is that for
>the kind of investment that would normally go to developing three
>Zorro cards, Index have created 3 computers. The basic concept of
>using Altera Flex chips has infinite possibilities.

This type of engineering approach definitely will see the Amiga through, if
anything significant happens on the OS, developer-seeding, and marketing
fronts.

Anyone look at the report on Play Inc's Trinity? Looks like a very expensive
boat-anchor for all it's being touted as the Toaster killer. And they have
some annoying credo about the Amiga resting in peace. Sanctimonious
so-and-sos.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Fri, 10 Apr 98 12:05:09 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> ReMixers, and ReMacks about Truckin'
Date: Fri, 10 Apr 98 20:05:00
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In article <352DCB01.5F225EBD@worldnet.att.net> John Rice <ImJohn@worldnet.att.net> writes:
> > Or Event Electronics' (purveyors of fine near-field monitors and mics)
> > Darla, Gina, or Layla
> 
> Also the new MOTU 2408 ( Mark Of The Unicorn )  is another really nice $1000
> unit similar to the Layla setup.  It has a PCI card and external rack mount
> converter box like the Layla, but with lots of flashing indicator lights. (
> oooohhh pretty! ) The Layla has 8 in / 10 out analog balanced where the MOTU
> 2408 only has 8 in / 8 out unbalanced BUT the MOTU 2408 can connect up 3 ADATs
> and 3 Tascam DA-88 type units at the same time and then you can select any
> combination of three units at once.  Very slick especially if you have or can
> afford several digital tape machines.  Go to <http://www.motu.com/> to check
> it out.

Ensoniq's Paris has an external box option with slots for extra expansion to 
support 24 bit AD/DA cards, ADAT, etc. Right now the 24 bit cards 
are available (8 in or out per card). There are 4 each 16 bit ADDA and 
SPDIF I/O included in the expansion chassis with no i/o cards installed.

Assuming all the bells and whistles get finished in the software, and
all the hardware parts come out (things are moving slower than the
marketing department predicts), Paris may be the coolest thing out
there for Mac or Intel boxes. About 3x-4x the cost of the SunRize
cards when they were shipping, but has real time effects (reverb, echo,
compression, expansion), simultaneous 16 ins/outs per Paris card, 
automated mixing of 16 tracks (with 128 promised), and tons of very 
flexible real time EQ (parametric, low pass, high pass, shelving) using the 
custom DSP chips on the card. 

It's almost an entire recording studio in one product, and will be even 
more so when they add MIDI support, (but you can supposedly use it 
along with other sequencers now). If they keep hacking at it and add 
the rest of the effect algorithms from the DP4, create a mic preamp
board for the expansion box, and finish the software, it would be pretty
much everything you need except for a mic, a voice and instruments.
Racks worth of gear sucked into a computer.

Paris includes an external control surface with sliders and solo/mute 
buttons for each track, aux/EQ controls for one track at a time, a 
numeric keypad and a shuttle knob.

It lacks deessing and a few other useful effects, the software
has holes (no MIDI, 128 track mixdown, or precise sample editing
yet), and design flaws (can automate returns but not sends, can slip
samples in the timeline but not by single sample increments, etc.).
Still, what it does do is pretty impressive, and the potential seems
greater than the other systems mentioned.

For all that there are a few things the SunRize card does that Paris 
doesn't. And I gotta say, the SunRize manual is much better than the 
Paris manual.  :^)

Best Regards,
 -Jamie



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From greenboy@bigsky.net Fri, 10 Apr 1998 15:51:18 -0600
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greenboy (that's me!):
>>>Or Event Electronics' (purveyors of fine near-field monitors and mics)
>>>Darla, Gina, or Layla

John Rice:
>>Also the new MOTU 2408 ( Mark Of The Unicorn )  is another really nice
>>unit similar to the Layla setup.  It has a PCI card and external rack
>>mount converter box -snip- Layla has 8 in / 10 out analog balanced where
>>the MOTU 2408 only has 8 in / 8 out unbalanced BUT the MOTU 2408 can
>>connect up 3 ADATs and 3 Tascam DA-88 type units at the same time and

Jamie Krutz wrote:
>Ensoniq's Paris has an external box option with slots for extra expansion
>to support 24 bit AD/DA cards, ADAT, etc. Right now the 24 bit cards
>are available (8 in or out per card). There are 4 each 16 bit ADDA and
>SPDIF I/O included in the expansion chassis with no i/o cards installed.

That's what is great about an active marketplace: solutions in all
price-ranges, and competing feature-lists that give the prospective buyer
a chance to meet the needs of his studio AND his pocketbook.
 
>Assuming all the bells and whistles get finished in the software, and
>all the hardware parts come out (things are moving slower than the
>marketing department predicts), Paris may be the coolest thing out
>there for Mac or Intel boxes. About 3x-4x the cost of the SunRize
>cards when they were shipping, but has real time effects (reverb, echo,
>compression, expansion), simultaneous 16 ins/outs per Paris card,
>automated mixing of 16 tracks (with 128 promised), and tons of very
>flexible real time EQ (parametric, low pass, high pass, shelving) using
>the custom DSP chips on the card.

As a customer of Ensoniq many times over the years, I have had an
opportunity to form a love/hate relationship with them, some via beta-
testing. My read: they have always supplied lots of bang for the buck,
but have--up to now--required purchase of new replacement hardware due to
limitations in the original, or a prevailing "we don't want do that, so it
won't go into the new software" attitude.

It looks like they have a big-league attitude this time around though.
Though I wouldn't bank on any feature promised in software until it
actually exists.
 
>Paris includes an external control surface with sliders and solo/mute
>buttons for each track, aux/EQ controls for one track at a time, a
>numeric keypad and a shuttle knob.

There was always at least one good 3rd-party midi control surface available
ever since Studio16 came out. But in spite of pleas, S16 support never came
about for JLCooper, Peavey, Yamaha, (etc) boxes. So this is a real plus
for Paris. More like what the incredible digidesign community has enjoyed.

The Peavey PC1600--
http://www.peavey.com/division/mi/keyboards/MIDIcontrollers/pc1600x.html
seems to be the most flexible and widely supported stand-alone of this
type at this date. And it is very well-designed (sound wall-wart alert!).
 
>It lacks deessing and a few other useful effects, the software
>has holes (no MIDI, 128 track mixdown, or precise sample editing
>yet), and design flaws (can automate returns but not sends, can slip
>samples in the timeline but not by single sample increments, etc.).

I'm counting on one of the cheaper systems, in conjunction with Cakewalk
6.x Pro, or something else with a real open plug-in architecture. (The V8
stuff probably bears some watching also). I liken the harddrive studio to
(ironically) what happened when EMu--and then Ensoniq--introduced cheap
samplers to the rarified, Synclavier/Fairlight dominated marketplace.
Heck, guys have hacked more useful software for Ensoniq samplers including
the Mirage, than all other samplers combined.

>For all that there are a few things the SunRize card does that Paris
>doesn't.

Each system in existence seems to have that distinction. Spectral (still
in Woodinville WA?) has developed some nice cards for the PC since about
'89 or so. But being tied to designs that started back when the state-
of-Gates-Crates was antedeluvian, probably doesn't help against the crop
of relative newcomers.

>And I gotta say, the SunRize manual is much better than the Paris manual.
:^)

I'll leave this judgement up to you; I'm to biased to make an impartial
call. ;^]

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From dschmoldt@ibm.net Sat, 11 Apr 1998 00:41:19 -0500
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To: studio16 <studio16@thule.no>
Subject: Re: Rapture?
Date: Sat, 11 Apr 98 06:41:00
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I'm reading.  But I'm busy using Studio16 and my newly "souped up" A3000
(OK, I just upgraded to the current chipset and OS, but it seems souped
up to me) to record and edit sound effects for our local theatre group.

So I'm a happy and busy user of Studio16.  I do appreciate this list. 
Just not a lot to say.

Dave Schmoldt
Theatre Cedar Rapids (Iowa)

Kenny Nilsen wrote:

> There're currently 97 people subscribed to the list (per 8/April/98).
>

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Sat, 11 Apr 1998 08:52:06 -0600
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Subject: Re: Rapture?
Date: Sat, 11 Apr 98 15:52:00
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Dave Schmoldt wrote:
> I'm reading.  But I'm busy using Studio16 and my newly "souped up" A3000
> (OK, I just upgraded to the current chipset and OS, but it seems souped
> up to me) to record and edit sound effects for our local theatre group.
> 
> So I'm a happy and busy user of Studio16.  I do appreciate this list.

Hi Dave! I'd probably be writing a bit less, if my AD516 was not on
"permanent lend". And having the altogether dated 3.1 is certainly more
pleasurable than an even-moreso dated OS. So its understandable.

And it is amazing how little speed difference I typically notice doing 
average tasks between the P2@300 I've been using, and my Amiga. The
souping-up process on Windozzze probably requires TONS of RAM and a
Ultra-SCSI drive subsystem, QUEMM's memory management software, and praying
to the correct God/Gates.

This system is accessing the disk about as much as Studio16 does. HUGE,
bloated progs, virtual mem disk-swapping, poor use of RAM, the inherent
inefficiency of IDE when getting simultaneous-thread requests--I could go
on and on. And I frequently do, as you see here.

On the list we've been waxing on about the bold advances in digital audio
on the PCI buss lately. But I bet the code that every single one of those
cards is run with is BLOATWARE, compared to what Amigans are using. The
features-per-meg index is certainly better on the Amiga.

So enjoy your sporty car, while I maneuver this Mimbari battle-cruiser.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From dschmoldt@ibm.net Sun, 12 Apr 1998 23:21:26 -0500
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From: Dave Schmoldt <dschmoldt@ibm.net>
To: studio16 <studio16@thule.no>
Subject: Re: Rapture?
Date: Mon, 13 Apr 98 05:21:00
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Status: O

I forgot to mention I upgraded to an 040, and will soon be going from 4
meg to 16 meg (on my A3000).  Sad thing is, I also have a Dell Pentium
Pro 200 with 64Meg RAM.  I do nothing nearly as strenuous as digital
sound sampling and editing on it ... mostly Netscape and Access stuff. 
But it literally *drags* when compared to my A3000 ... at least in terms
of user perception.  

I ask my Amiga to do something, it snaps right to it.  Ask it to play
back a sample while loading another one into the editor; no problem, not
a hiccup.  (This is with 4 meg memory, and no virtual memory.)  I
honestly don't remember the last time it crashed on me.

If I try to do anything on my PC while Netscape is downloading mail
messages, it's going to go in spurts and sputters, guaranteed.  I'll
normally get several random GPFs per day.

Yet which system won out in the long run, except with a few of us
fanatics?

It breaks my heart to think so many people have never known anything
other than the mediocre OS the world is becoming saddled with, which is
only as barely-functional as it is because we've been able to throw huge
amounts of memory and CPU cycles at it. <sigh>

:: getting off my worn-out soapbox ::

Dave

greenboy wrote:
> 
> Dave Schmoldt wrote:
> > I'm reading.  But I'm busy using Studio16 and my newly "souped up" A3000
> > (OK, I just upgraded to the current chipset and OS, but it seems souped
> > up to me) to record and edit sound effects for our local theatre group.
> >
> > So I'm a happy and busy user of Studio16.  I do appreciate this list.
> 
> Hi Dave! I'd probably be writing a bit less, if my AD516 was not on
> "permanent lend". And having the altogether dated 3.1 is certainly more
> pleasurable than an even-moreso dated OS. So its understandable.
> 
> And it is amazing how little speed difference I typically notice doing
> average tasks between the P2@300 I've been using, and my Amiga. The
> souping-up process on Windozzze probably requires TONS of RAM and a
> Ultra-SCSI drive subsystem, QUEMM's memory management software, and praying
> to the correct God/Gates.
> 
> This system is accessing the disk about as much as Studio16 does. HUGE,
> bloated progs, virtual mem disk-swapping, poor use of RAM, the inherent
> inefficiency of IDE when getting simultaneous-thread requests--I could go
> on and on. And I frequently do, as you see here.
> 
> On the list we've been waxing on about the bold advances in digital audio
> on the PCI buss lately. But I bet the code that every single one of those
> cards is run with is BLOATWARE, compared to what Amigans are using. The
> features-per-meg index is certainly better on the Amiga.
> 
> So enjoy your sporty car, while I maneuver this Mimbari battle-cruiser.
> 
> --
> greenboy
> 
> ** The Studio 16 mailing list (unofficial)

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Sun, 12 Apr 1998 23:36:59 -0600
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Subject: Re: S16> Pentium Rapture?
Date: Mon, 13 Apr 98 06:36:01
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greenboy (that's me!):
>>On the list we've been waxing on about the bold advances in digital audio
>>on the PCI buss lately. But I bet the code that every single one of those
>>cards is run with is BLOATWARE, compared to what Amigans are using.

Dave Schmoldt wrote:
>Sad thing is, I also have a Dell Pentium Pro 200 with 64Meg RAM.  I do
>nothing nearly as strenuous as digital sound sampling and editing on it...
>But it literally *drags* when compared to my A3000 ... at least in terms
>of user perception.

Yes. So what a dream to have that Amiga OS expanded where needed, and
playing back on a fast buss and processor.

>I ask my Amiga to do something, it snaps right to it.  Ask it to play
>back a sample while loading another one into the editor; no problem, not
>a hiccup.  (This is with 4 meg memory, and no virtual memory.) I
>honestly don't remember the last time it crashed on me.

Those huge Windooz releases need virtual memory; and it seems to really
drag the speed and reliable operation down.

>Yet which system won out in the long run, except with a few of us fanatics?

Well, the type of robber barons at the top of CBM had a different view than
Gates and crew on how to pursue an honest living. (slight sarcasm)

>It breaks my heart to think so many people have never known anything
>other than the mediocre OS the world is becoming saddled with, which is
>only as barely-functional as it is because we've been able to throw huge
>amounts of memory and CPU cycles at it. <sigh>

Most people have always been more comfortable with the predigested pap that
comes with mediocre thought. But the power of that marketplace drives an
incredible amount of hardware R&D. Cheap memory, faster busses, cheap
replacement for (admittedly fast) obsolescent CPUs, and lately, the
promise of even denser harddrives from IBM.

The development tools available on the PC seem to be wide, deep, and
strong also. I am sure that programmers have complaints about this and
that, but many also remark that a mature development environment is not too
far from the truth when migrating. The OS supports many things Amigans
tack on via Aminet or extra purchases, or simply do not have (much of it
is not needed on the Amiga however).

Many of the faults of Windozze are not to evident when using a good
application there, and since most file standards (and standards bodies)
come from that world, the user is assured that those file standards kind of
work, most of the time (Microsloth joke).

I believe a successful Amiga marketplace can bootstrap itself with the PC
industry however. Via PCI, third party Amiga hardware, continuing Aminet
proliferacy, user and developer dedication, and who knows--maybe some
unexpected developments from the most unlikely of places: the owners of
The Amiga.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Mon, 13 Apr 98 11:19:58 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: Rapture?
Date: Mon, 13 Apr 98 19:19:01
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In article <353192C6.4F4AFB66@ibm.net> Dave Schmoldt <dschmoldt@ibm.net> writes:
> It breaks my heart to think so many people have never known anything
> other than the mediocre OS the world is becoming saddled with, which is
> only as barely-functional as it is because we've been able to throw huge
> amounts of memory and CPU cycles at it. <sigh>

Trying to explain that to people is like trying to explain blue to 
a blind person. That there are actually people defending Microsoft's
"right to innovate" is indicative of the wool over their eyes.

> > On the list we've been waxing on about the bold advances in digital audio
> > on the PCI buss lately. But I bet the code that every single one of those
> > cards is run with is BLOATWARE, compared to what Amigans are using. The
> > features-per-meg index is certainly better on the Amiga.

Tis true.

And don't even get me started on the stupid Windoze IRQ limitations.
You simply can't put all the cards you want into one computer, even
if there are available hardware slots. This is merely one example of a
brain dead limitation due entirely to the baggage carried by Windoze.
Yes, even NT.

On a brighter note, the BeOS has just been released for Intel
machines (PPC later this month). And Apple could become 
a contender with the Rhapsody OS on PPC/Intel if Apple doesn't 
screw it up.

It will be interesting to see what the announced AmigaOS
upgrades bring to the table later this year, assuming AI 
follows through with their promises (I've learned not to
count on any Amiga announcements until something
actually ships). Good thing AmigaOS 3.1 still does so
many things well.

BTW, the announced intention to make future Amigas include 
both PPC and 68000 chips is good for those of us with
unsupported "legacy" hardware/software like Studio 16
and AD516/512 cards. Despite the many choices for audio
cards on other platforms, the AD516 will always be useful
for what it was designed for: multitrack audio-for-video 
production, (as well as other uses).

There's a group in Scandinavia somewhere that seems to
be planning to build an Amiga PDA. That would be nice. I
wrote my own PIM in CanDo and it would be cool to carry
it around in a portable, Amiga-based box.

Best Regards,
 -Jamie



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Mon, 13 Apr 1998 17:47:25 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: Rapture with Rapsody?
Date: Tue, 14 Apr 98 00:47:00
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Jamie Krutz wrote:
>On a brighter note, the BeOS has just been released for Intel machines
>(PPC later this month). And Apple could become a contender with the
>Rhapsody OS on PPC/Intel if Apple doesn't screw it up.

Last I heard, Rhapsody was on the ropes.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Mon, 13 Apr 1998 22:51:29 -0600
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Subject: Re[2]: Rapture with Rapsody?
Date: Tue, 14 Apr 98 05:51:00
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Status: O

On 13-Apr-98, greenboy wrote:
> Jamie Krutz wrote:
>> On a brighter note, the BeOS has just been released for Intel
machines
>> (PPC later this month). And Apple could become a contender with the
>> Rhapsody OS on PPC/Intel if Apple doesn't screw it up.
> 
> Last I heard, Rhapsody was on the ropes.

I don't think BeOS is much to get excited about. I've seen
it and it is nothing special, and certainly isn't much compared
even to the aging AmigaOS.
> 
regards


** The Studio 16 mailing list (unofficial)


From sag@cae.ca Tue, 14 Apr 1998 22:47:54 -0400
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X-Message-No: 2162 (database)
From: Serge A Guilbert <sag@cae.ca>
To: studio16 <studio16@thule.no>
Subject: RE: Rapture? -Reply
Date: Wed, 15 Apr 98 03:47:01
Message-ID: <s533e749.023@wpgate.cae.ca>
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--> Did the rapture happen, and everyone on the mailing list
-->accended except
--> me?

Still here.


Sounding off;
Serge A. Guilbert, B.Eng
CAE Electronics, Flight Simulators, Sound Group
(514)341-6780 x4129
sag@cae.ca

________________________________________________________

A Wise Old Man Once Told Me: "Go Away!!!". And So, I Did
________________________________________________________

** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Tue, 14 Apr 98 00:37:31 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: Re[2]: Rapture with Rapsody?
Date: Tue, 14 Apr 98 08:37:00
Message-ID: <9804140737.AA016hs@meta.burner.com>
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In article <yam7407.1461.144503488@mail.gulftel.com> CMM <turk@gulftel.com> writes:
> I don't think BeOS is much to get excited about. I've seen
> it and it is nothing special, and certainly isn't much compared
> even to the aging AmigaOS.

I haven't looked at it serously for quite a while. But back
when I did look at it, it seemed to me to have promise.
It is _designed_ for media uses, and it does not carry the
baggage of MS Windows or MacOS. It already has 
some of the things AmigaOS lacks (memory protection,
virtual memory, Intel and PPC versions, up-to-date
development tools, real ongoing development). It also has 
the involvement and input of quite a few folks with Amiga 
experience. 

I think perhaps you dismiss it too soon. Right now, Be
is aiming it at early adopters; developers and experimenters.
When more display drivers are developed and more 
development is done, it may well be a worthy alternative.

Meanwhile, we can continue to use our Amigas and 
whatever other boxes we want.

I would like to see Be, Rhapsody and the next AmigaOS
succeed. It's way, way too early to standardize on one
OS (hear me, Mr. Bill?). Choice is good.

Best Regards,
 -Jamie



** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Tue, 14 Apr 98 00:27:29 MST
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X-Message-No: 2164 (database)
From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: Rapture with Rapsody?
Date: Tue, 14 Apr 98 08:27:00
Message-ID: <9804140727.AA016hn@meta.burner.com>
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In article <3532A40D.504CFB65@bigsky.net> greenboy <greenboy@bigsky.net> writes:
> Last I heard, Rhapsody was on the ropes.

Huh? We can talk again after the Apple developers conference,
coming soon. I'd be really surprised to see Jobs screw up
the movement of the Mac toward NEXTSTEP (his babies
both). The MacOS _needs_ to move on. 

If you have specific sources of Apple dropping Rhapsody,
please point me to 'em.

-J

> greenboy
> 
> ** The Studio 16 mailing list (unofficial)
> 

-- 
.signature under construction



** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Wed, 15 Apr 1998 09:41:26 -0600
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From: CMM <turk@gulftel.com>
To: studio16 <studio16@thule.no>
Subject: Re[4]: Rapture with Rapsody?
Date: Wed, 15 Apr 98 16:41:00
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On 14-Apr-98, Jamie Krutz wrote:
> In article <yam7407.1461.144503488@mail.gulftel.com> CMM
<turk@gulftel.com> writes:
>> I don't think BeOS is much to get excited about. I've seen
>> it and it is nothing special, and certainly isn't much compared
>> even to the aging AmigaOS.
> 
> I haven't looked at it serously for quite a while. But back
> when I did look at it, it seemed to me to have promise.
> It is _designed_ for media uses, and it does not carry the
> baggage of MS Windows or MacOS. It already has 
> some of the things AmigaOS lacks (memory protection,
> virtual memory, Intel and PPC versions, up-to-date
> development tools, real ongoing development). It also has 
> the involvement and input of quite a few folks with Amiga 
> experience. 

Well, it is certainly better than Windows or MAC OS, however
as I said it is NOT AmigaOS. Perhaps it will be more so as
time goes on. 
> 
> I think perhaps you dismiss it too soon. Right now, Be
> is aiming it at early adopters; developers and experimenters.
> When more display drivers are developed and more 
> development is done, it may well be a worthy alternative.

Perhaps it will wind up being so.
> 
> Meanwhile, we can continue to use our Amigas and 
> whatever other boxes we want.
> 
> I would like to see Be, Rhapsody and the next AmigaOS
> succeed. It's way, way too early to standardize on one
> OS (hear me, Mr. Bill?). Choice is good.

I agree. Anything but Microsoft's crap.

regards,

Lee


** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 15 Apr 98 19:11:37 +0100
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From: Kenny Nilsen <kenny@bgnett.no>
To: All <studio16@thule.no>
Subject: QMaster orders
Date: Wed, 15 Apr 98 19:11:00
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My email address will expire 14th of May this year so if anyone would like
to order QMaster per email they must order soon.


- Kenny


** The Studio 16 mailing list (unofficial)


From nmiller@ntplx.net Wed, 15 Apr 1998 16:39:54 -0500
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From: Norm Miller <nmiller@ntplx.net>
To: Kenny Nilsen <studio16@thule.no>
Subject: Re: QMaster orders
Date: Wed, 15 Apr 98 22:39:01
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I am very new to this list and the AD516, what is QMaster??

Norm

On 15-Apr-98, Kenny Nilsen wrote:
>My email address will expire 14th of May this year so if anyone would like
>to order QMaster per email they must order soon.


>- Kenny


>** The Studio 16 mailing list (unofficial)

-- 
Amiga 4000/060 Power!!  Only AMIGA makes it possible.
Surfing from Connecticut USA
Home Page:  http://www.ntplx.net/~nmiller/


** The Studio 16 mailing list (unofficial)


From animate@castles.com Wed, 15 Apr 1998 15:08:07 -0500 (CDT)
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From: Daniel W Schallock <animate@castles.com>
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Subject: RE: QMaster orders
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On Tue, Apr 15, 1998, at 07:11 PM, Kenny Nilsen wrote:

> My email address will expire 14th of May this year so if anyone would like
> to order QMaster per email they must order soon.
> 
> 
> - Kenny
> 
> 
> ** The Studio 16 mailing list (unofficial)
>

I'm new.  Whats Qmaster?

Daniel. 


** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 16 Apr 98 02:48:28 +0100
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From: Kenny Nilsen <kenny@bgnett.no>
To: All <studio16@thule.no>
Subject: QMaster info
Date: Thu, 16 Apr 98 02:48:00
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.

TITLE

  QMaster (for Studio 16)

VERSION

  1.2 DEMO

AUTHOR

  Kenneth Chr. Nilsen/Digital Surface

  mailto:kenny@bgnett.no

DESCRIPTION

 QMaster is an ARexx host which offer comands that can be accessed
 from arexx scripts. QMaster provides comands to handle every aspect
 of Studio 16's Cuelist files giving the arexx programmer full
 control and making life much easier for the user.

 The comands allow you to alter cuelist entries, tracks, preferences,
 remove, add, adjust, swap, copy entries and tracks, convert files to
 and from other formats, and in conjunction with other arexx hosts
 you can do automated processes, on-air organizing, connect with
 other programs such as video- and musicediting software, databases,
 networks, multimedia packages and so on, to influence the cuelist
 files and more.

 You don't have to be familar with arexx programming to take
 advantage of what QMaster can offer. QMaster comes with several
 arexx scripts that you can use just by double clicking their icons
 or by starting them from cli/shell. More scripts will come in the
 future.

FEATURES

  QMaster provide more than 40 comands to handle Cuelists,
  convert times, provide requesters, information, resource tracking
  and more.

  With QMASTER you can:

   - create cuelist files from scratch
   - read/edit existing cuelist files
   - read/add/remove/cut/swap and alter tracks (Audio/AREXX)
   - read/add/remove and alter entries (Audio/AREXX)
   - read/alter and set preferences
   - load (add) and save track (TRAX) files
   - copy and paste tracks
   - do statistic operations
   - interface directly with the Amiga's global vars (SetEnv/GetEnv)
   - add progressbars to your scripts
   - add informal requesters to your scripts
   - add file- and directory requesters to your scripts
   - add string requesters to your scripts
   - convert between SMPTE (PAL/NTSC) and seconds
   - optionally auto detect video system (PAL/NTSC)
   - define 500.000 entries (100 tracks with 5000 entries on each)
   - get online help
   - invoke RESOURCE TRACKING if needed at any time

  and more...

  QMaster is written in assembler to achieve optimal speed in
  processing comands and content. QMaster has been through several
  weeks of betatesting and proves to be stable.

  The archive comes with several public domain arexx scripts which
  you can run from Workbench as well as from cli:

   AllToAny       - sets all play/rec channels to "Any"
   AppendCuelists - merges two cuelist files horizontally w/ grouping
   CMXtoCUE       - converts CMX EDL to Cuelist format opt. database
   CountCuelist   - statistic info
   DumpCue        - dumps info about all tracks/entries in cuelist
   FindEntry      - search for an entry by keyword
   FixPaths       - fixes entry paths if samples are moved on HD
   GroupEvents    - search for keyword in events and group them
   ListEntries    - dumps different entries used (one of each)
   MergeCuelists  - same as Studio 16's built-in function with extras
   NameToCue      - for fun, converts a string to cuelist 'letters'
   ReplaceEntries - search by keyword and select new from requester
   SampleTime     - shows SMPTE time in PAL/NTSC (AUTO) for a sample
   StereoJukebox  - puts samples in a dir after one eachother on cue
   StripEmpty     - removes empty tracks from a cuelist file
   TestVideo      - test script to auto detect video system

  You can also find tutorial scripts that show how to use some of the
  comands in QMaster.

SPECIAL REQUIREMENTS

  - QMaster require MC68020 or better.
  - QMaster require OS 2.04 or better (developed on 3.1)

AVAILABILITY

  Demo version is available from Aminet in mus/misc.
  Registred version is only available directly from author.

  ftp://ftp.wustl.edu/pub/aminet/mus/misc/qmaster.lha

PRICE

  QMaster is shareware. Read doc file for current prices. The DEMO
  version is crippled (clips at 4 tracks and 15 entries/track when
  saving and contains a nerve requester).

  Support of QMaster will support further development for Studio 16
  add-ons.

DISTRIBUTABILITY

  Freely distributable as SHAREWARE.

STUDIO 16 MAILINGLIST

  If you would like to join the Studio 16 mailinglist you may write
  an mailto:majordomo@thule.no and type in body text:
  'subscribe studio16 <your email>' without ' and <>. No subject is
  needed. After confimation use the address studio16@thule.no.


- Kenny


** The Studio 16 mailing list (unofficial)


From conlee@linkonline.net Wed, 15 Apr 1998 21:54:01 -0700
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From: Chris Conlee <conlee@linkonline.net>
To: studio16 <studio16@thule.no>
Subject: Re: QMaster orders
Date: Thu, 16 Apr 98 05:54:00
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At 07:11 PM 4/15/98 +0100, you wrote:
>My email address will expire 14th of May this year so if anyone would like
>to order QMaster per email they must order soon.
>
>
>- Kenny

Kenny,

I'm new to this list, so could you please fill me in on what QMaster is?
Thanks.

Chris Conlee



** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Thu, 16 Apr 1998 02:05:23 -0700
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From: John Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Makedonian CD release ( made with Studio 16 ;-)
Date: Thu, 16 Apr 98 10:05:00
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Hi all,

Just a heads up note for anyone interested.

We finally have the latest release by the Makedonians TZAZ in our hands.  TZAZ
is a 'live' disk taken from many different source DATs ( and one cassette!  ) A
majority of the DATs are from different performances at KING FM 98.1, recorded
off the board by several different engineers ( hey, they work at a radio
station, they must be REAL engineers! ;-)  a few are from a quick direct to DAT
session at my project studio  and the rest are from various concerts and
parties over the last several years.  None of the source recordings were done
with the thought in mind that they would ever be used on a release and  most of
the equipment I used is on the low mid level end of quality  but all in all I'm
quite pleased and proud of the final result.

-The source tapes were transferred from a Sony 75ES DAT ( analog out ) and a
Tascam 102MKII ( for the one song that was on cassette....the DAT had been
eaten by the original engineers machine. )

- processed with small amounts of one or more of the following:
 Rane MQ302 stereo EQ
 DBX 266 stereo compressor
 BBE 422 Sonic Maximizer
 Roland RSP550 effects
 Roland M120 line mixer

-and then recorded onto an Amiga 3000 with a Sunrize AD516 HD recording card @
44.1 and Studio 16 software.
In the Amiga the tracks were put in order, beginnings / endings trimmed, a
couple pieces shortened by splicing out sections, fades and cross fades setup,
and track to track volume normalization adjusted.

-The final result was then recorded on a Sony R500 DAT at 44.1 via the analog
inputs

Monitoring for most of the project was through a pair of Tannoy PBM 6.5s
powered by a Crown D75A amp.  When I got the first proof back and after
listening to it on several different stereo systems I realized that I had to
much bottom end. I added a Tannoy powered sub ( cuz I didn't want to guess )
and made a 5 db cut 80Hz and a 1 db cut at 63Hz and 100 Hz.


Besides getting credit for the 3 individual songs I recorded I'm given credit
for 'Mastering'  Now I told them that technically my part was more like post
production and / or pre mastering and that's how the art work proof read but
somehow it got changed in the final version.  The disk manufacturing was
handled by Martin Audio in Seattle WA.  There was some communication breakdown
as the people at Martin and I were only talking through the band leader /
producer but I was told that the CDR proofs were made directly from my DATs and
the folks at Martin didn't really do any adjustments.   hhhmmmm....



If anyone is in the Tacoma WA USA area and would like to hear the band we will
be performing at Borders Book store on Saturday April 18th  6:00 to 7:30 PM.




Thanks to everyone in the forum.  I've learned quite a bit here and it
definitely made our CD much better. :-)   ( and if you hear it and you think it
sucks  .. . .uuhhh... mmmm  ..uuuhhhh   if  you're not supposed to eat meat . .
. . ..how come it's food?????? )




 ImJohn@worldnet.att.net
  .......I play drums.


PS - I made sure that the Amiga and Sunrize card are in the credits! ;-)



** The Studio 16 mailing list (unofficial)


From studio16-owner@odin.thule.no  Sat Apr 18 03:28:40 1998
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X-Message-No: 2175 (database)
From: Kenny Nilsen <kenny@bgnett.no>
To: All <studio16@thule.no>
Subject: This Mailinglist
Date: Sat, 18 Apr 98 05:23:00
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If anyone with average userlevel on Internet is interrested in taking over
this list as listowner, then give me a note in _private_ email. Thank you.


- Kenny


** The Studio 16 mailing list (unofficial)


From studio16-owner@odin.thule.no  Sat Apr 18 03:49:05 1998
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> This Mailinglist
Date: Sat, 18 Apr 98 04:49:00
Message-ID: <353822B2.F772C7C7@bigsky.net>
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Kenny Nilsen wrote:
>If anyone with average userlevel on Internet is interrested in taking over
>this list as listowner, then give me a note in _private_ email. Thank you.

Whereever this goes Kenny, I want to thank you for your contributions to the
list and to all Studio16 users who are astute enough to recognize what a
great thing you have done. I hope you will realize the rewards of your
efforts.

One of your friends in Amigadom,
greenboy

** The Studio 16 mailing list (unofficial)


From studio16-owner@odin.thule.no  Sat Apr 18 05:07:51 1998
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: Makedonian CD release ( made with Studio 16 ;-)
Date: Sat, 18 Apr 98 06:07:00
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John Rice wrote:
>We finally have the latest release by the Makedonians TZAZ in our hands.
> --snip of much pertinent material--
>and then recorded onto an Amiga 3000 with a Sunrize AD516 HD recording
>card @ 44.1 and Studio 16 software.
> --more snippage--

Congrats! It is always good to hear about creative people doing something.
(And using Amigas too!)

>If anyone is in the Tacoma WA USA area and would like to hear the band we
>will be performing at Borders Book store on Saturday April 18th 6:00 to
>7:30 PM.

Alas, formerly lived in Tacoma area; just left Seattle area a few years
ago. But reading the invite flashed some good pictures of Pt Defiance,
the old smokestack, Steilacoom, etc. (Ah jee, seeing Kenny's announcement,
thinking about the Amiga's glory days, and having good old days at Court
C--I'm tearing up!...>snuffle<)

>PS - I made sure that the Amiga and Sunrize card are in the credits! ;-)

This is as it should be. Take care, John! Oh, is your CD available
anywhere? Like BlockButt-ers (heh-heh)? I am interested.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From studio16-owner@odin.thule.no  Sat Apr 18 05:33:29 1998
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Amendment to  ->  made with Studio 16 ;-)
Date: Sat, 18 Apr 98 06:39:01
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References: <3.0.1.32.19980415215401.006fc490@popsvr.linkonline.net> <3535C9D3.CF454C09@worldnet.att.net><35383511.6FD60566@bigsky.net>
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>Congrats! It is always good to hear about creative people doing 
>something. (And using Amigas too!)

I don't recall, but did I mention also that MEN AT WORK
(major aussie band  from the mid 80's)
was back together and using A4000/060/dual AD516's
to do some of their new tracks? They plan to release
a "new" CD this year. "new" because I was told it will be a
re-release of their Brazil tour from about a year or so ago and
is suppose to contain some new songs authored
on the Ami. At least that was the last info I had from
Greg of the band in mid-december 97. Last I heard, they were
headed for a concert/holiday in florida and then planed to
be on the road for a while. I hope to hear back from them someday :)

troy

_____________________________________________________________________
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** The Studio 16 mailing list (unofficial)


From studio16-owner@odin.thule.no  Sat Apr 18 05:56:54 1998
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Subject: Re: YAM> Amendment to -> made with Studio 16 ;-)
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troy silvey wrote:
>>Congrats! It is always good to hear about creative people doing
>>something. (And using Amigas too!)
> 
>I don't recall, but did I mention also that MEN AT WORK
>(major aussie band  from the mid 80's)
>was back together and using A4000/060/dual AD516's
>to do some of their new tracks? They plan to release
>a "new" CD this year. "new" because I was told it will be a
>re-release of their Brazil tour from about a year or so ago and
>is suppose to contain some new songs authored
>on the Ami. At least that was the last info I had from
>Greg of the band in mid-december 97. Last I heard, they were
>headed for a concert/holiday in florida and then planed to
>be on the road for a while. I hope to hear back from them someday :)

It will be good to hear some of their stuff again. Have you heard of
Yothu Yindi? That's an Aussie tribal/rock band I shot video for a
couple of times. And they use yidaki (digeridus) too! Tim Finn (Crowded
House) has appeared on their albums.

The Amiga, and Studio16 have been involved in many illustrious projects
over the years. It took true believers to do it, especially when the
"chicken lips" (CBM) were still around.

When I lived in Seattle there was a decent-sized Amiga users' group at
[gasp!] MicroSoft. And they studied the Amigas during working hours too.
Several trade shows I went to Amigas were doing the work behind the
curtains for other platforms (shades of the Wizard of Oz!) and IBM, among
others used Amigas extensively for business presentations.

Here's to continued fun and creativity with the Amiga,
-- 
greenboy

** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 18 Apr 98 16:38:52 +0100
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X-Message-No: 2181 (database)
From: Kenny Nilsen <kenny@bgnett.no>
To: greenboy <studio16@thule.no>
Subject: Re: S16> This Mailinglist
Date: Sat, 18 Apr 98 16:38:01
Message-ID: <284.412T2620T9984141@bgnett.no>
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greenboy wrote:

>Kenny Nilsen wrote:
>[...]great thing you have done. I hope you will realize the rewards of your
>efforts.
>One of your friends in Amigadom,

I appreciate it greenboy!  I will still continue to develop stuff, but not
at the speed and motivation as before.


- Kenny


** The Studio 16 mailing list (unofficial)


From baff@mindspring.com Sat, 18 Apr 1998 00:19:18 +0500
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From: Brian Fields <baff@mindspring.com>
To: all <studio16@thule.no>
Subject: It's Alive!!!
Date: Fri, 17 Apr 98 20:19:00
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Hi Kenny and all,


I'm out of the woods!

IT"S WORKING FLAWLESSLY!(Broadcaster Elite NLE board)  YA-A-A-A-A-AY!!

The turn came when after playing with different SCSI and device settings I
chose NoReselection in the two configuration programs. (cybPPCcontrol and
SCSIconfig). Amoung other little fixes.

Just to push the video compression to the max to see what it would do, I
tried OverKill2 Mode and got flawless JStream at;

6.86 Megs/sec  - Mean Frame size 228,788 - 3:1 Compression

==============

I now have a total audio/video Amiga digital editing suite!

Now that this is over I can spend more time in Studio16 and get the SMPTE
and overall system network stuff worked out.


--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Sat, 18 Apr 1998 10:25:52 -0700
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From: John Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Re: Makedonian CD release ( made with Studio 16 ;-)
Date: Sat, 18 Apr 98 18:25:01
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> Alas, formerly lived in Tacoma area; just left Seattle area a few years
> ago. But reading the invite flashed some good pictures of Pt Defiance,
> the old smokestack, Steilacoom, etc. (Ah jee, seeing Kenny's announcement,
> thinking about the Amiga's glory days, and having good old days at Court
> C--I'm tearing up!...>snuffle<)

Not to add to your homesick grief ;-) but did you know that the smelter
smokestackis no longer there?  It was imploded 5 or 6 years ago.  It was both
a sad and exciting
day around here.  Did you go to school around here? I went to Washington
elementary,
Mason junior high and Wilson high.  Also a couple years at PLU.  And if you
like
progressive rock music you might of seen one of my bands play in the area,
THEATRE
 and / or BALANCE.


>
>
> >PS - I made sure that the Amiga and Sunrize card are in the credits! ;-)
>
> This is as it should be. Take care, John! Oh, is your CD available
> anywhere? Like BlockButt-ers (heh-heh)? I am interested.
>

I may be a little late now but if everyone who ever used an Amiga had made
sure thatthe credits contained the AMIGA name, it would have help public
awareness and
possibly added a lot of strength to the user base.


RE: TZAZ  - Thanks for the interest! We are just starting to get them into as
many outlets
as possible.  Borders book store in Tacoma WA should have them as we speak and
if you
have a Borders store near you I'm sure that they could do a special order or
store to store transfer.

If I didn't mention it before the Makedonians play Greek, Yugoslavian,
Bulgarian, Turkish, Macedonian,
Balkan folk music with interpretations that range from fairly traditional to
more jazz / fusion like.

Artist           : The Makedonians
Album Title : TZAZ
Label          : MAK Rekords
Catalog #   : MAK 08972
Full UPC     : 712657089726
Category    : Folk / Ethnic / Local / Independent


Or if you prefer, you can order one directly from me for $15.00 plus $2.00
postage.
Just send a check or money order and your mailing address.  ( shipment of the
CD
may be suspended until personal checks clear the bank, at our option.  Like if
the
check is written out in crayon and the shipping address is a PO Box in Peru .
. . .
......then we will probably wait to see if it clears! ;-)

send orders to:

TZAZ
Attn. John L Rice
2522 North Proctor
Suite 164
Tacoma  WA 98406




Take care!



    ImJohn@worldnet.att.net
        .......I play drums.



** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Sat, 18 Apr 1998 10:29:48 -0700
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From: John Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Re: Amendment to  ->  made with Studio 16 ;-)
Date: Sat, 18 Apr 98 18:29:00
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> I don't recall, but did I mention also that MEN AT WORK
> (major aussie band  from the mid 80's)
> was back together and using A4000/060/dual AD516's
> to do some of their new tracks?

Hey, that's great!



    ImJohn@worldnet.att.net
        .......I play drums.



** The Studio 16 mailing list (unofficial)


From maurizio@ivg.it Sat, 18 Apr 1998 20:29:13 +0500
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From: Maurizio Ciccione <maurizio@ivg.it>
To: Dave Hardy <studio16@thule.no>
Subject: Re: Prostation
Date: Sat, 18 Apr 98 16:29:00
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>ON Apr. 9 Gord Clink wrote.

>>So what's the latest on Prostation..... or will that become a reality?

>Never seen any specs on this. Don't know whether its hardware or software

It's software, Dave. A 040/16MB is the recommended entry-level setup.
The application is designed for 060 systems. Since February we're
experimenting on the 604/060 dual-processor architecture too, but the
first ProStation release is for the 680x0.





All the best,

dr. Maurizio Ciccione
AudioLabs, Digital Audio Engineering
http://www.audiolabs.it





** The Studio 16 mailing list (unofficial)


From maurizio@ivg.it Sat, 18 Apr 1998 12:03:30 +0500
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From: Maurizio Ciccione <maurizio@ivg.it>
To: Gord Clink <studio16@thule.no>
Subject: Re: Prostation
Date: Sat, 18 Apr 98 08:03:00
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>So what's the latest on Prostation..... or will that become a reality?

Hello Gord,

AudioLabs just bought an Internet domain. A web server is available
at www.audiolabs.it, please add this address to your bookmarks.


Informations on ProStation will be published there. If you have specific
technical questions I can answer here or privately.



All the best,

dr. Maurizio Ciccione
AudioLabs, Digital Audio Engineering
http://www.audiolabs.it



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Sat, 18 Apr 1998 13:23:46 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: Makedonian CD release ( made with Studio 16 ;-)
Date: Sat, 18 Apr 98 20:23:00
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John Rice wrote:
>Not to add to your homesick grief ;-) but did you know that the smelter
>smokestack is no longer there? --snip-- Also a couple years at PLU. And if
>you like progressive rock music you might of seen one of my bands play in
>the area, THEATRE and/or BALANCE.

Since we talked, two more Tacoma-related mentions came up on other m-lists.
Syncronicity? I went to PLU for 2 years in the early seventies before
deciding to JUST play in Ball&Chain, Cout Cee Lab Band, and the Shaft Club
(on Broadway in '72 or so) house band.

I knew about the stack; was living in Seattle when they blew it.

I like all kinds of music. But Tacoma - other than ocassional visits - was
a long time ago. The only Tacoma band I REMEMBER seeing while living in
the Emerald City was the Malchicks, at the Rebar.

>I may be a little late now but if everyone who ever used an Amiga had made
>sure thatthe credits contained the AMIGA name, it would have help public
>awareness and possibly added a lot of strength to the user base.

I think we need newer, flashier stuff to really expand that user base.

>RE: TZAZ - Thanks for the interest! We are just starting to get them into
>as many outlets as possible. Borders book store in Tacoma WA should have
>them as we speak and if you have a Borders store near you I'm sure that
>they could do a special order or store to store transfer.

Borders are only the biggest in the world, along with Barnes & Noble.
Those two own B. Dalton's and Waldenbook's as well, and are currently
under investigation for unfair trade-practices. I hope YOU won't be jailed
{small laugh}.

That is a good way to get things rolling, placement in local outlets of
chains. (New Age oriented stuff seems to do alright in Natural Health Food
stores, FI.)
 
>If I didn't mention it before the Makedonians play Greek, Yugoslavian,
>Bulgarian, Turkish, Macedonian, Balkan folk music with interpretations
>that range from fairly traditional to more jazz/fusion like.

Ah! I love that. So you are playing all those great meters like 17/8,
15/16 etc? A few jazz groups (of course one of them would be displayed
on Dave Brubeck's ground-breaking Take Five album) have crossed over in
the other direction. I especially enjoyed the Don Ellis Big Band's late
'60s/early '70s experiments in meter, polytonal and quartertone,
"psychedelic" electronic miasmas.

I've seen a few groups also cross the stuff over into Yiddish music, like
the NAMA Folk Orchestra. Cool.
 
> Artist:      The Makedonians
> Album Title: TZAZ
> Label:       MAK Rekords
> Catalog #:   MAK 08972
> Full UPC:    712657089726
> Category: Folk/Ethnic/Local/Independent

Lets just leave that little quote in, shall we? ;-)

>Or if you prefer, you can order one directly from me for $15.00
>plus $2.00 postage.

Ulp, erp - no Studio16 m-list discount? I am shocked. Still...

> TZAZ
> Attn. John L Rice
> 2522 North Proctor
> Suite 164
> Tacoma  WA 98406

Ah yes, I vaguely remember that neighborhood!

>.......I play drums.

You must! Those meters scare away most players. Take care, John!

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Sat, 18 Apr 98 12:48:56 MST
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In article <353822B2.F772C7C7@bigsky.net> greenboy <greenboy@bigsky.net> writes:
> Kenny Nilsen wrote:
> >If anyone with average userlevel on Internet is interrested in taking over
> >this list as listowner, then give me a note in _private_ email. Thank you.
> 
> Whereever this goes Kenny, I want to thank you for your contributions to the
> list and to all Studio16 users who are astute enough to recognize what a
> great thing you have done. I hope you will realize the rewards of your
> efforts.

Hear, hear! Thanks for running this list, Kenny, and for your many efforts 
to make Studio16 more useful!

Best Regards, 
 -Jamie


** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 18 Apr 98 21:16:31 +0100
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From: Kenny Nilsen <kenny@bgnett.no>
To: Brian Fields <studio16@thule.no>
Subject: Re: It's Alive!!!
Date: Sat, 18 Apr 98 21:16:00
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Brian Fields wrote:
>IT"S WORKING FLAWLESSLY!(Broadcaster Elite NLE board)  YA-A-A-A-A-AY!!

Congrats Brian! I am sure you will have a great time with your suite :)


- Kenny


** The Studio 16 mailing list (unofficial)


From jonn@crl.com Sun, 19 Apr 1998 04:36:25 -0700 (PDT)
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From: Jonathan Neisch <jonn@crl.com>
To: studio16 <studio16@thule.no>
Subject: Phantom SMPTE
Date: Sun, 19 Apr 98 12:36:00
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I hope this isn't too far off topic... I've used a Phantom SMPTE 
interface on a 68000 Amiga, but would like to connect it to a 68040 
Amiga. The support software crashes (the system) on 040's! Has anyone 
found a patch for this? Does anyone know what became of Dr. T's, the 
designers of the Phantom? Thanks for any insights.

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Sat, 18 Apr 1998 13:36:10 -0600
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From: greenboy <greenboy@bigsky.net>
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Subject: Re: S16> Prostation
Date: Sat, 18 Apr 98 20:36:00
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Maurizio Ciccione wrote:
>AudioLabs just bought an Internet domain. A web server is available at 
>www.audiolabs.it, please add this address to your bookmarks.
>Informations on ProStation will be published there.

THAT is good news! Got it on the hotlist, will visit when I get back from
band practice. Then, the deluge of questions and observations! ;^)

>040/16MB is the recommended entry-level setup. The application is designed
>for 060. Since February we're experimenting on the 604/060 dual-processor
>architecture too, but the first ProStation release is for the 680x0.

Ah, modern! I like it! But I am almost afraid to ask: what is happening on
the AD516 driver issue?

Friend of Amigas --
-- 
greenboy

** The Studio 16 mailing list (unofficial)


From baff@mindspring.com Sat, 18 Apr 1998 14:31:13 +0500
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From: Brian Fields <baff@mindspring.com>
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Subject: Re: S16> This Mailinglist
Date: Sat, 18 Apr 98 10:31:00
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On 18-Apr-98, greenboy wrote:
>Kenny Nilsen wrote:
>>If anyone with average userlevel on Internet is interrested in taking over
>>this list as listowner, then give me a note in _private_ email. Thank you.

>Whereever this goes Kenny, I want to thank you for your contributions to the
>list and to all Studio16 users who are astute enough to recognize what a
>great thing you have done. I hope you will realize the rewards of your
>efforts.

>One of your friends in Amigadom,
>greenboy


I would like to second that greenboy. I am soory to say that I still
haven't tapped into the power of Qmaster due to getting the video side
working properly. But that's over now and I am looking forward to doing
more audio/music.

Kenny you're a gem and I would be proud to have you add my name to your
list of friends also.


>** The Studio 16 mailing list (unofficial)
--
Many thanks,
and Best Regards,

Brian Fields

baff@mindspring.com - (switching to; baff@stc.net)


** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Sat, 18 Apr 98 12:48:56 MST
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In article <353822B2.F772C7C7@bigsky.net> greenboy <greenboy@bigsky.net> writes:
> Kenny Nilsen wrote:
> >If anyone with average userlevel on Internet is interrested in taking over
> >this list as listowner, then give me a note in _private_ email. Thank you.
> 
> Whereever this goes Kenny, I want to thank you for your contributions to the
> list and to all Studio16 users who are astute enough to recognize what a
> great thing you have done. I hope you will realize the rewards of your
> efforts.

Hear, hear! Thanks for running this list, Kenny, and for your many efforts 
to make Studio16 more useful!

Best Regards, 
 -Jamie


** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 18 Apr 98 21:16:31 +0100
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To: Brian Fields <studio16@thule.no>
Subject: Re: It's Alive!!!
Date: Sat, 18 Apr 98 21:16:00
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Brian Fields wrote:
>IT"S WORKING FLAWLESSLY!(Broadcaster Elite NLE board)  YA-A-A-A-A-AY!!

Congrats Brian! I am sure you will have a great time with your suite :)


- Kenny


** The Studio 16 mailing list (unofficial)


From jonn@crl.com Sun, 19 Apr 1998 04:36:25 -0700 (PDT)
X-SystemInfo: Studio 16: EMail
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From: Jonathan Neisch <jonn@crl.com>
To: studio16 <studio16@thule.no>
Subject: Phantom SMPTE
Date: Sun, 19 Apr 98 12:36:00
Message-ID: <Pine.SUN.3.91.980419042959.12335A@crl3.crl.com>
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I hope this isn't too far off topic... I've used a Phantom SMPTE 
interface on a 68000 Amiga, but would like to connect it to a 68040 
Amiga. The support software crashes (the system) on 040's! Has anyone 
found a patch for this? Does anyone know what became of Dr. T's, the 
designers of the Phantom? Thanks for any insights.

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Sat, 18 Apr 1998 13:36:10 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Prostation
Date: Sat, 18 Apr 98 20:36:00
Message-ID: <353900AA.C1988EA3@bigsky.net>
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Maurizio Ciccione wrote:
>AudioLabs just bought an Internet domain. A web server is available at 
>www.audiolabs.it, please add this address to your bookmarks.
>Informations on ProStation will be published there.

THAT is good news! Got it on the hotlist, will visit when I get back from
band practice. Then, the deluge of questions and observations! ;^)

>040/16MB is the recommended entry-level setup. The application is designed
>for 060. Since February we're experimenting on the 604/060 dual-processor
>architecture too, but the first ProStation release is for the 680x0.

Ah, modern! I like it! But I am almost afraid to ask: what is happening on
the AD516 driver issue?

Friend of Amigas --
-- 
greenboy

** The Studio 16 mailing list (unofficial)


From baff@mindspring.com Sat, 18 Apr 1998 14:31:13 +0500
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From: Brian Fields <baff@mindspring.com>
To: greenboy <studio16@thule.no>
Subject: Re: S16> This Mailinglist
Date: Sat, 18 Apr 98 10:31:00
Message-ID: <yam7412.694.143296568@mail.mindspring.com>
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On 18-Apr-98, greenboy wrote:
>Kenny Nilsen wrote:
>>If anyone with average userlevel on Internet is interrested in taking over
>>this list as listowner, then give me a note in _private_ email. Thank you.

>Whereever this goes Kenny, I want to thank you for your contributions to the
>list and to all Studio16 users who are astute enough to recognize what a
>great thing you have done. I hope you will realize the rewards of your
>efforts.

>One of your friends in Amigadom,
>greenboy


I would like to second that greenboy. I am soory to say that I still
haven't tapped into the power of Qmaster due to getting the video side
working properly. But that's over now and I am looking forward to doing
more audio/music.

Kenny you're a gem and I would be proud to have you add my name to your
list of friends also.


>** The Studio 16 mailing list (unofficial)
--
Many thanks,
and Best Regards,

Brian Fields

baff@mindspring.com - (switching to; baff@stc.net)


** The Studio 16 mailing list (unofficial)


From conlee@linkonline.net Sat, 18 Apr 1998 21:19:20 -0700
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From: Chris Conlee <conlee@linkonline.net>
To: studio16 <studio16@thule.no>
Subject: Re: Prostation
Date: Sun, 19 Apr 98 05:19:00
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At 08:29 PM 4/18/98 +0500, you wrote:
>>ON Apr. 9 Gord Clink wrote.
>
>>>So what's the latest on Prostation..... or will that become a reality?
>
>>Never seen any specs on this. Don't know whether its hardware or software
>
>It's software, Dave. A 040/16MB is the recommended entry-level setup.
>The application is designed for 060 systems. Since February we're
>experimenting on the 604/060 dual-processor architecture too, but the
>first ProStation release is for the 680x0.
>
>All the best,
>
>dr. Maurizio Ciccione
>AudioLabs, Digital Audio Engineering
>http://www.audiolabs.it
>

I don't know anything about this software package, but I'm a Draco user,
and was wondering if it will be able to work on the Draco?  Cost?  Etc.

Chris



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Mon, 20 Apr 1998 08:07:17 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: Phantom SMPTE
Date: Mon, 20 Apr 98 15:07:00
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Jonathan Neisch wrote:
> I hope this isn't too far off topic... I've used a Phantom SMPTE
> interface on a 68000 Amiga, but would like to connect it to a 68040
> Amiga. The support software crashes (the system) on 040's! Has anyone
> found a patch for this? Does anyone know what became of Dr. T's, the
> designers of the Phantom? Thanks for any insights.

Used any search engines? Although if Dr T isn't even a player anymore, on
other platforms, I doubt support is going to come from him. Other music-
related m-lists (Bars&Pipes) or websites probably could help. I know there
is a 020+ version.

Good luck.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From baff@mindspring.com Mon, 20 Apr 1998 20:32:40 +0500
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From: Brian Fields <baff@mindspring.com>
To: Jonathan Neisch <studio16@thule.no>
Subject: Re: Phantom SMPTE
Date: Mon, 20 Apr 98 16:32:00
Message-ID: <yam7414.2005.143250520@mail.mindspring.com>
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On 19-Apr-98, Jonathan Neisch wrote:

>I hope this isn't too far off topic... I've used a Phantom SMPTE
>interface on a 68000 Amiga, but would like to connect it to a 68040
>Amiga. The support software crashes (the system) on 040's! Has anyone
>found a patch for this? Does anyone know what became of Dr. T's, the
>designers of the Phantom? Thanks for any insights.

Not a lot of traffic for a bit off topic I guess. We can write personally
after this if you like. But please use my baff@stc.net address.

I've got one a friend gave me with no software also, but I haven't used it
yet. I thought that the Bars&Pipes software drove it with no problem.
Am I wrong?
There is an accessory for it in B&P which I have which comes with the 2.5b
version if I am not mistaken which is at;

http://members.theglobe.com/geoarn/download.html.

I hope I'm not off base about this........

>** The Studio 16 mailing list (unofficial)
--

Brian Fields

baff@mindspring.com



** The Studio 16 mailing list (unofficial)


From tc_silvey@juno.com Mon, 20 Apr 1998 21:51:17 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Amendment to my Amendment
Date: Tue, 21 Apr 98 02:51:00
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Well no sooner said than done. I  just recieved a note
from Greg Ham (Men At Work fame) who tells me he
exspecs the new MAW CD to be released in the states by august
and the single made with the Ami by july. It will be out from
sony. Just about in time for my birthday. So who needs my 
address to send me a CD present :)

troy

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
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** The Studio 16 mailing list (unofficial)


From baff@mindspring.com Mon, 20 Apr 1998 20:37:06 +0500
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X-Message-No: 2210 (database)
From: Brian Fields <baff@mindspring.com>
To: Kenny Nilsen <studio16@thule.no>
Subject: Re: It's Alive!!!
Date: Mon, 20 Apr 98 16:37:00
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On 19-Apr-98, Kenny Nilsen wrote:

>Brian Fields wrote:
>>IT"S WORKING FLAWLESSLY!(Broadcaster Elite NLE board)  YA-A-A-A-A-AY!!

>Congrats Brian! I am sure you will have a great time with your suite :)
>- Kenny

I'm looking forward to using QMaster now. And hopefully I can give you
more input on your great effort.

Thanks Kenny,

BTW; I sent a subscribe


>** The Studio 16 mailing list (unofficial)
-- 

Brian Fields

baff@mindspring.com


** The Studio 16 mailing list (unofficial)


From net@dutch.nl Tue, 21 Apr 1998 00:32:19 +0900 
X-SystemInfo: Studio 16: EMail
X-Message-No: 2212 (database)
From: Rene' Schaap <net@dutch.nl>
To: studio16 <studio16@thule.no>
Subject: RE: Prostation
Date: Mon, 20 Apr 98 16:32:00
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On Sat, Apr 18, 1998, at 08:29 PM, Maurizio Ciccione wrote:

> >ON Apr. 9 Gord Clink wrote.
> 
> >>So what's the latest on Prostation..... or will that become a reality?
> 
> >Never seen any specs on this. Don't know whether its hardware or software
> 
> It's software, Dave. A 040/16MB is the recommended entry-level setup.
> The application is designed for 060 systems. Since February we're
> experimenting on the 604/060 dual-processor architecture too, but the
> first ProStation release is for the 680x0.

Can't Wait Maurizio,when will it be lauched ????
Will there be a beta version or do you need some beta-testers ????

I'd love to beta-test for You.


> All the best,
> 
> dr. Maurizio Ciccione
> AudioLabs, Digital Audio Engineering
> http://www.audiolabs.it
> 

SeeYaa




Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

Homepage:    http://www.dutch.nl/net

Voice   :    0031 (0)35 52 42 72 0

FAX     :    0031 (0)35 52 66 31 7





** The Studio 16 mailing list (unofficial)


From net@dutch.nl Mon, 20 Apr 1998 20:01:56 +0900 
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From: Rene' Schaap <net@dutch.nl>
To: studio16 <studio16@thule.no>
Subject: RE: S16> This Mailinglist
Date: Mon, 20 Apr 98 12:01:01
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Hey Kenny,

I have learned a lot from the mailing list.

I think somebody must continue the list because we need it.

Thanks Kenny for Q-MAster and this mailing list.

You brought a little usergroup together including some very important
people Like mr Ben Fuller and dr.Maurizio Ciccione.

We all can make the Amiga a surviver,lets do it and keep it alive by using it.


SeeYaa,





Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

Homepage:    http://www.dutch.nl/net

Voice   :    0031 (0)35 52 42 72 0

FAX     :    0031 (0)35 52 66 31 7





** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Mon, 20 Apr 1998 09:10:20 -0700
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From: John Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Re: Makedonian CD release ( made with Studio 16 ;-)
Date: Mon, 20 Apr 98 17:10:00
Message-ID: <353B736C.D3C7E6C4@worldnet.att.net>
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>  I went to PLU for 2 years in the early seventies

I was there between '77 and '80

> before
> deciding to JUST play in Ball&Chain, Cout Cee Lab Band, and the Shaft Club
> (on Broadway in '72 or so) house band.

Ball&Chain sounds familiar........

> I like all kinds of music. But Tacoma - other than ocassional visits - was
> a long time ago. The only Tacoma band I REMEMBER seeing while living in
> the Emerald City was the Malchicks, at the Rebar.

Interesting! I used to work with the manager of the Malchicks, Howie, at our
day job.
( Roundup Music, the distribution warehouse for Fred Meyer's audio / video
section )


> I think we need newer, flashier stuff to really expand that user base. (RE:
> Amiga )

Definitely!  The Amiga should lead the way in voice recognition, video
recognition andartificial intelligence.

> Borders are only the biggest in the world, along with Barnes & Noble.
> Those two own B. Dalton's and Waldenbook's as well, and are currently
> under investigation for unfair trade-practices. I hope YOU won't be jailed
> {small laugh}.

...uuhhhhh.......yeah .. ... .heehehhe ..... if anyone needs to find me my
nameis William Stevens and I live in . .. . uuhhhhh  . .. .. .on a small island
. . just off
the coast of Java........  or was it Madagascar . . . ..

>
>
> >If I didn't mention it before the Makedonians play Greek, Yugoslavian,
> >Bulgarian, Turkish, Macedonian, Balkan folk music with interpretations
> >that range from fairly traditional to more jazz/fusion like.
>
> Ah! I love that. So you are playing all those great meters like 17/8,
> 15/16 etc?

Off the top of my head I don't remember any in 15 or 17 but we do have 'em in
3/4, 4/4, 5/8, 5/4, 7/8, 9/8, 10/8, 11/8, 18/8, and 25/8! ;-)

I've always liked classical / symphonic music and I'm a major fan of
progressive rock
and fusion jazz.  It took me awhile to get used to Balkan odd times though
because
the subdivisions of the measures were more unpredictable than what I had
encountered
before.

> > Artist:      The Makedonians
> > Album Title: TZAZ
> > Label:       MAK Rekords
> > Catalog #:   MAK 08972
> > Full UPC:    712657089726
> > Category: Folk/Ethnic/Local/Independent
>
> Lets just leave that little quote in, shall we? ;-)

You mean the one above?????? <BG>


>
>
> >Or if you prefer, you can order one directly from me for $15.00
> >plus $2.00 postage.
>
> Ulp, erp - no Studio16 m-list discount? I am shocked. Still...
>

Well, we are still getting things established.  I would hate to quote tolow of
a price and then wind up paying out of my pocket.  This weekend
we played at Borders as the kickoff for the CD release and they have our CDs
marked at $13.95!  Hey, no one told me!  We are looking into get hooked up
with a distributor and I'm sure there will be minimums we can charge,  price
protection
for retailers, etc., etc. that we will have to deal with. For now lets just say
$15.00 from
me and that includes postage.

> >.......I play drums.
>
> You must! Those meters scare away most players.

Well, they scare me sometimes still ... . . . .I guess I just don't run away!
;-)


Take care!


    ImJohn@worldnet.att.net
        .......I play drums.



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 22 Apr 1998 00:26:13 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: S16> Weekend Sock-hop
Date: Wed, 22 Apr 98 07:26:00
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Quiet here again? You guys still haven't recovered from playing at that
sock-hop last weekend? Sheeesh, the punch wasn't that strong!

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Wed, 22 Apr 1998 12:14:46 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Weekend Sock-hop
Date: Wed, 22 Apr 98 08:14:00
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Hi greenboy,

>Quiet here again? You guys still haven't recovered from playing at that
>sock-hop last weekend? Sheeesh, the punch wasn't that strong!

Yeah but you don't know your own strength. There were complications with
the black eye. . . . .


>--
>greenboy

>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 22 Apr 1998 14:38:05 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Weekend Sock-hop
Date: Wed, 22 Apr 98 21:38:00
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Brian Fields:
> 
>>Quiet here again? You guys still haven't recovered from playing at that
>>sock-hop last weekend? Sheeesh, the punch wasn't that strong!
> 
>Yeah but you don't know your own strength. There were complications with
>the black eye. . . . .

Sorry, I didn't recognize you in the pink Jackie O. getup --

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Wed, 22 Apr 1998 15:58:02 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Weekend Sock-hop
Date: Wed, 22 Apr 98 11:58:00
Message-ID: <yam7416.129.144261336@mail.stc.net>
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Hi greenboy,
>Brian Fields:
>> 
>>>Quiet here again? You guys still haven't recovered from playing at that
>>>sock-hop last weekend? Sheeesh, the punch wasn't that strong!
>> 
>>Yeah but you don't know your own strength. There were complications with
>>the black eye. . . . .

>Sorry, I didn't recognize you in the pink Jackie O. getup --

Speaking of which;

Are the jackies on the backies of the AD1012'ies able to be utilized in
pair'ies. So one can one can use two AD1012'ies for stereo(ies)?

I've got a line on two used AD1012's that the guy wants $100/per for.

>--
>greenboy

>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 22 Apr 1998 15:27:37 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Weekend Sock-hop Makes Headlines
Date: Wed, 22 Apr 98 22:27:00
Message-ID: <353E60C9.E841BEA0@bigsky.net>
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Brian Fields wrote:
>Are the jackies on the backies of the AD1012'ies able to be utilized in
>pair'ies. So one can one can use two AD1012'ies for stereo(ies)?

Dunno(ie).

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Wed, 22 Apr 1998 16:37:29 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Weekend Sock-hop Makes Headlines
Date: Wed, 22 Apr 98 12:37:00
Message-ID: <yam7416.1499.144261336@mail.stc.net>
Followup-To: poster
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Hi greenboy,
>Brian Fields wrote:
>>Are the jackies on the backies of the AD1012'ies able to be utilized in
>>pair'ies. So one can one can use two AD1012'ies for stereo(ies)?

>Dunno(ie).

Okie Dokie. I think this was in a previous post but seeing as to how there
isn't anything topical goin' on here I thought I'd ask.

>--
>greenboy

>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 22 Apr 1998 17:42:15 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Sock-hop At the ADDAMS Manse
Date: Thu, 23 Apr 98 00:42:00
Message-ID: <353E8057.8293CC07@bigsky.net>
Followup-To: poster
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>>>Are the jackies on the backies of the AD1012'ies able to be utilized in
>>>pair'ies. So one can one can use two AD1012'ies for stereo(ies)?
>>Dunno(ie).
>Okie Dokie. I think this was in a previous post but seeing as to how there
>isn't anything topical goin' on here I thought I'd ask.

'sallright!

-- greenboy

** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 22 Apr 98 14:36:06 +0100
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X-Message-No: 2234 (database)
From: Kenny Nilsen <kenny@bgnett.no>
To: Rene' Schaap <studio16@thule.no>
Subject: RE: S16> This Mailinglist
Date: Wed, 22 Apr 98 14:36:00
Message-ID: <334.416T322T8762043@bgnett.no>
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Hi all!

My email problem got solved today - sorry for the alert.

We're one person from hundred here now which almost makes us a small
community which shares the same interrests. I don't want that to disappear.
I must also say thanks for warm words! Those helps on motivation.

Ok, lets party on (or maybe not?.. ;D )


re,
- Kenny


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 22 Apr 1998 18:44:43 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> This Mailinglist & SockHop Aftermath
Date: Thu, 23 Apr 98 01:44:00
Message-ID: <353E8EFB.E2E58D24@bigsky.net>
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Kenny Nilsen wrote:
>My email problem got solved today - sorry for the alert.

Good to hear!

>We're one person from hundred here now which almost makes us a small
>community which shares the same interrests. I don't want that to disappear.
>I must also say thanks for warm words! Those helps on motivation.

Actually, with my split personality(s), the count is well above what one
would assume.
 
> Ok, lets party on (or maybe not?.. ;D )

Too late! Brian got thrown in the Clink for violating community decency
standards, and they're after me for ... punching the Spike [yike!]
(in the Gord).

-- greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Wed, 22 Apr 1998 19:25:05 +0500
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From: Brian Fields <baff@stc.net>
To: Kenny Nilsen <studio16@thule.no>
Subject: RE: S16> This Mailinglist
Date: Wed, 22 Apr 98 15:25:00
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Hi Kenny,

>My email problem got solved today - sorry for the alert.

>We're one person from hundred here now which almost makes us a small
>community which shares the same interrests. I don't want that to disappear.
>I must also say thanks for warm words! Those helps on motivation.

>Ok, lets party on (or maybe not?.. ;D )

>re,
>- Kenny


Write on dudes!! We be jammin'!


>** The Studio 16 mailing list (unofficial)

-- 

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From onad@ao.net Wed, 22 Apr 1998 21:11:32 +0500
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From: Dan Oberley <onad@ao.net>
To: studio16 <studio16@thule.no>
Subject: IRC
Date: Wed, 22 Apr 98 17:11:00
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Is there an IRC chat room for Studio16 users?

Dan,


** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Wed, 22 Apr 1998 21:13:33 -0500
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From: Gord Clink <gclink@dryden.net>
To: studio16 <studio16@thule.no>
Subject: Re[2]: S16> This Mailinglist & SockHop Aftermath
Date: Thu, 23 Apr 98 03:13:00
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On 22-Apr-98, greenboy wrote:
> Kenny Nilsen wrote:
>> My email problem got solved today - sorry for the alert.
> 
> Good to hear!
> 
>> We're one person from hundred here now which almost makes us a small
>> community which shares the same interrests. I don't want that to disappear.
>> I must also say thanks for warm words! Those helps on motivation.
> 
> Actually, with my split personality(s), the count is well above what one
> would assume.
> 
>> Ok, lets party on (or maybe not?.. ;D )
> 
> Too late! Brian got thrown in the Clink for violating community decency
> standards, and they're after me for ... punching the Spike [yike!]
> (in the Gord).
> 
> -- greenboy

You don't wanna mess with the Kernal.... do you?

Gord (Kernal) Clink


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 22 Apr 1998 20:28:33 -0600
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Subject: S16> SockHop Repercussions Continue Unabated
Date: Thu, 23 Apr 98 03:28:00
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Gord Clink wrote:
>You don't wanna mess with the Kernal.... do you?
>   Gord (Kernal) Clink

If the chew fits, 'ware it! And don't leave it out in the code...

-- greenboy

** The Studio 16 mailing list (unofficial)


From tc_silvey@juno.com Wed, 22 Apr 1998 21:29:08 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: S16> This Mailinglist Lives
Date: Thu, 23 Apr 98 02:29:00
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>My email problem got solved today - sorry for the alert.
>We're one person from hundred here now which almost makes us a small
>community which shares the same interrests. I don't want that to 
>disappear.
>I must also say thanks for warm words! Those helps on motivation.
>
>Ok, lets party on (or maybe not?.. ;D )

No, It's definitly a party. Glad to hear we're not being
evicted. With out this group, I might not be sticking
to my goal of being an Ami programmer. 
I'm curious though. If there are a hundred programmers
(or wanna be's) here and maybe another 1 or 2 hundred
professional Ami programmers out there, that make us
a pretty small group. What are some estimates of the number
of real ami programmer able to do major projects?

troy

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From greenboy@bigsky.net Wed, 22 Apr 1998 21:34:33 -0600
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From: greenboy <greenboy@bigsky.net>
To: Studio 16 GuestList <studio16@thule.no>
Subject: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 04:34:00
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troy silvey wrote:
>What are some estimates of the number of real ami programmer able to do
>major projects?

Gee, Troy this is the kind of question I like to answer with a clout on the
head with a Zen handbook (Ko-ang!). There are enough to do whatever they
think they can do! I admire programmers - they have the potential for
mastery over a fascinating medium (- not the dollar, I'm not talking about
just the dollar, folks.)

The recent trend in Amigaland is for single guys to keep up with projects
whose equivalents on other platforms require teams. This may seem admirable,
but results in user frustration and programmer burnout, as the gap widens
between expectations - based on comparison to competitor's products - and
the reality of what one person can deliver.

I am hoping developers and publishers in Amigaland will realize that their
read on economic solutions is stifles the development of the type/quality of
programs the Amiga needs to go forward.

So I would say to any would-be (sounds nicer to me than wanna-be)
programmer: Hang out at newsgroups, websites, and m-lists (and physical
meetings if possible) where others of like inclinations are. Get a good
idea for a real project that has salable potential. Start coding
yourself if need be. But put together a specefication masterplan to attract
others. Then get ready to blow all us buyers away; its happened before!

So my answer is not 42 - it is more along the line of how many nanobots
can dance on the head of a 25-micron lead-out pin.

-- greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Wed, 22 Apr 1998 23:43:32 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Guesstimate And Go For It!
Date: Wed, 22 Apr 98 19:43:00
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Hi greenboy & troy,

>troy silvey wrote:
>>What are some estimates of the number of real ami programmer able to do
>>major projects?

>greenboy wrote:
>So my answer is not 42 - it is more along the line of how many nanobots
>can dance on the head of a 25-micron lead-out pin.

Big ideas start as small hows. The hows come from the whats. And the big 
vison is a product of both.

What is it one wants to do?
How does he do it?
What is the vision?


Therefore; What is your what?


>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Thu, 23 Apr 1998 15:50:36 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 16:50:00
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Hello greenboy, Troy and anyone else who's still there

It seems to me that the next stage here should be to draw up some
specs for a music composition program to replace B&P and to work in
future Amigas with PPC processors and (probably) PCI slots.

At the very least we could prepare a doc saying what we want in an
ideal program. Not only what is missing from B&P, MusicX etc but also
what is missing from CubaseVST.

Think hard about the best interface.

Then we can think about what language it should be coded in (this may
depend on what is being done about slim binaries or some other system
to make software that works on either 68K or PPC).

Then if it looks as though it is worth doing, a couple of clever
persons may like to do some coding. The main motivation ought to be to
produce the music program that you want - profits from the Amiga
market are not to be relied on.

What is wrong with B&P?
1. Doesn't work properly on graphics cards
2. Bad at handling samples (new software can handle 24-bit samples)
3. Needs support for continuously varying pitch - some kind of pitch
bend editor (see Bob Moog's MIDI Theremins)
4. The multimedia features are weak

What's good?
1. The liked list structure relates well both to the Amiga OS and to
the flow-like process of recording, editing and playing music and
sound effects
2. The plug-in tools and accessories facility - it would save a lot
of coding if a new program was compatible with existing B&P tools
3. Generally good interface

I would like to see a program which had very strong support of time
code and links to animations. Perhaps a window on screen for
displaying an animation when a music track for it was being worked on.
The NLE video edit programs basically only edit samples, not MIDI.

I doubt if I can help with coding, but I would gladly help with design
of Icons, interface graphics etc. for a good project.

What about the existing programs such as Camouflage?

There ought to be a world-beating Amiga music program. 

Eh?
-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 11:22:03 +0500
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From: Brian Fields <baff@stc.net>
To: Don Cox <studio16@thule.no>
Subject: Re: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 07:22:00
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Hi Don,

>What is wrong with B&P?
>1. Doesn't work properly on graphics cards

A note on this.....You can load B&P on an 8 bit screen limited to 8
colors. I am running it on an1600x1200 screen with Studio16 and
MovieShop.

The kludge is that B&P has to be launched from a hi-res native mode. I
don't know how or why it works. I only know it works, it's stable, and
once you do it you don't have to do it again until the computer is reset.

I've tried using the loadresource command to pre-load the
BlueRibbon.library but that doesn't work. So what I did was wiite a very
small (and clumsy I suspect) Arexx script that opens Studio16 on a hi-res
screen (it loads faster than B&P and seems to access the file B&P needs),
immediatly closes it, then opens B&P on an 8 bit screen.

It's a kludge, it works for me, and I've got my huge B&P and Studio16
working environment. The WBstarter command comes with ToolManager and 
loads the tooltypes of the icon.

Have fun.

>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



/**************************************************
 *** This AREXX Script will open Studio16 & B&P
 **************************************************/

/* Studio16 Start */

address command 'studio16:utilities/studio16rexx'

address command 'WaitForPort Studio16.1'
/***************************************************/
CHAN_INPUT  = '1'
CHAN_PLAY   = '2'       /* Constants */
CHAN_OUTPUT = '3'
/***************************************************/
options results
address 'Studio16.1'
/***************************************************/

S16ToFront
S16Exit
/***************************************************/

address command "wait 1"
address command "studioclose"

/* Bars&Pipes Start */


   address command 'wbstarter "sdh1:-Music/Bars&PipesPro/Bars&Pipes"'
   do ax=1 to 10


address "Bars&Pipes ARexx"

exit


** The Studio 16 mailing list (unofficial)


From tc_silvey@juno.com Thu, 23 Apr 1998 13:03:06 -0400
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From: troy silvey <tc_silvey@juno.com>
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Subject: Re: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 18:03:00
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>It seems to me that the next stage here should be to draw up some
>specs for a music composition program to replace B&P and to work in
>future Amigas with PPC processors and (probably) PCI slots.

I'm there, sign me up and just send me a free PPC card :)
This is why I dove into learning C in the first place.  From where I
stand
as a programmer now, It seems an un-doable task for me. But I'm not gonna
give up. Thanks to some of you in this list and 4 different books on C, I
now
have some of the hardest concepts under my belt. (structures, typedefs,
pointers,
funtions) Now I have to make C and the Ami OS a second langauge.
Unbeleivably
I have recieved 2 contacts this week asking if I would be interested in
joining a
couple of software developers just because of my ML / Basic backgounrd
and I
know what C looks like. One big problem is they are MS developers. My
answer
was "bite me", in a nicer way of course. I code Ami only, or I code
nothing.

>At the very least we could prepare a doc saying what we want in an

I'll start it this evening.

>Not only what is missing from B&P, MusicX also what's missing from
CubaseVST.

They are both missing B&P :)

>Think hard about the best interface.

I have a unique interface in mind already. Mial me if you want to
talk about some possiblities.

>to make software that works on either 68K or PPC).

If it is done in clean C, won't it compile properly for PPC?


>Then if it looks as though it is worth doing, a couple of clever
>persons may like to do some coding. The main motivation ought to be to
>produce the music program that you want - profits from the Amiga
>market are not to be relied on.
>I doubt if I can help with coding, but I would gladly help with design
>of Icons, interface graphics etc. for a good project.

Beggers can't be chosers when you looking for all the help you 
can get. If your a handy graphics artist, you'll have plenty to do
in an interface I have in mind.

>What about the existing programs such as Camouflage?

I talked to those guys a couple of times before. Nice group,
but they tell me they have a contract with the originator of the
software and it's basiclly proprietary software they are keeping
to themselfs, at least for now. The story could have changed
since the last time I talked to them though. Unfortunatlly I doubt
you'll find other coders as into this as I am. They all have their
own projects they want to do and are probablly not interested
as much In a music program. But If that program could
double as an Mpeg/Video/MOD/Sample player among other things,
then it could find a market and a wider interest among developers.

troy


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Or call Juno at (800) 654-JUNO [654-5866]


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 23 Apr 1998 11:11:56 -0600
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From: greenboy <greenboy@bigsky.net>
To: Studio 16 GuestList <studio16@thule.no>
Subject: Re: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 18:11:01
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Don Cox wrote:
>At the very least we could prepare a doc saying what we want in an
>ideal program. Not only what is missing from B&P, MusicX etc but also
>what is missing from CubaseVST.

There are remarkable programs on the Mac, and ONE on the PC that is well
worth studying. Cakewalk Pro Audio 6 (soon to be 7) is very solid, been
around since pre-Windozzze. Unlike Cubase or Logic, it has a controlled-
ascent learning-curve. A well designed program on a great OS like Amiga's
should be a no-brainer to operate straight out of the box for the basics,
and should be easy to add on to one's capabilities.

Cakewalk is also a good model because it believes in supporting standards.
If you want to use it in conjunction with automated digital mixers, Roland
VS-series NLEs, ADATs or Tascam DA-series, it has the goods. As well as
supporting standard PC digital audio cards, it supports some specific
features.

CW supports realtime effects, again as a standard, so modules are freely
available. Actually they look like they are on fire in all the good ways!
Cakewalk can convert single-instrument digital audio tracks quickly into
midi tracks with high accuracy. It can make tempo maps or groove templates
from digital audio. It can automatically chop up a long DA track into
shorter segments without all the silence (great for dialog placement!).
The 7 upgrade promises better independence for looping midi and DA tracks.

Godlike! And the price is half that of serious Macware.

> Then we can think about what language it should be coded in (this may
> depend on what is being done about slim binaries or some other system
> to make software that works on either 68K or PPC).

Good articles in Byte magazine lately about how lame C and C++ really are.
The author advocates using Java and other high-level platform independent
(well it was when Sun introduced it, before Microsloth subverted it!)
languages for use on power machines, because of portability, ease of
modification, and fast development cycle. But in a music program, where
timing is paramount, I think this approach may not be the way.

Incidentally, Cakewalk has a macro language that allows one to design
tools like B&P, or automate tasks. CAL is approachable by non-coders,
and existing scripts easily enough tweaked that a huge amount of stuff
is available.

Anyone who is interested in DA and sequencing, with decent scoring, web-
specific features, and multimedia on the side should study this jewel.
Major pros use it to score weekly hour-longs, which goes a long way
in impressing me, because a program has to be quick and easy to do this
well.

>There ought to be a world-beating Amiga music program.

... Again. There ought to be a world-beating Amiga music program again.

Byte Magazine - premier multiplatform coverage:  http://www.byte.com/
Twelve Tone Systems - publishers of Cakewalk:  http://www.cakewalk.com/

-- greenboy

** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Thu, 23 Apr 1998 12:56:00 -0500
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From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: Re: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 18:56:00
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>Then if it looks as though it is worth doing, a couple of clever
>persons may like to do some coding. The main motivation ought to be to
>produce the music program that you want - profits from the Amiga
>market are not to be relied on.
>I doubt if I can help with coding, but I would gladly help with design
>of Icons, interface graphics etc. for a good project.

Beggers can't be chosers when you looking for all the help you 
can get. If your a handy graphics artist, you'll have plenty to do
in an interface I have in mind.

I'd be willing to do some beta testing, and possibly some interface design.... And I mean serious beta testing... not just an excuse to get free software. I too am 100% Amiga, and am trying to bring my C/C++ skill levels up to speed. I refuse to do any coding for anything but AmigaOS. Microsloth doesn't need anymore help anyway... they already have to many cooks, and the broth is beyond being spoiled!

Gord Clink


** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Thu, 23 Apr 1998 13:00:05 -0500
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From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 19:00:00
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Hi Don,

>What is wrong with B&P?
>1. Doesn't work properly on graphics cards

>>A note on this.....You can load B&P on an 8 bit screen limited to 8
>>colors. I am running it on an1600x1200 screen with Studio16 and
>>MovieShop.

I use Bars&Pipes on a PicassoII board running Picasso96 software and have no problem with it at all.... This is the first I've heard of it not running properly. I also load Studio16 onto the same screen as well with no problems.... 16 colors, 8bit.....

Gord



** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 12:59:11 +0500
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X-Message-No: 2249 (database)
From: Brian Fields <baff@stc.net>
To: studio16ML <studio16@thule.no>
Subject: Re: S16>Guesstimate And Go For It!
Date: Thu, 23 Apr 98 08:59:00
Message-ID: <yam7417.592.144261464@mail.stc.net>
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==============================================================================
> And the clumsy rexx script that I partially wrote.

Well I said it was clumsy............

dhomas did some cleanup so this is probabbly better but I haven't tried it
yet.

Thanks dhomas!


/* Studio16 and Bars&Pipes Start */

address command 'studio16:utilities/studio16rexx'
address command 'WaitForPort Studio16.1'
address 'Studio16.1'
S16ToFront
S16Exit
address command "wait 1"
address command "studioclose"

address command 'wbstart "sdh1:-Music/Bars&PipesPro/Bars&Pipes"'
exit

--

Brian

baff@stc.net

==============================================================================
/* Studio16 and Bars&Pipes Start */

address command 'studio16:utilities/studio16rexx'
address command 'WaitForPort Studio16.1'
address 'Studio16.1'
S16ToFront
S16Exit
address command "wait 1"
address command "studioclose"

address command 'wbstart "sdh1:-Music/Bars&PipesPro/Bars&Pipes"'
exit



From baff@stc.net Thu, 23 Apr 1998 13:12:47 +0500
X-SystemInfo: Studio 16: EMail
X-Message-No: 2250 (database)
From: Brian Fields <baff@stc.net>
To: studio16ML <studio16@thule.no>
Subject: Re: S16>Guesstimate And Go For It!
Date: Thu, 23 Apr 98 09:12:00
Message-ID: <yam7417.2387.144261464@mail.stc.net>
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> And the clumsy rexx script that I partially wrote.

Well I said it was clumsy............

dhomas did some cleanup so this is probabbly better but I haven't tried it
yet.

Just ran it. Works great and not only that, B&P makes my coffee now too!
Wow what a coder!

Thanks dhomas!


/* Studio16 and Bars&Pipes Start */

address command 'studio16:utilities/studio16rexx'
address command 'WaitForPort Studio16.1'
address 'Studio16.1'
S16ToFront
S16Exit
address command "wait 1"
address command "studioclose"

address command 'wbstart "sdh1:-Music/Bars&PipesPro/Bars&Pipes"'
exit

--

Brian

baff@stc.net


==============================================================================
/* Studio16 and Bars&Pipes Start */

address command 'studio16:utilities/studio16rexx'
address command 'WaitForPort Studio16.1'
address 'Studio16.1'
S16ToFront
S16Exit
address command "wait 1"
address command "studioclose"

address command 'wbstart "sdh1:-Music/Bars&PipesPro/Bars&Pipes"'
exit




From baff@stc.net Thu, 23 Apr 1998 13:19:19 +0500
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From: Brian Fields <baff@stc.net>
To: Gord Clink <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 09:19:00
Message-ID: <yam7417.975.144261464@mail.stc.net>
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Hi Gord,
>Hi Don,

>>What is wrong with B&P?
>>1. Doesn't work properly on graphics cards
>>Don

>>>A note on this.....You can load B&P on an 8 bit screen limited to 8
>>>colors. I am running it on an1600x1200 screen with Studio16 and
>>>MovieShop.

>I use Bars&Pipes on a PicassoII board running Picasso96 software and have no
>problem with it at all
>Gord

Maybe we stumbled upon a CyberGraphX bug, you think? This along with the
Studio16 editor update thing. (in past posts)


>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 23 Apr 1998 12:40:14 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: S16> Modern Graphic Card Support
Date: Thu, 23 Apr 98 19:40:00
Message-ID: <353F8B0D.3A755EFA@bigsky.net>
Followup-To: poster
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Don Cox:
>>What is wrong with B&P?
>>1. Doesn't work properly on graphics cards

Gord Clink: 
>I use Bars&Pipes on a PicassoII board running Picasso96 software and have
>no problem with it at all.... This is the first I've heard of it not
>running properly. I also load Studio16 onto the same screen as well with
>no problems.... 16 colors, 8bit.....

B&P ToolTypes and mode promotion allow B&P to run on a card in a primitive
kludgey fashion. But like many programs of its time the developers didn't
take the time to use systemwide support that had become available: ie,
the screenmode requester. A modern music prog should be able to run 16,
even 24-bits deep on a properly equipped system, and actually make good
use of the additional color that is available.

Font sensitivity with good font-smoothing is also necessary to support
different screen resolutions effectively. I am hoping we will get modern
PS/True-type support in the Amiga OS.

-- greenboy

** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Thu, 23 Apr 1998 13:43:19 -0500
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From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 19:43:00
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Yes, you may be right... although I haven't had a chance to test my editor updating very extensively, although on the surface, it appears to be working properly.

Gord

----------
From:  Brian Fields[SMTP:baff@stc.net]
Sent:  Thursday, April 23, 1998 3:19 AM
To:  Gord Clink
Subject:  RE: S16> Guesstimate And Go For It!

Hi Gord,
>Hi Don,

>>What is wrong with B&P?
>>1. Doesn't work properly on graphics cards
>>Don

>>>A note on this.....You can load B&P on an 8 bit screen limited to 8
>>>colors. I am running it on an1600x1200 screen with Studio16 and
>>>MovieShop.

>I use Bars&Pipes on a PicassoII board running Picasso96 software and have no
>problem with it at all
>Gord

Maybe we stumbled upon a CyberGraphX bug, you think? This along with the
Studio16 editor update thing. (in past posts)


>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


** The Studio 16 mailing list (unofficial)


From beachler@iastate.edu Thu, 23 Apr 1998 14:19:55 -0500
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From: Rich Beachler <beachler@iastate.edu>
To: studio16 <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 20:19:01
Message-ID: <v03007805b16542c379f3@[129.186.24.8]>
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Hello to all involved with this thread (and everyone else also!)


>>>What is wrong with B&P?
>>>1. Doesn't work properly on graphics cards

Could someone please explain the dificulties they are having with
this? What exactly doesn't work? Screen display, timing, anything?
I use B&P on a Spectrum/CyberGraphix3/16color/800X600 screen and the
only thing I've noticed is some menu display problems. I only use
B&P sparingly (I use Studio16 extensively!) and have used them, with
success, together on the B&P screen. More specific info would be very
helpful in avoiding a potential problem that I haven't encountered yet.

Thanks much!

Rich Beachler
beachler@iastate.edu



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 23 Apr 1998 13:59:43 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: S16> Additional Programmer/Musician Resources
Date: Thu, 23 Apr 98 20:59:00
Message-ID: <353F9DAF.C25EFD61@bigsky.net>
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troy silvey wrote:
>Beggers can't be chosers when you looking for all the help you can get. If
>your a handy graphics artist, you'll have plenty to do in an interface I
>have in mind.

Resources on the web for the Amiga that really need to be exploited to the
fullest include the Team AMIGA website (http://www.wans.net/~gpeake/) and
m-list, all the programmer newsgroups, ICOA and other developer/publisher
based organizations that can be tracked from the Amiga Web Directory.
It probably wouldn't hurt to check out the B&P m-list as well.

And perhaps the site with the greatest potential for newer non-established
entrepreneurs who want to assemble ideas and people - No AMIGA To Waste:
(http://thunderstorms.org/NATW/). An incredible idea for a site that I
encourage all to check out and participate in!

To really build a program that musicians will buy, like, and excel with
I think it important to study the tools that are foremost in the
occupation. Electronic Musician has a great archive of back-articles and
reviews tied to a search engine. Here I can read an article on how five
leading pros from different specialties use Cakewalk, FI. 
http://www.e-musician.com/Excite/AT-Article_Archivesquery.html gets it.
Many of the publishers like dissidents (hi Jim!), Cakewalk, Opcode, 
Mark Of The Unicorn have great sites including good screenshots.

[HEY DON? Don Cox. You still have that detailed email I sent you
concerning interface and music prog design, a month or three ago? Could
you post it back up?]

>Unfortunatlly I doubt you'll find other coders as into this as I am.
>They all have their own projects they want to do and are probablly not
>interested as much In a music program.

No doubt they are writing utilities we already have fifty of, or clones
of gameclones that are based on games that resemble ... you guessed it -
other games. But to start a program that takes true stones, it might take
a real visionary, and someone who can pitch it.

>But if that program could double as an Mpeg/Video/MOD/Sample player
>among other things, then it could find a market and a wider interest
>among developers.

MODS! The scourge of serious Amiga musicians. Even serious game
design is getting away from a mod or sample-playback approach. This is
why MicroStealth bought BlueRibbon: to develop intelligent, creative,
interactive approaches to score games and multimedia.

Mods are tired not wired; there are already a kazillion modbuilders and
players out there, and when I think of all the wasted programming talent
out there THAT could have been applied to real music programs, why my
blood pressure rises and I am forced to SHRED on my guitar with the amp
turned to 12!!!!! (I don't like mods.)

Come on guys, turn up the heat, shed some light!

-- greenboy

** The Studio 16 mailing list (unofficial)


From dhomas@youngmonkey.ca Thu, 23 Apr 1998 17:11:19 -0400
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Subject: Re[2]: S16>Guesstimate And Go For It!
Date: Thu, 23 Apr 98 22:11:00
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Brian spoke and whirled like a Dervish divine:

> Just ran it. Works great and not only that, B&P makes my coffee now
too!
> Wow what a coder!

Is the coffee good?  I'm not a coffee drinker so I didn't confirm the
quality of that part of the script!   :)


I think the script still does more than it has to do, but I don't have
an
AD516 in my machine to test it out right now.

Of course, I think ModePro was handling it fine anyway... but then I
can't be sure of that either right now.  I think it depends on what
screen resolution you are using it with for B&P.

I've got B&P set up as 1280x1024 via ModePro with DOUBLEWIDTH and
DOUBLEHEIGHT set.  This is with the Cybervision64, so nothing is virtual
at all.

I'm too busy figuring out all this new video and printing technology...
get back to audio later in life... :)

> /* Studio16 and Bars&Pipes Start */

> address command 'studio16:utilities/studio16rexx'
> address command 'WaitForPort Studio16.1'
> address 'Studio16.1'
> S16ToFront
> S16Exit
> address command "wait 1"
> address command "studioclose"

> address command 'wbstart "sdh1:-Music/Bars&PipesPro/Bars&Pipes"'


-- 

dhomas.

**********************************************************************
*                                                                    *
 *    young monkey studios     EMail:  dhomas@youngmonkey.ca        *
 *      ----------------         WWW:  http://www.youngmonkey.ca/   *
  *       dhomas trenn                                             *
  *                            Snail:  797 Mitchell Street         *
 *                                     Fredericton, NB              *
 *   Phone:  (506) 459-7088            CANADA    E3B 3S8            *
*                                                                    *
**********************************************************************


** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 15:12:39 +0500
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From: Brian Fields <baff@stc.net>
To: Rich Beachler <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 11:12:00
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Hi Rich Beachler,

>>>>What is wrong with B&P?
>>>>1. Doesn't work properly on graphics cards

>Could someone please explain the dificulties they are having with
>this? What exactly doesn't work? Screen display, timing, anything?
>I use B&P on a Spectrum/CyberGraphix3/16color/800X600 screen and the
>only thing I've noticed is some menu display problems. I only use
>B&P sparingly (I use Studio16 extensively!) and have used them, with
>success, together on the B&P screen. More specific info would be very
>helpful in avoiding a potential problem that I haven't encountered yet.

>Thanks much!

>Rich Beachler
>beachler@iastate.edu


Perhaps it's my system. It makes me wonder now that I find someone else
using a Spectrum graphics card. If it ain't broke, don't fix it. But I
find that an 8 color screen works better for me than 16 so that's how I
run it. Studio16 only uses 8 colors anyway right?

If you are not experiencing any problems with it now, then I doubt that
you will in the future . . . . . .  :)


>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 15:25:07 +0500
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Subject: Re: S16> Additional Programmer/Musician Resources
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Hi greenboy,
>troy silvey wrote:

>>But if that program could double as an Mpeg/Video/MOD/Sample player
>>among other things, then it could find a market and a wider interest
>>among developers.

>Mods are tired not wired; there are already a kazillion modbuilders and
--snip--
>turned to 12!!!!! (I don't like mods.)

>Come on guys, turn up the heat, shed some light!

>-- greenboy

Mods suck, I agree. And I'm not apologizing, but most Amigans couldn't
afford to buy a decent sound card that costed as much as some computers.
So we end up with a lot of creative folks who do the best with what they
have. I wish mods would die also. It would spur people to find a better
solution. . . . .  (hot enough?).    

(we're still suffering Mehdi's hardware restrictions)

P.S. Please try to put the arrows in the *center*
                                             of the target on my back. ..


>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From beachler@iastate.edu Thu, 23 Apr 1998 15:44:34 -0500
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Subject: RE: S16> Guesstimate And Go For It!
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>Hi Rich Beachler,

Hello, Brian,

>Perhaps it's my system. It makes me wonder now that I find someone else
>using a Spectrum graphics card. If it ain't broke, don't fix it. But I
>find that an 8 color screen works better for me than 16 so that's how I
>run it. Studio16 only uses 8 colors anyway right?
>
>If you are not experiencing any problems with it now, then I doubt that
>you will in the future . . . . . .  :)

Thanks for the reassurance :)

However, I'm still curious as to what the "non-working" symptoms are.
Do buttons not respond, tools not function, windows not open, menus
come up blank, display not scroll, midi not function properly, etc.?

I have not had a project that required extensive B&P usage since I got
my Spectrum. (However I did score a 90 minute and 20 minute film with
B&P on my A500 a few years back. I had to buy an accellerator for the A500
to keep timing up to snuff.) I would really like to explore any problems
that others are having so they don't sneak up and bite me in the middle
of a project where I'll be relying on B&P.

Thanks!

Rich Beachler
beachler@iastate.edu



** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 15:53:44 +0500
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Hi Rich Beachler,

>>If it ain't broke, don't fix it. But I
>>find that an 8 color screen works better for me than 16 so that's how I
>>run it. Studio16 only uses 8 colors anyway right?
>>If you are not experiencing any problems with it now, then I doubt that
>>you will in the future . . . . . .  :)

>Thanks for the reassurance :)

>However, I'm still curious as to what the "non-working" symptoms are.
>Do buttons not respond, tools not function, windows not open, menus
>come up blank, display not scroll, midi not function properly, etc.?

If the program comes up, it works. That's it. It's a screen promotion
problem it doesn't affect the gadgets, menus, requestors or anything else.
B&P runs on Amiga native screens no problem so you can always go back to
that if you absolutely have to in order to finish a project.

My best guess is that if you are not having a problem with it now, you
won't in the future . . . . . . that's all I can say.

>Thanks!

>Rich Beachler
>beachler@iastate.edu



>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From net@dutch.nl Thu, 23 Apr 1998 22:02:22 +0900 
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From: Rene' Schaap <net@dutch.nl>
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Subject: RE: S16>From: Rene' Schaap <net@dutch.nl>
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On Thu, Apr 23, 1998, at 01:00 PM, Gord Clink wrote:

> Hi Don,
> 
> >What is wrong with B&P?
> >1. Doesn't work properly on graphics cards
> 
> >>A note on this.....You can load B&P on an 8 bit screen limited to 8
> >>colors. I am running it on an1600x1200 screen with Studio16 and
> >>MovieShop.
> 
> I use Bars&Pipes on a PicassoII board running Picasso96 software and have
> no problem with it at all.... This is the first I've heard of it not
> running properly. I also load Studio16 onto the same screen as well with
> no problems.... 16 colors, 8bit.....


How is B&P and Studio16 doing on a Cv3D or the earlier graphics board
from phase-5 (i forgot it's name at the moment).

Which screens can be used ???????



Thanks,





Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

Homepage:    http://www.dutch.nl/net

Voice   :    0031 (0)35 52 42 72 0

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** The Studio 16 mailing list (unofficial)


From net@dutch.nl Thu, 23 Apr 1998 22:02:25 +0900 
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From: Rene' Schaap <net@dutch.nl>
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Subject: RE: S16> Modern Graphic Card Support
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On Thu, Apr 23, 1998, at 12:40 AM, greenboy wrote:
> B&P ToolTypes and mode promotion allow B&P to run on a card in a primitive
> kludgey fashion. But like many programs of its time the developers didn't
> take the time to use systemwide support that had become available: ie,
> the screenmode requester. A modern music prog should be able to run 16,
> even 24-bits deep on a properly equipped system, and actually make good
> use of the additional color that is available.
> 
> Font sensitivity with good font-smoothing is also necessary to support
> different screen resolutions effectively. I am hoping we will get modern
> PS/True-type support in the Amiga OS.
> 

We have enough colors in B&P i think,i do not need more colors i mean.
I make music with b&P, not drawings.

But run B&P in other screen modes is a must, maybe someone knows how it
can be done ????,  modepro util for B&P maybe.
PS/True-type support ????, Nyaaaaaa, try other fonts it's not a must.

A Midi/Music program must do it's job well, and thats Midi and Music, maybe
some Audio.
It all come together with a great functionallity and a fine layout.
I liked Music-X very much because it worked nice and feels nice.
I like protools in the same way and Studio16.

All the mentioned Amiga programmes have little support.
We can have new great programs by buying Camouflage, Prostation, MSE etc. etc.
Support the programmers of Amiga Midi and Audio software by buying their
software.
Take a look at my side for the 303 tracker software with harware add on.


So use your old programmes and look at the new supported ones, they are our
Amiga Future i think.


SeeYaa,






Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

Homepage:    http://www.dutch.nl/net

Voice   :    0031 (0)35 52 42 72 0

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** The Studio 16 mailing list (unofficial)


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On Thu, Apr 23, 1998, at 01:00 PM, Gord Clink wrote:

> Hi Don,
> 
> >What is wrong with B&P?
> >1. Doesn't work properly on graphics cards
> 
> >>A note on this.....You can load B&P on an 8 bit screen limited to 8
> >>colors. I am running it on an1600x1200 screen with Studio16 and
> >>MovieShop.
> 
> I use Bars&Pipes on a PicassoII board running Picasso96 software and have
> no problem with it at all.... This is the first I've heard of it not
> running properly. I also load Studio16 onto the same screen as well with
> no problems.... 16 colors, 8bit.....


How is B&P and Studio16 doing on a Cv3D or the earlier graphics board
from phase-5 (i forgot it's name at the moment).

Which screens can be used ???????



Thanks,





Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

Homepage:    http://www.dutch.nl/net

Voice   :    0031 (0)35 52 42 72 0

FAX     :    0031 (0)35 52 66 31 7





** The Studio 16 mailing list (unofficial)


From beachler@iastate.edu Thu, 23 Apr 1998 16:46:47 -0500
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From: Rich Beachler <beachler@iastate.edu>
To: studio16 <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 22:46:00
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>If the program comes up, it works. That's it. It's a screen promotion
>problem it doesn't affect the gadgets, menus, requestors or anything else.
>B&P runs on Amiga native screens no problem so you can always go back to
>that if you absolutely have to in order to finish a project.
>
>My best guess is that if you are not having a problem with it now, you
>won't in the future . . . . . . that's all I can say.

Aha! A simple symptom. It starts or it doesn't start. Just so you know,
I'm using CyberGraphix v3 (though v2 also seemed to work) and NewMode
from Aminet to promote the screen. I also use a Tool Manager "dock"
button to start the program. I hope you get this worked out.

Thanks for the info!

Rich Beachler
beachler@iastate.edu



** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 16:33:36 +0500
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From: Brian Fields <baff@stc.net>
To: Brian Fields <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 12:33:00
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Hi Rich,

>>However, I'm still curious as to what the "non-working" symptoms are.
>>Do buttons not respond, tools not function, windows not open, menus
>>come up blank, display not scroll, midi not function properly, etc.?
>>I only use
>>B&P sparingly (I use Studio16 extensively!) and have used them, with
>>success, together on the B&P screen. More specific info would be very
>>helpful in avoiding a potential problem that I haven't encountered yet.

>>Rich Beachler
>>beachler@iastate.edu

>If the program comes up, it works. That's it. It's a screen promotion
>problem it doesn't affect the gadgets, menus, requestors or anything else.
>B&P runs on Amiga native screens no problem so you can always go back to
>that if you absolutely have to in order to finish a project.

>My best guess is that if you are not having a problem with it now, you
>won't in the future . . . . . . that's all I can say.

Perhaps it's my system. It makes me wonder now that I find someone else
using a Spectrum graphics card.

ADDENDUM:

perhaps you would be kind enough to show us your CyberGraphX env: settings
so I and others can see what works.

here's mine, let's compare. Maybe you can fix the problem for all of us;

dh0:Prefs/env-archive/CyberGraphX/

Spectrum                   01-24-98   8:41:47p ----rwed
ALERTEMU                 1 01-22-98   6:54:16a ----rwed
BOOTLOGO                 1 01-22-98   8:50:20a ----rwed
CPUP2C                   1 01-22-98   6:54:16a ----rwed
HIDE15BIT                1 01-22-98   6:54:16a ----rwed
HIRESCRSR                1 01-22-98   6:54:17a ----rwed
KEEPAMIGAVIDEO           1 01-22-98   6:54:17a ----rwed
NOCHIPSCREEN             1 05-19-97   4:17:10p ----rwed
NOPASSTHROUGH            1 01-22-98   6:54:17a ----rwed
PLANES2FAST              1 01-22-98   6:54:17a ----rwed
SAVEMEM                  1 01-22-98   6:54:17a ----rwed
SpectrumMonitor          5 01-24-98  11:42:50p ----rwed
SpectrumMonitor.backup  13 05-29-97  10:44:27p ----rwed
SUPERLAYERS              1 01-22-98   6:54:17a ----rwed


--

Thanks!

Brian

baff@stc.net


>** The Studio 16 mailing list (unofficial)


** The Studio 16 mailing list (unofficial)


From nmiller@ntplx.net Thu, 23 Apr 1998 17:58:20 -0500
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From: Norm Miller <nmiller@ntplx.net>
To: Rich Beachler <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 23:58:00
Message-ID: <yam7417.1000.138653920@mail.ntplx.net>
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If you look at the icon information for Studio 3.01 there is a PICKMODE
option.  If you enable that in the icon, every time you start Studio you can
tell it what screen mode to use.  I am running it on a Cybergraphics v2 CV64
(the original) 1024 x 750 screen with no problems.

Norm


On 23-Apr-98, Rich Beachler wrote:
>>If the program comes up, it works. That's it. It's a screen promotion
>>problem it doesn't affect the gadgets, menus, requestors or anything else.
>>B&P runs on Amiga native screens no problem so you can always go back to
>>that if you absolutely have to in order to finish a project.
>>
>>My best guess is that if you are not having a problem with it now, you
>>won't in the future . . . . . . that's all I can say.

>Aha! A simple symptom. It starts or it doesn't start. Just so you know,
>I'm using CyberGraphix v3 (though v2 also seemed to work) and NewMode
>from Aminet to promote the screen. I also use a Tool Manager "dock"
>button to start the program. I hope you get this worked out.

>Thanks for the info!

>Rich Beachler
>beachler@iastate.edu



>** The Studio 16 mailing list (unofficial)

-- 
Amiga 4000/060 Power!!  Only AMIGA makes it possible.
Surfing from Connecticut USA
Home Page:  http://www.ntplx.net/~nmiller/


** The Studio 16 mailing list (unofficial)


From nmiller@ntplx.net Thu, 23 Apr 1998 18:01:59 -0500
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From: Norm Miller <nmiller@ntplx.net>
To: Rich Beachler <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Fri, 24 Apr 98 00:01:01
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Excuse my last answer, you were talking about B&P not Studio :(

There is an option in B&P under preferences to run the program in Workbench
screen mode.  On my machine this just creates another public screen using
whatever screen mode that workbench uses.  I have a 1024 x 750 16bit workbench
and B&P will open on that same type of screen.  

This is with Cybergraphics V2 on a Cybervision64 board.

No problems here.

Norm


On 23-Apr-98, Rich Beachler wrote:
>>If the program comes up, it works. That's it. It's a screen promotion
>>problem it doesn't affect the gadgets, menus, requestors or anything else.
>>B&P runs on Amiga native screens no problem so you can always go back to
>>that if you absolutely have to in order to finish a project.
>>
>>My best guess is that if you are not having a problem with it now, you
>>won't in the future . . . . . . that's all I can say.

>Aha! A simple symptom. It starts or it doesn't start. Just so you know,
>I'm using CyberGraphix v3 (though v2 also seemed to work) and NewMode
>from Aminet to promote the screen. I also use a Tool Manager "dock"
>button to start the program. I hope you get this worked out.

>Thanks for the info!

>Rich Beachler
>beachler@iastate.edu



>** The Studio 16 mailing list (unofficial)

-- 
Amiga 4000/060 Power!!  Only AMIGA makes it possible.
Surfing from Connecticut USA
Home Page:  http://www.ntplx.net/~nmiller/


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 23 Apr 1998 16:20:51 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> CGX Envvars
Date: Thu, 23 Apr 98 23:20:01
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I seems there is still confusion about B&P on graphics cards. I'll say it
another way:
	1) It works, if it works on your card.
	2) It works because of mode-promotion, not because they added
	   proper support.
	3) See any program that uses the screenmode requester properly
           (PageStream, DOpus, etc). A world of difference. More choices,
	   more abilites, less overhead.
	4) But it works. Don't get more confused. 

Brian Fields:
>perhaps you would be kind enough to show us your CyberGraphX env: settings
>so I and others can see what works.
>here's mine, let's compare. Maybe you can fix the problem for all of us;
> 
> dh0:Prefs/env-archive/CyberGraphX/
> Spectrum                   01-24-98   8:41:47p ----rwed
> ALERTEMU                 1 01-22-98   6:54:16a ----rwed
> BOOTLOGO                 1 01-22-98   8:50:20a ----rwed
> CPUP2C                   1 01-22-98   6:54:16a ----rwed
> HIDE15BIT                1 01-22-98   6:54:16a ----rwed
> HIRESCRSR                1 01-22-98   6:54:17a ----rwed
> KEEPAMIGAVIDEO           1 01-22-98   6:54:17a ----rwed
> NOCHIPSCREEN             1 05-19-97   4:17:10p ----rwed
> NOPASSTHROUGH            1 01-22-98   6:54:17a ----rwed
> PLANES2FAST              1 01-22-98   6:54:17a ----rwed
> SAVEMEM                  1 01-22-98   6:54:17a ----rwed
> SpectrumMonitor          5 01-24-98  11:42:50p ----rwed
> SpectrumMonitor.backup  13 05-29-97  10:44:27p ----rwed
> SUPERLAYERS              1 01-22-98   6:54:17a ----rwed

Thats great, Brian. Now we know what SIZE your envars are, and that you have
them in the correct place. ;)))    Too bad we don't know what the values
are.

Target optional, buddy.

-- greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 23 Apr 1998 16:52:52 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Modern Graphic Card Support
Date: Thu, 23 Apr 98 23:52:01
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greenboy (that's me!) wrote:
>>A modern music prog should be able to run 16, even 24-bits deep on a
>>properly equipped system, and actually make good use of the additional
>>color that is available.

Rene' Schaap wrote:
>We have enough colors in B&P i think, i do not need more colors i mean.
>I make music with b&P, not drawings.

I said *modern* programs, not B&P, which I loved. We are discussing the
design of new world-class programs.

Running in hi- or true-color allows one to deal with scoring for film,
video, or anim (running Quicktime or MPEG window on same screen, anyone?).
It allows one to have more colors to define different windows, parameters,
modes, and states - so if you are running a complex environment on a
1280x1024 or 1600x1200 screen you can easily differentiate the mass data
you are confronting yourself with.

If good graphic principles are employed at the time of program design, eye
fatigue can be lessened, data recognition is enhanced, and it looks cool.

>>Font sensitivity with good font-smoothing is also necessary to support
>>different screen resolutions effectively. I am hoping we will get modern
>>PS/True-type support in the Amiga OS.

> PS/True-type support ????, Nyaaaaaa, try other fonts it's not a must.

If you want a program that allows multiple resolution screen use (from
640x480 to 1600x1200) it is much easier to have fonts that are easily sized
and antialiased than it is to have many bitmaps of many sizes. Unsmoothed
screen fonts do not look as good, cause eye fatigue, and will not represent
at small sizes.

Being able to swap the entire family of fonts just by selecting small, med,
large, etc is standard on other platforms for screen resizing applications.
And we need it on the Amiga. For modern programs. 

> All the mentioned Amiga programmes have little support.

Most serious musicians went to other platforms at least partially because
Amiga midi programs are not progressive. MusicX was way cool in its time as
was B&P. But MusicX never got more than 16 midi-channels in a time when
multitimbral modules demanded interfaces like TriplePlay+ or bigger.
Microstealth stole our flagship, B&P to gain a leading programmer or two
and the associated intellectual property.

I agree we need to support Amiga programs, but we need to demand competitive
Amiga programs in order for it to be worth anyone's while. Take care Rene'.

-- greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 17:55:49 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> CGX Envvars
Date: Thu, 23 Apr 98 13:55:00
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Hi greenboy,

>Too bad we don't know what the values are.

Whoops here they are................

BF>>perhaps you would be kind enough to show us your CyberGraphX
BF>>env:settings
BF>>so I and others can see what works.
BF>>here's mine, let's compare. Maybe you can fix the problem for

>> dh0:Prefs/env-archive/CyberGraphX/

>> Spectrum (dir)
>> ALERTEMU               1
>> BOOTLOGO               0
>> CPUP2C                 1
>> HIDE15BIT              1
>> HIRESCRSR              1
>> KEEPAMIGAVIDEO         1
>> NOCHIPSCREEN           0
>> NOPASSTHROUGH          0
>> PLANES2FAST            0
>> SAVEMEM                0
>> SUPERLAYERS            0

>> SpectrumMonitor
>> SpectrumMonitor.backup

>Target optional, buddy.

I hear ya mr. green.   LOL

RB>I only use
RB>B&P sparingly (I use Studio16 extensively!) and have used them, with
RB>success, together on the B&P screen. More specific info would be very
RB>helpful in avoiding a potential problem that I haven't encountered yet.

BF>My best guess is that if you are not having a problem with it now, you
BF>won't in the future . . . . . . that's all I can say.

RB>Aha! A simple symptom. It starts or it doesn't start. Just so you know,
RB>I'm using CyberGraphix v3 (though v2 also seemed to work) and NewMode
RB>from Aminet to promote the screen. I also use a Tool Manager "dock"
RB>button to start the program. I hope you get this worked out.

RB>Thanks for the info!

>Rich Beachler
>beachler@iastate.edu

>If the program comes up, it works. That's it. It's a screen promotion
>problem it doesn't affect the gadgets, menus, requestors or anything else.

Aha! A simple symptom. It starts or it doesn't start. Just so you know,
I'm using CyberGraphix v3 (though v2 also seemed to work) and NewMode
from Aminet to promote the screen. I also use a Tool Manager "dock"
button to start the program. I hope you get this worked out.

Thanks for the info!

Rich Beachler
beachler@iastate.edu

Yeah Rich . . . . . .

I hope you get your problem that you don't have yet and will only use once
in a while solved too. . . . . .

Thanks for your input. . . . . . . . . . . . . . . . . . 

That brings to mind the tornado that we just had here in Georgia that
missed our neighborhood by a mere 6 miles. We didn't have one here but I
am worried that someday one may hit here. Does anyone else out there know
how to prevent this when it happens? (not that it ever will of course)

>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 23 Apr 1998 17:21:51 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Mods - cool, DA/sequencing - HOT!
Date: Fri, 24 Apr 98 00:21:01
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Brian Fields & greenboy, going toe to toe (all the time actually):

>>Mods are tired not wired; there already a kazillion modbuilders--snip--

>Mods suck, I agree. And I'm not apologizing, but most Amigans couldn't
>afford to buy a decent sound card that costed as much as some computers.
>So we end up with a lot of creative folks who do the best with what they
>have. I wish mods would die also. It would spur people to find a better
>solution

I've heard incredible mods. There is some great skill in surpassing the
seeming limitations that are imposed. But mods (on the Amiga) have
sidetracked programmers, made the hobbyist and game sector stronger while
very little energy has gone into making the kind of toys I can sink MY
teeth into. Selfish enough for ya?

>>Come on guys, turn up the heat, shed some light!
>. . . . .  (hot enough?).

Actually, I was refering to the main topic; of modern DA/sequencer design
when I exhorted the list to turn up the heat, shed some light.

>P.S. Please try to put the arrows in the *center* of the target on my back.

Nah, need a worthy adversary at a later date. Take Care, Brian (as in,
watch your scarred and punctured back).


-- greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 18:46:50 +0500
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From: Brian Fields <baff@stc.net>
To: Norm Miller <studio16@thule.no>
Subject: RE: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 14:46:01
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Hi Norm Miller,

>There is an option in B&P under preferences to run the program in Workbench
>screen mode.  On my machine this just creates another public screen using
>whatever screen mode that workbench uses.  I have a 1024 x 750 16bit
workbench
>and B&P will open on that same type of screen.

>Norm

Ah-h. This *is* helpful. Thanks for this Norm I'll try it. As I'm sure others 
will.
(not that I'm having a problem now or anything (heh-heh) )

But seriously guys I'm givin' all that I got
                                 . . . . and that's all I got. :-)


>** The Studio 16 mailing list (unofficial)

-- 

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 19:17:21 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Mods - cool, DA/sequencing - HOT!
Date: Thu, 23 Apr 98 15:17:00
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Hi greenboy,

>Brian Fields & greenboy, going toe to toe (all the time actually):

>>>Mods are tired not wired; there already a kazillion modbuilders--snip--

>>Mods suck, I agree. And I'm not apologizing, but most Amigans couldn't
>>afford to buy a decent sound card that costed as much as some computers.

>I've heard incredible mods. There is some great skill in surpassing the
>seeming limitations that are imposed. But mods (on the Amiga) have
>sidetracked programmers, made the hobbyist and game sector stronger while
>very little energy has gone into making the kind of toys I can sink MY
>teeth into. Selfish enough for ya?

I agree %100 greenboy. It has to do with the vision thing we keep bringing
up here. But that's why I say they suck. They literally suck energy away
from better vehicles. I will never deny the creativity involved in
putting together some great compositions. (biff!..boff!..baff!..kazowie!)

>Actually, I was refering to the main topic; of modern DA/sequencer design
>when I exhorted the list to turn up the heat, shed some light.

Well, maybe we can light a fire that will burn this thread . . . . .

>>P.S. Please try to put the arrows in the *center* of the target on my back.

>Nah, need a worthy adversary at a later date. Take Care, Brian (as in,
>watch your scarred and punctured back).

It's all Don's fault. He started it.  :)   (pluck-pluck)

But to the subject; I don't much care about jazzy eye-candy GUI's as long
as they are fairly configurable. Studio16 isn't overly jazzed but it's
great for what it does. The cuelist editor was only an infant when Sunrize
fell it seems. The reason I paid full retail for B&P was because of the
baloney they spouted about a competent notation printer. What a joke . . I
can do it better and easier in DPaint. But the SMPTE timing, and a number
of other accessories were ahead of their time (albeit a short time)for the 
money The tool concept was a good one, it's just that they relied upon it 
too heavily. 
As the power of the ordinary user has increased, and as the Amiga
will be going the way of parallel PPC processing, I think it would be a
good idea to build the next premier music program as blocks that can be
integrated into a "core" sequencer so as to be functional or not. It seems
that it would also be easier to get public input for add ons. We see it in
B&P as the tools offered by many helpful folks who contributed them.
The core should have the capability to do the serial functions as well as
the driver functions for AHI and all the possible sample formats.

There's more. I'll be back later. . . . .

>** The Studio 16 mailing list (unofficial)

--

Brian

baff@stc.net



** The Studio 16 mailing list (unofficial)


From nmiller@ntplx.net Thu, 23 Apr 1998 20:54:44 -0500
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From: Norm Miller <nmiller@ntplx.net>
To: studio16 <studio16@thule.no>
Subject: Meter question
Date: Fri, 24 Apr 98 02:54:00
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I haven't used Studio in a while but noticed today that the Play1 both mixer
and meter are showing red when I start Studio.  It appears that something is
playing over Play1 but this is prior to me loading a sample or playing
anything.  The meter and mixer are both reading in the red on that channel.  I
don't know if messing with preferences and the SMPTE settings could have
caused this??

Any ideas??

Thanks,

Norm

-- 
Amiga 4000/060 Power!!  Only AMIGA makes it possible.
Surfing from Connecticut USA
Home Page:  http://www.ntplx.net/~nmiller/


** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 20:10:20 +0500
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From: Brian Fields <baff@stc.net>
To: Norm Miller <studio16@thule.no>
Subject: Re: Meter question
Date: Thu, 23 Apr 98 16:10:00
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Hi Norm,

>I haven't used Studio in a while but noticed today that the Play1 both mixer
>and meter are showing red when I start Studio.  It appears that something is
>playing over Play1 but this is prior to me loading a sample or playing
>anything.  The meter and mixer are both reading in the red on that channel. 
I
>don't know if messing with preferences and the SMPTE settings could have
>caused this??


>Any ideas??
>Thanks,
>Norm

Noise on the board input lines maybe?

--

Brian

baff@stc.net

>** The Studio 16 mailing list (unofficial)


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From fdiebel@bartok.emrl.com Thu, 23 Apr 1998 17:20:50 -0800
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From: Floyd Diebel <fdiebel@bartok.emrl.com>
To: Brian Fields <studio16@thule.no>
Subject: Re: Meter question
Date: Fri, 24 Apr 98 02:20:01
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On 23-Apr-98, Brian Fields wrote:
>Hi Norm,

>>I haven't used Studio in a while but noticed today that the Play1 both mixer
>>and meter are showing red when I start Studio.  It appears that something is
>>playing over Play1 but this is prior to me loading a sample or playing
>>anything.  The meter and mixer are both reading in the red on that channel. 
>I
>>don't know if messing with preferences and the SMPTE settings could have
>>caused this??


>>Any ideas??
>>Thanks,
>>Norm

>Noise on the board input lines maybe?

maybe.  my machine used to this everyonce in a while - i would have to reboot
and try again.
the problem went away when i installed the newer v3.01a ad516 handler.  

   -f

-- 
fdiebel@bartok.emrl.com
a/v composition and engineering.


** The Studio 16 mailing list (unofficial)


From syncom@mail.datanet.hu Fri, 24 Apr 1998 03:36:21 +0100
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From: Zsolt Kovacs <syncom@mail.datanet.hu>
To: S16 mailing list <studio16@thule.no>
Subject: B&P infatuation
Date: Fri, 24 Apr 98 03:36:00
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Hi folks,

reading all this stuff about an imaginary wonder music program for the
Amiga and the constant references to Bars&Pipes I couldn't help not
making the point that I personally HATE B&P. Back in the early ages
I started using KCS from the late Dr T.'s, and while it never proved
so 'clumsily handy' as an old C-Lab midi program for the C64 whose name
I don't recall any longer, I just managed to get on fine with it.
I made music for countless TV commercials and the soundtrack for a few
longer TV programs by KCS and we got on very well together. When a friend
of mine borrowed me his B&P, I spent hard hours trying to get accustomed
to a screen that looks like the kids' playground in the kindergarten with
all the stupid little icons and everything but in the end I failed. Okay,
I heard from many people that it's versatile and everything, but even in
extreme conditions there was nothing I couldn't do with the KCS I needed
to do. The point I'd like to make is, power behind simplicity is the
key phrase to all successful software. That's why MicroSloth sucks (or
rather, makes a lot of money by providing you with software for the
Ferrari engined tricycle called a PC that people need to attend courses
to learn using: the biggest hoax of the 20th century). Yes, I can hear
Greenboy saying that I'm an anti-technical minded jerk or something, but
still, there's a fine line between being in control of a program and
accomplishing everything with a few clicks of the mouse and being
overwhelmed by the array of so-called 'functions' that you use once in
a year after consulting the manual. 'Convert single-instrument DA tracks
into midi tracks with high accuracy'. Wonderful. I've been working in the
pro audio-for-video field for more than ten years now, but there wasn't
a single occasion when I needed to do that. In case I should do that, I
listen to the track and then play it on my midi keyboard right away because
that's what I've been trained to do in the Music College and that's what
my ears and hands are for if I consider myself a musician. Looks like the
role of many computer programs is to hide our lack of talent and education.
I know people who are boasting of their newest DTP programs, but never in
their entire life would they ever publish a single page of newspaper or
leaflet or anything that has printed letters on it (they would have a hard
time getting the spelling right, anyway... oops, the spelling checker will
do that for them.) The new chick is to have soundcards with 24 bit
processing. Fabulous. The problem is, 98% of people can not hear any
difference between a 32 kHz and a 48 kHz sample of any piece of audio.
(We've made experiments on that!!!) The problem is, most people don't even
bother to buy a Hi-Fi VHS to view any program with stereo sound. After
seeing your first few films in Dolby Stereo or DTS or THX or anything, and
enjoying the cascade of sounds from different directions, you won't have
any special experience. The first time I saw 'TITANIC' in the sleaziest and
smallest confinement of space one may beneficially call a cinema somewhere
in the smallest village of the country with mono sound, I was thrilled and
for months it was on my mind. The second time I went to see it with DTS
sound and all in one of the most elegant cinemas of the capital, it didn't
give any more than what I remembered and I felt bored. 24 bits, oh, yeah.
I'm afraid Batman 26 is even more annoying in Dolby Surround than through
your pocket radio.

Don't get me wrong. I'm not against technology, on the contrary. I'm against
the senseless inflation of technology, when the Ferrari engine becomes a
space shuttle jet thruster on your tricycle, but instead of going to the
moon (which you obviously couldn't do in the lack of an airtight suit) you
use it for travelling London-Paris in 0.37 seconds instead of 0.38, for
ten times the price.



** The Studio 16 mailing list (unofficial)


From baff@stc.net Thu, 23 Apr 1998 21:20:58 +0500
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From: Brian Fields <baff@stc.net>
To: Zsolt Kovacs <studio16@thule.no>
Subject: Re: B&P infatuation
Date: Thu, 23 Apr 98 17:20:01
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Greetings Zsolt Kovacs ;

>reading all this stuff about an imaginary wonder music program for the
>Amiga and the constant references to Bars&Pipes I couldn't help not
>making the point that I personally HATE B&P. Back in the early ages
>I started using KCS from the late Dr T.'s, and while it never proved

Which proves the point that knowing one program well is better many times
than knowing a little about a lot of programs. I know others who prefer
KCS and I agree with the simplicity theory you are talking about.

>to a screen that looks like the kids' playground in the kindergarten with
>all the stupid little icons and everything

Well said. And I am a B&P user. Although I prefer B&P, I think it could
have been a bit less on GUI and a little more tuned to the needs of making
music. I had a conversation with the SoundLab people when they were
premiering one of the new MIDI foot controllers for Boogie (1988) when I
was in music school. The stupid thing read out in hex and they wanted
$1500 for it. I had recently designed a similar foot controlled
program/MIDI sender and asked them how they could justify selling a box
that could be built for $25 worth of parts for that price and they looked
at me like I was crazy. I asked them why anyone would want to learn hex
just to know their location? Especially when it was so easy to understand
8 banks of 8 patches, or 16 of 8 etc.

To make a long story short engineers for the most part aren't full time
musicians. We are only in the last few years getting to the point in
technology where power and simplicity can be more easily married and
where forums like this exist in which ideas can merge.

>The point I'd like to make is, power behind simplicity is the
>key phrase to all successful software.

Hear hear.

>that's what I've been trained to do in the Music College and that's what
>my ears and hands are for if I consider myself a musician. Looks like the
>role of many computer programs is to hide our lack of talent and education.

At a certain point I had to decide whether I was a technician/engineer or a
musician. I chose the latter. This is why I was so frustrated in terms of
not being able to edit in realistic notation (but I do like the hybrid
staff in B&P and I'd like it better if it worked well %100 of the time). 
IMHO It seems that most music programs are made for folks who aren't 
musicians. And it seems that that is where the program should start. Of 
course it's all about time and MIDI and SMPTE and multi-media and all the 
different formats of 8/16/24 bit sound. That's why the timeline is the 
centerpiece of music software.


Thanks Zsolt.

--
Ta fer now,

Brian
baff@stc.net


>** The Studio 16 mailing list (unofficial)


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From greenboy@bigsky.net Thu, 23 Apr 1998 20:38:09 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> DA/sequencing - HOT!
Date: Fri, 24 Apr 98 03:38:00
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Brian Fields wrote:
>But to the subject; I don't much care about jazzy eye-candy GUI's as long
>as they are fairly configurable.

That is what I USED to say. But when its not just for the sake of being
rococo or flash, color can serve as a way of differentiating what is
going on, where one is, what is activated, etc.

Normally I go for minimalist: my browsers, I run with the keyboard, none of
those anims and flashy buttons for me. But then; there aren't that many
commands to know in a browser. In a program that can open 30 or 40
different modules/windows/views it is nice to have quick recognition of
all controls, when sqwushing an incredible amount of data onto a 1280x1024.

That is the other reason I don't like to have anything but the url window
in a browser. It makes more room for the data I have come to browse. Big
pics, major text - less scrolling. Multiple windows at several sites make
for easier cut-n-paste, corroboration, whatever.

That was a great thing about B&P too. For its time it used color to identify
things (well you sure couldn't actually see what some of those little icons
were, on a .40 dot-pitch screen with Enterprise'66 transporter-beam
flicker!). And you could open or close as many windows as you wanted, at the
size you needed, and save that configuration.

>The reason I paid full retail for B&P was because of the baloney they
>spouted about a competent notation printer.

It was either that, DMCS (a consumer entertainment program that didn't do
half bad), or Dr T's The Copyist which was like arm-wrestling a tiger
while he was under the impression that the agenda was chomp-n-chew.
Finale on the Mac was rough too, and cost $999 at the time.

>I think it would be a good idea to build the next premier music program as
>blocks that can be integrated into a "core" sequencer so as to be --snip--

What was Todor Fay's first program, before B&P? Soundscape? It was totally
modular, to the point of having to do things like start modules separately,
use a patch bay to connect them, etc. Later he somewhat streamlined it into
the pipeline concept, which gave some advantages for "tool" design.

>It seems that it would also be easier to get public input for add ons. We
>see it in B&P as the tools offered by many helpful folks who contributed
>them.

Yes. I designed a few macrotools that I really used. There was that level
of modularity. Then there was the Rules For Tools level, that actually
involved writing code. This was another thing I found attractive about
the wonderful Cakewalk. Its CAL (Cakewalk App Language) is much like having
ARexx commands to operate the interface, do operands and data manipulation,
etc. The more that you can make, the less you have to depend on them for.

>The core should have the capability to do the serial functions as well as
>the driver functions for AHI and all the possible sample formats.

Which brings us around to the high-powered and lucrative marketplace of
plug-ins for digital audio: real-time and computationally latent. Next
installment?

-- greenboy

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From tc_silvey@juno.com Thu, 23 Apr 1998 23:43:43 -0400
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Subject: Re: B&P infatuation
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>to a screen that looks like the kids' playground in the kindergarten 
>with all the stupid little icons and everything but in the end I failed.

>Okay, I heard from many people that it's versatile and everything, but
even 
>in extreme conditions there was nothing I couldn't do with the KCS I 
>needed to do. The point I'd like to make is, power behind simplicity is
the

Thank you so much for validating the point of my post on a simpler
interface for normal musicain that just need powerfull basics.
(check my message on "Musician resources NOT cakewalk")
Personally I hated KCS :) BUT what you say about the need for
an interface that can get the job done without software training courses
is right on with me. I do agree that KCS had a much more basic, usable,
but some what powerfull interface, but at the same time I still spent too
much time trying to figure it out to make me happy. Nothing ruins a
musical inspiration and sends you from mellow to pissed faster
that screwing around with a program to the point you have lost the mood
that was creating the music.( 95 hanging my sequences and making me
reboot
was enough to shoot kittens over) B&P requires manual too, but I went
with it for the CD sample recording and spent the time to learn it.
KCS never made it to this kind of features. Ever use Tiger Cub? It was
an interesting sequencer, but lacked much. Also done by Dr.T.

troy


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From tc_silvey@juno.com Thu, 23 Apr 1998 23:26:35 -0400
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Subject: Re: S16>Musician Resources NOT cakewalk
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>leading pros from different specialties use Cakewalk, FI. 
>http://www.e-musician.com/Excite/AT-Article_Archivesquery.html gets 
>Many of the publishers like dissidents (hi Jim!), Cakewalk, Opcode, 
>Mark Of The Unicorn have great sites including good screenshots.

I keep seeing cakewalk come up in some of these examples.
I normally don't say any thing If I have nothing nice to say,
but I'll have to make a small exception this once. :)
This is a little long and if nothing else please read the last part.
Though I'm not a major pro musician, I do have many years
at playing, writting and recording and I have worked with other
musicians that are considered pro, though not they are not famous.
I understand some of you may have feelings for cakewalk and I don't
mean to pick on your preferences. But here's some of my insite.
I have used sequencers of about every kind C64/128, Mac, PC, Atari, Ami
of course, and serveral standalone sequencer boxes like teac, alesis
roland
and even one that was built into a pro keyboard. First on the list,
the stand alones suck as a user interface. Little LCD panels with lots
of hyroglyphics to spend days reading about. Some are better than
others, but over all I hate them. Next is the Mac... Master Tracks
and....
damn, can't remember the other 2 sequncers. All were ok but lacked
horribly the kinds of features of B&P. I have not used the Mac version
of cake walk though. On to the PC..... This is why you see me in these
groups now. The C64 and Atari just lack any real power any more. I once
tried
to abandon Ami for the PC to continue my work.
Cakewalk has some nice features that B&P would like to have, but other
than that, it was a uninspiring,"hard to edit you work", utility. I did
find one
ray of hope on the PC side that none has mentioned. Digital Orchastra
by Voyetra/Turtle Beach. www.voyetra.com they have been around since
sequencers looked and worked like sonus64 and dos based voyetra.
If you want to see what I think is the best the PC has on sequencers,
check out that site. To move to voyetra at that time, I would have had to
spend
serveral hundred to upgrade my PC and buy their software. And still I
would be
missing some of the basic things I liked B&P for. After 4 months of
serious
effort, I tuned off the quirky, one active window at a time PC
sequencers,
turned back on B&P, got pissed, wrote MS tdo get B&P back, and here I am
today.

Summary........
None of the other sequencers have any thing more on B&P except for
the updates it could have recieved if not for it's destruction in '93.
You must relize there is a huge musicain market out there going
ignored. I would estimate as much as 80% of the potential sequencer
buyers, are less educated (not dumber, just lest formal education)
have little or zero computer/software knowledge, are intemidated
and reject a computer as a member of their band. Now which machine
does this sound like a job for bridging this gap? More exspensive Mac?
Bloated 95 interface with endless manual reading and software/hardware
tweeking? Our Ami of couse. 2 professionals I worked wtih were ready to
drop there respective Mac and PC to use B&P when I showed them what
It could do. Ami's bankruptcy and near death convinced them not to.
Even B&P's interface can be intimidating, but time and time again when
other musicians saw how it worked, they wanted to now how they could
get a set up with their own Ami. A couple did go Ami, others were turned
off by Ami's market trouble. My Idea of an interface is one that any
musician
who has ever pressed record/play on a tape recorder could start using
in 10 minutes with out a manual. Difficult you say? Was it hard the first
time you pressed record/rewind/play? Other exspaned features could be
installed as add-on's or updates, but one simple but powerfull interface
at a small price with an affordable (and very portable for gigs) A1200
could potentially sell 10's of thousands in the US alone. I spent $500
on my first basic 4 track recorder 9 years ago. And I was doing
cartwheels
to have it. Imagine what can be offered to young bands and musicians at
the
same price with an interface as easy to use as their track recorders,
with mega more features and power in an A1200 (or next gen ami) +
software+sound card and with out prior knowlege of a PC. It can be done,
No current platform can offer this to a PC illiterate musican. It would
be
a major victory for ami, as video toaster was to the video market.
Well thanks for making it through all of this, now back to my programming
books. I have a long way to go to get there. BTW, I was going to finish
my own
demo at the request of a small record lable, but put it off to work on
Ami and
programming this. It means that much to me.

troy

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From greenboy@bigsky.net Thu, 23 Apr 1998 22:05:04 -0600
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Subject: Re: S16> B&P infatuation
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Zsolt Kovacs wrote:
>Back in the early ages I started using KCS from the late Dr T.'s

Same here, before it got ported to the Amiga. I got good and fast with it.
It also had incredible compositional prowess for more experimental
approaches to music. I always waited for it on the Amiga, as Soundscape
was less musician-oriented, and more for multimedia (the word hadn't even
been invented yet!).

But I also bought bug-ridden yet simply standard Passport MasterTracksPro,
because of promised 32 midi-channel support. And I bought MusicX, which I
got some good mileage out of, especially exploring graphic continous-
controller editing. MasterTracks just sat in the box as MusicX had somewhat
the same model, but didn't crash, and had some new twists.

>When a friend of mine borrowed me his B&P, I spent hard hours trying to
>get accustomed to a screen that looks like the kids' playground

It was a WAY tough transition. Almost diametrically opposed. I don't
know that I ever got FAST in B&P. But it supported 48 midi-channels.
That covered quite a few multitimbral samplers and synths, and automated
all my signal processor mixing.

But after fighting with the totally non-graphic algorythmic stuff in
KCS Level 2 MPC (all those checkboxes for bias, density!) it was a joy
to design tools that related to musical concepts like triadic or quartal
construction, arpeggiation, things I learned to use as a theory/compos-
ition major. I got results for that type of thing MUCH quicker in B&P,
and without the dictionary of rocket science Dr T wanted me to swallow.

>Yes, I can hear Greenboy saying that I'm an anti-technical minded jerk

How do you figure? We've never talked that I recall. And I believe in
choices; to each his own, etc. Don't jump to conclusions. Ironic: Most
people used to think I was a techie because I preferred KCS to their
programs. And now there is something wrong with me because YOU like it.

>still, there's a fine line between being in control of a program and
>accomplishing everything with a few clicks of the mouse and being
>overwhelmed by the array of so-called 'functions' that you use once in
>a year after consulting the manual.

A well-designed program should give that control readily, and have a
smooth learning-curve because newer features are added in an intuitive
fashion, perhaps using models we are already comfortable with as musicians
or computer operators. And quick is good. But - I'll qualify this - if a
toolset is deep and multirelational, it takes discipline to get with it.
You didn't have ALL of Dr T's mastered overnight, did you?

>'Convert single-instrument DA tracks into midi tracks with high accuracy'.
>Wonderful. I've been working in the pro audio-for-video field for more than
>ten years now, but there wasn't a single occasion when I needed to do that.

So. No sense in allowing others some of the features they might use?

>In case I should do that, I listen to the track and then play it on my
>midi keyboard right away because that's what I've been trained to do in
>the Music College and that's what my ears and hands are for if I consider
>myself a musician.

That's good. I might use my vintage octapad, sax with pitch-to-midi
convertor or Yamaha WX11 to enter data. It still comes down to data. If
the new tool is available I might use it. Or I might set up 3 mics in a
tunnel and play it with a bass clarinet (I have almost all the woodwind
family) to tape.

>Looks like the role of many computer programs is to hide our lack of
>talent and education.

This argument comes from Day One of the midi era. Examine history. There
have always been poseurs and powers, since music became an "entertainment"
as well as a spiritual power. There were people whining about putting keys
on flutes. Still are a few. But it is really about everybody finding what
they are looking for, what they resonate to.
 
>Don't get me wrong. I'm not against technology, on the contrary.
>I'm against the senseless inflation of technology

It is ALL technology! A shaman drum or a modeled instrument from a DSP.
There is plenty to explore in music from any viewpoint, and some people
would have stuck with the Amiga if their needs for the right artistic
tools were met.

We have the opportunity to address this, we who care about the Amiga.

-- greenboy

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From baff@stc.net Thu, 23 Apr 1998 22:59:29 +0500
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Subject: Re: S16> DA/sequencing - HOT!
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Greetings greenboy ;

>>But to the subject; I don't much care about jazzy eye-candy GUI's as long
>>as they are fairly configurable.

>That is what I USED to say. But when its not just for the sake of being
>rococo or flash, color can serve as a way of differentiating what is
>going on, where one is, what is activated, etc.

True.

>Normally I go for minimalist: my browsers, I run with the keyboard, none of
>those anims and flashy buttons for me. But then; there aren't that many
>commands to know in a browser. In a program that can open 30 or 40
>different modules/windows/views it is nice to have quick recognition of
>all controls, when sqwushing an incredible amount of data onto a 1280x1024.

Or lots of hotkeys that maximize/minimize a certain window setting. So one
can do more stuff with less screen. It's pretty daunting running B&P,
Studio16 *and* MovieShop on one 1600x1300 screen. If you separate it in
four corners or work areas you still can't necessarily get the two or
three windows that you use at a time in one area. (not that I'm
complaining I'm just speaking of being more efficient). Configurable
hotkeys make this a bit faster and easier.

>That was a great thing about B&P too. 
--snip--
>And you could open or close as many windows as you wanted, at the
>size you needed, and save that configuration.

Yup. It's all about configuration. That's a big reason why we love our
Amiga's.

>>The reason I paid full retail for B&P was because of the baloney they
>>spouted about a competent notation printer.

>It was either that, DMCS (a consumer entertainment program that didn't do

But the MIDI I/O was sub par in terms of recording MIDI and composing 
MIDI. Yes the notation looked OK but DMCS was . . .I guess I have to say
it....a bit of a toy. Like SoundScape. Again 8 bit oriented.

>half bad), or Dr T's The Copyist which was like arm-wrestling a tiger

Been there done that. (but not for too long, I needed to keep my arms)

>Finale on the Mac was rough too, and cost $999 at the time.

Out of the question.

>>I think it would be a good idea to build the next premier music program as
>>blocks that can be integrated into a "core" sequencer so as to be --snip--

>What was Todor Fay's first program, before B&P? Soundscape? It was totally
>modular, to the point of having to do things like start modules separately,
>use a patch bay to connect them, etc. Later he somewhat streamlined it into
>the pipeline concept, which gave some advantages for "tool" design.

I guess he got sidetracked. It's like a house with too many nic nacs. But
I find it the only solution for me.

>This was another thing I found attractive about
>the wonderful Cakewalk. Its CAL (Cakewalk App Language) is much like having
>ARexx commands to operate the interface, do operands and data manipulation,
>etc. The more that you can make, the less you have to depend on them for.

But that's all done for us as Amigans. For slow jobs Arexx works great.

>>The core should have the capability to do the serial functions as well as
>>the driver functions for AHI and all the possible sample formats.

>Which brings us around to the high-powered and lucrative marketplace of
>plug-ins for digital audio: real-time and computationally latent. 

Tools/drivers and PCI card thrown in for buying the software.....(I wish)

RE: Don Cox about B&P

>>What's good?
>>1. The liked list structure relates well both to the Amiga OS and to
>>the flow-like process of recording, editing and playing music and
>>sound effects
>>2. The plug-in tools and accessories facility - it would save a lot
>>of coding if a new program was compatible with existing B&P tools
>>3. Generally good interface

>>I would like to see a program which had very strong support of time
>>code and links to animations. Perhaps a window on screen for
>>displaying an animation when a music track for it was being worked on.

>-- greenboy

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--
Ta fer now,

Brian
baff@stc.net


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From baff@stc.net Thu, 23 Apr 1998 23:24:51 +0500
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Subject: Re: S16>Musician Resources NOT cakewalk
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Greetings troy silvey ;

>ray of hope on the PC side that none has mentioned. Digital Orchastra
>by Voyetra/Turtle Beach. www.voyetra.com they have been around since
>sequencers looked and worked like sonus64 and dos based voyetra.

Looks very powerful. And only $200.
But looks can be deceiving can't they.

>Summary........

>My Idea of an interface is one that any musician
>who has ever pressed record/play on a tape recorder could start using
>in 10 minutes with out a manual.

Well said troy. And I read every word of your long letter.

>troy

--
Ta fer now,

Brian
baff@stc.net


>** The Studio 16 mailing list (unofficial)


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 23 Apr 1998 22:38:35 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: S16> Cakewalk is One Good Example. Is This a Pissing Match?
Date: Fri, 24 Apr 98 05:38:00
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troy silvey wrote:
> Cakewalk has some nice features that B&P would like to have, but other
> than that, it was a uninspiring,"hard to edit you work", utility.

Uh. Cakewalk is come long way since old day, ke-mo-sabee. Things change.

> Digital Orchastra by Voyetra/Turtle Beach. www.voyetra.com they have been
> around since sequencers looked and worked like sonus64 and dos based
> voyetra. If you want to see what I think is the best the PC has on
> sequencers, check out that site.

Actually Digital Orchestrator Plus is the other sequencer on the PC I was
looking at. It too has had many recent improvements that add to its speed
and ease of use. But Voyetra (they built a killer rack synth way back when)
is aiming at the middle-market with this package, and it is missing just a
few things I want.

Sion Software (http://www.infoserve.net/quickscore/) also has taken what
used to be marketed as Tiger and Quickscore by Dr T and improved it, if
someone is looking for midlevel sequencing with a bigger emphasis on
scoring. They also have improved The Copyist, but I would still have
SOME fear in my heart. (I used all the primitive knuckle-dragging
ancestors of these).

I like sequencers more for their compositional and recording use, than I
care about toting 'em to gigs. But any sequencer that can trigger
sequences/songs/smidgeons from a ascii or ivory has my vote. (Cakewalk
does this BTW. So do a few "classic" sequencers: Dr T really had this
stuff in spades.) Only now you can cheat even more and use digital audio
in the same fashion.

-- greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 23 Apr 1998 23:02:17 -0600
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To: studio16 <studio16@thule.no>
Subject: Re: S16> Musician Resources INCLUDING cakewalk
Date: Fri, 24 Apr 98 06:02:00
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troy silvey, Brian Fields:

>>ray of hope on the PC side that none has mentioned. Digital Orchastra
>>by Voyetra/Turtle Beach. www.voyetra.com 

>Looks very powerful. And only $200. But looks can be deceiving can't they.

$159 list. Easy to use considering it has midlevel DA support, decent
scoring (that would be KILLER scoring as compared to B&P's).

>>My Idea of an interface is one that any musician who has ever pressed
>>record/play on a tape recorder could start using in 10 minutes with out
>>a manual.

Mine too. When is someone gonna write it? And does that include bass
players, when you say "musician"? 

> Well said troy. And I read every word of your long letter.

Yup.

-- greenboy

** The Studio 16 mailing list (unofficial)


From conlee@linkonline.net Thu, 23 Apr 1998 22:45:13 -0700
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From: Chris Conlee <conlee@linkonline.net>
To: studio16 <studio16@thule.no>
Subject: Re: Meter question
Date: Fri, 24 Apr 98 06:45:00
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At 08:54 PM 4/23/98 -0500, you wrote:
>
>I haven't used Studio in a while but noticed today that the Play1 both mixer
>and meter are showing red when I start Studio.  It appears that something is
>playing over Play1 but this is prior to me loading a sample or playing
>anything.  The meter and mixer are both reading in the red on that
channel.  I
>don't know if messing with preferences and the SMPTE settings could have
>caused this??
>
>Any ideas??
>
>Thanks,
>
>Norm

Do you somehow have the output and the input looped together?  This could
(will?) cause feedback which would make your meters peg.

Chris



** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Fri, 24 Apr 98 00:05:56 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: B&P infatuation
Date: Fri, 24 Apr 98 08:05:01
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In article <yam7418.1053.135081128@smtp.datanet.hu> Zsolt Kovacs <syncom@mail.datanet.hu> writes:
> Hi folks,
> 
> reading all this stuff about an imaginary wonder music program for the
> Amiga and the constant references to Bars&Pipes I couldn't help not
> making the point that I personally HATE B&P. Back in the early ages
> I started using KCS from the late Dr T.'s, and while it never proved
> so 'clumsily handy' as an old C-Lab midi program for the C64 whose name
> I don't recall any longer, I just managed to get on fine with it.

The original B&P sucked. However B&P _Pro_ grew into a very
nice composition environment. There's a lot a like about it.
The basic metaphor of a pipeline is great. The modularity of
the tools, the non-destructive nature of placing tools in the
end of the pipeline, the handy visualization of the general shape 
of phrases in the track window, and the fairly well implemented
list and graphic editing are all things I like.

The notation was never much to write home about and the
multimedia stuff seems like fluff to me. The icons are squished
at the resolution I use, which looks a bit silly. 

The integration with Studio 16 finally (after many headaches)
turned into a workable arrangement and has been very useful.

I tried the Dr. T's stuff, but it lacked flexibility due to its
interface. It could do some neat stuff, like triggering individual
sequences from the computer keyboard, but I never needed 
to do that. Other stuff I needed to do it could not do easily, or
sometimes at all. Dr. T's stuff got better, but was always just 
short of elegant to my brain's way of thinking.

I probably still have a bunch of Dr. T's software around
here somewhere, if anyone wants to buy it cheap. :^)

I've been involved in several MIDI sequencer projects 
(testing Music X, testing B&P Pro with Studio 16, writing 
the manual for Harmony). It's not an easy kind of program
to whip out. Today, there are more object oriented ways
of designing software that would make code reusable
and easier to extend. Any new project ought to go that
route.

Some of those earlier programs likely got so complex 
they were probably too difficult and time consuming to 
take to the next level. I saw initial screen mockups for an 
updated MusicX that never happened, but it looked 
beautiful!

Best Regards,
 -Jamie

(Lots of on-target points about jet-powered tricycles 
deleted)



** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Thu, 23 Apr 98 23:45:23 MST
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Subject: Re: RE: S16> Guesstimate And Go For It!
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In article <yam7417.2952.138653920@mail.ntplx.net> Norm Miller <nmiller@ntplx.net> writes:
> Excuse my last answer, you were talking about B&P not Studio :(
> 
> There is an option in B&P under preferences to run the program in Workbench
> screen mode.  On my machine this just creates another public screen using
> whatever screen mode that workbench uses.  I have a 1024 x 750 16bit workbench
> and B&P will open on that same type of screen.  
> 
> This is with Cybergraphics V2 on a Cybervision64 board.
> 
> No problems here.

That's also how I do it on a Spectrum card running CyberGraphX, and
I run at 1120 x 832 or some such. As I've posted previously, I can run
B&P, Studio 16 inside B&P, and Producer (Broadcaster) simultaneously,
all at that screen size. Studio 16 will sync via external SMPTE cable to
the Broadcaster and B&P syncs internally to Studio 16. That's for
music scoring projects. For video editing I can run the old Studio 16
libraries to control the AD516 card from within Producer (although
I mostly use that system for scoring now, and edit video on a different 
system).

> Norm

Best Regards,
 -Jamie



** The Studio 16 mailing list (unofficial)


From tc_silvey@juno.com Fri, 24 Apr 1998 07:21:15 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Musician Resources INCLUDING cakewalk
Date: Fri, 24 Apr 98 12:21:00
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>Looks very powerful. And only $200. But looks can be deceiving can't 
>they.

It's more than looks. If you have a speedy PC get the demo and give it a
try
OK we can include cake walk. All these apps have some good features.
I just don't want a cake-clone for ami. Some of it's good points can be
included of course.

>>My Idea of an interface is one that any musician who has ever pressed
>>record/play on a tape recorder could start using in 10 minutes with 
>>out a manual.

>Mine too. When is someone gonna write it? And does that include bass
>players, when you say "musician"? 

I love to play bass! And it's those type of musicians that would benifit
from the type of interface I have in mind. How many musicains I can list
that have no interest in editing midi tracks or samples. Those features
will be there for the ones who need it,  but many full time
musicianssimply
rewind and re-record the botched track. Forget event editing. There is 
a whole world of guys out there that are tired for taking their DAT
recorders
in for regular maintenance. For the same kind of price they can go
digital
with a good sequencer/sampler. And if the gods continue to smile on me
I hope to have a least a non-working example of the interface I can show.
It will show the lay out and buttons so some one can get an Idea what I
mean and maybe draw in some more coders. 

troy




>> Well said troy. And I read every word of your long letter.
>
>Yup.
>
>-- greenboy
>
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>

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From tc_silvey@juno.com Fri, 24 Apr 1998 07:09:13 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Cakewalk is One Good Example. Is This a Pissing Match?
Date: Fri, 24 Apr 98 12:09:00
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>Uh. Cakewalk is come long way since old day, ke-mo-sabee. Things 
>change.

I know it has Tonto :) I used 5.0 for about 4 months. And it does have
some nice
utilities, but I still think better things are possible than it's 95
interface.
And I even put in my first message that I wasn't slamming anyones prefs.
So if anyone IS pissing, they just need to calm down and have a nice
chat..

>Actually Digital Orchestrator Plus is the other sequencer on the PC I 
>was looking at. It too has had many recent improvements that add to its 
>speed and ease of use. But Voyetra (they built a killer rack synth way
back 
>when) is aiming at the middle-market with this package, and it is
missing 
>just a few things I want.

Agreed. I came about as close to buying that one as you can with out
actually passing the $$$. I ran the demo for about a month. I think when 
I was looking at it, it was about $239 or so. For more like $100-120 I
would
have been using it and maybe dropped B&P. (perish the thought)

troy



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From beachler@iastate.edu Fri, 24 Apr 1998 08:11:51 -0500
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From: Rich Beachler <beachler@iastate.edu>
To: studio16 <studio16@thule.no>
Subject: Re: S16> CGX Envvars
Date: Fri, 24 Apr 98 14:11:01
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Hello Brian,


>>> dh0:Prefs/env-archive/CyberGraphX/
>
>>> Spectrum (dir)
>>> ALERTEMU               1
>>> BOOTLOGO               0
>>> CPUP2C                 1
>>> HIDE15BIT              1
>>> HIRESCRSR              1
>>> KEEPAMIGAVIDEO         1
>>> NOCHIPSCREEN           0
>>> NOPASSTHROUGH          0
>>> PLANES2FAST            0
>>> SAVEMEM                0
>>> SUPERLAYERS            0

Mine are:

ALERTEMU               0
BOOTLOGO               0
CPUP2C                 0
HIDE15BIT              1
HIRESCRSR              1
KEEPAMIGAVIDEO         1
NOCHIPSCREEN           0
NOPASSTHROUGH          0
PLANES2FAST            1
SAVEMEM                0
SUPERLAYERS            1

plus

SUPERGELS              1
USESEMAPHORES          1

and the tooltypes on my Spectrum file in devs/monitors:

DRAGGING=no
BOOTLOGO=no
PASSTHROUGH=yes

My Spectrum is in an A3000 with a PPS 040 Mercury board. I am running
the 040 versions of the Cybergrafix 3 software when available.

>Yeah Rich . . . . . .
>
>I hope you get your problem that you don't have yet and will only use once
>in a while solved too. . . . . .
>
>Thanks for your input. . . . . . . . . . . . . . . . . .
>
>That brings to mind the tornado that we just had here in Georgia that
>missed our neighborhood by a mere 6 miles. We didn't have one here but I
>am worried that someday one may hit here. Does anyone else out there know
>how to prevent this when it happens? (not that it ever will of course)

Here's some more settings I have:

PLANNING AHEAD TO AVOID UNTIMELY SETBACKS   1
GATHER INFO FOR BETTER UNDERSTANDING        1
 OF SOFTWARE/HARDWARE I AM USING
PROVIDE ANY HELP I CAN                      1
WISEASS                                     0

Hope these help !)

Rich Beachler
beachler@iastate.edu



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From greenboy@bigsky.net Fri, 24 Apr 1998 08:49:02 -0600
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From: greenboy <greenboy@bigsky.net>
To: Studio 16 GuestList <studio16@thule.no>
Subject: S16> Resources not Rank-ons
Date: Fri, 24 Apr 98 15:49:00
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The whole purpose of listing urls, mailing lists, features of other
programs, is not to play the same ranting and ranking games you can see on
any "Everthing but Amiga Sucks!" m-list or newsgroup. It is to share
ideas, make them available to others, to bootstrap ourselves out of our
pre-'94 software doldrums.

Appraisal of other software should not be based on knee-jerk platform
association, opinions from versions that haven't been the state of the
particular software for years, or fear/hate of anything that does not
resemble that which we have personally become the most familiar or
comfortable with.

Many of the things I thought I would never care for, I've come to
appreciate the beauty and logic of. That took time and required me to get
past my own habits. The growth was worth it. Now, I value a quick snap
judgement, but I am not tethered to it.

A piece of software that is to have wide approval must either supply so
much power that other alternatives simply do not exist to a majority of
potential users - or - it must be so well-planned and flexible that many
types of users feel that it was designed to meet their particular needs,
style of work, and expertise.

Type One software (power) either tries to improve its interface design as
time goes by, or loses market share to Type Two. Sometimes this is not
possible beyond a certain point, because the design is not modular enough,
is tied to fundemantal shortcomings in the model, or the thinking of its
developer/programmers. Even a from-the-ground-up rewrite is not going to
revitalize it if the writer(s) have blocks and preconceptions.

Type Two software usually has enough power at the start of its cycle to 
survive while features are added or enhanced. Interface designs can also
vary, and a few users simply are not going to grok it, even if it is
simple, because it comes from a mindset that is alien to them. But in
general, it can enjoy a broad spectrum of users, if it keeps up with
market expectations of ease-of-use for the amount of power supplied.

I have seen complaining that makes me wonder why I bothered sharing.
Digging up sources, ideas - why bother when people say, "Come back in
the cave, life is proper here!" Or even worse, "You are no longer
welcome in the cave! You have offended me and my people."

Anyway, I have examined sequencer/sampler/digital audio/computer design
ever since before the dawn of the midi age and find it fascinating. My
love for permutation and evolution of thought and design philosophy forces
me to admire what I see on other platforms, and allows me to go back to all
the sequencers I have known and loved and recognize their genius.

[You should see my "record" collection. Try getting a fix on me, your eyes
go on to the next few titles, and you are sunk. I like ALL those types of
music, though a firm believer in Sturgeon's law "Ninety percent of anything
is crap."]

Its real simple. Amiga needs new software to go forward. If it doesn't
cover enough ground it probably won't satisfy existing users, let alone
attract new ones - goodbye Amiga.

-- greenboy

** The Studio 16 mailing list (unofficial)


From test@bastionhost.avenor.com Fri, 24 Apr 1998 10:18:54 -0500
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Subject: Amiga!!
Date: Fri, 24 Apr 98 16:18:01
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I'm writing this (rambling) because I want to tell someone who will listen, and where I live, everyone is PC or nothing, so this list is the only place for me to turn to.

I've owned an Amiga for 11 years, and this past year has been the most Amiga productive year ever. I have been drawn closer to the Amiga then I ever have before. Maybe it's because of the advent of some good internet software, but what ever it is.... I love it more than ever.

For someone to give up on the Amiga now, after all it's been through, would be silly. How many other computer platforms can survive 3 bankruptcies and still have a following this big... (yes it's small in comparison to MS, but MS never went bankrupt). To me, this can mean only one thing. It's the technology that keeps its head above water. As a technical person, I don't really care if the platform is supported by the masses, as long as it is supported in some small way, even if it's only by the users. If the masses can't see the difference, that's their problem isn't it? I have given up on trying to convince people of Its superiority. They can all flounder in the dark with Win95 for all I care. It's not worth the effort anymore.

I don't know where I'm going with this, but I just had to write this down after reading Greenboys last message.

Gord (kernal) Clink
gclink@dryden.net 


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Fri, 24 Apr 1998 10:14:51 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: S16> MidiManglerProAudioPlus (studio furniture included!)
Date: Fri, 24 Apr 98 17:14:01
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Jamie Krutz wrote:
>The basic metaphor of a pipeline is great. The modularity of the tools,
>the non-destructive nature of placing tools in the end of the pipeline,

There are other ways to achieve non-destructive editing, but the pipeline
approach is amazing. Not only does it help one visualize what is going on,
but it allows one to come back to song a year later, without wading through
a bunch of different saved versions, and continue to experiment with the
basic germ. Whereas multiple undos can't go beyond the session, and
multiple version saving can be a headache.

>the multimedia stuff seems like fluff to me.

Me too. But someone has probably used it to great effect somewhere. I think
pro music software today puts its multimedia emphasis on being able to deal
as a game-soundtrack environment. Supplying tools that assist in film
scoring is also important. Though internet music issues are becoming part
of the mix, and presentations have not been forgotten in some quarters.

>The icons are squished at the resolution I use, which looks a bit silly.

Imagery and fonts need to be resizable. It seems that having two nested
images stored for each placement (configured by user radio-button) can
solve this. Fonts are either stored in sets of bitmaps, or can be resized
vector fonts. But Amiga's current vector font choice and engine is not up
to good display, especially at smaller pointsizes. Though I have noticed
a font-smoother on the net lately; for graphics-card users of course.

>The integration with Studio 16 finally (after many headaches) turned into
a workable arrangement and has been very useful.

Another advantage of current gen stuff: the devs have already integrated
the environment. Some titles support industry standard plug-ins, external
hardware control and interfacing, and support for further real-time 
effects via add-on DSP boards - and you get to choose the hardware to
run your digital audio on according to needs and budget.

>Dr. T's stuff got better, but was always just short of elegant to my
>brain's way of thinking.

Dr T's original screens never really changed that much. They just added
a few for the PVG and MCP. Most sequencing studios couldn't believe I
used that butt-ugly 2-bitplane interface by choice. I had three platforms
to choose from, after all! But at the time, Dr T's allowed one to deal
with compositional techniques that were not achievable elsewhere, at
least not without microscopically tweaking in an event list. I was after
multiple simultaneous meters, polyrhythms, non-chained sequencing, etc.

>I probably still have a bunch of Dr. T's software around here somewhere,
>if anyone wants to buy it cheap. :^)

I thought you were going to buy mine! I gues it just stays in the drawer
with the ginsu knife and the one-size-fits-all socket wrench...

>I've been involved in several MIDI sequencer projects (testing Music X,
> --snip-- I saw initial screen mockups for an updated MusicX that never
>happened, but it looked beautiful!

I betaed for Music-X also, and it became my sequencer of choice for quite
awhile. Many of its abilities, and the model it was built on (colorful
MasterTracksPro basically) are still in wide use elsewhere today. One
thing it never really fulfilled was its support for more than 16 midi-
channels. (Where is David Joiner today?)

I bought two Checkpoint Tech multi-serial cards to use with it for up to
(eventually) 64 channels. But Music-X never really got that happening
satisfactorily. Fortunately, I talked B&P into supporting those cards.
[When I later bought TriplePlay+, Blue Ribbon offered to buy those two
(discontinued) serial cards - for full list! Full value recieved!]

>Today, there are more object oriented ways of designing software that
>would make code reusable and easier to extend. Any new project ought to
>go that route.

Amen! It also makes it easy to maintain a tradition in the sequencing
world: MidiMangler Home, MidiMangler Studio, and MidiMangler Pro Audio Plus
(with studio furniture included!). They can all be the same thing - with
hooks for the uplevel modules. The software engineer does not need to go
and do mild rewrites to have models for all sizes.

-- greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Fri, 24 Apr 1998 10:31:12 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: Amiga!!
Date: Fri, 24 Apr 98 17:31:00
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Gord (TEST?) wrote:
>For someone to give up on the Amiga now, after all it's been through,
>would be silly. How many other computer platforms can survive 3
>bankruptcies and still have a following this big... (yes it's small in
>comparison to MS, but MS never went bankrupt). To me, this can mean only
>one thing. It's the technology that keeps its head above water. As a
>technical person, I don't really care if the platform is supported by the
>masses, as long as it is supported in some small way, even if it's only by
>the users. If the masses can't see the difference, that's their problem
>isn't it? I have given up on trying to convince people of Its superiority.
>They can all flounder in the dark with Win95 for all I care. It's not
>worth the effort anymore.
> 
>I don't know where I'm going with this, but I just had to write this down
>after reading Greenboys last message.

Boy, Gord, I don't even know which message you are referring to, or what
you got out of it, but you should be on the Team AMIGA m-list! This message
would look real good over there just about now.

(it's amazing what a few good programs can do, isn't it?)

-- greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Fri, 24 Apr 1998 10:37:01 -0600
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From: greenboy <greenboy@bigsky.net>
To: Studio 16 RSVP <studio16@thule.no>
Subject: S16> Macro Modernity for MidiMangler
Date: Fri, 24 Apr 98 17:37:00
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As Amiga users, we might at times take ARexx for granted. But having a macro
language - and a way to communicate with other programs is a treasure. And
it is already built. On other platforms, any power-user program needs to
supply its own language, and one that is not system-wide.

To be able to perform the moves and tasks you want to take place and record
them as an EDITABLE script/macro, like you can in ImageFX or PageStream, is
a fantastic way to have incredible third-party commercial, share- and free-
wares available for MidiMangler. There is a BUZZ a title gets when cool new
freebies and affordable modules are continually available for it. And all
that free advertizing!

And as an aside, I've never seen it done with more apparent simplicity than
in ImageFX! The scripts it generates are so clean and easy to modify. The
included AutoFX utility makes it possible to chain these macros and do
incredible things without ever really getting your hands dirty. And it is
all due to a well-thought out design, where ARexx was in at the foundation.

Java isn't half bad either. (always willing to confuse the issue)

-- greenboy

** The Studio 16 mailing list (unofficial)


From gclink@dryden.net Fri, 24 Apr 1998 11:44:16 -0500
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From: Gord Clink <gclink@dryden.net>
To: 'studio16@thule.no' <studio16@thule.no>
Subject: RE: Amiga!!
Date: Fri, 24 Apr 98 17:44:00
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----------
From:  greenboy[SMTP:greenboy@bigsky.net]
Sent:  Friday, April 24, 1998 11:31 AM
To:  studio16@thule.no
Subject:  Re: Amiga!!

Gord (TEST?) wrote:
>For someone to give up on the Amiga now, after all it's been through,
>would be silly. How many other computer platforms can survive 3
>bankruptcies and still have a following this big... (yes it's small in
>comparison to MS, but MS never went bankrupt). To me, this can mean only
>one thing. It's the technology that keeps its head above water. As a
>technical person, I don't really care if the platform is supported by the
>masses, as long as it is supported in some small way, even if it's only by
>the users. If the masses can't see the difference, that's their problem
>isn't it? I have given up on trying to convince people of Its superiority.
>They can all flounder in the dark with Win95 for all I care. It's not
>worth the effort anymore.
> 
>I don't know where I'm going with this, but I just had to write this down
>after reading Greenboys last message.

Boy, Gord, I don't even know which message you are referring to, or what
you got out of it, but you should be on the Team AMIGA m-list! This message
would look real good over there just about now.

(it's amazing what a few good programs can do, isn't it?)

It's not really that your message said anything in particular, other than making me think the thoughts I wrote.... :)

Gord


** The Studio 16 mailing list (unofficial)


From conlee@linkonline.net Fri, 24 Apr 1998 10:03:03 -0700
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From: Chris Conlee <conlee@linkonline.net>
To: studio16 <studio16@thule.no>
Subject: Off Topic
Date: Fri, 24 Apr 98 18:03:00
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Howdy,

Sorry for the off-topic post, but have been watching a site in Los Angeles
that is a hoot.  A local station has 5 kids stuffed in a '98 VW Beetle, and
the one that lasts the longest wins it.  They've got streaming video/audio,
and it's pretty neat to hear what these kids talk about after 3 or 4 days
in the car.

The site is http://liveinit.earthlink.net

Chris



** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Thu, 23 Apr 1998 20:05:11 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 21:05:00
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On 23-Apr-98, troy silvey wrote:

> 
>> to make software that works on either 68K or PPC).
> 
> If it is done in clean C, won't it compile properly for PPC?

Yes. Should work with SAS c if I understand correctly - I think people
are trying out the new beta now.
But there is a rumor floating around about the possible use of a
system called slim binaries to make code which would work with either
processor, and with Pentium as well. The computer adapts it at load
time. 
The problem is that at
present this idea has only been made to work with the Oberon language.
In fact the only working example is the Mac Oberon compiler.
It involves a special compiler which analyses the code, and a special
loader.

This is a vague rumor which might solidify at WOA. There may be
nothing in it, and anyway a straight 2-version compile must be OK.


Re: Cakewalk
I have also heard lots of good things about Cakewalk, so we should
look at it for ideas. I don't have a PC here, so I can't try it
myself.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Thu, 23 Apr 1998 19:54:15 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Guesstimate And Go For It!
Date: Thu, 23 Apr 98 20:54:00
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Hello Gord

On 23-Apr-98, Gord Clink wrote:
> Hi Don,
> 
>> What is wrong with B&P?
>> 1. Doesn't work properly on graphics cards
> 
>>> A note on this.....You can load B&P on an 8 bit screen limited to
8
>>> colors. I am running it on an1600x1200 screen with Studio16 and
>>> MovieShop.
> 
> I use Bars&Pipes on a PicassoII board running Picasso96 software and
have no problem with it at all.... This is the first I've heard of it
not running properly. I also load Studio16 onto the same screen as
well with no problems.... 16 colors, 8bit.....

I tried it on CGFX3 and found that it didn't draw some details (parts
of the notes in standard notation for instance) and it seemed
unstable. Maybe it is happier under P96. I don't think it can be said
to be 100% retargetable, more like ProPage, almost there.

Cheers
-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Fri, 24 Apr 1998 17:20:48 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: B&P infatuation
Date: Fri, 24 Apr 98 18:20:00
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On 23-Apr-98, Brian Fields wrote:

> At a certain point I had to decide whether I was a
technician/engineer or a
> musician. I chose the latter. This is why I was so frustrated in
terms of
> not being able to edit in realistic notation (but I do like the
hybrid
> staff in B&P and I'd like it better if it worked well %100 of the
time). 

I only suggested B&P as a starting point because it works well with
S16 and I know it. We need the best ideas from all the programs.

> IMHO It seems that most music programs are made for folks who aren't

> musicians. And it seems that that is where the program should start.
Of 
> course it's all about time and MIDI and SMPTE and multi-media and
all the 
> different formats of 8/16/24 bit sound. That's why the timeline is
the 
> centerpiece of music software.

The central problem is how to edit a multi-dimensional structure. In
the time dimension, the tricky bit is handling the constant slight
tempo changes that happen in real music, getting the sequencer to
respect the variations in your timing as you play into it and
recognise where your bar lines (measure lines) come. And adjust it
later.

At right angles to the time there are several dimensions: pitch,
loudness, instrument, effects (echo etc), envelopes of notes, and
maybe others. How to do a clear interface to edit all of these?

I have a sort of vague idea of something like a horizontal rotating
bookcase which would turn to emphasise the aspect you are editing, but
still show, for instance, pitch while you are editing velocity.
There should be options for traditional notation, hybrid or piano roll
(nice for chromatic scales) as now.

A crucial feature of real music which MIDI neglects is phrasing, how
you move from one note to another, especially on a continuous
instrument like a violin. MIDI sequencers are geared more to
individual notes. Some kind of graphic pitch bend editor is needed.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Fri, 24 Apr 1998 17:23:22 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Mods - cool, DA/sequencing - HOT!
Date: Fri, 24 Apr 98 18:23:00
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On 23-Apr-98, Brian Fields wrote:

> will be going the way of parallel PPC processing, I think it would
be a
> good idea to build the next premier music program as blocks that can
be
> integrated into a "core" sequencer so as to be functional or not. It
seems
> that it would also be easier to get public input for add ons. We see
it in
> B&P as the tools offered by many helpful folks who contributed them.
> The core should have the capability to do the serial functions as
well as
> the driver functions for AHI and all the possible sample formats.

Yes, that's what I think. A core program with well documented
facilities for plug-ins and comprehensive ARexx support, including
commands for making requesters, as is documented for B&P tools.
If we could agree on a spec for this, there is some chance it could
get coded, whereas a complete 2 Meg program is too much for one or two
ppl to tackle.

Could we think up a program which would be simple, like DPaint, when
you first turn it on, and be able to be built up later as add-ons get
written? 

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Fri, 24 Apr 1998 17:58:23 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Musician Resources INCLUDING cakewalk
Date: Fri, 24 Apr 98 18:58:00
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On 24-Apr-98, troy silvey wrote:

> OK we can include cake walk. All these apps have some good features.
> I just don't want a cake-clone for ami. Some of it's good points can
be
> included of course.

No clones. We need to go on to the next step in interface design. 
But look at all of the existing software for good ideas.

I can represent a different point of view from you as I am _not_ a
musician. I doubt if I will ever be able to play an instrument to a
good standard. But I would like to have a program I could use to
explore and learn about music composition, and to link up sound to
animation.
So there are many users of this kind of software.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Fri, 24 Apr 1998 17:39:40 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Modern Graphic Card Support
Date: Fri, 24 Apr 98 18:39:00
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On 23-Apr-98, greenboy wrote:

> If you want a program that allows multiple resolution screen use
(from
> 640x480 to 1600x1200) it is much easier to have fonts that are
easily sized
> and antialiased than it is to have many bitmaps of many sizes.
Unsmoothed
> screen fonts do not look as good, cause eye fatigue, and will not
represent
> at small sizes.

It seems to be best to use pre-rendered and hand-optimised bitmaps for
small sizes, up to 24 pixels, and outlines above that. Adobe have made
bitmaps of their fonts for the Mac.
It is easy on the Amiga to combine the two, as the system will use a
bitmap if there is one, and scale an outline if not. You just set up a
bitmap font drawer with the same name as the outline.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Fri, 24 Apr 1998 11:14:16 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Dare I say it? [cakewalk]
Date: Fri, 24 Apr 98 18:14:00
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Don Cox wrote:
>Re: Cakewalk
>I have also heard lots of good things about Cakewalk, so we should
>look at it for ideas. I don't have a PC here, so I can't try it myself.

Just check out those urls and look at the descriptions, reviews,
screenshots. For everything, not just Cakewalk.

It is almost beside the point for our purposes whether the stuff works,
or works well. It is just a set of ideas to steal, avoid, or learn from.

You know the old saw: If you're going to steal, steal from the pros!

Catch you on the funway!
-- greenboy

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From greenboy@bigsky.net Fri, 24 Apr 1998 11:23:43 -0600
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Subject: Re: S16> OffTopic - The Bug is making a Comeback
Date: Fri, 24 Apr 98 18:23:00
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Chris Conlee wrote:
>Sorry for the off-topic post, but have been watching a site in Los Angeles
>that is a hoot.  A local station has 5 kids stuffed in a '98 VW Beetle, and
>the one that lasts the longest wins it.  They've got streaming video/audio,
>and it's pretty neat to hear what these kids talk about after 3 or 4 days
>in the car. The site is http://liveinit.earthlink.net

You're not craftily referring to the quality of our current "discussions" in
a roundabout way, are you Chris? ;^}

I'm at the site as we spreak, er - splake, er ... what ARE they saying?!?
And what is that bad smell?

-- greenboy

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From tc_silvey@juno.com Fri, 24 Apr 1998 13:32:56 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: S16>Rank-ons & Feature List
Date: Fri, 24 Apr 98 18:32:01
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>Appraisal of other software should not be based on knee-jerk platform
>association, opinions from versions that haven't been the state of the
>particular software for years, or fear/hate of anything that does not
>resemble that which we have personally become the most familiar or
>comfortable with.

So far I think most of the conversation has gone well here.
A bit of knee jerking is going to be involved no matter what,
but so far I have not seen a thread disentegrate in to the
normal flame wars you see almost every where else.
In some cases people are going to exspress a strong personal
preference on a subject or product. "That sux" "This rulez".
In most of those cases it's the reponders that start over-reacting.
In one case I stated I hated KCS, then I hate KCS. I've used KCS, CW 5.0
and 6.0 and I didn't like them. 
Acussing me (not you greenboy) or anyone of being ignorant,
uninformed, or not learning it well enough to qualify an opinion
is pointless, and eggs on time consuming nothing-ness. If we are
going to talk about the next gen sequencer for amiga, I suggest maybe
we ignore sequencer names completely and instead start to compile a
list of the features that should be included. 3 groups of features
possibly.
Everyone close their eyes, reach in and pull out a good thing from a
sequencer
they like or don't like, and we'll go from there.
#1 the most essential basic utilities to start, #2 the advanced features
for
the power user, and then #3, the wish list features. And I don't care
what
sequencers, Mac, PC, or Ami the features are drawn from and it shouldn't
matter at all. Of course there will be disagreement in what one might
call
essential and another calls advanced, but that's a task for another day.
Let's
start with the list first. I can try to keep a list of suggestions, but
if some one
wants to help compile it, lets do it.

BTW RanKOn doesn't sound too bad for a working name if the new sequencer
:)
Any one know how camoflague is doing? I havn't heard any thing new
latley. 
I have not used it, but it looks far from the idea I have in mind for an
interface.

troy


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From greenboy@bigsky.net Fri, 24 Apr 1998 11:45:10 -0600
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Subject: Re: S16> Modern Graphic Card Support
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>>If you want a program that allows multiple resolution screen use (from
>>640x480 to 1600x1200) it is much easier to have fonts that are easily
>>sized and antialiased than it is to have many bitmaps of many sizes.

Don Cox:
>It seems to be best to use pre-rendered and hand-optimised bitmaps for
>small sizes, up to 24 pixels, and outlines above that.

Actually Amiga's compugraphic engine doesn't do that hot of a job with
many faces, until you get up in the 36point range. But you should see the
latest font-smoother in (here comes a stoning for the blasphemer now!)
Windozzze. In Netscape, FI, you can take a TT or PS down to maybe 6pt and
the letters still hold up and are readable. Any of them at 8 points look
as good as a properly-designed bitmap - and are antialiased! This really
smokes for multiresolution and configurability issues!

If my Amiga weren't waiting for a processor, I'd be playing with the font
smoother I saw  announced (Amiga Web Directory? Aminet?) for graphics-card
users, right now. In conjunction with the for-so-long-now-Beta patch that
allows one to use PS fonts as system fonts.

See you on the funway!
-- greenboy

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From baff@stc.net Fri, 24 Apr 1998 12:42:47 +0500
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From: Brian Fields <baff@stc.net>
To: Rich Beachler <studio16@thule.no>
Subject: Re: S16> CGX Envvars
Date: Fri, 24 Apr 98 08:42:00
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Greetings Rich Beachler ;

>My Spectrum is in an A3000 with a PPS 040 Mercury board. I am running
>the 040 versions of the Cybergrafix 3 software when available.

I have an A3000 also with a PPC and CyberGraphX 3 '040 also.

>Here's some more settings I have:

>PLANNING AHEAD TO AVOID UNTIMELY SETBACKS   1
>GATHER INFO FOR BETTER UNDERSTANDING        1
> OF SOFTWARE/HARDWARE I AM USING
>PROVIDE ANY HELP I CAN                      1
>WISEASS                                     0

>Rich Beachler
>beachler@iastate.edu

--
These are useful.
Thanks Rich. It just looked to me like you were asking a help question
and then leaving the room. I can only give what I've got and I ain't got a
crystal ball. Thanks for contributing (as I thought I was). My address is
below if you want to take this elswhere.

At your service,

Brian
baff@stc.net


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** The Studio 16 mailing list (unofficial)


From baff@stc.net Fri, 24 Apr 1998 13:17:40 +0500
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From: Brian Fields <baff@stc.net>
To: Jamie Krutz <studio16@thule.no>
Subject: Re: RE: S16> Guesstimate And Go For It!
Date: Fri, 24 Apr 98 09:17:00
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Greetings Jamie,

>> There is an option in B&P under preferences to run the program in Workbench
>> screen mode.  On my machine this just creates another public screen using
>>
>> No problems here.

>That's also how I do it on a Spectrum card running CyberGraphX, and
>I run at 1120 x 832 or some such. As I've posted previously, I can run
>B&P, Studio 16 inside B&P, and Producer (Broadcaster) simultaneously,

>> Norm

>Best Regards,
> -Jamie


I'll try this again later tonight. Thanks Norm and Jamie.


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-- 
Ta fer now,

Brian
baff@stc.net


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From greenboy@bigsky.net Fri, 24 Apr 1998 12:32:18 -0600
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To: studio16 <studio16@thule.no>
Subject: S16> 3D representation matrix SHREDS!
Date: Fri, 24 Apr 98 19:32:00
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Don Cox wrote:
>the tricky bit is handling the constant slight tempo changes that happen
>in real music, getting the sequencer to respect the variations in your
>timing as you play into it and recognise where your bar lines (measure
>lines) come. And adjust it later.

A respected PC prog whose name I shall not mention does this well. It can
take a digital audio track, construct a tempo map complete with bar-lines,
and is easily editable. It can also make groove templates from audio or
sequences, so as to fit "the feel of the real" and still have some
quantizing to nip the bummers into place.

This is also great for a band-oriented approach, because tracks can be
recorded in real time with all those wonderful "performance anomalies",
and any needed midi work can really fit in, be expanded upon, etc.

[I can't believe some of the ppqn quotes I'm seeing these days! I would
think 480 or 960 would be sufficient! Its a magnitude higher than we
started out with.]

> At right angles to the time there are several dimensions: pitch,
> loudness, instrument, effects (echo etc), envelopes of notes, and
> maybe others. How to do a clear interface to edit all of these?
> 
> I have a sort of vague idea of something like a horizontal rotating
> bookcase which would turn to emphasise the aspect you are editing, but
> still show, for instance, pitch while you are editing velocity.

Like the Caligari [True Space] 3d prog's interface. Serious horsepower
needed, and you can BET sequencers of the future will all have something
like this. Will we be the first?

> There should be options for traditional notation, hybrid or piano roll
> (nice for chromatic scales) as now.

And a event-editing window, that allows you to work with each data
ala original Dr --whoops! - I mean, that sequencer that originated on
the AtariST from a developer who was around even before that.

> A crucial feature of real music which MIDI neglects is phrasing, how
> you move from one note to another, especially on a continuous
> instrument like a violin. MIDI sequencers are geared more to
> individual notes. Some kind of graphic pitch bend editor is needed.

Most pro sequencers for the past decade (has it been that long?) have
graphic editing for all types of CC (continuous controller) events.
Various thinning and filtering methods are usually present. On our
platform M____-X was a good example.

I love your thoughts and ideas Don, especially the 3d model. It has
movies of MidiMangler v6.07 playing in the old noggin already!

-- greenboy

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From tc_silvey@juno.com Fri, 24 Apr 1998 13:52:46 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Dare I say it? [cakewalk]
Date: Fri, 24 Apr 98 18:52:00
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>It is almost beside the point for our purposes whether the stuff 
>works, or works well. It is just a set of ideas to steal, avoid, or
learn 
>from. You know the old saw: If you're going to steal, steal from the
pros!

Excellent point!

troy

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From tc_silvey@juno.com Fri, 24 Apr 1998 13:50:42 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Musician Resources
Date: Fri, 24 Apr 98 18:50:00
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>I can represent a different point of view from you as I am _not_ a
>musician. I doubt if I will ever be able to play an instrument to a
>good standard. But I would like to have a program I could use to
>explore and learn about music composition, and to link up sound to
>animation. So there are many users of this kind of software.

I've met alot of "musicians" that couldn't play. And run for it when they
try to sing :) A good app for learning on ami is music shop, the other
title from blue ribbon, but you still need to get a keyboard or guitar
along with a chord book to acompany it. If you find you can't sleep
at night becase playing is more important, then I think you call your
self a musicain and actually get some lessons. But as you say, it
is still a necessary tool for any one who just wants to add sound and
music to their video work.

troy

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From doncox@enterprise.net Fri, 24 Apr 1998 20:04:18 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> MidiManglerProAudioPlus (studio furniture included!)
Date: Fri, 24 Apr 98 21:04:00
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On 24-Apr-98, greenboy wrote:

> Imagery and fonts need to be resizable. It seems that having two
nested
> images stored for each placement (configured by user radio-button)
can
> solve this. 

Personal Paint has a standard IFF file with 2 sizes of tool icons. Any
user can edit these if they like. This could be extended to give more
sizes, or the icons could be stored as simple structured graphics
(DR2D?) and rendered to size.

> I betaed for Music-X also, and it became my sequencer of choice for
quite
> awhile. Many of its abilities, and the model it was built on
(colorful
> MasterTracksPro basically) are still in wide use elsewhere today.
One
> thing it never really fulfilled was its support for more than 16
midi-
> channels. (Where is David Joiner today?)

He has a nice looking web site at sylvantech.besler.org/~talin
The links back to his home page don't work. There are some essays
which are worth reading.
I have thought that as the Amiga gets going again it could be worth
while to try to wake him up.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Fri, 24 Apr 1998 13:05:33 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> DA/sequencing - HOT!
Date: Fri, 24 Apr 98 20:05:00
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Brian Fields wrote:
>>I think it would be a good idea to build the next premier music program
>>as blocks that can be integrated into a "core" sequencer so as to be
>>functional --snip-- The core should have the capability to do the serial
>>functions as well as the driver functions for AHI and all the possible
>>sample formats.

Don Cox wrote:
>Yes, that's what I think. A core program with well documented facilities
>for plug-ins and comprehensive ARexx support, including commands for
>making requesters, as is documented for B&P tools. If we could agree on a
>spec for this, there is some chance it could get coded,

Agreed. Old way bad. Modular good! [But not modular in the sense of Todor
Fays' Soundscape. Every session with it involved much configuring before
plunking even a note!]

Intelligent defaults for the first time the user boots, and until he
familiarizes himself with the program, have long been a hallmark of a
good title. But supplying a SET of defaults/presets for different user-
profiles would be better yet (would you like to play a game of chess,
Dave?)

Another approach would be that of a Setup Wizard (idea nicked from the
evil empire of William the Astonished). It will walk the user through
initial setup while familiarizing him with perhaps a few concepts.

Gotta have:

Online help bubbles and hypertext, with an auto-connect to a support
website would be nice also. No more waiting for bugfixes, or updates.

Automatic user-registration at first connect - no more reg cards
moldering away at the bottom of the box.

CDRom distribution: its the turn of the millenium now. [As an additional
service the user will be assured nothing is going to crash forever at the
strike of Twelve.]

>whereas a complete 2 Meg program is too much for one or two ppl to tackle.

Oh, for the days when a 2 meg program was unimaginable!

>Could we think up a program which would be simple, like DPaint, when
>you first turn it on, and be able to be built up later as add-ons get
>written?

We're gonna be able to paint with it too? Well, I want true-color ;^}

-- greenboy

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From doncox@enterprise.net Fri, 24 Apr 1998 19:44:06 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Resources not Rank-ons
Date: Fri, 24 Apr 98 20:44:00
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On 24-Apr-98, greenboy wrote:

> 
> Its real simple. Amiga needs new software to go forward. If it
doesn't
> cover enough ground it probably won't satisfy existing users, let
alone
> attract new ones - goodbye Amiga.
> 
And it should be what you call Type 2, as is the Amiga OS.
People will actually buy a computer to use a good piece of music
software. People buy Acorn computers so they can use Sibelius.

If Troy can do a bit of coding and is brave enough to let some of us
see his rough ideas, we can come up with something very good, I think.

-- 
Don Cox
doncox@enterprise.net


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From greenboy@bigsky.net Fri, 24 Apr 1998 13:52:15 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: S16> Type 2, raise your hands!
Date: Fri, 24 Apr 98 20:52:00
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On 24-Apr-98, greenboy wrote:
>>Its real simple. Amiga needs new software to go forward. If it doesn't
>>cover enough ground it probably won't satisfy existing users, let alone
>>attract new ones - goodbye Amiga.

>And it should be what you call Type 2, as is the Amiga OS.
>People will actually buy a computer to use a good piece of music
>software. People buy Acorn computers so they can use Sibelius.

Oh yeeeaaah... I remember an early software that was on DOS and Amiga,
Roger Powell's TEXTURE (stand back, boys, I am naming names here!). It
got some good write-ups in "musiciany" mags; they thought it quite good
for a PC sequencer!

Well it was Type 1 at best - and it needed a MPU401-compatible (Roland/PC)
midi interface to get things rolling. Not Amiga -standard. Pretty much
everything on the AtariST and Mac could run rings around it. But it really
wasn't Roger's fault, he was a musician first (that can be good I realize)
who bought into the PC back when its resources as a GUI/sound/intelligent
computer were virtually nil. And the port was pretty much verbatim.
 
>If Troy can do a bit of coding and is brave enough to let some of us
>see his rough ideas, we can come up with something very good, I think.

I hope I pray. Because I haven't seen one piece of sequencer/audio
software for years that wasn't a team effort on the coding. Some of them
might have started as one person in front of a pizza and a sixer of Jolt.

But sustainability and improvement, for ware that is WAY underrated in
complexity and intelligent design (Hey, we're talking about a tool for Art,
commerce, education, AND entertainment here, folks!) - well a team is
necessary. And don't forget how many generations of improvement the truly
good titles of this category have evolved through.

-- greenboy

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From greenboy@bigsky.net Fri, 24 Apr 1998 14:04:43 -0600
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To: studio16 <studio16@thule.no>
Subject: Re: S16> MidiMangler asides
Date: Fri, 24 Apr 98 21:04:00
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>>Imagery needs to be resizable. It seems that having two nested images
>>stored for each placement (configured by user radio-button) can solve this.

Don Cox wrote:
>Personal Paint has a standard IFF file with 2 sizes of tool icons. Any
>user can edit these if they like. This could be extended to give more
>sizes, or the icons could be stored as simple structured graphics (DR2D?)
>and rendered to size.

Ah PPaint was great! And will be upgraded again I hear. Cloanto has really
become a class act. Nice site too. I like the structured gaphics, goes with
the structured fonts. ;-) But I wonder about overhead.

>>I betaed for Music-X also, and it became my sequencer of choice for
>>quite awhile. (Where is David Joiner today?)

>He has a nice looking web site at sylvantech.besler.org/~talin.
>There are some essays which are worth reading. I have thought that as
>the Amiga gets going again it could be worthwhile to try to wake him up.

Now on the hotlist, thanks Don.

As an aside, and perhaps I even asked you this six months hence: was that
you I saw with Jennif -- I mean, was that you who used to do all that
great stuff for GEnie's Amiga stuff? (sorry, I get sidetracked...)

forward, into the past!
-- greenboy

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Subject: Re: S16> 3D representation matrix SHREDS!
Date: Fri, 24 Apr 98 21:54:00
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On 24-Apr-98, greenboy wrote:

> And a event-editing window, that allows you to work with each data
> ala original Dr --whoops! - I mean, that sequencer that originated
on
> the AtariST from a developer who was around even before that.

Is this different from the requester you get with the magnifying glass
in B&P? This allows you to type in exact times (very useful for
putting in footsteps at SMPTE times), velocities, etc.

-- 
Don Cox
doncox@enterprise.net


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From greenboy@bigsky.net Fri, 24 Apr 1998 15:19:08 -0600
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Subject: Re: S16> Event List (listview) Editing
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>> And a event-editing window, that allows you to work with each data
>> ala original Dr --whoops! - I mean, that sequencer that originated
>> on the AtariST from a developer who was around even before that.

Don Cox wrote:
> Is this different from the requester you get with the magnifying glass
> in B&P? This allows you to type in exact times (very useful for
> putting in footsteps at SMPTE times), velocities, etc.

I've always liked it better than the tack-on mag lense in B&P. It is a
full-scrollong window with every single midi event that occurs on that
track, and allows direct-input data entry. Its been awhile, but I
believe it filter/toggles channels different types of data, etc - so that
if you just want to see and edit noteon-duration-velocity events you can.
Global edits were also possible.

In B&P it isn't as integral.

-- greenboy

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From greenboy@bigsky.net Fri, 24 Apr 1998 15:46:25 -0600
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Subject: S16> Historical Document Unearthed!
Date: Fri, 24 Apr 98 22:46:00
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Here is the first aborted attempt at discussing the music program we are
all waiting for. About a month ago (funny it seems longer to an old duffer
like me. Aah, the twilite years...) One spelling has been corrected, other-
wise it is an actual historical documentation.

Ther are some ideas here, so I asked Don to peruse his archives, as mine
have been relegated to Trantor. Any opinions I might decide to change
later - or have already - I'll let you know, Don! Or not.

==========================

On 31-Mar-98 Don Cox wrote:
>For an imaginary program which would do much the same things as Cubase,
>would you prefer
>1. A colorful, sculptural interface (like Kai's power tools or Power Goo)

On 31-Mar-98 greenboy wrote:
I believe that would be too cryptic for a sequencer/scorer. The gimmick
works for PowerGoo because it replaces a limited set of (menu) commands
and the manipulation that takes place is mainly input by mouse. PowerGoo
is mainly just a slick morphing program, and a sequencer/scorer is
perhaps analagous to a imageproc/paint program in complexity.

> 2. Slightly 3D with some color (like Bars&Pipes)
> 3. Plain and efficient style Black-and-white like Cubase Atari

A colorful 3D program with multi-windowing and a high degree of
interface configurability is the best bet. This would include the
choices of color in the display, windows with movable gadgetry ala MUI
apps (IBrowse, YAM), windows that have expanded and contracted views
for different functional areas (like Nutscrape Messenger, FI).

I prefer different windows for different modes of use, preferably that
could even be promoted to their own public screens. A graphic selector
bar could toggle between screens (or bring sleeping windows to surface).
One of the menu headers could be WORKSTYLE, and would show all currently
saved window/screen configurations including gadget states, collapsed
areas if any, and assignable keyboard setups.

The program would be shipped with a set of these WORKSTYLES that
ntelligently addressed different needs and levels of expertise. The
default WORKSTYLE in the shipped version would allow for a very
fast--as painless as possible--learning curve for all the basic needs.

An ARexx-accessing macro recorder (and editor) along the lines of the
beauties found in ImageFX or PageStream--with logical functions (ADD,
AND, OR, XOR, etc)--available would allow the design and exchange of
plugins.

Of course, common and not so common musical functions such as
arpeggiation, metric manipulation, time-stretch, feel, transpose, and
chord-voicing (love those guitar voicings available in B&P!), centered
and non-centered inversion would also be achievable, and capable of
being chained, and assigned to gadget icons.

An auto-compiler module would be available to make opaque code from that
arexx. The compiled tools would run faster, for situations that
warranted it. This would also allow third-party developers some
additional security.

All midi editing functions would be accessible during playback/
recording. All graphic editing windows would be qualifier-linked to
value-displaying windows of the same data, and would autoscroll and
value-change in synchronization.

Well, that's enough for now.

===========
-- greenboy

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From doncox@enterprise.net Fri, 24 Apr 1998 23:02:40 +0000
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To: studio16 <studio16@thule.no>
Subject: Re: S16>Rank-ons & Feature List
Date: Sat, 25 Apr 98 00:02:00
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On 24-Apr-98, troy silvey wrote:

> Everyone close their eyes, reach in and pull out a good thing from a
> sequencer
> they like or don't like, and we'll go from there.
> #1 the most essential basic utilities to start, #2 the advanced
features
> for
> the power user, and then #3, the wish list features. 

1. recording of live performance via MIDI input, with matching up of
bar lines to fit the played tempo. Edit using a hybrid display, with a
few stages of undo. Quantisation including swing (and respecting the
varying tempo). Perhaps smooth out tempo changes. Play to MIDI with
tools on
output, such as instrument selection, harmony.  Also use short samples
like
8SVX instrs, but also in 16-bit, via retargetable audio.

2. Pattern editor input for drum rhythms, song structure editor, track
edit display in piano roll, notation, and continuous pitch (marked in
frequencies) format. Snap to key, beat. Spline curve editing for pitch
bend (theremin, or circling helicopter sound). Keyboard tunings for
different temperaments. Animation window, SMPTE lock. Amiga keyboard
input. Notation printing. Vibrato. Different setups for various types
of work. Lots of tools.

3. Very good notation printing; Postscript output. String section with
36 separate string players. Link up to Soundprobe, which by then
should have pitch-to-MIDI. Algorithmic composition. Automatic fugues.

Don 
(who is listening to Heifetz playing a Beethoven violin sonata and
wondering how exactly you could notate the performance).


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From doncox@enterprise.net Fri, 24 Apr 1998 21:26:21 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> MidiMangler asides
Date: Fri, 24 Apr 98 22:26:00
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On 24-Apr-98, greenboy wrote:

> As an aside, and perhaps I even asked you this six months hence: was
that
> you I saw with Jennif -- I mean, was that you who used to do all
that
> great stuff for GEnie's Amiga stuff? (sorry, I get sidetracked...)

What, her??? No, that was someone else.

Yes, there is a disk full of genies for Gold Disk products, plus some
scripts for ADPro and others that I tinker with now and then. I'm
never sure whether it is enough for me to call myself a developer!

I see someone is setting up a payment service for shareware, so I
might try it out again. Larry Hickmott at LH Publishing sold the disk
for a while. It made about enough to buy a monitor.

The most recent are a couple of standalone progs, one for sorting
files into directories and one for listing the version numbers of all
the files in a drawer.

-- 
Don Cox
doncox@enterprise.net


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From baff@stc.net Fri, 24 Apr 1998 16:54:58 +0500
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From: Brian Fields <baff@stc.net>
To: Don Cox <studio16@thule.no>
Subject: Re: B&P infatuation
Date: Fri, 24 Apr 98 12:54:01
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Greetings Don,

>I only suggested B&P as a starting point because it works well with
>S16 and I know it. We need the best ideas from all the programs.

Absolutely.

>The central problem is how to edit a multi-dimensional structure. In
>the time dimension, the tricky bit is handling the constant slight
>tempo changes that happen in real music, getting the sequencer to
>respect the variations in your timing as you play into it and
>recognise where your bar lines (measure lines) come. And adjust it
>later.

Yes, which brings to mind the tempo map in B&P.

>At right angles to the time there are several dimensions: pitch,
>loudness, instrument, effects (echo etc), envelopes of notes, and
>maybe others. How to do a clear interface to edit all of these?

This is the minutiae within the big picture of course. These all show up
in the B&P window and I think they were headed in the right direction
with this. Individual timeline parameters for individual tracks.

>I have a sort of vague idea of something like a horizontal rotating
>bookcase which would turn to emphasise the aspect you are editing, but
>still show, for instance, pitch while you are editing velocity.

I think B&P does this OK but it could indeed be improved upon.

>A crucial feature of real music which MIDI neglects is phrasing, how
>you move from one note to another, especially on a continuous
>instrument like a violin. MIDI sequencers are geared more to
>individual notes. Some kind of graphic pitch bend editor is needed.

A window for a window in a window? Yes maybe click on the pitch timeline
in the edit window to bring a decent pitch editor up.

>--
>Don Cox
>doncox@enterprise.net

--
Ta fer now,

Brian
baff@stc.net


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From onad@ao.net Fri, 24 Apr 1998 19:46:44 +0500
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From: Dan Oberley <onad@ao.net>
To: studio16 <studio16@thule.no>
Subject: tempo idea
Date: Fri, 24 Apr 98 15:46:00
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It would be nice to have a "live" drummer setting the tempo for the sequencer.
 One way to do this could be to put a mic in the bass drum connected to the
input of a cheap 8bit sampler.  The software could judge the tempo from the
time between the the "spikes" the sampler was getting from the bass drum.  Of
course you could also use the Sunrize input instead of an 8bit sampler for
this but, you would probably be useing it as part of the sound/show.

Just an idea for any programmers out there.
Or maybe it's a really stupid idea, i don't know.  ;)


********************************

    Spider Byte        Dan Oberley
      Studio's         Winter Park, FL
                             (407)740-6616

********************************


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From greenboy@bigsky.net Sat, 25 Apr 1998 03:37:44 -0600
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To: studio16 <studio16@thule.no>
Subject: Re: S16> Sequencer tempo idea
Date: Sat, 25 Apr 98 10:37:00
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Dan Oberley wrote:
>It would be nice to have a "live" drummer setting the tempo for the
>sequencer. One way to do this could be to put a mic in the bass drum

Great idea if you substitute a piezo sensor for the mic (too interactive).
The trigger pad could actually interface to available midi solutions
instead of using an audio sampler. (You've probably seen my mentions of
Cakewalk's being able to convert an audio track into a tempo map or
groove template, and this is the purpose it serves as well).

There are two ways to think about the kick drum data. Either you convince
the drummer to play the meter - normally a 4-on-the-floor (shades of
disco!). This would much resemble the tap-tempo feature first seen on
Sequential Circuit's Studio440 drum sequencer/sampler in the late '80s.

Alternately, you design an algorythm that can pull the tempo out of
what kick patterns a drummer actually LIKES to play, perhaps with an
intervention requester, asking for a meter or tap before the song
actually begins (four kicks instead of drumstick clicks to start the
band?). The algorythm then has a context to extrapolate from, what is
actually happening to the tempo without constraining the drummer.

I see hiccups for a design generation or three here though. Even piezos
in a loud, resonating environment false-trigger. Threshold settings can
only do so much. Also, any tap-oriented realtime feature actually needs
several taps in a sample/grouping to see how timing is fluctuating, thus
what it does to midi output is always that much behind.

Similar to the lag-time guitarists have faced on the low strings when
driving midi-rigs, especially when using sounds with sharp ADSRs.

But Midi Mangler should be able to do it, right?

-- greenboy

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From tc_silvey@juno.com Sat, 25 Apr 1998 00:41:03 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: S16> Sing for my meal?
Date: Sat, 25 Apr 98 05:41:00
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I was just thinking. I have thrown alot of opinion
around here latley and I just thought some of you
might like to hear some of the recordings I've done
with S16 , B&P and Ami to get an ideal of what I do.
Not everyone likes the some type stuff, so you won't
hurt my feelings if you don't like the sytle. As an example,
I don't like most country myself, but I can still appreciate
the work they put in it. If some one has a place I can up
load some large stereo files that others can get to if they
want, I'll put up a couple of working samples. I tried once to 
clip some samples, crunch them from 41khz to 16khz
and make them into 1-2 meg files, but they sounded
like crap after that. I wonder if aminet has a limit? They
have tons of mods. I wonder if samples count?

troy


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From greenboy@bigsky.net Sat, 25 Apr 1998 04:35:24 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Sing for my meal?
Date: Sat, 25 Apr 98 11:35:00
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troy silvey wrote:
> I was just thinking. I have thrown alot of opinion
> around here latley and I just thought some of you
> might like to hear some of the recordings I've done
> with S16 , B&P and Ami to get an ideal of what I do.
> Not everyone likes the some type stuff, so you won't
> hurt my feelings if you don't like the sytle. As an example,
> I don't like most country myself, but I can still appreciate
> the work they put in it. If some one has a place I can up
> load some large stereo files that others can get to if they
> want, I'll put up a couple of working samples. I tried once to
> clip some samples, crunch them from 41khz to 16khz
> and make them into 1-2 meg files, but they sounded
> like crap after that. I wonder if aminet has a limit? They
> have tons of mods. I wonder if samples count?

Hi, Troy! Sounds like a good idea for a website: streaming or downloadable
RealAudio, studio pics, etc.

-- greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Sat, 25 Apr 1998 04:36:41 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: S16> Momentous Midi Mangler Musings
Date: Sat, 25 Apr 98 11:36:00
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troy silvey wrote:
>>Everyone close their eyes, reach in and pull out a good thing from a
>>sequencer they like or don't like, and we'll go from there.

Not trying to sidetrack anybody, but I really don't care if another
mid-level sequencer is ever built. Partly because this is not what I would
use, but mostly because (for other than those who get some satisfaction
designing it) the marketplace is littered with 'em.

(1) Past Amiga low- and mid-level sequencers have sunk without a trace;
there are still quite a few titles we haven't even mentioned here.

(2) The sequencers that WERE arguably hi-level, like B&P, are now mid-level
anyway (and that is if you have it running in conjunction with Studio16!).

No sense in reinventing the wheel. Unless you are attaching it to a
vehicle that is going to take us, and others, new places. The core/modular
concept needs to be boilerplated around a high-end model in order for the
end-product to be able to meet low-, mid-, and hi- expectations without
gaping design flaws.

And it had better be reach-for-the-sky ambitious about THAT design spec,
because by the time it is done, others will have raised the bar yet again -
and that is true whether we are talking interface or features. One needs
be brutally pragmatic about this at the same time one is dreaming a big
dream - a real balancing act. Head in clouds, feet on ground.

Which brings me around to my next concern: developer's status. Amiga OS
3.5 will be out, probably this summer. Regardless of what you have heard,
this is a new threshold. Even if OS 3.5 seems to be a mild step, it is
part of a larger spec that sets the path for future Amiga OS, hardware,
and software development.

If we are to go beyond pipe-dream play, developer's status is a must.
Personally, I don't want to use a piece of software that is banging the
hardware, not using system software resources (properly), etc.

Last time the world changed, all kinds of hacks like mode-promoters FI,
became necessary clutter on our systems, and added to potential and real
instabilities. All because some developers wouldn't bring their products
up to current standards. Many of them, when confronted, admitted that it
would be no easy task to add these fixes because of their earlier
practices. We don't even need to discuss the orphaned programs.

Even before checking out 3.5, I am not in the least bit interested in
anything that feels it has to support lower than 68020 coding, or 3.1 OS.
Probably any software that is sufficiently advanced is going to crawl on
anything less than an 040, and 3.1 has been around a long time and has
features that are needed for the "Midi Mangler Audio Pro" to NOT BE
obsolescent the moment it comes out.

If the Amiga is to become a desirable platform again, the standards and
visions need rise above the current level, which is for the most part
based on pre-94 titles and technologies. Otherwise what is the point?

-- greenboy

** The Studio 16 mailing list (unofficial)


From gen@interlog.com Sat, 25 Apr 1998 06:32:38 -0500
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From: Eugene Gibas <gen@interlog.com>
To: Test <studio16@thule.no>
Subject: Re: Amiga!!
Date: Sat, 25 Apr 98 12:32:00
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On 24-Apr-98, Test wrote:
>I'm writing this (rambling) because I want to tell someone who will listen,
>and where I live, everyone is PC or nothing, so this list is the only place
>for me to turn to.

>I've owned an Amiga for 11 years, and this past year has been the most Amiga
>productive year ever. I have been drawn closer to the Amiga then I ever have
>before. Maybe it's because of the advent of some good internet software, but
>what ever it is.... I love it more than ever.

>For someone to give up on the Amiga now, after all it's been through, would
be
>silly. How many other computer platforms can survive 3 bankruptcies and still
>have a following this big... (yes it's small in comparison to MS, but MS
never
>went bankrupt). To me, this can mean only one thing. It's the technology that
>keeps its head above water. As a technical person, I don't really care if the
>platform is supported by the masses, as long as it is supported in some small
>way, even if it's only by the users. If t
>he masses can't see the difference, that's their problem isn't it? I have
>given up on trying to convince people of Its superiority. They can all
>flounder in the dark with Win95 for all I care. It's not worth the effort
>anymore.

>I don't know where I'm going with this, but I just had to write this down
>after reading Greenboys last message.

>Gord (kernal) Clink
>gclink@dryden.net 


>** The Studio 16 mailing list (unofficial)

BRAVO! Nicely said! You're obviously not a "SHEEP"!


** The Studio 16 mailing list (unofficial)


From tc_silvey@juno.com Sat, 25 Apr 1998 00:25:55 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: S16> raise your hands! and pray!
Date: Sat, 25 Apr 98 05:25:01
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>If Troy can do a bit of coding and is brave enough to let some of us

>I hope I pray. Because I haven't seen one piece of sequencer/audio
>software for years that wasn't a team effort on the coding. Some of 
>them might have started as one person in front of a pizza and a sixer of

>Jolt.

I don't pretend to be able to pull this off alone. Hell I'm not
even a good C programmer, YET. I was an ACE 10 years
ago, able to walk on my hands backwards blind folded and
still do code that worked great and baffeled other students,
teachers and programmers, but I have to knock off alot of
rust. In '89 I decided I couldn't sit at a computer and do code
all day so I moved on to other things. (mistake? maybe)
I couldn't know then that a good programmer would pull in
100k+ salary some day.
I also have to learn 2 new things to me, C and the
complete Ami OS. An insane task if I ask myself, but I'm gonna
do it in short order (I hope) One thing I can do with your help
is to start a project inovative enough to attract other resources.
Mean time I'm up to my arse in C and Ami books and on 
programming mailing list and internet sources, while pulling
4-5 hours sleep. I'm a beleiver in prayer, so if you have one,
drop one for me that I don't melt down before I'm through :)
I'f off to start the rough interface layout......

troy
 

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From tc_silvey@juno.com Sat, 25 Apr 1998 00:08:27 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Re: tempo idea BRILLIANT! (says troy)
Date: Sat, 25 Apr 98 05:08:00
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>It would be nice to have a "live" drummer setting
> the tempo for the sequencer. -snip-
>Just an idea for any programmers out there.
>Or maybe it's a really stupid idea, i don't know.  ;)

I was born with promark sticks in my hands :)
I later learned other instruments, but the
one thing I struggle with is getting B&P to do
that perfect tempo I'm looking for some times.
Also I would like to be able to play drums strait
in to the sequencer with varing tempo. B&P can't
properly quantize a "live" variable input. No sequencer
I know can do it. Does any one else? The drummer
of the band should be the master here. Not the Click,
Click of the sequencer. Of course you can edit tempo
with B&P, but as soon as you start to try, you have killed
the spontaneous rythm you wanted in the first place.
The perfect tempo many times comes as you play,
not as you're trying to think about how to play. Good
natural tempos often spawn great songs.
Whe you try to map tempos in an editor,
you're out of right brained creativity and into left brain
techno garb with editing. ( do I have my brains right? :)
What you thought might be a silly ideal could be one of the
features I think would sell this to many of those users
and bands that want the human sound of music and
not the techno pop sound from the computers they avoid.
Drummers keep their jobs despite drum machines, and the
ami sequencer finds it's home in the music industry. I think
it's a DAMN GOOD idea. And I'm thinking how to get the
code to respond to it already.

troy



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From greenboy@bigsky.net Sat, 25 Apr 1998 07:03:52 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: tempo idea BRILLIANT! (says troy)
Date: Sat, 25 Apr 98 14:03:01
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troy silvey wrote:
>B&P can't properly quantize a "live" variable input. No sequencer I know
>can do it. Does any one else?

Seen my post on this? Various stand-alone and software seqs have done it,
but the limitations I've stated are tough to bypass.

Dedicated hardware devices like The Russian Dragon (look closer at that
name!) have handled this (introduced NAMM '90 or so). A few years ago
another buzz was the Hotz Controller, that worked with feel. There have
been many ways to do it, but (sorry>) Cakewalk probably is the way to go.
Track the band playing live as digital audio, while recording whichever
part would seem to make the most coherent tempo-track. Then use it to
drive all midi and overdubs.

One reason DA belongs in a sequencer is so we can use live time, and for
styles of music that demand it, acoustic instruments - without making 'em
peg to a click, or a drumbox. Even playing triggered samples with pads in
real time and recording DA is preferable for some material, instead of
recording to sequencer.

>Drummers keep their jobs despite drum machines

I used to laugh in the eighties, when drum machines and synths and
samplers were considered so ominously threatening. In the band scene they
are no more or less than any other instrument now.

>I think it's a DAMN GOOD idea. And I'm thinking how to get the
>code to respond to it already.

Go cat, go!

-- greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Sat, 25 Apr 1998 07:23:50 -0600
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Subject: Re: S16> raise your hands! and pray!
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>>I hope, I pray. Because I haven't seen one piece of sequencer/audio
>>software for years that wasn't a team effort on the coding. Some of them
>>might have started as one person in front of a pizza and a sixer of Jolt
>>but --snip--

troy silvey wrote:
>Mean time I'm up to my arse in C and Ami books and on programming mailing
>list and internet sources, while pulling 4-5 hours sleep. I'm a beleiver
>in prayer, so if you have one, drop one for me that I don't melt down
>before I'm through :) I'f off to start the rough interface layout......

I'm probably your worst nightmare on this list, troy.;} You ask a ? and I
come back at you with a do-you-want-to-or-don't-you? You say something
and I say, No, That Won't Do. You see a one-guy-gets-it-out-the-door
project. And I see at least two code-hardened leapers, tacking it out. ;)

And I hope that you have not taken this too personally, as I wish the best
for your future. But let me explain: I have beta-tested and been a power-
user in this field for some time now, and have been frustrated time and
again, as programs on other platforms stole the march.

I was a pain-in-the-ass as a beta tester. I didn't just report bugs, I
demanded features. I watched most of my pleas go unheeded for Amiga
music programs. The Amiga didn't get out of the gate too well with
music to start with either: the first midi sequencers got their clock the
wrong way and were thus deficient in timing accuracy. It didn't help that
the otherwise pathetic AtariST had midiports and was cheaper.

But each time things were needed to go big league, developers in the
sequencer marketplace dropped the ball. More than once I've mentioned
having more than 16 midi channels. At a time when many hobbyist users
needed at least 32 - and even DOS PCs supported more - it was impossible
to get an Amiga developer to commit. (and they could have used existing
hardware - all they had to do was build hooks to it ).

Even if Amiga hadn't gone through The Fire, not ONE of these developers
are around today. I'm sure they blame(d) the Amiga marketplace, piracy,
music-mags, etc. But there were plenty of opportunities to establish
healthier marketshares. They just wouldn't do what was needed.

For quite awhile they competed against similar developers with similar
resources. Midi was still pretty new also; anything was possible. The
developers that excelled on the ST moved on to the Mac. The Mac houses
REALLY believed in excellence - always adding features, improving
interfaces, and expanding their sights.

Many of the early small operations on other platforms are now considered
the GIANTS. They still evolve in ease-of-use, meeting the needs of the
users and practicing innovation. They deserve the success they have won.
The only Amiga sequencer house that was truly progressive (and BTW,
listened to users and beta-testers) was BlueRibbon. They even learned how
to market. And their savvy is why M$ "stole" 'em.

I tell you (and anyone else) these things, so that no unassailable naiveties
or delusions that have killed all Amiga sequencer predecessors will be
fostered. Then you (we) have a chance. Take care.

-- 
greenboy

** The Studio 16 mailing list (unofficial)


From net@dutch.nl Sat, 25 Apr 1998 16:49:05 +0900 
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From: Rene' Schaap <net@dutch.nl>
To: studio16 <studio16@thule.no>
Subject: RE: Plugins and Tools ?????
Date: Sat, 25 Apr 98 08:49:00
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On Thu, Apr 23, 1998, at 08:38 PM, greenboy wrote:

> 
> >It seems that it would also be easier to get public input for add ons. We
> >see it in B&P as the tools offered by many helpful folks who contributed
> >them.
> 
> Yes. I designed a few macrotools that I really used. There was that level
> of modularity. Then there was the Rules For Tools level, that actually
> involved writing code. This was another thing I found attractive about
> the wonderful Cakewalk. Its CAL (Cakewalk App Language) is much like having
> ARexx commands to operate the interface, do operands and data manipulation,
> etc. The more that you can make, the less you have to depend on them for.
> 
> >The core should have the capability to do the serial functions as well as
> >the driver functions for AHI and all the possible sample formats.
> 
> Which brings us around to the high-powered and lucrative marketplace of
> plug-ins for digital audio: real-time and computationally latent. Next
> installment?


Interesting, maybe B&P tools could acces the Ad516/Studio16 or via another
sample editor like sound FX, ,Wrench, Soundprobe or maybe the Prostation software.

Some Ideas.

Maybe a sampler tool, use your Ad516 as Sampler with some realtime fx like
Echo, Reverb etc etc.

Send samples via a B&P tool from th AD516 to a Midi Sampler.

A tool for the TB303 Emulator/Tracker.

A tool for a connection with a CD burn program like MasterISO and MakeCD.

Sounds great to me, but is it possible.

SeeYaa








Rene'(DSP) Schaap


        _
       ( ) No Empty tape Productions.
       ------------------------------
Get your Masterplan ready for the interactive decade.

Email   :    net@Dutch.nl

Homepage:    http://www.dutch.nl/net

Voice   :    0031 (0)35 52 42 72 0

FAX     :    0031 (0)35 52 66 31 7





** The Studio 16 mailing list (unofficial)


From tc_silvey@juno.com Sat, 25 Apr 1998 12:31:47 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: S16> On a critical note....
Date: Sat, 25 Apr 98 17:31:00
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It has been a long time since I have spoken to
Ben Fuller. My last 2 mails have gone unanswered
so far. And I noticed he has not been seen in this
group for a while. Could this mean he has left us
for good? I hope not. If so, I'm not sure what it means
for AHI and S16.  He was generous to offer to help
at all, but has the enthusiam died? If he is still monitoring
this group or some one else has seen some word from
him, please drop a note and let me know. I plan to 
keep looking into S16/AHI. I wrote been that I was 
was going to decompile the S16 drivers and do what
I could to help, But so far no answer. In the worst case
I guess, we keep out S16 cards and buy a second 
(and much more exspensive) second AHI card. Anyone
know if he's still on the mail list? That would at least tell
me he still has a soft spot for us.

troy

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From ImJohn@worldnet.att.net Sat, 25 Apr 1998 14:48:40 -0700
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From: John Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Re: tempo idea
Date: Sat, 25 Apr 98 22:48:00
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Dan Oberley wrote:

> It would be nice to have a "live" drummer setting the tempo for the sequencer.
>  One way to do this could be to put a mic in the bass drum connected to the
> input of a cheap 8bit sampler.  The software could judge the tempo from the
> time between the the "spikes" the sampler was getting from the bass drum.

Good idea but the problem with using the bass drum as a timing source is that
in a majority of music, ( except maybe disco ), the bass drum doesn't play a
steady
rhythm. You will usually hear it on beats 1 and 3 but then there are lots of
variations,
like 1-------3-+---+-1-------3-------1e-a---a3-+a---a     ( -=16th rest )

Possibly a better timing source would be the h-ihat and / or ride cymbal.  A
majority of
the time ( in rock and pop at least ) a drummer will play constant 8th or 16th
notes on one
of them, although there are lots of exceptions.  The problem here also is that
there are
slight variations thrown in from time to time and for a lot of forms of jazz,
latin and others,
the cymbal patterns are more complex.

What might work is that if you had a program that could have certain minimum /
maximum
tempos for the song set up, what type of note you are referencing ( half notes for
the bass drum,
8th or 16th notes for the hi-hat, etc. ) and then set the system to make tempo
'samples' at regular
intervals. At each interval it would 'listen' until it could grab an accurate
tempo within the given
parameters.

Just my 2 beats....uhhh .... I mean 2 cents! ;-)



    ImJohn@worldnet.att.net
        .......I play drums.



** The Studio 16 mailing list (unofficial)


From tc_silvey@juno.com Sat, 25 Apr 1998 12:22:14 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> raise your hands! and pray!
Date: Sat, 25 Apr 98 17:22:00
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>And I hope that you have not taken this too personally, as I wish the 

Not a chance. I have skin thick as bricks. If I had any thing
less would I still be amiga? :) You seem ok to me.

>sequencer marketplace dropped the ball. More than once I've mentioned
>having more than 16 midi channels. At a time when many hobbyist users

That always ticked me off about the non-pro B&P. The code was
already there for more tracks. They just turned it off.

>around today. I'm sure they blame(d) the Amiga marketplace, piracy,

Their piracy losses are in the hundreds of thousands and even
the millions in some cases, but they are doing fine. Why?
The marketing you mentioned. Commodore sucked pigs
through toothpicks at this point. I on the other hand could
market a sequencer right to the source. The musicians, not only
the computer mag users. I'm a painfull realist though.
I consider this all a hobby. I can't exspect to make a dime from it.
I only want to help ami if I can.

>to market. And their savvy is why M$ "stole" 'em.

Ow, stop reminding me. But if I win the lottery, I still have 
the phone number to the MS guy  handy to buy it back :)

>naiveties, delusions that have killed all Amiga sequencer
>predecessors will be fostered. Then you (we) have a chance.
>Take care.
>greenboy

I'm am a desert to these things. My friends call me
"Mr. critical negitivity" I depress people with my hard facts
and "good mood" killing reality. But I have a large sense of
humor and sometimes I have helped some of these over 
optomistic naive folks get their sites strait and move on
to good things. The fact is, I am likely to fail and I know it.
But I also now that any thing in the past that I have dedicated
myself to has either made it, or minimum taken an unexspeced
turn to a differnt goal.  I am more stuborn than a cold sore
and I'm not going quitely. I can imagine as long as I put some
serious work in this, then in the future it will open a way to
other projects and developers that I can draw resources from
or join their porjects and still get good things done for ami.
And maybe against horrible odds, I just might make it. But
"Mr critical negetivity" says I'm a dope to try. My answer to that
(as most critics of what I can and can't do) is BITE ME.

:) the ever critical and laughing....
troy

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From doncox@enterprise.net Sat, 25 Apr 1998 16:21:11 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: tempo idea BRILLIANT! (says troy)
Date: Sat, 25 Apr 98 17:21:00
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On 25-Apr-98, greenboy wrote:
> troy silvey wrote:
>> B&P can't properly quantize a "live" variable input. No sequencer I
know
>> can do it. Does any one else?
> 
> Seen my post on this? Various stand-alone and software seqs have
done it,
> but the limitations I've stated are tough to bypass.

> Track the band playing live as digital audio, while recording
whichever
> part would seem to make the most coherent tempo-track. Then use it
to
> drive all midi and overdubs.

A microphone lead with a big capacitor between the signal and ground
would cut out most of the high frequency signals and make it 
easier for software to pick up the beat, as you can then sample at a
low rate without hitting local peaks and troughs. 

On the general point of "we don't want just another medium-level
sequencer", I think the two things are
1. to spend plenty of time getting the basic structure, interface and
data handling right. To try to do what Carl Sassenrath  did with exec
- lay a solid foundation for the future

2. to keep thinking "is this good for musicians"? 

The first version will obviously be short on features, but if it's
musician-friendly, people will want it.
If the basics are right features can be added later. 

Sound cards with 6 or 8 simultaneous inputs will be standard soon, I
think. I see ACT is working on an Amiga one.

The combination of long samples (ie digital recordings of tracks) with
short ones (ie single notes in a Yamaha ROM, controlled by MIDI) and
medium ones (sampled drum loops) in one editing program is the thing,
with the tempo set by a live musician if you want.

Something that might be relevant: the programmer of Movieshop (editing
program for VLab & Draco) has had a lot of trouble keeping the video
and audio in sync. It looks as though playing different kinds of data
in sync without drifting is tricky, and needs special thought.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Sat, 25 Apr 1998 21:48:06 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: s16> tempo idea BRILLIANT!
Date: Sun, 26 Apr 98 04:48:00
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troy silvey:
>>B&P can't properly quantize a "live" variable input. No sequencer I
>>know can do it. Does any one else?

greenboy:
>>Seen my post on this?

Don Cox:
>A microphone lead with a big capacitor between the signal and ground
>would cut out most of the high frequency signals and make it

Seen my post on this? Piezo contact is the way to go. Frequency response
is not an issue here, rejection of other sound sources and shell resonance
is. The piezo costs a buck or two, has a good rejection threshold even
without attached circuitry, does not feedback. Take the word of a studio
engineer.

>On the general point of "we don't want just another medium-level
>sequencer", I think the two things are
>1. to spend plenty of time getting the basic structure, interface and
>data handling right. To try to do what Carl Sassenrath  did with exec
>- lay a solid foundation for the future

Yep, that's it alrighty!

> 2. to keep thinking "is this good for musicians"?

I really don't buy this "musician" slant anymore. I've been one much of my
life, met hundreds (thousands?), read interviews, etc, and have come to
the conclusion that such a social group - musicians - is the last place
to go when you want concordance. There is no standard model "musician"
that one would use as a template.

I think what we are talking about is designing interface models that
are ergonomic, flexible (Brian says configurable!), and intuitive.
Although that is practically as nebulous. Using models of operation
that people are already familiar with can be a blessing. But at times it
has also proven to be a curse, if a better way to do it is available.

Peavey, BTW has a great control surface with sliders and buttons and
footpedal insert that is

> 
> The first version will obviously be short on features, but if it's
> musician-friendly, people will want it.
> If the basics are right features can be added later.
> 
> Sound cards with 6 or 8 simultaneous inputs will be standard soon, I
> think. I see ACT is working on an Amiga one.
> 
> The combination of long samples (ie digital recordings of tracks) with
> short ones (ie single notes in a Yamaha ROM, controlled by MIDI) and
> medium ones (sampled drum loops) in one editing program is the thing,
> with the tempo set by a live musician if you want.
> 
> Something that might be relevant: the programmer of Movieshop (editing
> program for VLab & Draco) has had a lot of trouble keeping the video
> and audio in sync. It looks as though playing different kinds of data
> in sync without drifting is tricky, and needs special thought.
> 
> --
> Don Cox
> doncox@enterprise.net
> 
> ** The Studio 16 mailing list (unofficial)

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From greenboy@bigsky.net Sat, 25 Apr 1998 22:22:57 -0600
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Subject: Re: S16> Study, understand, apply
Date: Sun, 26 Apr 98 05:22:01
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troy silvey:
>>>B&P can't properly quantize a "live" variable input. No sequencer I
>>>know can do it. Does any one else?

greenboy:
>>Seen my post on this? Various stand-alone and software seqs have done it

Don Cox:
> A microphone lead with a big capacitor between the signal and ground
> would cut out most of the high frequency signals and make it

Have you seen my post on this? (Is there an echo in here?) Piezo contact
is the way to go. Frequency response is not the issue here, rejection of
other sound sources is. Costs a couple bucks to make one, resonant
environs don't pose a problem for it, doesn't need circuitry. Take a studio
engineer's word on this.

> 1. to spend plenty of time getting the basic structure, interface and
> data handling right. To try to do what Carl Sassenrath  did with exec
> - lay a solid foundation for the future

Yep, that's it alrighty!
 
> 2. to keep thinking "is this good for musicians"?

This "musician" slant just isn't doing it for me. Mix three bands a night
five nights a week for awhile, then play in an orchestra, hang out at a
jazz club, and tell me that it is possible to get concordance on ANYTHING.

I think what we mean to talk about here is developing a good model for
the interface. Ergonomic, configurable (put that in! says Brian), and
intuitive. Still somewhat nebulous - but consider using models people are
already familiar with. This is a two-edged sword though. There might be
a more appropriate faster-to-use model to use for data entry/viewing.

Using an actual control surface in addition to mouse and keyboard(s) is
a good option to have. Peavey has the best general purpose one out there:

http://www.peavey.com/division/mi/keyboards/MIDIcontrollers/pc1600x.html

Jog shuttle, sliders, buttons, footcontroller inputs, good display, very
configurable, uses MIDI so it works with anything. No proprietary 'tude
here! (This type of thing is getting bundled with hoity-toity audio
systems elsewhere at way higher prices). Anyway it is worth looking at for
ideas.

> Sound cards with 6 or 8 simultaneous inputs will be standard soon, I
> think. I see ACT is working on an Amiga one.

They are; even in the cheap price ranges on the pc. Complete with the
digital ports as well as the (sometimes) balanced audio jacks.

>Something that might be relevant: the programmer of Movieshop (editing
>program for VLab & Draco) has had a lot of trouble keeping the video
>and audio in sync.

Not really relevant for audio and midi. But if you introduce video/anim
you pretty much have to start thinking separate harddrive paths for the
data streams. (Shouln't be a big concern for us probably!)

-- greenboy

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From greenboy@bigsky.net Sat, 25 Apr 1998 22:46:25 -0600
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To: studio16 <studio16@thule.no>
Subject: Re: S16> Drummers Demand Decent Drive
Date: Sun, 26 Apr 98 05:46:00
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Dan Oberley:
>>It would be nice to have a "live" drummer setting the tempo for the
>>sequencer.

John Rice:
>Good idea but the problem with using the bass drum as a timing source is
>that in a majority of music, ( except maybe disco ), the bass drum doesn't
>play a steady rhythm.

Hey John, I get to say it again today: did you read my earlier post on
this subject? ;) Given a tap-in/count-in, it is possible to interpolate,
without 4-on-the-floor. As you say high-hat is better, or snare, or ride.
But tracking the band as digital audio, and building a tempo map from that,
is going to be way more accurate, for reasons I described before.

But as a drummer you are probably more aware of that than most others.

> What might work is that if you had a program that could have certain
>minimum/maximum tempos for the song set up, what type of note you are
>referencing

One of the ways I described. You get the reference pulse from a count-off
on the drum with the piezo. Then the program does sample-and-hold loop
compared against absolute clock.

I am also a big fan of groove templates (for quantizing midi tracks).
To get then from drums in a band setting, and convert that to midi, is
ultra! (here comes cakewalk again, they grumble)

-- greenboy

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From greenboy@bigsky.net Sat, 25 Apr 1998 23:17:24 -0600
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To: studio16 <studio16@thule.no>
Subject: Re: S16> Plugins and Tools ?????
Date: Sun, 26 Apr 98 06:17:00
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On Apr 23 greenboy (that's me!) wrote:
>>I designed a few macrotools that I really used. There was that level
>>of modularity. Then there was the Rules For Tools level, that actually

--snippety-snip-snip-- (singing in the rain, just singing in the) tip-tap--

>>Which brings us around to the high-powered and lucrative marketplace of
>>plug-ins for digital audio: real-time and computationally latent. Next
>>installment?

Rene' Schaap wrote:
>Some Ideas.
>A tool for the TB303 Emulator/Tracker.

The club scene type hardware that's around now is eminently suited for
people with no training in music. So this could be cool for the ease-of-
use contingency. I do have some training; but I'd have fun with this, you
betcha!

>connection with a CD burn program like MasterISO and MakeCD.

Doesn't Asimware have this covered real well? Maybe I am misunderstanding.
You mean a shared interface on the "Midi Mangler" screen, right?

See you on the funway!
-- greenboy

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From baff@stc.net Sun, 26 Apr 1998 00:19:07 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: s16> tempo idea BRILLIANT!
Date: Sat, 25 Apr 98 20:19:00
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Greetings greenboy,

>troy silvey:
>>>B&P can't properly quantize a "live" variable input. No sequencer I
>>>know can do it. Does any one else?

>greenboy:
>>>Seen my post on this?

>Don Cox:

>Seen my post on this? Piezo contact is the way to go. Frequency response

I concur. And the output is very easily adjustable and filterable. 

>> 2. to keep thinking "is this good for musicians"?

>I really don't buy this "musician" slant anymore. I've been one much of my
>life, met hundreds (thousands?), read interviews, etc, and have come to
>the conclusion that such a social group - musicians - is the last place
>to go when you want concordance. There is no standard model "musician"
>that one would use as a template.

I'm a musician and I disagree!.....   (only kidding)
But I think we were only speaking of this in terms of simplicity of
interface were we not?

>I think what we are talking about is designing interface models that
>are ergonomic, flexible (Brian says configurable!), and intuitive.

Amiga's are the configure kings.  :) That's why this intuitve flexibility
is paramount. But the trick is to do it in a simple way. i.e. make your
own buttons, if you prefer text on a button a opposed to an icon, scroll
gadgets to save space, font selection, screen-size & color. Kind of like
u-h-h-h an Amiga.... But Pop-up menu programs already exist and I don't
really have to go on to all the wonderful Aminet stuff that is already
there to build upon. It's tough to describe this stuff without an hour
long dissertation or naming examples. But I think y'all know what I mean.

>Although that is practically as nebulous. Using models of operation
>that people are already familiar with can be a blessing. But at times it
>has also proven to be a curse, if a better way to do it is available.

But don't you have to start with a core timeline sequencer program window 
with AREXX? Run on a public screen? What about shell commands? Built one 
at a time, to be integrated as time goes on into a whole?
Just thinking out loud guys . . . .

>> and audio in sync. It looks as though playing different kinds of data
>> in sync without drifting is tricky, and needs special thought.

and maybe a serial port midi/SMPTE/VTR box . . . . . . . .

>> --
>> Don Cox
>> doncox@enterprise.net

>** The Studio 16 mailing list (unofficial)

-- 
Ta fer now,

Brian
baff@stc.net


** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 26 Apr 98 11:07:48 +0100
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From: Kenny Nilsen <kenny@bgnett.no>
To: troy silvey <studio16@thule.no>
Subject: Re: S16> On a critical note....
Date: Sun, 26 Apr 98 11:07:00
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troy silvey wrote:
>If he is still monitoring this group
>him, please drop a note and let me know.

Troy,

last time I checked he was still subscribing. If you want more updated
status send 'WHO studio16' in body text to majordomo@thule.no.


- Kenny


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Sun, 26 Apr 1998 14:38:18 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Plugins and Tools ?????
Date: Sun, 26 Apr 98 15:38:00
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On 26-Apr-98, greenboy wrote:

>> connection with a CD burn program like MasterISO and MakeCD.
> 
> Doesn't Asimware have this covered real well? Maybe I am
misunderstanding.
> You mean a shared interface on the "Midi Mangler" screen, right?

To burn an audio CD you would need to have all your samples inside the
Amiga - not out in the keyboard or MIDI module - then use a software 
mixer to write a WAV or CDDA file to Hard Disk. Then MasterISO will
take 
it from there.

OctaMED SS does this for MODs, but not for MIDI so far as I can see.

You could also use a second computer with a sound card to record a
total output if you needed to use external gear such as a hardware
mixer or effects. It _might_ be possible to record and play on one
sound
card simultaneously ("full duplex").

I have MasterISO v2 here but I haven't had time to set it up yet.
Version 1 worked well.

-- 
Don Cox
doncox@enterprise.net


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From doncox@enterprise.net Sun, 26 Apr 1998 13:52:06 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Drummers Demand Decent Drive
Date: Sun, 26 Apr 98 14:52:00
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On 26-Apr-98, greenboy wrote:

> One of the ways I described. You get the reference pulse from a
count-off
> on the drum with the piezo. Then the program does sample-and-hold
loop
> compared against absolute clock.
> 
But would you be able to use the piezo to get a tempo off a piano?
I see piano solo MIDI files around where the bar lines have no
relation to the original music - the pianist has just been recorded
as she played and the MIDI file has a fixed tempo regardless of her
changes from bar to bar.

Our slogan: Help Stamp Out Click Tracks!
-- 
Don Cox
doncox@enterprise.net


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From greenboy@bigsky.net Sun, 26 Apr 1998 10:15:54 -0600
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Subject: Re: S16> Drummers Demand Decent Drive
Date: Sun, 26 Apr 98 17:15:01
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Don Cox wrote:
> But would you be able to use the piezo to get a tempo off a piano?

Contact piezos work on just about anything. You can go down to RadioShack
and buy a piezo doorbell buzzer or whatever and build one for a few bucks.
It is what is in most drumpads, Barcus Berry pickups etc.

> I see piano solo MIDI files around where the bar lines have no
> relation to the original music - the pianist has just been recorded
> as she played and the MIDI file has a fixed tempo regardless of her
> changes from bar to bar.

Yeah, pretty darn lazy of 'em not to edit. But its a hard job with most
packages. A certain seq with "c" and "w" in its name allows you to drag
barlines around in this type of file, and will construct the proper tempo
map as well.

> Our slogan: Help Stamp Out Click Tracks!

Oh no. "Classic" sequencing requires the metronome. The club scene and
tools like Roland's Groove Approved stuff and EMu's Orbit make great use
of the synth-band (early 80's and house, tecno, etc) lock step. The pulse
may never vary in 8 minutes in some, but they get a hellacious groove,
playing with ADSR relationships. When the attack is long, that gives the
appearance of shifting that track back some milleseconds, etc. Live
knob-twisting on resonant filters while a pattern is played back is very
dub-like!

Beginning players tend to need absolute quantization and pulse anyway.
They can not strike keys, pads, strings at the appropriate moments to
push a beat, or fall back into a relaxed groove etc.

I notice that noone is talking about clock resolution here.

-- greenboy

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From baff@stc.net Sun, 26 Apr 1998 11:19:15 +0500
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From: Brian Fields <baff@stc.net>
To: Don Cox <studio16@thule.no>
Subject: Re: S16> Drummers Demand Decent Drive
Date: Sun, 26 Apr 98 07:19:00
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Greetings Don Cox ;
>On 26-Apr-98, greenboy wrote:

>> One of the ways I described. You get the reference pulse from a
>count-off
>> on the drum with the piezo. Then the program does sample-and-hold
>loop
>> compared against absolute clock.

>But would you be able to use the piezo to get a tempo off a piano?
>I see piano solo MIDI files around where the bar lines have no
>relation to the original music - the pianist has just been recorded
>as she played and the MIDI file has a fixed tempo regardless of her
>changes from bar to bar.

>Our slogan: Help Stamp Out Click Tracks!

--
>Don Cox
>doncox@enterprise.net


Understand though that there has to be some sort of reference here.
Computer interpretation of tempo is nothing more than electrical data
(serial port). What I mean is that there would need to be some kind of
flow reference for the computer to do a compare with. On the ground floor,
this can only be adjusted *after* the initial input. Then accompanied with
other instruments later. Whether the input be piano, drums, or
horseshoes..

If there was someone tapping as the piano was being played and could
exactly mirror the tempo of the pianist. That could be used as a tempo
reference. Maybe you could find a piano player with false teeth and intall
a piezo so he could click the tempo as he played. Sounds silly yes but on
a real piano a pianist uses their feet for the pedals. If one was just
using a MIDI keyboard foot tapping could suffice to be adjusted later.




>** The Studio 16 mailing list (unofficial)

-- 
Ta fer now,

Brian
baff@stc.net


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From greenboy@bigsky.net Sun, 26 Apr 1998 10:33:03 -0600
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Subject: Re: S16> CD burning from the Mangler
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Rene' (I believe):
>>> connection with a CD burn program like MasterISO and MakeCD.

Me (greenboy):
>>Doesn't Asimware have this covered real well? Maybe I misunderstand.
>>You mean a shared interface on the "Midi Mangler" screen, right?

Don Cox wrote: 
> To burn an audio CD you would need to have all your samples inside the
> Amiga - not out in the keyboard or MIDI module - then use a software
> mixer to write a WAV or CDDA file to Hard Disk. Then MasterISO will
> take it from there.

Me greenboy - uggh - say this thing: Here where it helps to examine the
architecture of integrated pro packages on other platforms, {Peter Pepper}.
The concepts have simply never appeared on the Amiga, so many simply are
not going to understand what the issues are, how far the solutions have
come, and what still needs to be done in the state of sequencing/DA.

You have the gist of it, but virtual tracks (those played back by midi
modules) really don't need to be on the Amiga til final mastering to CD.
Once you have a mix achieved, stored it on the Amiga for all the digital
audio, and the midi continous-controller (or sys-ex) data necessary for
the external gear, you record the playback of said external gear to two
more digaudio tracks.

Then you prepare a list of song order, length between songs, where markers
appear on the CD, crossfades, and the like. Should support multi-session
CD writing.

-- greenboy

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From greenboy@bigsky.net Sun, 26 Apr 1998 11:05:59 -0600
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To: studio16 <studio16@thule.no>
Subject: Re: S16> Drummers Demand Decent Drive
Date: Sun, 26 Apr 98 18:05:01
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Don Cox: 
>>But would you be able to use the piezo to get a tempo off a piano?

Brian Fields:
>If there was someone tapping as the piano was being played and could
>exactly mirror the tempo of the pianist. That could be used as a tempo
>reference.

And has been done in hardware and software seqs. But taptime algorithms
need to have a 2 beat lag. Just like pitch to midi convertors have a
lagtime (irrespective of processor overhead) because they need to sample
an entire waveform before passing judgement. Low notes have a longer
lagtime because the waveform is longer on the timescale.

To sample tempo (and decide what it represents) requires at least two
pulses from the sound source, which is then compared against the
absolute clock. But good ones are doing sample-and-hold loop comparisons
with the previous 2 (or more) pulses to minimize the incidence of
"shakiness". Somewhat like what goes on when SMPTE machine control is
being applied as a servo loop for tape machines.

>If one was just using a MIDI keyboard foot tapping could suffice to be
>adjusted later.

Or {again}, the digital audio track of the performance could generate
the tempo map automatically, with just one parameter (first barline) or
two (meter, if not in 4/4) supplied by user.

-- greenboy

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From greenboy@bigsky.net Sun, 26 Apr 1998 11:23:49 -0600
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To: studio16 <studio16@thule.no>
Subject: Re: s16> Mangler Interface Customization
Date: Sun, 26 Apr 98 18:23:00
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Brian Fields wrote:
>Amiga's are the configure kings. :) But the trick is to do it in a simple
>way. i.e. make your own buttons, if you prefer text on a button a opposed
>to an icon, scroll gadgets to save space, font selection, screen-size &
>color.

Bigger MUI progs have this in spades. DOpus too. Also important: to ship
with, and be able to exchange "gadget sets" (the buttonage, et al) and
user-profiles (the overall environment, what windows are open at what
size and location, the state of the display model etc). This user-profile
can be selected (even during first install from the "Midi Mangler" CD so
as to match the user's needs until one is comfortable with customising.
These defaults can always be reselected.

Can also be saved and loaded on a per-song basis.

Mangler Man,
-- greenboy

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From greenboy@bigsky.net Sun, 26 Apr 1998 11:25:47 -0600
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From: greenboy <greenboy@bigsky.net>
To: Studio 16 GuestList <studio16@thule.no>
Subject: S16> Mangler Timing Accuracy
Date: Sun, 26 Apr 98 18:25:00
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Brian Fields:
>But don't you have to start with a core timeline sequencer program window
>with AREXX? Run on a public screen? What about shell commands? Built one
>at a time, to be integrated as time goes on into a whole?

Arexx is not suitable for runtime module communication. Nor is any inter-
preted script language. The overhaed is too much for the incredible timing
demands music requires in recording and playback. It is suitable for macros
and nonrealtime processing/manipulation of data.

> and maybe a serial port midi/SMPTE/VTR box . . . . . . . .

And if we are smart we will use existing hardware if possible. All timing/
synchronization/multi-midiport boxes on the market coast much to develop,
are sold in many price ranges and do the job very well. Code is available
to build drivers for them, I'll betcha.

-- greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Sun, 26 Apr 1998 12:27:12 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Drummers Demand Decent Drive
Date: Sun, 26 Apr 98 08:27:00
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Greetings greenboy ;
>Don Cox:
>>>But would you be able to use the piezo to get a tempo off a piano?

>Brian Fields:
>>If there was someone tapping as the piano was being played and could
>>exactly mirror the tempo of the pianist. That could be used as a tempo
>>reference.

>And has been done in hardware and software seqs. But taptime algorithms
>need to have a 2 beat lag.

>Just like pitch to midi convertors have a
>lagtime (irrespective of processor overhead) because they need to sample
>an entire waveform before passing judgement.
>Low notes have a longer
>lagtime because the waveform is longer on the timescale.

The reason pitch to midi converters don't sample fast enough is because of
the magnetic pickups on the instrument itself and the slower vibrations of
the lower strings as I understand it. The magnetic field takes time to
collapse in order to generate the pulses needed for sampling. Other
solutions have been and are being tried (i.e. photoleds) but haven't
seemed to have gotten up to speed with the Leo Fender 1950's technology.
Yes this *is* hardware not software. At MIDI's 31.25 kHz, if it could get
the data faster the computer processing speed could easily handle it.

>>If one was just using a MIDI keyboard foot tapping could suffice to be
>>adjusted later.

>Or {again}, the digital audio track of the performance could generate
>the tempo map automatically, with just one parameter (first barline) or
>two (meter, if not in 4/4) supplied by user.

Then we're talking non-interactive again as in the slowing down or
speeding up of the performance. I guess I feel that this stuff has to be
either hardware or edited after the recording.

>-- greenboy


--
Ta fer now,

Brian
baff@stc.net

** The Studio 16 mailing list (unofficial)


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From greenboy@bigsky.net Sun, 26 Apr 1998 12:28:04 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Pitch recognition and Tap-time
Date: Sun, 26 Apr 98 19:28:00
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>>Just like pitch to midi convertors have a lagtime (irrespective of
>>processor overhead) because they need to sample an entire waveform before
>>passing judgement. Low notes have a longer lagtime because the waveform

Brian Fields wrote:
>The reason pitch to midi converters don't sample fast enough is because of
>the magnetic pickups on the instrument itself and the slower vibrations of
>the lower strings

Slower vibrations ~ longer cycle ~ more time for one vibration. Besides
needing that entire cycle to get a fix on what frequency is being
represented, it needs to be able to distinguish between the fundamental,
and overtones of it which may actually comprise a larger part of the
signal than the fundamental itself.

Pre-filtering helps but does not entirely alleviate "mis-triggering"
because of the FFT dispersion. This varies on different instruments in
different ranges. But near-pure sine waves (some organ sounds), the flute
when played in an "unbreathy" style, translate very accurately.
Unfortunately, the gestural "inaccuracies" between note on all instruments
but keyboards also cause mistriggering.

>as I understand it. The magnetic field takes time to collapse in order
>to generate the pulses needed for sampling. Other solutions have been
>and are being tried (i.e. photoleds) but haven't seemed to have gotten up
>to speed with the Leo Fender 1950's technology.

Using voice, sax, gtr, etc, in conjunction with tailored piezos does not
depend on wound magnetic-coil pickups or guitar tech, and has a response
that is perceived as instantaneous for all practical purposes. IVL's
Pitchrider, similar devices by Roland, Korg, Fairlight - none are dependent
on guitar tech.

>>>If one was just using a MIDI keyboard foot tapping could suffice to be
>>>adjusted later.
 
>>Or {again}, the digital audio track of the performance could generate
>>the tempo map automatically, with just one parameter (first barline) or
>>two (meter, if not in 4/4) supplied by user.
 
>Then we're talking non-interactive again as in the slowing down or
>speeding up of the performance. I guess I feel that this stuff has to be
>either hardware or edited after the recording.

No, the real time approach works well, with a few caveats. Abrupt
tempo/meter changes, inaccurate players (you know, the ones who are hard
to groove with because of hiccups or relaxation problems) will throw the
tempo-sensing into sporadicicsm or worse. But the "averaging" of sample-
and-hold comparison can actually _contribute_ to a better track, while
still retaining the intentions of the players/composer.

-- greenboy

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From baff@stc.net Sun, 26 Apr 1998 15:33:31 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: s16> Mangler Interface Customization
Date: Sun, 26 Apr 98 11:33:00
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Greetings greenboy ;

>Brian Fields wrote:
>>Amiga's are the configure kings. :) But the trick is to do it in a simple
>>way. i.e. make your own buttons, if you prefer text on a button a opposed
>>to an icon, scroll gadgets to save space, font selection, screen-size &
>>color.

>Bigger MUI progs have this in spades. DOpus too. Also important: to ship

Class Act is faster than MUI as long as you mentioned a program name. Both
are great though. And all of these are food for thought.

>size and location, the state of the display model etc). This user-profile
>can be selected (even during first install from the "Midi Mangler" CD so
>as to match the user's needs until one is comfortable with customising.
>These defaults can always be reselected.

Yes sireee!


--
Ta fer now,

Brian
baff@stc.net

** The Studio 16 mailing list (unofficial)


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From baff@stc.net Sun, 26 Apr 1998 15:38:48 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Mangler Timing Accuracy
Date: Sun, 26 Apr 98 11:38:00
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Greetings greenboy ;

>Brian Fields:
>>But don't you have to start with a core timeline sequencer program window
>>with AREXX? Run on a public screen? What about shell commands? Built one
>>at a time, to be integrated as time goes on into a whole?

>Arexx is not suitable for runtime module communication. Nor is any inter-

Yes but it still needs to be built in. I think you've already said this.
No lack of concordance here.....   :)

>> and maybe a serial port midi/SMPTE/VTR box . . . . . . . .

>And if we are smart we will use existing hardware if possible. All timing/
>synchronization/multi-midiport boxes on the market coast much to develop,
>are sold in many price ranges and do the job very well. Code is available
>to build drivers for them, I'll betcha.

Well, opto-isolators are a good idea so as not to blow out the port. And
you'd also need a MIDI DIN plug. So IMHO some kind of box would be a 
practical idea.

>-- greenboy


--
Ta fer now,

Brian
baff@stc.net

** The Studio 16 mailing list (unofficial)


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From baff@stc.net Sun, 26 Apr 1998 15:48:45 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Pitch recognition and Tap-time
Date: Sun, 26 Apr 98 11:48:00
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Greetings greenboy ;

>Brian Fields wrote:
>>The reason pitch to midi converters don't sample fast enough is because of
>>the magnetic pickups on the instrument itself and the slower vibrations of
>>the lower strings

>Slower vibrations ~ longer cycle ~ more time for one vibration. Besides
>needing that entire cycle to get a fix on what frequency is being
>represented, it needs to be able to distinguish between the fundamental,
>and overtones of it which may actually comprise a larger part of the
>signal than the fundamental itself.

Yes but also the closer you can get to the bridge, and the more sensitive
you can read the shorter vibrations the faster the data can be collected.
There are a host of hurdles to overcome with a vibrating string. as you
also describe in more detail. But to get back to the interactive click
track issue, there are ways to get around that if you are using
more instruments than the physical stringed instruments. So there are 
workarounds.

>Using voice, sax, gtr, etc, in conjunction with tailored piezos does not
>depend on wound magnetic-coil pickups or guitar tech, and has a response
>that is perceived as instantaneous for all practical purposes. IVL's
>Pitchrider, similar devices by Roland, Korg, Fairlight - none are dependent
>on guitar tech.

Yup.

>>Then we're talking non-interactive again as in the slowing down or
>>speeding up of the performance. I guess I feel that this stuff has to be
>>either hardware or edited after the recording.

>No, the real time approach works well, with a few caveats. Abrupt
>tempo/meter changes, inaccurate players (you know, the ones who are hard
>to groove with because of hiccups or relaxation problems) will throw the
>tempo-sensing into sporadicicsm or worse. But the "averaging" of sample-
>and-hold comparison can actually _contribute_ to a better track, while
>still retaining the intentions of the players/composer.

Back to a click track? That's what started this. Hey Don! Hey Don!
greenboy's talkin about clicktracks again....    :)

>-- greenboy


--
Ta fer now,

Brian
baff@stc.net

** The Studio 16 mailing list (unofficial)


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From greenboy@bigsky.net Sun, 26 Apr 1998 15:57:28 -0600
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>>>But don't you have to start with a core timeline sequencer program window
>>>with AREXX? Run on a public screen? What about shell commands? Built one
>>>at a time, to be integrated as time goes on into a whole?

>>Arexx is not suitable for runtime module communication. Nor is any inter-

Brian Fields wrote:
> Yes but it still needs to be built in. I think you've already said this.
> No lack of concordance here.....   :)

Abso-honkin-lutely, ground-level. I've seen how programs that don't have all
possible functions available via ARexx suffer later, when trying to add 'em.
'Course, you actually got to know what those functions need to be in the
first place...

>>> and maybe a serial port midi/SMPTE/VTR box . . . . . . . .

>>And if we are smart we will use existing hardware if possible. All timing/
>>synchronization/multi-midiport boxes on the market cost much to develop,
>>are sold in many price ranges and do the job very well. Code is available
>>to build drivers for them, I'll betcha.

>Well, opto-isolators are a good idea so as not to blow out the port. And
>you'd also need a MIDI DIN plug. So IMHO some kind of box would be a
>practical idea.

I don't know if we are on the same dancefloor here, Brian. What I am
saying is that it is easier to use Mark Of The Unicorn's, or Opcode's, or
whoever's Synchronizer/midiport product. They come with various features
(VTC as well as streamed timecode FI) in several price ranges.

Wedding the two devices is cost-effective since synchronization issues
exist in midi as well as SMPTE. And often sync needs go in or out the midi
ports anyway. See midi spec for MTC (midi time code), which is widely
supported, and closely related to SMPTE.

Multiple midiports are good for more than the obvious ability to use more
synths, samplers, effects processors effectively. Each midi port is handling
a
relatively-slow serial data-stream. So timing is not as good when 16
channels
of dense midi is being pushed, as when only 8 channels are on that port.

After all: what good is it to have a well-designed program on a fast CPU, if
timing-critical data-input and output is not always possible? MTC itself is
usually uses a dedicated midi port, as it carries absolute clock, and is a
fairly dense stream. Any use of performance-expressive device, such as
pitchbend, modwheel, or other CC event can instantly effect cued event
output.
A midi wind controller can plug a port faster than you can say trombone.

hasta la presto!
--greenboy

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From greenboy@bigsky.net Sun, 26 Apr 1998 16:42:35 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Tap-time CONDUCTOR
Date: Sun, 26 Apr 98 23:42:00
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Brian Fields wrote:
>But to get back to the interactive click track issue, there are ways to
>get around that if you are using more instruments than the physical
>stringed instruments. So there are workarounds.

Uhh, Brian...what else is in that coffee? (: Other than drums/percussion, a
plucked-string instrument has the most unequivocal attack characteristic -
especially suitable for driving a CONDUCTOR feature. Are you gonna make me
sorry I tried to draw analogies with pitch recognition and servo-SMPTE?

>>>Then we're talking non-interactive again as in the slowing down or
>>>speeding up of the performance. I guess I feel that this stuff has to be
>>>either hardware or edited after the recording.

>>No, the real time approach works well, with a few caveats. Abrupt
>>tempo/meter changes, inaccurate players (you know, the ones who are hard
>>to groove with because of hiccups or relaxation problems) will throw the
>>tempo-sensing into sporadicicsm or worse. But the "averaging" of sample-
>>and-hold comparison can actually _contribute_ to a better track, while
>>still retaining the intentions of the players/composer.

>Back to a click track? That's what started this. Hey Don! Hey Don!
>greenboy's talkin about clicktracks again....    :)

No I am talking describing one _alternative_ to a click track. I am talking
about a tap-time feature driven by fingering a pad, clicking a key, or
playing a drum, bass or gtr with a piezo-pickup. This CONDUCTOR feature in
MidiMangler has limitations: Bad conductor, bad timing. Not really able to
deal with non-referenced abrupt meter/tempo changes.

But its merit is that it can operate reliably with a straight 1-2-3-4 type
input through a song, and actually smooth the unwanted disturbances - early
in the development cycle. Later it can become algoritmically capable of
dealing with metrical complexities and irregularities perhaps. But whoever
designs the algoritm has to understand the issues first, what has already
been achieved toward these ends, and what remains to be done.

It will be cool to have, someday. I'll settle for (1) a tap-time CONDUCTOR,
(2) easy barline dragging with automatic meter/tempo mapping, and
(3) ability to analyze a monophonic DA track and interpolate a tempo map
and construct groove templates from sections of said DA track.

(But keep the click track too, I want to play with vintage analog synthband
resonant filter grooves!)

-- greenboy

** The Studio 16 mailing list (unofficial)


From baff@stc.net Sun, 26 Apr 1998 17:42:21 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Mangler Timing Accuracy
Date: Sun, 26 Apr 98 13:42:00
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Greetings greenboy ;


>>And if we are smart we will use existing hardware if possible. All timing/
>>synchronization/multi-midiport boxes on the market cost much to develop,
>>are sold in many price ranges and do the job very well. Code is available
>>to build drivers for them, I'll betcha.

Well of course. But weren't we talking about interactive tempo timelines?

>I don't know if we are on the same dancefloor here, Brian. What I am
>saying is that it is easier to use Mark Of The Unicorn's, or Opcode's, or
>whoever's Synchronizer/midiport product. They come with various features
>(VTC as well as streamed timecode FI) in several price ranges.

What's FI? I'm not up on my acronyms. duh . . .Is it Foot Iput?   :)

>exist in midi as well as SMPTE. And often sync needs go in or out the midi
>ports anyway. See midi spec for MTC (midi time code), which is widely
>supported, and closely related to SMPTE.

Been it, done it, had it, bought the T-shirt. Like I say, I had to decide
whether to be a full time engineer or a musician. Did the latter. I'm only
dabbling in the stuff now. (dabble-dabble).
My only point on the sµbject that Don brought up about the tempo
fluctuation is that it is not something that can be done without a hardware
trigger device or without being edited in after the recording. That's
all. Indeed we should be talking about the software. Are we on the same
wavelength?    :)

>After all: what good is it to have a well-designed program on a fast CPU, if
>timing-critical data-input and output is not always possible? MTC itself is
>usually uses a dedicated midi port, as it carries absolute clock, and is a
>fairly dense stream. Any use of performance-expressive device, such as
>pitchbend, modwheel, or other CC event can instantly effect cued event
>output.

Yes and anyone with three hands can do it easily while playing a piano.
But seriously, the workarounds are there via a foot pedal and a MIDI
keyboard. Yes the drivers can be built of course.

>--greenboy

--
Datawaving goodbye now,

Brian
baff@stc.net

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From baff@stc.net Sun, 26 Apr 1998 19:03:56 +0500
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From: Brian Fields <baff@stc.net>
To: greenboy <studio16@thule.no>
Subject: Re: S16> Tap-time CONDUCTOR
Date: Sun, 26 Apr 98 15:03:01
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Greetings greenboy ;

>Brian Fields wrote:
>>But to get back to the interactive click track issue, there are ways to
>>get around that if you are using more instruments than the physical
>>stringed instruments. So there are workarounds.

>Uhh, Brian...what else is in that coffee? (: Other than drums/percussion, a
>plucked-string instrument has the most unequivocal attack characteristic -
>especially suitable for driving a CONDUCTOR feature. Are you gonna make me
>sorry I tried to draw analogies with pitch recognition and servo-SMPTE?

Fine, then build you whatchmacallit onto a guitar and go for it.
No matter what the trigger is the program doesn't differentiate a 5 volt
pulse from a string from a 5 volt pulse from a drum. So the program doesn't
care what the trigger is as long as it sees 5 vots on the serial. Right?
The pulse has to be generated somehow by the user to vary the tempo unless 
they want to go back to a click track. There could easily be a foot pedal
designed to interrupt the click track, do the timing by the foot activator
on the other pedal,then punch the interrupt pedal again to engage the 
original click track. Whatever the user wants want to do.

>>>>Then we're talking non-interactive again as in the slowing down or
>>>>speeding up of the performance. I guess I feel that this stuff has to be
>>>>either hardware or edited after the recording.

>No I am talking describing one _alternative_ to a click track. I am talking
>about a tap-time feature driven by fingering a pad, clicking a key, or
>playing a drum, bass or gtr with a piezo-pickup. This CONDUCTOR feature in
>MidiMangler has limitations: Bad conductor, bad timing. Not really able to
>deal with non-referenced abrupt meter/tempo changes.

Yes, but I think the difference here, is that the limitations of the
physical conductor on the instrument have nothing to do with the software
driver.
All the driver is looking for here is a serial MIDI pulse of some kind.
The pickups are another issue altogether. A click track is a click
track, no matter if it fluctuates to the musician's desire or not.
Or if the musician likes he can use the solid click in time at 120bps.
But it still defines the general tempo of the music timeline. SMPTE added
afterwards doesn't care about the music timeline, it's going to be 30fps
or dropframe or whatever. Clearly defined by seconds onn the timeline.

>It will be cool to have, someday. I'll settle for (1) a tap-time CONDUCTOR,
>(2) easy barline dragging with automatic meter/tempo mapping, and
>(3) ability to analyze a monophonic DA track and interpolate a tempo map
>and construct groove templates from sections of said DA track.
>(But keep the click track too, I want to play with vintage analog synthband
>resonant filter grooves!)

The more features the better. Who can disagree?

>-- greenboy

--
Ta fer now,

Brian
baff@stc.net

** The Studio 16 mailing list (unofficial)


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From mardean@mcn.net Sun, 26 Apr 1998 20:43:13 -1000
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From: Marcia McCarry <mardean@mcn.net>
To: studio16 <studio16@thule.no>
Subject: Re: Amiga!!
Date: Mon, 27 Apr 98 07:43:00
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At 06:32 AM 4/25/98 -0500, you wrote:
>On 24-Apr-98, Test wrote:
>>I'm writing this (rambling) because I want to tell someone who will listen,
>>and where I live, everyone is PC or nothing, so this list is the only place
>>for me to turn to.
>
>>I've owned an Amiga for 11 years, and this past year has been the most Amiga
>>productive year ever. I have been drawn closer to the Amiga then I ever have
>>before. Maybe it's because of the advent of some good internet software, but
>>what ever it is.... I love it more than ever.
>
>>For someone to give up on the Amiga now, after all it's been through, would
>be
>>silly. 

AAAAYMENN! Wherever you go with it, I'd like to know. I'm also looking for a
way to
help make things happen for the better in the Amiga world. It doesn't
deserve to die!

Dean Anderson

	


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From turk@gulftel.com Mon, 27 Apr 1998 00:28:26 -0600
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From: CMM <turk@gulftel.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Modern Graphic Card Support
Date: Mon, 27 Apr 98 07:28:00
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Bars & Pipes and Studio 16 both run perfectly on my
PicassoII. There are no problems whatsoever.

regards,



 23-Apr-98, greenboy wrote:
> Don Cox:
>>> What is wrong with B&P?
>>> 1. Doesn't work properly on graphics cards
> 
> Gord Clink: 
>> I use Bars&Pipes on a PicassoII board running Picasso96 software and
have
>> no problem with it at all.... This is the first I've heard of it not
>> running properly. I also load Studio16 onto the same screen as well
with
>> no problems.... 16 colors, 8bit.....
> 
> B&P ToolTypes and mode promotion allow B&P to run on a card in a
primitive
> kludgey fashion. But like many programs of its time the developers
didn't
> take the time to use systemwide support that had become available: ie,
> the screenmode requester. A modern music prog should be able to run
16,
> even 24-bits deep on a properly equipped system, and actually make
good
> use of the additional color that is available.
> 
> Font sensitivity with good font-smoothing is also necessary to support
> different screen resolutions effectively. I am hoping we will get
modern
> PS/True-type support in the Amiga OS.
> 
> -- greenboy
> 
> ** The Studio 16 mailing list (unofficial)
regards


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From greenboy@bigsky.net Sun, 26 Apr 1998 23:43:12 -0600
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Subject: Re: S16> Modern Graphic Card Support
Date: Mon, 27 Apr 98 06:43:00
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CMM wrote:
> Bars & Pipes and Studio 16 both run perfectly on my
> PicassoII. There are no problems whatsoever.

Please: give details of settings; I understand some have had trouble
using CGX with Studio16.

-- greenboy

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From doncox@enterprise.net Sun, 26 Apr 1998 20:52:31 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Drummers Demand Decent Drive
Date: Sun, 26 Apr 98 21:52:00
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On 26-Apr-98, greenboy wrote:

> To sample tempo (and decide what it represents) requires at least
two
> pulses from the sound source, which is then compared against the
> absolute clock. But good ones are doing sample-and-hold loop
comparisons
> with the previous 2 (or more) pulses to minimize the incidence of
> "shakiness". Somewhat like what goes on when SMPTE machine control
is
> being applied as a servo loop for tape machines.

> Or {again}, the digital audio track of the performance could
generate
> the tempo map automatically, with just one parameter (first barline)
or
> two (meter, if not in 4/4) supplied by user.
> 
I wonder how human beings pick up a tempo and play together?

Cheers
-- 
Don Cox
doncox@enterprise.net


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From greenboy@bigsky.net Mon, 27 Apr 1998 08:36:20 -0600
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Don Cox wrote:
> I wonder how human beings pick up a tempo and play together?

In a band someone might be the reference point at the start of the song,
many times the drummer, but often could be the singer, bassist, depending
on content and prefs. Once things are going on, it seems to be a common
"agreement" with emphasis toward the rhythm section. And the skill level
of the participants.

A good bass guitarist, FI, might be changing his playing style quite a
bit, trying to send some time-sense to an inexperienced drummer, and
keep things gelled. Playing with an experienced drummer is a joy. Then
it seems to be a cooperative environment that allows other musical
elements to take precedent. A groove makes all else possible in beat-
oriented music.

The experience of playing in a non-conducted band is an experience
worth having! One can build an incredible awareness that is really not
communicable to the inexperienced. And there is NOTHING like cooking!

As an aside, to something you have said more than once: I think probably
every succesful music sequencer out there is written by a team that has
extensive combined musical backgrounds. Complex specialist software
seems to demand people who can DO the thing and also possess programming
skills. So to blame poor interface design on a non-musician approach
probably is not accurate.

Musical instruments, and musical communication tools like notation,
theory, etc have been evolving forever. And yet the interface of an
instrument that has "depth" (guitar as opposed to kazoo) requires
much training and discipline to operate.

Sequencer and computer interfaces are an infant form; as power increases
the evolution of these interfaces becomes assured. But the depth of any
truly musical sequencer will always require training and discipline from
the user. And patience will probably always have its rewards.

-- greenboy

** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Mon, 27 Apr 1998 14:05:47 -0600
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Subject: Re[2]: S16> Modern Graphic Card Support
Date: Mon, 27 Apr 98 21:05:00
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On 26-Apr-98, greenboy wrote:
> CMM wrote:
>> Bars & Pipes and Studio 16 both run perfectly on my
>> PicassoII. There are no problems whatsoever.
> 
> Please: give details of settings; I understand some have had trouble
> using CGX with Studio16.

I don't know what details I could that would be of any help.
However I use NewMode which is a screen promotion utility
available on Aminet. It is the best I've seen and have used
it for years. I run Studio 16 on an 800 x 600 8 bit screen
with no problems, and I can also run B&P on a cybergfx 8 bit
screen of various sizes with no problems like 640 x 400. 

When the apps are run....initially NewMode will pop up and
ask if you want to promote the screen. You have several options
including This Time, Use, or Save. Not much to it really. Also,
NewMode has many other options like custom sizes etc.

regards,


> 
> -- greenboy
> 
> ** The Studio 16 mailing list (unofficial)
regards


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Mon, 27 Apr 1998 14:27:31 -0600
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Subject: Re: S16> Modern Graphic Card Support
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CMM wrote:
>>> Bars & Pipes and Studio 16 both run perfectly on my
>>> PicassoII. There are no problems whatsoever.
greenboy:
>> Please: give details of settings; I understand some have had trouble
>> using CGX with Studio16.
CMM wrote: 
> I don't know what details I could that would be of any help.

What version of CGX2 or 3? What are your envars (found in env:), and what
Tooltypes are in PicassoMonitor (in Devs:monitors)?

-- greenboy

** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Mon, 27 Apr 1998 19:28:26 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Drummers Demand Decent Drive
Date: Mon, 27 Apr 98 20:28:00
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Hello greenboy

On 27-Apr-98, greenboy wrote:
> Don Cox wrote:
>> I wonder how human beings pick up a tempo and play together?
> 
> In a band someone might be the reference point at the start of the
song,
> many times the drummer, but often could be the singer, bassist,
depending
> on content and prefs. Once things are going on, it seems to be a
common
> "agreement" with emphasis toward the rhythm section. And the skill
level
> of the participants.

This is good stuff, but what I really meant was what is going on in
the brain when you follow a beat. It's the same kind of problem as how
birds keep together in a flock.

 
> Sequencer and computer interfaces are an infant form; as power
increases
> the evolution of these interfaces becomes assured. But the depth of
any
> truly musical sequencer will always require training and discipline
from
> the user. And patience will probably always have its rewards.

Now here you are dealing with a basic problem of all computer (and
tool) usage. Perhaps if the adverts didn't keep telling people that
the software made everything easy, they wouldn't sell so many copies
to disappointed customers.
Eugene Smith ran some evening classes called "Photography Made
Difficult".
Compared to a computer, what could be simpler than a drum, or a
pencil. Yet they are not at all easy to use well.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Mon, 27 Apr 1998 19:01:32 -0600
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Subject: Re[2]: S16> Modern Graphic Card Support
Date: Tue, 28 Apr 98 02:01:00
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On 27-Apr-98, greenboy wrote:
> CMM wrote:
>>>> Bars & Pipes and Studio 16 both run perfectly on my
>>>> PicassoII. There are no problems whatsoever.
> greenboy:
>>> Please: give details of settings; I understand some have had trouble
>>> using CGX with Studio16.
> CMM wrote: 
>> I don't know what details I could that would be of any help.
> 
> What version of CGX2 or 3? What are your envars (found in env:), and
what
> Tooltypes are in PicassoMonitor (in Devs:monitors)?
> 

I use CGFX 2.25 the last update. I've tried CGFX 3 but there
is a know problem with some PicassoII boards. There is pixel
displacement on certain fonts and they look very fuzzy. Not
all fonts but many of them. The WB fonts look great, but fonts
in web browsers, newsreaders look terrible.

Env-Archive

Alertmenu      1
Bootlogo       1
Cpup2c         1
Hide15bit      1
Hireescrsr     1
Keepamigavideo 1
Nochipscreen   1
Nopassthrough  1
PicassoMonitor 13
Plane2fast     1
Savemen        1

the picasso monitor in Env-Archive is 35Khz

There are no tool types set on the Picasso icon in devs monitors.

As I said very little to provide to help anyone.

regards,

> -- greenboy
> 
> ** The Studio 16 mailing list (unofficial)
regards


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Mon, 27 Apr 1998 18:50:42 -0600
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Subject: Re: S16> Drummers Demand Decent Drive
Date: Tue, 28 Apr 98 01:50:00
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Don Cox:
>>> I wonder how human beings pick up a tempo and play together?
greenboy:
>>--snip--it seems to be a common "agreement" with emphasis toward the
>>rhythm section. And the skill level of the participants.--snip--
Don Cox:
>This is good stuff, but what I really meant was what is going on in
>the brain when you follow a beat. It's the same kind of problem as how
>birds keep together in a flock.

I don't know that its all that heuristic. Its more like driving a car in
traffic: when you have some bad drivers out there's a clump up ahead;
then over to your side there's a zoom-and-gater; later, got to watch out
because of the one who _never_ looks in the rear-view before pulling a
lane change. Well, you're paying attention because things aren't flowing
smoothly, and the pleasure of driving we Americans believe in is subdued.

When the freeway has a flow, you can let some of that be handled at the
subconcious level, and more of your attention is available to notice the
scenery that is going by, or the warm scent of blooming trees, or you
are thinking about the reception at your destination.

Tempo itself is not that tough for a decent group to maintain - when it
gets eerie (seemingly heuristic) is when you all are so plugged-in to
higher functioning that almost everything seems to be handled by some
outside agency - all surprises good. This is the creative state!

>>any truly musical sequencer will always require training and discipline
>>from the user. And patience will probably always have its rewards.

>Now here you are dealing with a basic problem of all computer (and
>tool) usage. Perhaps if the adverts didn't keep telling people that
>the software made everything easy, they wouldn't sell so many copies
>to disappointed customers. Eugene Smith ran some evening classes called
>"Photography Made Difficult". Compared to a computer, what could be
simpler than a drum, or a pencil. Yet they are not at all easy to use well.

People often forget the investment of concentration and discipline applied
toward skills gained early in life. I remember the looks on first-grader's
faces as they wielded their jumbos over wide-line pressed pulp and
attempted to form coherent letters - not phrases, sentences, thoughts -
just words.

Many people come to computers expecting too much for too little. They
are already good at watching TV. Fortunately for them, entertainments
have been devised, that give the illusion of active participation,
without the downside of thought, study, reassessment.

Using a sequencer or other software that performs complex duties can be
as pleasurable as "nailing it" with a band in front of a great audience.
The mastery over tools, form and content is its own reward.

-- greenboy

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From jkrutz@meta.burner.com Mon, 27 Apr 98 23:22:55 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Drummers Demand Decent Drive
Date: Tue, 28 Apr 98 07:22:01
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In article <354497E4.E02C8CEC@bigsky.net> greenboy <greenboy@bigsky.net> writes:
> The experience of playing in a non-conducted band is an experience
> worth having! One can build an incredible awareness that is really not
> communicable to the inexperienced. And there is NOTHING like cooking!

Absolutely. Get out of the studio and play live!

> Musical instruments, and musical communication tools like notation,
> theory, etc have been evolving forever. 

It might be worthwhile to point out that the older interfaces are
in significant ways limiting and illogical.

Much theory is taught using a piano keyboard, which shows
each key (for example, C major vs. F# major) very differently. 
Bad, bad, bad! All the relative intervals are really the same in 
every key!

Traditional music notation is itself poor at mapping real intervals
in a consistant spacial way, and is also poor at communicating
the feel meant by the composer.

> And yet the interface of an
> instrument that has "depth" (guitar as opposed to kazoo) requires
> much training and discipline to operate.

I have the feeling really good kazoo playing is possible,
with practice. Someone like the vocalist who did the
wordless vocal solo on Floyd's dark side of the moon would 
probably be awesome with a kazoo.  :^)

Kazoo is probably a better tool for teaching theory than
the piano keyboard. Guitar is good, too, if you stick to a
single string where you can see half steps, and build scales
and chords on that string so students can see the relationships.
But I digress...

Guitar, once you add in all the strings, has its own limitations
and interface inconsistencies.

Half the battle with all these interfaces--string, brass, woodwind,
piano, computer--is in learning the workarounds.

> Sequencer and computer interfaces are an infant form; as power increases
> the evolution of these interfaces becomes assured. 

Graphic editing in sequencers is already a more accurate, consistent 
way to depict music than older pre-computer interfaces.

> But the depth of any
> truly musical sequencer will always require training and discipline from
> the user. And patience will probably always have its rewards.

The simplest approach to any GUI design is to ask "what does 
the user wish to do?" and then create an interface that doesn't 
get in the user's way as he/she does it. But then there will be
users who feel limited because they want to do more than
the design spec allows.

The temptation is to design an interface that will allow
the user to do any conceivable thing (or inconceivable
thing for that matter); the swiss army knife approach.
But then there will be users who feel challenged by the
sheer complexity of the tool, before they've even used
it to create anything.

Does the tool's simplicity limit the art? Does the tool's 
complexity displace the art? 

Wherein lies the balance? Determining the answer to 
that question is the trick.

> -- greenboy

Best Regards,
 -Jamie


** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Mon, 27 Apr 98 23:34:29 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Event List (listview) Editing
Date: Tue, 28 Apr 98 07:34:00
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In article <354101CC.919784F5@bigsky.net> greenboy <greenboy@bigsky.net> writes:
> >> And a event-editing window, that allows you to work with each data
> >> ala original Dr --whoops! - I mean, that sequencer that originated
> >> on the AtariST from a developer who was around even before that.
> 
> Don Cox wrote:
> > Is this different from the requester you get with the magnifying glass
> > in B&P? This allows you to type in exact times (very useful for
> > putting in footsteps at SMPTE times), velocities, etc.
> 
> I've always liked it better than the tack-on mag lense in B&P. It is a
> full-scrollong window with every single midi event that occurs on that
> track, and allows direct-input data entry. Its been awhile, but I
> believe it filter/toggles channels different types of data, etc - so that
> if you just want to see and edit noteon-duration-velocity events you can.
> Global edits were also possible.
> 
> In B&P it isn't as integral.

B&P Pro does have event list editing.

Best Regards,
 -Jamie

PS. And, on another subject, I think they got the tap tempo
working in the last B&P rev (don't remember for sure).

> -- greenboy

Best Regards,
 -Jamie


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Tue, 28 Apr 1998 12:47:29 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Tue, 28 Apr 98 19:47:00
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Jamie Krutz wrote:
>>In B&P it (event list editing) isn't as integral.

>B&P Pro does have event list editing.

My only point here Jamie is that others have stronger emphasis on that
form of editing, and the interface for it is thus more facile.

>>Musical instruments, and musical communication tools like notation,
>>theory, etc have been evolving forever.

>It might be worthwhile to point out that the older interfaces are
>in significant ways limiting and illogical.

Absolutely! In order for midi sequencing to work, any event list must
use mathematical accuracy to represent musical events. When notation
became a big deal in the first midi generation I couldn't help but feel
that wide gap between what the landscape really is and how the map
portrays it.

>Much theory is taught using a piano keyboard, which shows each key
>(for example, C major vs. F# major) very differently. Bad, bad, bad! All
>the relative intervals are really the same in every key!

Much like languages. There are as many exceptions as there are rules. Let's
not even talk about the paradoxes musical theory tries to encompass in
even-tempered scalic music. One of my favorite "lameacies" from the past is
key signatures.

>>Sequencer and computer interfaces are an infant form; as power increases
>>the evolution of these interfaces becomes assured.
 
>Graphic editing in sequencers is already a more accurate, consistent
>way to depict music than older pre-computer interfaces.

Truly.
 
>>But the depth of any truly musical sequencer will always require training
>>and discipline from the user. And patience will probably always have its
>>rewards.

>The temptation is to design an interface that will allow the user to do
>any conceivable thing (or inconceivable thing for that matter); the swiss
>army knife approach. But then there will be users who feel challenged by
>the sheer complexity of the tool, before they've even used it to create
>anything.

That's a point in favor of tiered (and modular) software. But really,
SOME of the modern packages do a fantastic job of giving experienced
power-users what they need while still satisfying newbies' expectations.
This is a result of planning, observation, and listening to feedback.

This evolution on other platforms is more obvious because there isn't a
wall at 1994 (CBM debacle), and because a large body of users at every
tier exists to give feedback, and vote with the wallet.

-- greenboy

** The Studio 16 mailing list (unofficial)


From turk@gulftel.com Tue, 28 Apr 1998 14:14:47 -0600
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To: studio16 <studio16@thule.no>
Subject: Re[2]: S16> Drummers Demand Decent Drive
Date: Tue, 28 Apr 98 21:14:00
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On 27-Apr-98, greenboy wrote:
> Don Cox wrote:
>> I wonder how human beings pick up a tempo and play together?
> 
> In a band someone might be the reference point at the start of the
song,
> many times the drummer, but often could be the singer, bassist,
depending
> on content and prefs. Once things are going on, it seems to be a
common
> "agreement" with emphasis toward the rhythm section. And the skill
level
> of the participants.
> 

I am in a band now and have been in several others. In regards to the
above
question as to the reference point most of the time from my experience
it is the drummer that kicks off a song and starts the tempo of the
song.
Then the bass joins in and the two keep the tempo and rhythm of the
song.

regards,



** The Studio 16 mailing list (unofficial)


From hanssen@plex.nl Wed, 29 Apr 1998 00:07:04 (+0100)
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From: Job Hanssen <hanssen@plex.nl>
To: studio16 <studio16@thule.no>
Subject: Who can provide me with Studio16 3.01?
Date: Wed, 29 Apr 98 01:07:00
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Hi all you out there,

You haven't heard a lot of me lately after my Arexx-Track questions, because
of a system crash. Well, I now have a new harddisk, but when I was
reinstalling all my apps, I found out that I only have the V3.00 of Studio16
on floppie. Anyone out there who could provide me with the V3.01? 

Thanks in advance and keep up those lively discussions, it's fun to read!

-- 
     Job Hanssen - hanssen@dds.nl
     Job Dimensional Computing - computer graphics design and production.



** The Studio 16 mailing list (unofficial)


From hanssen@plex.nl Wed, 29 Apr 1998 00:15:50 (+0100)
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On 18 Apr 98 05:23:49 +0100,
"Kenny Nilsen" <kenny@bgnett.no> wrote about This Mailinglist:
> If anyone with average userlevel on Internet is interrested in taking over
> this list as listowner, then give me a note in _private_ email. Thank you.

Kenny,

I realize I'm a rather late in responding, but I've had a harddisk-crash that
needed my special attention. But if you're still trying to free your hands, I
might be willing to take over for you. I know I can't be of much help in
developping Studio16/AD516 any further, but maybe in maintaining this list I
could make some difference...

What's involved? I mean, should you be able to run specific sofware, or is
shell-access to some unix-box enough?
 
> - Kenny

-- 
     Job Hanssen - hanssen@dds.nl
     Job Dimensional Computing - computer graphics design and production.



** The Studio 16 mailing list (unofficial)


From hanssen@plex.nl Wed, 29 Apr 1998 03:05:30 (+0100)
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On Wed, 29 Apr 1998 00:15:50 (+0100),
Job Hanssen <hanssen@plex.nl> wrote about Re: This Mailinglist:
> On 18 Apr 98 05:23:49 +0100, "Kenny Nilsen" <kenny@bgnett.no> wrote about
> This Mailinglist:
> > If anyone with average userlevel on Internet is interrested in taking over
> > this list as listowner, then give me a note in _private_ email. Thank you.
> 
> Kenny,
> 
> I realize I'm a rather late in responding, but I've had a harddisk-crash
> that needed my special attention. But if you're still trying to free your
> hands, I might be willing to take over for you. I know I can't be of much
> help in developping Studio16/AD516 any further, but maybe in maintaining
> this list I could make some difference...
> 
> What's involved? I mean, should you be able to run specific sofware, or is
> shell-access to some unix-box enough?
> 
>  
> > - Kenny
> 
> -- 
>      Job Hanssen - hanssen@dds.nl
>      Job Dimensional Computing - computer graphics design and production.
> 
> 
> 
> ** The Studio 16 mailing list (unofficial)
> 
> 
Jeezzz... I really thought I sent this mail to Kenny's private account.... So
much for accuracy.... I'll have another try... And NO, this is not my normal
way of handling mail :-) ..

-- 
     Job Hanssen - hanssen@dds.nl
     Job Dimensional Computing - computer graphics design and production.



** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Tue, 28 Apr 98 19:50:11 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 03:50:00
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In article <35462441.36C786FE@bigsky.net> greenboy <greenboy@bigsky.net> writes:
> Jamie Krutz wrote:
> >>In B&P it (event list editing) isn't as integral.
> 
> >B&P Pro does have event list editing.
> 
> My only point here Jamie is that others have stronger emphasis on that
> form of editing, and the interface for it is thus more facile.

I was just responding because someone seemed to indicate
that B&P had only the magnifying glass tool in the graphic editor
for "list editing".

For whoever thought that, you _can_ select real list editing and see
all events displayed in a chronological list, where you can numerically
edit any event. I suppose there may be more to desire for list editing, 
but I'm not sure off-hand what that would be. 

> >It might be worthwhile to point out that the older interfaces are
> >in significant ways limiting and illogical.
> 
> Absolutely! In order for midi sequencing to work, any event list must
> use mathematical accuracy to represent musical events. When notation
> became a big deal in the first midi generation I couldn't help but feel
> that wide gap between what the landscape really is and how the map
> portrays it.

You mean traditional notation? Yes, it falls short of what the graphic
event editing can display. Graphic editing has the advantage of being
able to display actual note lengths as rectangles, rather than as 
rounded to the nearest traditional musical symbol.

> >Much theory is taught using a piano keyboard, which shows each key
> >(for example, C major vs. F# major) very differently. Bad, bad, bad! All
> >the relative intervals are really the same in every key!
> 
> Much like languages. There are as many exceptions as there are rules. 

But unlike languages, the underlying theory is simple and consistent.
Music theory is much easier than it might appear when muddied by an 
arbitrarily complex interface like a piano keyboard. 

No wonder people think western music theory is complicated. 
It's really not.

> Let's
> not even talk about the paradoxes musical theory tries to encompass in
> even-tempered scalic music. One of my favorite "lameacies" from the past is
> key signatures.

Yep. Necessary due to the spacial inadequacies of traditional notation.
And BTW computer notation programs themselves don't always get
the key signatures and the accidental markings correct.

> -- greenboy

Best Regards,
 -Jamie


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 29 Apr 1998 00:47:25 -0600
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Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 07:47:00
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Jamie Krutz wrote:
>I suppose there may be more to desire for list editing, but I'm not sure
>off-hand what that would be.

Well, I really can't access my Amiga right now, to remember what B&P has
in this regard, but its nice to be able to filter (exclude from view) by
channel, type of data (so only certain cc events are showing), etc, so 
that selective operations can be performed, or just facilitating a thinned
view for analysis.
 
>>Let's not even talk about the paradoxes musical theory tries to encompass
>>in even-tempered scalic music. One of my favorite "lameacies" from the
>>past is key signatures.

>Yep. Necessary due to the spacial inadequacies of traditional notation.

For decades many composers have chosen not to use key signatures. And
whether the music is high-brow or low-brow, very little music comes close
to following the key-signature western theory says its tonic (key)
indicates. Really, the major scale and associated triads, and the natural
or descending melodic minor scales are the only ones that don't require
accidentals. And other than showtunes and children's ditties, not
especially popular these days.

>But unlike languages, the underlying theory is simple and consistent.

Most modern music modulates so often, or is modal (based on other scalic
relationships) that much of what has been taught is only useful as a tool
for analysis. And again the exceptions to the rules are as conflagrant as
the rules themselves. So much so, that inventing rules to encompass any
particular exception is the main function of theorists, it seems.

One could say that the only practical basis for music theory is the study
of pychoacoustics, but it too is fraught with paradox. Just as a unified
field theory has not yet been marched forward to describe all the
universe's phenomena, I suspect no one form of cataloging or description
will describe music.

That is why the "language" of music exists - to circumvent verbal and
mathematical islands of logic, in the larger sea of chaos. And you can
quote me on that!

-- greenboy

** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Wed, 29 Apr 1998 09:02:49 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 10:02:00
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On 29-Apr-98, Jamie Krutz wrote:

> For whoever thought that, you _can_ select real list editing and see
> all events displayed in a chronological list, where you can
numerically
> edit any event. I suppose there may be more to desire for list
editing, 
> but I'm not sure off-hand what that would be. 

It's very useful for removing special Korg codes from the beginning of
MIDI files.


> You mean traditional notation? Yes, it falls short of what the
graphic
> event editing can display. Graphic editing has the advantage of
being
> able to display actual note lengths as rectangles, rather than as 
> rounded to the nearest traditional musical symbol.

> But unlike languages, the underlying theory is simple and
consistent.
> Music theory is much easier than it might appear when muddied by an 
> arbitrarily complex interface like a piano keyboard. 
> 
> No wonder people think western music theory is complicated. 
> It's really not.

I find it all makes a lot more sense on the piano roll editor, which
almost removes the real piano's obsession with C major. Considering
Debussy was writing with chromatic scales nearly 100 years ago, and
that people have been working with quarter-tones, gliding tones etc
for nearly as long, the old notation seems rather quaint. All those
sharps and flats!
I would like to see an alternative display like a piano roll but with
just a scale of frequencies down the left. You can still have a
snap-to-key grid, as you do in a drawing package. By using pitch bend,
the snap-to can then allow for different types of tuning, not just
equal temperament.
In the time direction we do already have an alternative of measures or
SMPTE. 
A straight pitch scale would also make more sense when programming
sound effect tracks like footsteps. You could do Doppler
effects more easily.

Cheers
-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Wed, 29 Apr 1998 09:10:25 +0000
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From: Don Cox <doncox@enterprise.net>
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Subject: Re: S16> Evolution of Representational Tools
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On 29-Apr-98, greenboy wrote:

> 
> Most modern music modulates so often, or is modal (based on other
scalic
> relationships) that much of what has been taught is only useful as a
tool
> for analysis. And again the exceptions to the rules are as
conflagrant as
> the rules themselves. So much so, that inventing rules to encompass
any
> particular exception is the main function of theorists, it seems.
> 
> One could say that the only practical basis for music theory is the
study
> of pychoacoustics, but it too is fraught with paradox. Just as a
unified
> field theory has not yet been marched forward to describe all the
> universe's phenomena, I suspect no one form of cataloging or
description
> will describe music.
> 
> That is why the "language" of music exists - to circumvent verbal
and
> mathematical islands of logic, in the larger sea of chaos. And you
can
> quote me on that!

There is a _very_ good section on music in the big book "Science and
Civilization in China". (The sort of book that looks too forbidding to
take off the shelf - it's full of good stuff.)
One thing that comes across clearly is that if you are starting
completely from scratch, it's not easy to distinguish pitch from
timbre. There are just hard and soft and thick etc sounds.
Then think how hard tuning was when there were no adequate rulers to
measure string lengths, or tuning forks, or anything.

-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From kenny@bgnett.no 29 Apr 98 13:02:01 +0100
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From: Kenny Nilsen <kenny@bgnett.no>
To: Job Hanssen <studio16@thule.no>
Subject: Re: Who can provide me with Studio16 3.01?
Date: Wed, 29 Apr 98 13:02:00
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Job Hanssen wrote:
>on floppie. Anyone out there who could provide me with the V3.01? 

Hi there Job and welcome back!

You can download the 3.01 + 3.01A update from Paula Porkki's great Amiga
soundcard page at http://www.iki.fi/~pporkka/

re,
- Kenny


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 29 Apr 1998 08:30:29 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 15:30:00
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Don Cox wrote:
>Considering Debussy was writing with chromatic scales nearly 100 years
>ago, and that people have been working with quarter-tones, gliding
>tones etc for nearly as long, the old notation seems rather quaint. All
>those sharps and flats!

Its been awhile since I looked at A Debussy score, but it seems to me
that he at least occasionally abandoned the use of key-signatures for
the obvious ink-wasters they were, for such music.

Smaller divisions of the octave than 12 are notated in India's music,
but again, it leaves something to be desired. Their music is melodically
complex but due to the difficulties a 60-note scale brings, the music
does not harmonically modulate.

>By using pitch bend, the snap-to can then allow for different types of
>tuning, not just equal temperament.

Microtuning tables on many samplers and synths allow one to play in
quarter-tone, just, mean, 19 step, etc tunings. Most brands have presets
as well as user-configurable tuning available. Some allow tuning within
a one octave span - and then replicate that across the midi note range -
but you can modulate the tonic so as to always have "sweet" chords.

Others (Ensoniq for one) allow you to map the entire keyboard if you
choose, so playing quarter-tone and having all the intervals available
requires two octaves of keys to play one octave.

Wendy Carlos has done some excellent music using microtunings, and
draws references from gamelan, and other musics that do not have even
temperament. Incidentally, gamelan does not respect the notion that
"octaves" have a 2/1 frequency ratio. And this stems from the fact that
the instruments that it is built around have a skewed set of overtones
that a western octave does not sound right with.

Harry Partch was one interesting gentleman in this field. He built many
instruments and tinkered endlessly with different divisions of the
scale. Many of his experiments were before their time. Had he the
advantage of modern soundchips and computers - well, scratch that -
people would still be listening to endless MTV rotation. Except in small
pockets of guarded resistance.

>There is a _very_ good section on music in the big book "Science and
>Civilization in China" One thing that comes across clearly is that if
>you are starting completely from scratch, it's not easy to distinguish
>pitch from timbre.

Especially at extremes in volume (because of the ear's doppler tendencies)
and pitch (because of the ear's inefficiencies at hearing
bass tones as easily as it hears midrange). And the two interact. Also,
the brain plays an incredible part in perceptual audio.

>Then think how hard tuning was when there were no adequate rulers to
>measure string lengths, or tuning forks, or anything.

Heavyweights like Pythagoreas peretty much wedded measurement, math, and
music. All ideal sources of fundamental and overtones have mathematical
relationships, which he (or maybe Roger Bacon) painfully sussed out.
Cross-discipline science certainly made conceptual advancements in that
day!

-- greenboy

** The Studio 16 mailing list (unofficial)


From Brrr@aol.com Wed, 29 Apr 1998 10:59:29 EDT
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In a message dated 4/29/98 7:28:50 AM Eastern Daylight Time, kenny@bgnett.no
writes:

<< ob Hanssen wrote:
 >on floppie. Anyone out there who could provide me with the V3.01? 
  >>
The correct Amiga Audio Cards homepage is:
<A HREF="http://www.sci.fi/~pporkka/aac.html">
http://www.sci.fi/~pporkka/aac.html</A>

-Burr huntington

** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Wed, 29 Apr 98 09:50:02 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 17:50:00
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In article <3546CCFD.7086C007@bigsky.net> greenboy <greenboy@bigsky.net> writes:
> Jamie Krutz wrote:
> >I suppose there may be more to desire for list editing, but I'm not sure
> >off-hand what that would be.
> 
> Well, I really can't access my Amiga right now, to remember what B&P has
> in this regard, but its nice to be able to filter (exclude from view) by
> channel, type of data (so only certain cc events are showing), etc, so 
> that selective operations can be performed, or just facilitating a thinned
> view for analysis.

I don't think B&P's list has view options,  but you're right, that would be nice.

> >>Let's not even talk about the paradoxes musical theory tries to encompass
> >>in even-tempered scalic music. One of my favorite "lameacies" from the
> >>past is key signatures.

> >But unlike languages, the underlying theory is simple and consistent.
> 
> Most modern music modulates so often, or is modal (based on other scalic
> relationships) that much of what has been taught is only useful as a tool
> for analysis. And again the exceptions to the rules are as conflagrant as
> the rules themselves. So much so, that inventing rules to encompass any
> particular exception is the main function of theorists, it seems.

Well you have your simple set of notes. You can number the notes 
in a scale and identify the whole and half step relationships for a 
particular scale (for example 3-4, 7-8 are the half steps in a major 
scale). You can number chords based on roots from the tonic (for
example, the 5 chord), and identify them based on the notes they use 
(ie. maj7th). 

That's the basic underlying theory I'm referring to for western 
music. Portable to any key. Modulate all you want. Use any modality 
you want. Project any kind of tuning you want onto the system. Cake.

Crude interfaces like the piano keyboard make it look much more
complex than it is.

It gets more complicated when you leave the basic set of notes
and use quarter tones and such, but for traditional western music
in classical and popular genres, the building blocks are not that 
complex and they snap together pretty easily. Musical lego.

Of course on top of that, you have expression, which can be
variations in timing and pitch. Real, performed expression is
not easily quantifiable. The ability to know the basic structure and
then stretch the lego with expression is called "being a musician." :^)

In Bars&Pipes I have never bothered to use any algorithmic
features or the key-centric features because I have an ear, 
I know what I want and I know what I'm doing. As long as it
records what I do, has reasonable editing and can sync to a
multitrack (whether tape machine or hard drive system) I'm
pretty much set.

I may be a different breed than some sequencer users. I don't
need it to hold my hand musically. I mostly need it to get out of 
the way and faithfully reproduce what I perform.

> One could say that the only practical basis for music theory is the study
> of pychoacoustics, but it too is fraught with paradox. Just as a unified
> field theory has not yet been marched forward to describe all the
> universe's phenomena, I suspect no one form of cataloging or description
> will describe music.

Once you go beyond traditional western music theory it does get
more complex. But not impossibly complex, I think.
 
> That is why the "language" of music exists - to circumvent verbal and
> mathematical islands of logic, in the larger sea of chaos. And you can
> quote me on that!

Pretty soon we'll be talking about string theory. I want a MIDI sequencer
that describes strings (a theorized form of fundamental vibrating structure
in the universe).  :^)

I think music is an expression of thought that encompasses the verbal
and mathematic in an intuitive way, and goes beyond them. It is a purer 
form of brain activity that touches on dreaming. It may describe the
universe better than any other language. 

Or not.  :^)

> -- greenboy

Best Regards,
 -Jamie



** The Studio 16 mailing list (unofficial)


From baff@stc.net Wed, 29 Apr 1998 13:16:06 +0500
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From: Brian Fields <baff@stc.net>
To: Jamie Krutz <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 09:16:00
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>Jamie Krutz wrote:

>In Bars&Pipes I have never bothered to use any algorithmic
>features or the key-centric features because I have an ear,
>I know what I want and I know what I'm doing. As long as it
>records what I do, has reasonable editing and can sync to a
>multitrack (whether tape machine or hard drive system) I'm
>pretty much set.

>I may be a different breed than some sequencer users. I don't
>need it to hold my hand musically. I mostly need it to get out of
>the way and faithfully reproduce what I perform.

Hear. Hear! This is where ot start.


--
TFN,

Brian

** The Studio 16 mailing list (unofficial)


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Wed, 29 Apr 1998 20:07:01 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 21:07:00
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On 29-Apr-98, greenboy wrote:

> Wendy Carlos has done some excellent music using microtunings, and
> draws references from gamelan, and other musics that do not have
even
> temperament. 

I've only heard her old Bach things, but I knew she was developing
some interesting stuff. I'll see if I can find a CD.

> Heavyweights like Pythagoreas peretty much wedded measurement, math,
and
> music. All ideal sources of fundamental and overtones have
mathematical
> relationships, which he (or maybe Roger Bacon) painfully sussed out.
> Cross-discipline science certainly made conceptual advancements in
that
> day!

And some of the Chinese experts.


Regards
-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Wed, 29 Apr 1998 20:36:46 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 21:36:00
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On 29-Apr-98, Jamie Krutz wrote:

> I don't think B&P's list has view options,  but you're right, that
would be nice.
There are limited options in the Show menu - you can decide whether or
not to show CC, Program Change, Sysex.

What Jamie needs is a program to combine Music Construction with World
Construction - a Harmony of the Spheres Construction Set.  ;-)

(BTW off topic, I still haven't got WCS. Must chase Mindy.)

Regards
-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From thalfman@viser.net Wed, 29 Apr 1998 16:08:43 +0500
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From: Travis Halfman <thalfman@viser.net>
To: studio16 <studio16@thule.no>
Subject: Studio16 to CDDA
Date: Wed, 29 Apr 98 12:08:00
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What are the tools and procedures some of you use to record sound in stereo
with the AD516, then create audio CDs?

I'm hung up on the issue of stereo Studio 16 files which are separate files
but need to be a single stereo CDDA file.  What programs are the most useful
for creating stereo CDDA files (or even stereo .wav for that matter)?

Perhaps a tutorial from someone who has made a CD from the initial recording
to the final CD burning would be most instructive.

Thanks for any help,

Travis Halfman
thalfman@viser.net


** The Studio 16 mailing list (unofficial)


From onad@ao.net Wed, 29 Apr 1998 20:23:50 +0500
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From: Dan Oberley <onad@ao.net>
To: studio16 <studio16@thule.no>
Subject: Non-Linear Video
Date: Wed, 29 Apr 98 16:23:01
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I need a non-linear video editor.
The only Amiga editor i can find is a toaster/flyer but, the price is to
high!! and that's not including the hard drives!
so i did some homework and found out that i could buy a good editor if i go
out and but a whole PC system.  It comes out cheaper with the PC {and that
includes the computer, the editor card AND THE HARD DRIVES} 
Problem is...I don't want to sell my soul to Bill Gates!!  
but, maybe I should, I can always get a Siamese system.
Any better ideas?

-- 
********************************

    Spider Byte        Dan Oberley
      Studio's         Winter Park, FL
                             (407)740-6616

********************************


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From MCKITTRM@Mattel.com Wed, 29 Apr 1998 17:37:21 -0700
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From: McKittrick, Mike T <MCKITTRM@Mattel.com>
To: studio16 <studio16@thule.no>
Subject: RE: Studio16 to CDDA
Date: Thu, 30 Apr 98 01:37:00
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Travis,
MasterISO v2 and Audio Thunder, both by Asimware, convert Studio16 files
to CDDA files.
Regards, Mike
----------
From:  Travis Halfman [SMTP:thalfman@viser.net]
Sent:  Wednesday, April 29, 1998 4:09 AM
To:  studio16@thule.no
Subject:  Studio16 to CDDA

What are the tools and procedures some of you use to record sound in
stereo
with the AD516, then create audio CDs?

I'm hung up on the issue of stereo Studio 16 files which are separate
files
but need to be a single stereo CDDA file.  What programs are the most
useful
for creating stereo CDDA files (or even stereo .wav for that matter)?

Perhaps a tutorial from someone who has made a CD from the initial
recording
to the final CD burning would be most instructive.

Thanks for any help,

Travis Halfman
thalfman@viser.net


** The Studio 16 mailing list (unofficial)

** The Studio 16 mailing list (unofficial)


From baff@stc.net Wed, 29 Apr 1998 19:45:40 +0500
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From: Brian Fields <baff@stc.net>
To: Dan Oberley <studio16@thule.no>
Subject: Re: Non-Linear Video
Date: Wed, 29 Apr 98 15:45:00
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Greetings Dan,

>I need a non-linear video editor.
>The only Amiga editor i can find is a toaster/flyer but, the price is to
>high!! and that's not including the hard drives!
>so i did some homework and found out that i could buy a good editor if i go
>out and but a whole PC system.  It comes out cheaper with the PC {and that
>includes the computer, the editor card AND THE HARD DRIVES}
>Problem is...I don't want to sell my soul to Bill Gates!!
>but, maybe I should, I can always get a Siamese system.
>Any better ideas?

I'll be out of town for a couple of days so this will be all the input I
can give for now.

But if you are taliking about a Trinity (the only pc I can think of that
does high end editing). Then you are not talking about a system that
actually digitizes the video onto a hard drive.

It's a fancy editor that will make a file of all of the edits and effects
(kind of an edit/decision list - EDL)that you want to put together and
then you tell it to go ahead and put the tape together from the scenes you
have marked in the EDL. Then it puts the master together from the other
VTRs hooked up to the system.

NewTek has Fyer/Toaster systems drastically discounted right now and I
dare say you couldn't match the quality and power of their system for the
price of a "true" NLE system. The closest I've seen is still twice the
price...........and it ain't no AMIGA!

Good luck,


>--
>********************************

>    Spider Byte        Dan Oberley
>      Studio's         Winter Park, FL
>                             (407)740-6616

>********************************


>** The Studio 16 mailing list (unofficial)

--
Ta fer now,

Brian
baff@stc.net


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 29 Apr 1998 19:01:43 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Non-Linear Video
Date: Thu, 30 Apr 98 02:01:00
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Dan Oberley wrote:
>I need a non-linear video editor. The only Amiga editor i can find is a
>toaster/flyer but, the price is to high!!
>
>so i did some homework and found out that i could buy a good editor if
>i go out and but a whole PC system.  It comes out cheaper with the PC
>{and that includes the computer, the editor card AND THE HARD DRIVES}

The good thing about the Toaster/Flyer solution: it actually does a for-
real broadcastable signal with good to excellent video quality, and with
HQ5-approved drives it never stutters even with great quality. The
software is pretty ironed out, is fast to work in and train others to do
the same.

Thanks to one of Amiga's few advantages - the custom chipset, it is the
fastest CG, and the real-time transistions are for the most part usable.
3rd party software is cheap, great, and plentiful.

If you buy PC stuff, don't get the cheap stuff that CLAIMS it can do
"video". The signal is substandard, there is quite a bit of frame-rate
stutter or audio-drop-out unless everything is just so. Many have
been sold on buying in at this level, and they always end up spending
as much as the Flyer to get it right.

The better stuff is just going to cost that much, and the hard drives are
going to need to be the same ones if you don't want compression
artifacts (which you might not see in the frenzy of newtoyism, but when
you finally do, boy are you gonna love those salespersons.

So shop wisely. Get advice from deliverers of broadcastable content,
take a vectorscope/waveform monitor to the dealer's, record real-world
footage into it at a low-compression, and see how well it can handle it
all.

As an aside, there a brokers who sell used systems advertizing in the
trades.

-- greenboy

** The Studio 16 mailing list (unofficial)


From mikemcoo@efn.org Wed, 29 Apr 1998 18:29:36 -0700 (PDT)
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Subject: Re: Non-Linear Video
Date: Thu, 30 Apr 98 02:29:00
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On Wed, 29 Apr 1998, Dan Oberley wrote:

> I need a non-linear video editor.
> The only Amiga editor i can find is a toaster/flyer but, the price is to

Check the comp.sys.amiga.marketplace newsgroup.  Not too long ago, I
picked up a PAR and a TBC4 for under a K, and that included a half-gig
drive.  

I am talking used, and the editing features are a bit more hack-and-slash
and figure it out than the true stratospheric capabilities of a
Toaster/Flyer--but you're bux ahead, and it is true nle.  

And the other respondent was dead-on:  you might find something affordable
on the PC side, but, to get broadcast, you're gonna have to pull your
wallet.  (The dossers are claiming amazingly better vid quality with the
PVR than with the PAR, but it's only 'cause the scsi drives they use are
lightning fast now). 

Get hold of a quantum fireball ide, and you'll smoke 'em.  

   http://www.efn.org/~mikemcoo
   http://www.geocities.com/SoHo/lofts/9794
   


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 29 Apr 1998 20:32:25 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Non-Linear Video
Date: Thu, 30 Apr 98 03:32:00
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Mike McCool wrote:
>Not too long ago, I picked up a PAR and a TBC4 for under a K, and that
>included a half-gig drive. I am talking used, and the editing features
>are a bit more hack-and-slash and figure it out than the true
>stratospheric capabilities of a Toaster/Flyer--but you're bux ahead

I hope I won't be considered argumentative, but that is an animation
delivery system. Just a minimum DVE system requires two 4gig drives for
video, a 1 gig for audio, and some backup.

And a working pro with deadlines needs all the production speed and
assembly tools. 2 jobs without those tools - and bye-bye profit, sanity,
and clients. It would be the video equivalent of using steptime editing
in B&P to do an album a week.

-- greenboy

** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Wed, 29 Apr 1998 21:22:36 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Non-Linear Video: Trinity
Date: Thu, 30 Apr 98 04:22:00
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Brian Fields wrote:
>But if you are taliking about a Trinity (the only pc I can think of
>that does high end editing). Then you are not talking about a system
>that actually digitizes the video onto a hard drive. It's a fancy
>editor that will make a file of all of the edits and effects

Oh no, it's quite a bit more - in theory. For the scoop on it, from this
year's NAB, see this Amiga.Org news item (its been all over, actually):

    http://amigaorg.ukonline.co.uk/news/1998/0409-trinity.html

Reports from other quarters (pro mags) somewhat agree with this
assessment. It is not finished, and will be much more expensive than
the base $4995. If you want everything you need to work, anyway.

>NewTek has Fyer/Toaster systems drastically discounted right now and I
>dare say you couldn't match the quality and power of their system for
>the price of a "true" NLE system. The closest I've seen is still twice
>the price...and it ain't no AMIGA!

Brian, that's the case - the price drops are competitive! And in this
marketplace it is about buying a solution. And the Amiga/Toaster/Flyer
combo actually does what it advertizes. For quite some time now, with
fast to use and learn tools, the system delivers REAL broadcast quality.

-- greenboy

** The Studio 16 mailing list (unofficial)


From ImJohn@worldnet.att.net Wed, 29 Apr 1998 09:44:56 -0700
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From: John L Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Wed, 29 Apr 98 17:44:01
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Brian Fields wrote:

> >Jamie Krutz wrote:
>
> >In Bars&Pipes I have never bothered to use any algorithmic
> >features or the key-centric features because I have an ear,
> >I know what I want and I know what I'm doing. As long as it
> >records what I do, has reasonable editing and can sync to a
> >multitrack (whether tape machine or hard drive system) I'm
> >pretty much set.
>
> >I may be a different breed than some sequencer users. I don't
> >need it to hold my hand musically. I mostly need it to get out of
> >the way and faithfully reproduce what I perform.
>
> Hear. Hear! This is where ot start.

Well, I tend to use sequencers that way also, as just a recorder for
what I'm doing. A lot of times I just set the clock to a fairly fast
rate and then just play over the top with out any reference click, for a
lot of pieces that works out fine.

But I try to also visualize everything involved in the creation of music
to be part of the chain, starting with my brain and ending with the
listener's brain.  Then once you have a picture of the entire chain, see
the chain as the 'instrument' and understand how each link in the chain
affects the music.  Some of the most powerful and overlooked parts of
the chain are 'recording' devices like tape decks, mixers, effect units,
and sequencers.  Obviously, sometimes after writing a song you just want
to get it down on some sort of recording to save it, but if it is really
important to you, shouldn't you learn ALL the capabilities of your
'instrument' and strive to use them to the best of your abilities /
imagination / passion?

ImJohn@worldnet.att.net
     .......I play drums


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From fdiebel@bartok.emrl.com Wed, 29 Apr 1998 22:33:24 -0800
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From: Floyd Diebel <fdiebel@bartok.emrl.com>
To: Travis Halfman <studio16@thule.no>
Subject: Re: Studio16 to CDDA
Date: Thu, 30 Apr 98 07:33:00
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On 29-Apr-98, Travis Halfman wrote:

>I'm hung up on the issue of stereo Studio 16 files which are separate files
>but need to be a single stereo CDDA file.  What programs are the most useful
>for creating stereo CDDA files (or even stereo .wav for that matter)?

i use audio thunder to batch convert files from studio16 to .aiff of CDDA
format.  
i typically prefer to use the .aiff format, cause i can execute last minute
edits on the
files before burning to disc.  as far as i am aware, there is no good way to
edit a
CDDA file.  i use soundprobe for this, and it is quite nice.  makecd (demo on
aminet) 
supports using .aiff format files.  don't know about the thlatest version of
master 
iso, but version 1.x only supports CDDA.

>Perhaps a tutorial from someone who has made a CD from the initial recording
>to the final CD burning would be most instructive.

i master all of the multi-track work done here in my studio to cd (my DAT is
seeing low
usage these days).  i also burn cd masters for numerous clients around this
area.  
typically, the way i do this work is as follows -

!)  digitize the source material.  if cleanup needs to me done with external
processing/eq,
   this would obviously be the time to do it.  i will usually record the
entire source material
   as one trac, while i go about other business.  
2) open up the files in the editor.  open the regions window under
OPTIONS>SHOW 
   REGIONS.  go through the source files and range the seperate cd tracks,
then add a 
   region identifying that track with a unique name.  also, i will usually
scale the beginning 
   and ending of each range to get rid of any excess noise or whatnot.
3) use kennys s16regionstofiles program to save out all of your regions to
seperate files.
   i wrote a little front end for this program to make batch setups easy.  let
me know if you
   want a copy.
4) now you'll have a bunch of pairs of s16 files.  i usually use audio thunder
to convert them
   in batches, but you can use a script with kennys studio2aiff software to
get stereo aiffs
   out of the 2 studio16 files.  

when i get through the next few projects ( a month maybe) i'm going to finish
setting
up a front end for taking care of all these steps automatically, once the
regions are defined.
then it will actually be cost effective for me to be burning so many damned cd
masters.

feel free to email me for any more help you may need.

   -f

-- 
fdiebel@bartok.emrl.com
a/v composition and engineering.


** The Studio 16 mailing list (unofficial)


From tony@star1.demon.co.uk Thu, 30 Apr 1998 06:48:44 -0700
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Date: Thu, 30 Apr 98 14:48:00
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----------
> From: Mike McCool <mikemcoo@efn.org>
> To: studio16@thule.no
> Subject: Re: Non-Linear Video
> Date: Wednesday, April 29, 1998 6:29 PM
> 
> On Wed, 29 Apr 1998, Dan Oberley wrote:
> 
> > I need a non-linear video editor.
> > The only Amiga editor i can find is a toaster/flyer but, the price is
to
> 
> Check the comp.sys.amiga.marketplace newsgroup.  Not too long ago, I
> picked up a PAR and a TBC4 for under a K, and that included a half-gig
> drive.  
> 
> I am talking used, and the editing features are a bit more hack-and-slash
> and figure it out than the true stratospheric capabilities of a
> Toaster/Flyer--but you're bux ahead, and it is true nle.  
> 
> And the other respondent was dead-on:  you might find something
affordable
> on the PC side, but, to get broadcast, you're gonna have to pull your
> wallet.  (The dossers are claiming amazingly better vid quality with the
> PVR than with the PAR, but it's only 'cause the scsi drives they use are
> lightning fast now). 
> 
> Get hold of a quantum fireball ide, and you'll smoke 'em.  
> 
>    http://www.efn.org/~mikemcoo
>    http://www.geocities.com/SoHo/lofts/9794
>    
> 
> 
> ** The Studio 16 mailing list (unofficial)




i have a digital broadcaster for sale dont no how to setup open to offers
has VITC,LTC SVIDEO IN/OUT,BETA IN/OUT, composite in/out no harddrive needs
fast scsi drive swap for other hardware also acceptable, i have original
disk and manual, i need a TBC or a Sunrize AD516, 


** The Studio 16 mailing list (unofficial)


From greenboy@bigsky.net Thu, 30 Apr 1998 00:55:55 -0600
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From: greenboy <greenboy@bigsky.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Thu, 30 Apr 98 07:55:01
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Jamie Krutz wrote:
>>>In Bars&Pipes I have never bothered to use any algorithmic
>>>features or the key-centric features because I have an ear,
>>>I know what I want and I know what I'm doing. As long as it
>>>records what I do, has reasonable editing and can sync to a
>>>multitrack (whether tape machine or hard drive system) I'm
>>>pretty much set.
>>>
>>>I may be a different breed than some sequencer users. I don't
>>>need it to hold my hand musically. I mostly need it to get out of
>>>the way and faithfully reproduce what I perform.

Well I'm a real two-fisted man's man, and I don't need no damn
sequencer. I take out my chisel and my stone tablet and my songs are
the songs that make the whole world SPIT milk. And when I want to
build a world, why I engrave it right onto the tablet next to the
song, and I don't need no software to make that fancy 3D texture-mapped
semi-reflective, bathed-in-defused-light tomfoolery. I just draw me a
world --

-- greenboy

** The Studio 16 mailing list (unofficial)


From tc_silvey@juno.com Wed, 29 Apr 1998 14:54:26 -0400
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From: troy silvey <tc_silvey@juno.com>
To: studio16 <studio16@thule.no>
Subject: S16> B&P's event lister
Date: Wed, 29 Apr 98 19:54:00
Message-ID: <19980430.065833.11054.0.tc_silvey@juno.com>
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>I don't think B&P's list has view options,  but you're right, that 
>would be nice.

B&P does have an event lister/editor and it does have some
control to exclude some types of events while viewing.
It is a hard util to find in the menu's. I'd have to pull it up
and get to it myself to tell you how to do it. Check the manual
if you have it. if not, i'll look at it again.

troy

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** The Studio 16 mailing list (unofficial)


From bohus@xnet.com Thu, 30 Apr 1998 09:04:21 -0500 (CDT)
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From: Bohus Blahut <bohus@xnet.com>
To: studio16 <studio16@thule.no>
Subject: Re: Non-Linear Video
Date: Thu, 30 Apr 98 15:04:00
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On Wed, 29 Apr 1998, Dan Oberley wrote:

> I need a non-linear video editor.
> The only Amiga editor i can find is a toaster/flyer but, the price is to
> high!! and that's not including the hard drives!

  It really depends on what kind of editing you intend on doing.  The PC
is replete with low end editors that aren't very flexible, are slow, and
make it difficult to get your footage into any other programs.

  To get into real high quality editing like with the Flyer, the $5000
dollars that NewTek is asking (including a4000 Tower, etc.) is actually
a pretty low price in the industry.

  I started out with the Vlab Motion.  The bundled software- MovieShop-
kicks butt.  The Vlab works in a variety of configurations of Amiga, and
will yield good S-vhs quality.  You can also recors LTC on one of the
Vlab's audio tracks and link it to Studio 16- wchi I plan on doing one of
these days!

  Vlab Motions are now regulrarly trading hands in the newsgroups for
about $800 US.  That's pretty cheap for allowing you to edit and keep your
soul out of MicroSoft's hands.


Bohus Blahut (BOH-hoosh BLAH-hoot)                           Bohus@xnet.com
Modern Filmmaker                                 vox/fax:     773.465.5158

director- The Vantage Point

        "Imitation is the sincerest form of copyright infringement"
                                                                     -BB



** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Thu, 30 Apr 98 00:36:59 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Thu, 30 Apr 98 08:36:01
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In article <yam7423.2301.140527744@smtp.enterprise.net> Don Cox <doncox@enterprise.net> writes:
> There are limited options in the Show menu - you can decide whether or
> not to show CC, Program Change, Sysex.

Thanks for checking. 

> What Jamie needs is a program to combine Music Construction with World
> Construction - a Harmony of the Spheres Construction Set.  ;-)

Heh. 
 
> (BTW off topic, I still haven't got WCS. Must chase Mindy.)

Sure, or wait until final WCS 2 and the new WCS 3 are out
for the Amiga if you like.

> Regards
> -- 
> Don Cox
> doncox@enterprise.net

Best Regards,
 -Jamie


** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Thu, 30 Apr 98 00:32:51 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: Studio16 to CDDA
Date: Thu, 30 Apr 98 08:32:01
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In article <yam7423.2181.118432584@mailhost.viser.net> Travis Halfman <thalfman@viser.net> writes:
> What are the tools and procedures some of you use to record sound in stereo
> with the AD516, then create audio CDs?

I've used the Asimware CD burning software. 

I just got a new version which I haven't yet tried, but it now 
supports Studio16 files directly. It also will directly load L/R files 
as individual files, and you can then tell it which files are stereo pairs. 
It also appears to have greater control over the time between 
songs.

Should be easier the next time I burn a CD than it was last time
with the older version of the software.

> I'm hung up on the issue of stereo Studio 16 files which are separate files
> but need to be a single stereo CDDA file.  What programs are the most useful
> for creating stereo CDDA files (or even stereo .wav for that matter)?

Asimware seems to have it covered.
 
> Perhaps a tutorial from someone who has made a CD from the initial recording
> to the final CD burning would be most instructive.

That's the one drawback with Asimware. The new manual is much bigger 
and better, but still no tutorials. Lots of "what" but very little "why". 

> Thanks for any help,
> 
> Travis Halfman
> thalfman@viser.net

Best Regards,
 -Jamie


** The Studio 16 mailing list (unofficial)


From conlee@linkonline.net Thu, 30 Apr 1998 09:28:27 -0700
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From: Chris Conlee <conlee@linkonline.net>
To: studio16 <studio16@thule.no>
Subject: Re: Non-Linear Video
Date: Thu, 30 Apr 98 17:28:00
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At 08:23 PM 4/29/98 +0500, you wrote:
>I need a non-linear video editor.
>The only Amiga editor i can find is a toaster/flyer but, the price is to
>high!! and that's not including the hard drives!
>so i did some homework and found out that i could buy a good editor if i go
>out and but a whole PC system.  It comes out cheaper with the PC {and that
>includes the computer, the editor card AND THE HARD DRIVES} 
>Problem is...I don't want to sell my soul to Bill Gates!!  
>but, maybe I should, I can always get a Siamese system.
>Any better ideas?
>

Get a Cassablanca.  It's got a strong Amiga heritage, plus it's a turnkey
system, so you'll never have a problem with IRQs etc.  The image is great,
and the software is constantly being improved.

Chris


** The Studio 16 mailing list (unofficial)


From madmaxx@cyberhighway.net Thu, 30 Apr 1998 19:46:54 +0200
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From: Marv B. <madmaxx@cyberhighway.net>
To: studio16 <studio16@thule.no>
Subject: Re: Non-Linear Video
Date: Thu, 30 Apr 98 18:46:01
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>I need a non-linear video editor.
>The only Amiga editor i can find is a toaster/flyer but, the price is to
>high!! and that's not including the hard drives!
>so i did some homework and found out that i could buy a good editor if i go
>out and but a whole PC system.  It comes out cheaper with the PC {and that
>includes the computer, the editor card AND THE HARD DRIVES}
>Problem is...I don't want to sell my soul to Bill Gates!!
>but, maybe I should, I can always get a Siamese system.
>Any better ideas?

>--
>********************************

>    Spider Byte        Dan Oberley
>      Studio's         Winter Park, FL
>                             (407)740-6616

>********************************


>** The Studio 16 mailing list (unofficial)



 +----------------------------------------------------------+
 |  madmaxx@cyberhighway.net is:        116 N.Latah         |
 |      Marv Birkinbine Pres.        Boise, Idaho 83706     |
 | MAXXIMUM VIDEO CREATIONS INC.       1-888-mad-maxx       |
 |     "YOUR AMIGA DEALER              1-208-385-9658       |
 |   FOR THE NEXT GENERATION" www.cyberhighway.net/~madmaxx |
 +----------------------------------------------------------+

a non-linear system on the P.C. that costs less than $8000?
that would be  a toy for mom and pop to make home videos with in there
many free hours in retirment.
Please do yourself a faver and look closley and ask many questions before
you pay hard erned money..
Marv


** The Studio 16 mailing list (unofficial)


From doncox@enterprise.net Thu, 30 Apr 1998 19:30:11 +0000
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From: Don Cox <doncox@enterprise.net>
To: studio16 <studio16@thule.no>
Subject: Re: Non-Linear Video
Date: Thu, 30 Apr 98 20:30:00
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On 29-Apr-98, Dan Oberley wrote:
> I need a non-linear video editor.

Have you considered a Draco? It is almost an Amiga (no AGA chips but
runs AmigaOS 3.1) and the editing software is very highly rated by its
users. I'm not sure where you buy one in the US but Steve Bowie at
lightwrx@INTERLOG.COM  will put you on the right track.


Regards
-- 
Don Cox
doncox@enterprise.net


** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Thu, 30 Apr 98 13:32:05 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Thu, 30 Apr 98 21:32:00
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In article <3548207B.74CEF6DF@bigsky.net> greenboy <greenboy@bigsky.net> writes:
> Jamie Krutz wrote:
> >>>I may be a different breed than some sequencer users. I don't
> >>>need it to hold my hand musically. I mostly need it to get out of
> >>>the way and faithfully reproduce what I perform.
> 
> Well I'm a real two-fisted man's man, and I don't need no damn
> sequencer. I take out my chisel and my stone tablet and my songs are
> the songs that make the whole world SPIT milk. And when I want to
> build a world, why I engrave it right onto the tablet next to the
> song, and I don't need no software to make that fancy 3D texture-mapped
> semi-reflective, bathed-in-defused-light tomfoolery. I just draw me a
> world --

Heh. Good one. If we design a chisel and stone interface
for a new Amiga sequencer, it will surely RULE THE WORLD. :^)

Speaking of self reliance: when I was growing up, we used to walk 
10 miles through the snow barefoot, uphill both ways, carrying the 
horse and buggy because the horse was too lame to walk!  :^)

> -- greenboy

Best Regards,
 -Jamie



** The Studio 16 mailing list (unofficial)


From jkrutz@meta.burner.com Thu, 30 Apr 98 13:24:45 MST
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From: Jamie Krutz <jkrutz@meta.burner.com>
To: studio16 <studio16@thule.no>
Subject: Re: S16> B&P's event lister
Date: Thu, 30 Apr 98 21:24:00
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In article <19980430.065833.11054.0.tc_silvey@juno.com> tc_silvey@juno.com (troy silvey) writes:
> >I don't think B&P's list has view options,  but you're right, that 
> >would be nice.
> 
> B&P does have an event lister/editor and it does have some
> control to exclude some types of events while viewing.
> It is a hard util to find in the menu's. I'd have to pull it up
> and get to it myself to tell you how to do it. Check the manual
> if you have it. if not, i'll look at it again.

Yep, I have the manual, thanks for the tip.

> troy

Best Regards,
 -Jamie


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From ImJohn@worldnet.att.net Thu, 30 Apr 1998 13:38:27 -0700
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From: John Rice <ImJohn@worldnet.att.net>
To: studio16 <studio16@thule.no>
Subject: Re: S16> Evolution of Representational Tools
Date: Thu, 30 Apr 98 21:38:00
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greenboy wrote:

Well I'm a real two-fisted man's man, and I don't need no damn

> sequencer. I take out my chisel and my stone tablet and my songs are
> the songs that make the whole world SPIT milk. And when I want to
> build a world, why I engrave it right onto the tablet next to the
> song, and I don't need no software to make that fancy 3D texture-mapped
> semi-reflective, bathed-in-defused-light tomfoolery. I just draw me a
> world --
>

ROFL!

    ImJohn@worldnet.att.net
        .......I play drums.



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From onad@ao.net Thu, 30 Apr 1998 16:59:08 +0500
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From: Dan Oberley <onad@ao.net>
To: studio16 <studio16@thule.no>
Subject: Re:Non-Linear Video
Date: Thu, 30 Apr 98 12:59:00
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Thanks for all the input everybody  :)

I still have a few questions about the Toaster/Flyer and V-lab motion.

1. Will i need a TBC to use the Toaster/Flyer?
2.  How many Drives will i need?  One for video and one for audio?
3. I have an A4000T with 12megs ram, is that enough ram? or will I need more?
4. Does the Toaster/Flyer have S-Video ins and outs?
5. how many audio tracks can i have? Can I edit them seperate from the video?

Right now I just need S-video quality but, if things work out I'll need
better.  On the other hand, a V-Lab Motion maybe all i ever need.

6. Will I need a toccatta for V-Lab to get sound? Or is it built in?  If not,
will the two cards sync up tightly?

I'd really Love to have a Toaster/Flyer.  It depends on how much additional
hardware I'll need.  A great bonus is Lightwave!!!  I use Imagine right now
but, Lightwave looks much better.

-- 
********************************

    Spider Byte        Dan Oberley
      Studio's         Winter Park, FL
                             (407)740-6616

********************************


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