>My apologies Mike.
>I haven't dabbled much with this function, but Doug is correct, it's delay
>instead of reverb and it doesn't appear to be tweekable enough to satisfy your
>taste.
>Aside from that, it's a fantastic machine.

Trouble not, Jose. It was kind of you to offer the advice in the
first place. My tastes in effects are extremely specialized, and I'm
used to machines that get almost-there but not-quite. :)

This morning I'm giving the Behringer mixer a workout (sorry, Jeff,
but I couldn't afford either of the better-quality models you
suggested). It goes back to Guitar Center if I don't think I can make
it work, but the cue functions alone may be worth the price of
admission.

mike

--
"The problem with this is that you are no longer dealing with true
silence. You are dealing with 'replicated' silence. The best silence
is analogue."                                            (d. morley)
====================================================================
Atomic City* Box 17083 Boulder CO 80308-0083 * metlay@...
mindSpiral: space music with a smile!  *   http://www.mindspiral.com

The last time I went to Rogue Music, they were selling the Adrenalinn I for
$225
(if you ever consider it for stuff other than reverb, I think it's a
bargain).
I like it primarily because of the MIDI and rhythm machine functions.

The next toy on my "Must Have" list is the Edirol UA700.
It's a desk top unit with knob controls for delay, reverb and other effects.
I haven't heard it yet, but it sounds like something up your alley.
It also has a USB interface which is perfect for laptop users.
Musician's friend was selling one for $199 not long ago.
I picked the wrong week to be broke.

JEM


[Non-text portions of this message have been removed]

Samples from the 2 new TouchXtone CDs, Astroboy and headmiX, have been
posted at:

http://www.touchxtone.com/mp3s/AstroboySamples.mp3

http://www.touchxtone.com/mp3s/headmiXsamples.mp3

Wešre also hosting samples from the Conrad Schnitzler (Tangerine Dream,
Kluster)/Michael Thomas Roe (TouchXtone) collaboration, Mi.T.-CON 04:

http://www.touchxtone.com/mp3s/MiT-CON04Sampler.mp3

Enjoy. If you like the samples, youšll love the CDs;^)

-Jim
  www.touchxtone.com


[Non-text portions of this message have been removed]

It does have reverb! Oh, well... Now you have
something new to play with...



--- Doug Wellington <doug@...> wrote:
> Mike Metlay writes:
> > ><Does the Adrenalinn have really long reverbs?>
> > >
> > >The presets are not ultra-long, ( I guess the
> manufacturer assumes most
> > >guitar players don't like to venture THAT far out
> into space,...unless they're
> > >smoking some really heavy stuff). However,  you
> can tweek them to your taste.
> >
> > But what's the maximum? Three seconds does me
> little good. Ten
> > seconds is bearable. Twenty seconds and we're in
> business; two
> > minutes and we're rockin'.
>
> Ummm, I don't know what kind of Adrenalinn anyone
> else has, but the ones
> I use
>
<http://www.rogerlinndesign.com/products/adrenalinn2.shtml>
> have
> NO reverb in them.  2.8 seconds of delay, yes, but
> no reverb...
>
> -Doug
>
> Ambient, Space and Electronic Music comes to Arizona
> September 17, 2005
> at Arcosanti, 65 miles north of Phoenix.
> http://www.differentskies.com
>
>

G. Neal Merrick
Merrick Music Productions
http://www.merrickmusic.com
(615)335-6760

__________________________________________________
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around
http://mail.yahoo.com

[Non-text portions of this message have been removed]

On Sun, 1 May 2005 14:55:11 EDT, JEMPolyUnRex@... wrote:

>
>The last time I went to Rogue Music, they were selling the Adrenalinn I for
>$225
>(if you ever consider it for stuff other than reverb, I think it's a
>bargain).
>I like it primarily because of the MIDI and rhythm machine functions.

A pal of mine has an Adrenalinn II on loan and can't figure out if
it's possible to bypass its functions via MIDI - anyone know?

Paul

Paul writes:
> A pal of mine has an Adrenalinn II on loan and can't figure out if
> it's possible to bypass its functions via MIDI - anyone know?

Hmmm...  I haven't tried, but I think there are a couple possibilities.
You can stop the drumbeat and effects sequence with a MIDI stop message
(and turn them back on with start or continue).  You could try sending
a program change message to select preset 99, which is blank.  If you
just want to clear the drumbeat, send a song select for preset 99,
which is also blank.  The other thing might be to craft a sysex message
to tell the Adrenalinn to receive a single parameter for byte 3 with a 0
for "effect off" for the effects, and another sysex single parameter
message for byte 11 set to 0 for "amp model bypass".  I suppose you
could also send byte 2 set to 0 (wet/dry balance, 0 = dry)...

-Doug

Ambient, Space and Electronic Music comes to Arizona September 17, 2005
at Arcosanti, 65 miles north of Phoenix.  http://www.differentskies.com

On Mon,  2 May 2005 07:34:12 -0700, Doug Wellington
<doug@...> wrote:

>Hmmm...  I haven't tried, but I think there are a couple possibilities.
>You can stop the drumbeat and effects sequence with a MIDI stop message
>(and turn them back on with start or continue).  You could try sending
>a program change message to select preset 99, which is blank.  If you
>just want to clear the drumbeat, send a song select for preset 99,
>which is also blank.  The other thing might be to craft a sysex message
>to tell the Adrenalinn to receive a single parameter for byte 3 with a 0
>for "effect off" for the effects, and another sysex single parameter
>message for byte 11 set to 0 for "amp model bypass".  I suppose you
>could also send byte 2 set to 0 (wet/dry balance, 0 = dry)...

That kind of thing sounds like what he's been asking for thanks! Shame
there's not a simple MIDI CC number for effect & amp bypass; seems an
obvious thing to want.

Ah, gear eh?

Cheers,

Paul
P.S. Did you upgrade your V-Synth to version 2 yet? If so, what
waveset did you decide to go with - the originals or the new, (&
incompatible) set? Roland strike again...

Hey Paul...

> That kind of thing sounds like what he's been asking for thanks! Shame
> there's not a simple MIDI CC number for effect & amp bypass; seems an
> obvious thing to want.

Yeah...  That's actually one of the reasons I like having the VM-7000
mixer rig - I have lots of channels and it's midi controllable, so I
handle it all there, just by changing the wet/dry channel mix...

> Ah, gear eh?

Love it and hate it...  ;-)

> P.S. Did you upgrade your V-Synth to version 2 yet? If so, what
> waveset did you decide to go with - the originals or the new, (&
> incompatible) set? Roland strike again...

I loaded up the all new version 2 stuff, but I've been thinking of
downloading version 2 with the version 1 patches.  I need to put down
the Evolvers and the sequencers (been soldering together a couple
Miltons and I recently got one of Steve's MAQ16/3 sequencers) and the
MOTM/Blacet/Oakley/Encore stuff and the Fizmo and the basses (just
restrung the fretless and the 12 stringer) and the V-Drums and the new
udus (recently got a Hadgini) and the QLSO Platinum and, and...  ;-)
At some point I'll start to play with the V-Synth again...

-Doug

Ambient, Space and Electronic Music comes to Arizona September 17, 2005
at Arcosanti, 65 miles north of Phoenix.  http://www.differentskies.com

So I got SuperCollider syncing to MIDI Beat Clock last night, no problem.
It was the first time that I'd looked at the spec, though, and I was
rather appalled to find out that there's no position information--unless
you specifically send a song position pointer, it just goes tick tick
tick. That means that if you go off the clock and then back on, or even
just miss a tick, you're SOL--there's no way to find where the bars, or
even the beats, begin.

Those of you who have done projects with lots of people syncing to a
central clock--how do you recover from mishaps? Do you make the central
clock send out SPP every once in a while? Do you just cross your fingers?
Is there something in the spec that I missed?

Well I'm afraid with the Berhinger DJ mixer you can not get the title of
Grandmaster Metlay. Not that I don't have my share of Berhinger gear, a
patchbay and my 16 channel mixer are berhinger. It's just so cheap and does
90% of what something twice the price or more does.

Actually if that one has VCA faders you probably got about everything the
technics has for about $400 less.




On Sun, 1 May 2005 09:04:53 -0600, Mike Metlay ++ Atomic City wrote
> >My apologies Mike.
> >I haven't dabbled much with this function, but Doug is correct, it's delay
> >instead of reverb and it doesn't appear to be tweekable enough to satisfy
your
> >taste.
> >Aside from that, it's a fantastic machine.
>
> Trouble not, Jose. It was kind of you to offer the advice in the
> first place. My tastes in effects are extremely specialized, and I'm
> used to machines that get almost-there but not-quite. :)
>
> This morning I'm giving the Behringer mixer a workout (sorry, Jeff,
> but I couldn't afford either of the better-quality models you
> suggested). It goes back to Guitar Center if I don't think I can
> make it work, but the cue functions alone may be worth the price of admission.
>
> mike
>
> --
> "The problem with this is that you are no longer dealing with true
> silence. You are dealing with 'replicated' silence. The best silence
> is analogue."                                            (d. morley)
> ====================================================================
> Atomic City* Box 17083 Boulder CO 80308-0083 * metlay@...
> mindSpiral: space music with a smile!  *   http://www.mindspiral.com
>
> ------------------------ Yahoo! Groups Sponsor --------------------~-->
> What would our lives be like without music, dance, and theater?
> Donate or volunteer in the arts today at Network for Good!
> http://us.click.yahoo.com/rKxVKC/SOnJAA/n1hLAA/KVjolB/TM
> --------------------------------------------------------------------~->
>
> Yahoo! Groups Links
>
>
>


--
Open WebMail Project (http://openwebmail.org)

> It was the first time that I'd looked at the spec, though, and I was
> rather appalled to find out that there's no position information--unless
> you specifically send a song position pointer, it just goes tick tick
> tick.

Correctamundo. To add to the mess, the song position pointer message
is less accurate (by a factor of either four or six, I forget) than
the resolution of the actual clock ticks.

> That means that if you go off the clock and then back on, or even
> just miss a tick, you're SOL--there's no way to find where the bars, or
> even the beats, begin.

That's right - if it happens on stage you just have to go into DJ mode
and sync up by ear.

> Do you make the central
> clock send out SPP every once in a while?

Offhand, I don't know whether devices are expected to change location
while they're running. (It's a while since I played with this stuff.)
In any case, I doubt that many devices would be able to resynchronize
smoothly.

	 -- N.

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

Yes, that's one of the limitations of midi clock.
SPP is probably not a solution. Many arpeggiators do not respond to SPP,
and most boxes don't document
whether they send or respond to SPP.
I usually try to use sequences or rhythm patterns that can be started
and stopped manually
(independently of midi clock, although still timed by it). Also they
need to sync their downbeat to the key or button press.
Not all devices can do this.
In the absence of this, the only way to recover from mishaps may be to
stop and restart the master clock.
In general, I'm not so keen on trying to sync everyone to the same clock
- it might work but it also can add
alot of complexity, confusion, and mucho time spent setting up and testing.
For example, it seems to me that the person providing the main rhythmic
element should have control over the tempo,
but if the master clock is coming from somewhere else, that would
require stopping everything to reconfigure (or call up a new patch)
on the midi router, plus one or two people to switch their local
configuration from slave to master or vice versa.
Or else everyone is a slave to a tempo that was decided before the piece
started (not so good in an improv).
I don't object to trying this out, but we need to be aware of the extra
time it will consume, and potential problems.
Another example, if your rig has been set up to run with one device as
master clock, and others as slaves, what will happen if you switch
the device that was normally master to now also being a slave? Will it
still send clock to the other devices? I've seen some boxes that
won't forward an external clock. In which case you'll need another midi
merge. Not all sequencers/arpeggiators/drum machines are consistent
in terms of how they handle midi start/stop/continue. Also some devices
have more stable clocks than others.
And some devices, for example when using midi clock to time a digital
delay, may cause clicks if the tempo is not constant.
I had a rig that worked fine when box A was the master and box B was the
slave, but when reversed would slowly slip out of sync over time.
Trying not to be negative here. It can be great fun playing around with
this stuff, and everybody in sync.
It can also be nice when rhythm parts are played manually, adding some
more human variation. Last year this worked pretty well, especially with
some of the excellent drummers/percussionists we had.

Tim Walters wrote:

>So I got SuperCollider syncing to MIDI Beat Clock last night, no problem.
>It was the first time that I'd looked at the spec, though, and I was
>rather appalled to find out that there's no position information--unless
>you specifically send a song position pointer, it just goes tick tick
>tick. That means that if you go off the clock and then back on, or even
>just miss a tick, you're SOL--there's no way to find where the bars, or
>even the beats, begin.
>
>Those of you who have done projects with lots of people syncing to a
>central clock--how do you recover from mishaps? Do you make the central
>clock send out SPP every once in a while? Do you just cross your fingers?
>Is there something in the spec that I missed?
>
>

On Mon,  2 May 2005 10:38:12 -0700, Doug Wellington
<doug@...> wrote:

>Hey Paul...

>Yeah...  That's actually one of the reasons I like having the VM-7000
>mixer rig - I have lots of channels and it's midi controllable, so I
>handle it all there, just by changing the wet/dry channel mix...

Ah, cunning.

>I loaded up the all new version 2 stuff, but I've been thinking of
>downloading version 2 with the version 1 patches.  I need to put down
>the Evolvers and the sequencers (been soldering together a couple
>Miltons and I recently got one of Steve's MAQ16/3 sequencers) and the
>MOTM/Blacet/Oakley/Encore stuff and the Fizmo and the basses (just
>restrung the fretless and the 12 stringer) and the V-Drums and the new
>udus (recently got a Hadgini) and the QLSO Platinum and, and...  ;-)

I think I see.... 8-)

>At some point I'll start to play with the V-Synth again...

The VC-2 card is pretty amazing if you're into vocoders. Sounds like
you need something new to occupy yourself with <g>.

Paul

On Mon, 2 May 2005 10:49:46 -0700 (PDT), "Tim Walters"
<walters@...> wrote:

>Those of you who have done projects with lots of people syncing to a
>central clock--how do you recover from mishaps? Do you make the central
>clock send out SPP every once in a while? Do you just cross your fingers?
>Is there something in the spec that I missed?

If I stop a synced drum machine and want to start it again, I do so by
ear and by feel. My Electribes can be resynced as they play and I can
send notes to them from the sequencer if I really think I won't get it
right.

Generally, I start and stop lots of things with the P3 as master:
arpeggiators, delays, drum machines and a second P3 with associated
drum machines, analogue sequencers etc. After a while you just find
ways of making your cockups work for you....

Paul

Could we wire up something with the spare yamaha patch bay I have so that we
could alternate between performers generating the clock signal and a dedicated
clock signal by switching programs?




On Mon, 02 May 2005 14:40:28 -0400, Greg Waltzer wrote
> Yes, that's one of the limitations of midi clock.
> SPP is probably not a solution. Many arpeggiators do not respond to
> SPP, and most boxes don't document whether they send or respond to SPP.
> I usually try to use sequences or rhythm patterns that can be
> started and stopped manually
> (independently of midi clock, although still timed by it). Also they
> need to sync their downbeat to the key or button press. Not all
> devices can do this. In the absence of this, the only way to recover
> from mishaps may be to stop and restart the master clock. In general,
>  I'm not so keen on trying to sync everyone to the same clock - it
> might work but it also can add alot of complexity, confusion, and
> mucho time spent setting up and testing. For example, it seems to me
> that the person providing the main rhythmic element should have
> control over the tempo, but if the master clock is coming from
> somewhere else, that would require stopping everything to
> reconfigure (or call up a new patch) on the midi router, plus one or
> two people to switch their local configuration from slave to master
> or vice versa. Or else everyone is a slave to a tempo that was
> decided before the piece started (not so good in an improv). I don't
> object to trying this out, but we need to be aware of the extra time
> it will consume, and potential problems. Another example, if your
> rig has been set up to run with one device as master clock, and
> others as slaves, what will happen if you switch the device that was
> normally master to now also being a slave? Will it still send clock
> to the other devices? I've seen some boxes that won't forward an
> external clock. In which case you'll need another midi merge. Not
> all sequencers/arpeggiators/drum machines are consistent in terms of
> how they handle midi start/stop/continue. Also some devices have
> more stable clocks than others. And some devices, for example when
> using midi clock to time a digital delay, may cause clicks if the
> tempo is not constant. I had a rig that worked fine when box A was
> the master and box B was the slave, but when reversed would slowly
> slip out of sync over time. Trying not to be negative here. It can
> be great fun playing around with this stuff, and everybody in sync.
> It can also be nice when rhythm parts are played manually, adding
> some more human variation. Last year this worked pretty well,
>  especially with some of the excellent drummers/percussionists we had.
>
> Tim Walters wrote:
>
> >So I got SuperCollider syncing to MIDI Beat Clock last night, no problem.
> >It was the first time that I'd looked at the spec, though, and I was
> >rather appalled to find out that there's no position information--unless
> >you specifically send a song position pointer, it just goes tick tick
> >tick. That means that if you go off the clock and then back on, or even
> >just miss a tick, you're SOL--there's no way to find where the bars, or
> >even the beats, begin.
> >
> >Those of you who have done projects with lots of people syncing to a
> >central clock--how do you recover from mishaps? Do you make the central
> >clock send out SPP every once in a while? Do you just cross your fingers?
> >Is there something in the spec that I missed?
> >
> >
>
> ------------------------ Yahoo! Groups Sponsor --------------------~-->
> Has someone you know been affected by illness or disease?
> Network for Good is THE place to support health awareness efforts!
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> --------------------------------------------------------------------~->
>
> Yahoo! Groups Links
>
>
>


--
Open WebMail Project (http://openwebmail.org)

>> At some point I'll start to play with the V-Synth again...
>
> The VC-2 card is pretty amazing if you're into vocoders. Sounds like
> you need something new to occupy yourself with <g>.

Yeah, I just don't have any toys to play with...!

Heehee, did I mention the software that I'm writing?  I'm trying to
finish up the OS X drivers that let me use the Ensoniq Paris hardware
with any OS X Core Audio app...  Then of course, there's the FPGA stuff
I'm working on along with the usual electronics repair, cabinetry and
stained glass...  Did I mention that my mom bought two houses in my
neighborhood that I now have to maintain?  One has 30 citrus trees!

Then there's the mountain biking thing...

-Doug  (And people wonder why I am the way that I am...)  ;-)

Ambient, Space and Electronic Music comes to Arizona September 17, 2005
at Arcosanti, 65 miles north of Phoenix.  http://www.differentskies.com

Just got my copy of the (UK) Sequences Magazine and Different Skies was
displayed prominently on page 7 along with the group picture from 2004. Nice
dig at Mr. Nagle;^)

Otsošs Frozen Paint On Boiling Canvas is (positively) reviewed as is Binaršs
The Truth Sets Us Free. And TouchXtonešs Virgin Saw (an unreleased live
recording from a year ago) made it to the sampler CD as did our smiling
faces in the artists spread.

Pretty cool issue overall even without said DS luminaries.

Order info at www.micksequences.demon.co.uk, www.cd-services.com,
www.infectionmusic.co.uk, www.groove.nl, www.quantumproductions.nl, and
apatters@... (US)

-Jim
  www.touchxtone.com


[Non-text portions of this message have been removed]

I got my ticket today; YEAH!

Delta 989    12SEP05
Arrives PHOENIX    918A 

Delta 929    18SEP05
Departs PHOENIX 1018A

Anyone arriving or departing similar times want to share a car?

-Jim
  www.touchxtone.com


[Non-text portions of this message have been removed]

>So I got SuperCollider syncing to MIDI Beat Clock last night, no problem.
>It was the first time that I'd looked at the spec, though, and I was
>rather appalled to find out that there's no position information--unless
>you specifically send a song position pointer, it just goes tick tick
>tick. That means that if you go off the clock and then back on, or even
>just miss a tick, you're SOL--there's no way to find where the bars, or
>even the beats, begin.
>
>Those of you who have done projects with lots of people syncing to a
>central clock--how do you recover from mishaps? Do you make the central
>clock send out SPP every once in a while? Do you just cross your fingers?
>Is there something in the spec that I missed?

I won't repeat what others have said already, but yes, it's just as
you think it was. This is the great hideousness of MIDI arpeggiators,
my pet love-hate thing of many years. If your first note hit is two
clocks off, everything else is two clocks off and stays that way
until you retrigger. One of the reflexes I've developed over the
years is to realize when an arp is off and retrigger it to get it to
sync better; I've also gotten pretty good at leading the clocks
slightly for when patches have mushy attacks.

As much as I hate to say it, this was largely why Vince Clarke, with
his supposedly asinine devotion to old analog gear, was right: when
you sequence analog stuff, you're not picking and choosing clicks
that have 23 clicks in between them, you hit a 1/4" jack with a
5-volt pulse and blam, there's your note. Blam blam blam. This is why
my early stuff is so precise and clean-sounding; at that time I
hadn't been seduced by the MIDI arpeggiator side of the Force and was
triggering everything with voltage pulses and FSK. TR-707 as clock
master, sending FSK to the MC-202 which triggered the Xpander, and
rimshot triggers to the Xk to step the arpeggiator (in syncopation if
desired), and MIDI clocks to everything else. Worked like a
charm...so well that I'm in the process of rebuilding that exact
setup right now.

Wes, are you on this list still? Do you still have that Xk you were
offering me? I could use it, it's the one piece I'm still missing in
the puzzle.

mike

--
"The problem with this is that you are no longer dealing with true
silence. You are dealing with 'replicated' silence. The best silence
is analogue."                                            (d. morley)
====================================================================
Atomic City* Box 17083 Boulder CO 80308-0083 * metlay@...
mindSpiral: space music with a smile!  *   http://www.mindspiral.com

Greg Waltzer wrote:
>In general, I'm not so keen on trying to sync everyone to the same clock
>[much negativity deleted]
>Trying not to be negative here.

Mmm hm... :)

>It can be great fun playing around with
>this stuff, and everybody in sync.

Yes it can, and can lead to some stuff that can't be done otherwise.
It's the one thing I really missed last year, and would like to get
back into the network somehow. It's not perfect and does have the
potential for grief, but you know what? So does playing everything by
hand. As you pointed out, playing rhythm parts manually with human
variation is nice sometimes...

>It can also be nice when rhythm parts are played manually, adding some
>more human variation. Last year this worked pretty well, especially with
>some of the excellent drummers/percussionists we had.

...but that's how we've done things for the past two years because
there was no other choice. It would be nice if we could get something
tighter happening, even allowing for the fact that there will be
teething pains.

I admit it, I'm a sucker for clocked rigs. The stuff I had the most
fun with at DS2k4 was the Department S material, where Paul was
clocking Nick, Giles and me and everything banged along together,
modulo some musicianship in hitting the right rhythmic subdivisions.
I would like to do more of that.

My current plan is to bring either a Yamaha MJC8 or an Opcode Studio
5LX on stage and have one cable per performer rig, if said performer
wishes it. There will be simple presets that distribute one clock
signal from one person's rig to everyone else, depending on who has
Little Myy. Within your rig, if you have more than one clock source,
you should have a MIDI system that allows you to decide what is
taking data from your feed and what sends data out to the network; in
other words, you should have some form of MIDI routing in your setup
that you are comfortable with, with "the outside world" as one I/O
pair. I will probably bring my MJC8 for my own rig and use the 5LX
for the main network, simply because the 5LX can be programmed to
filter out whatever other shit is coming down people's MIDI lines and
only transmit clocks....

I know it won't be effortless and it won't be transparent, and I also
agree that there will be debug time involved. But I'm going to do it
anyway. Anyone who feels that it's not working for them is free to
unplug from the network and let those who are making it work keep
working.

Second and slightly related question: What I would appreciate a lot
at this point is a serious discussion of practical solutions for
monitoring. A lot of the rhythmic slop that ruined many of the takes
from last year's show to the point where they couldn't be included on
the DVD was due to the fact that half the people had on headphones
and couldn't hear anything else, and the other half were relying on
side fills with differing delay times across the stage, so the laws
of physics knocked everyone out of sync. A solution to this would
make non-clocked stuff sound a lot tighter (there's no question that
there's talent in this bunch, but even the best drummer can't hear a
beat faster than the speed of sound) and clocked stuff easier to sync
by ear.

Third question: realistically, how many stereo headphone feeds should
we be able to offer from the main mix position? I am looking at
buying a Behringer SL3242FX mixer as our main board, as opposed to
dismantling my studio and hauling the much larger and heavier MX3282A
that I have. Folks should hit behringer.com, download specs and/or
manuals for both boards, and help me run the numbers on how many
feeds we can create from prefade auxes and/or groups, and whether the
8-bus mixer is worth the extra hassle and weight to transport (it
weighs about three times what the 4-bus does). I would prefer not to
buy more snakes than we need.

And Jeff, can you measure from center stage over the moat on the left
side and up to the mix position for me so I know how long the snakes
have to be? 50 feet would be easy but sounds just a hair short...

mike

--
"The problem with this is that you are no longer dealing with true
silence. You are dealing with 'replicated' silence. The best silence
is analogue."                                            (d. morley)
====================================================================
Atomic City* Box 17083 Boulder CO 80308-0083 * metlay@...
mindSpiral: space music with a smile!  *   http://www.mindspiral.com

OK, no worries, I'll just add an offset parameter for emergencies.

On Mon,  2 May 2005 14:15:57 -0700, Doug Wellington
<doug@...> wrote:

>Yeah, I just don't have any toys to play with...!

8-)

>Heehee, did I mention the software that I'm writing?  I'm trying to
>finish up the OS X drivers that let me use the Ensoniq Paris hardware
>with any OS X Core Audio app...  Then of course, there's the FPGA stuff
>I'm working on along with the usual electronics repair, cabinetry and
>stained glass...  Did I mention that my mom bought two houses in my
>neighborhood that I now have to maintain?  One has 30 citrus trees!

Good grief...

>Then there's the mountain biking thing...

About time you cloned yourself....

>-Doug  (And people wonder why I am the way that I am...)  ;-)

It's good to keep busy. I think I'm starting to get the picture.

Paul
---
Paul Nagle - SoftRoom Music - www.softroom.co.uk
           Bogus Focus Records - www.BogusFocus.com

On Mon, 02 May 2005 21:36:16 -0400, Jim Combs <jwcombs@...>
wrote:

>Just got my copy of the (UK) Sequences Magazine and Different Skies was
>displayed prominently on page 7 along with the group picture from 2004. Nice
>dig at Mr. Nagle;^)

In a nice way? For some reason I can't get much dialogue going with
Mick these days - possibly due to who presses the CDs - but I haven't
seen a copy for ages.

>Otsošs Frozen Paint On Boiling Canvas is (positively) reviewed as is Binaršs
>The Truth Sets Us Free. And TouchXtonešs Virgin Saw (an unreleased live
>recording from a year ago) made it to the sampler CD as did our smiling
>faces in the artists spread.

Sweet.

>Pretty cool issue overall even without said DS luminaries.
>
>Order info at www.micksequences.demon.co.uk, www.cd-services.com,
>www.infectionmusic.co.uk, www.groove.nl, www.quantumproductions.nl, and
>apatters@... (US)

Right, time I found out what I was missing! Ta for the tip.

Paul
---
Paul Nagle - SoftRoom Music - www.softroom.co.uk
           Bogus Focus Records - www.BogusFocus.com

> Then of course, there's the FPGA stuff
> I'm working on along with the usual electronics repair, cabinetry and
> stained glass...

Getting into the vintage-style, analogue modelling synthesiser business?

(That had better be *real* lead on the stained glass: it so affects
the sound.)

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

> As much as I hate to say it, this was largely why Vince Clarke, with
> his supposedly asinine devotion to old analog gear, was right: when
> you sequence analog stuff, you're not picking and choosing clicks
> that have 23 clicks in between them, you hit a 1/4" jack with a
> 5-volt pulse and blam, there's your note. Blam blam blam.

We're starting to get back into that world with things like MaxMSP and
(I guess) SuperCollider: it's possible to build sequencing and
synchronisation systems where *all* the control signals are in the
(digital) audio realm. (My current performance system runs mostly in
the DSP world, with minimal discrete control signals.) There's still
latency issues getting into and out of the machine, but everything
inside the machine is locked to the nearest sample. It's a bit of a
weird thing to think about, but it seems to work fine.

	 -- N.

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

Anyone from the phoenix area interested in coming up May 21st or 22nd for an
impromptu electronic space jam in the Vaults for moon rise? The offical full
moon is on the 23rd, but that's a Monday.

On May 3, 2005, at 11:26 AM, Tim Walters wrote:
>
> So I got SuperCollider syncing to MIDI Beat Clock last night, no
> problem.
> It was the first time that I'd looked at the spec, though, and I was
> rather appalled to find out that there's no position
> information--unless
> you specifically send a song position pointer, it just goes tick tick
> tick. That means that if you go off the clock and then back on, or even
> just miss a tick, you're SOL--there's no way to find where the bars, or
> even the beats, begin.
>
> Those of you who have done projects with lots of people syncing to a
> central clock--how do you recover from mishaps? Do you make the central
> clock send out SPP every once in a while? Do you just cross your
> fingers?
> Is there something in the spec that I missed?
>
Nope, and it's not that different from using SMPTE and Word Clock with
digital tape machines, except that all the information comes from the
same place with MIDI. Basically, your SPP is like SMPTE, which is to
say that it is the "where am I" bit of the sync process. The Word Clock
is the "how fast am I going" bit. Once the "where am I" part is
answered, control is given to the "how fast am I going" bit. MOST of
the time this works fine. But every device seems to provide a different
part of the spec.

My JP-8000, for example, will respond to start and stop messages, beat
clock, and SPP. My QY-70 and RM1x both send all these messages, but at
the Mindspiral gig, Darwin could NOT get his system to send anything
but beat clock (which means old school "wild sync") that my JP-8000
could respond to. Every one else was fine. Go figure...

At last year's DS, I was able to easily sync the JP-8000 and QY-70 to a
signal provided by the able Paul Nagle (hey, it rhymes – hope I haven't
started something, he he!). Nick and Mike also had access to this
signal (the largest sync network to date at DS?) and things were
peachy. Hoping for more such sync shenanigans this year! It seems that
such LANs MAY be a simpler (and still effective) way to go this year.
That being said, I still think having a MIDI switcher will prove be a
benefit.

Quick show of hands, how many folks would actually WANT to sync to a
common source?

(hand in air) me, me! Who else?

Giles Reaves

> Basically, your SPP is like SMPTE, which is to
> say that it is the "where am I" bit of the sync process. The Word Clock
> is the "how fast am I going" bit.

As I recall, SMPTE is a rather clever 80-bit-wide everything-at-once
kind of signal, which can be locked, tracked, jam-synced whatever its
speed, even if it's running backwards. (MIDI Time Code is a sort-of
low-bandwidth distilled essence of SMPTE.)

> Quick show of hands, how many folks would actually WANT to sync to a
> common source?

Sometimes and not other times, I think. (I'm doing a lot of
sample-sync stuff at the moment, so following an external beat clock
can be tricky.)

	 -- N.

--

   nick rothwell -- composition, systems, performance -- http://www.cassiel.com

On Tue, 3 May 2005 13:58:51 -0500, Giles Reaves <gilesreaves@...>
wrote:

>Quick show of hands, how many folks would actually WANT to sync to a
>common source?
>
>(hand in air) me, me! Who else?

I'd like it a lot - even though I will only have a P3 and the 'mostly
monotimbral' V-Synth (courtesy of Doug). I probably won't even bring
the Nova so I can concentrate on more listening and less of my
tasteless "layering six sequences plus drums" mayhem.
I may bring the Repeater too for some mellow ambient moments. I
totally loved what I heard you guys doing with them last year. In fact
i was influenced way too much - I bought a Handsonic too but can't
play it for toffee (yet - I hope).

Paul

Paul Nagle wrote:
> On Tue, 3 May 2005 13:58:51 -0500, Giles Reaves <gilesreaves@...>
> wrote:
>
>> Quick show of hands, how many folks would actually WANT to sync to a
>> common source?
>>
>> (hand in air) me, me! Who else?
>
> I'd like it a lot - even though I will only have a P3 and the 'mostly
> monotimbral' V-Synth (courtesy of Doug). I probably won't even bring
> the Nova so I can concentrate on more listening and less of my
> tasteless "layering six sequences plus drums" mayhem.
> I may bring the Repeater too for some mellow ambient moments. I
> totally loved what I heard you guys doing with them last year. In fact
> i was influenced way too much - I bought a Handsonic too but can't
> play it for toffee (yet - I hope).

Oooh, a Handsonic! That's one of the things I would like to get - when I
would have the money...

I can see you playing along with the ES-1...

:-)

Gert
www.waveworld.tv