Info-Mac 3/Info_Mac_1994-01.iso/Periodical/TidBITs/TidBITS#178

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TidBITS#178/31-May-93
=====================

 Our three-part article on MIDI concludes this week, and the week
   also brings news of Apple dropping prices, information on how to
   solve weird QMS-PS 410 printing problems, a look at AppleCare
   Premium, and a review of ARA Commander, a client package for
   AppleTalk Remote Access that does a better job than Apple's
   software and has a feature even the author didn't know about.

 Copyright 1990-1993 Adam & Tonya Engst. Non-profit, non-commercial
   publications may reprint articles if full credit is given. Other
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Topics:
    MailBITS/31-May-93
    Price Drops
    QMS-PS 410 Upgrade
    AppleCare Premium
    Trilobyte Commands ARA
    MIDI and the Macintosh - Part III
    Reviews/31-May-93

[Archived as /info-mac/per/tb/tidbits-178.etx; 29K]


MailBITS/31-May-93
------------------
  Changes are afoot at the popular <sumex-aim.stanford.edu> file
  site, and some people have been unable to find TidBITS there.
  Sumex is undergoing a reorganization, and the moderators have
  moved TidBITS to a new directory, <info-mac/per/tb>. The "per"
  stands for "periodical," should you be wondering. Many other files
  have moved at sumex as well, so be prepared to browse a bit until
  you get the hang of the new directory structures.

  Speaking of locations, we keep having trouble with this. Will the
  real location of Easy View 2.32 at <mac.archive.umich.edu> please
  stand up?

    /mac/util/text/easyview2.32.cpt.hqx


**"Crash Course" Correction** -- In my article in the Jun-93
  MacUser, a mistake was made in copy editing that introduced a
  serious error. For the non-programmer, MacsBug has three, maybe
  four important commands. They are es or escape to shell (which is
  the Finder), rs or restart, g or continue where you left off, and
  ? or help. Unfortunately the g command was turned into "Go" in the
  article, and MacsBug just spits at you if you give that as a
  command. My apologies if this mistake caused trouble. MacsBug is
  available on <ftp.apple.com> as:

    /dts/mac/tools/macsbug/macsbug-6-2-2.hqx

  Those of you using the Centris 610 and low-end 650 with the
  68LC040 chip, need a special version of MacsBug that is available
  as:

    /dts/mac/tools/macsbug/macsbug-68040lc.hqx


Price Drops
-----------
  by Mark H. Anbinder, Contributing Editor -- [e-mail]
     Technical Support Coordinator, BAKA Computers

  For those of you following the steady decline in Macintosh system
  prices, word from Apple last week is that prices of several
  systems are being reduced. As usual, some reductions are in
  suggested retail price, some actually affect purchase prices, and
  a few items show reductions in both.

  The PowerBook 165c is among the computers whose retail prices are
  staying the same but whose dealer prices (which are typically
  reflected in end-user purchase prices) are coming down. Chances
  are, this change makes way for the expected introduction this
  summer of an active-matrix color PowerBook.

  Other computers whose retail prices are staying put but whose
  dealer prices are being reduced include the PowerBook Duo 210, the
  Color Classic, and the various models of the Centris 610. The
  revised Centris 610 pricing isn't far above current LC III prices.

  In the higher education markets, where the LC II is still
  available, the retail and reseller prices alike for the various LC
  II models have been reduced.

  Also of interest are price reductions in several printer models.
  The Personal LaserWriter LS retail price has dropped by more than
  $200 to $725, and end-user prices should drop somewhat as well
  (perhaps not as dramatically). Even more dramatic is the fall of
  almost $500 in the Personal LaserWriter NTR's retail price, to
  $1179 (accompanied most likely by a somewhat more sedate reduction
  in acquisition prices). The beleaguered Apple Color Printer loses
  thirty percent of its retail price, and reseller prices are
  dropping as well.

  Information from:
    Apple propaganda


QMS-PS 410 Upgrade
------------------
  I've posted a couple of notes on the nets about upgrading my
  QMS-PS 410 laser printer to a new version of the firmware, and to
  judge from the email, I've hit a bit of a nerve. Perhaps my
  experiences can save some of the rest of you the troubleshooting
  time.

  As I remember it, (this was at least a year ago) I had trouble
  printing downloaded PostScript fonts on the QMS-PS 410 unless I
  first printed a document with a resident PostScript font. That was
  strange, but the more common problem for most people is an
  inability to print TrueType fonts. I didn't have that since I
  seldom print TrueType fonts.

  In any event, after calling QMS tech support, we determined that I
  had firmware revision 1, whereas at the time the current version
  was 9.4a (it's probably higher now). I sent my printer to a QMS
  depot, where they gave it the 9.4a firmware revision, and my
  problems disappeared (and they didn't even reset the page count).
  I did have to pay for shipping to QMS, but they paid return
  shipping and didn't charge for the upgrade. Overall, it was a good
  experience, although I've heard that QMS support in other
  countries isn't necessarily as pleasant or useful, so persevere if
  you have an early firmware revision that needs replacement.

    QMS Tech Support -- 205/633-4500 -- 205/633-3716


AppleCare Premium
-----------------
  by Mark H. Anbinder, Contributing Editor -- [e-mail]

  The dust had hardly settled from last month's announcements of the
  Apple Assurance program, offering more comprehensive support and
  repair options to Macintosh owners, when Apple announced another
  innovation, the new AppleCare Premium plan. The plan currently
  covers the new Apple Workgroup Servers and provides faster service
  response time for users who can't afford to have their servers
  down.

  The two premium options, intended to supplement the Workgroup
  Servers' one-year limited warranty, are Four-Hour Response and
  Next Business Day Response. The goal of the former is to have a
  qualified technician and the necessary service parts on-site
  within four business hours after Apple has determined that a
  service dispatch is required, and the goal of the latter (as you
  probably guessed) is to have the technician and parts on-site the
  next business day after Apple has determined that a service
  dispatch is required. Suggested retail prices for these options
  are $480 and $240 respectively.

  The AppleCare Premium service is available between 8:00 AM and
  5:00 PM local time, within a 60-mile radius of participating Apple
  service locations. As a result, Apple says that activation of the
  four-hour option may require up to thirty days notice so the
  company can bring a local service provider up to readiness or add
  that region to its internal service network. (Apple says that most
  of the service calls will be handled by Apple itself, rather than
  by dealers' service technicians.)

  Apple says these plans are intended to augment, not replace,
  service options that individual dealers provide. Many dealers
  already offer special service contracts to their customers,
  providing fast response time, guaranteed resolution time, loaners,
  etc. In fact, MicroAge, one of the companies with a number of
  affiliated Apple resellers, is in the process of creating a
  network of its affiliates and franchises that provide premium
  service around the country. MicroAge plans to offer service
  contracts to large corporations with many locations, providing
  comprehensive service for all branch offices through the local
  affiliate in each area.

  For companies with mission-critical information on their servers,
  a day or two repair delay might be crippling. The new AppleCare
  Premium options indicate Apple's realistic approach to providing
  service for such customers, and, we hope, will encourage resellers
  to restructure their own service offerings so as to provide
  similar, or even better, options for their own customers. For
  resellers who feel Apple is stealing their thunder, new service
  options that come to mind include:

* Administrated data backup
* Backup equipment standing by
* 24-hour emergency response
* Comprehensive help-desk service
* Equipment registration and engraving

  Obviously some of these options would be expensive, but for users
  who are too busy to maintain their own backups, or not interested
  in the drudgery of keeping track of all equipment on the premises,
  they could be valuable services.

  Information from:
    Apple propaganda


Trilobyte Commands ARA
----------------------
  by Mark H. Anbinder, Contributing Editor -- [e-mail]

  For today's increasingly-mobile Macintosh user, remote access of
  one kind or another is vital. Travellers must be able to read
  their electronic mail, communicate with colleagues back at the
  ranch, retrieve forgotten files, and access information services,
  no matter where they happen to be. Apple's introduction of
  AppleTalk Remote Access (ARA) along with the PowerBooks brought
  remote dial-in access to the masses, and Trilobyte Software's
  ARACommander makes ARA complete.

  For those of you not familiar with the original product, ARA is
  software that allows you to connect your Macintosh via modem to an
  AppleTalk network at another location, by calling a Mac at the
  remote site. The ARA application includes both the client and
  server function, which is a waste of memory and hard disk space
  for Macs that are only used for one function. That's where
  ARACommander comes in.

  ARACommander provides a client-only interface to ARA. It requires
  the ARA extension software, but not the chunky ARA application.
  ARACommander requires much less disk space, and takes up less RAM
  when in use, than ARA itself.

  The user configures ARACommander through a Control Panel that adds
  a number of features missing from ARA. For example, ARACommander
  offers a phone book-type listing of known remote sites that can be
  reached simply by selecting one from a pop-up menu and clicking on
  the Connect button. The Control Panel allows you to select any
  number of items to open once the connection is made, including
  file server volumes, documents, and applications. Another popular
  feature is the ability to play a user-specified sound upon
  successful connection. Even better, you can specify dialing
  prefixes and phone credit card strings in separate fields.

  Although ARACommander can be used perfectly well through the
  Control Panel, it shines when you use its Connector applications.
  Once you properly configure the Control Panel for a given host and
  everything works, ARACommander allows you to save a pre-configured
  Connector application that, when launched, immediately makes the
  connection. The Connector can be configured to prompt for dialing
  prefix and/or credit card info, so the same Connector can be used
  no matter what odd phone system you try to use.

  Naturally, you can place a Connector application in the Startup
  Items folder connection on startup, or in the Apple Menu Items
  folder for convenient access. The Control Panel or Connector
  application need not stay open while the connection remains active
  (though if kept open, both provide an elapsed time display), so
  you can launch an included application called ConnectNot at any
  time to disable active connections.

  One particularly impressive advantage ARACommander has over ARA is
  its ability to make outgoing calls through network-shared modems
  such as Shiva's NetModem V.32, or modems connected to a Shiva
  NetSerial or LanRover. This feature handily eliminates the
  LanRover's one-way limitation. (LanRover is Shiva's dial-in ARA
  server product, which the company has been unable to convince to
  dial out using ARA.) Shiva doesn't support this feature, but our
  testing with a NetModem V.32 and Shiva's 3.7.3 drivers shows the
  combination to work well. Ron Duritsch, ARACommander's author,
  says he was astonished and pleased to discover that his software
  worked with the Shiva products, since Shiva had told him quite
  adamantly that it was impossible.

  ARACommander differs from an earlier shareware version, ARAClient,
  mostly in the capability of opening files or playing a sound at
  connection time, as well as the dialing assistance (prefixes and
  credit card numbers). User reports suggest that ARACommander is
  also more stable than its predecessor. A demo version of
  ARACommander that works for two weeks is available on CompuServe
  in MACCOM, Library #11 (Apple Remote Access) as ARACMD.CPT, and on
  America Online as ARACmdr.sea in the Communications and Network
  Forum, in Communications Programs. [I can't connect to check right
  now, but if the demo isn't at sumex and mac.archive in one of the
  comm directories already, I will upload it. -Adam] The shareware
  version is still available from some online sources, but the
  author no longer actively promotes it. (He still accepts shareware
  payments, though!)

  Prices range from $19.95 for a single-user package of ARACommander
  (which is five cents less than the shareware payment for
  ARAClient, so it's a good deal) down to about $8 per head for a
  100-user pack. The software is available for resale through
  dealers, or may be purchased directly from Trilobyte. (Note the
  difference between the spelling of the company's name and its AOL
  address; someone beat them to it on AOL!)

    Trilobyte Software
    6982 Devon Drive
    Middletown, Ohio 45044
    513/777-6641
    513/779-7760 (fax)
    [e-mail]
    [e-mail]

  Information from:
    Ron Duritsch -- [e-mail]


MIDI and the Macintosh - Part III
---------------------------------
  by Shekhar Govind -- [e-mail]
  Technical editing by Craig O'Donnell -- [e-mail]
                   and Nick Rothwell -- [e-mail]

MIDI Hardware: Interface
  A MIDI interface provides a link between a Mac serial port and
  MIDI device(s). For example, Altech Systems offers an inexpensive,
  light-duty, self-powered interface which has three MIDI-outs, one
  MIDI-in, one serial in, one serial out with a MIDI bypass switch
  for a direct serial-in to serial-out connection (useful if you use
  an external modem and don't wish to spend your free time switching
  cables between MIDI and modem), and three LEDs to register serial
  and MIDI traffic. It draws power from the serial port - an
  improvement over older models which had bulky power supplies. It
  is possible that some interfaces that depend on the serial port
  for their power may not work with a PowerBook.

  Then there are the AC powered mid-line interfaces like Studio-2
  from Opcode. At the upper-end, you can buy Mac-MIDI interfaces
  with up to 16 MIDI ins and outs, SMPTE converters, internal MIDI
  processing and routing, and much more (MIDI Time Piece from MOTU,
  Studio-4 and -5 from Opcode, etc..) These industrial-strength
  interfaces use special protocols and do not work with ordinary
  MIDI applications - unless you use OMS or something equivalent.

  Interface products are also available from other manufacturers
  such as MacNexus and MIDIMAN. Apple too, sells an interface with
  one MIDI-in and one MIDI-out. However, if you plan to expand your
  MIDI system in the future, get an interface with more than one
  MIDI-out port. Make sure the package you buy includes at least two
  MIDI cables (DIN 5 pin 180 degree male/male) and a null serial
  cable. Prices for the "light duty" models run around $90 list, $60
  street.


Macs
  Some PowerBooks (140, 145, 160, 165c, 170, and 180) with their
  disposition for imposing serial-port blackouts can be frustrating
  MIDI platforms. However, a combination of using the PowerBooks in
  Don't Rest mode and keeping AppleTalk on may help keep MIDI-data
  loss to a minimum. However, on PowerBooks with only one serial
  port, like the PowerBook 100, AppleTalk interferes with the serial
  port and must be off for MIDI use. As mentioned earlier, MIDI
  Manager automatically disables the Rest mode.

  Reportedly, the Duos 210 and 230 have no problems with MIDI. Tests
  have established that the PowerBook 100 is fine at MIDI speeds -
  just. However, the PowerBook 100 may fail with special high speed
  interfaces. The PowerBooks 140, 145, 160, 165c, 170, and 180 can
  do easy MIDI chores such as simple record and play-back, but
  falter when receiving large amounts of MIDI data. In one series of
  tests conducted on a PowerBook 140, a great quantity of input MIDI
  data was lost, not just long sysex dumps as Apple maintains (a
  sysex dump is a bulk, high-speed data dump from a MIDI device to
  the Mac.)

  A Tech Note suggestion (TN 318 - PollProc) by Apple was augmented
  and implemented by Opcode in a new version of OMS, 1.2beta. Under
  1.2beta, the problem of lost MIDI data on the offending PowerBooks
  140, 145, 160, 165c, 170, 180 is solved, but incoming data loses
  its timestamping. However, not all commercial programs are OMS
  compliant, and the TN 318 fix works only for interfaces attached
  to the modem port. The printer port continues to be unreliable for
  input.

  MIDI data can be lost on the PowerBooks because they suffer from
  periodic serial port blackouts, which can last as long as six
  milliseconds (blame this on the Power Manager). Theoretically, as
  many as 30 bytes of MIDI data can be transmitted from a device to
  the Mac during a six millisecond span. During a blackout, only
  three bytes can be stored by the serial port's buffer. In the
  worst case, it is possible that as much as 90% of the data
  transmitted during a serial blackout could be lost. Regrettably,
  MIDI Manager predates PowerBooks and is blissfully unaware of
  PollProc calls. Further, some who have tried the solution in TN
  318 suggest it is incomplete and does not quite work as
  advertised. Were it not for OMS, the functionality of the
  PowerBooks 140, 145, 160, 165c, 170, and 180 as complete MIDI
  platforms would be impaired.

  The PowerBooks with their slim form and light weight are otherwise
  ideally suited for real-time MIDI performances. It is puzzling
  that Apple allowed some technically minor, but functionally
  disastrous problems to fester on most PowerBooks. Among the
  portables, the buying recommendation for a MIDI platform is a Duo.
  If you can find one, a PowerBook 100 can be a bargain platform for
  simple MIDI work.


Controllers
  Most people associate MIDI controllers with keyboards, but they
  can be anything you pluck, strike, or change in some way. For
  sanity's sake we'll limit discussion to keyboards and sound
  modules (keyboard-less synths).


Samplers and Synthesizers
  Thus far, we have used the terms "synth" and "synthesizer" for
  illustrating various MIDI functions. But samplers have equal
  status with synthesizers - you can get keyboard forms of both.

  Samplers contain (in ROM or RAM) a literal hi-fi recording of a
  real instrument. The E-Mu Proteus is the most famous sample-
  playback module, while the Fairlight CMS and the E-Mu Emulator are
  probably the best-known sampling keyboard systems. Samplers can
  also be rack-mounted studio effects devices, and there are
  probably 40 or 50 samplers at all prices between obsolete models
  on the used market and new models. Some do not use MIDI.

  A synthesizer builds sounds from simple waveforms blended
  together, from a combination of samples and waves, or by
  intermodulating a handful of waveforms (FM synthesis, the "DX7
  sound," and also used to death in a poor-sounding 4-wave chip on
  most PC "Sound Whacker" add-in cards).

  Do not pinch pennies when buying a keyboard. There is a marked
  difference between the inferior and the better ones. But you don't
  need a fancy keyboard if you are not a trained musician - just one
  you are comfortable with. After all, sequencers offer "step mode,"
  which allows them to be slowed way, way down so even a talentless
  hack can play amazing MIDI shred arpeggios. If you're new to all
  this, a used Kawai K1 is a good inexpensive keyboard to look for.
  (On the other hand a $1,500 synth is in some sense, as good as it
  gets.) If you're planning only to edit and play back and you are
  not a trained musician, any keyboard is functional (yes, even a
  CZ101 will do just fine, thank you.)

  You'll want a sound module with "good" sounds (preferably General
  MIDI compatible). The Roland Sound Canvas is a good value for
  beginners. Yamaha, Roland, and Korg all compete in the value-
  priced sound module market.

  Here are features you can use to evaluate synths and define your
  musical priorities:

* Number of octaves: A five octave range (that is 61 keys) is
  sufficient for most casual users. A 76-note keyboard would be
  considered a minimum for controlling several modules during a live
  performance. For playing Debussy, you'll probably want 88. Some
  keyboards have the ability to shift (or transpose) which adds two
  (or more) octaves.

* Key size/feel: Does it matter if the keys are slightly smaller
  than usual? Do they have the feel of a piano key? If you are used
  to playing the piano, these considerations make a difference. Most
  of the better synths have full-size keys. Some offer weighted
  keys.

* Polyphony: Polyphonic synths can play more than one note
  simultaneously. Thus, when a chord is played on a polyphonic
  keyboard, all notes of the chord sound. If the synth is monophonic
  and a chord is played on it, only one note of the chord will
  sound. However, a 32-voice polyphonic synth does not necessarily
  imply that 32 notes can be played simultaneously since each note
  itself could be made up of more than one voice. (Technically, the
  correct usage should be waveform instead of voice.) Polyphony is a
  must for serious MIDI-dabblers. Since almost all modern synths are
  polyphonic, this may not be a deciding factor.

* Multitimbral: A multitimbral synth can play more than one
  musical instrument sound (patch) simultaneously. A synth could be
  polyphonic and able to play many notes simultaneously. However, if
  it is not multitimbral, all notes will play by only one
  instrument, for example, entirely as Hammond organ. A multitimbral
  synth could give you a string bass on the bottom, a piano in the
  middle, and saxes on top. This is another must feature if you want
  lots of instruments at once, and don't want an apartment full of
  synthesizers.

* Velocity Sensitive: How loud a particular note is supposed to
  sound is embedded in MIDI messages as velocity. Velocity numbers
  range from 0 (0 is note-off; 1 is the quietest) to 127 (loudest).
  Most synths have velocity sensitive keys - when a key is struck,
  not only is the note and duration transmitted, but also how hard
  the key was hit (actually, how quickly the key moved).

* After-touch: A type of touch sensitivity where the synth senses
  how hard the key is pressed down after it has reached (and is
  resting on) the keybed. After-touch is useful for assigning
  special effects and is commonly used for "expression" - to swell a
  sound, like a conventional instrument.

* Sound quality: Most people consider this the most important
  factor (and rightly so). After all, you have to listen to the
  sound produced by your synthesizer. If the sound quality is
  inferior, even playing Bach will not help the music sound
  pleasant. Some synth models have digitally sampled sounds of
  various instrument stored in ROMs. Not surprisingly, these
  samplers sound pleasing when used for conventional orchestral,
  rock, or jazz music.

* Miscellaneous: How many (and which) instruments can the synth
  emulate? Does it have a ROM slot that would allow expanding the
  internal instrument list by adding ROM cards? How easily are these
  cards available? Does the synth have waveform editing features?
  Can it do special effects? (You'll be surprised what just a simple
  reverb or delay can do for synth-sounds). Does it have adequate
  RAM (or a RAM slot) to save waveforms of customized instruments
  you create? Besides the standard MIDI-in and MIDI-out, a MIDI-thru
  port might provide more flexibility in configuring various devices
  on a complex MIDI network. General MIDI capability is essential if
  you plan to purchase and play libraries of commercially-produced
  MIDI music files.

  Casio, E-Mu, Ensoniq, Peavey, Kawai, Korg, Kurzweil, Roland, and
  Yamaha are a few of the dozen-odd companies currently marketing
  electronic synthesizers (Casio has exited the musical/professional
  synth market and only sells inexpensive home units). Before
  starting your synth hunt, get a copy of the FAQ maintained by
  Craig Latta for rec.music.makers.synth on Usenet (FTP-able from
  <xcf.berkeley.edu>). It has useful pointers on buying your first
  synth. A used synth price list (available by FTP from
  <sprite.berkeley.edu>) posted every few weeks on the discussion
  group can help you shop around. This group is a good place to pick
  up used equipment, and solicit hardware and software
  recommendations. Keyboard and Electronic Musician are two
  magazines which are good newsstand resources.


Coda
  MIDI is often given superlative billings about how it can enhance
  your musical abilities and transform you overnight into a great
  musician. MIDI does give you precise control over the way your
  music sounds, but the greatness depends on you. Why, MIDI wasn't
  around until 10 years ago, and we did have a wee bit of good music
  before then.

  You might not have enough money to buy all elements of a dream
  Mac-MIDI system (or for that matter, even a dream Mac system!).
  However, you can put together a simple MIDI studio comprising of a
  Mac and a synth easily and inexpensively. Aim for an open system
  that can grow easily by accepting new MIDI devices.

  With the advent of 16-bit DSP chips in Apple future-ware, one area
  bound to see a proliferation of new products is the integration of
  digital sound and MIDI. Opcode's Studio Vision with Audiomedia
  (list $1,995) is one such Audio/MIDI package as is Digidesign's
  Pro Tools (list $5,995). Both are MIDI/Direct-to-Disk recording
  environments, or "tapeless studios." Expect to see digital
  audio/MIDI cards incorporating Ensoniq and Kurzweil chipsets in
  the future. In fact, a number of the programs mentioned earlier
  already offer SMPTE timecode synchronization of MIDI tracks onto
  video and digital audio master tapes.

  MIDI has opened doors to exotic possibilities, and new MIDI
  instruments, software, and all kinds of MIDI accessories (like
  MIDI lighting controllers for stage lights, gloves with embedded
  MIDI controllers, etc.) are continually being introduced. There is
  MIDI software that introduces variations into the data you feed
  it; MIDI controller wands you wave, innumerable MIDI drumpads and
  variations thereon; MIDI marimbas; MIDI guitars; basses, violins,
  and wind-instrument controllers; MIDI floorpads you step on; MIDI
  sensors that pick up light, sound, or movement; you can do it all.
  For those of you into creative self-flagellation, at least one guy
  designed a MIDI drumset into a jumpsuit.

  You could even create a MIDI file by transforming the last ten
  years' Dow Jones daily closing average as the lead voice and that
  day's high temperature in Manhattan as the backup. Just don't play
  it back for us.


Reviews/31-May-93
-----------------

* MacWEEK -- 17-May-93, Vol. 7, #20
    68040 Accelerators -- pg. 57
      DayStar 33 MHz Turbo 040
      TokaMac 33c
    La Cie Silverscanner II -- pg. 57
    Mapping Programs -- pg. 62
      Azimuth 2.1
      Geocart 1.3.1

* MacWEEK -- 24-May-93, Vol. 7, #21
    Ofoto 2.0.1 -- pg. 67
    Presenter Professional 1.5.2 -- pg. 67
    Slide Scanners -- pg. 74
      Nikon Coolscan
      Santos mira*35


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