Nebula 1994 June/NEBULA_SE.ISO/Documents/FAQ/Music-faq/Music.faq

Internet Message Format | 1993-05-31 | 145.8 KB

Xref: rde comp.music:2337 rec.music.makers:2335 rec.music.makers.synth:4440 rec.music.compose:744 news.answers:3300
Path: rde!uunet!spool.mu.edu!agate!con.Berkeley.EDU!latta
From: [e-mail] (Craig R. Latta)
Newsgroups: ucb.becmug,comp.music,rec.music.makers,rec.music.makers.synth,rec.music.synth,rec.music.compose,ncf.sigs.new.music,news.answers
Subject: Electronic and Computer Music Frequently-Asked Questions (FAQ)
Supersedes: <music/[e-mail]>
Followup-To: poster
Date: 17 May 1993 06:48:04 GMT
Organization: University of California, Berkeley
Lines: 3892
Approved: [e-mail]
Distribution: world
Expires: 10 Jun 1993 06:48:34 GMT
Message-ID: <music/[e-mail]>
Reply-To: [e-mail]
NNTP-Posting-Host: con.berkeley.edu
Summary: This posting contains a list of frequently-asked questions
        (and their answers) about electronic and computer
        music. It should be read by posters to ucb.becmug,
        rec.music.synth, rec.music.makers, rec.music.compose,
        and comp.music.
Originator: [e-mail]

Archive-name: music/netjam-faq
Last-modified: 1993/4/1
Version: 4.3


***

    This is an electronic and computer music
frequently-asked-questions (FAQ) sheet, distributed by NetJam,
Berkeley. It is probably of interest to readers of the USENET
~newsgroups:

    ucb.becmug
    rec.music.makers
    rec.music.makers.synth
    rec.music.synth
    rec.music.compose
    comp.music

and anyone else interested in the applications of computers to music
(and vice-versa). It is posted fortnightly to the above-mentioned
groups, as well as news.answers. It is also available via ftp as
[e-mail]:misc/netjam/doc/FAQ/FAQ.entire, and in
pieces as .../split/*. Finally, it can be obtained by emailing
smallmusic-request@xcf with the subject line "request for FAQ". The
machine xcf.Berkeley.EDU has IP address 128.32.138.1.

    You may do anything you like with this document, except sell
it or modify it (including the news headers and ending signature).

    Please send contributions and comments to
[e-mail].
    I realize that many of the items can be categorized in
multiple ways. I'm working on a hypertextual version of this FAQ
(using VIOLA, if you're interested).

    This FAQ will be refactored in light of the rec.music.compose
FAQ (which I also maintain). This will probably happen by 1 May 1993.

    For general info about NetJam, email
[e-mail], with the phrase "request for info" in
the subject line.


    Thanks,

-C


***

---

    New items are marked with a '+'. Modified existing items are
marked with a '*'.

    Short contents:

0.0)    [Meta-issues]

1.0)    [Newcomer questions]

2.0)    [Connectivity issues]
2.1.0)         [Groups]
2.2.0)         [Archives]
2.3.0)        [Making CDs]

3.0)    [Software]
3.1.0)          [Multi-platform software]
3.1.4.0)                [CSound]
3.2.0)          [UNIX software]
3.3.0)          [NeXT software]
3.4.0)          [IBM PC software]
3.5.0)          [Macintosh software]
3.6.0)          [Amiga software]

4.0)    [Hardware]
4.1.0)          [Multi-platform hardware]
4.2.0)          [UNIX hardware]
4.3.0)          [NeXT hardware]
4.4.0)          [IBM PC hardware]
4.5.0)          [Macintosh hardware]
4.6.0)          [Amiga hardware]

5.0)    [Reference Material]


    Long contents:

0.0)     [Meta-issues]
0.1)         How can I browse ftp sites and their data without
            using my own disk space (unless I want to keep
            data), and locate files on ftp sites, given
            pathname fragments?
0.2)        How do I ask for advice on a topic of interest from
            others on the net?

1.0)     [Newcomer questions]
1.1)        What keyboard should I buy?
1.2)        Where can I get patches for my keyboard?
1.3)        What is MIDI?
1.4)        What are definitions for the following things?
               - aftertouch, envelope, FM, LFO, module,
            multitimbral, polyphony, pressure, sampler,
            sequencer, synthesizer,    velocity
1.5)        Where can I get price lists?
1.6)        Where can I get a USA music store list?

2.0)      [Connectivity issues]
2.1.0)         [Groups]
2.1.1)            What is NetJam?
2.1.2)            How do I subscribe to EMUSIC-D and EMUSIC-L,
                and what other BITNET lists are of
                interest?
2.1.3)            What are some other emailing lists relating to
            electronic and computer music?
2.1.4)            How do I contact the editorial staff of
                Electronic Musician magazine?
2.2.0)         [Archives]
2.2.1)            What are some other midi-file/software
                archives on the    Internet?
2.3.0)        [Making CDs]
2.3.1)            What constitutes a CD master?
2.3.2)            Who and how much?

3.0)     [Software]
3.1.0)        [Multi-platform software]
3.1.1)            What is Smallmusic? What is the MODE?
3.1.2)            What is Keynote?
3.1.3)            Are there programs to convert back and forth
                between    human/filter-readable text and
                MIDI files? How do I get them?
3.1.4.0)        [CSound]
3.1.4.1)            What is CSound?
3.1.4.2)            What are the requirements of CSound?
3.1.4.3)            Is there a tutorial on CSound?
3.1.5)            Where can I get recordings of electronic music?
3.1.6)            Is there PostScript code available for generating
                guitar scales?
3.1.7)            Where can I get online guitar tablature?
3.1.8)            What is Midi2TeX, and how can I get it?
3.2.0)         [UNIX software]
3.2.1)             What is MusicTeX, and how can I get it?
3.2.2)             Is there UNIX software for modifying and
                playing MIDI files?
3.3.0)        [NeXT software]
3.3.1)            What are some currently available sound editors for
                the NeXT?
3.3.2)            What is MixView, and how can I get it?
3.3.3)            What is DU, and how can I get it?
3.3.4)            What is RT, and how can I get it?
3.3.5)            What is RTLisp, and how can I get it?
3.3.6)            What are Patchmix and StochGran and how can I
                get them?
3.3.7)            What is the IRCAM Signal Editor and how can I get it?
3.3.8)            Where can I find information about the NeXT
                MIDI driver?
3.3.9)            What is the status of the Music Kit on NeXT
                machines?
3.3.10)            What ear-training software is there for the NeXT?
3.3.11)         What is Hyperupic, and how can I get it?
3.4.0)        [IBM PC software]
3.4.1)            What are some public-domain (or nearly so)
                sample-editing programs for IBM-PC
                compatibles?
3.5.0)        [Macintosh software]
3.5.1)            Which glove interfaces with the Max 'glove'
                object?
3.5.2)            Where can I get a Macintosh program to
                translate between different soundfile
                formats?
3.6.0)        [Amiga software]

3.6.1)            What software reads DCMS files and converts
                them to    something else?

4.0)     [Hardware]
4.1.0)         [Multi-platform hardware]
4.1.1)            What are some good things with which to whack
                MIDI drum triggers?
4.1.2)            How do I get MIDI working with my analog
                synth?
4.2.0)         [UNIX hardware]
4.2.1)             What are some MIDI interfaces for 386 UNIX boxes?
4.3.0)         [NeXT hardware]
4.4.0)         [IBM PC hardware]
4.4.1)            How do I do MIDI with my laptop PC? What is
                the Key    Electronics Midiator?
4.4.2)            I'm just starting on MIDI and want to know how
                to send    MIDI from my SCO UNIX box (and
                who do I buy a card from? Are there
                device drivers available?)
4.5.0)        [Macintosh hardware]
4.5.1)            What's all this about problems with
                Macintoshes and MIDI?
4.6.0)         [Amiga hardware]

5.0)     [Reference Material]
5.1)        Is an overview of "General MIDI" available?
5.2)        What are the names and address of various gear manufacturers?
5.3)        Where may I find an electronic music bibliography?
5.4)        How can I build my own MIDI interface for the Macintosh?
5.5)        Where can I find out all about MIDI?
5.6)        What are the details behind current sound formats?


---

0.0)    [Meta issues]

---

0.1)         How can I browse ftp sites and their data without
            using my own disk space (unless I want to keep
            data), and locate files on ftp sites, given
            pathname fragments?


Answer:

    There is a set of Emacs-Lisp ("elisp") code, called
"ange-ftp.el", which makes 'ftp' use transparent within GNU Emacs (GNU
Emacs is available via anonymous ftp from prep.ai.mit.edu). This
package attempts to make accessing files and directories using FTP
from within GNU Emacs as simple and transparent as possible.  A subset
of the common file-handling routines are extended to interact with
FTP. Using these routines, I can read remote files as I would any
local file, without having to write it locally to disk. This is is
especially useful since the document is dynamic (hopefully
increasingly so).
    The routines are available via anonymous ftp (naturally!) as
tut.cis.ohio-state.edu:/gnu/emacs/elisp-archive/as-is/ange-ftp.el.tar.Z,
(incidentally, if you already had "ange-ftp.el", you could paste the
above line in response to Emacs' 'copy-file', stick "/anonyous@" in
front of it, and copy the file.) My current version is dated 22
October 1991.
    Another useful bit of elisp is "context.el". It saves the
Emacs buffer list and window configuration between editing sessions.
So, one can have several buffers, with several files open (as I
usually do), quit and restart Emacs, and have the state preserved,
cursor locations and windows included. Happily, it works well with
"ange-ftp.el", so that even remote files are restored (after possibly
having to prompt for passwords). "context.el" is also available via
anonymous ftp from tut.cis.ohio-state.edu, as
/gnu/emacs/elisp-archive/as-is/context.el.Z. Also look for
"tree-dired.el" which provides for hierarchical directory editing.
    Incidentally, it was very easy to produce references for the
above tools, thanks to another tool called "archie", developed at
McGill University. Dubbed a "resource discovery tool" by its authors,
it comes in very handy when one knows what tools are needed but not
their availability. Archie consists of a server for this information
(basically from a database of directory trees from "all known"
anonymous ftp sites, updated once per month), and a client, which may
be run via 'telnet' from the server machine itself (frowned upon...),
or from a standalone client available from that machine (...highly
encouraged, for the considerable host load win). Some clients even
perform ftp tasks based on user response to search results. There are
clients available for dumb and X terminals, and, of course, Emacs.
Poke around archie.mcgill.ca for a client and documentation.

---

0.2)        How do I ask for advice on a topic of interest from
            others on the net?

Answer:

    [see also the many fine recurring articles in
        news.announce.newusers --crl]


~From: Karl Haberl ([e-mail])
~Date: Mon, 17 Aug 92


  "The Beginner's Guide to Asking the Net Gods for [Musical] Advice"


    The net can be a powerful resource for information and advice, as
well as being a lively and sometimes fun-filled forum for the exchange
of views.  One of the most common mistakes beginners make when asking
for advice is that they do not put enough information in their posts
to allow a more experienced "net veteran" to provide a concise,
focused reply to their request. Questions like "Which keyboard is best
X or Y ?" can only really be answered in the context of knowing
something about the individual who is asking the question.

    Below are some suggestions for info that would be helpful to
include in any articles requesting advice on various topics. By
including this info in your post, you will be accomplishing two
important things: (1) you will be explicitly demonstrating to the net
community that you are not lazy, and that you have taken some time
yourself to think about the subject and identify the precise areas
where you need help, and (2) you will be providing essential
background info that will help focus and tailor any responses to your
particular problem. Here, then are the categories (feel free to
augment these with any other information that you think might be
appropriate):


(1) EXPERIENCE LEVEL -

    Indicate how much experience you have that is appropriate for
the subject.
    This will help focus advice at the right level of detail.

    "I've played classical piano for twelve years, never touched a synth."
    "I've been using Vision for two years now, and while I would not call
    myself a power user, I think I am quite competent with basic
    operations."

(2) INFORMATION SOURCES ALREADY EXPLORED -

    Asking basic questions without indicating what kind of reading
or other investigations you may have already done yourself is likely
to cause one of two things to happen: either the reader will skip over
your message completely, or will fire off a response like "pick up
Keyboard and Electronic Musician, and get a copy of Mix Bookshelf."
Tell the net what sources of info you have tried - this gives a
baseline for giving advice and/or suggesting further sources of info.

    "I read the Buyer's Guide issue of Keyboard."
    "I have Anderton's recording book, but I still don't understand
    reverb."
    "I've only talked to my local salesman about this, he says ..."

(3) CURRENT EQUIPMENT CONFIGURATION -

    With equipment-related questions, it is helpful for the
respondent to know how any suggested new equipment will complement an
existing setup.

    "I own two rusty cans and 100 yds of twine."
    "I own a JX-3P, M1, and D70 for synths, and a Tascam PortaPotty
    4-track."

(4) WHAT YOU WANT TO ACCOMPLISH -

    Defining what your particular goals are is *critical* for any
respondent to give personalized advice. Besides, goal-definition also
happens to be the most critical activity that *you* can do to focus
your search through the the maze of information and equipment that is
out there.

   "I want to just have fun in my basement studio, writing pop tunes
    for my own enjoyment and distributing them to my friends."
   "I want to write soundtracks for local TV productions."
   "I want to produce demo tapes of my band and send them to record
    companies."
   "I want to optimize my rig for live performance of industrial music."

(5) BUDGET -

    For most of the people on this planet, budget is a key
constraint. If you have a precise figure in mind, give it. If you're
trying to get a more general sense of what things cost versus their
capabilities, that's O.K.  too, but you should still be able to
provide a *range* of $$ figures that you would be willing to consider.
Obviously, defining your budget goal will help respondents restrict
the range of products considered and discussed.  And if you're close
to a boundary, they will often say "of course, with just $X more you
could step up to a ..."

   "I have between $300-500 bucks to spend on a reverb unit."
   "I am willing to spend up to $2000 on a new keyboard if it will
    allow me to do X,Y, and Z; but I'd prefer to keep it under
    $1500."


---

1.0)     [Newcomer questions]

---

1.1)        What keyboard should I buy?

Answer:

~From: [e-mail] (Joseph D. McMahon)
~Subject: Re: That zany FAQ thing
~Date: Mon, 10 Aug 92 11:01:10 EDT


The most frequently asked question on EMUSIC-L and on rec.music.synth is
probably "What keyboard should I buy?"

Before you do anything else, indulge in some self-analysis of what you want
to do, how committed you are to doing it, and how much money you have to
spend on it. If you plan just to play your keyboard every once in a while for
fun, you will have a different set of requirements from someone who is looking
for the first piece of equipment along the road to establishing a professional
set of gear as the nucleus of a studio.  Persons who are going to be performing
contemporary popular music or who wish to imitate traditional instruments will
probably find any number of keyboards which will fit their needs.
Experimentalists, or persons wishing to do sonic exploration, with the sound
being the primary concern, will have a harder time. In general, keyboard which
feature extensive modulation sources and routings (such as the Oberheim
Xpander, Kurzweil K2000, or Ensoniq SD-1) will be more useful for synthesis
than less complex machines.

Set your musical priorities:  must-have, highly-desirable, nice, don't care,
etc.  Acoustic sounds?  Synth sounds?  Multi-timbral?  Built-in sequencer?
Built-in effects (reverb, etc)?  After-touch?  # of keys? You'll probably need
to get more familiar with the terminology before you can make any decisions
here. A few terms for those new to this:
    a) Multi-timbrality means that the keyboard can produce more
       than one sound at a time. For most people who will be
           purchasing only one synth the first time out, this is
       very important. A monotimbral (one-sound-at-a-time)
       machine will require the use of multi-track tape to
       simulate multi-timbrality. Commonly available used
       synths which are mono-timbral are the Yamaha DX7 and the
       Roland D50. You will not be able to make these keyboards
       sound like more than one thing at once.
    b) A built-in sequencer (on modern machines) means
       that the keyboard has the equivalent of a built-in
       multi-track tape machine; it records the events that
       occur and allows you to play them back. It is *not* an
       audio device; it simply records the actions you take to
       produce a piece of music and then plays them back again,
       like a player-piano. If you have a computer, you may
       want to purchase a MIDI (see below) interface and a
       software sequencer instead.
    d) Most synthetic sounds are more pleasing with at least a little
       bit of effects (echo, reverberation, etc.). Some keyboards
       have built-in effects; others require external ones. Note that
       built-in effects usually require that all voices go through the
       same effect; if there is an alternative, it is usually "no effects".
       This means that is you have a distorted guitar, an organ with a
       rotating speaker effect, and a lead with just a touch of reverb,
       you are going to have to choose which two of the three effects
       you are going to be able to live without, because only one will
       be available at a time.
    e) After-touch is a means of controlling the sound after you've
       pressed the key. For most keyboards, pressing on any one
       key while holding a chord will cause all of the sounding
       notes to act as if they too had been pressed harder; this
       is called "channel aftertouch". Other let you control this
       individually for each key; this is called "key aftertouch
       and is not seen as often.
    f) The number of keys varies. In general, most have 61 keys
       (5 octaves), but others have more, all the way up to a full 88.
       People who already play the piano will probably be more
       comfortable on a larger keyboard. The feel also varies,
       from weighted actions which feel very piano-like, through
       mushy, unweighted ones are more common.
    f) MIDI is short for "musical instrument digital interface". It
       is an international standard, and almost all machines built
       after the Yamaha DX7 have it. (Nit-picky note: some built
           before to,, but the DX7 is a good reference point.) You can
       buy a MIDI interface for your home computer and run software
       to control your keyboards from there. MIDI is often used to
       build a studio in much the same way that you can build a
       stereo system: by choosing individual components and combining
       them into a whole.

A good basic checklist for "pro-quality" keyboards:

    - Sound quality. If it sounds lousy at the store, it'll sound
      bad at home. If you're having trouble hearing because of the
      57 guitar heroes flailing Strats nearby, see if you can take
      it "on approval". Most dealers are willing to work with you
      on such things. If all else fails, rent one. Spending $40 to find
      out that the $2500 you were going to spend would have been
      a waste is a good investment.

    - Usability. If the interface confuses you, if you don't like
      the layout of the modulators, if you really hate that joystick
      and want a wheel instead, or you think the operating system
      really sucks, don't commit to such a keyboard unless you're
      willing to deal with this. Small dissatisfactions can turn what
      you thought was "okay" into "unusable" after repeated fighting
      with them. Software that locks up or crashes falls into this
      category.

    - Feel. If you're already a keyboard player, you probably
      have an ideal "good keyboard" feel in your "muscle memory".
      Try playing something you already know on the keyboard to
      see if it suits you. Keyboard feel ranges from organ-like,
      mushier feels to weighted, piano-like actions. If the keyboard
      has aftertouch, try it out and see if it's intuitive enough
      for you. Try out the modulation controllers (joystick,
      mod wheel, pedals, what have you) and see if they feel
      sturdy enough to stand up to some abuse. Try the buttons
      and sliders (and knobs and switches, if the keyboard has
      them) to make sure that they feel solid and dependable.
      If you're buying a used keyboard, check buttons to make
      sure they all work, and check sliders and knobs to make
          sure they track evenly through their full range.

    - Price. I waited to mention this here because if you hate the way
      it sounds, or can't stand to use it, it doesn't matter how much
      how much you saved. Don't talk yourself into a keyboard that
      doesn't satisfy you purely on monetary grounds. If you have to,
      wait.

    - Quality of manuals. Be sure to inquire if there are
      third-party books on programming or using the keyboard.
      You may want to buy a copy of the keyboard's documentation
      to review at home before making your final decision.

    - Number of voices and multitimbrality. This is essentially
      the number of simultaneous noises that your keyboard can
      make. In the case of a keyboard, polyphony (as interpreted by
      the marketing department) means "the number of different waveforms
      which can be produced at once". This is an important distinction
      to remember; many current keyboards will actually use more than
      one waveform simultaneously to produce the sound (usually called
      a "patch", referring to how older synthesizers were programmed
      with "patch cords"), which you hear when a single key is struck.
      For instance, if a keyboard has 32-voice polyphony and uses four
      simultaneous waveforms to produce a single note, the effective
      polyphony (in the first sense, "more than one note at once") is
      now only eight (eight notes * 4 waveforms/voice = 32 waveforms).

      This problem can be even worse for a multitimbral keyboard; these
      are commonly touted as being a complete composing and performing
      solution in a single box. However, attempting to produce an entire
      arrangement of a piece at once may very well exceed the effective
      polyphony very quickly. Multitimbral synths may be able to play
      several patches at once, but each note being played on a patch
      reduces the number of waveforms left to produce another note on
      any of the patches.  For example, a standard drum track will
      typically use at least four (and possibly more) waveforms at
      some point: bass drum, snare, hi-hat, and ride cymbal. Remember
      that even if they all only come together at one sixteenth note,
      all of the voices will be required at once. Add in piano and
      several other voices, and you will be getting close to or
      exceeding the effective polyphony very quickly.

      When you exceed the number of waveforms that can be produced
      simultaneously, the keyboard will do one of two things: old
      (already-sounding) voices will have to be silenced to get
      waveforms for the new ones (this is called "voice stealing"),
      or the new notes simply won't sound until the old ones are
      released (this is less common). Some keyboards allow you to
      assign "priorities" to voices to determine which ones
      can be stolen from first. Others simply take the oldest voice
      and give its waveforms to the new note.

      You will have to determine the effective polyphony to decide
      whether a given keyboard has enough voices for you. This can be
      somewhat difficult. It is essential that you check this out
      hands-on.  Play the sounds available in the store with as many
      fingers on the keys as you will use in normal playing for those
      sounds.  If you like fat two-handed minor 11ths, you'll need a lot
      more polyphony than players who only play one or two notes at a time.
      If your playing isn't quite up to the challenge, try choosing a
      patch and paying a number of notes with the sustain pedal held
      down. See how the keyboard handles it when the polyphony is
      exceeded. Another good test is to hit a high note and then see
      how many low notes you can play before the high note disappears.

    - Many newer synths include built-in effects processing.
      See if it's possible to turn this off, or to route the
      signals so that they aren't processed. You may want to be
      able to process the sounds differently at a later date, so
      being able to not process them internally is useful. Try out
      the different effects and see if you like what they do. Again,
      remember that multitimbral keyboards will usually force you
      to choose a single effect (or none at all) for all of the
      voices.

    - Built-in sequencer. If you don't have a computer at home,
      or you'd prefer to spend more money on the keyboard and
      less on other things, consider a keyboard with a built-in
      sequencer. You should sit down and actually try to use it
      before springing for a keyboard on this basis; some are
      very difficult to use and fairly limited in function.

    - Availability of additional sounds. This may or may not be
      important to you. If you want to make your own sounds, look
      into the keyboard's voice architecture and programming. Get
      the salesperson to demonstrate if possible. If you find it
      confusing, you may find it difficult to program. If you want
      to purchase third-party sounds, talk to the dealer about what's
      available, and check out the ads in Keyboard magazine.


You should never buy any keyboard without trying it. Ways to do this:
talk to friends who own keyboards and get them to let you try them.
Ask as many questions as you can think of. If a local junior or
community college has a music lab, see what they've got and take some
classes. Or go to a local dealer. It's better to at least see a
keyboard once before asking about it on the discussion groups (SYNTH-L
or rec.music.synth), simply because there are a lot of personal
decisions to get out of the way first.

Certainly, the music store is a good place to at least try keyboards.
Try to hit the store when fewer people are likely to be there, like late
afternoon around dinnertime, or early in the morning. A good salesperson
won't be afraid to tell you that they don't have what you need, and won't
push something on you as "really hot" without justification. He or she
will also spend time talking to you about what you want to do and help
steer you toward features on different machines that will be useful
to you.

Never let yourself be stampeded into buying X as soon as you walk in.
If it's a legitimate deal, you will be able to come back later after
you check with the competition. For this reason, it's usually not a
good idea to buy a synth at a clearance sale or a "one-day-only"
special unless you're already sure that it's what you want.

Don't buy what it'll do "real soon now". Manufacturers are famous for
advertising upgrades, new patches, and lots of other things that you
can get right now that will "make it the most powerful synth available".
Always treat any keyboard purchase as if the company were going to
vanish tomorrow. You can only count on getting what you bought today
(Metlay's Law). Sometimes you can't even count on that (Rothwell's
Observation on Metlay's Law).

There are lots of variations on the "promise", some more subtle than others.
"Famous person X uses this," implying that you'll sound like X. Another one
is the inflated specs game: "16-bit sounds!" "32-voice polyphony!". None of
this makes the slightest bit of difference. If the sounds (or the potential)
of this keyboard right here, right now, don't make you want to sit down and
start writing music, the keyboard is worthless for you.

If your committment to keyboard playing is low, you may want to either
get a used keyboard, or to get a "consumer" multi-feature keyboard with
built-in accompaniment, etc. If you're unsure as to whether you'll want
to keep playing or not, you might want to consider purchasing a keyboard
which has been on the market for a year or so, but which is still very
popular. This will give you the chance to unload it used without taking
a complete bath on the money you spent.

If you are highly committed and motivated, and are planning to build a
studio over a period of time, you should carefully review *all* of the
synths available before making a choice. You may decide that a keyboard
which you can't currently afford would be a better long-term choice than
a different keyboard which doesn't meet your needs as well. Don't be
afraid to wait and save up some money; if for no other reason than the
heavy dependence on the music industry on them, electronic keyboards
are not likely to suddenly disappear like video games did in the '80's.

Once you've done the basic groundwork, and have narrowed the field a bit,
post a message to one of the discussion groups and ask for experiences,
and read reviews in Keyboard or Electronic Musician. Keyboard's reviews
tend to gloss over problems less. In many cases, you will get conflicting
recommendations; you will have to weigh these and your own experiences to
come to a final decision.

The final arbiter of your decision should always be you. You're the one
who'll be spending a significant piece of cash and a lot of your time on this
machine; it's to your advantage to find out as much as possible and to
make sure that the machine you're buying is really one that you want and
enjoy playing.

(Thanks to Bob Crispen, Ross C., Kraig Eno, and Alan W. Kerr for suggestions.)

 --- Joe M. ([e-mail])


---

1.2)        Where can I get patches for my keyboard?

Answer:

  Use anonymous ftp to
    ucsd.edu -- /midi/patches
      (current offerings include the Roland D10, D5, D50, D70, U20
       Yamaha DX7, FB01, TX81Z, SY22, SY55, SY77, Ensoniq ESQ1, SQ1,
       Kawai K1, K4, K5, Korg M1, T3, WS, Casio CZ-1, CZ-2)

    louie.udel.edu -- /pub/midi/patches
      (has patches for most of the above and several more,
       including E-mu Proteus, Korg 01/W, Ensoniq VFX, etc.)

---

1.3)        What is MIDI?

Answer:
    (adapted from [e-mail] (Joseph D. McMahon)):
    MIDI stands for "Musical Instrument Digital Interface". It is an
    international standard which allows electronic keyboards, sound modules,
    effects boxes, and other equipment to send information to one another.
    Possibly the simplest use of the feature is when the MIDI OUT jack of
    one synthesizer is connected to the MIDI IN jack of another, allowing you
    to play both at the same time using just one keyboard.

    MIDI can carry much more than just notes, however; most MIDI-capable
    equipment will produce and respond to a variety of messages on the MIDI
    bus.  Also, the proper interface hardware will allow a computer to
    control the musical equipment (see "EDITOR/LIBRARIAN" and "SEQUENCER").

    MIDI is often used to build a studio in much the same way that you can
    build a stereo system: by choosing individual components and combining
    them into a whole.

    The standard was instituted in 1987, and most keyboards after the Yamaha
    DX7 have it. (Nit-picky note: some built before do, too, but the DX7 is a
    good reference point.)  It includes both a hardware standard (it's a
    5 mA current loop carried on 3 wires, with 5-pin DIN connectors) and a
    serial communications protocol based on byte-oriented message packets
    running at 31.25 Kbaud.

    [for a more complete treatment of MIDI, see the item "Where
        can I find out all about MIDI?"  -- Craig]

---

1.4)        What are definitions for the following things?
               - aftertouch, envelope, FM, LFO, module,
            multitimbral, polyphony, pressure, sampler,
            sequencer, synthesizer,    velocity

Answer:

"AFTERTOUCH" -- same as "pressure"

"ENVELOPE"

"FM" -- frequency modulation

"LAYERING" -- see "MULTITIMBRAL"

"LFO" -- Low-Frequency Oscillator

"MIDI" -- Musical Instrument Digital Interface

    An international standard which allows communication between electronic
    music and lighting equipment from various manufacturers.

"MODULE"

"MULTITIMBRAL" -- capable of playing two or more timbres simultaneously
  From: [e-mail] (Alan Kerr)   (edited by K. Eno)
  Date: 5 Aug 92
    It means that there are multiple *timbres* on the machine: more than one
    different sound can play simultaneously.  A machine that is mulitimbral
    *usually* will let you play those different sounds on different MIDI
    channels.  "Layering" causes the synth to produce more than one sound when
    you press a single key; a "split" allows you to play one patch (a piano,
    perhaps) on one range of keys while you play a different sound (the bass)
    on another part of the keyboard.

"POLYPHONY" -- number of simultaneously playable voices
  From: crispen <[e-mail]>
  Date: 4 Aug 92

    - Polyphony and multi-timbrality.  The "polyphony" of a
    keyboard is the number of simultaneous notes that it can
    play.  However, the polyphony advertised by the manufacturer
    is usually greater than the polyphony you'll actually get,
    especially with multi-timbral keyboards.

    Imagine that you have a 16-note polyphonic multi-timbral synth.
    If you have a multi-timbral sound that has two "raw" voices that
    sound simultaneously, you're down to 8 different notes that can
    sound at the same time (16 notes of polyphony divided by two
    voices).  This is true even if the two voices are the same raw
    voice, but doubled to give a thicker sound.  If you have four
    voices in the multi-timbral sound, you're down to four notes
    that can sound at once.

    The real question, then, is how many voices (on the average)
    this keyboard requires to make up a multi-voice sound that's
    useful.  This will vary from one to four or more.  A sampler,
    for example, may only require one voice to produce exactly the
    sound you want, while some kinds of synthesizer will take three
    or more voices before the sound is halfway decent.

    When you exceed the polyphony limit (and the rule is that you
    never have as much as you want) different keyboards handle the
    overflow differently; most turn off the "oldest" voice first;
    some allow you to set the way overflow is handled.  Some quiet
    down the voice that's been turned off very subtly; others are
    noisy.  Many newer keyboards have "dynamic voice allocation"
    (DVA) which allows you to guarantee a certain number of notes
    on each raw voice; when you exceed the polyphony limit, the
    keyboard will steal from other voices with lower guarantee
    numbers so that you get more notes, but each note sounds a
    little thinner because not all the voices are sounding.

    You *must* check this out hands-on.  Play the multi-timbral
    sounds in the store with as many fingers on the keys
    as you will use in normal playing for those sounds.  If you
    like fat two-handed minor 11ths, you'll need a lot more
    polyphony than players who only play one or two notes at a time.

"PRESSURE" -- keyboard feature for sensing continuous key pressure

    Keyboards which are pressure-sensitive (or have "aftertouch", which
    is the same thing) can detect the amount of pressure on a key AFTER
    it has reached the end of its initial travel; this data can be used
    to vary the loudness or other characteristic of the sound, and usually
    sent as MIDI continuous controller messages as well.

    MONO pressure, also called "channel" pressure, detects the key that's
    pressed hardest; POLY pressure senses the individual amount for each
    separate key.

"SAMPLER" -- a device for recording and playing back digitally
    recorded sounds (I know, I know, the Mellotron)

"SEQUENCER" -- a musical event recorder

"SPLIT" -- see "MULTITIMBRAL"

"SYNTHESIZER" -- device for producing sound through analog or algorithmic means

    As generally used, a musical instrument which produces a sound signal
    by means of either analog electronics or real-time, algorithmic generation
    of a digital waveform.  A variety of techniques are used:

    Additive synthesis
    Subtractive synthesis
    Ring Modulation synthesis
    Frequency Modulation synthesis
    Phase Distortion synthesis

  (But is a pipe organ a synthesizer?  How about "real" instruments"?)

"VELOCITY" -- keyboard feature for sensing how hard you initially play a note

    Velocity-sensitive keyboards detect how hard you play.  Usually they do
    this by measuring how FAST a note is played -- that is, by measuring the
    delay between the initial strike and the time the key reaches the end of
    its travel.

    The information is usually used to determine the loudness of the note,
    but can also cause effects such as a faster attack or a shorter overall
    envelope, depending on the internal architecture of the sound generator.


---

1.5)        Where can I get price lists?

Answer:

    Ken Shirriff ([e-mail]) posts a price list
every two weeks in rec.music.synth. It is also available by anonymous
ftp to sprite.berkeley.edu in the file synth_prices.


---

1.6)        Where can I get a USA music store list?

Answer:

    William J. Sequeira ([e-mail]) posts such a list
monthly to rec.music.synth.

        --crl

---

2.0)      [Connectivity issues]

---

2.1.0)         [Groups]

---

2.1.1)            What is NetJam?

Answer:

    NetJam provides a means for people to collaborate on musical
compositions, by sending Musical Instrument Digital Interface (MIDI)
and other files (such as MAX patchers and notated scores) to each
other, mucking about with them, and resending them.  All those with
MIDI-compatible (and other interesting) equipment, access to emailing
and compression facilities and to the Internet (send mail as below for
details), and who are interested in making music are encouraged to
participate.

    All participant and composition information is documented, and
the most actions, such as subscription, submission, translation, and
information distribution, are automated. NetJam is
platform-independent, so users of Macintoshes, PCs, Amigas, Ataris,
and machines running UNIX-variants may all communicate with each
other. There are currently 134 participants, from all over the world.

    NetJam has branched out from its initial incarnation to
support {soft/hard}ware other than sequencers. For example, many
participants have access to several interesting sound synthesis
programs, like CSound for the NeXT. In addition, NetJam archives
sampler and MAX patcher data. Any data relating to art and music is
fair game.

    Most NetJam activity takes place via email, in which
participants collaborate at their own pace on works. Recently,
however, a Wide-Area MIDI Network was implemented, so real-time
interaction is now possible.

    Submissions, participant info, and other data is archived on
xcf.Berkeley.EDU (128.32.138.1), where it is available via anonymous
ftp.  To receive the document from which this blurb is extracted (and
which explains NetJam at length) send mail to netjam-request@xcf, with
a subject line containing "request for info". Articles about NetJam
have also appeared in the Computer Music Journal (15/3), and the
Leonardo Music Journal (1/1).

    We look forward to hearing from you.


    Craig Latta
    musician and moderator
    [e-mail]

---

2.1.2)            How do I subscribe to EMUSIC-D and EMUSIC-L,
                and what other BITNET lists are of
                interest?

Answer:

~Date: Mon, 17 Aug 92 12:00:09 +0200
~From: Martin Roth <[e-mail]>
Organization: ETH Zurich (Swiss Federal Institute of Technology)


    You send a mail to [e-mail] (NOT to emusic-l!!)
containing the line:

SUB EMUSIC-L <Your real name>

That's all. In a few days (this seems to be done manually, so be
patient!), you will get an intro mail and then all the discussion
mails. To contribute, you can send a mail to [e-mail],
which is then automatically sent to all the subscribed people.

    To get removed from the list, again, do not send to the list,
but to [e-mail]

UNSUB EMUSIC-L

Again, allow up to one week processing time (this is also done
manually).  By the way, your mail address is taken automatically from
the return address of your mail, so be sure you don't have any fancy
format there ([e-mail] or something in that form will do
well).

If you want to know more, just ask [e-mail] (send mail):

HELP

Simple. Just try. EMUSIC-D should be similar, I suppose... listserv serves lot
of other lists, too. Ah, yes, and you can get a list of the lists by sending
a simple

LIST

in a mail, guess where... YES! to [e-mail] !

-Martin

_______________________________________________________________________
      _   Martin Roth                Martin Roth    ETHZ, ips, RZ F16
|\  /|_)  Mail: [e-mail]  Sandacker 14   g 01/256 55 68
| \/ | \  (Student of Computer    CH-8154 Oberglatt p 01/850 32 75
          Science / Engineering)     Switzerland    (F-)emails welcome!
-----------------------------------------------------------------------

---

2.1.3)            What are some other emailing lists relating to
                electronic and computer music?

Answer:

    The nextmusic list discusses NeXT-related topics, contact
[e-mail] for subscription information.

    There are the EMUSIC-L and EMUSIC-D lists; unfortunately, I've
forgotten their subscription info. All I know is I'm subscribed...
don't you hate that? I just know I would embarrass myself in front of
millions of BITNETters if I tried to ask...  --crl

---

2.1.4)            How do I contact the editorial staff of
                Electronic Musician magazine?

Answer:

~Date:         Thu, 19 Dec 1991 09:28:35 EST
~From: Brian Adamson <[e-mail]>
~Subject:      contacting Electronic Musician magazine
To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>

   The Jan 1992 issue of Electronic Musician magazine tells
how to submit questions to the magazine via e-mail from
Internet.  (These questions are sometimes published in their
letters to the editor column).

   Simply e-mail to:

        [e-mail]      (their address on PAN)
--

                 Brian Adamson
                           NRL Code 5523
                 [e-mail]

---

2.1.5)            Is there a group for Roland U20 and U220
                synthesizer users?

Answer:

    Yes. James Choi has started one. Everything is handled by
[e-mail]

---

2.2.0)         Archives

---

2.2.1)            What are some other midi-file/software
                archives on the    Internet?

Answer:

    Piet van Oostrum ([e-mail]) keeps a list of Internet
MIDI-related archives, available via ftp as
[e-mail]:MIDI/DOC/archives, and via a mail-server -
send mail to [e-mail] with the following contents:

BEGIN
PATH <a valid mail address to you>
HELP send MIDI/INDEX
END

Note: specify a correct address (e.g. [e-mail] or
[e-mail])

---

2.3.0)         Making CDs

---

2.3.1)             What constitutes a CD master?

~From: [e-mail] (Kent L. Shephard)
~Newsgroups: comp.music,rec.audio.pro,rec.music.synth
~Subject: Re: Questions about CD mastering
~Date: 17 Nov 92 16:54:20 GMT
Organization: Amdahl Corporation, Sunnyvale CA

In article <[e-mail]>, [e-mail] (William
Alves) writes:

>    I would like to talk to anyone who has had some experience
> mastering and pressing a CD. I assume that one sends the company that
> does the pressing a DAT, but what are the other details? I assume each
> track is marked by a DAT id that corresponds to the track number, but
> what about the time between tracks? First, how much time is usually
> put between tracks?
>
>    Second, I have seen that CDs have a countdown time between the
> end of a track and the start of another - how is this represented on
> the DAT? Finally, does anyone have the names of and experiences with
> CD manufacturers? What are some typical costs and how easy are they to
> deal with? Thanks for any info.
>
> Bill

    Typical time between tracks varies from about 2-4 seconds.  A
DAT is sent to the pressing house.  With the DAT you also need to send
a play sheet that lists the absolute start time and length of each
song.  You need 15 seconds at the beginning and end of the date that
is completely blank.  You need no test tones on the tape since the
transfer will be digital.

    Your DAT will need to be "level corrected" either before you
send it to the pressing house or after.  Before is better since they
charge lots of cash for mastering.  The level correction is actually
called normalization.  All this does is make the peak of every song
the same level so a person doesn't have to play with the volume on
their stereo for each song.  Also make sure you record at 44.1KHz vs
48KHz since sample rate conversion would have to be done or an analog
step would be needed to get the sample rate to 44.1KHz.

    The pressing plant will charge a slight amount to convert from
DAT to Sony 1630 format which the disk is cut from.  The more you do
on your end as far as prep goes the less you will wind up paying.

    I do all my mastering and mastering for other folks on a NeXT
and they take the tape with the times and length of songs to the
pressing plant they use.


    There are quite a few pressing plants.  Disc Makers in
Pittsburg,Pa. and New York have a policy of satisfaction or they
refund your money.  They als have a 1 week turn around for cassette.


--
/*  What me, speak for Amdahl?  Get real.  These opinions and statements  */
/*  belong to me and me only.   If something I said offends you, it's     */
/*  either you got a thin skin or that I'm just offensive.  Who cares.    */
/*                                                                        */
/* [e-mail]  -  Don't send NeXTmail!!                          */

---

2.3.2)             Who and how much?


Answer:

~From: [e-mail] (Keith Sklower)
~Newsgroups: comp.sys.mac.misc,rec.audio.pro,rec.music.cd,rec.music.makers.synth
~Subject: Re: Cost of producing music CD's
~Date: 6 Feb 93 00:44:28 GMT
Organization: University of California, Berkeley

In article <[e-mail]> [e-mail] (Scott Dorsey) writes:
}In article <[e-mail]> [e-mail] (*** Bouncer **) writes:
}>
}>Does anyone know the name of a manufacturer of music CD's, and and what would
}>be the minimum production costs for say 200-500 CDs?
}
}I recommend Nimbus.  Expect to pay about $2500 for a thousand CDs, including
}mastering costs from an analogue or DAT master.  If you get the PCM 630
}transfer done elsewhere, you can save some money.
}
}Lots of places are cheaper than Nimbus, but I like their service and their
}sound quality.
}--scott

Well, Scott, says Keith spoiling for a bit of a flame fest, do you believe
that the same 1630 master tape sent to different CD factories will result
in CD's that sound different under careful test conditions?

Lest I be accused of favoritism, here is a list of other manufacturers
(or reps):

Discovery Systems, Dublin Ohio
Digital Audio Disc Corporation (SONY), Terre Haute Indiana
Optical Media International, Los Gatos CA
Compact Disc Services (Rick Goldman) [phone]

You can obtain the other missing phone numbers for the ones I listed
by calling up directory assistance in the cities mentioned; I don't
have them handy with me.

When I talked to Nimbus, they wouldn't deal with me directly, they
wanted me to go through a representative.

The most favorable pricing I've found is through Sony or CDS.
Both of them will accept CD-WORM media in lieu of a 1630 tape,
and you can find people listed in EQ or MIX or Electronic Musician
who will do a DAT->CD-WORM transfer for $100.

Fantasy Studios (in Berkeley CA) will charge $350 for a DAT->1630
transfer.

Discovery Systems will do 350 disks for about $1100, but you have
to send them a 1630 tape; however, they were much friendlier to me than
the Nimbus people were over the phone.

Sony will do 500 disks for $1225 (including mastering charges) or 1000+
disks for $1.25 a disk (mastering charges waived if you order at least
1000; this is **not** true of data CD-ROMs !).  Sony charges $.35 for a
jewel case and shrink wrapping.  Sony will accept graphics for the
silk-screening on the CD itself on a Mac floppy in several formats
(e.g. adobe illustrator, MacDraw II,....)  (So, if you really only
wanted 200, you have to order 500 disks, but only 200 jewel cases,
running you $1295, + shipping).

CDS charges a little less per disk but a little more for the
jewel case so the total is the same.  They also will do
custom graphics for you for the inserts, and take care of getting
it printed, etc, for a fee.  Rick is also a really nice guy,
and the quality of his life would be improved more by your business
than that of the Sony stockholders ;-).

You should also include in your cost estimate royalties to
be paid to ASCAP.  (Call up directory information in manhattan
to obtain the phone number of the Harry Fox Agency,
call them up  and ask for the ``mechanicals'' department)
The formula was somewhat complicated ($.065 minimum for a song
+ $00125 for each minute over 5), but worked out in the
two cases I know of about $.80/60 minute disk.


~From: [e-mail] (Scott Dorsey)
~Newsgroups: comp.sys.mac.misc,rec.audio.pro,rec.music.cd,rec.music.makers.synth
~Subject: Re: Cost of producing music CD's
~Date: 6 Feb 1993 03:14:34 GMT
Organization: NASA Langley Research Center and Reptile Farm
NNTP-Posting-Host: grissom.larc.nasa.gov

In article <[e-mail]> [e-mail] (Keith Sklower) writes:
>}Lots of places are cheaper than Nimbus, but I like their service and their
>}sound quality.
>}--scott
>
>Well, Scott, says Keith spoiling for a bit of a flame fest, do you believe
>that the same 1630 master tape sent to different CD factories will result
>in CD's that sound different under careful test conditions?

Yup.  One of the CDs will have some tracks missing, while another one will
never be made because they will "lose" your master tape.  Another one won't
sound like anything at all, because the company will go out of business
shortly after receiving your tape.  I have seen all three of these things
happen and I don't want to see them happen again.

In the mastering process to make the 1630 tape, though, all kinds of things
can go wrong.  If you send them a DAT that has to be resampled, quality
can be lost in the resampling process (and some outfits just have a DAT
analogue output connected to the analogue input...).  If you send them an
analogue tape, you are putting yourself in even more danger, since so many
of the outfits don't deal with analogue source material much and don't know
how to treat it.  I have heard altogether too many CDs with obvious sounds
of azimuth error, and there is no excuse in the world for this.

What you want from a pressing plant is good service.  What you want from
a mastering lab is good service and good sound quality.  I recommend
getting the mastering and pressing done by the same outfit (unless you
happen to have a 1630 in your back room and can do it yourself).  It just
makes for a lot less coordination on your part, and when things go wrong
there won't be the finger pointing.
--scott

>Lest I be accused of favoritism, here is a list of other manufacturers
>(or reps):
>
>Discovery Systems, Dublin Ohio
>Digital Audio Disc Corporation (SONY), Terre Haute Indiana
>Optical Media International, Los Gatos CA
>Compact Disc Services (Rick Goldman) [phone]

Discovery does a rotten mastering job from analogue media, and I can say
the same of Sony.  Beyond that I haven't much experience with the outfits.

---

3.0)     [Software]

---

3.1.0)        [Multi-platform software]

---

3.1.1)            What is Smallmusic? What is the MODE?

Answer:

    Smallmusic is an abstract, object-oriented music
representation. An environment implementing it, called the Music
Object Development Environment (MODE) is available. It features
several novel and portable interfaces to musical structures and
hardware. It is written in ParcPlace Smalltalk, and is thus portable
between many platforms, including Suns, DECstations, HPs, IBM PCs, and
Macintoshes. It was designed and written by Stephen Pope
([e-mail]) and several others.

    You can obtain the MODE via ftp as
[e-mail]:pub/st80/MODE/.

    A work group has formed to discuss and develop this
object-oriented software system for music. The email address for the
group is [e-mail].  If you are interested in
joining the discussion, email [e-mail],
with the subject line "add me".


    Thanks,

    Craig Latta
    [e-mail]

***

    Smallmusic abstract

    This document describes an abstract object-oriented
representation for musical parameters, events and structures known as
the MODE music representation. In object-oriented software terms, the
representation is described in terms of software class hierarchies of
objects that share state and behavior and implement the description
language as their protocol. The author (and his collaborators by
implication) believe this representation, and its proposed linear
ASCII description in Smalltalk-80 syntax, to be well-suited as a basis
for concrete description languages in other syntaces, specially-
designed binary storage and interchange formats, and use within and
between interactive multi-media, hyper-media applications in several
possible domains.



---

3.1.2)            What is Keynote?

Answer:

    Keynote, a textual, graphical, and algorithmic music editor,
is available to Berkeley.EDU sites from xcf.Berkeley.EDU, under its
site license. Users at those sites may direct inquiries to
[e-mail]. Others may direct inquiries to the author,
Timothy Thompson ([e-mail]), via
[e-mail].

    A mailing list for discussions about Keynote has been created.
If you'd like to be added, send mail to [e-mail].
If you don't know what Keynote is, here's a short description:

    Keynote is an awk-like programming language and graphical editor
    for MIDI data, with both algorithmic and realtime applications.
    The graphical interface is based on only a few built-in functions -
    the entire user interface of a complete music editor (piano-roll
    style with pop-up menus) is written in Keynote itself, and is hence
    completely customizable and extensible by the user.  Although it
    works best on UNIX systems under the X Window System, Keynote is
    portable and runs on the Macintosh and Amiga.

    Discussion on the list will include availability and porting
issues, usage hints and tutorials, sharing of user experiences, and
discussion of further development.  An archive server has also been
set up to allow sharing of documentation, examples, and music.

   ...Tim Thompson...AT&T Bell Laboratories/Holmdel/[e-mail]...

---

3.1.3)            Are there programs to convert back and forth
                between    human/filter-readable text and
                MIDI files? How do I get them?

Answer:

~From: Piet van Oostrum <[e-mail]>
~Subject:      Announcing MF2T/T2MF
To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>

Two programs to manipulate standard midifiles.

mf2t is a program that reads a standard midifile (format 0 or 1) and
writes an ASCII representation of it that is both compact and easily parsable.

t2mf is the companion program that reparses the text representation
into a midifile.

Piet van Oostrum, Dept of Computer Science, Utrecht University,
P.O. Box 80.089, 2508 TB Utrecht, The Netherlands
email: [e-mail]

-----------------------------------------------------------------------
You can do with this program what you like, but if you think it is
useful I would appreciate if you send me some of your midifiles. Not
ones that I can find on the Internet. Please send them uu- or
btoa-encoded. Zoo and Arc archives (encoded) are also OK, Zip and
Lharc may be problematic.
------------------------------------------------------------------------

The text representation is chosen such that it is easily recognized and
manipulated by programs like sed, awk or perl. Yet it is also humanly
readable so that it can be manipulated with an ordianary text editor.

In this way you can make changes to your midifiles using these
powerful programs or even in Cobol :=). Or you can write
algorithmic compositions using a familiar programming language.

mf2t/t2mf is available via ftp at the sites returned by 'archie mf2t'
(see the entry on 'archie' above).

by mail-server:

send the following message to
[e-mail] (or uunet!mcsun!hp4nl!ruuinf!mail-server):

    begin
    path [e-mail] (PLEASE SUBSTITUTE *YOUR* ADDRESS)
    send MIDI/PROGRAMS/mf2t.zoo
    end

NOTE: *** PLEASE USE VALID INTERNET ADDRESSES IF POSSIBLE. DO NOT USE
ADDRESSES WITH ! and @ MIXED !!!! BITNETTERS USE [e-mail] ***

The path command can be deleted if we receive a valid from address in your
message. If this is the first time you use our mail server, we suggest you
first issue the request:
    send HELP
--
Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: [phone]   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   [phone]   Internet:  [e-mail]   (*`Pete')

---

3.1.4.0)        [CSound]

---

3.1.4.1)            What is CSound?


Answer:

~Date:         Sat, 21 Mar 1992 10:36:00 LCL
~From: [e-mail]
~Subject:      csound


    csound is a comprehensive synthesis and processing package
written by Barry Vercoe at the Media Lab, MIT. It is written in more
or less portable C (although it does make use of one or two functions
which are not ANSI such as open(), close()), and will certainly run
well on any UNIX box i.e.  SUNs, VAXen, etc. It also runs on the
Macintosh under ThinkC 4.0. At the University of Birmingham we have it
running on Apollo Workstations, our IBM3090 mainframe, and an old
version also comes as part of York University's CDP (Composer's
Desktop Project).

    The latest version of csound not only has the usual modules
for processing and synthesis but also has those for doing FOF
synthesis (cf. CHANT), and for phase vocoding. There is also the
ability to take in standard MIDI files as score files, or (on speedy
machines) the ability to run csound in real time, and trigger events
from a MIDI stream.

    csound can output sound-files in AIFF format to be read by Mac
type things such as Sound Designer, and also: 8-bit signed character
samples, alaw samples, ulaw samples, short integers, long integers,
floats, with or without IRCAM (1K) headers. It can output files for
the NeXT to play too.

    The package is available via anonymous ftp to
ems.media.mit.edu in the /pub directory. Look at the README's for
details of what you need. The manaul is available as postscript.

    If anyone wants a copy of the IBM3090 version, they could
contact me directly.  Unfortunately the modified code is in a bit of a
mess at the moment as I am re-porting it for another version of C
(C370), but I have a running CSOUND MODULE.

    At Birmingham we run CSOUND on the IBM3090 for complex CPU
intensive stuff, and transfer it to an ATARI TT (30MHz) via an
ethernet connection. The ATARI runs CDP, and has a soundstreamer. We
are getting some more ethernet boards which will allow us to bring the
files into Sound Tools running on another ATARI (this will be a
massive kludge!). The transfer takes some time, but since something
which took a day to compute on a normal ATARI takes 20 minutes on the
IBM we're not complaining.

Robert Dow, Department of Music, Barber Institute of Fine Arts, Edgbaston,
            Birmingham, B15 2TT, UK

[e-mail]1        (JANET - address in uk order)



~Date: Wed, 8 Apr 1992 19:16:10 -0500
~From: NeXTmusic Mailing List <[e-mail]>
~Subject:  Snd v1.2 released
~Reply-To: [e-mail] (Pete Yadlowsky)


Snd is a NeXTStep interface to an enhanced version of Vercoe's csound (v2.0).
Other audio-related applications are also supported, to the effect of providing
a general, integrated computer music production environment. Like its
forebears, v1.2 offers on-line documentation, easy access to and management of
the various file types, push-button control and execution of csound and other
applications, csound output signal scaling and remote-host csound execution.

Here's what's new:

    - inline signal limiting (csound); eliminates signal clipping
      without having to post-scale an entire floating-pt soundfile
      (linear post-scaling is still available)
    - internal speaker control
    - 'lisp' file type, knowledge of Paul Lansky's rt.driver
    - 'Windows' menu entry
    - simpler access to csound manual
    - various minor improvements and fixes

Where: uvaarpa.acc.virginia.edu:/pub/next/Apps/Snd/Snd1.2.tar.Z

    - Pete


Peter M. Yadlowsky              |         Laden e-mail runs
Academic Computing Center       | Bumbling, creaking through the net
University of Virginia          |         Sysadmins tremble.
[e-mail]                |                      - after Buson



---

3.1.4.2)            What are the requirements of CSound?

Answer:

The requirements for CSound are somewhat flexible.  I actually compiled a
Mac + (MPW) version of CSound 2-3 years ago, but it took about 8 hours to
make 80 seconds worth of sound!  I suggest you use a system with hardware
floating point and a 32-bit processor (Any Mac II with FPU, a NeXT, Indigo).
As far as memory requirements, that depends on how big your gen function
tables will be.  The same with hard disk size.  If you want to make a
10 minute stereo piece at 44.1K sample rate, you will need 106 megabytes
of disk space.  (10.6 Megs per stereo minute at 44.1K, 11.6 at 48K).
So the answer is...  use as big of a system as you can buy or borrow.


---

3.1.4.3)            Is there a tutorial on CSound?

Answer:

~Date: Fri, 7 Aug 92 10:41:46 GMT-0800
~From: [e-mail]
~Subject: Re: ... Electronic and Computer Music FAQ ...

    Beyond the CSound manual, there is little to help you unless
you take a course in computer music (summer courses, at CCRMA, UIUC,
Brooklyn College, etc.)

--
Greg Sandell
Research Fellow, Center for New Music and Audio Technologies (CNMAT)
[e-mail] or [e-mail]


---

3.1.5)            Where can I get recordings of electronic music?

Answer:

~Date:         Wed, 20 Nov 1991 13:37:30 EST
~From: The Radio Gnome <[e-mail]>
~Subject:      Mail order sources for EM
To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>

Hi,

     Below are some of the places I order/have ordered from along with
some short descriptions.

     Any word of new releases by Georges Boutz or Thom Brennan?


Alcazar              Heavier emphasis on the folk/newage end of things.
Box 429
South Main ST
Waterbury, VT 05676             800-541-9904

Wayside Music          Lots of rare/unusual stuff as well as some
Box 6517               pressings on their own Cuneiform label.
Wheaton, MD 20906-0517

Eurock Distribution    A one person show (Archie Patterson)
Box 13718
Portland, OR 97213

Lotus Records          Carried a lot of rarities.  Last ordered from them
23 High Street         in 1985.
Newcastle-under-Lyme
Staffordshire ST5 1QZ
Great Britain

Mirage Music           Martin Reeds venture.  Used to carry Mark
612 Southmead Road     Shreeves early cassette only releases.
Filton                 Also good cassettes by Ian Boddy and Steve Frost.
Bristol BS12 7RF
Great Britain

Backroads Distribution    More Newagey type stuff but extensive inventory.
417 Tamal Plaza           Also carry New Albion and Erdenklang Labels.
Corte Madera, CA 94925    800-825-4848

Generations Unlimited       They carry David Prescotts tapes and some
199 Strathmore #5           good stuff by Jorge Thomasios
Brighton, MA 02135-5210

The Music Suite Ltd       Carry the complete Adrian Wagner Collection.
Glanyrafon House          Also check out 3 Men Underground.
Cenarth - Newcastle Emyln
Dyfed SA38 9JN
Great Britain

Perry Thompson          He sent me his cassette Sleeping Giants for
70 Sproul Rd.           free.  Its very Burmer-esque.
Malvern, PA 19355

Charles Cohen       Ask about his "Darwin in Chains" cassette and
Box 181             the unreleased(?) "Swizzle Stick"
Riverton, NJ 08077

George Wallace  c/o         All three of his releases are MUSTS in
Larger than Life Music      any EM collection.  Start with Communion.
10 Belmont Sq.
Doylestown, PA 18901

Jesse Clark             His latest, Locked in Heaven is his best, but
710 Eton-Adelphia Rd.   earlier releases are also good, especially
Freehold, NJ 07728      "CAMELIA"

"She has learned that short ideas repeated massage the brain" - Robert Ashley


---

3.1.6)            Is there PostScript code available for generating
                guitar scales?

Answer:

    Yes, via ftp as:

    [e-mail]:misc/netjam/lib/scales.ps.mail

---

3.1.7)            Where can I get online guitar tablature?

Answer:

    James Bender ([e-mail]) maintains an ftp archive of
guitar tablature, at ftp.nevada.edu(131.216.1.11).

---

3.1.8)            What is Midi2TeX, and how can I get it?

Answer:

~Date: Wed, 5 Aug 92 10:47 MET
~From: [e-mail]
~Subject: MIDI2TeX V 1.1 uploaded


     Recently I have finished version 1.1 of the MIDI2TeX translator.
Instead of sending it by e-mail to all users I now have uploaded the
complete package (PC and ST) on ftp site

                obelix.icce.rug.nl

directory :     pub/erikjan/MIDI2TeX

Download st_m2t11.arc for the ST and pc_m2t11.exe for the PC. The file
m2tex11.inf contains some general information about the package.

I encourage everybody to transfer the package to other (more general) ftp
sites. If you do, please inform me where you uploaded it and in what
directory.

For those of you who do not have ftp access I am still willing to send the
new version by e-mail. Please e-mail your request. It may take one or two
weeks before you receive the package by e-mail.


                                        Hans Kuykens

---

3.2.0)         [UNIX software]

---

3.2.1)             What is MusicTeX, and how can I get it?

Answer:

~Date: Mon, 5 Oct 1992 14:35:00 +0100
~From: Werner Icking <[e-mail]>

    MusicTeX is a TeX-based music typesetter. It consists of
TeX-macros and special music-fonts for 300dpi printers (100dpi, 240dpi
are available, too); the MetaFont-source is included. It's capable of
printing scores of up to nine voices. The documentation contains a
ready-to-print dvi-file musicdoc.dvi and a lot of examples, most of
them by Daniel Taupin, the author of MusicTeX.

    MusicTeX is available at a lot of servers ('archie musictex'
-- see entry on archie for details) but at most sites you will find
out-of-date versions because Daniel Taupin continuously enhances
MusicTeX :-). Actual versions can be found at:
  ftp.gmd.de [129.26.8.90]: music/musictex/musictex.zip ... musicpk.zip
  rsovax.ups.circe.fr [130.84.128.100]: anonymous.musictex musictex.zip ...
The latter is the author's ftp-site.

Good TeX-knowledge is a good basis for using MusicTeX with it's own fonts.

Werner ([e-mail])                MusicTeX-author: [e-mail]



~Date: Tue, 27 Oct 92 15:51:55-0100
~From: [e-mail]

TeX (and LaTeX) is a Public Domain typesetting system written by
D. Knuth, that has been implemented on `almost all' operating systems
(including DOS and OS/2: namely emTeX).  Refer to the FAQ posting in
comp.text.tex for the necessary info for those who are not yet familiar
with TeX.

MusicTeX actually consists of a set of macros on top of TeX.
It is written by D. Taupin ([e-mail]), who is a
professional musician.  It enables you to write music scores
having a very professional look.  It is available via anonymous
ftp from rsovax.ups.circe.fr (130.84.128.100) [.musictex]
and also from many archive sites distributing TeX.

MusicTeX provides for practically all possible situations, including
multiple instruments each with multiple bars, and also for transposition.

TeX is definitely NOT a WYSIWYG (WhatYouSeeIsWhatYouGet) text processor;
this also applies to MusicTeX.  Consequently, typing in the music can be
rather painful, especially when you are a beginner.
An example: to typeset (quarter)e (eighth)c (eighth)d (bar),
you have to type \Notes \qu e\cu c\cu d\enotes\barre

For people having Midi, the program Midi2TeX (see Q: What is Midi2TeX)
is probably very useful, because it converts Midi output files to
MusicTeX syntax.

To use MusicTeX, you need a TeX implementation.  For DOS, this is freely
available via anonymous ftp from rusinfo.rus.uni-stuttgart.de (129.69.1.12)
in ./soft/tex/machines/pc/emtex and also from other ftp servers.
Documentation is available in both German and English.
You can also request the package from the author, Eberhard Mattes;
send eMail to him ([e-mail]) for more info.

Finally, I should also mention the existence of MuTeX, written by
Andrea Steinbach and Angelika Schofer. It is less powerful than MusicTeX.
(See, e.g., the remark on MuTeX in this FAQ under NexT).
It is available via anonymous ftp from, e.g., ymir.claremont.edu
(134.173.4.23) in [anonymous.tex.music.mtex].

Hope this is of any use to the musicians on the net.


                                 Peter Vanroose
                                 Electrotechnical Department, ESAT
                                 K.U. Leuven, Belgium.
                                 [e-mail]
                                 tel.    [phone]

---

3.2.2)             Is there UNIX software for modifying and
                playing MIDI files?

Answer:

~Date: Tue, 16 Feb 93 10:03:26 MST
~From: Mike Durian <[e-mail]>

    I have recently written and released some TCL extensions that
allow you to modify, and in some cases play, MIDI files.  It comes in
C and compiles with the TCL 6.5 release.  It is available for ftp from
barkley.berkeley.edu as tcl/extensions/tclm0.1.tar.Z.  Also included
is one sample script that dumps a MIDI file to human readable form and
another that plays MIDI files through the BSD/386 MIDI driver.

    If you don't know TCL is an interpreted language that is a
cross between C and LISP.  TCL stands for Tool Command Language and is
designed so people can easily create interfaces to different
applications.  Working hand-in-hand with TCL is TK which is a motifish
X11 widget collection that works in the TCL language.  TCL and TK were
written by John Ousterhout.

mike
[e-mail]

---

3.3.0)        [NeXT software]

---

3.3.1)            What are some currently available sound editors for
                the NeXT?

Answer:

~Date: Sat, 21 Mar 1992 18:25:21 -0600
~From: NeXTmusic Mailing List <[e-mail]>
~Subject: Sound Editors
~From: "Paul Lansky" <[e-mail]>


In a previous post there was some discussion of Soundworks
and a reference to some of the sound editors on the princeton
server.  I thought I would clear up some confusion by posting
a list of everything I know about available sound editors

1) Soundworks: available from Metaresearch.
           Has some great features, but a new version
          is forthcoming which should be much better

2) Edsnd: by Jamie pritchard, at pub/music at princeton.edu
          based on the original soundeditor by
              lee boynton, with cut/paste, fft and spectral
              views added.

3) Edsnd2: by Jamey Pritchard, at princeton.edu
              Comes up with a time-line instead of a soundview
              and you can then select any portion to view.
              I added a marker system which can be saved
              as a simple ascii file, and can cue arbitrary
              sections of a soundfile.  Quite useful for
          parsing soundfiles.  I used this and RT
          exclusively to prepare a 20 minute piece
          by Steve Mackey for CD.  We never touched
          his original soundfiles.

4) edsndP: by Stephen Master, at princeton.edu
              This is a rewrite of the original edsnd using
              Metaresearch's dataController and dataView objects.
              It is very fast, and has lots of neat features.
              I think it is the best one so far, although it
              could use a marker system. The appended "P" is
          a long story which I'll tell privately to anyone
          who really wants to know.

5) SE: The IRCAM signal editor, available at ccrma-ftp.stanford.edu
              This has some really incredible features.  It has to
              be seen to be believed.  It is a different approach
              than all the others, but it can be quite useful.
              Its main drawback at the moment is that it only
              accepts mono files.

7 Spectro: by Perry cook, available at stanford
        does "waterfall plots" of spectra
        Emulates a Hewlett-Packard spectrum analyzer.

8) Sonogram: a very nice grey-scale spectral analyzer, available
        on most of the archive sites.

-------------------
sort of signal editors

9)Ein:    at Princeton, by me and Ken Steiglitz
        dsp scratch pad, with spectral, fft and soundviews

10) RT:     at Princeton, by me and Kent Dickey
        real-time mixer and editor. Pete Yadlowsky
        added a very nice lisp front end.

-------------------
forthcoming commercial software

11) Holstein, from Stealth Technology. The Stealth DAI 2400 is the
digital audio interface, and the ADA1800 is the A-D-A plus digital
audio interface.  Don't know anything about it

12) Singular Solutions updates.  Don't know anything about it

-----------------------------

I'm sure I've left out a few. Someone please complete
the list.  (I'd be glad to store all these at Princeton.)
While these programs do a lot, there are still a lot of
things we could use.  It would be interesting to discuss
these things here. (for example: it might be nice to have a
scrubbing routine that would allow you to rock back and forth
the way we used to do with tape-heads (ouch)) (I'd also love
a visual editor for RT).

Paul Lansky


---

3.3.2)            What is MixView, and how can I get it?

Answer:

~Date: Mon, 16 Sep 91 15:39:51 PDT
~From: [e-mail] (Douglas Scott)
To: [e-mail]
~Subject: mixview version 3.2 now available

Greetings to you all on my mixview mailing list.  The
newest version of mixview, my X - based soundfile
editor/processor, is now available on a new anonymous
ftp site where I now work:  foxtrot.ccmrc.ucsb.edu
(128.111.92.30), as pub/mixview-v3.2.tar.Z.  [Version 3.1
was withdrawn -- 3.0 was the most recent distribution].

The new version features a record command (for those of
you running it on NeXTs), plus a play command that allows
you to stop the play at any point.  As soon as I hear that
there is still interest, I will activate and debug the
record command for those of you working on
SparcStations.

Anyone who needs the source mailed via uucp, let me know.

As usual, please let me know if you wish to be removed from
my mailing list.


Douglas Scott                              [phone]
Center for Computer Music Research and Composition
University of California, Santa Barbara
Internet: (NeXTMail ok)   <[e-mail]>


---

3.3.3)            What is DU", and how can I get it?

Answer:

~Date: Tue, 11 Jun 91 11:05:54 PDT
~From: [e-mail]
To: [e-mail]
~Subject: DUB: Mixing and overdubbing in real time

Comrades:

Let's make a deal.  I have written "DUB," an application that mixes
together multiple sound files on the fly and overdubs (records) at
the same time.  It's ugly but it works but it's UGLY.  I'm not proud
of it.  The user interface is the worst thing I've written since I
quit programming in BASIC over two decades ago.

The good things about DUB:  It mixes together N "playlists" on the
fly.  A playlist is a sequence of non-overlapping sounds.  The
DACPlayer object is pretty clean, the DSPRecorder object (and
attendant dspRecorder.asm code) knows how to drive the Ariel digital
mic at different sampling rates.  It records at the same time that it
plays back.

The bad things about DUB:  There's no real user interface.  The sound
file names that it opens to play are hardwired in the source code.
The sound file that it records into is similarly hardwired.  You have
to launch it from a shell (or more often a debugger) in the directory
that contains the sound files "track1.snd," "track2.snd," etc.  There
are features that the low level code supports (dynamic gain control,
setting the duration of the sounds) that the user interface doesn't
exploit.

DUB does useful things that many NeXT sound and music aficionados
have asked about, but my pride prevents me from distributing it
broadly in its current ugly state.  So let's make a deal: I will give
the project folder (source code, IB.proj, etc) if you agree to the
following:
    * You must be able to receive (and send) NeXT mail attachments.
      (That's how we'll communicate.)
    * You will implement a "safe and sane" user interface for Dub.
    * You already know NeXTstep programming and won't ask me lots
      of questions (I'm perpetually swamped at work, and I may not
      have much time to answer your questions.)
    * You will send me the finished application in source form.
    * You will allow me to put the finished application in source
      form on the archive servers.
    * Most importantly, you won't laugh at me or malign me in public
      for writing such a mean user interface.

If you can agree to all the above, and you're interested in helping
the rest of the NeXT community make beautiful music on the NeXT, I
want to hear from you.

Thanks!

- Robert Poor
  NeXT Developer Marketing
  [e-mail]


---

3.3.4)            What is RT, and how can I get it?

Answer:

~Date: Mon, 15 Jul 91 15:17:12 PDT
~From: [e-mail]
To: [e-mail]
~Subject: Real time sound mixer

A new real time sound mixing program from Paul Lansky on the net...

conrad

~From: [e-mail] (Paul Lansky)
~Subject: Real time sound mixer
~Date: 14 Jul 91 15:26:45 GMT

I have placed a real-time sound mixing program, RT,  in
pub/music/NeXTrt.tar.Z at princeton.edu.  This was
written by me and Kent Dickey, and essentially allows you
to play arbitrary segments of up to 32 different soundfiles
in 8 tracks, as if they were notes, overlapping, panning,
enveloping and even pitchshifting them.  The limitation on
the system is essentially disk throughput, which seems to
allow you to do about 450k bytes per second.  This means
you can mix two 44k stereo files, 2 22k stereo and one 44k
stereo, etc, at a time.  A really nice feature of the program
is that you can play different channel formats and different
sampling rates at the same time!  If you overload the system
there will be interruptions, but you can also write the mix out
to disk.


I *think* it is fairly robust now, and easy to use.  I have

not placed it in the archives since I want to keep tinkering
with it, and so want to keep it in reach.


Future additions will include a signal editor, and perhaps some
sort of graphic display, although the latter would be tricky, given
that for my current work I often find myself lining up as many as
500 sound segments to play.

I am anxious for feedback and suggestions.  This program will not
work well on 030 machines.  Enjoy it.

Paul Lansky
Music Department
Princeton University
[e-mail]
[e-mail]


---

3.3.5)            What is RTLisp, and how can I get it?

Answer:

~Date: Tue, 28 Jan 92 17:14:51 GMT
~From: Pete Yadlowsky <[e-mail]>
~Subject: new Lisp interface to Lansky's "rt"
Apparently-To: [e-mail]


RTLisp runs on David Betz's XLisp and is comprised of a set of object
class and function definitions which provide a Lisp interface to
Paul Lansky's NeXT-based, real-time audio mixing software,
`rt'. The rt user arranges audio material temporally,
dynamically and spatially by means of a relatively simple grammar
which is parsed and executed by rt's audio driver program. The

simplicity of this grammar can make it rather tedious to use,
though, especially in the realization of complex `scores'. Also,
there is no  provision for the programmatic generation of audio
events, so every event must be specified in detail by hand.


RTLisp was designed to facilitate the process of rt score
creation. It equips the composer with a powerful, interactive
high-level programming environment (Lisp), and lends some
intelligence to tasks such as temporal placement and grouping of
audio events, control of dynamics in the stereo field and rt
`track' assignment.


RTLisp can be thought of as a sort of rt command compiler. It can run
standalone in a shell window, controlling the rt audio driver
directly, or it can run in conjunction with rt.app, Mr. Lansky's
NextStep interface to the driver.


RTLisp is available in two different packages. The first, under
NeXTrt.tar, contains rtlisp binaries and scripts merged with a
new version of rt.app, along with an RTLisp chapter in rt.app's
online documentation. The second, rtlisp.tar, does not include
rt.app but does include binaries, lisp source, rt's audio driver
and XLisp and rtlisp documentation.


anon ftp: uvaarpa.acc.virginia.edu:/pub/next/Apps/NeXTrt.tar.Z
          uvaarpa.acc.virginia.edu:/pub/next/bin/rtlisp.tar.Z
          princeton.edu:/pub/music/NeXTrt.tar.Z
          princeton.edu:/pub/music/rtlisp.tar.Z

---
Peter M. Yadlowsky        |         Laden e-mail runs
Academic Computing Center    | Bumbling, creaking through the net
University of Virginia        |         Sysadmins tremble.
[e-mail]        |            - after Buson


---

3.3.6)            What are Patchmix and StochGran and how can I
                get them?

Answer:

~Date: Wed, 29 Jan 92 14:15:04 GMT-0500
~From: mara helmuth <[e-mail]>
~Subject: Patchmix and StochGran
Apparently-To: [e-mail]


I have put new versions of Patchmix and StochGran at the Princeton
archive (Princeton.edu) in the "pub/music" directory.  These are
both NeXT interfaces.  Patchmix is a graphical front end to Cmix
which allows you to create instruments by connecting a patch of unit
generator icons.  StochGran is a granular synthesis instrument.
The source code is there, and it is necessary to have Cmix installed
to compile them.  I'm still adding things, so let me know if you use
them and have suggestions.

Mara Helmuth
[e-mail]
[e-mail]

---

3.3.7)            What is the IRCAM Signal Editor and how can I get it?

Answer:

~Date: Thu, 30 Jan 92 10:36:18 PST
~From: [e-mail] (David Jaffe)
~Subject: Re: SoundKit vs MusicKit
Apparently-To: [e-mail]

davidfe writes about the problem of using the Music Kit and Sound Kits
together, playing sound with the Music Kit,then playing sound with the
Sound Kit, then having problems with the DSP.

This is a well-known problem.  Here's what's going on:

The sound kit preempts whatever else is going on when it plays a sound.
So it grabs the "sound-out link from the DSP" that the Music Kit is using.
But it doesn't restore the link.

Basically, the only way to do what you want (currently) is to close (or abort)
the Orchestra, play the sound, and then open the orchestra again.  If you
are using the orchestra in timed mode (the default), you probably want to
finish the performance too.

I.e.:

-playsound {
        [Orchestra abort];
        [Conductor finishPerformance];
        [sound play];
}

when sound is done:

-soundIsDone {
        [Orchestra open];
        ...allocate SynthPatches and such, if necessary...
        ...activate Performers if necessary...
        [Conductor startPerformance];
}


Future releases of NeXT software should solve this problem.

---

3.3.8)            Where can I find information about the NeXT
                MIDI driver?

Answer:

~Date: Thu, 24 Oct 91 16:59:46 PDT
~From: [e-mail]
To: [e-mail]
~Subject: MIDI driver documentation

Draft Documentation Available - MIDI driver documentation
NeXT Publications Group

A new document describing the MIDI driver is available on the
Internet archive servers.  This document is a revised and expanded
version of the Release 1.0  MIDI driver documentation, and is not
present in Release 2 or in the hard-copy technical documentation.



The document is available by anonymous ftp (file transfer protocol)
from one of the following Internet archive servers:

________________________________________________________
     hostname                   Directory
________________________________________________________

cs.orst.edu                  pub/next/documents/TechSupportNotes
sonata.cc.purdue.edu         pub/next/submissions
etlport.etl.go.jp (Japan)    pub/NeXT/documents/MIDIDriver


The two files that make up this draft document are:

  MIDIDriver.tar.Z
  MIDIDriver_README

MIDIDriver.tar.Z is 54.2 kilobytes in size.  Unarchived, it's a
directory called MIDIDriver that occupyies 141 kilobytes and consists
of:

Introduction.rtf -- An introduction for users of MIDI on NeXT
computers, including information on MIDI interfaces, the MIDI data
format, and whether to use the driver functions or the Music Kit.
DriverOverview.rtfd -- A conceptual overview of the NeXT MIDI driver.
CFunctions/ -- Specifications of the MIDI C functions

Your feedback on the document is welcome.  See the file
MIDIDriver_README for details.

Doug Keislar
NeXT Computer, Inc.


---

3.3.9)            What is the status of the Music Kit on NeXT
                machines?

Answer:

~Date: Mon, 27 Jan 92 09:54:03 CST
To: [e-mail]
~From: [e-mail] (Douglas Scott)
~Subject: Re: Sound and Music Kits in 3.0?

The Music Kit is no longer supported by NeXT under 3.0.  It will not be bundled
with the software.  Development and management of it will be handled from now
on by Stanford University.  This is happening because of a complete lack of
commercial interest in the Music Kit (as NeXT sees it).  They feel the need to
trim software support for things that will not directly contribute to the
financial success of their company.  They said they may re-introduce it at
"some later time" once they have a chance to expand a bit.

I learned all this from a session on "NeXT on Campus" at the NeXT Expo.

Douglas Scott                              [phone]
Center for Computer Music Research and Composition
University of California, Santa Barbara
Internet: (NeXTMail ok)   <[e-mail]>

---

3.3.10)         What ear-training software is there for the NeXT?

Answer:

~Date: Sun, 9 Feb 92 19:18:54 EST
~From: [e-mail] (Anthony Holland)
~Subject: New Music Ear Training Software for NeXT - Audio Challenger 1.0

"Announcing the release of "AUDIO CHALLENGER 1.0"

"Audio Challenger 1.0"  is the first ear-training software released
for the NeXT computer.  Audio Challenger randomly generates ascending
and descending melodic musical intervals which can be used in
assisting music students in trying to improve their ability to
aurally identify musical intervals.   Audio Challenger features
real-time synthesis on the DSP (digital signal processing) chip of
the NeXT computer which gives it the advantage of a more natural and
"lively" musical timbre than ear-training programs that currently
exist on other platforms.  Audio Challenger is released as FREEware
to the internet archives by the researchers and students of DREAMS:
Digital Research (in) Electro-Acoustic Music (at) Skidmore College.

"Audio Challenger .0" is currently at the following archive sites:

*Archive Info:

 filenames: AudioChallenger.tar.Z
                AudioChallengerREADME


1)  location: nova.cc.purdue.edu
     directory: /pub/next/submissions (likely to move to
                                  /pub/next/2.0-release/binaries)



2)  location: cs.orst.edu
     directory: /pub/next/submissions (likely to move to
/pub/next/binaries)




3)   University of Maryland:  umd5.umd.edu
              /pub


4)  ccrma-ftp.stanford.edu
      /pub

After FTP'ing AudioChallenger.tar.Z, type: zcat AudioChallenger.tar.Z
| tar xvf -
note: you may need your system administrator to uncompress and untar
AudioChallenger.




Anthony G. Holland
Associate Professor of Music
NeXT Campus Support
Skidmore College
Saratoga Springs, NY 12866
tel: [phone] ext. 2606

next mail: [e-mail]

---

3.3.11)         What is Hyperupic, and how can I get it?

Answer:

~Date: Thu, 17 Sep 92 11:40:08 EDT
~From: "Christopher Penrose" <[e-mail]>
To: [e-mail]
~Subject: [Hyperupic released]


[Sorry for the late inclusion... "real work"... sheesh... :)  --crl]


Hyperupic is an image to sound transducer implemented on a NeXT
workstation.  That's right, with Hyperupic you might be able to hear
Whistler's mother.  I think that he did all the whistling, actually.

Hyperupic is inspired by the Upic system conceived by Iannis Xenakis.
Feed Hyperupic a TIFF image, and Hyperupic will convert it into a
sound.  Hyperupic has the facility of using color has a sonic parameter.

Hyperupic is free.  Give it to your friends.  Show it to your mother.
I won't make you feel guilty (yet) for using my software.  You can
even claim that you wrote Hyperupic yourself!  If you do this though,
you might fall through the next subway grating that you trust will
hold your weight.

Hyperupic has on-line infotainment, including documentation.

It is available via ftp at:

princeton.edu
cs.orst.edu
nova.cc.purdue.edu

or contact me:

Christopher Penrose
[e-mail]

---

3.4.0)        [IBM PC software]

---

3.4.1)            What are some public-domain (or nearly so)
                sample-editing programs for IBM-PC
                compatibles?

Answer:

~Date:         Wed, 15 Jan 1992 13:36:00 LCL
~From: Achim Haag <[e-mail]>
~Subject:      Re: Tetra compositor
To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>

Hi,

I don't know anything about the Tetra compositor, but I know two
public domain programs, that are quite similar to Soundtracker.
The first is called ScreamTracker (for PC). It has many functions:
play in background, peak level meter, oscilloscope...
Unfortunately it's shareware and the autor wants some $100 before he
will send you a version that can SAVE your own created songs.
It can handle many output devices (PC speaker via PCM, D/A-
converter at an printer port, SoundBlaster (I believe!!!)), but I don't
think it's worth this much.

The second one - MODEDIT - is not quite as comfortably as the Scream-
tracker, but it's public domain and therefore is worth it's money...
Unfortunately it does *not* support SoundBlaster, but I've build a
simple D/A-converter and now I can listen to the sounds on my stereo.

[Nathan Torkington <[e-mail]> says, on 18 August 1992,
that "There is a program distributed with the later releases called
ModRes which allows ModEdit to play the modules using the
SoundBlaster, etc."]

I've many samples from an amiga-user, so this shouldn't by a problem.

Hope this information is useful  for you.

Bye, Achim


---


---

3.5.0)        [Macintosh software]

---

3.5.1)            Which glove interfaces with the Max 'glove'
                object?


Answer:

~Date: Thu, 20 Feb 92 16:03:49 CST
~From: James McCartney <[e-mail]>
To: [e-mail]
~Subject: power glove

   The glove object uses the Gold Brick ADB interface from Transfinite
Systems. [phone] The cost is $169 for a user system or $245 for
the developer model which provides LEDs for monitoring ADB activity
and other stuff.


---

3.5.2)             Where can I get a Macintosh program to
                translate between different soundfile
                formats?

Answer:

~Date:         Sat, 26 Oct 1991 16:25:22 -0700
~From: Tom Erbe <[e-mail]>
~Subject:      Soundfile header conversion program
To: Multiple recipients of list EMUSIC-L <EMUSIC-L@AUVM>

I just wrote a little program for the Mac that does Soundfile header
conversion.  It translates between IRCAM, NeXT .snd, Sound Designer II,
AIFF and DSP Designer files.  It will open any file as a 16-bit linear
soundfile, if you want.  I am making no attempt (at least not yet) to
support anything other than 16-bit linear.  You can also change things
in the header like sample rate and number of channels.  This is my
first program for the Mac, so it might have bugs.  If you want a copy,
you can get it through ftp to "mills.edu", it is "ccm/SoundHac.hqx".
Or I could mail it to you if you don't have ftp.  Please send bug reports!

Tom Erbe * Technical Director * Center for Contemporary Music * Mills College
  [e-mail] * Mills College, Oakland, CA  94613 * [phone]


~Date: Tue, 1 Dec 92 10:15:21 -0800
~From: [e-mail] (Tom Erbe)
To: [e-mail]
~Subject: Re: Electronic and Computer Music Frequently-Asked Questions (FAQ)
Organization: Mills College, Oakland CA


Craig,
    I have updated SoundHack considerably since my message got in your
FAQ.  SoundHack now reads and writes the following formats:

Sound Designer II;     8 bit linear and 16 bit linear
AIFF;             8 bit linear and 16 bit linear
NeXT/Sun;         8 bit linear, 16 bit linear, mulaw and 32 bit float
IRCAM;            8 bit linear, 16 bit linear and 32 bit float
DSP Designer;        16 bit linear
Text;            text formatted with a fixed point number on each line.

It also has several signal processing modules added.  These are: soundfile
convolution, binaural spatialization, the phase vocoder, varispeed, ring
modulation (part of the convolution module).  Currently I am working on a
spectral dynamics module and a spectral mutation processor.  SoundHack runs
only on Macs with FPUs.  It is still available through anonymous ftp to
mills.edu (144.91.4.6), in directory ccm.

--
tom erbe
ccm - mills college
5000 macarthur blvd.
oakland, ca 94613
[e-mail]

---

3.6.0)        [Amiga software]

---

3.6.1)            What software reads DCMS files and converts
                them to    something else?

Answer:

~Date: Mon, 24 Feb 92 15:29:58 -0800
~From: Phil Burk <[e-mail]>
~Subject: DMCS -> Copyist files.

Many folks have asked about a conversion program that will read
DMCS files and convert them to something else.  The only program
I know of is Copyist Companion by Nick Didkovsky.  It converts
DMCS files to Dr. T's Copyist compatible files.  The main purpose
is for printing good scores from DMCS files.  Nick has talked about
converting DMCS to MIDIFiles or other formats so ask him and maybe
he will write it.  You can order Copyist Companion from Dr T
or from Nick directly.  Nick is at:

    [e-mail]

This program is for the Amiga.


---

4.0)     [Hardware]

---

4.1.0)         [Multi-platform hardware]

---

4.1.1)            What are some good things with which to whack
                MIDI drum triggers?

Answer:

~From: [e-mail] (K. Richard Pixley)
~Newsgroups: rec.music.synth
~Subject: great sticks for midi pads! (Wam-Rods)
~Date: 29 Dec 91 16:44:35 GMT

If you use midi drum pads, run, don't walk, to your nearest phone book
and start calling drum and music stores.  You are looking for
something called "Wam-Rods".  They should run you $6-8 a pair.  They
are translucent softish plastic drum sticks, in several colors.  The
BIG win is that they do what they claim to do, which is put the bounce
back in plywood feeling midi drum pads.  They also seem to be a little
easier on the pads themselves.  I'm not really a drummer, but I don't
play my pads with anything else any more.

The only drawback I can see, is that unless you get the clear ones, or
one of the dark colors, they look awfully "pop"ish.

Disclaimer: I have no material connection to any of the commercial
organizations connected to Wam-Rods (tm) (patent pending) other than
as a happy materialistic consumer.

ps, I like the piss yellow ones best. :-).


---

4.1.2)             How do I get MIDI working with my analog
                synth?

~From: "Shiv (S.) Naimpally" <[e-mail]>
~Subject: Re: Analog FAQ

[Please direct inquiries to Shiv. He's sending updates to me. Thanks!
--crl]

Analog info. This posting has info on FAQs such as 'how do I MIDI
my ____ analog synth ?' etc.. There are 3 parts. The first is a listing
of places oferring MIDI retrofits for older keyboards. The second
is a listing of companies making MIDI to CV convertors. The third
is a list of places that stock parts, manuals, etc. for older keyboards.
If you have any corrections, additions, etc., please email me at
[e-mail].

Oh, and you're most welcome !

What was that ? You don't actually have an analog synth ? Shame on you !
You can try the following used music dealers:

Analog Systems
Tel: [phone]
fax: [phone]
Have in stock Buchla, Moog, Serge, Emu modular systems, ARP 2500/2600,
Minimoog, OB8, etc..

Media Sonics
Tel: [phone]
fax: [phone]

Caruso Music
20 Bank St.
New London, CT 06320
tel: [phone]
fax: [phone]

Rogue Music
251 W. 30th
NY, NY 10001
tel: [phone]
fax: [phone]
Carry Moog, ARP, Oberheim, etc.. Get on their mailing list !

Analogics
5261 Maple Ave East
Geneva, OH 44041
tel: [phone]

Daddy's Junky Music
P.O. Box 1018
Salem, NH 03079
tel: [phone]
fax: [phone]

Goldman's Gear Exchange
1620 Niagra Falls Blvd
Tonawanda, NY 14150
tel: [phone]
fax: [phone]

---------------------------------------------------------------------------

MIDI Retrofits
**************

Encore Electronics
30 Glenhill Court
Danville, CA94526
tel: [phone]
MIDI Retrofits for: Oberheim OB8, OBX, OBXa, OBSX, Roland Jupiter 8,
                    Moog Source.

Analogics
5261 Maple Ave.
East Geneva
OH 44041
tel/fax: [phone]
MIDI Retrofits for: Sequential Prophet 5, 10, and Pro 1, Oberheim OB8,
                    Korg Mono/Poly, Arp Odyssey & 2600.
MIDI->CV convertors: Have Roland MPU101 and Kenton Pro 1.

Wine Country Productions
1572 Park Crest Court, Suite #505
San Jose, CA 95118
tel: [phone]
fax: [phone]
MIDI Retrofits for: Over 35 models of synths from Sequential, ARP, Moog,
                    Korg, Roland, and Yamaha.
MIDI->CV convertors: Have Kenton Pro 1.

Miditec
453 Darwin Crescent
ThunerBay, Ontario
Canada P7B 5W5
tel: [phone]
MIDI Retrofits for: Hammond Organs, Korg BX-3 & CX-3 organs,
                    Korg EPS-1 & SP80S e. pianos, Korg Poly 6 amd Poly 61,
                    Roland Juno-60, and Jupiter 8. Generic retrofit
                    available for most organs and accordians.

Kenton Electronics
137-165 Hook Road
Surbiton, Surrey KT6 5AR
tel: [phone]
fax:[phone]
MIDI retrofits for numerous mono and poly synths and some drum machines.
I suspect Analogics and Wine Country are using these since they also carry
Kenton's MIDI->CV convertor.

-------------------------------------------------------------------------

MIDI to CV Convertors
*********************

PAIA Electronics
3200 Teakwood Lane
Edmond, OK 73013
tel: [phone]
MV-8 convertor is unique in that it will do MIDI->CV or CV->MIDI !
8 CV ins, 8 gate ins, 8 CV outs, and 8 gate outs. $300 kit, $400 assembled.

Clarity
Nelson Lane
Garrison, NY10524
tel: [phone]
The Retro has 8 analog outputs. $600.

Kenton Electronics
137-165 Hook Road
Surbiton, Surrey KT6 5AR
tel: [phone]
fax:[phone]
The Pro2 has 2 independent sections, each of which receives on its
own MIDI channel. Each section has 3 CV outs, gate, and s-trig out.
Optional Hz/V supports synths with linear (instead of exponential 1v/oct)
response such as early Korg and Yamaha gear. There is also a clock
out that will put out a trigger synced to the MIDI clock input. This
is suitable for driving an arpeggiator etc..
The Pro2 is sold in the U.S. by Analogics, Wine Country, and others.
I have written and faxed them several times from Canada and had NO
response at all.

----------------------------------------------------------------------------

Parts for vinatge synths
************************

ARP:
   Music Dealer Service
   4700 West Fullerton
   Chicago, IL 60639
   tel: [phone]

Deltalab, Oberheim (parts):
   Magic Music Machines
   1207 Howard St.
   San Franisco, CA 94103
   tel: [phone]

Oberheim manuals:
   Magic Parts
   1537 Fourth St., Suite 198
   San Rafael, CA 94901
   tel: [phone]
        800-525-0022 (in CA)

Moog:
   EJE Research
   20 French Road
   Buffalo, NY14227
   tel: [phone]

Sequential:
   Wine Country Productions
   (see address & phone above)

---

4.2.0)         [UNIX hardware]

---

4.2.1)        What are some MIDI interfaces for 386 UNIX boxes?

Answer:

To: [e-mail]
~Date: Sat, 25 Jan 92 10:50:46 EST
Original-From: blink!tjt (Tim Thompson)
~Subject: re: UNIX/Midi Interfaces


> From: Roberto Sierra <[e-mail]>
> interfaces exist for UNIX machines.  Does anyone know
> if anything is available for Unix on a 386 platform?

MPU-compatible interfaces work fine under UNIX on a 386.
A UNIX device driver called devmidi is available via FTP
(on ucsd.edu and louie.udel.edu).  There are changes to
this device driver (also on at least louie.udel.edu)) that
allow it to work with VP/ix, so you can run DOS MIDI software
as well.

For software, there is glib, a free generic librarian/editor.
The glib2 version on louie.udel.edu includes support for the
devmidi driver.   Keynote is a MIDI language and extensible
graphical editor that runs under the X Window System, and
works quite well on a 386 platform.  It isn't free, but you
can get complete source code for $200.  Send email to
[e-mail] for more info on that.

This may not appear relevant to "nextmusic", but when
NeXTStep becomes available on 386 machines, it may be much
easier to write MIDI software to run on both a 386 and NeXT.
Anyone know if the Music Kit will be enhanced on the 386
to include support for the MPU interface?     ...Tim...


~Date: Tue, 16 Feb 93 10:03:26 MST
~From: Mike Durian <[e-mail]>

    An MPU-401 compatible MIDI driver is included with BSDI's
BSD/386 product.  BSD/386 being a POSIX complient operating system for
386's and 486's based on the CSRG Net2 release.  If you build my tclm
[see item 3.2.2 --crl] package on a BSD/386 machine with an MPU-401
card, you can enable hooks to allow you to play as well as modify MIDI
files.


mike
[e-mail]

---

4.3.0)         [NeXT hardware]

---

4.4.0)         [IBM PC hardware]

---

4.4.1)        How do I do MIDI with my laptop PC? What is the Key
            Electronics Midiator?

Answer:

~Date: Mon, 17 Aug 92 11:18:24 +0200
~From: [e-mail] (Nick Ruprecht)
Organization: Institut fuer Informatik der Universitaet Freiburg
Address: Rheinstrasse 10-12, D-7800 Freiburg i. Br., Germany
Phone: [phone], fax: [phone]


    The Key Electronics MIDIator is a good interface for portable
PCs.  warrant mention of the Key Electronics MIDIator under a separate
topic. I think that the MIDIator 101 will actually do the baud rate
transformation from 38.4 kBaud to 31.25 kBaud. The MIDIator 101 goes
for about $US 120. Key Electronics also distributes a sequencer for
MS-DOS PCs for it. The MS-DOS sequencer Cakewalk supports it as well.
Key Electronics' address is:
    Key Electronics, 7515 Chapel Avenue, Fort Worth, TX 76116
    Office: [phone], FAX: [phone]
    Toll Free: 1-800-533-MIDI (1-800-533-6434)


~Date: Wed, 17 Feb 93 07:44:12 PST
~From: [e-mail] (Antonio Freixas)

    Some things to keep in mind:

    Key Electronics now provides a Windows 3.1 MIDI driver for the
MIDIator, so any Windows 3.1 program capable of using a Windows 3.1
driver will work with the MIDIator.  As programs get converted to
Windows, this will mean most everything.  Things I have found to work
are WinCake and Encore.

    If you are thinking of buying a laptop for MIDI work, try to
get one with two serial ports or with an integral mouse.  The MIDIator
eats up one serial port and it is no fun using Windows without a
mouse.  In some cases, programs are designed such that there are
things you simply cannot do without a mouse.

    If you already have a laptop with just one serial port and no
built-in mouse, there may still be a way out.  If you have an external
keyboard connector, you may be able to find an external keyboard with
an integral pointing device and with a single cable plugging into the
keyboard connector.  I have tried one such keyboard, the JM keyboard
by Seijin, so I know they exist.

                             -- [e-mail]
                           [phone] x1349

---

4.4.2)            I'm just starting on MIDI and want to know how
                to send    MIDI from my SCO UNIX box (and
                who do I buy a card from? Are there
                device drivers available?)

Answer:

~From: tjt@blink (Tim Thompson)
~Newsgroups: rec.music.synth
~Subject: Re: MIDI FAQ?
~Date: 28 Dec 91 14:34:29 GMT

Andrew Beattie ([e-mail]) writes:
> I'm just starting on MIDI and want to know how to send MIDI from my SCO UNIX
> box.  (and who do I buy a card from? are there device drivers available?

If SCO UNIX implies you're using an AT-bus 386 of some sort, there
is a UNIX device driver available called devmidi that can be found in
the ucsd.edu archive and elsewhere.  It supports any MPU-compatible
MIDI interface.  The glib librarian/editor, also found in
the ucsd.edu archive, can use this driver (email me for the changes).
The Keynote system (see the NetJam FAQ) can also use this driver.
There is also a version of devmidi that allows it to be used with VP/IX,
so you can run DOS MIDI software under UNIX.

For any machine with a standard serial port, you can use the
Key Electronics (1-800-533-MIDI) MIDIATOR MS-114 interface - it goes
from standard RS232 to MIDI.  There's no buffering, so to avoid input
lossage you need to run the RS232 at 38.4Kbaud.  For MIDI output,
you can run the RS232 at lower rates and still get usable results.
For machines that can run their RS232 at the exact MIDI rate, you
can get by with a cheaper version of the MIDIATOR, I think, the MS-101.
Keynote also supports the MIDIATOR, although I don't recommend it
if there are better alternatives (like the MPU).


    ...Tim Thompson...AT&T Bell Labs/Holmdel/[e-mail]...

---

4.5.0)         [Macintosh hardware]

---

4.5.1)             What's all this about problems with
                Macintosh Powerbooks and MIDI?

    Oh, boy. You're gonna be sorry you asked... I would move this
to a document in the NetJam archive instead of encumbering the FAQ
with it, but for now I want it to get as wide and easy a distibution
as possible.

    Here's what Apple has to say:

========================================================================
~From: [e-mail] (Bruce Linde)
~Subject: **** MIDI/POWERBOOK INFO SUMMARY FROM APPLELINK - LONG! *******
~Date: 28 Nov 92 02:35:50 GMT
========================================================================
PowerBook MIDI Problem Status


Copyright 1992, Apple Computer, Inc.

PROBLEM DESCRIPTION:

The PowerBook MIDI problem occurs when one is sending large amounts of MIDI
data *to* a PowerBook.  There is no problem when sending large amounts of
data *from* a PowerBook.

Data such as polyphonic aftertouch and pitch bend, the usual culprits (they
require large amounts of data to express) do not cause a problem.  The
problem occurs when one is performing system exclusive functions such as
dumping banks of data or samples (samples are much larger, usually, than
any bank of patches) to a PowerBook.  The problem does not occur when
sending single patches to a PowerBook.

INTERIM WORKAROUNDS and USAGE HINTS:

- One way to get around the problem of not being able to send banks of
patches to a PowerBook is to simply send banks one patch at a time.
Clearly this is an interim solution, but could still be very useful.

- It is common to have a desktop Mac at home, and use a PowerBook for live
performance or for out-of-home recording work (say, at a professional
studio).  Patch and sample editing (which sometimes require data dumps from
a MIDI device to the PowerBook) is rarely done on stage or during recording
sessions.  Sound editing on stage is usually impractical.  As for studio
work, it is much more economical to take care of pre-production tasks, such
as sound editing, at home, or at a professional pre-production facility,
which is almost always billed at a lower rate than recording time.

So, at home, you can still easily transfer your

% banks,
% samples and
% sequences

to your PowerBook via

% floppy,
% SCSI disk mode or
% Personal AppleShare

Then, once in the remote location (recording session, on stage, etc.) with
your PowerBook, you will be able to send patches, banks, samples, and
sequences to any MIDI devices with no problems.

Clearly, this is only an interim solution, but it does show that many
PowerBook MIDI users can still get a great deal of functionality from their
setups in the meantime.

THE SOLUTION, REFERENCES and OTHER TIPS:

The June '92 issues of Keyboard Magazine has a well-written article by
Geoffrey Ryle on using the PowerBooks and MIDI.  The missing files problem
he mentions was solved by using Tuner 1.1.1 with his Mac.

Remember to always use Tuner 1.1.1 with Systems 7.0 and 7.0.1 in order to
ensure optimimum performance and to avoid any missing files problems.
Before adding Tuner 1.1.1, it is advisable to back up your hard disk-based
data, initialize the disk using Apple HD SC Setup (use "Maximum Macintosh"
in most cases), install or restore your System Software, drop Tuner into
your System Folder, and then restore your data.  This is also a risk-free
way to optimize your hard disk.

As for real-life PowerBook MIDI experiences, users from all over use all
three versions of PowerBooks for studio and live MIDI work and have
reported great increases in their productivity since the PowerBook came on
the scene.

Apple is working on a fix now to the PowerBook MIDI problem.  Look for news
of Apple's fix in the future.

Copyright 1992 Apple Computer, Inc.


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

PowerBook: MIDI Problems and Workarounds

Article Created: October 29, 1992

TOPIC -----------------------------------------------------------

Some PowerBook owners have had problems using MIDI because PowerBooks have
difficulty reading long data streams through the printer and modem
ports, causing dropouts in MIDI music sequences during playback.  This
problem is mostly evident when recording System Exclusive dumps, in which
libraries of information, such as sound patches, are recorded to a
PowerBook.  (Playing system exclusive information from a PowerBook,
however, is not an issue.)

DISCUSSION ------------------------------------------------------

Normal Recording and Playback Are Possible
------------------------------------------
With the majority of PowerBooks and MIDI sequencers (a software-based
version of the analog multi-track tape recorder), "standard" operations are
possible.  Such operations include recording, playback, instrument change,
volume, pitch bend, and panning.  In most cases, problems occur only with
the saving of System Exclusive information.

A Workaround for System Exclusive Data
--------------------------------------
While large data dumps are at this time not possible with PowerBooks, there
is an alternative method.  Instead of sending an entire bank of data,
sending the information in smaller groups is possible.  While this is
inconvenient in comparison to sending the entire bank of info at once, it
does allow system exclusive data to be transferred successfully.

Utilities That Improve Compatibility
------------------------------------
Two software utilities greatly enhance compatibility between PowerBooks and
MIDI programs: Apple's MIDI Management Tools, and Opcode's MIDI Mangler.
Until MIDI software developers provide upgrades that address the
idiosyncrasies of PowerBook ports, these two programs are very useful to
PowerBook/MIDI users.

% MIDI Management Tools consists of a small system extension and an
  application (available from Apple authorized dealerships and AppleLink).

% MIDI Mangler is a shareware control panel. A program component of
  MIDI Management Tools, called Patchbay, allows users to graphically
  connect the MIDI sequencer program to the correct PowerBook hardware
  port.  The program is self-explanatory and easy to use. MIDI Mangler
  frees the printer and modem ports, allowing MIDI signals to pass freely
  through them.

The rest of this article lists top-selling MIDI programs, and their
specific issues with PowerBooks.  This information is provided by the Apple
Multimedia Testing Team.


Performer 3.64 (Mark of the Unicorn, Inc.)
------------------------------------------
% The manual tells the user to "be sure to check AppleTalk before you
  connect your MIDI interface.  If you connect an interface to the printer
  port, be sure that AppleTalk is turned off."

% Whether using the modem and/or printer port, be sure that 1 MHz is
  selected in the "MIDI Interface" settings available under the "Basics"
  menu.

% Be sure that all MIDI channels selected for each individual track are for
  the correct port you have chosen to use (there is a default to the modem
  port for all channels on selection of a new sequence).

% If using Apple MIDI Manager driver and MIDI Manager with system, the
  correct port(s) must be selected in the Apple MIDI Driver Settings panel
  of PatchBay and the proper connections must be made in the Clients window.


Mastertracks Pro 5.0 (Passport Designs, Inc.)
---------------------------------------------
% The manual does not say that AppleTalk must be turned off.  However,
  if AppleTalk is on, you will get warnings that the port is in use and
  therefore can not be addressed by the Pro 5 MIDI driver or the Apple
  MIDI Manager driver. Ensure AppleTalk is inactive.

% At launch, all MIDI Setup settings in the "Goodies" menu default to
  the modem port.  Change all settings to the printer port if that is the
  port you choose to use.

% If you are using Pro 5 MIDI driver, setting everything in the MIDI
  Setup window to the port you want to use is all you need to do.  It will
  not matter if channel assignments in the Track Editor window are on A or
  B; all data will be sent out of the port chosen.

% If using Apple MIDI Manager driver and MIDI Manager with the system,
  this must be indicated (check box) in the Pro 5 MIDI Driver Setting
  panel of PatchBay, and the proper connections must be made in the
  clients window. Note: Whether a channel is assigned to A or B WILL
  matter.  Be sure that if tracks have been assigned to A or B, or both,
  that all connections are made correctly in PatchBay.

% To use Mastertracks Pro 5 with the PowerBook 100:

  1) Start up with AppleTalk active.

  2) Open the Mastertracks Pro 5 application.

  3) Open the Chooser, and make AppleTalk inactive.

  4) Open the MIDI Mangler application.  With it, clear the port that the
     MIDI hardware interface is connected to.

  5) Open the Patchbay application, and with it graphically connect the
     program to the correct ports.

  With these steps taken, normal MIDI recording and playback is possible.


Vision 1.3 (Opcode Systems, Inc.)
---------------------------------
% The manual says to "...make sure that when you're using Vision you
  deactivate AppleTalk in the Chooser if you have devices on both the
  printer and modem ports.  (Even if you only have devices on the modem
  port, deactivating AppleTalk is a good idea, because it improves real
  time performance.)".

% Be sure that the OMS (Opcode MIDI System) is set up correctly for
  the interface, patcher, and devices.  This is done with the OMS Setup
  application and is somewhat complicated (refer to manuals and addendum
  documentation).

% In the "OMS MIDI Setup" in the "Setups" menu, choose the modem and/or
  printer port (as well as whether Apple MIDI Manager system or OMS is
used).

% Select the correct MIDI channels for each individual MIDI channel.  This
  is done in the "Instruments" window, available under the "Setups" menu.


Encore 2.5 (Passport Designs, Inc.)
-----------------------------------
% Though the manual doesn't say so, if AppleTalk is turned on, you'll
  get warnings that the port is in use and therefore can not be addressed
  by the Pro 5 MIDI driver or the Apple MIDI Manager driver. Make
  AppleTalk inactive.

% At launch, all MIDI Setup settings in the "Goodies" menu default to the
  modem port.  Change them all to the printer port if you choose to use that
 port.

% In the "Staff Sheet" in the "Windows" menu, it is possible to assign
  that ports that each individual track will use.  However, it shouldn't
  matter if port A or B is selected if the same port for all data output
  in the MIDI Setup is selected.

Copyright 1992, Apple Computer, Inc.

================================================================
PollProc

Technical Notes                                              Developer
Support
Macintosh


Serial PollProc

Devices
M.DV.PollProc

Written by:     Rich RI See ColorsS Collyer & Dave Wong              June
1992

This Technical Note discusses how to make a PollProc for your MIDI (Musical
Instrument Digital Interface) driver on the Macintosh PowerBook 140 and 170.
______________________________________________________________________________


For MIDI Consumption Only

You are writing your own MIDI driver and your driver does not fully work on
the PowerBook 170/140. The PollProc support that might help solve your
problem
has been undocumented until now because it has a bug in it which if ever
fixed
would cause major problems with every PollProc ever made. The bug is in the
way that the PollProc mechanism handles data errors - it doesn't.  At some
point this might get fixed and an fix would require changes to any existing
PollProcs. We are only documenting this now because we (Apple) would like to
see high speed MIDI data transfers working on the PowerBook 170/140, and the
PollProc support is the only solution we have been able to come up with. If
you do use this information, be aware that the PollProc mechanism may change
in the future and when it does your PollProc will need to change. We do not
recommend the use of PollProc mechanisms on any other Macintosh computers.


What the Problem Is

When doing a large data dump, such as downloading MIDI instruments or
sampled
sounds, MIDI data overruns the input serial port on the PowerBook 170/140.

Background

% MIDI developers and users have been reporting problems that occur on
PowerBook 170/140. The specific problem described by the developers is that
data overrun errors occur (that is, serial data is lost). MIDI data is
serial
data that is transmitted at 31.25 Kbaud. This means that one byte of data is
transmitted approximately every 200 usec.

% The serial port has a three-byte FIFO, which means that three bytes of
data
could be stored temporarily before a data overrun (data loss).

% The MIDI functioned OK on the original portable, but just barely. The
overhead of communicating to the power manager microprocessor seems to
interfere with MIDI.

% The 170/140 hardware required certain changes to the power management
software because of changes in the hardware. In particular, the hardware
changes required changes to the protocol used to communicate to the power
manager microprocessor.

% The 170/140 has software backlight controls that cause constant
communication between the 68030 and the power manager microprocessor (every
200 msec).


Findings

% The MIDI driver loses data. The 170/140 has a real-time problem and is not
able to keep up with sustained MIDI data rates. The culprit is the
communication between the 68030 and the power manager microprocessor. During
this communication, interrupts must be disabled for a certain amount of
time.

% On the 170/140, the protocol for this communication was changed from that
of
the portable. The 170/140 can cause interrupt blackouts up to 6 msec as
compared to approximately 500-700 usec on the portable (estimation only).
Assuming the worst case, during the 6 msec blackout as many as 30 MIDI data
bytes could have been sent. Since the FIFO on the serial port is only 3
deep,
this means that as many as 27 bytes could have been lost (remember these are
ballpark figures only).

% The problem is aggravated by increased power manager communications for
backlight controls.


What the Solution Is

% Changing the protocol to the power manager microprocessor (given the
hardware constraints) is not practical since the problem is not completely
solved and could cause other system problems.

% At the moment, no Apple-only solution is possible.

% A developer-only solution is possible. Currently an internal mechanism
exists to keep up with high data rates on the modem port. This mechanism,
called PollProc (Polling Procedure), will allow the ROM code to handle the
serial port during known interrupt blackout windows, which helps prevent
data
loss. The power manager communication software currently checks for such a
routine and will use it automatically if it is present. In addition to
correcting this problem, this will also allow MIDI to perform during floppy
activity (which has similar real-time problems) since the floppy driver also
checks for PollProc.

In the code which is included at the end of this Tech Note, there is a extra
Procedure which is call ProcessByte.  In the sample this routine does
nothing.
The reason for the sample not doing anything is due to the nature of the
routine.  What the routine does is completely dependent on what the serial
driver is doing or wants to do with the data as it is read into the machine.
This routine might be used to decompress data, compress data, decoded the
data, or do any other kind of alteration you wish to do to it.  The
Macintosh
OS does not do anything to the data, so this routine is not needed, but your
application might need this routine - it is up to you, just don't do to much
at this time.  It is important to remember that you need to get in and out
of
the PollProc as fast as possible.


What Is a PollProc and How Does It Work?

A PollProc is a routine that a serial driver implements so it can still get
data when the OS turns interrupts off for a significant amount of time.
Although PollProc mechanisms work for generic serial drivers, it is
recommended that you use this feature in your MIDI driver only on the
PowerBook 170/140. When the MIDI driver is opened and supports PollProc
mechanisms, it needs to place a pointer to this routine in the low-memory
globalQPollProc. When the OS (such as the Power Manager and floppy driver)
turns off interrupts, it checks to see if the low-memory global is nil or
not.
If the global is not nil, then it the OS will poll the SCC for incoming data
and stuff the data into a buffer. Then just before the OS turns the
interrupts
back on, it calls the PollProc and passes the buffer to it. The PollProc
will
be able to handle the data as if it were coming in via the serial port.

The PollProc is supported only on port A. Port B PollProcs are not
supported.

The comments in the following code give more detail about how to implement
the
PollProc.


PollProc Sample Code

;_____________________________________________________________________________
;InputPollData  -  process SCC input data
;
;This routine is called via the low-memory vector PollProc by system code
;that had interrupts disabled for a long enough period of time that SCC
;data may have been lost. The system code will poll the SCC for data during
;the time it had interrupts disabled and call this routine right before
;interrupts are reenabled. The address of the InputPollData routine should
;be written into the "PollProc" low-memory vector when the SCC channel A
;driver is opened. The "PollProc" low-memory vector should be zeroed
;when the driver is closed.
;
;The InputPollData routine will be called with data to be processed on the
;stack. This routine should process the data as if it had been received by
;the driver's receive data interrupt routine.
;
;Note:      PollProc mechanisms are not necessary on SCC IOP based machines
            and should not be used.
;
;Input:     a6.l  =  SCC channel A data pointer
;Output:    none
;
;allowed to trash:     a0-a1/a3-a4

PollStack    equ      $13A   ; SCC poll data start stack location [pointer]
PollProc     equ      $13E   ; SCC poll data procedure [pointer]
RxCA         equ      0      ; Bit zero of SCC RR0 indicates receive char
                               avail.

InputPollData

movea.l     (sp)+,a4         ; Save return address.
movea.l     PollStack,a3     ; a3 = ptr to beginning of data on stack.

;First empty all the data from the SCC. This may not be needed, but it is
;here for completeness. The drivers that will use the PollProc mechanism
;will already have similar code to this, so whether you implement this or
;not is more of a personal call. Our recommendation is that you try to go
;without the code, and if you find you do need it, then implement it.

@EmptySCC
movea.l     SCCRd,a0         ; base addr of SCC read register 0 from low mem
addq.w      #2,a0            ; Add offset to get to channel A registers.
btst.b      #RxCA,(a0)       ; Test if SCC data is available.
beq.s       @ProcessData     ; no additional SCC data
move.b      (a6),-(sp)       ; Move SCC channel A data onto stack.
bra.s       @EmptySCC

;Process all the SCC data on the stack as if it were read in normally by
;the SCC driver's receive interrupt routine. There is stack data starting
;from the address in the low-mem PollStack, to the current stack pointer.

@ProcessData
cmp.l       sp,a3            ; Have we processed all the stack data?
beq.s       @Done            ; We are done.
subq.w      #1,a3            ; Skip over garbage byte because stack pushes
                               words.
move.b      (a3)+,d0         ; Get the saved data byte.

bsr.s       ProcessByte      ; Call driver routine to process the data byte.
bra.s       @EmptySCC        ; Check for SCC data before processing next
saved
                               byte.

;Done - cleanup stack of saved data

@Done
move.l       PollStack,sp     ; Set stack ptr to pop saved data.
jmp          (a4)             ; Jump to the return address.


;_____________________________________________________________________________
;ProcessByte  -  process saved SCC input data
;
;This routine is a stub example routine that will process a saved data
;byte as if the driver had read in the byte normally.
;
;Input:     d0.b  =  SCC channel A data byte
;Output:    none
;

ProcessByte

;Fill in necessary code.

rts

)Apple Computer,  Inc.  1992

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

    Here's what Mike Metlay has to say:

~From: [e-mail] (metlay)
~Subject: Re: Powerbook item for FAQ
~Date: Fri, 18 Dec 92 13:21:09 PST


This [the above] is all Apple gospel. It's incomplete and a lot of it
is WRONG, either through ignorance or deliberate prevarication. This
is a very sore spot with me right now, because more and more LIES are
being published by the major magazines every month.

You can put out what you have as a very nice, comprehensive file
on what APPLE says is the problem. I append to this letter what
has been shown in laboratory tests to actually BE the problem,
and I'm sure Nick will have more to add as well (OMS 1.2 is the
only application of the PollProc TN that works, because it goes
beyond the incomplete and inadequate solutions the TN suggests).

We are distributing this file to anyone who'll ask for it, and
Electronic Musician has received a copy as a Letter to the Editor.
We're warming up a counterblast to the lies KEYBOARD has been
sending out for months now.

Thanks for asking us, and feel free to distribute our findings
(with attribution, of course-- no sense in YOU getting slammed
by Apple for OUR findings) on the FAQ.

metlay

cut here


This letter contains the sum of Atomic City's current knowledge of
MIDI with respect to the Apple Powerbook computers, containing the
findings of recent tests of the 100, 140, and 170, combined with
late-breaking new results. We hope you find it useful.

A. THE POWERBOOK 100

The 100 works fine if you keep in mind that it's only a 16MHz 68000;
Finale can make it choke. Old versions of Alchemy won't boot, but
that's not a PB problem. The "big name" software we were able to try
(Performer, Vision, Cubase, UpBeat, Galaxy, and MAX) runs fine. It's a
good idea to disable Appletalk, and have software up and running under
MIDI Manager. (Actually, on the 100, you MUST disable AppleTalk, as it
will grab and munge the only available port for MIDI, the printer
port.)  If you use Opcode stuff, OMS goes a long way toward
deglitching your work. We weren't able to test everything in the
universe (the test occurred as part of a recording session, not as an
end in itself, but that fact got trimmed from the article in EM), but
here are some highlights....

1. The older version of the MTP desk accessory won't run, but the
MTPII utility, which runs under MIDI Manager, should be fine. In
Nick's words: "The MTP-II DA will run with MIDI Manager, so using that
(via OMS for example) should be OK (and this is the main reason that
I'm considering buying an MTP-II). I don't know if the MTP-II DA runs
on a PB100 using its own drivers. Oh, unless I'm mistaken, the MTP-II
software is a proper application rather than a DA; but I could be
wrong."

The PB100 can run reliably at MIDI speeds - just. Any faster
communication speed (such as MTP's fast handshake) will not work
reliably. Nick: "To be honest, I've never (in two years of MTP use)
noticed any improvement in using fast handshake." If that limitation
is understood and nothing faster than ordinary 1MHz mode is attempted,
the PB100 printer port can handle the MTP, MTPII, and any Opcode
interface up to but possibly not including the Studio 5.

2. MAX handled a patcher designed on the IIci, one that was designed
to kill portables (and really hung up an Outbound 2030 badly), on the
PB100 without breaking a sweat. Nick points out that MAX performance
can be sluggish on the PB100 with really big patchers, but that's true
of any Mac-- you just have to determine the limits of "really big" by
trial and error with your particular platform. I should point out that
Nick uses MAX as a controller-data remapper for live performance with
CASSIEL, and places tremendous burdens both upon the code and the
computer running it.

3. UpBeat ran like a dream.

4. The worst timelag we got with Performer pumping eight MIDI streams
of arpeggios through the MTP from another Mac into the PB was about
2 milliseconds. Not a major issue.

5. Galaxy handled input and output of bundle data from the worst synths
in our rig, the Roland D-70 and Korg Wavestation EX, without a hiccup.
Repeated attempts could NOT produce a failure with ANY synth SysEx dump.
We tested Oberheim, Sequential, Korg and Roland gear without a hitch.

6. Vision and Cubase were not tested as extensively as Performer, but
they run, do not lose input data, and no noticeable timing glitches
were found, although the torture tests weren't as heavy-duty as the one
for Performer. I am currently using Vision on my PB100 with an Opcode
MIDI Translator interface, and it works like a charm.

B. THE POWERBOOK 140, 145, AND 170

Nick Rothwell owns a PB140, which he only considered reliable for
output (it lost a LOT of data on input, not just long sysex dumps.
Apple was wrong on that point, as on many other points) until a recent
Tech Note suggestion by Apple was augmented and implemented by Opcode
in a new version of OMS, 1.2beta. Under 1.2b, the input problem is
solved, but incoming data loses its timestamping. We're still testing
just how bad a problem these 6 msec hiccups can be. NOTE that this fix
only works for interfaces attached to the Modem port!  The printer
port is and always will be unreliable, apparently, for input. In his
own words, Nick says: "I haven't hammered my machine heavily yet (and
won't be doing until the next live project I have to prepare, in which
case I'll be using both PowerBooks), but the tests I did (including
SMPTE lockup) suggested the PB140 is OK. 6msec isn't too bad, but you
can hear/feel that length of time." The 170 should have no differences
in performance than the 140 or 145.

C. FUTURE DESIGNS

According to the latest technical data, the 160 and 180 will suffer
from the same problems as the 140, 145, and 170. There is not enough
hard data available to render a judgement on the Duos, although Apple
has already begun claiming that they work fine. We are not authorized
beta testers of these machines, and cannot promise any early results
at this time. If we do learn something of use, we will see to it that
the Editor of EM, who has been very kind and helpful in his efforts to
relay our findings to a larger audience, will hear of it and pass it
along.

We hope this helps possible Powerbook buyers with any decision they
make.  Our findings neither carry nor imply any guarantees from
ourselves or any of the manufacturers involved (especially Apple!).

We would, in closing, like to compliment Opcode on the excellent
reliability of OMS on the Powerbooks, and to thank Doug Wyatt for the
1.2beta patch that renders the costlier Powerbooks at least partially
reliable.( We would also LIKE to express our opinion of Apple's
handling of the whole MIDI question, Powerbook and MIDI Manager
support included, but we'll refrain for legal reasons.)

Please feel free to write or email me with any comments; we do not plan
any addenda to this study at this time, but circumstances may change.

Dr. Michael Metlay
Atomic City Productions
P.O. Box 81175
Pittsburgh, PA 15217-0675
[e-mail]

Many thanks to Dr. Nick Rothwell of CASSIEL for his technical expertise,
and to Mr. Eirikur Hallgrimsson of DEC for his input and encouragement.


===========

    Here's what Nick Rothwell has to say:

~Date: Sun, 20 Dec 1992 10:56:16 +0000
~From: Nick Rothwell <[e-mail]>
~Subject: Re: Problems with Mac Powerbooks?

    Here are my comments on the PowerBook MIDI thing; this is the
text of a letter I faxed to KEYBOARD back in August. They didn't
publish it, perhaps because I accused Apple of lying. Together with
Mike's comments, this should fill you in.

August 8th 1992

Dear KEYBOARD,
        Ever since the PowerBook MIDI problems started to be reported back
in January or so, some fellow musicians and I have been trying to get
definitive information from Apple"s technical staff, and from software
vendors, about the exact nature of the problem and the possible
work-rounds. We have seen a surprising volume of disinformation on the
subject, and Apple themselves have been very quiet in the intervening time.
It is good to see a letter in your September issue, signed by two of
Apple's staff,  on this topic; it is bad that the letter is spreading more
disinformation. What follows is my own understanding of the problem and its
solution, based on dialogue with MIDI software vendors, substantial tests
with two PowerBook models, and reference to the relevant Developer
Technical Note (T318).

Let me address some of the points in the published letter.

*       "There is no problem when transferring large amounts of data from a
PowerBook" This is mostly true, but there are potential problems when using
fast transfer on (say) a MIDI Time Piece. I believe that the high speed
transfer protocol requires handshaking and hence some back-traffic which
can get lost, hanging the interface and the PowerBook, even just for MIDI
output.

*       "Data such as polyphonic aftertouch and pitch-bend ... do not cause
a problem." This is false, and illustrates a profound misconception of the
problem. PowerBooks do not fail because of large amounts of data. MIDI
input fails because the hardware of the PowerBook (in particular, the
communication mechanism for the power management CPU) causes periodic
interrupt blackouts. On a PowerBook 140, these seem to occur at
approximately 1/2 second intervals. During such blackouts, the SCC chip
will accumulate MIDI bytes; it can buffer three bytes before an overrun
occurs. Controller messages will probably succeed unless a message happens
to  fall across a blackout boundary, in which case it will possibly overrun
the SCC. The denser the traffic, the more chance there is of this
happening. Dense controller information will cause overruns and get lost;
I've tried it.

*       "The problem occurs when one performs system exclusive functions.
... Simply send banks one patch at a time." SysEx transfer will almost
certainly cause problems because SysEx messages are sufficiently long that
they will probably fall across a blackout period. A full bank dump will
often take several seconds, so that data loss is inevitable. A single patch
can be transferred with care if it is sufficiently short, but several
attempts might be needed to avoid blackouts. Transfer is not flawless, and
might well be impossible for large single patches.

*       "Apple is now working on a fix to the PowerBook MIDI problem."
Well, I was told this back in January, and things have been very quiet
since. The PowerBook serial problems are in the hardware, so a complete fix
is impossible without serious alterations to the machines. Apple have
recently released technical information which allows each software vendor
to work round the dropped bytes problem by recovering data that was
received during blackout periods. This will only function for input on the
modem port - the printer port will never work - and data will still be
delayed, and hence timestamped wrongly, for the period of the blackout (as
much as 6msec in some cases), causing potential timing problems in
sequencers. And this fix must still be incorporated into every piece of
MIDI driver software. I am awaiting delivery of OMS 1.2 which carries a
fix, and will still need a fixed version of Performer and the MTP desk
accessory.

A more positive piece of information: the PowerBook 100 (available at a
throw-away price at the moment) appears to be fairly reliable for MIDI. The
PB100 only has a single serial port, but will run multi-cable software like
OMS and Performer to drive an MTP or equivalent (although MOTU's MTP desk
accessory is currently nonfunctional). The 100 has radically different ROMs
than the 140 and 170, and apparently suffers much shorter blackouts. It
cannot handle an interface running at Fast/1X speed (and will never do so,
since the PB100 does not have a modem port which can be fixed), but it
performs fine at normal MIDI speed. The main thing which seems to cause
problems is floppy drive activity (which is avoidable).

As far as I know, the technical information above is correct, but some of
it is guesswork, and getting straight answers from Apple has been
difficult. The letter from Derek Kueter and Greg Gretsch contains a number
of mistakes and misconceptions (contradicting Apple's own technical notes),
and suggests that they are offering a policy statement without having
tested the validity of what they are saying. When the text of this letter
came across AppleLink in June, I forwarded a rebuttal and heard nothing
thereafter; I would be happy to continue this dialogue elsewhere.

I have no connection with Apple or any MIDI software vendor. I am simply a
MIDI musician who has spent a lot of money on two (soon to be three)
Macintoshes, and wants to know what"s going on.




Nick Rothwell
CASSIEL.

                      Nick Rothwell  |  [e-mail]
   CASSIEL Contemporary Music/Dance  |  [e-mail]

---

4.6.0)         [Amiga hardware]

---

5.0)     [Reference Material]

---

5.1)        Is an overview of "General MIDI" available?

Answer:

    Yes, via ftp as:

    [e-mail]:misc/netjam/doc/midi/general_midi

---

5.2)        What are the names and address of various gear manufacturers?

Answer:

    Rich Kulawiec ([e-mail]) posts a monthly list
of manufacturer contact info to rec.music.makers, rec.music.synth,
alt.guitar, and news.answers.


---

5.3)        Where may I find an electronic music bibliography?


Answer:

    See the file:

    [e-mail]:MIDI/DOC/bibliography

or

    anonymous@131.211.80.17:MIDI/DOC/bibliography

---

5.4)        How can I build my own MIDI interface for the Macintosh?

Answer:

~From: [e-mail]. (John Hengesbach)
~Newsgroups: comp.sys.mac,rec.music.synth
~Subject: Re: DIY MIDI interface?
Keywords: MIDI
~Date: 30 Dec 88 16:05:21 GMT

In article <[e-mail]> [e-mail] (Frank Owen ) writes:
>
>  Has anyone figured out how to kludge up a Do-It-Yourself MIDI interface
>for the Macintosh? It seems that the one Apple sells has practically no
A reply...


            MINIMAL MAC--MIDI INTERFACE
            ===========================



    Well, here it is all you MIDI fans.  THE ultimate in
    simplicity!!  This is a simple schematic for a serial
    to MIDI converter.

        There are two functions performed here.  One is the
    conversion from current loop to RS-422.  The second function
    is supplying the 1 MHz signal for the serial chip to sync
    up with the 31.5K baud rate of MIDI.


         >>>>>>> DATA FLOW >>> (MAC TO MIDI INSTRUMENT) >>>>>>>>>
               +-------+     +------+
To MAC   4   10|26LS32 |     |7407  |
Serial  >------+       |11  1|      |2    +------+    5
Port     5    9|       +-----+      +-----+R=220 +-----<  \
DB9 pin >-------       |     |      |     +------+         \  (5 pin DIN socket)
Numbers        |       |     |      |                       | MIDI OUT
               +-------+     +------+                      / (to instrument)
                +------+                  +------+    4   /
      +5 volts -+R=390 +--+     +5 volts -+R=220 +-----<
                +------+  |               +------+
               +-------+  |  +------+1    +------+    4
         8    6|26LS31 |  |  |MCT2  +-----+R=220 +-----< \
        >------+       |11| 5|      |     +------+        \  (5 pin DIN socket)
         9    5|       +--+--+      |                      | MIDI IN
        >-------       |    4|      |2                5   / (from instrument)
               |       |   +-+      +------------------< /
               +-------+   | +------+
                           |
                           v
                           Ground
         <<<<<<<<<<<<< DATA FLOW << (MIDI INSTRUMENT TO MAC ) <<<

               +-------+     +------+
         7   10|26LS31 |     |1 MHZ |
        >------+       |9   8| OSC  |
         3   11|       +-----+      |
        >-------       |     |      |
               |       |     +      |
               +-------+     +------+

    Power connections:

              GROUND    +5
            -----    --
      7407        7    14
      26LS31    8,12    4,16
      26LS32    8,12    4,16
      OSCILLATOR    7    14

Notes:

    The optical isolator MCT-2 above can probably be any relatively
fast optical coupler.  Note that the 390 ohm resistormay need to be
adjusted to make sure the output does not saturate.  Using a scope
while feeding a MIDI signal in should show you whether the signal
looks clean.

    The diagram has been drawn to show MAC signals on the left
and MIDI signals on the right.  There have also been allowances made
for the fact that 80 column ascii displays are not **exactly**
graphics terminals. Also note that the MAC pin numbers are for the
DB9 connector **NOT** the 8 pin mini-DIN connector!!

    The age old question of where to get power for this always
remains.  On the pre-MAC-PLUSs, there was power available from the
serial port connector.  I solved this problem by finding a 7 VDC
AC adapter at a parts store and using a 5 volt voltage regulator
IC to bring it down to 5 volts.  This is left as an exercise for
the student.....

    The 26LS31 and 26LS32 are the same type of chips which are
used in the MAC for RS-42? conversion.  I got them from a store in
Santa Clara California (Anchor Electronics  [phone]).  They
also have 1 Mhz Oscillators as well.

    I have built several variations of this over the last two
years and have had good success using a variety of music software
with them.


John Hengesbach
[phone]

uunet!ingr!henges
Intergraph Corporation
Huntsville, AL 35807

[SEE ALSO: the June 1986 BYTE magazine article on building a MIDI
board for the IBM PC  --  crl]


---

5.5)        Where can I find out all about MIDI?

Answer:

    Email [e-mail], with the phrase GET MIDISPEC
PACKAGE in the message body. You will get the following message, as
well as the files to which it refers.


~Date:         Tue, 26 Nov 1991 18:32:49 -0500
~From: Revised List Processor (1.7a) <[e-mail]>
~Subject:      File: "MIDISPEC $PACKAGE" being sent to you

*************************************************************************
*                                                                       *
* MIDISPEC Package                                                      *
*                                                                       *
* The following  series of  plain text  files are  the contents  of the *
* MIDISPEC PACKAGE. They are a reference resource compiled from several *
* sources, mostly by Greg at LEE@UHCCUX. The Primer, originally written *
* by Bob McQueer, is in constant  revision. The other files are subject *
* to periodic review and update. The package as a whole may be added to *
* as MIDI expands.                                                      *
*                                                                       *
* They have been placed here to  make it possible for users to retrieve *
* or subscribe to  the whole set of  documents as a "package"  so as to *
* automatically  get   the  updated  documentation  when   it  is  made *
* available.  Access  to  the  complete package  is  possible  via  GET *
* MIDISPEC PACKAGE.                                                     *
*                                                                       *
* You can subscribe to it with: AFD ADD MIDISPEC PACKAGE (note that you *
* will need to use the PW  command to define yourself a password before *
* you can  use the AFD command  -- see LISTAFD MEMO  for more details). *
* If you wish to only be informed when  the files are updated,  use the *
* FUI ADD MIDISPEC PACKAGE command.                                     *
*                                                                       *
*************************************************************************
* filename filetype Filelist File description
* -------- -------- -------- -----------------------
  MIDISPEC $PACKAGE EMUSIC   The Package Definition
  MIDI1_0  MIDISPEC EMUSIC   The MIDI Version 1.0 Specification
  PRIMER   MIDISPEC EMUSIC   A MIDI Tutorial
  MIDIBNF  MIDISPEC EMUSIC   MIDI Considered in Backus-Naur Form
  CTRLTAB  MIDISPEC EMUSIC   Listing of Controller/Mode Command Codes
  STATTAB  MIDISPEC EMUSIC   Listing of MIDI Status Codes
  NOTESTAB MIDISPEC EMUSIC   Listing of MIDI Notes by Octave
  FILEFMT  MIDISPEC EMUSIC   Description of MIDI Standard File Format
  SDSFMT   MIDISPEC EMUSIC   Description of MIDI Sample Dump Standard
  TIMECODE MIDISPEC EMUSIC   Description of MIDI Time Code Format


---

5.6)        What are the details behind current sound formats?

Answer:

    The Audio Formats Guide is available by anonymous ftp from
ftp.cwi.nl [192.16.184.180], directory pub, file AudioFormats*.*
(where *.* is the version number).

--Guido van Rossum, CWI, Amsterdam <[e-mail]>
"Shut that bloody bouzouki off!"


---


End of the NetJam FAQ.

--
-----------------------------------------------------------------------------
Craig R. Latta           Experimental Computing Facility                (XCF)
Composer, Software and
    Recording Engineer   NetJam, Berkeley                (netjam-request@xcf)
[e-mail]   Smallmusic OO music project (smallmusic-request@xcf)
(standard  disclaimer)   proof NL parsing project         (proof-request@xcf)
-----------------------------------------------------------------------------