------------------------------ Content-Type: text/plain Loopers-Delight-d Digest Volume 97 : Issue 29 Today's Topics: Re: Tapping tempo --> MIDI Clock [ Neil Goldstein ] Re: The different sides of loop musi [ Paolo Valladolid ] Re: Loop features, FX processor [ MiqSk8@aol.com ] Vortex in No. California [ Roland Eberle <819fKcx0@bigger.net> ] Killer Loop found [ pk@mainstring.win.net (Pat Kirtley) ] Jam Man upgrade chips [ Roland Eberle <819fKcx0@bigger.net> ] Re: Loop features, FX processor [ pycraft@elec.gla.ac.uk (Dr M. P. Hu ] Re: Some ideas... [ Paolo Valladolid ] Vortex fader/CC/expression of thanks [ Michael Preston To: Loopers-Delight@annihilist.com Subject: Re: Tapping tempo --> MIDI Clock Message-Id: Content-Type: text/plain; charset="us-ascii" >At 12:24 PM 2/6/97 -0800, you wrote: >>On Thu, 6 Feb 1997, Kim Flint wrote: >> >>> wow, a cyclone user! When I was at Gibson no one really knew what this >>> thing did, but people were still buying it every now and then. I remember >>> being at trade shows and meeting fanatical cyclone users. You thought >>> looping was a niche..... >> >>Can somebody give us a thumbnail description of what the cyclone does? >>Any relation to the Vortex? ;-] >> >>--Andre >> > >It's a midi arpeggiator. Comes in a cheap plastic box, and has a notoriously >difficult user interface with about 4 buttons and a few red leds. From what >I understand, once you figure out how to program it, nothing compares to its >arpegiating power. It's been out since the late 80's, I think. > I sold mine after a 5 year love/hate relationship with it, opting to limit options and put more energy into interactive music via audio (JamMan, Logic Audio, and playing with other humanoids). Wouldn't mind having it back though :-) It is pretty powerful. The unit is the midi equivalent of a JamMan, etc as it is meant for live performance and real time modulation (ie live improvisation on top of a loop or arp). It has a small sequencer. The live (midi) input can be arpped in subdivisions of the beat (up/down, random, etc) , or using the rythm input in the sequencer, and/or transposed using an 'algorithm' which you put in yourself, the latter being one of the unique, powerful and difficult to master aspects of the box. It has a versatile modulation matrix, so you can map foot switches (2), velocity or midi controllers to note duration, dynamics, transposition, etc. It slaves or sends midi clock at 96 ppqn. Vast options in a little plastic box with two 8 segment LEDs. There are 3 (keyboard) zones playable simultaneously, including the recorded phrase in the unit itself. It can doubles each 'zone' on seperate midi channels (up to 4 times I think). I got some complex arps and sequences out of it in conjunction with a quadraverb delay synced to midi clock using a K2000 and Proteus 1 making liberal uses of sliders on the K. On one particular occasion all the ingredients were simmering just right, and I remembered to record to dat, thankfully. Results: sort of Acid (Philip) Glass Industrial which could never re-create, unless I remembered to write every note and modulation down. I will upload some samples from that to the Loopers site at some point. The biggest downside of the unit is the user interface. However, it would store in its RAM the sequence data (like we wish the fantasy looper would!. Anybody else have experience with the Cyclone? Neil ngold@teleport.com Portland, OR USA ------------------------------ Date: Thu, 6 Feb 1997 18:54:31 -0800 (PST) From: Paolo Valladolid To: Loopers-Delight@annihilist.com Subject: Re: The different sides of loop music Message-Id: <199702070254.SAA15311@waynesworld.ucsd.edu> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit [snip] > However, I do feel that there's a fundamental difference between what > nearly all of the above areas relate to as opposed to what most of this > list deals with. In essence, most loop-oriented music that's emergent in > popular music is based on sampling already-existing source music and then > re-contextualizing it (or not) in order to produce a new (or not-so-new) > end product. It's a very studio-oriented endeavor, which involves > sampling the source, probably tweaking and filtering the original sample, > editing the length of the sample, assigning it to a sequencer for > triggering, and then possibly blending it into a sonic collage with a > myriad of other sounds and instruments. > > The difference between that approach and the Big Three is that the > JamMan/Echoplex/Boomerang are specifically designed as real-time tools, > which excel at creating and editing loops right then and there, in the > same moment that the music is happening. Moreover, they're geared less > around sampling music that already exists, and more towards acting as a > conduit for sculpting new music that wouldn't exist without the mechanism > of the unit's functions. Traditional samplers capture music that's > already been made; loopers help create music in the here and now. (This > is of course a bit of an over-generalization). [snip] > Any other thoughts? > > --Andre I was under the impression that people like the Orb and even some people on this list use both approaches at the same time in live performance. Supposedly, the Orb feeds their studio-created loops through live signal processing equipment in their shows so no two performances of their music sound the same. For example, they'll take a loop and add some delay or flange or whaterver to it while fiddling with the knobs and other controls of their effects devices in real time. On the other hand, I have no idea if they feed thes pre-made loops into looping devices to make even more loops live. Paolo Valladolid --------------------------------------------------------------- |Moderator of Digital Guitar Digest, an Internet mailing list |\ |for Music Technology and Stringed Instruments | \ ---------------------------------------------------------------- | \ finger pvallado@waynesworld.ucsd.edu for more info \ | \ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \| ----------------------------------------------------------------- ------------------------------ Date: Fri, 7 Feb 1997 10:09:10 GMT From: Michael Hughes To: Loopers-Delight@annihilist.com Subject: MIDIFY yer VORTICES!!! Message-Id: <2131.199702071009@eestud4.elec.gla.ac.uk> Who'd've thunk there'd be room in my back for _another_ knife...? :( This came from Kenton Electronics today, a world-renowned company specialising in MIDI retrofits of analogue synths etc. I EMailed about getting a MIDI retrofit on the V. I _thought_ I was buying (sniff), and got this reply. The £-$ exchange rate is $1.65=£1 btw. And you're probably VAT (Value Added Tax, ie sales tax) exempt outside the UK. Enjoy... Michael ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ although we don't actually do an internal MIDI retro-fit for the Vortex, it can be controlled using a KADI unit. This is an external box (originally intended for drum machines) which converts MIDI data to trigger signals. The MIDI data may be in the form of program change commands, or note data and the trigger signal may be a positive or negative, level, or pulse, the duration of which is user definable. With the addition of a suitable lead, the device will be able to control all the inputs on the Vortex. The full spec. is as follows... Kenton Pro-KADI --------------- Wasp Mode To Control Wasp/Gnat Synths KADI Mode To Control Drum Machines With A Kenton Socket Kit (Accent Threshold Adjustable In KADI Mode) Trigger Mode : 13 TTL Outputs TTL Outputs May Be Latching (High When Key Pressed), Or Pulses Pulse Width Adjustable Between 100us-10ms (100us Steps) Long 250ms Pulse Width Available For Control Of Relays Individual Note Numbers Assignable For Each TTL Output Note Or Program Change Control Of Triggers Possible (We May Be Open To Additional Suggestions For Methods Of Control) MIDI Thru Sync 24 and Arpeggio Clock Outputs Variable Clock Divide Rate And Polarity User Friendly Interface With 3 Digit LED Display Power Supply : 9-15V dc 100mA Dimensions : 165mmx96mmx42mm Price : =£106.30 (ex VAT) =£124.90 (inc VAT) You may order directly from us and we the units in stock and so same day despatch is usually possible. I trust that this answers all you questions. However, if there is anything else about which you are unsure, please drop me a line. Peter P. Herman (Production Manager / Engineer) Kenton Electronics 12 Tolworth Rise South, Surbiton, Surrey KT5. 9NN. England. Tel. : +44 (0)181 337 0333 Fax : +44 (0)181 330 1060 email : tech@kenton.co.uk www : http://www.kenton.co.uk/ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Date: Fri, 7 Feb 1997 11:34:40 GMT From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: Loop features, FX processor Message-Id: <28656.199702071134@rank-serv.elec.gla.ac.uk> Content-Type: text/plain; charset="us-ascii" > Please >DO NOT answer this question! Instead please answer: What do you want in a >full featured looper and what would you be willing to pay for it? The JM is great; the only differences I'd make are 1. The ability to play different loops concurrently, ie like a multitrack recorder where each could be muted, faded etc 2. MIDI volume controlling global output, so loops could be faded out _and then_back_in_. This could of course be achieved by putting the JM in another processor's FX loop anyway, so it's not _that_ important. On the subject of processors, having blown my chance of ever owning a Vortex (sniff), can I ask the panel which other processors provide channel switching? The only ones I know of are the (non-MIDI-in) Zoom 4040 and the (very expensive) Rocktron Replifex. Any others? (This is of course purely out of interest) Michael Dr Michael Pycraft Hughes Bioelectronic Research Centre, Rankine Bldg, Tel: (+44) 141 330 5979 University of Glasgow, Glasgow G12 8QQ, U.K. "Wha's like us? Damn few, and they're a' deid!" - Scottish proverb ------------------------------ Date: Fri, 7 Feb 97 10:40:41 -0000 From: "T.W. Hartnett" To: "Looper's Delight" Subject: Re: MIDIFY yer VORTICES!!! Message-Id: <199702071639.IAA33764@scv2.apple.com> Content-Type: text/plain; charset="US-ASCII" >he MIDI data may be in the form of program change commands, or >note data and the trigger signal may be a positive or negative, level, >or pulse, the duration of which is user definable. With the addition of >a suitable lead, the device will be able to control all the inputs on >the Vortex. The full spec. is as follows... I'd considered building a device which would transmit program step messages to the Vortex in an attempt to make it more programmable, but I ran into some conceptual problems, and based on the description of the very interesting KADI box, I'm afraid the problem might also apply. Supposing you have a box with 32 switches. Switch 1 corresponds to preset 1A, switch 2 to preset 1B, etc. You turn on your rig. The Vortex boots up to whatever it was last set to, say 7B. If the hypothetical box doesn't have non-volatile memory, it probably comes up to 1A, since I don't believe there's any simple way to get the Vortex to send messages regarding it's status. So, you either set the Vortex to match the box or vice versa. This is where it gets difficult. Say you're playing your first piece, and the first Vortex patch you want to use is 1A. You're grooving along, until you get to a transition where you want to access, say, 9B. You press the 9B button. My understanding is that you have to send eight step-up signals, plus an A/B signal to get from 1A to 9B. You can't just have a dumb button that sends eight up's and an A/B, since the number of signals depends on where you start. So, unless there's something which can compare where you are and where you want to go, and calculate the correct number of steps and whether or not an A/B needs to be sent, the hypothetical controller won't be that useful. I think this would be a very specialized piece of gear, and it doesn't look like the KADI box would fit the bill, wonderful as it may be for many other applications. I'd love to be wrong on this, so if someone has a different way of doing this, please let me know. Travis Hartnett ------------------------------ Date: Fri, 7 Feb 1997 11:16:05 -0700 From: Chris Chovit To: Loopers-Delight@annihilist.com Subject: Fwd: MIDIFY yer VORTICES!!! Message-Id: Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Got this from another list & thought some of you might be interested... >X-Sender: fish@mail.ndirect.co.uk >Date: Fri, 07 Feb 1997 10:48:21 +0000 >To: analogue@hyperreal.com >From: Fish >Subject: Fwd: MIDIFY yer VORTICES!!! >Mime-Version: 1.0 >Sender: analogue-owner@hyperreal.com >Precedence: bulk > >>This came from Kenton Electronics today, a world-renowned company >specialising >>in MIDI retrofits of analogue synths etc. I EMailed about getting a MIDI >>retrofit on the V. I _thought_ I was buying (sniff), and got this reply. >The >>=A3-$ exchange rate is $1.65=3D=A31 btw. And you're probably VAT (Value A= dded >Tax, >>ie sales tax) exempt outside the UK. >> >>Enjoy... >> >>Michael >>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~= ~ >> although we don't actually do an internal MIDI retro-fit >>for the Vortex, it can be controlled using a KADI unit. This is an >>external box (originally intended for drum machines) which converts MIDI >>data to trigger signals. >> >> The MIDI data may be in the form of program change commands, or >>note data and the trigger signal may be a positive or negative, level, >>or pulse, the duration of which is user definable. With the addition of >>a suitable lead, the device will be able to control all the inputs on >>the Vortex. The full spec. is as follows... >> >> >> Kenton Pro-KADI >> --------------- >> >> Wasp Mode To Control Wasp/Gnat Synths >> KADI Mode To Control Drum Machines With A Kenton Socket Kit >> (Accent Threshold Adjustable In KADI Mode) >> Trigger Mode : 13 TTL Outputs >> TTL Outputs May Be Latching (High When Key Pressed), Or Pulses >> Pulse Width Adjustable Between 100us-10ms (100us Steps) >> Long 250ms Pulse Width Available For Control Of Relays >> Individual Note Numbers Assignable For Each TTL Output >> Note Or Program Change Control Of Triggers Possible >> (We May Be Open To Additional Suggestions For Methods Of >> Control) >> MIDI Thru >> Sync 24 and Arpeggio Clock Outputs >> Variable Clock Divide Rate And Polarity >> User Friendly Interface With 3 Digit LED Display >> Power Supply : 9-15V dc 100mA >> Dimensions : 165mmx96mmx42mm >> Price : =3D=A3106.30 (ex VAT) =3D=A3124.90 (inc VAT) >> >> >> You may order directly from us and we the units in stock and so >>same day despatch is usually possible. I trust that this answers all you >>questions. However, if there is anything else about which you are >>unsure, please drop me a line. >> >> >> >> Peter >> >>P. Herman >>(Production Manager / Engineer) >> >>Kenton Electronics >>12 Tolworth Rise South, >>Surbiton, >>Surrey KT5. 9NN. >>England. >> >>Tel. : +44 (0)181 337 0333 >>Fax : +44 (0)181 330 1060 >>email : tech@kenton.co.uk >>www : http://www.kenton.co.uk/ >> >> >>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~= ~~~ >> >> >> >Fish >fish@ndirect.co.uk http://www.ndirect.co.uk/~fish > ------------------------------ Date: Fri, 7 Feb 1997 11:17:59 -0700 From: Chris Chovit To: Loopers-Delight@annihilist.com Subject: Re: MIDIFY yer VORTICES Message-Id: Content-Type: text/plain; charset="us-ascii" Ooops...sorry for the redundancey...it is a small world.... ------------------------------ Date: Fri, 7 Feb 1997 18:57:49 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: Re: Loop features, FX processor Message-Id: Content-Type: text/plain; charset="us-ascii" >The JM is great; the only differences I'd make are >1. The ability to play different loops concurrently, ie like a multitrack > recorder where each could be muted, faded etc This is something many dream of... How would you like to control those in practical terms (a key that does...)? ------------------------------ Date: Fri, 7 Feb 1997 15:16:55 -0700 (CST) From: Kevin Simonson To: Loopers-Delight@annihilist.com Subject: Re: Loop features, FX processor Message-Id: <199702072116.AA064680215@eagle.uis.edu> Content-Type: text Content-Length: 637 > > > >The JM is great; the only differences I'd make are > >1. The ability to play different loops concurrently, ie like a multitrack > > recorder where each could be muted, faded etc > > This is something many dream of... > How would you like to control those in practical terms (a key that does...)? > How about an eight position joystick to send midi data? :) -- Kevin Simonson * AS/400 Application Development Team University of Illinois-Springfield * Programmer / Analyst Computer Science, et al. * Norwest Mortgage, Inc. simonson@eagle.uis.edu * Springfield, IL ------------------------------ Date: Fri, 7 Feb 1997 16:57:21 -0500 (EST) From: MiqSk8@aol.com To: Loopers-Delight@annihilist.com Subject: Re: Loop features, FX processor Message-ID: <970207163550_176027882@emout02.mail.aol.com> In a message dated 97-02-07 15:56:29 EST, you write: << >The JM is great; the only differences I'd make are >1. The ability to play different loops concurrently, ie like a multitrack > recorder where each could be muted, faded etc This is something many dream of... How would you like to control those in practical terms (a key that does...)? >> the idea i have in my mind would involve some kind of visual feedback- click this button, light a goes on, now you're working with loop a(b,c,d). now the loop tools(volume, recoed, multiply, reverse, modulation((!))) are working on that particular loop. it would require the loopy one to keep track of what's what in a logical manner as opposed to a tactile feedback manner(hearing it). while i'm a complete midi novice, i'm thinking that the individual loop information (is there one in b, what's the volume level of d) could be sent as some midi data, which then could be sent to something with a screen (i won't show my bias) for more of that instaneous feedback to avoid swelling in that big loop that has nothing in it. in a dreamlike state i continue- if several loops could be concurrent the added flexibilty of more than two outputs that would be assignable by midi messages as well... certain extensions of the multitrack metaphor could be applied as the idea of improvized multitrack playing is exactly what i want to do, and if i could do it with one or two boxes instead of ten... more than one midi in (more pedals=more control, especially for multiple concurrent loops) and more than one out (synch, dump, once i get data in loop d start the sequencer, i'll stop there, but even more ideas rattling me) but realistically i'd like something in a couple of rack spaces that takes industry standard memory(starting to sound familiar?), that would utilize industry standard pedals (not too familiar) that's really stereo(familiar), with digital in and outs as well (an inevitabilty everyone on this list will face, and already standardized somewhat as well) with the ability to dump(essential). xlr's in addition would be cool, but not essential. some kind of librarian/programmer program for it(and a lot of other pedals, but that's a rant that's misplaced here. lucky keyboard players. not so lucky guitarists/bassists/stickists). wow, longer than i thought, but i really want to make music in this fashion(and i don't have the hombre or the plex even((i'd buy a plex used if i could find one))) and am willing to contribute even if i seem a little crazed. ------------------------------ Date: Fri, 07 Feb 1997 20:13:22 -0800 From: Roland Eberle <819fKcx0@bigger.net> To: Loopers-Delight@annihilist.com Subject: Vortex in No. California Message-ID: <32FBFD62.4B1A@bigger.net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit For anyone interested...the Guitar Center store in Pleasant Hill Ca. has at least one (in box per salesperson) Vortex for the blow out price of 149.99 I was there tonight and the salesguy I spoke with is known as "D". ------------------------------ Date: Fri, 07 Feb 1997 23:34:56 From: pk@mainstring.win.net (Pat Kirtley) To: Loopers-Delight@annihilist.com Subject: Killer Loop found Message-ID: <817@mainstring.win.net> In reference to someone who referred to a "killer loop" the other day, I think I found it-- The track is: "Can We Go Round in Circles" The album: "Killer in the Loop" by Charles Jammanson 1973, Infinimum Continuum Records (out of print, I think) --pk :-) ------------------------------ Date: Fri, 07 Feb 1997 20:19:51 -0800 From: Roland Eberle <819fKcx0@bigger.net> To: Loopers-Delight@annihilist.com Subject: Jam Man upgrade chips Message-ID: <32FBFEE7.4E52@bigger.net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I have four 1M x 4 bit (toshiba 100ns) zip chips to upgrade your jamman to 32 secs. I bought them from a Bay area electronics supply place (bought 10...used 4 for my machine...and actually have 6 left over but I kind of bent one of the pins on one of them...) and succesfully upgraded my machine. I'd like to trade them for ?? (something you dont want that I may?) like a used proco rat box or a tremelo box or...anything more useful to me than 4 (all 6 actually) memory chips. Interested parties can email me at either of these 2 addresses roland@ccnet.com or roland@sj.bigger.net ------------------------------ Date: Sat, 8 Feb 1997 10:11:24 GMT From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: Re: Loop features, FX processor Message-Id: <17450.199702081011@rank-serv.elec.gla.ac.uk> Content-Type: text/plain; charset="us-ascii" >In a message dated 97-02-07 15:56:29 EST, you write: > ><< >The JM is great; the only differences I'd make are > >1. The ability to play different loops concurrently, ie like a >multitrack > > recorder where each could be muted, faded etc > > This is something many dream of... > How would you like to control those in practical terms (a key that does...)? > >> Exactly the same way the JM deals with separate loops at the moment - by scrolling thgrough them. If I remember correctly (I'm not a user of multiple loops) the JM shows the current active loop on the front panel, andd operations only apply to that loop. So if you have loops 1,2 and 3 and you want to fade 3, select it and hit "fade". The other loops continue as before. OK you have to remember what's in what loop, but we have to do that for multiple loops anyway. It's really an expansion on the UNDO key - you can start with ostinato chords (loop 1) add a riff (2) and a melody (3), then replace the riff, or suddenly mute the riff and melody for dramatic effect. The JM's phrased mute would be ideal for this, as you could cue 2 loops to mute at the end of the next bar, giving time to select and mute both. In order to keep track of the number of concurrent loops, that number would best be kept small and so the JM's memory wouldn't need to be overexpanded... Michael Dr Michael Pycraft Hughes Bioelectronic Research Centre, Rankine Bldg, Tel: (+44) 141 330 5979 University of Glasgow, Glasgow G12 8QQ, U.K. "Wha's like us? Damn few, and they're a' deid!" - Scottish proverb ------------------------------ Date: Sat, 8 Feb 1997 19:33:35 -0800 (PST) From: Paolo Valladolid To: Loopers-Delight@annihilist.com Subject: Re: Some ideas... Message-Id: <199702090333.TAA01720@waynesworld.ucsd.edu> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit > > In a message dated 2/4/97 7:59:37 PM, jj wrote, re algorithmic loop mutation: > > < Any other thoughts on how to put some fresh, (relatively) unpredictable > or at least systemic experimentation into looping? > >> > Sounds like a job for Max, Opcode/IRcam's MIDI programming environment, which > can apparently detect and/or analyse audio via an Audiomedia card, I > understand...or rather I DON'T understand, but betcha one of the folks on the > lofty max list could set up something like what you describe...there's also > SuperCollider, an amazing real-time synth and audio processor for the Power What's the URL? > Mac (whose downloadable demo is a free sonic trip NO audio-minded PowerPC > owner should overlook!). And of course, who knows what couldn't be done with > cSound, a Kyma box, or even an Eventide DSP4000, were money and audio I like the idea behind the Kyma/Capybara. Basically, have one box that can do synthesis, digital recording, sampling, effects, etc. all at once in real-time and have it be totally controllable from software. It's not cheap, but can be a bargain if you compare it with the cost of separate effects boxes, samplers, synths, a digital recorder etc.; none of which is likely to be as flexible. Harvey recommends it as the sound source for his new microtonal MIDI controller which he calls teh MicroZone. It can currently divide an octave into 72 steps. The keyboard uses a 768-key honeycomb design. You can peek at it at: http://catalog.com/starrlab/ I find it very fascinating because one could theoretically use any microtonal temperament with this keyboard. You could create some crazy sounding stuff for looping with this beast. Paolo Valladolid --------------------------------------------------------------- |Moderator of Digital Guitar Digest, an Internet mailing list |\ |for Music Technology and Stringed Instruments | \ ---------------------------------------------------------------- | \ finger pvallado@waynesworld.ucsd.edu for more info \ | \ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \| ----------------------------------------------------------------- ------------------------------ Date: Sun, 09 Feb 1997 11:38:54 -0500 From: Floyd Miller To: Loopers-Delight@annihilist.com Subject: Midi Sample Dump Message-Id: <3.0.32.19970209113850.0068c204@popmail.voicenet.com> Content-Type: text/plain; charset="us-ascii" I tried dumping a loop into my sequencer. It was a long loop, about 50 seconds. So I was prepared to be patient, but after 20 minutes it was still sending data. The numbers in the "multiple" window (that's supposed to be percent complete, no?) kept counting and overflowing and counting some more with the 10's digit incrementing about once per second or so. I then tried recording a short loop, a little less than 1 second. And the DUMP still would go on and on. I haven't looked at the sysex data to see if it's repeating. I don't know if I'd be able to tell easily. The data does look like sample dump data. Any advice or similar experiences out there? **************** ********** Floyd Miller ****** floyd@voicenet.com ** http://www.voicenet.com/~floyd ------------------------------ Date: Mon, 10 Feb 1997 13:16:21 +0000 From: Michael Preston To: Loopers-Delight@annihilist.com Subject: Vortex fader/CC/expression of thanks Message-ID: <32FF1FA5.845@erols.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This weekend I finally acted on all the good advice on the list regarding appropriate pots and faders for continuous control of parameter changes in the Vortex. I removed the pot from my Yamaha FC-7 expression pedal, replaced it with a linear taper pot, and now I can happily sweep through 1-64 in a full pedal stroke. Thanks to whoever recommended a linear taper pot, and thanks to Matthias for the tips on removing solder! Preston --------------------------------