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Recent Posts

3
vst - late 90s / Re: native instruments generator 1.5 (1998)
«  by Csaba on October 20, 2017, 05:54:29 PM »
Do you have this program?
5
http://faq.yamaha.com/us/en/article/music-production/recorders/aw4416/2003/1459/using_the_aw4416_as_a_midi_controller_for_pro_tools

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Last Update: 01/13/2004

The Version 2 Operating System software for the AW4416 adds the capability to use the AW4416 as a MIDI controller. With the version 2 software installed the AW4416 has 4 banks of remotes that are completely programmable. As long as the software that is being used can be controlled via MIDI the AW4416 can control common functions such as fader levels, mutes, panning, etc.

In order for the AW4416 to be used with Pro Tools by Digidesign, it will be necessary to program the AW4416 to emulate a JL Cooper CS-10 Professional Control Station™ which uses the standard MIDI protocol and transmits on MIDI channel 16. This is due to the fact that Pro Tools does not have a dedicated template for the AW4416 but it is configured for the JL Cooper CS10 which is often used with Digidesign professional digital audio editing systems and software.
Connect the MIDI Out of the AW4416 to the MIDI In of either the computer's MIDI card or MIDI interface.

Configuring Pro Tools:
Select 'CS10' in the MIDI Controller section of Pro Tools under Peripherals.
Set the number of channels to 8.

Configuring the AW4416:
Press the [MIDI] button repeatedly until the 'Remote A 1-8' screen is displayed. Click here to view.
Use the Up Button, Down Button, Left Button, and Right Button 'CURSOR' buttons to select the 'DISABLE' button in the LCD for Remote 1-8.
Press the [ENTER] button. The 'DISABLE' field should change to 'ENABLE'.
Repeat this for Remote 9-16.
Press the [SEL] key above fader 1. In the LCD screen below 'CH1 VOL' there is a string of MIDI commands for the fader.
Use the Up Button, Down Button, Left Button, and Right Button 'CURSOR' buttons and the (DATA/JOG) dial to replace the existing MIDI commands in the 'FADER' section with the string "BF 40 FAD END".

NOTE: B specifies that it is a control change message; F specifies MIDI channel 16; 40 specifies the control change number; and FAD specifies that it will send varying values depending upon the fader position.
Use the Up Button, Down Button, Left Button, or Right Button 'CURSOR' buttons and the (DATA/JOG) dial to replace the existing MIDI commands for the 'ON/OFF' (Switch) button, located immediately above the 'FADER' section, with the string ''BF 00 SW END".
Repeat steps 4-5 for faders 2-8 using the following table:

Channel
MIDI Command
Fader
Switch
1
BF 40 FAD END
BF 00 SW END
2
BF 41 FAD END
BF 01 SW END
3
BF 42 FAD END
BF 02 SW END
4
BF 43 FAD END
BF 03 SW END
5
BF 44 FAD END
BF 04 SW END
6
BF 45 FAD END
BF 05 SW END
7
BF 46 FAD END
BF 06 SW END
8
BF 47 FAD END
BF 07 SW END

NOTE: This sets up the AW4416 to control 8 faders and mutes at a time like the CS-10 which also controls 8 faders at a time and switches between fader banks. The On/Off keys of channels 9-10 in Remote A of the AW4416 can be programmed to transmit the MIDI messages that the CS-10 uses for bank up and down messages. The MIDI message for bank down would be 'BF 1C SW END'. The MIDI message for bank up would be 'BF 1D SW END'. By programming the On/Off keys, bank up and down commands can be transmitted to as many as 32 channels controlled by the AW4416.

TIP: For more information on this subject log on to www.digidesign.com and download the PDF document entitled MIDI Controller Guide.
7

http://www.mixonline.com/news/profiles/yamaha-aw4416/375542

https://www.soundonsound.com/techniques/yamaha-aw4416-user-tips-part-1
https://www.soundonsound.com/techniques/yamaha-aw4416-user-tips-part-2

https://www.rapmag.com/a/2000s/87-01/sep01/2099-test-drive-yamaha-aw4416-workstation
https://www.rapmag.com/a/2000s/87-01/sep01/2099-test-drive-yamaha-aw4416-workstation?showall=&start=1

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GOZINTAS AND GOZOUTAS

There are eight analog inputs in the AW4416. Inputs 1 and 2 on the rear-panel jackfield sport both XLR and TRS connectors with insert points. The remaining inputs just have TRS jacks, but their levels range from -46 to +4 dB, still good enough to function as mic preamps. (Yamaha used TRS jacks to save space.) This arrangement works if you have a patch bay and the necessary cables, but I’d hoped for the option of plugging all my mic cables directly in to the AW4416. However, the layout is common on these combo boxes so I wasn’t too disappointed.

All channels feature dedicated trim pots and peak LEDs on the top panel. A rear-mounted switch handles phantom power for inputs 1 and 2, but I wish there was a status LED to tell me if phantom was on.

Input-channel 8 has a second unbalanced 1/4-inch jack for electric guitars, basses, and other electric instruments. I checked this out right away. I plugged in my trusty Rickenbacker 330 and inserted an amp-simulation effect from one of the onboard processors. The quick-and-dirty crunch sounded pretty good, though it wouldn’t fool a purist.

Directly below the inputs is a pair of RCA tape-out jacks, four unbalanced 1/4-inch Omni assignable outputs, and a pair of +4 dBu balanced TRS monitor outs. Why does Yamaha use both balanced and unbalanced connections? Again, it’s common in a product intended for both pro and consumer markets.

Rounding out the rear panel are two option slots for adding more I/O, a stereo headphone jack, S/PDIF in and out, word clock in and out, jacks for a footswitch and a 9-pin mouse, a serial connection for a pre-USB Mac or a PC, and a SCSI port. There’s also a trio of MIDI jacks.

As we’ll see, you can directly tap any channel signal and send it virtually anywhere in the recorder, or route any of 50 different signals to the mixer’s four Omni outputs. The AW4416 has a full-blown digital patchbay under the hood — a good thing, considering how many channels of digital audio can flow through the AW4416 at any given moment.

The unit’s routing capabilities become extra important when you add digital or analog I/O cards into the aforementioned two expansion slots. Available cards include ADAT lightpipe (eight channels of input and output), TASCAM TDIF digital (eight I/Os), AES/EBU digital (eight I/Os), XLR analog (four in or four out) and TRS analog (eight in).

You can mix and match formats in the slot cards as well. For example, you could add one card for ADAT lightpipe digital I/O, and pick up an additional eight TRS analog inputs from a second card in the other slot.

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THE FRONT PANEL

A glance at the front panel reveals the AW4416’s heritage. If you’re familiar with Yamaha’s digital mixers, particularly the 02R, you should feel right at home.

The AW4416 presents a lot of information in a small space. Measuring approximately 3-1/2 by 4-1/2 inches, the main backlit LCD display handles everything from track info to information about routing. Each screen provides several pages of information, and there are three ways of accessing the different pages: pressing a selection button repeatedly, pressing function keys immediately below the main display, or using the optional mouse. A second display is dedicated to showing levels for the recorder tracks and main outputs, counter location, clock source, and other useful details.

The unit has more than a hundred buttons and knobs, including four knobs dedicated to hands-on control of pan and parametric EQ. Some buttons control seemingly unrelated functions; for example, the EQ button also accesses pages for fader and mute groups. Likewise, the Dynamics screens contain pages for channel polarity and track offset. It may take a while to get used to this sort of multilevel functionality.

The 60 mm motorized faders serve a variety of functions, operating inputs 1 to 24, aux sends or returns, and returns from the recorder. Change a scene or mode, and the faders instantly jump into position, eliminating any doubt about their settings. And let’s face it, moving faders (even short ones) are great fun to watch. Finally, these are noticeably quieter than faders on other Yamaha digital boards — they don’t exhibit the clatter of the older ones.

4416-routing

PATCH ‘EM HERE AND THERE

Flexible signal routing is the AW4416’s key strength. Mixer input choices include those you’d expect — analog inputs, S/PDIF in, the sampling pads, and any option slot inputs.

The multiplicity of output routing options conjures up some interesting scenarios. You can use the option slots to transfer all 16 tracks to a pair of ADATs, which lets you archive your tracks to inexpensive S-VHS tape and to send them to another studio, for example. You can route an aux send through S/PDIF to and from an outboard effects processor and use the main outputs as an extra headphone mix.

Up to 20 routing maps can be stored for instant recall. This is handy if you’re faced with numerous patching situations in your daily routine. Unlike user patches for scenes, EQ, dynamics, and effects, which are saved as song data, the routing libraries are always available.

4416-input setup

RECORDING

Thanks to the default busing assignments, basic recording tasks are relatively painless. The defaults may be all you will ever need, but almost any kind of busing and routing option is easy to set up and store for later recall.

The transport section features friendly tape-style controls. A matrix of buttons manages loops, auto punch, and up to 99 locate points per song. Auto punch is easy to use: I was able to set punch-in and punch-out points, then roll back and fix a mistake in less time than it took to write this sentence.

The AW4416’s Quick Record mode makes recording trouble free: pressing one button arms all 16 tracks and routes the inputs directly to the recorder, with a choice of inputs from the analog jacks or the option slots. This gave me a very fast method of getting VO tracks and music beds recorded.

Each of the 16 physical tracks has up to 8 associated virtual tracks, and there is a separate stereo track for the finished mix. As with other virtual track schemes, the theory here is that you’ll do multiple (or alternate) takes of a given part and choose the best one for playback. With some effort, you can comp together sections of different virtual tracks into one “keeper” track. Of course, only one virtual track may be played at a time for each physical track.

Up to 30,000 songs (or what most of us know as Projects) can be stored on the internal drive. A song is stored as a proprietary form of .WAV file in the AW4416, but recent software updates now let you export from a track to a standard .WAV file. The 12 GB disk that came with my unit afforded about 140 minutes of 44.1 kHz recording time at 16 bits. And while the external SCSI jack on the back of the recorder shows promise for expanding recording time, it can currently be used only for backing up and restoring song data, while the CD-RW drive can be used for mastering audio CDs, backing up/restoring songs or importing CD tracks and WAV files.

On the software side, the AW4416 offers an impressive list of capabilities. Most notable is the system’s automation recorder — a direct descendant of the software found in the 02R mixer. It allows easy automation and editing of fader positions, pan, EQ and aux send settings. It also recalls any of the AW4416’s 96 scene memories (per song), as well as effects, dynamics and other setting libraries. Automation data is saved with each song, there’s virtually no chance of maxing out the AW4416’s automation memory.

The 16 sample pad buttons can be assigned to play digital audio clips (up to 90 seconds total). A simple sequencer keeps track of when pads are pressed down and released. Pad outputs show up at the AW4416’s digital patchbay, and can be routed to any mixer or recorder channel.

Other features of the AW4416 include tempo and meter maps, a fully routable metronome, 99 markers per song, good locate functions, multilevel undo, fader and mute groups, automatic crossfade between regions, and user-controlled dither and bit-depth settings.
8
Cubase / Re: cubase SL3 system requirements (2003)
«  by Gendoten on October 16, 2017, 06:40:43 AM »
I'm getting more knowledge from every comment.
9
Music Software (PC/MAC) / Re: the best DAWs (article)
«  by Gendoten on October 16, 2017, 06:40:21 AM »
I like all the friendly comments, I am very happy.
10
It's a very good song. I like listening to these songs very much.
12
http://www.musiciansfriend.com/keyboards-midi/roland-si-24-studio-interface-control-surface

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Supercharge your V Studio!

The perfect way to expand the analog inputs and mixing capabilities of a VS-2480/2400. This compact mixer and hardware control surface has 8 XLR inputs with phantom power which can be routed digitally to the V-Studio using the 8-channel R-BUS port. 13 motorized faders provide additional realtime control when mixing.
FEATURES
Compact digital mixer and control surface for use with VS-2480/2400
8 XLR inputs with phantom power and 24-bit/96kHz sound quality
6 analog outputs, plus S/PDIF digital I/O in coaxial and optical formats
13 motorized faders and 12 knobs for additional realtime control when mixing
Route signal to VS-2480/2400 digitally using an 8-channel R-BUS port


http://www.roland.ca/products/si-24/

16
synths - 2000s / Re: roland mc-909 groovebox (2003)
«  by chrisNova777 on October 15, 2017, 07:13:21 AM »
http://static.roland.com/support_archive/jp/MC-909_1811961_readme_jp.html
download the editor for windows 2000/XP


Quote
he following conditions are required for the operation of this software.

● Supported OS
Microsoft (R) Windows (R) 2000 Professional Japanese version
Microsoft (R) Windows (R) XP Japanese version

<Information>
About termination of support when using our product together with Windows XP (2014.03.10)

● CPU / clock
Pentium (R) / Celeron (R) or compatible processor 800 MHz or more
* We can not guarantee compatibility of compatible processor itself.

● Memory
384 MB or more

● Required hard disk space
60 MB or more

● Screen resolution / number of colors
800 x 600 dots 65,536 colors (High Color 16 bits) or more

※ This product has been confirmed to operate on a standard computer that meets the above conditions, but it does not guarantee all the operation under this condition. Even under the same conditions, please understand that processing capacity varies depending on computer's specific design specifications and usage environment.

· Windows is a registered trademark of Microsoft Corporation in the United States and other countries.
· The official name of Windows (R) is Microsoft (R) Windows (R) operating system.
· Company names and product names mentioned in the text are trademarks or registered trademarks of each company.
17
Music Software (PC/MAC) / Re: Personal Composer (1994) for windows 3.1
«  by Gary on October 14, 2017, 02:22:08 PM »
I have files created by Personal Composer system/2.  Is there any way of converting them to be used with the new version of Personal Composer?  Thanks!
18
General / Miscellaneous / Re: what is project 5?
«  by Yogomonoyakub on October 11, 2017, 05:30:34 AM »
The good is considered a work out and can not find a way out.
19
General / Miscellaneous / Re: digidesign softsynth version 2.0 (march 1987, article)
«  by Yogomonoyakub on October 11, 2017, 05:29:59 AM »
The good is considered a work out and can not find a way out.
20
modules - Late 90s / KURZWEIL MICROPIANO
«  by vintagevictims on October 09, 2017, 05:14:43 AM »
Hi all,

 you are great expert of sound.
 I have micropiano kurzweil.

 what is your opinion about this module?
 do you know some famous artists that used it in hits?

 thanks

 Iacopo