this site exists for reference purposes for all those interested in learning about the original hardware + software from the late 1980s + early 1990s thanks for visiting
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Recent Posts

iOS Software Instruments / Re: korg ielectribe
«  by iRelevant on Today at 09:05:49 AM »
I got this for my iPad. Satisfied. Easy to use, and much cheaper than a second-hand e-tribe module. [Edit] It's a pity it doesn't look to have midi out functionality, that would really have been something.
mixers - 2000s+ / Re: Yamaha AW1600 (2005)
«  by chrisNova777 on April 21, 2018, 05:46:59 PM »
drum - Early 90s / Re: Yamaha RY20 (1994) Rhythm Programmer
«  by chrisNova777 on April 18, 2018, 09:04:48 PM »
audio - Firewire / Re: Motu 828 (2001?)
«  by chrisNova777 on April 18, 2018, 12:43:38 PM »
General / Miscellaneous / Focusrite Liquid Channel (2004)
«  by chrisNova777 on April 18, 2018, 12:37:03 PM »

Price at launch: £2344

SOS review: July 2004

"The crucial question is, of course, how well the Liquid Channel compares to the original units. Well, to my ears I have to say it compares extremely well indeed.”
Convolution processing to 'sample' filters and reverberant spaces is processor‑intensive, but mathematically fairly simple. As such, it's been available for a while, initially as an off‑line process in applications such as Sound Forge, and later in real time, thanks to Sony's DRE S777 rackmounting reverb.

What conventional convolution can't do, however, is replicate non‑linear processes such as distortion and compression. It fell to a company called Sintefex to figure out how dynamic processes could be emulated using more advanced convolution techniques, and Focusrite's Liquid Channel represented yet another stage in the evolution of this process. Drawing on Sintefex's expertise, they paired convolution processing with innovative analogue circuitry, capable of mimicking the response of many well‑known preamp designs, to create an input channel of unparalleled versatility. Sam Inglis

Reel to Reel / Re: tascam msr-24s (1991?) 24 track reel to reel
«  by chrisNova777 on April 18, 2018, 12:11:16 PM »

Price at launch: £8395

SOS review: January 1990

"Tape recording is a well‑developed science and the limits of the possible are continually being pushed by manufacturers in all price ranges.”
From the moment Fostex launched their A8 open‑reel eight‑track in 1982, battle was joined in the narrow‑gauge multitrack war with arch‑rivals Tascam. Quarter‑inch and then half‑inch eight‑track was superseded by half‑inch 16‑track, and then one‑inch 24‑track, with Fostex's G24 taking on Tascam's MSR24. The Fostex, as always, offered a few more bells and whistles, but the Tascam was the better engineered, in my opinion, and once it offered Dolby S as an alternative to its original Dbx noise reduction in 1991 (Dolby S also featured on the Fostex), it became the better‑sounding machine, too.

The nominal spec offered a 40Hz to 20kHz (±3dB) response at 15ips, with less than 0.8 percent distortion and, with the Dolby S engaged, a 93dB signal‑to‑noise ratio. Adjacent‑channel crosstalk, unsurprisingly, was slightly less stellar, but the MSR24S was nevertheless audibly in the same league as all but the very best two‑inch machines, making uncompromised 24‑track recording no longer solely the province of the professional. Unbalanced audio connection via phonos at ‑10dBV remained as a frustrating reminder of the machine's home‑recording heritage, and a combined record/repro head made lining up a bit of a chore, but the individual channel cards and hefty remote PSU all spoke of a machine that would give service for years to come.

And then came ADAT and Tascam's own DA88 modular digital multitrack, and the market for 'semi‑pro' analogue multitrack practically died overnight. The irony is that the ADAT was actually a step backwards in terms of audio quality. The Dolby S noise reduction allowed recordings made with the MSR24 to embody all that was good about analogue tape — warm in the bass, smooth at the top end, clean in the middle and very forgiving of transients and level anomalies. It exemplifies a technology abandoned just as it achieved its peak. Dave Lockwood
Propellerheads Reason / reason 10 released (Oct 2017)
«  by chrisNova777 on April 16, 2018, 10:51:03 PM »
Reason 10 was released on October 25 2017!
Pro Tools|24 MIX Systems End of Development

Pro Tools 6.4.1 for Mac OS X 10.3 (Panther) and Windows XP

August 2004

Introduced in September of 1998, Pro Tools|24 MIX systems have provided many years of service for our customers. However, for Digidesign to continue to develop new features and refine existing ones, it is necessary for us to focus development and testing on our currently manufactured systems. Consequently, we regret to have to announce that the Pro Tools 6.4.1 software release will be the last that will include support for Pro Tools|24 MIX systems.

Some of you may wonder how this can be necessary when each system shares the same TDM or LE version of Pro Tools software. While that is true, each of Digidesign's systems requires some specific development and qualification for every Pro Tools release. As we introduce new product offerings, additional options, and new compatibility support, the number of configurations we need to develop for, performance tune, and test expands exponentially: It's simply impossible for us to continue to support all systems indefinitely. Instead, we have to focus our major development efforts on our currently manufactured systems.
intel Core (Solo/Duo/Quad) (Jan 2006) / Asus P5GC-MX/1333 (2007)
«  by chrisNova777 on April 16, 2018, 11:41:37 AM »

Best Performance of All-in-one Solution MB
- Intel LGA775 Pentium CPU
- Intel® Core™2 Duo Ready
- Dual-Core CPU Support
- Intel® 945GC(A2)/ICH7
- Dual channel DDR2
- 6-channel High Definition Audio
- EZ Flash