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Recent Posts

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Steinberg (Atari ST) / Re: converting old cubase files
« Last post by Diehard on April 16, 2021, 09:53:45 PM »
Chris you saved my ass :)

Thank you so much for the CuBase SE3 link

Downloaded  CuBase SE 3 for windows and it runs in my virtual machine on High Sierra, the VM routes the windows audio (ASIO) to my Mac's Core audio and plays back on my Audient id44...

SE needs no dongle and converts .all and .sng files from Mac

I am finally able to bring in ancient .all files and export the MIDI and tracks into Logic X. and even compare the project simultaneously in CuBase SE Windows and Logic Pro 10.3.3 on separate monitors. This is a game changer for me. If anyone needs the Windows 7 32-Bit VM with Cubase 3 SE loaded just PM me, you will also need a version of Parallels.

Vintage serial devices does not work well with USB/Serial adapters.

Furthermore, even though you'd connect the Cabletronics to the real COM port of your computer (they all still have at least one), you'd need a driver, which most likely does not exists for a 64bit OS.

I see from the other forum that you have bought a more modern MIDI USB interface.

Hope it's working.
1980s / Re: massive list of ISA cards (1988-2000, Text file)
« Last post by AsmodeusBell on April 06, 2021, 12:36:14 AM »
FX-16      ESS1868F (Wavetable and IDE connector)
FX-3D      AD1816JS (Wavetable connector)
Cubase (Steinberg/Yamaha) / Re: Cubase Dongles (which Color? Which Version?)
« Last post by articoci on March 30, 2021, 04:29:51 AM »
I have a green dongle for VST 3.55r3 PC.
I can use this dongle with Cubase 3.05 on Windows 3.1! :)
Cubase (Steinberg/Yamaha) / Re: Cubase Dongles (which Color? Which Version?)
« Last post by wwinfrey on March 29, 2021, 02:31:55 AM »
Are the red dongles locked to specific flavors of Cubase? If you have a red Cubase Score dongle, will it say, work with Cubase Audio XT 3.0, etc. ?
Gear Lists from artists + friends / Re: fred everything studio feature
« Last post by chrisNova777 on March 28, 2021, 04:16:02 PM »
Hi Chris,

There is some new software available for getting the tracks off the AW4416 onto a PC

This is the free version

The free version is limited to around 30 secs of wav conversion, the full version which costs approx 30 euros is unlimited.

Here is a link to the instructions

What it does in a nutshell is copy your HD or CF card from the Yamaha AW onto your pc and then you can unpack the songs wav files for further editing in your DAW.

Opcode Vision / Re: Cracking Opcode Vision hehe
« Last post by zeeshanahmed on March 17, 2021, 01:51:56 AM »
Vision is a music sequencing program, and Opcode's successor to the aptly named Sequencer, itself the successor to the even earlier MIDIMAC Sequencer. When audio editing capabilities were eventually added, Vision was initially renamed to "Audio Vision", eventually being renamed once again to the more familiar Studio Vision.
Unlike most sequencers that came after, MIDI management is handled from with the Vision application via MIDI Setup.

Music & Sound
Opcode Systems
Year released:
Opcode Systems
System 6.x
Mini vMac (68k)
mixers - early 90s / Re: mackie cr1604 (1989) 16 channel + 8 direct outs
« Last post by chrisNova777 on March 14, 2021, 01:19:01 AM »
Yes, I would tend to agree.

Do you have any pointers to a source where I can find the OTTOmix software (disk image, etc.)?

There is nothing in the support area of Mackie's website for something this old (unless I missed it).  The Internet Archive has nothing.  Creative Googling has also yielded nada.

you would have to track down someone who has the disks somehow... obviously.
mackie isnt even mackie anymore so you would have to find someone that used to work for the old MACKIE brand in some sort of technical area of expertise that would require them to have the disks. shrug sorry man i dont know where to tell you to look..
Gear Lists from artists + friends / Mark Archer (Altern 8)
« Last post by chrisNova777 on March 11, 2021, 10:32:15 PM »

How did you start making music, what equipment were you using?

When I very first started in 1988 all I had was a Casio SK1 sampling keyboard (not as glam as it sounds) and I used to go and visit Dean Meredith who had decks and a mixer so he would cut up beats on his decks and I’d play bass-lines or samples over the top, which we would then over dub with scratches or other samples. extremely lo-fi but it got us a deal with Blue Chip records.

How do your current production techniques compare with the way you made music when you started?

It’s totally different these days, there’s so many sounds to use and effects that you can’t possibly reach the limits of the equipment’s capability, but when we started, we were making every piece of equipment do things they weren’t designed to. I much preferred the time in the mid to late 90’s when I had a studio at my old house, with loads of samplers, outboard gear and hardware all wired into my mixing desk so I knew where everything was and all hooked to the trusty Atari 1040 though.

Who were your biggest influences at the beginning?

Derrick May, Kevin Saunderson, Juan Atkins and pretty much every other producer from Detroit making techno as well as producers from Chicago like Tyree Cooper, DJ Fast, Eddie and Armando to name a few.

What is your favourite album of all time?

Without a doubt its an album called ‘Techno! The New Dance Sound of Detroit’ that came out in 1988 on 10 records. It has tracks on it by Derrick May, Kevin Saunderson and Juan Atkins as well as Anthony Shakir, Blake Baxter and Eddie Fowlkes, it’s pretty much the Techno bible.

You have enjoyed a long music career; why do you think people still identify with the sound of Altern-8?

I think people identify with the golden era of rave sound as there’s something unique about it, the euphoria and the rawness of the tracks that were made then. They bring back great memories for people who were there and it’s totally different to a lot of the newer styles of dance music so really stands out.

The music industry and DJ culture has changed a lot in recent years, what are your thoughts on the music industry at the moment and how have you had to change and adapt since you started out?

I’m not one of these people who moans about how things are, or moans about the underground vs the commercial side of things, there’s no point in bothering with stuff that really doesn’t concern me. As far as the little corner of dance music I’m involved in goes, it’s brilliant. So many new people discovering the oldskool sound and producers who have grown up on it are being heavily influenced by the sound and making amazing new tracks. As far as how I’ve had to change with the industry, you can now no longer just turn up and play records (although that was enough to do anyway) but now you have to be well up on the social media side of things and help promote events that you’re playing at, recording video’s to prove that you are going etc.

What has been your favourite experience as a DJ so far?

Possibly the Boiler room set I did in 2016 in Nottingham as I was a bit apprehensive about how it was going to go down compared to all the other Boiler rooms I’ve seen where it’s newer music. Up until the first tune dropped I honestly thought I was going to go down like a sack of spuds but it went off and has proved to be probably the most popular set I’ve ever played (and I can hear my wife shouting support on the recording which always puts a smile on my face).

If you could go back and do anything differently in your career, what would you do and why?

I don’t think I’d change anything because I wouldn’t be where I am now. There’s obviously loads of things I’d do differently if I wasn’t happy where I am right now, working with different people, taking better legal advice, being way more confident about my own ability but hindsight is a wonderful thing haha.

How do contemporary festivals compare to the then legal out door raves in the late 80’s and early 90’s?

There was an energy and excitement about the raves back then that isn’t present now, not saying that raves now aren’t good because they are but it was brand new nearly 30 years ago, it hadn’t been done before. There was a level of escapism back then, and a feeling that ‘this is ours’ whereas these days it’s not just for the people in the know. I’m not saying that makes it better, just different.

What can we expect from your set at Back of Beyond festival?

If it’s a festival or a new club I don’t tend to go too deep into the archives as it may lose the crowd, so I usually play a sort of ‘journey through the rave scene’ starting off with the early tracks from maybe 1988/89 and work through the piano driven house tracks, the harder Belgian techno and then finish with breakbeat hardcore so the tempo gradually rises throughout the set.

Will you be going to see anyone else play at the festival? If so, who?

It’s actually my 50th birthday on the 7th of July so I’ll be in full on party mode and trying to catch as many people as I can, but will be hooking up with my good mates 2 Bad Mice and Uncle Dugs for sure and really want to catch Ray Keith and Norris da boss Windross.

What does the future hold for Altern-8?

I’ve spent since 1999 just trying to keep the name of the group alive, and it seems to be working. We’ve gained loads of new fans so I’ll be continuing the DJ’ing and live sets as long as is possible. And who knows, we may even do some new tracks.


Festival News: Faithless will headline the first edition of Back of Beyond Festival July 2018

July 7th 2018

Frogmore Hill | Hertford |

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