for some reason the left + right keybinds are no longer working for jumping threads - im trying to debug + fix it but i cant seem to figure out what the problem is and how it could have stopped working on its own?? i never changed anything.. unless they changed the Browser DOM? or something>?

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Welcome to / Re: Welcome to!
« Last post by aussie on Today at 08:39:22 PM »
Great site. I've been pulling my hair out trying to get Opcode's Studio Vision Pro running on an old Mac Powerbook again, and I think I've discovered the right place. Thanks mates.
Drum Machines & Drum Modules - 2000s / xr-20 vs the mpc500
« Last post by chrisNova777 on Today at 09:28:02 AM »
A lot of people are wondering whether they should go with Akai XR20 or Akai MPC500. This confusion is because of the similarity of their prices. Akai MPC500 is only very slightly more expensive than Akai XR20, so people often consider the two as equal. Each of these models can be acquired with a budget around three hundred bucks or so. So, which drum machine should we choose? Which model holds the most value for our money?
Akai XR20
Akai XR20 appears classy and elegant in a black hue. Akai XR20 is a drum machine that features over than 700 sounds that are produced by Chronic Music. Besides that, Akai XR20 also offers 99 preset patterns, and allows 99 user-made patterns. Unfortunately, it does not give you the possibility to add or sample your own sounds. Thus, you can only use the given sounds. It is solely a drum machine, so it lacks some advanced features, like the ability to sequence external instruments. At least, there are still some useful features like Drum Roll and Note Repeat for realism and expression.

Furthermore, Akai XR20 features a backlit LCD screen for a convenient control display, along with bright backlit pads that glow following the beat. Akai XR20 can work with battery as well as AC adapter.

Akai MPC500
Akai MPC500 is called as a music production center device, so it is not only a drum machine, but it also has some expandability that will allow you to do more things. It has a 2-voice drum/phrase sampler with 128MB RAM so that you can add a wide range of your own sounds and samples to the device. Besides that, it also supports external instrument sequencing, featuring a pattern-based 48-track sequencer with 16 MIDI channels. It provides a 4-way sample layering and velocity switching per pad, and its pads are sensitive to velocity and pressure, creating a very responsive, accurate, and precise controllability. It supports flash drives, comes with more I/O ports, and has some onboard effects: two stereo and one master. There is a backlit LCD screen as well, even though the size is quite smaller than Akai XR20’s screen.

Sometimes it's fun to spend money, sometimes the parting of the ways between grasping hand and grubby fiver is more troublesome than getting the top off an old tube of superglue. For example, buying a pair of furry dice to dangle in the car may be a pleasurable purchase; having a new exhaust fitted is certainly not.

It's a bit like that in the musical world. To add a new synthesizer to one's set-up is something most of us do with a glad heart. Finding a MIDI synchroniser to link the sequencer to the multitrack is not a conventionally accepted source of amusement. To put it bluntly, it's a pain in the neck. The problem has been that the sequencer comes in one black box, the MIDI synchroniser in another. However well these components fulfill their destiny in life, there is always the problem that you have to actively deal with two separate command centres. The desirability of having the two in one unit will be obvious to anyone who has been doing the synchro two-step for any length of time.

One of the highlights of my MIDI synchroniser reviewing career - long may it continue! - was the J.L Cooper PPS-1 [reviewed Nov 87], 'PPS' was taken by some to stand for Poor Person's SMPTE. It provides a method of linking a sequencer to multitrack tape without the hassle of setting tempo changes and meter changes on the synchroniser - it takes all its information from the MIDI clocks it is provided with. Unlike other non-SMPTE sync boxes, the PPS-1 can chase — ie. it is possible to move the tape to any position, start it, and the sequencer will come in at the correct point. None of that 'take it from the top, lads', which is a phrase which should remain the copyright of live musicians.

So, if you wanted to chase - and who doesn't? - there was the choice between SMPTE proper, which was not too convenient, and the PPS-1. The advantage of SMPTE timecode is that it is a standard. If you want to exchange tapes with timecode on, it's essential. Keep nonstandard code to the privacy of your own establishment. Thankfully, there seems to be a trickle of combined sequencer-SMPTE packages coming onto the market. Soon it will be a flood.

In the first wave of this deluge is the Hybrid Arts SmpteTrack package for the Atari ST (requiring at least one megabyte of memory if you want to fit notes in as well as the program!). It comes in the form of two 3.5" floppy disks, a manual and the all-important SMPTE unit. I must confess that I wasn't exactly inspired by the flimsy appearance of the SMPTE box, but the Atari isn't exactly built like a battleship either, so pack it well when you're on the road.

The SMPTE unit plugs into a 'D' connector at the back of the computer, and also into the joystick port at the front. This makes for an untidy cabling arrangement, but I'm sure there must be a good reason for it. Also, the two cables really should have been longer than the one metre provided. There are no controls on the box so you want to be able to tuck it away somewhere. After all, there is enough equipment already jostling for a position in the 'near zone'.


The Hybrid Arts SmpteTrack is a big program and is getting bigger by the minute. Not that you can judge quality by the number of bytes of course, but you will find that the package comes on two single-sided disks. If you are in the fortunate position of having a double-sided disk drive (like on the 1040ST), then you can make one combined boot/program disk from them. Happily, the program is not copy-protected so you can back up heartily. Would-be hackers will get their come-uppance when they find that the program will not load without the SMPTE box connected.

The boot disk contains a number of desk accessories, which can be prodded into action from the Desk menu. Among these are 'GenPatch', which is used in conjunction with Hybrid Arts' separate GenPatch ST program to send and receive System Exclusive data from your MIDI synthesizers [reviewed March 88]. There isn't much joy to be had if you don't already have this program, but if you are a keen GenPatch ST user, then it means not having to leave SmpteTrack to set up an instrument using System Exclusive. There is also the possibility of automatically setting synth patches on loading a song. This is called 'Auto GenPatch' would you believe?

Also among the accessories is 'SMPTE Mate', which is destined to receive the most use. I shall be giving this a thorough going over in due course.

Most of the work with SmpteTrack is done on one screen with pull-down menus. The screen is split into two windows, one showing track information, the other showing a control display. There are 60 separate tracks available, which sounds like a lot, but if the way I used this software is the way a typical user would, then 60 tracks is probably just right. You can mix MIDI channels onto any track, so if things are becoming congested then you just double bunk a few instruments and off you go again...

If your eye has drifted over to the photo of the main screen, then you will see the sequenced version of my Unfinished Symphony. Actually, it's my Unstarted Symphony too - I didn't want to get too carried away. As you can see, tracks can be named, and given long names too - up to 16 letters. The control display on the right shows counters, registers, sections - it seems fairly basic at first glance, but let me assure you that it all works out in practice. Let's dive straight in and go through the recording procedure...

Software upgrades mean there can never be a definitive review of a program. David Bradwell keeps track of the latest Hybrid Arts' SMPTETrack updates.

THE PROBLEM WITH choosing a software sequencer package is that it takes so long to get to know one program well enough to fall in love with it, that you rarely have the chance to make a fully informed choice. On top of that, there are now so many sequencers on the market which offer "incredible" facilities that it's easy to overlook the small points which make working with a computer enjoyable. Equally as important is the ability of the manufacturing company to continually offer upgrades to keep their program as up to date and as powerful as possible.

One company making quite a habit of just this kind of support is Hybrid Arts, who have now just released version 5.09 of their flagship SMPTETrack sequencer. It's so far advanced from the first version (released in 1986) and its subsequent upgrades, that it's now referred to as SMPTETrack II. Its hardware-free, and therefore SMPTE-less, counterpart EditTrack has been re-named EditTrack II, and production of its FSK-sync'ed sister, SyncTrack, has been suspended, if you excuse the alliteration. Version 5.09 contains the same features as its immediate predecessor (v5.0, released last year), but works approximately three times as fast.

The most obvious apparent difference between SMPTETrack and SMPTETrack II is the Control Column which runs like a gash through the middle of the main screen. This works in conjunction with the fader (also new) to make changes to controllers in real time. Like most of the other improvements, this is designed to make the job of programming songs even easier and quicker than it was before. The whole program is designed with responsiveness in mind, so you can spend more time being creative and less worrying about the boring technicalities that can stifle inspiration.

The Control Column allows you to view the activity of controllers 0-120, patch changes and pitchbends on up to 16 different MIDI channels simultaneously. Clicking on the value for any channel brings up the fader at the bottom right-hand corner of the screen. Any changes made here are saved to the keep buffer and can in turn be saved into any track location just like other forms of keyboard data.

In this way it's possible to perform and record MIDI automated mixes in real time with exceptional ease and flexibility. Once you've worked with the Control Column for any length of time you come to depend on it more than you would ever first imagine.

The same can be said of other SMPTETrack features, such as the Graphic Screen. Interaction between Graphic and Text editing modes has been simplified with the addition of a Flip box in both to toggle between the two. Clicking both mouse buttons on any track number automatically takes you into either edit mode, depending on which one you have chosen in the new User Preferences section.

Other new features, which are fairly self explanatory, include auto-quantise, aka Quantized Record, and Cycle (or loop) Recording, both of which clear up areas which were lacking in previous versions of SMPTETrack. There are new choices for visual indication of track activity, and the track scroll bar shows used tracks offscreen. Delete Track deletes all related information such as MIDI channel and output port. Clicking the Keep Box not only saves what was in the buffer memory, but automatically assigns the correct channel and output, and unmutes muted tracks.

If you feel the urge, you can construct complete Sets and then perform them - in other words instruct the computer which songs to play and in what order. All of the songs need to be on the same disk, but if you have a hard disk you can produce a whole live show at the touch of one button.

Unmixing tracks by channel or key zones has been vastly improved and simplified. Tracks can be transposed and given timing offsets in real time, or have their timespans altered. Optimize Every thins out controllers to save memory, while Record Filtering allows you to either record all events, notes only, or absolutely nothing in Rehearsal Mode.

These are just some of the new or enhanced features which reassert SMPTETrack's challenge to the Cubase/Notator throne. There is a shortage of space to do sufficient justice to its SMPTE sync facilities, the possibility of 64 discrete MIDI channels with Hybrid Arts' Midiplexer or ail of the other features which make working with the program a joy. Planned revisions for the next update include Group Track Editing, to edit multiple tracks simultaneously, 192-tick resolution, a completely enhanced Graphic Screen and sequencer transport control from a MIDI keyboard. If Stefan Daystrom and his workmates keep true to form, there will be a host of surprises on top of these that leave you wondering what they could possibly think of next.

The only thing lacking, apart from these, I can imagine, is a MIDI effects section, to create delay or other effects via MIDI note commands (including automated grooves). Apart from this, SMPTETrack has to be one of the best-specified, and easiest to use software sequencers on the market. It's quick, flexible, intuitive, inspirational and not even slightly boring. A round of applause for Stefan please, will somebody buy that man a pint.

Price SMPTETrack II, £499; EditTrack II, £79. Both prices include VAT.
80s Reverbs / Re: Lexicon PCM 70 (1985) digital effects processor
« Last post by chrisNova777 on Today at 09:00:44 AM »


- Mono input, stereo output
- MIDI In, Out, Thru

- 33.5kHz, 16-bit linear PCM sampling
- Frequency response:
20Hz to 15kHz (effect)
20Hz to 20kHz (direct)

- Dynamic range of processed signal: 80dB

- Audio input, switchable:
+4dB balanced, 40 kOhm
-20dB, unbalanced, 500 kOhm, via ¼" stereo jack socket

- Audio outputs, switchable:
+4dB, balanced;
-20dB, unbalanced via two ¼" stereo jack sockets.

Footswitch controls: bypass, remote Register select (increments Register preset)
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