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
Who | MIDI Interfaces | Software | TIMELINE | PCI | ISA | ATARI ST | DOS/PC | WIN/PC | MAC | Drums | Synths | Modules |Sequencers | Samplers | Tape Rec | Mix Consoles |
Artists | Recent | VST | ios inst | E-mu | Ensoniq | Akai "S" Series | Akai MPCs | Roland "S" Series | Drum Machines | Roland JV Addons | early 90s Synths | late 80s synths
guests are encouraged to: REGISTER to view file attachments + add relevant videos, downloads, resources. (credit your SOURCE!).to post a vid just paste url!

Recent Posts

AGP Cards (1996-2005) / Re: Geforce 3 Ti200 (March 2001)
«  by chrisNova777 on February 13, 2018, 09:46:54 PM »
this card can be flashed to mac
see this page:

United States
One of the current reasons for the US government's push for digital transmission is the desire to auction off part of the UHF spectrum, channels #52 through #69, for other two way and one way fixed and mobile services. This could include digital mobile TV broadcasting. However, this is not the only reason historically. HDTV had been in development for some years in the US. In the 1980s there was a fear among many in the US that Japanese advances in HDTV would contribute to the further erosion of US leadership in electronics and other high-tech industries, not to mention the defense industry implications of having a high resolution television system. (Japan has since all but abandoned its old MUSE system and has introduced a digital system.) The Federal Communications Commission (FCC) began soliciting proposals for a new television standard for the US in the late 1980s and later decided to pick a digital standard in 1993. HDTV sets became available in the US in 1998 and broadcasts began around November 1998.
Because HDTV requires more broadcast spectrum for the transition period, it has been the topic of great political controversy in the United States. Stations currently receive a free channel, generally in the UHF range, over which they are to broadcast their digital signal, while still providing analog service. According to FCC rules, all television broadcasting in the United States by current full power broadcasters on channels 2-51 will by the beginning of 2007 be digital, with an escape clause that 85% of the serviced area must be "capable" of receiving digital signals. At the time of analog shutoff, one channel would then be returned to the government for transfer to the new private owner, while the other would have only the digital signal. Current analog TV sets would still work with cable or satellite service or with a converter box that would convert digital OTA signals to analog. As of January 2004, indications from industry and FCC officials including its chairman are that the cutoff date for digital-only broadcasts will not meet the intended 2007 and the actual timeline for analog shutoff in the US will realistically be in the 2010-2015 timeframe.

Of importance is that the FCC has not mandated HDTV signals; it has only mandated that digital TV signals be broadcast. The prevailing expectation, however, is that HDTV during primetime will be the rule. It is not clear whether broadcasting HDTV or multiple standard definition channels during non primetime hours will become common.

As of February 2004, most HDTV sets in the US had the capability to display HDTV signals but not to decode the broadcast. Generally only the more expensive TVs will have an 8-VSB (and often QAM) tuner built-in. Because a large percentage of people in the US receive their television through cable or satellite (particularly those who have the money to spend on an HDTV), and because different cable and satellite systems use different encoding standards, most HDTVs only include standard-definition tuners. This allows the user to purchase or rent a separate tuner to receive HDTV signals. An ATSC receiver can currently be purchased for around $350 in the US, although this is expected to drop sharply as demand increases. Alternately, in the US one can purchase a satellite tuner to receive satellite HD signals, or rent a cable HD tuner to receive cable signals. The situation is similar to UHF tuners, which initially were an aftermarket accessory in the early days when NTSC was initially broadcast only in the VHF range.

To expedite the availability of HD reception, the FCC has ruled that 50% of TV sets with screens of at least 36 inches must have 8-VSB tuners by July 2004, with complete tuner coverage in that size class by July 2005, while the requirement for smaller sets and digital VCRs would be phased in from 2005 to 2007. It is anticipated that the price of tuner hardware will fall as the market enlarges. It should be noted that the FCC also mandated the inclusion of UHF tuners in all NTSC TVs which eventually lead to their being integrated at no marginal cost.

The transition to HDTV in the US has not yet reached critical mass but there is increasing availability of premium as well as freely available terrestrial broadcast HD content. As equipment for HDTV production becomes cheaper and more widespread, this will only accelerate. For example, the US President's State-of-the-Union speech in January 2004 was broadcast using a mixture of HD and a few SD camera signals, which was the first major US news event to see any significant use of HD. On the equipment side, TVs capable of displaying HDTV signals are available as of July 2004 for approximately $400 USD in the direct view CRT market. Standard resolution CRT TV sets are completely extinct in the larger rear-projection CRT units.

Many of the new HDTV's with integrated tuners will include CableCard support. CableCard which has also been named "Digital Cable Ready" will enable cable TV customers to access protected content by receiving a Card from their cable company much like a PCCard for a pc, once this card is installed in the TV the customer will have some of the features of the Cable companies supplied Set Top Box. Unfortunately CableCard only support One Way communications which means that Video On Demand and Pay Per View will not be available. This also means that the Interactive Program Guide that most Digital Cable Customers are used to will have to be supplied by the TV manufacture. Cable Companies started supporting CableCard on July 1st 2004 per the FCC "Plug and Play" agreement. At this time the only CableCard devices are Panasonic TV's. Most major manufactures have announced CableCard products to be released late 2004.

Satellite television companies in the USA, such as Dish Network, started to carry HD programming in 2002. Some cable television companies, such as Comcast, started to do the same in 2003. As of July 2003, HD programming is carried by all major television networks (except Fox which plans to go HD in mid 2004) including ABC, CBS, NBC, PBS and The WB as well as other cable/satellite channels including Discovery HD Theater, HBO, HDNet, Showtime HDTV and INHD. Cable and satellite providers typically also offer HDTV pay-per-view movies. The production of HDTV programming is very time consuming. According to PBS, it took 1000 hours to produce a three hour program. As of July 2003, PBS only produces about 10 hours of HD programming per month, while ABC provides the most hours of HD programming per day among other non-cable networks.

In Canada, on November 22, 2003, CBC had their first broadcast in HD. Bell ExpressVu, a Canadian satellite company has TSN HD and Discovery HD (Canadian Edition). The Canadian Discovery HD Channel has commercials and is sponsored By Franklin Templeton Investments. Other networks are continuing to announce availability of HD signals.
didnt become mainstream/commonplace untill summer of 2004

The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV southeast of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV
HDTV sets became available in the U.S. in 1998 and broadcasts began around November 1998. The first public HDTV broadcast was of the launch of the space shuttle Discovery and John Glenn's return to space; that broadcast was made possible in part by the Harris Corporation.[3] The first commercial broadcast of a local sporting event in HD was during Major League Baseball's Opening Day on March 31, 1998, the Texas Rangers against the Chicago White Sox from The Ballpark in Arlington in Arlington, TX. The telecast was produced by LIN Productions, and overseen by LIN Productions president and Texas Rangers television executive producer Lee Spieckerman. The game was also the inaugural telecast on the digital channel of Dallas/Fort Worth, Texas NBC affiliate KXAS channel 5. The historic event was simultaneously shown via satellite at a reception attended by members of congress, the FCC and other luminaries in Washington, DC. This telecast was also the first commercial HD broadcast in the state of Texas.[4] The first major sporting event broadcast nationwide in HD was Super Bowl XXXIV on January 30, 2000.

Satellite television companies in the United States, such as Dish Network and DirecTV, started to carry HD programming in 2002.

im sure there COULD be an easy way for multiple users to use the same ipad..

sign in, use the ipad + all related services ie: youtube, gmail, chrome etc
and then sign out when your done,
pass the ipad to a friend and have your friend sign in
and keep all passwords + login info secure + private..
but alas this isnt built into ios as of yet!

is there a way around this? i dont know.. if anyone has additional information on this topic please post
General / Miscellaneous / sci-fi thriller movies (1997-present)
«  by chrisNova777 on February 11, 2018, 11:11:59 AM »,1997-12-31&genres=sci-fi,thriller&view=simple,1998-12-31&genres=sci-fi,thriller&view=simple,1999-12-31&genres=sci-fi,thriller&view=simple,2000-12-31&genres=sci-fi,thriller&view=simple,2001-12-31&genres=sci-fi,thriller&view=simple,2002-12-31&genres=sci-fi,thriller&view=simple,2003-12-31&genres=sci-fi,thriller&view=simple,2004-12-31&genres=sci-fi,thriller&view=simple,2005-12-31&genres=sci-fi,thriller&view=simple,2006-12-31&genres=sci-fi,thriller&view=simple,2007-12-31&genres=sci-fi,thriller&view=simple,2008-12-31&genres=sci-fi,thriller&view=simple,2009-12-31&genres=sci-fi,thriller&view=simple,2010-12-31&genres=sci-fi,thriller&view=simple,2011-12-31&genres=sci-fi,thriller&view=simple,2012-12-31&genres=sci-fi,thriller&view=simple,2013-12-31&genres=sci-fi,thriller&view=simple,2014-12-31&genres=sci-fi,thriller&view=simple,2015-12-31&genres=sci-fi,thriller&view=simple,2016-12-31&genres=sci-fi,thriller&view=simple,2017-12-31&genres=sci-fi,thriller&view=simple
im surprised at the amount of views this thread has got in a short time period..

im also surprised that bt has NO CONSCIENCE at all
General / Miscellaneous /
«  by chrisNova777 on February 11, 2018, 03:51:08 AM »

bunch of usefull apps here
Mac OS 9 (Oct 1999) / alladin stuffit deluxe v4.5 ISO
«  by chrisNova777 on February 10, 2018, 06:51:51 PM »
not sure why this is compressed as a 7zip file..
not really the best format to have a file for macintosh in!

sourced from:

1. The Fifth Element (1997)
2. Starship Troopers (1997)
3. 10,000 BC (2008)
4. Dante's Peak (1997)   
5. The Lost World: Jurassic Park (1997),1998-12-31&genres=action,adventure&view=simple

1. Armageddon (1998)
2. Lost in Space (1998)
3. Ronin (1998)   
4. The Mask of Zorro (1998)
5. The Man in the Iron Mask (I) (1998),1999-12-31&genres=action,adventure&view=simple

1. Star Wars: Episode I - The Phantom Menace (1999)   
2. The Mummy (1999)   
3. Austin Powers: The Spy Who Shagged Me (1999)
4. The World Is Not Enough (1999)
5. The Iron Giant (1999),2000-12-31&genres=action,adventure&view=simple

1. Gladiator (2000)   
2. X-Men (2000)   
3. Charlie's Angels (2000)
4. Mission: Impossible II (2000)   
5. Battlefield Earth (2000),2001-12-31&genres=action,adventure&view=simple

1. Lara Croft: Tomb Raider (2001)
2. A Knight's Tale (2001)
3. Planet of the Apes (2001)
4. Atlantis: The Lost Empire (2001)
5. The Mummy Returns (2001),2002-12-31&genres=action,adventure&view=simple

1. Spider-Man (2002)   
2. Star Wars: Episode II - Attack of the Clones (2002)
3. Minority Report (2002)
4. Die Another Day (2002)
5. The Count of Monte Cristo (2002),2003-12-31&genres=action,adventure&view=simple

1. Pirates of the Caribbean: The Curse of the Black Pearl (2003)
2. X-Men 2 (2003)   
3. Master and Commander: The Far Side of the World (2003)
4. The League of Extraordinary Gentlemen (2003)
5. Charlie's Angels: Full Throttle (2003),2004-12-31&genres=action,adventure&view=simple

1. The Incredibles (2004)   
2. National Treasure (2004)   
3. Van Helsing (2004)
4. King Arthur (2004)   
5. The Day After Tomorrow (2004),2005-12-31&genres=action,adventure&view=simple

1. Batman Begins (2005)
2. King Kong (2005)
3. Star Wars: Episode III - Revenge of the Sith (2005)   
4. The Dukes of Hazzard (2005)
5. Serenity (2005),2006-12-31&genres=action,adventure&view=simple

1. Casino Royale (2006)   
2. Apocalypto (2006)   7.8   
3. Pirates of the Caribbean: Dead Man's Chest (2006)
4. Mission: Impossible III (2006)
5. X-Men: The Last Stand (2006),2007-12-31&genres=action,adventure&view=simple

1. Spider-Man 3 (2007)
2. Wild Hogs (2007)
3. Transformers (2007)
4. Pirates of the Caribbean: At World's End (2007)
5. Beowulf (2007),2008-12-31&genres=action,adventure&view=simple

1. Iron Man (2008)
2. The Incredible Hulk (2008)
3. Hellboy II: The Golden Army (2008)   
4. Indiana Jones and the Kingdom of the Crystal Skull (2008)
5. Quantum of Solace (2008),2009-12-31&genres=action,adventure&view=simple

1. Avatar (2009)   
2. Star Trek (2009)
3. X-Men Origins: Wolverine (2009)
4. Sherlock Holmes (2009)   
5. Terminator Salvation (2009),2010-12-31&genres=action,adventure&view=simple

1. Inception (2010)   
2. Clash of the Titans (2010)
3. TRON: Legacy (2010)   
4. Iron Man 2 (2010)   
5. The Expendables (2010),2011-12-31&genres=action,adventure&view=simple

1. Thor (2011)      
2. Captain America: The First Avenger (2011)
3. Conan the Barbarian (2011)   
4. Pirates of the Caribbean: On Stranger Tides (2011)
5. X-Men: First Class (2011),2012-12-31&genres=action,adventure&view=simple

1. The Avengers (2012)
2. Total Recall (I) (2012)
3. Skyfall (2012)
4. Battleship (2012)   
5. Snow White and the Huntsman (2012),2013-12-31&genres=action,adventure&view=simple

1. Pacific Rim (2013)      
2. Thor: The Dark World (2013)
3. Man of Steel (2013)   
4. World War Z (2013)   
5. The Hunger Games: Catching Fire (2013),2014-12-31&genres=action,adventure&view=simple

1. Guardians of the Galaxy (2014)
2. Kingsman: The Secret Service (2014)
3. Edge of Tomorrow (2014)
4. The Expendables 3 (2014)
5. Captain America: The Winter Soldier (2014),2015-12-31&genres=action,adventure&view=simple

1. Bilal: A New Breed of Hero (2015)   
2. Mad Max: Fury Road (2015)
3. Ant-Man (2015)      
4. Star Wars: The Force Awakens (2015)
5. Terminator Genisys (2015),2016-12-31&genres=action,adventure&view=simple

1. Suicide Squad (2016)   
2. Deadpool (2016)      
3. Captain America: Civil War (2016)   
4. Rogue One: A Star Wars Story (2016)
5. Doctor Strange (2016),2017-12-31&genres=action,adventure&view=simple

1. Thor: Ragnarok (2017)      
2. Jumanji: Welcome to the Jungle (2017)   
3. Star Wars: The Last Jedi (2017)
4. Justice League (2017)   
5. Kingsman: The Golden Circle (2017)
thank you jgaryt  8)
General / Miscellaneous / what is SMDI?
«  by chrisNova777 on February 09, 2018, 06:42:09 PM »

What is SMDI?
By Matt Isaacson

A standard method for transferring samples via SCSI is now available. Will it catch on?

I'm not one to create acronyms for the sake of acronyms, but when I tried to name a new data transfer method I developed, it made sense to link it to another well-known member of the electronic music lexicon. So yes, SMDI (pronounced "smi-dee"), an acronym for SCSI Musical Data Interchange, rhymes with MIDI. However, it is not SCSI-MIDI, it is not spelled SMIDI, and it is not pronounced "ess-MIDI." Those using these spellings or pronunciations are in error and should be politely corrected.

What exactly is SMDI? Simply put, SMDI is a method of using SCSI (the Small Computer Systems Interface) to transfer information between samplers and computers. SMDI has been characterized as "SCSI sample dump" because it is based loosely on the familiar MIDI Sample Dump Standard (SDS). The central aim of SMDI is to use the superior data transfer ability of SCSI to serve the same purpose as SDS, that is, to send samples between any two devices in a nonproprietary, commonly recognized format.

Life Before SMDI
The story of SMDI starts with the state of music equipment in its absence. All previous methods of sample transfer have shortcomings that grow more problematic as the state of digital audio improves. For example, SDS has several flaws. It can't deal with stereo samples or samples longer than two megawords, and it conveys a bare minimum of information about a sample (names and pitch values not included) and none about the sampler (such as its sample-number range). SDS also offers no tools for remote management (e.g., a Delete command).

However, the greatest shortfall of SDS is that it uses MIDI and is therefore glacially slow. MIDI was never meant to move large quantities of data. It's a low-cost system for transmitting real-time event information, working at a speed that just barely lets it do a competent job. On the other hand, SCSI was born to move data. Even transfers over a low-cost SCSI interface can easily be 100 to 300 times faster than an equivalent MIDI transfer.

Thanks to its versatile design and wide acceptance as a standard by the computer industry, SCSI is the interface of choice for sampler hard-disk access. Its key advantages for the designer (and user) are standardization and device-independence. SCSI disks handle the messy details of cylinders, heads, buffers, and the like on the inside, and present a simple, standard "virtual" device to the SCSI bus. SCSI driver software then deals with this virtual device in a generic way. More importantly, a SCSI driver that sets up a sampler for use with the whole range of SCSI disks (even those not yet developed) must be created only once.

Samplers use the speed of their SCSI ports to upload and download samples. However, the precise transfer methods for samplers are not standardized over SCSI. Each sampler's implementation is usable only through a coordinated effort by someone (usually a third-party software company) working from the other end of the SCSI cable. Unlike SCSI disk drivers, this effort must be duplicated for each sampler by each company seeking to support it. A company may decide that the cost of this effort isn't justified by the projected sales, or its programmers may be unable to do it right away (perhaps because of other samplers that need support).

Clearly, this is a losing situation for almost everyone involved, but especially for users, who are resigned to seeing their sample libraries remain "ghettoized" for lack of a usable interchange method. It also puts a strain on manufacturers. Digidesign, one of the original heavyweights in third-party sampler support, now puts its energies into SampleCell and no longer supports samplers.

A few samples can read the floppy-disk formats of some competitors, but this piecemeal approach to the problem involves a cumbersome transfer method that is especially taxing for manufacturers to implement. It certainly offers some utility, mainly as an "escape route" from one sampler to another, but it does nothing to address the real problem or facilitate new capabilities.

A Standard Is Born
A standard SCSI sample-transfer method would clearly be a boon to all concerned. So why isn't there one? For starters, arriving at a standard protocol is not trivial undertaking. SCSI is a big topic. It covers a breadth of equipment in which musical instruments don't even rate a mention. In the cloistered world of MIDI, every other unit on the line is a MIDI device, but a SCSI cable normally plays host to devices that don't know a sampler from a samovar.

In addition to the thorny technical problems, there is the question of an appropriate forum in which to address the issue. It's far too narrow for the American National Standards Institute (ANSI), the stewards of SCSI. The focus of the MIDI Manufacturers Association (MMA) is MIDI; SCSI is technically not part of their charter. However, unless a standard emerges from an industry group charged with creating it, manufacturers may be skeptical of its merit or may wait to see who else adopts it before committing themselves.

Meanwhile, those companies that have forged ahead with proprietary protocols are less inclined to feel that a standard would benefit them. Some may be downright hostile at the suggestion that they scrap their work to start over with a new method not of their own invention. In addition, the desire for a standard protocol isn't universally shared. Companies with large investments in sound libraries (and it is often the library that makes or breaks a sampler) have reason to be wary of a feature that helps users export samples en masse to other products.

How did SMDI evolve, then? Rather spontaneously, as it turns out. I took a stab at it while developing the system software for the Peavey DPM-SP. The SP is a low-cost sample-player without built-in sampling and, at the time of its introduction, a rather limited factory sound library. Clearly, in order for the DPM-SP to have any chance of success, the issue of sample transfers had to be addressed. Users of other samplers would want to move their personal libraries over to it, as would commercial sound library suppliers. There wasn't time to crack three or four alien floppy formats while also developing the native one for the DPM-SP. It seemed that a well-supported SCSI transfer protocol was the best prospect.

Rather than designing a product-specific protocol, I wanted to create a generic one, hoping that this would make it easier to enlist the necessary third-party support early on. In addition, I thought it might help break the SCSI transfer logjam and trigger some other activity in this area. (No harm in trying, anyway.) The powers-that-be at Peavey understood the intent and gave the go-ahead to release SMDI into the public domain without fees or royalties. This would encourage other product developers facing the same problem to consider adopting the already-worked-out SMDI method.

Such an attempt to parlay a unilateral creation into a standard is far from unprecedented in industry. SCSI itself evolved from something called SASI, the Shugart Associates System Interface. It's too soon to say whether SMDI will become a universal standard, but among the companies that have chosen to use it is Kurzweil in their K2000 synth/sampler. That's an important first step. (For a current list of products supporting SMDI, see the side bar "SMDIfied.")

What's In It For Me?
When (and if) it comes to your gear, SMDI can spare you lots of waiting when shuttling your samples around; ditto for computer editing. In addition, you don't need a DSP board in the computer just to audition edits, because you can zip an edited sample quickly back into the sampler.

If a new sampler were to join the SMDI club today, it would already be supported by Alchemy, MAX, and SampleVision and enjoy the ability to transfer samples directly to and from the K2000 and DPM-SP, with no updates to any of those products and nary a phone call to their manufacturers.

The adoption of a standard protocol might hasten the appearance of previously impractical applications. For example, a centrally fed sampler network could be designed in which all units receive their samples via SMDI downloads from a common sample database accessed by a sophisticated session manager. If you now use two or more different samplers and a computer, your sample library may exist in different formats on as many hard disks. If you're fortunate enough to have gigabytes of sounds, redundant disks add up to real money. Wouldn't it be nice if your samplers didn't need dedicated hard disks of their own?

SMDI also provides a method for transmission of MIDI messages. This means that program information for each sampler could be maintained on the same central disk as the sample database and sent along the same SCSI cable (as SMDI MIDI SysEx) at the same blazing speed. (Don't throw those MIDI cables away, though. Despite its data-moving prowess, SCSI is not a good real-time event-transmission interface, and SMDI won't be replacing MIDI anytime soon).

The same idea applies to CD-ROM sound libraries. With sound files in the native format of the computer (e.g., AIFF), a single CD-ROM could furnish samples to any SMDI sampler and include device-specific files that organize these samples into sound banks for many different products, also transmittable via SMDI.

The bottom line is this: The more you move samples around, and the bigger they are, the more SMDI can help. As more manufacturers adopt SMDI, the more it will help. The applications in this article are possible right now, but they will become commonplace more quickly if SMDI (or something like it) becomes a de facto standard in the music industry. If you'd like to see that happen, make your voice heard. Manufacturers do listen, especially when many voices are talking. Drop a letter or make a call to your favorite sampler or software company and ask, "Where do you stand on the SMDI question?"

(To obtain a copy of the SMDI spec, contact Peavey Electronics Corporation at [601] 483-5365.)

Matt Isaacson lives in San Francisco and has been a design and development engineer with Sequential Circuits, Yamaha, and Peavey over the last nine years.

Detailed instructions for installing MacOS X 10.7.2 iATKOS L2 on this motherboard.

Computer Configuration:

CPU - Intel Dual Core E2160 (works)
RAM - 3GB (works, installing more RAM on this motherboard does not make sense because it sees a maximum of 3.4 GB)
SATA - ICH7 (works, but does not display the name of the controller in System Profiler) - SATA HDD and SATA DVD-RW
VIDEO - Intel GMA950 64MB (works, no Quartz Extreme - the restriction of the system itself, the rest of the acceleration, 3D, Video Acceleration - working correctly)
LAN - Attasinc L2 Ethernet (works)
USB - works full-speed USB 2.0

additionally installed PCI USB 2.0 controller NEC, PCI WiFi controller TP-LINK WN851ND, USB Bluetooth Adapter D-Link 122 - works
Keyboard and Mouse - Apple USB Keyboard alluminium, Apple USB Mighty Mouse

version of the BIOS - 3.14

1. Setting the jumpers and the BIOS
1.1 on a motherboard switch the jumper USBPWR to position 2-3 (for the correct exit from sleep mode)
1.2 set up the BIOS


LEGACY USB SUPPORT - ENABLE (otherwise the keyboard does not work during Bootloader'a)



2. Installation of the system - no difference from a flash drive or optical drive.
2.1 use Disk Utility to format MacOS Extended (Journaled) partition type GUID
2.2 set up an additional installation options


(Attention! if you are installing the system on the GMA 950 video card DO NOT ENABLE 32 BIT PATCH - otherwise the eternal boot is guaranteed, to resolve you should switch to 64bit mode or use -F switch of the Bootloader)

IO PCI FAMILY (not sure that necessarily - but I did)


with the given parameters you should pass the correct installation of the end of which the computer restarts

2.3 copy contents to a folder Extra in the root of Hard Drive

2.4 install the system kexts from the archive

2.5 remove kext AppleHPET.kext out of the folder System/Library/Extensions (if you do not - possible bugs in the USB, although I have not seen, and definitely buggy bottom PCI-slot motherboard (that's what I saw in person)

2.6 rebuild caches using Kext Utility (Google to help)

2.7 audit Bootloader configuration



ARCH - I386 (set this value if you are using integrated GMA 950 video, if you are working through a PCI Express card - may need to set the X86_64)

2.8 turn off the computer, wait 10 seconds and turn on the computer - to get the correct load on the system - there will be sound, video acceleration, network. then check that all devices are functioning properly, pay special attention to the work of lower-PCI-slot and USB port

2.9 with DSDT AutoPatcher GUI (Google to help) create dsdt.aml file in the root of the boot disk and put this point to him in Bootloader BIOS - reboot the computer, check the correctness of the operation.
Books / Re: pdf library
«  by chrisNova777 on February 09, 2018, 01:13:12 AM »
macworld magazines scanned - 1999

some fun nostalgia here: jan 1999 feb 1999 mar 1999 apr 1999 may 1999 jun 1999 jul 1999 aug 1999 sep 1999 oct 1999 nov 1999 dec 1999

more here:



SAN FRANCISCO (01/25/2000) - Macs have always been accomplished musical accompanists. Connect a Mac to a synthesizer via MIDI (Musical Instrument Digital Interface), and you can build complex musical arrangements, edit flubbed notes, and even print sheet music. Connect an audio source such as a microphone or mixer to a Mac's audio-input jack, and you can add multiple tracks of acoustic instruments and vocals. Toss in some music-loop CDs-collections of recorded rhythms and riffs-and even an amateur musician can assemble polished tunes. (If you're new to computer music, see "Get to Know MIDI" for some background.)With their spunky processors and fast hard drives, Apple's newest generation of Macs is well equipped to handle the demands of MIDI and digital-audio production. Unfortunately, their lack of floppy drives, serial ports, and SCSI interfaces means they don't always harmonize with the rest of your music and audio tools, leaving many MIDI musicians singing the blues: I'm sad and broke, my baby left me, and I couldn't use MIDI on my new G3.

Well, this is one ballad with a happy ending. Whether you're outfitting a production studio from scratch or planning to upgrade from a beige Mac to something a bit more powerful and colorful, there are fixes and workarounds for every one of these problems.

Making the MIDI Connection

In the past, MIDI interfaces (which enable you to hook up MIDI musical instruments to a Mac) have connected to Macs through serial ports-ports Apple has now abandoned in favor of USB. In addition to being faster, more flexible, and more reliable, USB offers some distinct advantages over its predecessors.

For example, it lets you simultaneously connect multiple interfaces, even mixing and matching brands and models. Need additional MIDI inputs and outputs?

Just hook up a second interface. And USB's fast transfer rates are ideal for complex MIDI systems comprising numerous synthesizers and sound modules.

But how are you supposed to make your audio tools play nice with USB? The answer depends on whether you're just starting out or upgrading from a non-USB Mac.

Starting from Scratch

If you're creating a new MIDI studio, your best bet is to buy one of the USB-equipped MIDI interfaces that are now available. I tested Midiman's ( $129 Midisport 2x2 and Mark of the Unicorn's ( $69 FastLane USB (which is available in all five iMac flavors). Both install in a flash and work beautifully. The Midisport interface even includes both Mac and Windows driver software, making it a good choice for cross-platform performers.


If you already have an inexpensive serial MIDI interface, buy a new USB interface-it will probably cost less than one of the adapters I'm about to discuss, and you'll get the aforementioned USB advantages as a bonus.

But if you have a high-end serial MIDI interface-for example, one that supports hundreds of MIDI channels and also handles synchronization-buying a serial-port adapter might make more financial sense. One option is to install a serial-port PCI card-such as MegaWolf's ( $249 Remus/2 or $349 Romulus/4, which provide two or four serial ports, respectively -in your new computer. Unlike some serial-port adapters, these support MIDI.

If you don't have a spare PCI slot but are willing to forgo an internal modem, consider Griffin Technology's ( $49 gPort for G3s and G4s, or GeeThree Technology's ( $49 Stealth Serial Port, which works on all USB desktop Macs. Both are MIDI compatible and install in the Mac's modem slot.

An alternative that doesn't require an expansion slot -- listen up, iBook owners -- is Keyspan's ( $79 USB Twin Serial Adapter, a tiny, translucent gizmo with two serial ports; it should be compatible with numerous Mark of the Unicorn MIDI interfaces. A list of compatible interfaces is available on Keyspan's Web site.

Be sure not to buy a serial adapter until you verify that it works with your specific MIDI interface. You may also need to download an updated version of your MIDI interface's driver software.

Copy-Protection Woes

Music and audio software have long been two of the last bastions of copy protection. In the past, most software packages required floppy key disks for installation; others relied on hardware dongles that attached to the Mac's ADB port and restricted use to a single owner. Both approaches spell trouble for modern Macs, many of which lack ADB ports, and all of which lack floppy drives.

Fortunately, most software developers have discarded key disks in favor of challenge-response protection schemes: you contact the vendor via e-mail or phone, supply a serial number, and then receive a second serial number or phrase that you enter in a dialog box.

As for older packages or ones that haven't switched to challenge-response protection, these will require a little work.

Floppy Foibles

If you need to install key-disk-protected programs, your best bet may be to buy a USB floppy drive, such as Imation's ( $149 SuperDisk or NewerTech's ( $99 uDrive. You'll also need a free extension, USB Floppy Enabler, from Pace Anti-Piracy (, the developers of the key-diskÐprotection scheme. (Midiman reports that USB Floppy Enabler conflicts with Midiman's Midisport USB MIDI interface; users will need to disable the extension after installing protected software.)Dealing with Dongles Minitower G3 and G4 Macs have ADB ports and therefore don't present any dongle dramas. For other USB Macs, Griffin Technology's $39 iMate is a USB-to-ADB converter that works with most dongles.

Of Drives and SCSI

Recording and playing back multiple tracks of digital audio demands a fast hard drive, and today's Macs are generally up to the challenge. But for handling demanding audio tasks-for example, playing back dozens of tracks simultaneously-your stock drive might not be fast enough. If your digital-audio software is displaying error messages, it may be time to beef up your Mac's entire storage system.

For USB Macs with PCI expansion slots, the solution is to install an Ultra SCSI adapter, such as Adaptec's ( $449 PowerDomain 2940, and then to connect a fast SCSI hard drive to it.

You can also work around the problem by combining-or bouncing, as it's called in the recording world-multiple audio tracks in one track. Bouncing lightens the load on the hard drive dramatically by reducing the number of files it must access simultaneously. (Your original tracks are unchanged, so you can always rebounce them if you decide to make changes.) In Mark of the Unicorn's $795 Digital Performer, for example, you can use the Bounce To Disk command; most multitrack-audio programs have similar commands.

No matter what kind of hard drive you use, to squeeze the most out of your machine, follow the usual rules for optimizing performance: turn off file sharing and virtual memory, run with only those system extensions necessary for your MIDI and audio setup, and consider defragmenting your hard drive now and then.

Sounding Good

After some transitional pains, MIDI and digital audio are alive and well on today's Macs. And the future sounds even better-for example, Mark of the Unicorn is adding support for the G4 Macs' Velocity Engine to Digital Performer. This will dramatically boost performance during processor-intensive tasks such as applying audio effects.

For musicians who cut their recording teeth using analog gear, desktop digital-music production is a dream come true. And today's tools make the sequencers I used ten years ago seem almost as primitive as reel-to-reel recorders. I can't wait to see what the next decade brings.

A contributor to Macworld since 1984, JIM HEID ( grew up in his dad's record-ing studio.

Sidebar: Get to Know MIDI

Control Playback: Buttons like those on a tape recorder start and stop playback and rewind, pause, and record.

Build a Symphony: You can build complex arrangements one track at a time, using different instrument settings, from a single MIDI keyboard. The timeline display at the right side of the window enables you to scroll through a sequence and select individual passages for modification: transposing, cutting and pasting, and much more.

Take Notes: You can view each track as a standard musical score and edit notes by dragging and dropping them.

Edit Precisely: For precise control over the volume and duration of notes, you can also view tracks as event notation, which numerically depicts which notes you played and how loudly you played them.

To set up a desktop recording studio, you need one or more musical instruments (usually keyboards) equipped with MIDI input and output jacks. These instruments connect to a MIDI interface that is, in turn, connected to the Mac.

MIDI instruments transmit MIDI data when you play them. This data isn't digital audio; it's simply information about (among other things) which keys you pressed, how hard you pressed them, and for how long. MIDI sequencer software stores this data, enabling you to record, save, edit, and play back your performances.

Shown here is Mark of the Unicorn's Digital Performer, popular for its combination of power and interface elegance. Other popular MIDI sequencers include Emagic's ( Logic Audio line, Opcode's ( Studio Vision family, and Steinberg's ( CuBase line. Each has its own operating style, but all provide features similar to the ones described here.

Like most of today's MIDI sequencers, Digital Performer can digitally record and play back audio, such as vocals and acoustic instruments. Connect microphones to a mixing board, and then connect the mixing board's output to your Mac's microphone jack or to a high-end audio card installed in your Mac.

Large collections of prerecorded music loops -- drumbeats, bass-guitar lines, guitar riffs -- are available from companies such as Sounds Online ( By importing these professionally recorded building blocks, you can create hot rhythm tracks and then add your own MIDI-based accompaniments.

Mix It Up: With the on-screen mixing console, you can adjust a track's volume levels by moving the sliders. The circular 'knobs' control a track's left-right location in the stereo field.

Build Tunes: You can record multiple sequences within a single file and then arrange them within a window to play back in a specific order.

Digital Waves: You can view and edit an audio track's waveform.
mixers - 2000s+ / Panasonic DA7
«  by chrisNova777 on February 09, 2018, 12:41:23 AM »

Introducing The Newly Enhanced Mixer That Surpasses Even Its Predecessor - The DA7mkII Digital Audio Mixer

Panasonic Professional Audio
Taking Digital Further...

The Digital Revolution in Sound Continues.
Great sound quality, flexibility and high performance: It's easy to see how the Panasonic DA7 became an industry favorite. To improve it, we to turned to the experts-and that's where you came in.

The Panasonic DA7mkII Digital Audio Mixer is the board you helped design, loaded with the improvements you asked for-including greater audio signal control, shortcut keys, and advanced MIDI faders-plus much more.
General / Miscellaneous /
«  by chrisNova777 on February 09, 2018, 12:36:08 AM »

Trouble with your pro audio gear?
We can help. It is our mission at Pro Audio Support to help you find free, reliable tech support so you can get the most out of your pro audio gear. We work closely with our partners to provide you with answers to the most current pro audio support issues from DAW error messages to driver issues to manufacturer-specific troubleshooting. We hope you will find the pro audio support on this site helpful.
PCI Cards (1993+) / Re: megawolf romulus/remus (1998? 1999?)
«  by chrisNova777 on February 08, 2018, 04:25:46 AM »

Romulus/4 and Remus/2 are inexpensive PCI cards that can add two or four addtional serial ports to your PCI Power PC Macintosh or compatible. Custom UART’s with ample buffering ensure minimal loading of your Macintosh while supporting serial data rates up to 921,600 baud per port. Romulus or Remus are ideal for adding additional serial devices such as modems, MIDI,PDA’s, graphic tablets, label printers, cameras, serial scanners, etc. to your PCI Macintosh. Unlike serial “switchers,” Romulus and Remus ports can all run simultaneously. They are fully compatible with all PCI Macintoshes.
MegaWolf is a leader in Macintosh PCI serial expansion products, having released its "Fenris" line of expandable multiport PCI serial cards in the first quarter of 1996. Rufus, an 8 port PCI card was released in October 1996.

Romulus/Remus Specifications:
• 2 or 4 serial ports per PCI card.
• Mac-standard RS-422 ports.
• Mac-standard Mini-DIN connectors. • Use standard Mac serial cables
• Custom “semi-smart” UART’s.
• 256 bytes buffering on all ports.
• >921,600 baud per port.
• Supports CTS, DTR/RTS, CD, external clock. • MIDI support.
• "WolfWare" Native PowerPC drivers.
• Apple Communication Toolbox support.
• Manufactured in U.S.A.

MegaWolf Product Support:
• 5 year hardware warranty (cables excluded). • 1 year free software upgrades.
• Six week "no-fault" return policy.
• Unlimited technical support.

MOTU Issue: How to make a PCI Macintosh trigger a NuBus Mac with a SampleCell card
Article #26068 Updated on Apr 27, 2007 at 12:00 AM
Here’s the premise: You own a NuBus Mac with a Sample Cell card. You like your NuBus machine; it works. You now own a lightnin’ fast PCI Mac and you would like to make the most of what you own. What if you could somehow connect both Macs, using the PCI Mac as the master and the NuBus Mac as a glorified sound module and sample editor? Here’s how.

To get started, you will need a MIDI interface that can be hooked up to both computers through their serial ports such as a MIDI Express or the legendary MTP series (MTP I, MTP II, or MTP AV). That interface will serve as the connection between the two computers. This connection will allow the PCI machine to trigger the sounds of the Sample Cell card through the network connection to the NuBus Mac. Basically, we’re going to tell FreeMIDI on the PCI Mac that there is a MIDI module out on port 8 of the MIDI interface, so that it will route data out to that port. We are then going to tell the NuBus Mac that there is a controller module out on port 8 of the MIDI interface, so that it will expect to receive controller information from that port. To complete the signal path, we’re going to use a MIDI cable to connect Out Port 8 to In Port 8, making sure in the MTP/Express Console to disconnect the connection from In Port 8 to the Computer port, so that the signal sent out by the PCI computer doesn’t get sent back into it and cause a MIDI feedback loop. Here we go.

I. FreeMIDI Settings:

NuBus Mac
1. Open FreeMIDI and create a new device.
2. Call it the SampleCell Controller.
3. Tell FreeMIDI that it transmits on all 16 channels and receives on none.
4. Give it the property of “Controller”.
5. For Studio Location, tell FreeMIDI that it’s connected to Port 8 of your MTP.
6. Select FreeMIDI Preferences from the File menu and check in the box to enable the SampleCell card.

1. Open FreeMIDI and create a new device.
2. Call it the SampleCell Card.
3. Tell FreeMIDI that it receives on all 16 channels and transmits on none.
4. Give it the property of “Sampler”.
5. For Studio Location, tell FreeMIDI that it’s connected to Port 8 of your MTP.

II. MTP Console Settings:

1. In the Cable Routing window, disconnect the connection between Input Port 8 on the left hand side and the Computer Port Icon in the middle of the window.
2. Also in the Cable Routing window, make a connection between the Input Port 8 on the left hand side and the Network Port Icon in the middle of the window.
3. In real life, physically plug one MIDI cable into the In Port 8 and Out Port 8.

III. Performer/Digital Performer:

NuBus Mac
1. Open Performer.
2. Enable Multi record.
3. Make 16 MIDI tracks and record-enable them.
4. Assign the Input for said 16 tracks to SampleCell Controller, channels 1-16.
5. Assign the Output for said 16 tracks to SampleCell card, channels 1-16.

1. Open Performer.
2. Assign the Output of tracks to the SampleCell Card as you normally would if it was a normal MIDI module.