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Hello Daws,

I got to thinking there are ALOT of us with Akai sample CD sets with archives, vast treasure troves of Akai CDS. is there any way (with the moderator's approval) we could set up a sample library with various Akai sample CDs that have been uploaded for members to download along with the users review of the sounds and banks (if any)? I know there many here that are willing to share, no need to horde anything as we're all starving musicians here with the same philosophies I would imagine.

Also, the CORRECT protocol should be explained in step-by-step detail how to make, mount and save an ISO or MDX Akai CD file, as well as the software needed to convert as, there are plenty of us whom don't know how to do this correctly with Dameon Tools especially, if it involves copying, saving and mounting a Akai cd to hard disc that can be opened and used at a later date. Peace~Out!
System 6 (Mar 1989) / apple midi manager (1989?)
« Last post by chrisNova777 on May 28, 2017, 07:42:41 AM »

MIDI Manager dates from the time (1989?) when >>Apple Computer believed that the professional music market was important and worth of some respect. MIDI Manager (or, more correctly, the MIDI Management Tools) provided an extension to the Macintosh system which allowed MIDI applications to address the hardware in a high-level, portable manner. In fact, MIDI Manager applications could even communicate with one another, transparently, and could (in theory) work with new types of hardware, so long as the hardware vendors provided MIDI Manager drivers for their devices. MIDI Manager provided data transfer services (including message parsing), and some respectable timing functions, including timecode conversion.

In fact, MIDI Manager worked extremely well, and I still make heavy use of it. It was small, simple and elegant. Politically, however, Apple managed to shoot themselves in the foot with it. Apple Corps., the Beatles' recording company, immediately took Apple to court over copyright infringement, since Apple Computer had licenced the name "Apple" for use in non-musical products. By the time the court case was concluded, several things had happened: MIDI Manager's developers had left, Opcode had developed OMS, and Apple had lost interest in the music market.

(The illustration shows MIDI Manager's PatchBay application (top) with OMS emulating a MIDI Manager driver (bottom).)

These days, everyone has a MIDI operating system, and all the punters want lots of options, lots of features and lots of cool, coloured icons. Personally, I think MIDI Manager had it about right: small, simple and reliable. Other vendors could learn something here.
Steinberg Cubase / Re: Cubase Score 2.0 (1996) For Windows/PC (article)
« Last post by chrisNova777 on May 28, 2017, 06:34:10 AM »
mac version seems to be posted here:
.sit file - 1mb
must be for vintage mac os7.x or 8.x
Music & Recording Gear / Tascam 248 8 track cassette recorder
« Last post by chrisNova777 on May 28, 2017, 05:11:44 AM »
Atari TOS v1.0 (1985) / E-mu Protezoa for ATARI ST
« Last post by chrisNova777 on May 27, 2017, 04:36:49 PM »

This is a shot of Protezoa, an editor librarian for the Emu Proteus series modules.  Before XoR, which later became Unisyn, and before Sound Surfer (which became SoundDiver) there were individual editor librarians for popular synths and modules.  Protezoa was one of the best of these, and if you find a master disk of one someday note that there are 64 early patch creations by your resident TweakMeister bundled in the directory.

Hardware Samplers - 2000s / Re: akai mpc 1000 (2003) sampler / sequencer
« Last post by chrisNova777 on May 27, 2017, 09:55:31 AM »
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General / Electronic and Computer Music by Peter Manning
« Last post by chrisNova777 on May 26, 2017, 02:56:39 PM »

In this revised and expanded third edition of the classic text on the history and evolution of electronic and computer music, Peter Manning provides the definitive account of the medium from its birth to the present day. After explaining the antecedents of electronic music from the turn of the century to the Second World War, Manning discusses the emergence of early "classical" studios of the 1950s. He goes on to chronicle the upsurge of creative activity during the 1960s and 70s in the analog domain, as well as with live electronic music and the early use of electronics in rock and pop music. This edition contains new information about software innovations, digital media and the essential features of digital and audio control, the MIDI synthesizer and its many derivatives, and the evolution of computer workstations and multimedia personal computers. Manning offers a critical perspective of the medium both in terms of its musical output and the philosophical and technical features that have shaped its growth. Emphasizing the functional characteristics of emerging technologies and their influence on the creative development of the medium, Manning covers key developments in both commercial and the non-commercial sectors to provide readers with the most comprehensive resource available on this ever-evolving subject.
Hardware Samplers - late 90s / Re: E-MU + Ensoniq Merger (July 1998)
« Last post by chrisNova777 on May 26, 2017, 02:54:01 PM »
E-mu Systems was founded in Santa Cruz, CA by Dave Rossum, a UCSC student and two of his friends from Caltech, Steve Gabriel and Jim Ketcham, with the goal to build their own modular synthesizers.[3] Scott Wedge, who would ultimately become president, joined later that summer. In 1972, E-mu became a company, developing and patenting a digitally scanned polyphonic keyboard (1973), licensed for use by Oberheim Electronics in the 4-Voice and 8-Voice synthesizers and by Dave Smith in the Sequential Circuits Prophet-5. E-mu, along with Solid State Microtechnologies, also developed several synthesizer module IC chips, that were used by both E-mu and many other synthesizer companies.

E-mu Audity (1979)

The Emulator I (1982)

E-mu Emulator II (1984)
With the financial benefit of the royalties that came from working with these other synthesizer manufacturers, E-mu designed the Audity, their first non-modular synthesizer, showing it at the 1980 AES Convention. With a price of $69,200 (over $200,000 in 2009 terms when adjusted for inflation), only one machine was ever produced. At that same convention, Wedge and Rossum saw the Fairlight CMI and the Linn LM-1. Recognizing the trend of digital samplers, they realized that E-mu had the technology to bring a lower-priced sampler to market. The Emulator debuted in 1981 at a list price of $7,900, significantly less than the $30,000 Fairlight.[4][5][6] Following the Emulator, E-mu released the first programmable drum machine with samples built-in priced below $1,000, the E-mu Drumulator. The Drumulator's success was followed by the Emulator II and III, the SP-12 drum sampler, and the Emax series of samplers.[7]

E-mu SP-1200

E-mu SP-12
In 1989, E-mu introduced the Proteus, a rackmount sound module, containing pre-recorded samples in ROM. At its introduction, the Proteus had a relatively large library of high-quality samples priced much lower than the competition. The success of the Proteus spurred the development of several additional versions, including the Proteus XR, an orchestral version, and a world music version.[8] In 1987, E-mu's SP-1200 drum sampler offered an "all-in-one" box for sequencing not only drum sounds, but looping samples, and it quickly became the instrument of choice for hip hop producers.

In 1993, E-mu was acquired by Creative Technology (the Singaporean parent company of Creative Labs) and began working on PC soundcard synthesis. Creative Wave Blaster II and Sound Blaster AWE32 used EMU8000 effect processor. Throughout the 1990s, E-mu made many different sound modules along the lines of the Proteus series. E-mu also made unsuccessful attempts at breaking into the digital multitrack recorder with the Darwin hard-disk recording system. In 1998, E-mu was combined with Ensoniq, another synthesizer and sampler manufacturer previously acquired by Creative Technology.[2]

In 2001 E-mu's sound modules were repackaged in the form of a line of tabletop units, the XL7 and MP7 Command Stations, each featuring 128-voice polyphony, advanced synthesis features, and a versatile multitrack sequencer. A complementary line of keyboard synthesizers was also released using the same technology.

Subsequent products from E-mu were exclusively in software form. In 2004 E-mu released the Emulator X, a PC-based version of its hardware samplers with extended synthesis capabilities. While a PCI card is used for audio input and output, the algorithms no longer run on dedicated hardware but in software on the PC. Proteus X, a software-based sample player, was released in 2005.
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