Date: Fri, 20 Dec 2002 23:00:26 +0100
From: "than.techno.org"
Subject: Re: ETI603 igen...
On Mon, 16 Dec 2002, mr.analogue.org wrote:
>> On Mon, 16 Dec 2002, than.techno.org wrote:
>>
>> >> >> En bra grej vore nån sorts indikation på hur mycket spänningen
>> >> >> kvantiserats... dvs hur nära man är att spänningen plötligt ska hoppa
>> >> >> vidare till nästa värde när sequencerpoten drar sig litelitegranna.
>> >>
>> >> man mäter skillnaden mellan den kvantiserade och okvantiserade
>> >> spänningen, och visar den skillnaden på ett snyggt litet mätinstrument
>> >> med 0 i mitten!
>>
>> Jo, precis... frågan är bara vad som skulle vara bästa eller snyggaste
>> indikatorn. Med en lysdiod skulle man se "felet" även vid höga
>> sequencerhastigheter, med visarinstrument vore det segare men förstås
>> vackrare. :)
Nixies, of course! =)
/Jonatan
KYMATICA LABORATORIUM - http://go.to/kymatica
------------------------------
Message Number: 2
Date: Sat, 21 Dec 2002 17:46:34 +0100
From: "micke.synthpop.net"
Subject: hmm..=?ISO-8859-1?Q?_någon?= som kan=?ISO-8859-1?Q?_hjälpa?
Tjo!
vad är ett hyfsat pris på en sh-09 ... ?
... och är det någon som vilja sälja någon moog synth såhär i juletider...
min studio saknar något det står moog på ... eller en ms-10 eller ms-20 ...
*sniff*
//Micke - vill köpa en hård klapp till sig själv....
------------------------------
Message Number: 3
Date: Sat, 21 Dec 2002 16:51:32 +0100
From: "efivel.online.no"
Subject: Test - ingen mails i dag -=?ISO-8859-1?Q?_må?= sjekke
En usedvanlig rolig l¯rdag på listen.
Får sende denne avgårde for å se om SAS er oppe.
Eivind F.
------------------------------
Message Number: 4
Date: Sat, 21 Dec 2002 19:28:54 +0100
From: "anders.moulin-noir.com"
Subject: OT: Hur det=?ISO-8859-1?Q?_går?= till i skivbranschen...
Det finns dom som säljer betydligt mindre plattor än jag... med en
mångmiljonbudget *skadeglatt skratt*
------------------------------------------------------------------------
This article was passed along to me, and I thought it reflected very well
on the serious problems being faced in the major label market and the
challenges of the music business. I don't know the main singer in the
article (and I guess not many people in the world do), but it is an
interesting story. It also made me feel better about the smaller number
of CD's that we sell in the independent scene-- honestly, it is nearly as
good as most major label sales, only we have a whole lot less to lose.
If you're interested, here's the story. If not, you can delete now :-)
Pop Singer Fails to Strike a Chord
Despite the Millions Spent by MCA
By JENNIFER ORDO—EZ
Staff Reporter of THE WALL STREET JOURNAL
MARINA DEL REY, Calif. -- Eighteen-year-old recording artist Carly
Hennessy is packing up her small apartment. Her promotional posters
will go into storage, and the beige rental couch will be returned. A
weight-control message that the slender teen scrawled in marker on
the refrigerator -- "NO, U R FAT" -- will be wiped clean. For two
years, Vivendi Universal SA's MCA Records paid the rent here while
Ms. Hennessy prepared for pop stardom. And that's not all: The label
so far has spent about $2.2 million to make and market her new album,
an upbeat pop recording called "Ultimate High." "Some people just
struggle," she says. "I was very, very lucky."
Not lucky enough. "Ultimate High" was released in stores nationwide
three months ago. So far, it has sold only 378 copies -- amounting to
about $4,900 at its suggested retail price. In many other industries,
this would be considered an extraordinary bomb. But in today's
troubled music business, it's routine. Of the thousands of albums
released in the U.S. each year by the five major record companies,
fewer than 5% become profitable, music executives say. The high
failure rate has become the focus of an escalating battle. On one
side are big names such as Don Henley and Sheryl Crow, who are
fighting the industry's practice of holding top performers to
multiple-album contracts that can take decades to fulfill. They
complain that labels unfairly enforce such deals because they need to
offset their lavish spending on ill-conceived acts that never make
it. "We're expected to indefinitely fund the record company," says
Mr. Henley, a solo artist and member of the Eagles, who calls the
industry's high percentage of flops "shameful." He and other top
performers are staging concerts Tuesday night -- on the eve of
Wednesday's Grammy Awards -- in part to support an amendment before
the California legislature that would limit recording contracts to
seven years. That's the current cap on contracts for actors and other
service workers, under a state law that originated from a 1940s legal
case that helped break up the Hollywood "studio system," which tied
movie stars to multiple-film contracts. In 1987, the music industry
successfully pushed to exempt record contracts.
Record companies say they need to keep blockbuster acts on their
rosters for as long as possible because they rarely see returns on
the huge sums they must sink into virtually all new performers, and
because it's so hard to predict who will succeed. The companies warn
they won't be able to support as much young talent if contracts are
limited. They point out that some of the loudest critics of the
current system were its beneficiaries -- before they were rock stars.
Music executives also say it has become harder to launch new acts.
Among the reasons: Deregulation of the radio industry in 1996 has led
station owners to consolidate into a few big companies, which are
under pressure to maximize profits and pull songs off the air that
aren't instant nationwide hits. Superstores such as Wal-Mart, which
stock fewer titles than traditional music stores, are the fastest-
growing segment of music retailing, making it costlier and more
competitive for record companies to secure prime shelf space.
As a result, industry executives estimate that major-label releases
must on average sell about 500,000 copies just to break even. Last
year, of the 6,455 new albums distributed in the U.S. by major
labels, only 112 have sold at least that many, according to
SoundScan, which monitors music sales. Overall music sales were down
5% last year -- the steepest decline in a decade.
The story of MCA and Ms. Hennessy shows the dysfunctional economics
of the music industry at work. MCA, one of Universal Music's major
labels, initially hooked up with the spunky teenager three years ago
because it was trying to get a piece of the great success competitors
enjoyed with young pop artists like Britney Spears and 'N Sync. Ms.
Hennessy, a native of Dublin, had released her debut musical
effort, "Carly's Christmas Album," in Ireland at age 10, after
performing all over Europe as Little Cosette in "Les MisÈrables." At
13, she was named the Irish national spokesmodel for the Denny
sausage brand. Soon, she and her family began hoping for much more,
and Ms. Hennessy dropped out of high school. "The most beautiful
voice you'd ever heard -- and she would have ended up singing in the
bath," says her father, Luke Hennessy, a real-estate investor.
Mr. Hennessy flew to Los Angeles in early 1999 and, after several
months and a few intermediaries, got a disc of his daughter
performing songs by various artists into the hands of established
music producer Steve Dorff. He recorded a new demo of Ms. Hennessy
singing some songs he had written, and it eventually crossed the desk
of MCA's president, Jay Boberg, who says he found Ms. Hennessy's
voice "extraordinary."
Although Ms. Hennessy didn't write her own music and hadn't ever
performed solo in front of a big crowd, she had charisma, drive and
pipes -- three things music executives say are most difficult to find
in a single young performer. Mr. Boberg, 43, envisioned starting her
off as a teen-oriented pop singer, in the hopes that she could one
day develop into a more mature female vocalist along the lines of
Celine Dion.
Over a long dinner at Spago with Ms. Hennessy and others in June
1999, Mr. Boberg and MCA's artist-development chief described their
plan. Ms. Hennessy didn't object, even though she saw herself more as
an edgy rock-and-roll performer. "This was my big chance," she says.
The executives offered her a six-album contract, under which Ms.
Hennessy would get a $100,000 advance for her first album, plus
$5,000 a month in living expenses while the album was being made. The
label would own the recorded music and would front the cost of
recording and promotion.
For Ms. Hennessy to make any more money, the label would first have
to recoup its advance, its recording costs and half the cost of any
music videos, as well as her living expenses -- meaning the album
would have to sell between 500,000 and 700,000 copies, MCA says. At
that point, Ms. Hennessy could collect royalties amounting to 15% of
sales. But she would still owe a cut to a phalanx of producers and
managers, as well as other record-company fees -- leaving her with at
best about 80 cents to $1 per album, MCA says.
Such contracts have drawbacks for both sides. Artists can be
unceremoniously dropped if they don't live up to expectations. But if
they blossom into superstars, they can use their new leverage to
demand that their contracts be rewritten to pay them much more.
Ms. Hennessy says she let her managers, including her father, worry
about the financial details. "Pretty much I was like, 'Is this a good
contract, or a bad contract? OK, it's a good contract,' " she
recalls. She was not even sure how many albums she owed MCA.
Back in Ireland, Ms. Hennessy signed the nearly 100-page document as
her mother, Marie, captured the moment on videotape. Soon, she and
her father moved to Los Angeles, eventually settling into a two-
bedroom apartment in the beachside suburb of Marina del Rey. Ms.
Hennessy and her producer, Mr. Dorff, spent about three months
recording eight songs, including several he had written. The total
tab, including studio time, musicians' salaries, producers' fees and
Ms. Hennessy's living expenses, was about $350,000 -- typical for a
first pop record, MCA says.
Unfortunately, neither Ms. Hennessy nor MCA were happy with the
results. Mr. Dorff, who had produced and written songs for Celine
Dion and other artists, says he thought the album was "contemporary"
and made the best use of Ms. Hennessy's vocal talents. But Ms.
Hennessy thought the music was "old-sounding." Mr. Boberg deemed the
album "too Barbra Streisand" -- meaning it was too serious for its
target teen audience.
At that point, Mr. Boberg could have just shelved the project and
sent Ms. Hennessy on her way. But like many label chiefs, he was
under pressure to come up with a new star, and he had already
invested time and money in someone he believed had talent. In the
fickle and unpredictable music business, he says, a performer's
success can only be tested in the marketplace. For example, Mr.
Boberg took a chance on another unproven pop singer, Shaggy, whose
album, "Hotshot," went on to sell 4.5 million copies in the U.S. in
2001, the second-biggest album of the year. "You don't even know for
sure how something is going to do until you send artists into the
studio, and you see whether the radio gatekeepers accept them," Mr.
Boberg says.
MCA decided to rerecord Ms. Hennessy's album from scratch. In early
2000, the company retained London-based producer Gregg Alexander, who
had produced hits in Europe for former Spice Girl Geri Halliwell and
others, to produce four songs. For the rest of the album, MCA turned
to Los Angeles songwriter Danielle Brisebois, who had been helping
Mr. Alexander on Ms. Hennessy's album.
Ms. Brisebois had never produced an album before, but that didn't
bother Ms. Hennessy, who says her producer became "like a sister."
Both had been child actresses -- Ms. Brisebois, 32, had played Archie
Bunker's niece Stephanie on "All In the Family" -- and both had
appeared in productions of "Annie." The women experimented in the
studio in search of Ms. Hennessy's sound and creative direction. They
found that the teenager sang with more emotion when the lights were
turned off. She also seemed to sing better when she wore high heels --
the angle helped her pitch. They taped some vocals at 2 a.m. so Ms.
Hennessy's voice would be more raspy.
When she wasn't recording, Ms. Hennessy baby-sat around her apartment
complex and enjoyed occasional major-label perks, like the surprise
limousine MCA sent to take her and her friends to a Blink-182 rock
concert to celebrate her 18th birthday. Ms. Hennessy also got to
drive around in a blue convertible Volkswagen Golf, courtesy of MCA.
In April 2001, with the album still unfinished, MCA decided to try to
get Ms. Hennessy some notice by releasing her first single, a bouncy
tune called "I'm Gonna Blow Your Mind." Its opening lines:
"I really really, I really really, I really really, I really really,
I really really want to kiss you/ But much more than that/ Boy, I'm
gonna blow your mind."
It was a risky choice. MCA realized the song's subject matter -- oral
sex -- made it unlikely to get much exposure on youth-oriented
outlets deemed important in launching young artists, like the Radio
Disney network of stations. But executives felt it was Ms. Hennessy's
catchiest song. MCA spent $250,000 on a video that showed Ms.
Hennessy dancing in a disco and jumping around with pals in their
sleepwear. On a call-in show, Nickelodeon asked viewers to rate 30
seconds of the video, but the audience was unresponsive. The video
was quickly shelved.
The label also earmarked about $200,000 to hire independent
promoters -- middlemen who use their influence with radio program
directors to secure airplay. In addition, MCA spent about $100,000
on "imaging" for Ms. Hennessy, including photos, clothes and makeup
artists. It sent Ms. Hennessy on a $150,000, four-week promotional
tour, where she sang at malls over recorded tapes, backed by two
dancers, and at station-sponsored concerts. She bantered with DJs and
participated in promotions. In Little Rock, Ark., a male listener won
a dinner date with Ms. Hennessy. She recalls him as "the most
annoying boy I have ever known in my life."
But the single wasn't catching on. In markets across the country,
program directors who met with Ms. Hennessy professed to like the
song, but then didn't play it much. "She was very nice," says Jon
Zellner, a programmer for KMXV, a top-40 station in Kansas City, Mo.,
who met with Ms. Hennessy and her handlers for lunch when they
visited the area last summer. "But Carly Hennessy simply didn't have
that sound that seemed like it would kick in at that time." He never
played the song.
Greg Marella, vice president of pop promotion at MCA, says the "I'm
Gonna Blow Your Mind" single was in an awkward position: The music
was a little too mature for regular top-40 radio and a little too pop-
sounding for adult top-40 radio.
With the meter running and the album still unfinished, MCA and Mr.
Hennessy last spring decided to bring in additional management. Miles
Copeland, a close ally of Mr. Boberg's who had made a name managing
the Police and Sting, signed on as co-manager. Mr. Copeland felt the
recording process was "out of hand," and says he exerted pressure to
wrap up the album as soon as possible. Ms. Brisebois says nobody
asked her to work faster.
By the time the album was done, MCA had spent about $640,000
rerecording it, including Ms. Hennessy's living expenses. That
brought the total cost of making the album to about $1 million --
high for a first album. But at least this time, Mr. Boberg
says, "Everybody thought this was going to be a hit."
Called "Ultimate High," it included a few songs from a disc Ms.
Brisebois had made years before but had never released. The music had
a pop sound, with slightly heavier guitars. The lyrics, mostly
written by Ms. Brisebois and Mr. Alexander, dealt with unrequited
young love and sexual themes.
The failure of the first single meant MCA was already behind schedule
as the album's Nov. 13 release date approached. While albums in some
genres, like rock, can build slowly in the marketplace, pop releases
generally have to hit big fast. To try to build momentum somewhere,
the label scored a Canadian modeling contract for Ms. Hennessy and
sent her on a press tour there. MCA also prepared to release a second
single, a feel-good tune called "Beautiful You," and spent another
$500,000 for independent promoters and promotional appearances by Ms.
Hennessy -- bringing its total investment to nearly $2.2 million.
But "Beautiful You" got even less airplay than the first single. With
no radio play, MCA and Mr. Copeland decided against a concert tour.
Retailers, meanwhile, were leery of investing much in an album by an
artist who seemed to be going nowhere. Music stores had stocked
50,000 copies of Ms. Hennessy's first two singles, and sold about
17,000, according to SoundScan. So when it came time to order
the "Ultimate High" album, retailers bought just 10,000 copies, MCA
says. With virtually no radio play or press, there was little hope
for the album as it hit stores. "It was not rejected by the public,"
Mr. Boberg says. "We just never made it to the public."
In a last-ditch effort to salvage its investment, MCA decided to
release "Ultimate High" in Europe later this year. In January, the
label instructed Ms. Hennessy to pack up her apartment and turn in
her car, and moved her back to Ireland. MCA's European division plans
to reshoot the album's cover and launch the single, "I'm Gonna Blow
Your Mind," in Europe in March. If the album, due to be released in
April, doesn't take off, MCA will re-evaluate. "If we can't find any
market in the world that validates our view that she is a talent,
then we have to question whether or not we move forward," Mr. Boberg
says.
Mr. Copeland, the manager, is more sanguine. If MCA drops Ms.
Hennessy, he says, "I can go to a new company and say, 'Hey, we've
all learned a lot.' We can try a second time at a vastly reduced
price." Indeed, artists often need more than one record before they
take off.
In the meantime, Ms. Hennessy is dieting and working out to look good
for her European press tour. She got a tattoo -- her first -- of an
intricate cross on the small of her back that she hopes will impress
her fans, and has started learning to play guitar. "This album is
going to be huge," she says. "I won't stop until it is."
------------------------------
Message Number: 5
Date: Sat, 21 Dec 2002 21:25:01 +0100
From: "steiseim.online.no"
Subject: Re: ARP
Hei!
----- Original Message -----
From:
To: "Multiple recipients of SAS"
Sent: Thursday, December 19, 2002 7:09 PM
Subject: Re: ARP
>> Servicemanualer?? Har ARP OMNI 2 og ARP Prosoloist som trenger tilsyn.
Har manual til OMNI og sjekker om han har til Prosoloist'en
rett over nyttår.
Stein
>>
>> Eivind F
>>
>>
>>
>> ----- Original Message -----
>> From:
>> To: "Multiple recipients of SAS"
>> Sent: Thursday, December 19, 2002 9:54 AM
>> Subject: Re: ARP
>>
>>
>> >> Hej alla ARP ägare :)
>> >>
>> >> Midt i Oslo kan en kjöpa delar til alla gamla ARP's från 2600 och
uppåt.
>> >> Kan även låna service manualerna.
>> >>
>> >> Stein
>> >>
>> >>
>> >>
>> >>
>> >>
>>
>>
>>
>>
>>
>>
------------------------------
Message Number: 6
Date: Sun, 22 Dec 2002 09:07:11 +0100
From: "erik.g.mbox301.swipnet.se"
Subject: Dagens IOL
-------------------------------------------
Steinberg Nuendo 1.5
9000 tusen.
-------------------------------------------
Liite dyrt, va?
/Erik
_____________________________________________
Erik G
erik.g.mbox301.swipnet.se
http://home4.swipnet.se/~w-49485/
------------------------------
Message Number: 7
Date: Sun, 22 Dec 2002 23:31:45 +0100
From: "lasse.livesound.se"
Subject: Tystnad=?ISO-8859-1?Q?_råder?
Vafalls !??
LJ
http://hem.spray.se/ppgwave/studiopics.html
------------------------------
Message Number: 8
Date: Sun, 22 Dec 2002 23:21:12 +0100
From: "anders.moulin-noir.com"
Subject: OT: Prophecy?
Varför ser man aldrig nån begagnad Korg Prophecy?
Beror det på att
a. Alla gått sönder
eller
b. Ingen säljer nån?
------------------------------
Message Number: 9
Date: Mon, 23 Dec 2002 14:05:57 +0100
From: "jocke.aliasform.com"
Subject: OT: God Jul
http://www.jocke.com/godjul/
/Jocke
------------------------------
Message Number: 10
Date: Mon, 23 Dec 2002 14:24:02 +0100
From: "efivel.online.no"
Subject: =?ISO-8859-1?Q?Får?= ikke kontakt med SAS
Hei!
Jeg får ikke kontakt med listen - er den nede??
Eivind F
------------------------------
Message Number: 11
Date: Mon, 23 Dec 2002 16:58:40 +0100
From: "erik.g.mbox301.swipnet.se"
Subject: Jul
---------------------------
GOD JUL & GOTT NYTT ÅR!
önskar
Erik G
---------------------------
/Erik
_____________________________________________
Erik G
erik.g.mbox301.swipnet.se
http://home4.swipnet.se/~w-49485/
------------------------------
Message Number: 12
Date: Mon, 23 Dec 2002 19:12:26 +0100
From: "f93mari.dd.chalmers.se"
Subject: [test:] Finns det hopp=?ISO-8859-1?Q?_för?= en analog=?ISO-8859-1?Q?_jul=3F?
Hej!
Här sitter man i juletid förpassad till en kraschad föräldradator som
behövde helt oförtjänt digital omtanke i mängd för att till slut börja
leva igen. Puh och suck. Format och gnat.
Och efter denna smärtfyllda gärning finner man att
analogsympatisörerna inte har ett enda litet ord att säga.
Vart är välden på väg?
Har SAS gått och juldött? :-)
/mr - kraschad och sänkt
------------------------------
Message Number: 13
Date: Tue, 24 Dec 2002 01:37:55 +0100
From: "martin.synthpop.net"
Subject: God jul mm
God jul på alla.
LM13600.. jaghar två.. vad ska jag göra för något skoj med dem? Har tappat
bort
den länken till ett filter model korg XX-2X som jag hade...
Ritningar til 1496 tas tacksamt emot också..
Systemkrasch är intre kul. Någonsin!
/Martin
------------------------------
Message Number: 14
Date: Tue, 24 Dec 2002 23:16:59 +0100
From: "than.techno.org"
Subject: visioner
Jag har en vision! (som vanligt, igen... vad ska han nu komma med? suck =)
Min vision är en "enkel men avancerad" ;) miljö för datorstödd
komposition/sekvensiering. Jag tänker mig ett huvudprogram, som i sig själv
inte gör någonting, förutom att hantera vissa grundläggande saker. Sedan
skriver man små kodsnuttar eller scripts som man lägger in som "moduler", och
dessa moduler kan göra olika saker. en modul kan t.ex vara en matematisk
formel för att göra en log-kurva av inkommande linjär-kurva (som i sin tur
kommer från en ramp-modul), en annan modul kan vara en rekursiv algoritm för
att skapa intressanta mönster, som i sin tur kan färdas genom en annan modul,
etc... och det som till slut når utgångs-modulen kommer ut ur hemmabyggd
DA-omvandlare och/eller binärutgångar på paralellporten. Eventuellt kan även
data utifrån bearbetas, t.ex från joystickportens AD's...
Och med detta ska man dels kunna jobba smidigt live (vad gäller synkronisation
av uppdaterade sekvenser etc, så allt hamnar i rätt puls/takt...), samtidigt
som man ska kunna arrangera/komponera upp stora och långa stycken.
Det kanske finns färdiga program för liknande uppgifter, men då antar jag att
det är grafisk miljö och MIDI som gäller. Jag vill ha textläge och hemmabyggd
hårdvara. =)
visst, jag kan ju skriva individuella program för olika idÈer (t.ex ett
program för att styra parametrar med fraktaler, etc..) men jag hade velat ha
en grund som man lätt kan bygga i allt eftersom man får idÈer...
Kan ni ge mig tips på hur en sådan här miljö skulle fungera i praktiken (och
teorin)? finns det liknande program som man kan titta på för inspiration? är
det någon som har tips på de rent tekniska/mjukvaru lösningarna? Om ni själva
hade velat ha ett sådant här program, hur hade ni velat att det skulle
fungera? vad hade ni velat kunna göra?
God jul!
/Jonatan
KYMATICA LABORATORIUM - http://go.to/kymatica
------------------------------
Message Number: 15
Date: Wed, 25 Dec 2002 16:48:50 +0100
From: "per.mattsson.mkv.mh.se"
Subject: Re: visioner
than.techno.org skriver:
>>finns det liknande program som man kan titta på för inspiration?
Ett ord: C-sound
http://www.csounds.com/ är en bra start
Go' jul på er allihopa!
/P
------------------------------
Message Number: 16
Date: Wed, 25 Dec 2002 18:57:18 +0100
From: "yelly.telia.com"
Subject: tyst?
Har listan somnat eller sitter alla sassare och smälter julmat? Det kan ju
inte vara helt dött nu när man är ledig och allt..
Peace!
/Emil
_________________________________
Dreamland: http://home.bip.net/yelly
..........................................................
icq: 9108176
..........................................................
N/P: Moder jords massiva - ur djupen
N/R: Bärnstenskikaren - Phillip Pullman
------------------------------
Message Number: 17
Date: Thu, 26 Dec 2002 13:34:52 +0100
From: "cfmd.swipnet.se"
Subject: Re: Ericsson kunde=?ISO-8859-1?Q?_förr?
From: "polarn-p.acc.umu.se"
Subject: Ericsson kunde förr
Date: Sun, 15 Dec 2002 20:51:13 +0100
>> Hupp!
>>
>> Se så fina doningar Ericsson-ägda Alpha gjorde på den gamla goda tiden:
>> http://www.acc.umu.se/~polarn-p/sas/moog/alpha_M-kontakter.png
>>
>> Dem känner man ju igen! :-D
Japp!
8 stifts varianten sitter på kabeln mellan en Synthi A och en KS. Har en
spare hona liggandes som jag fick till slumpa-bort-pris! ;O)
Ingen som har tillhörande Synthi A med eller utan KS till
slumpa-bort-pris? ;O)
Go maskin när man väl fått lite hyfs och skick på den.
MVH
Magnus
------------------------------
Message Number: 18
Date: Thu, 26 Dec 2002 14:00:27 +0100
From: "cfmd.swipnet.se"
Subject: Re: Linjemellanansikte
From: "wenoc.cyde.net"
Subject: Linjemellanansikte
Date: Tue, 17 Dec 2002 13:00:59 +0100
>> Hejhej
>>
>> Jag undrar hur man ska bygga sig ett lineinterface till sin kommande
>> modulära synt?
>>
>> Jag vill ju ha både in- och utgångar, och Sdiy-listan föreslogs följande:
>>
>> |\
>> | \
>> line-in o----|+ \
>> | >------[100ohm]---o 10v p-p
>> --|- / |
>> | | / [R2]
>> | |/ |
>> | |
>> ---------|
>> |
>> [R1]
>> |
>> jord
>>
>>
>> R1=1K
>> R2=ung 66K
>> Opampen är NE5532
>> 100-ohmaren sitter för att skydda mot kortslutning...
Ptja... funkar väl. Men även om viss utrustning håller linje-nivå, så
finns det ytterligare annan som gärna vräcker ur sig mer. Men då kan man
tycka att man kan ju dämpa den. Mja, dels så kan man inte göra det på all
utrustning, eller inte helt utan konsekvenser, och dels så vill du nog
oftast vräcka ur dig så mycket som möjligt för att hålla signalen en bra
bit från brusgolvet, men du vill ju samtidigt ha lite headroom. Fasta
gain-steg som detta fungerar enbart när du verkligen har bestämt
signalnivåerna både in och ut. Riktigt så ideal är nog inte världen.
Jag tycker att du borde ha en "input gain" ratt. Har du sedan någon
nivåindikator så skall du anpassa gain till rätt nivå.
Om man sedan gör detta genom att dämpa på ingången eller inte, det är en
annan sak. I ett enkelt bygge så är det rätt grej.
En annan issue är att du strikt binder insignalens jord till signaljord.
Det gör att du tigger om brum-problem. Hade du byggt en lite annorlunda
variant så hade du egentligen gjord en balancerad ingång (kräver två
motstånd till) och sedan haft jord-anslutningen på en brytare. Även om
det inte är helt galvaniskt kan det vara nog för att avhjälpa problemen.
En annan sak du kanske skall ha i tankarna är skydda in och utgångar.
Ett klassiskt trick är en diod i minus-matningen och en diod i
plus-matningen. Dioder är billiga försäkringar.
Vill du göra riktigt proffsigt så kliver du på med ett par op-ampar till
och bygger en mer avancerad koppling. Då blir du mindre beroende på
impedanser och fanstyg. Man närmar sig galvaniskt åtskiljt. Å andra sidan
är galvaniskt åtskiljt inte tillräckligt alla gånger, det är bara en av
de metoder vi har att ta till, och enligt min ringa mening i vissa fall
lite väl höjd till skyarna.
>> Linjenivå sades vara 150mV p-p och sen vill jag ju ha utgången i 10V då.
>> Okej, frid och fröjd och alla är glad, ända tills man ska göra det
>> motsatta, för vad händer då? Man skulle förstås kunna helt enkelt byta
>> plats på motstånden, men det känns både lite riskabelt (Opampen ligger
>> ju och lurar med +-15V som kan slå till extern (dyr) audioutrustning)...
Att späcka ut +15 V eller -15 V skall inte skada den utrustningen i sig,
men har du ett dåligt steg så kan det läggas ut direkt på högtalaren och
då är det inget kul... DC-blocker mot högtalarna har sina fördelar (DC
genom spolen på högtalarna bränner energi och sänker högtalarna tålighet
i och med detta, men bidrar knappast mycket till ljudet normalt sätt).
Mycket intressantare är att anpassa gain så att man klarar headroom både
in och ut. Man vill konvertera normal-nivån, och ibland kan man bli
tvungen att kompromissa i den konverteringen för att man har antingen
head-room (man måste sänka) eller brus-problem (man måste öka).
Sätter man nivåerna rätt in och ut så kommer många andra saker bli bra
mycket enklare.
>> Det måste finnas ett bättre sätt. Och det är väl ett motstånd... Men
>> riktigt så enkelt är det väl ändå inte? Då trixar man ju bara med den
>> mystiska impedansen, och ger egentligen ingen direkt bra konvertering.
>> Eller? Det är säkert busenkelt egentligen.
Om du dämpar på ingången med en resistor-stege och låter op-ampen bara
vara en buffer (signal in på + ingången, utgången och - ingånen samman-
kopplade) så kommer du får vad du normalt sätt vill ha, hyfsat hög
ingångsimpedans, hyfsat låg utgångsimpedans. Nivåkonvertering på köpet.
Åter igen så kan en pot sitta på sin plats.
>> /Linus (som just våldför sig på sin Roland Jupiter 4)
Men fy! ;O)
MVH
Magnus
------------------------------
Message Number: 19
Date: Thu, 26 Dec 2002 16:38:54 +0100
From: "cfmd.swipnet.se"
Subject: Re: FX-1=?ISO-8859-1?Q?_på?= ebay
From: "mr.analogue.org"
Subject: Re: FX-1 på ebay
Date: Tue, 17 Dec 2002 09:20:07 +0100
>> >> >>Får tyvärr inte plats.
>> >> >>En CS-80 däremot !
>> >>
>> >> En CS80 finns det alltid plats för!
>> >> Finns det några såna här i sverige?`
>>
>> Jodå, antagligen minst 3 stycken, varav 2 här på SAS (om
>> ryktet om den ena stämmer).
.... och vilka skulle det vara?
>> /mr - råkade av ren lyckoträff spotta Bo Kaspers Orkester-Mats AsplÈns
>> CS-80 på nån annan svensk artists skiva för ett par år sen...
Mattias, du skall inte spotta på en CS-80!
MVH
Magnus
------------------------------
Message Number: 20
Date: Thu, 26 Dec 2002 17:18:23 +0100
From: "cfmd.swipnet.se"
Subject: Re: Peaches=?ISO-8859-1?Q?_får_draghjälp?
From: "terje.winther.notam02.no"
Subject: Re: Peaches får draghjälp
Date: Tue, 10 Dec 2002 18:07:58 +0100
>> >>"Peaches har sålt 60 000 album
>> >>och blivit popstjärnor i både
>> >>Sverige och Norge. När de släpper singeln
>> >>'Rosa Helikopter' i Tyskland får de hjälp
>> >>från oväntat håll - Kraftwerk-legenden
>> >>Wolfgang Fl¸r." - Metro
>>
>> Å i helsike!?
>> Ozzy Osbourne har eget komi-show på TV, Pink Floyd spilles som muzak på
>> supermarkeder, og nå Kraftwerk sammen med noen barne-pop-stjerner??
>> Hva blir det neste? Tangerine Dream innr¯mmer at alt har vÊrt feil, og
>> begynner å lage viser med akustisk gitar? Eh, vent, de har jo gjort det.
>> Ah - filler¥n!
Före jul så slutade firmans julmiddag på CafÈ Opera... ja nåja.. när man
står där och stuffar runt på dansgolvet i kostym och slips och allt
(vissa här kan föreställa sig vad det innebär ... samma kostym, skjorta,
slips och skor....) och vad får man höra om inte Pink Flojds The Wall i
dansversion... koolt på ett sätt men helgerån å andra sidan....
Tangerine Dream har kört med elektrisk och akustisk gura läääänge, men
inte alltid så uppenbart. De har ju egenligen inte hållt sig till en
genre utan så många olika. De körde med PPG innan de andra började och
fortsatte när de andra slutat så jag vet inte...
Snart gör de väl dagispop de också. Turne på Svenska dagis, ja några
pappor och mammor blir väl glada.
Kom här och lek med farbrors modular... hmm...
Det som var revolutionerande då är nu mer så mainstream det kan bli för
du mer har ju folk anpassat sig. Gamla rebeller har ju jobbat i
bakgrunden som producenter (tänker på Eno på U2s Joshua Tree som jag såg
på TV här nyligen).
MVH
Magnus - betar av gamla mail... man skall visst säga så nu mer...
------------------------------
Message Number: 21
Date: Fri, 27 Dec 2002 00:59:58 +0100
From: "hasse.algonet.se"
Subject: Test!
--
Mr. Hans Erik Nilsson | Voice: +46 73 6636331 | Standard disclaimer file active
"In the nineteenth century, with the invention of the machine, Noise
was born. Today, Noise triumphs and reigns supreme over the
sensibility of men."
--- Luigi Russolo "The Art of Noises" (July 1st, 1913)
------------------------------