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Everything posted by TubularCorporation

  1. Don't use SSDs for backups, though. They're a bit better for medium term storage than they used to be, but the JEDEC spec for unpowered data retention is still only a year for modern, consumer SSDs. The memory charge is temperature sensitive, so they'll last longer if you live in a cool climate, but they're rally not meant to sit without power for very long. If you want really reliable long term storage, tape is still the only practical option (and it's also the cheapest, once you have the drive the actual media is way below 10% the cost of an HDD, much les an SSD. I just keep stuff on HDD, but the problem is the drives cost thousands of dollars these days, so a decent HDD with as much redundancy as you can afford is the inly good choice if you aren't rich (and also the cheapest).
  2. 38 euro, 5x5 MIDI interface (but you have to supply an enclosure and 8 of the 10 DIN jacks yourself, otherwise it's all presldered and ready to go) https://www.usb-audio.com/gm5board/ Next time I take a stab at making a dedicated Renoise box from the Raspberry Pi 4 and other parts I have around (only thing I don't have is a display - the 11" touchscreen I got was still too small so I'll probably end up rehousing one of the old 4:3 LCD monitors I keep around for this kind of stuff) and a good solution for MIDI. This would be perfect for MIDI.
  3. Still waiting for a small laptop tray to keep the keyboard from falling off so easily, but so far it works well: Total cost for a new, off brand monitor arm, a used VESA laptop tray, and all the shipping and tax ended up around $35.
  4. I'll encode everything as 64kbps mp3s. It's impossible hear the difference, right?
  5. I'd go as far as to say the state of MIDI gear in general between around 2007 and 2017 was about as bad as the state of modular synths in the 90s. Ignoring higher end professional stuff that was probably usually OK (but I've never touched 99% of it), MIDI gear from that period was, in my experience at least, so badly implemented it makes the MIDI implementation on this thing look OK in comparison. If you've used one to control external gear you know what I mean.
  6. Might be more of a DIY thread post, but I've ordered the cheapest articulating monitor stand I could find on eBay and I'm going to make a little keyboard shelf on it to hold the Keystep I use for programming patches and sequences (the way the room I'm in is shaped I had to put my master keyboard about 7 feet from the rack, unfortunately). I'll post a photo when it's done, but in the mean time here's a more or less accurate approximation of what it will be like: EDIT: in all seriousness, though, coming back to this thread a few hour later I'm starting to think maybe I really should cover the thing in old, unraveled VHS tape.
  7. Mostly Rogue Tower right now, but the Doom64 PC port is on sale for under $2 right now on Steam so that's going to change for a couple days. Picked up Neon Struct for $2.50 while I was at it.
  8. I hadn't seen much of his stuff in a few years, but I caught part of the Destiny interview with Sam Hyde where he mentioned He's living back in Providence One of his local friends/collaborators is a crypto multimillionaire Between those two things I'm now unironically wondering if he has anything to do with the crypto-themed, Middle Eastern pizza parlour I posted about a couple weeks ago, because There can't be too many crypto multimillionaires in town Who else but a crypto multimillionaire would actually open a crypto-themed pizza parlpour that specialized in niche toppings like falafel, radishes and tahini, or mayonnaise and eggs, while also undercutting all of the local competition by around 30%?
  9. The board should have a bot that can spot when people post a variation on "which of these thing should I buy?" and replace their post with this, because it's really always the right answer even when it isn't.
  10. Yeah, I it definitely can but the current version of the CME stuff has a 6 device maximum (blutooth bandwidth limit I assume) and even if it had wifi I wouldn't want to run much MIDI 1.0 on a LAN because of potential timing issues (and the only MIDI timestamp implementations out there right now are proprietary and I think only supported by a few MOTU interfaces AFAIK. Timestamping would mean a really busy network or dodgy wifi connection would be a lot less likely to cause problems. I'd love to see a future where your MIDI interface could connect to your router or NIC with ethernet, your controllers and synths connected to the interface either through built-in Wifi or dongles for MIDI 1.0 stuff, and you could create an arbitrary number of virtual ports that were available to any device connected to the same network as the interface (or tothe interface's own wifi if it was connected straight to a NIC), and it was all an open standard. So AVB/Dante but for MIDI. Better yet I'd like to see all of that rolled into the AVB standard and adopted widely enough that affordable AVB entry points hit the market (the cheapest one right now is over $500 and most of them are multi-thousand dollar commercial routers with a paid, first-party firmware upgrade, so not really worth it for a home studio), or better yet audio/video/MIDI interfaces started to include AVB entry points on board so you could completely skip the standalone entry point unless your setup was demanding enough to need one. If that happens then audio, video and MIDI connections could all be unified into a single standard and you'd only need to use physical cables for analog signals or to save money by not buying dongles for legacy hardware (but I'd also hope that the dongles themselves would come down to where they would cost about the same as a decent quality 15-20 foot MIDI cable today).
  11. I didn't think of it earlier, but I bet the improved bandwidth and timestamping will make wireless MIDI a lot more pactical than it is right now. Imagine something like the CME WIDI line, except instead of only being a Bluetooth device it could just connect to any wifi network, transmitted sample accurate MIDI with insignificant latency and sample accurate, with the ability to route MIDI between any other dongle or computer on the same network. Maybe a deluxe version that also offered MIDI event processing. USB dongles for instruments with a host port. Maybe a multi-port entry point with a few DIN and USB connectors, so if you have a home studio and a smaller live rig, for example, you could use physical cables to connect all of your studio hardware to one entry point and all your live hardware to a second entry point, so you could have your live rig set up in a case ready to take out when you had a show, but you could also have it fully integrated into your studio and it would automatically connect as soon as it was in range. All of the configuration could be done over wifi or bluetooth from whatever phone or computer or tablet you wanted to use. Asignable device numbers so you could use is completely standalone. Assign each dongle you owned had a pair of device numbers (one for input, one for output), and all devices with matching IDs will automatically directly connect over Bluetooth so you could just power up all your gear and it would all automatically connect however you had its IDs set. So it would be like having a full hardware MIDI patchbay except all happening on a little Bluetooth mesh network instead of a separate hub device, and as many nodes as the network could handle (which would be a LOT since MIDI isn't exactly a bandwidth hog). Basically the sort of stuff CME is already doing but with a featureset more like audio-over-network protocols like AVB and Dante (except for MIDI). If something like that, with the bandwidth and timing of MIDI 2.0 (or at least not intruducing any additional jutter or latency when using it with MIDI 1.0 hardware) came to market and worked well I would definitely start buying them and converting my whole studio over to wireless MIDI. With MIDI 1.0 I don't want to add any more variables since it's shaky enough as it is (and I also wouldnt' want to invest that kind of money in 1.0). But if nothing else, I've just convinced myself I should get a pair of those current CME WIDI Master dongles onto my MPC and a free pair of ports on one of the old MOTUs I use as MIDI patchbays, so I can use the MPC for sequencing from anywhere in the room without having to worry about any cables except power. If that works well I'll do the same with the Octatrack.
  12. Yeah, a better analogy is more like You are a prepper, so you decide to keep a barrel of clean water in your basement so you can survive the apocalypse. The tap is mostly air tight but it's not hermetically sealed or anything, so the water will slowly leak out eventually. You have no way to monitor the water level or add more water. It could take 5 years, it could take 200 years. There's no way to know how fast you are losing it, if/when you will need it, and how much you will need if you do. A consumer power strip is like a five gallon jug, a good power conditioner is like a 50 gallon barrel, and anything that's actually permant commercial installation is like a giant cistern buried in your back yard. The cistern will probably last a lot longer than the 5 gallon jug, but sooner or later the water will all be gone. As far as MIDI 2.0 getting widely adopted, I hope it does but if it doesn't I won't be surprised because -The industries that really need its performance already adopted OSC and MIDI-over-ethernet a long time ago -Industries that need its performance control got sick of waiting and developed MPE themselves, and that is already gettign a pretty good foothold. -MIDI 1.0 is more than enough for connecting 5-10 desktop pieces, which is what most amateur and professional musicians who use hardware are doing I have a gut feeling that interfaces and higher end gear will probably adopt it but most stuff will stick with 1.0, maybe there will be a trend of marketing MIDI 1.0 stuff as "MIDI 2.0 compatible" over the net couple years.
  13. I'm far from a pro studio engineeror anything, but as a committed hack I'd say they're hands down the most difficult instrument to record that I've ever encountered. It's like trying to record a harmonica 6 inches away from the fan on your computer, the only way to really make it work is to either mic it from far away like mentioned above, or just embrace the fan noise and lean in to it. But that's not so easy to do if you're recording a sample set. I think the only way to make it work would be to do something along the lines of rigging up a long hose that would connect the intake vent to an air compressor in a different room and using trial and error to figure out the right amount of airflow to make it play in tune, sample the notes that way with the motor turned off, and then get a nice, long loop of isolated fan noise to blend in. But even then it would probably sound more like the accordion sample in an old ROMpler than an actual air organ, because of all the stuff xy_politics said. Seems like they're getting hard to find, too, I haven't seen one locally in years and I definitely regret not having one now As far as the big, console harmoniums with the foot pumps go, if you have a van and are willing to travel long distance you could probably still find one for free with a bit of work. They're like cheap pianos and Lowry organs - 99% of people who have one don't want it, but also don't want to pay to have it taken away so if you can do it they might even give YOU money. An old friend of mine started a moving company back in the mid 2000s and for most of a year he had a couple big box trucks but wasn't open for business yet so they were just parked in a lot. All summer he answered every Craigslist and public kiosk "free piano (you move it)" type ads, picked up the pianos with one truck and then stored them in the other. I have no idea what happened to them but at the end of it he had I think 9 uprights and two baby grands stacked up in there, and his only expenses were gas and paying a couple of the freelance movers from his old job that he'd already hired for his company anyhow, so it doubled as employee training for piano moving. Actually, the first IDM I ever heard was a Squarepusher was a CD-R of Burningn'n Tree he gave me back in 10th grade, too. Unrelated, but it sort of makes sense that the person who introduced me to IDM would go on to own 12 pianos in a truck. Nobody I knew used the term IDM in the 90s, though - we just called it music, "IDM" was a bullshit music critic term that was used to show you were in the know and gain pre-Internet clout as far as any of us knew. Not really sure where I'm going with any of this, but I'm out all I could find to eat today was about half a cup of dry museli and a cup of coffee for breakfast, a small bowl of museli with almond milk for lunch, and a bowl of yogurt with museli in it for dinner, so I think all things considered I did OK. EDIT: back in 2003 or 4 I picked up a weird little Magnus or Bontempi for $10 at an outdoor flea market somewhere in the upper West part of the East Village and carried it back down to Chinatown where my girlfriend and I were catching the bus, and somewhere kind of near maybe 4th and A (I don't know my way around Manhattan very well, if it isn't somewhere along the walking route from Chinatown to the original Kim's Video location and then back down Bowery and over to Green Point then I'm lost, and I probably couldn't even pull that off anymore, which is fine since nobody I know has been able to afford to live in Green Point since like 2006 (because the cost of living in early 2000s Brooklyn was than the cost of living in, like, Fall River or something today and in the entire time I had a bunch of friends there I can only think of one person whose rent was over $400 (and that's becasue he was sharing a nice single bedroom place with a private courtyard garden in back and a remodeled kitchen, so his share of the rent was more like $525). Anyway I was carrying that Magnus somewhere in Alphabet City and this middle aged guy in an expensive suit who looked quite a bit like Uncle Phil saw us from across the street and waved and yelled something about air organs and we waved back. That's my story. It wasn't short and it wasn't good but I think the punctuation's OK. I should probably have an actual meal before I got to bed...
  14. Only 3825 days until vaporwave is officially Dad Rock!
  15. This was a lot less of an issue in the 90s and 2000s, it's 80s and 2010s (especially early 2010s) gear that tends to ignore (or predate) a lot of the attempts to standardize that kind of stuff IME. There are quite a few early 90s synths that were actually made worse in later versions to conform to the GM guidelines after they came out. Like the Alesis Quadrasynth having an 8mb piano sample set that was one of the best realistic pianos of its era, and then taking it out of the "plus" version to make room for a really mediocre 4mb general MIDI bank. The whole balancing act between being able to work easily with other gear and perform to standards is pretty interesting, I've definitely noticed a long pattern of MIDI implementation/synth implementation tension in a LOT of gear of the years, the most interesting MIDI synths I've used tend to have nonstandard/werid/incomplete MIDI implementation, and almost all of the synths that I've used that actually have good MIDI implementation are 90s ROMplers and expander-style prosumer sound modules like . Hopefully MIDI 2.0 will actually take off and the whole "profile" thing will help.
  16. The bike helmet analogy is closer if you imagine it's a bike helmet that you hit hard with a hammer a couple times every day so you never really know if it's still going to work when you need it or if hitting it with that hammer stresset it too much, and because you do it every day the longer you use it the less likely it is to work. It's more like getting an emergency backup battery for your car, charging it the day you buy it, and then keeping it in the trunk and never checking the charge again.
  17. Just FYI, surge protection and "suicide circuits" have a limited use life. Anything decent quality like the Furman should give you at least a decade but I feel like it's safer to just operate under the assumption that there isn't any protection from a consumer surge protector when it comes to anything I really don't want to lose. This is a pretty good summary: https://blog.se.com/electrical-safety/2021/12/20/how-long-should-a-surge-protector-last/ I go mains -> commercial power condtioner or UPS -> consumer protected power strips for gear, and then switch the conditioner/UPS and the power strips off when I'm not using it (plus the switches on all the gear that's easy to reach without having to poke around in the back of the rack). If a spike can make it past my main breaker box, a protccted power conditioner, a surge protector, three open switches AND whatever fuse or protection might be in the gear itself, then I did what I could but the electricity won.
  18. I did a bunch of research last winter and ended up going with an Ametek Powervar (mine's the ABC830-11 because it was a good balance between price and load capacity, but any model that has the specs you need should be good). They're aimed mostly at commercial and medical markets, so there are a lot of them floating aroun second hand - mine was open-box NOS for $80, but it was realyl easy to find a completely sealed one for a little more (the seller I got mine from had something like half a pallet of them new in box for $100 each, mine was abit less because it was the one he opened to get the photos for ebay) and closer to $50 if they're used. When I was choosing what to buy I even checked the opinions on some of the audiophile message boards. Even they tend to swear by Amatek and one othe major brand of similar commercial/industrial conditioners over the much more expensive stuff marketed for audio. Very happy with it, it's WAY cheaper than anything of comparable quality that's aimed at the audio and video markets. At some point I'll probably pick up a lower power one from their medical line for the two reel to reels I have, but I need to do some more reading and figure out if the actual regulation and suppression is better in the medical versions or if the differences have more to do with safety and reliability. I think it's both but it's been a bit since I read about them. Anyway, I'm really happy with it. The power at the new place was already better than anywhere I've lived since I moved into a city in 2001. Everywhere I lived between then and this place dropped at least 5v when everyone on our part of the grid got home from work, and my last place the unregulated mains sat around 127v during the day but would drop all the way down to 105v in the evening during AC season, and about 110v the rest of the year. But even with a pretty stable 120v out of the wall now, I've actually noticed the Space Echo runs a bit more reliably with the Ametek. I'm pretty surprised by that, I mainly got it to take some stress off of the two Rolands and a couple other things from the 80s, but I didn't expect to actually notice any change in use. You might try contacting this ebay seller if you're interested. He's the one I bought from and he doesn't have any listed now, but he told me he had a ton of them new-in-box if I ever needed any more.
  19. They sound really nice, and the prices are fantastic, but they're a strong contender for the ugliest gear I've ever seen. Still tempting, if I had $250 to spare I'd seriously consider the West coast one.
  20. The price of an original Windowlicker poster makes this look like an OK deal for a collector with some money to burn, actually. This is quite a bit cheaper.
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