Question from London!

Discussion in 'Tomita' started by mmitor at y..., Nov 10, 2001.

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  1. I am an old fan of Isao Tomita currently living in
    London, however to my demise, Ive just realized that
    the album of his that I fell in love with is also the
    hardest to find (Bermuda triangle) Ive tried amazon
    and such without success, does anyone living in london
    have this album or a way to getting one...Cheers
    mates...Best regards.



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    #1
  2. biff at d...

    biff at d... Guest

    I too am a old fan of Tomita's, I saw your e-mail and I happened to be
    searching and found this link in japan that seems to have EVERYTHING
    I'd appreciate if you kept it to yourself though, I still need to order
    stuff and I don't want them to run out.

    here's the link:
    http://www.mediawars.ne.jp/~mundo/collect/file/t-isao.html

    Good Luck

    Biffachu


    on 11/10/01 8:30 AM, XTABAY at mmitor at y... wrote:

    >
    >
    > I am an old fan of Isao Tomita currently living in
    > London, however to my demise, Ive just realized that
    > the album of his that I fell in love with is also the
    > hardest to find (Bermuda triangle) Ive tried amazon
    > and such without success, does anyone living in london
    > have this album or a way to getting one...Cheers
    > mates...Best regards.
    >
    >
    >
    > __________________________________________________
    > Do You Yahoo!?
    > Find a job, post your resume.
    > http://careers.yahoo.com
    >
    >
    > To unsubscribe from this group, send an email to:
    > isaotomita-unsubscribe at yahoogroups.com
    >
    >
    >
    > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
    >
    >
    >

    Biff Butler - DPI Inc.
    Dynamic Productions Interactive Inc.
    4120 Birch St. Suite 111
    Newport Beach, CA 92660
    Ph: 949-221-9140 xt.26
    Fax: 949-221-9148
    Cel: 949-584-9494
     
    #2
  3. I think that one of the great projects this group could do would be to translate Tomita's
    Sound Creature to english. Is there anyone who knows how to read both Japanese &
    English who would be willing to embark on such a project?

    Obviously, it could be done a little at a time.

    Also, are there any of us who are working with modular synths?
    I know a friend who is, and I have played with it myself.

    Long live the Tomita group! :)

    Kevin


    > on 11/10/01 8:30 AM, XTABAY at mmitor at y... wrote:
    >
    > >
    > >
    > > I am an old fan of Isao Tomita currently living in
    > > London, however to my demise, Ive just realized that
    > > the album of his that I fell in love with is also the
    > > hardest to find (Bermuda triangle) Ive tried amazon
    > > and such without success, does anyone living in london
    > > have this album or a way to getting one...Cheers
    > > mates...Best regards.
    > >
    > >
    > >
    > > __________________________________________________
    > > Do You Yahoo!?
    > > Find a job, post your resume.
    > > http://careers.yahoo.com
    > >
    > >
    > > To unsubscribe from this group, send an email to:
    > > isaotomita-unsubscribe at yahoogroups.com
    > >
    > >
    > >
    > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
    > >
    > >
    > >
    >
    > Biff Butler - DPI Inc.
    > Dynamic Productions Interactive Inc.
    > 4120 Birch St. Suite 111
    > Newport Beach, CA 92660
    > Ph: 949-221-9140 xt.26
    > Fax: 949-221-9148
    > Cel: 949-584-9494
    >
    >
    >
    >
    > To unsubscribe from this group, send an email to:
    > isaotomita-unsubscribe at yahoogroups.com
    >
    >
    >
    > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
    >
    >
     
    #3
  4. >I think that one of the great projects this group could do would be to
    >translate Tomita's
    >Sound Creature to english. Is there anyone who knows how to read both
    >Japanese &
    >English who would be willing to embark on such a project?
    >
    >Obviously, it could be done a little at a time.
    >
    >Also, are there any of us who are working with modular synths?
    >I know a friend who is, and I have played with it myself.
    >
    >Long live the Tomita group! :)
    >
    >Kevin

    Hi Kevin,

    That's a great idea, I'd really like to know what Tomita says about it.
    The mp3's from it that Ben has posted at his site are amazing and tell you
    a lot about how Tomita worked .

    I own several early semi-modular synths that were made in the early to
    late 70's. Most are from a small American company called Electronic Music
    Laboratories or EML (tthey went out of business in 1984). They were a
    competitor to Arp, Korg, and Moog in their day, but never acheived the
    popularity of those three. They made some very unique products and I have
    a lot of fun at home experimenting with their gear.

    I just bought a digital multitrack recorder which I am now trying to learn
    how to use, it's my hope to create some music using the EML's ( and some
    newer gear) and at least post it on the web...gonna be a while though.

    I host a small mailing list group for EML enthusiasts at yahoo, about 30
    members, very quiet. If you are curious, you are welcome to visit/join. You
    can view scans of EML gear in the photos section.
    Go to
    http://groups.yahoo.com/group/emlsynth


    Mike Berman
    digiboy at n...
     
    #4
  5. Hi Mike
    Hey I owned an EML 101 for YEARS!!It died in the
    early 90s and was beyond repair.I loved the filters on
    that thing and the oscillator 4 mod growl.It usually
    was a lot more tuning stable onstage than my
    Minimoog.BTW,Foreigner used one of those on their
    first couple of albums.Also new age composer Richard
    Burmer was a big user on all his cds.(mellotrons as
    well) Seeya
    Charles Thaxton

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    #5
  6. Hi Mike!

    Thanks for your message.

    I would _love_ to hear some samples of the more interesting sounds. Could you make
    some CD quality recordings for us on your sound card?

    Take care,

    Kevin


    > >I think that one of the great projects this group could do would be to
    > >translate Tomita's
    > >Sound Creature to english. Is there anyone who knows how to read both
    > >Japanese &
    > >English who would be willing to embark on such a project?
    > >
    > >Obviously, it could be done a little at a time.
    > >
    > >Also, are there any of us who are working with modular synths?
    > >I know a friend who is, and I have played with it myself.
    > >
    > >Long live the Tomita group! :)
    > >
    > >Kevin
    >
    > Hi Kevin,
    >
    > That's a great idea, I'd really like to know what Tomita says about it.
    > The mp3's from it that Ben has posted at his site are amazing and tell you
    > a lot about how Tomita worked .
    >
    > I own several early semi-modular synths that were made in the early to
    > late 70's. Most are from a small American company called Electronic Music
    > Laboratories or EML (tthey went out of business in 1984). They were a
    > competitor to Arp, Korg, and Moog in their day, but never acheived the
    > popularity of those three. They made some very unique products and I have
    > a lot of fun at home experimenting with their gear.
    >
    > I just bought a digital multitrack recorder which I am now trying to learn
    > how to use, it's my hope to create some music using the EML's ( and some
    > newer gear) and at least post it on the web...gonna be a while though.
    >
    > I host a small mailing list group for EML enthusiasts at yahoo, about 30
    > members, very quiet. If you are curious, you are welcome to visit/join. You
    > can view scans of EML gear in the photos section.
    > Go to
    > http://groups.yahoo.com/group/emlsynth
    >
    >
    > Mike Berman
    > digiboy at n...
    >
    >
    >
    >
    >
    >
    > To unsubscribe from this group, send an email to:
    > isaotomita-unsubscribe at yahoogroups.com
    >
    >
    >
    > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
    >
    >
     
    #6
  7. >Hi Mike
    > Hey I owned an EML 101 for YEARS!!It died in the
    >early 90s and was beyond repair.I loved the filters on
    >that thing and the oscillator 4 mod growl.It usually
    >was a lot more tuning stable onstage than my
    >Minimoog.BTW,Foreigner used one of those on their
    >first couple of albums.Also new age composer Richard
    >Burmer was a big user on all his cds.(mellotrons as
    >well) Seeya
    > Charles Thaxton
    >
    Hi Chrales
    I don't know Burmer, will have to look for him.
    I've also heard that Pere Ubu and Frank Zappa used EML gear and I'm sure
    there were others. My 101 takes a good half hour for the tuning to settle
    down but then it's pretty good. I never used synths in a band, I played
    bass. Synths have always been a home hobby for me. Bet there's other
    folks on this list with some synth gear worth a nod. Any lurkers out
    there with a garage full of Buchlas?

    Mike Berman
    digiboy at n...
     
    #7
  8. >Hi Mike!
    >
    >Thanks for your message.
    >
    >I would _love_ to hear some samples of the more interesting sounds. Could
    >you make
    >some CD quality recordings for us on your sound card?
    >
    >Take care,
    >
    >Kevin

    Hey Kev, gonna be a while. I'm at the start of a learning curve for the
    multitracker. Everyone says these things are easy but I come from the 4
    track Dokorder days and it's looking like a brick wall to me right now. I
    know I'll get it but I sure do miss the physical simplicity of dealing with
    a reel to reel deck.

    regards,
    Mike B

    Mike Berman
    digiboy at n...
     
    #8
  9. Hi Mike,
    My first response but I've been taking note of what's been going on for
    awhile. Yep I'm a Tomita/Vangelis/Jarre/TD/Schulze etc fan - have been for
    over 20 years. Amassed a huge collection of stuff over these years. I own
    a few classic synths - not done anything musically - just tinkering - it's
    a lot of fun.

    Here goes: Oberheim OBX-a, Jupiter 4, DX7, ARP 2600, Moog Prodigy, CS10,
    CS50, SH-101 ,and a Korg Poly Ensemble. I always craved an ARP Sequencer,
    mini Moog, Jupiter 8 and in terms of early digital, the PPG wave series.
    Some of the sounds TD were getting from their PPG gear around 81-83 were
    just mind blowing (in my opinion).

    Anyone interested in exchanging music recordings let me know. I've managed
    to get a lot of the 70's and 80's EM on vinyl and CD.

    Message for you Charles: Did the Voyager/Star Zeit tapes ever get released
    on CD?

    I hope I haven't deviated too far from Tomita here!
    Cheers
    Dom


    -----Original Message-----
    From: Mike B (digiboy) [mailto:digiboy at n...]
    Sent: Wednesday, November 14, 2001 12:27 PM
    To: isaotomita at yahoogroups.com
    Subject: Re: [isaotomita] Question from London!


    >Hi Mike
    > Hey I owned an EML 101 for YEARS!!It died in the
    >early 90s and was beyond repair.I loved the filters on
    >that thing and the oscillator 4 mod growl.It usually
    >was a lot more tuning stable onstage than my
    >Minimoog.BTW,Foreigner used one of those on their
    >first couple of albums.Also new age composer Richard
    >Burmer was a big user on all his cds.(mellotrons as
    >well) Seeya
    > Charles Thaxton
    >
    Hi Chrales
    I don't know Burmer, will have to look for him.
    I've also heard that Pere Ubu and Frank Zappa used EML gear and I'm sure
    there were others. My 101 takes a good half hour for the tuning to settle
    down but then it's pretty good. I never used synths in a band, I played
    bass. Synths have always been a home hobby for me. Bet there's other
    folks on this list with some synth gear worth a nod. Any lurkers out
    there with a garage full of Buchlas?

    Mike Berman
    digiboy at n...






    To unsubscribe from this group, send an email to:
    isaotomita-unsubscribe at yahoogroups.com



    Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
     
    #9
  10. "Mike B (digiboy)" wrote:
    >
    > >Hi Mike
    > > Hey I owned an EML 101 for YEARS!!It died in the
    > >early 90s and was beyond repair.I loved the filters on
    > >that thing and the oscillator 4 mod growl.It usually
    > >was a lot more tuning stable onstage than my
    > >Minimoog.BTW,Foreigner used one of those on their
    > >first couple of albums.Also new age composer Richard
    > >Burmer was a big user on all his cds.(mellotrons as
    > >well) Seeya
    > > Charles Thaxton
    > >
    > Hi Chrales
    > I don't know Burmer, will have to look for him.
    > I've also heard that Pere Ubu and Frank Zappa used EML gear and I'm sure
    > there were others. My 101 takes a good half hour for the tuning to settle
    > down but then it's pretty good. I never used synths in a band, I played
    > bass. Synths have always been a home hobby for me. Bet there's other
    > folks on this list with some synth gear worth a nod. Any lurkers out
    > there with a garage full of Buchlas?

    Yes, Alan Ravenstein (hopefully I spelled that right) was in the
    original Pere Ubu line up and came back for one of the later albums as I
    recall, though not all of the newer albums (and was in the band Red
    Crayola I think), the thing is he used only EML AFAIK, so albums with
    him are a good place to hear the brand's sound.

    As for Zappa, who knows maybe he owned some EML but he was by far better
    known for playing a large Emu modular. I think a lot of his more famous
    synth leads were Geroge Duke on Mini, but this is all off memory for me.
    Partrick Gleeson also had a huge Emu (he's well known for being one of
    only a hand full of people to do more than one classical synth album).
    Like Gleeson and Tomita they all fell in love with the Synclavier in the
    early 80s.

    Interestingly Tomita's collaborator Hideki Matsutake has a big Emu, like
    Zappa & Gleeson, unlike Tomita, but he never bought a Synclavier and
    also held out making analog albums a few years longer. He was programmer
    for YMO in the early days, you can see his Emu and Moog in all their big
    early shows. After a year of YMO being on hiatus, he didn't come back
    for the last intense year of YMO. In some respects it was due to
    increasing capabilities of standard polysynths. He eventually used a lot
    of samples by the late 80s. He trotted his EMU out in late 1999 to join
    a YMO parody band on stage and amused many fans.

    Back to EML, I guess the thing with EML is they were originally an
    alternative to the expensive commercial brands , Moog, Arp and the more
    experimental Buchla EML was aimed at the educational market, but soon
    went for commercial sales too. For better or worse those brands had more
    input from professional composers and musicians than the EML team, so
    what you pretty much had are good electrical engineers making a synth
    based on what they believed people wanted, so the whole thing was really
    quite an alternative and arguably better for strange raw sound than
    either its more expensive competition or the straightforward basic
    monosynths that became the industry standard before Polyphonic
    technology was generally assessable. (EML made one of them, the 500 but
    it was kind of late in coming and never caught on).

    So anyway, while the most popular EML, the 101, is definitely semi
    modular, meaning the modules really aren't individual and removable, in
    one sense the clever and confounding set of knobs for modulation make it
    not necessarily as modular-like as the 45 or so patch jacks imply-- in
    that the depending how one works, you really are only using a couple
    patch cables at best, often none (who knows, some people I'm sure always
    have a few patch cords going) the jacks seem more to interface the 101
    to external units. On the Moog modular, in comparison, you really are
    working with totally independant modules that are not connected and must
    be cabled together before you hear anything. Of course there are
    advantages and disadvantages to all of that. Its definitely harder to
    make the more "traditional" instrumental sounds like you hear Tomita and
    Carlos doing on an EML as the filter is just plain different, unless
    modified many 100/101 units didn't play 12 notes to the octave off the
    bat, you had to fool with a scaling knob, and the numerous sources of
    modulation tend to be pertty extreme. But all this is relative. Its not
    impossible, just different.

    nick
     
    #10
  11. I noticed a few things

    > Interestingly Tomita's collaborator Hideki Matsutake has a big Emu, like
    > Zappa & Gleeson, unlike Tomita, but he never bought a Synclavier and
    > also held out making analog albums a few years longer. He was programmer
    > for YMO in the early days, you can see his Emu and Moog in all their big
    > early shows. After a year of YMO being on hiatus, he didn't come back
    > for the last intense year of YMO. In some respects it was due to
    > increasing capabilities of standard polysynths.

    I'm not saying he departed because of polysynths, I am saying that YMO
    made a major turn from a foundation of modulars being multichannel
    mono-sequencer based, to using the standard polyphonic gear and early
    samplers newly available in the early 80s to just about any group.

    > Back to EML, ...
    >so the whole thing was really
    > quite an alternative and arguably better for strange raw sound than
    > either its more expensive competition or the straightforward basic
    > monosynths that became the industry standard before Polyphonic
    > technology was generally assessable. (EML made one of them, the 500 but
    > it was kind of late in coming and never caught on).

    didn't proof the last bit in context. The 500 was a regular monosynth,
    like say the minimoog or odyssey. It just looked in context like I was
    talking about a polysynth. They did a polysynth too with punchcard patch
    storage! too but it was primitive compared to the competitor's expensive
    units which set the standard for the modern polysynth in terms of how
    polyphony is implemented. Anyway they always offered neat stuff that was
    an alternative, never a copy of what was out there. In hindsight, they
    were trying to be commercial with a somewhat experimental product
    compared to their competitors. Buchla was by far more experimental, but
    they also only had to flirt with mainstream sales or competitive pricing
    (then Serge which is also quite experimental was in a sense an
    alternative to Buchla at an at the time very affordable cost).

    nick
     
    #11
  12. >As for Zappa, who knows maybe he owned some EML but he was by far better
    >known for playing a large Emu modular.

    FZ mentioned working on an EML 101 in an early interview, in Keyboard I
    think. As to whether it ever made an appearance on record or at
    shows....would be near impossible to say.


    >Back to EML, I guess the thing with EML is they were originally an
    >alternative to the expensive commercial brands , Moog, Arp and the more
    >experimental Buchla EML was aimed at the educational market, but soon
    >went for commercial sales too.

    The other thing that was unique about EML, especially in the relatively low
    price range of their models, was that they offered and ,in fact, encouraged
    customizing and modding. All through the manuals and literature are
    references to modifications and options being available. The pricing was
    downright cheap. . There are even notes covering some mods that were DIY.


    >So anyway, while the most popular EML, the 101, is definitely semi
    >modular, you really are only using a couple
    >patch cables at best, often none (who knows, some people I'm sure always
    >have a few patch cords going) the jacks seem more to interface the 101
    >to external units.

    Yes, the patching capabilities of the 101 were mainly for expanding with
    other EML pieces. There were 2 ideal companions. one was the model 200
    which was really just a group of modules housed together with not even a
    keyboard. It doesw nothing unitl you start patching. It's surprizingly easy
    to work with and can actually deliver some pretty decent sounds even by
    itself. The other piece is the 400 sequencer which has a basic built in
    synth section and 32 stages and 3 sliders for voltage control per stage.
    In keeping with EML's style, it was expandable to as many stages, in groups
    of 16, as you could afford. The thing is a beast but it sure is fun.

    Mike Berman
    digiboy at n...
     
    #12
  13. Hi All,

    My brother is fluent in speaking and reading japanese, if anyone can supply
    the source materials, I'd be happy to try and get this organised.

    Regards,
    Lance
    -----
    lance at s...
    http://www.soundscapemusic.com
    http://www.mp3.com/lance


    -----Original Message-----
    From: zen77 at t... [mailto:zen77 at t...]
    Sent: Wednesday, 14 November 2001 6:22 AM
    To: isaotomita at yahoogroups.com
    Subject: Re: [isaotomita] Question from London!


    I think that one of the great projects this group could do would be to
    translate Tomita's
    Sound Creature to english. Is there anyone who knows how to read both
    Japanese &
    English who would be willing to embark on such a project?

    Obviously, it could be done a little at a time.

    Also, are there any of us who are working with modular synths?
    I know a friend who is, and I have played with it myself.

    Long live the Tomita group! :)

    Kevin


    > on 11/10/01 8:30 AM, XTABAY at mmitor at y... wrote:
    >
    > >
    > >
    > > I am an old fan of Isao Tomita currently living in
    > > London, however to my demise, Ive just realized that
    > > the album of his that I fell in love with is also the
    > > hardest to find (Bermuda triangle) Ive tried amazon
    > > and such without success, does anyone living in london
    > > have this album or a way to getting one...Cheers
    > > mates...Best regards.
    > >
    > >
    > >
    > > __________________________________________________
    > > Do You Yahoo!?
    > > Find a job, post your resume.
    > > http://careers.yahoo.com
    > >
    > >
    > > To unsubscribe from this group, send an email to:
    > > isaotomita-unsubscribe at yahoogroups.com
    > >
    > >
    > >
    > > Your use of Yahoo! Groups is subject to
    http://docs.yahoo.com/info/terms/
    > >
    > >
    > >
    >
    > Biff Butler - DPI Inc.
    > Dynamic Productions Interactive Inc.
    > 4120 Birch St. Suite 111
    > Newport Beach, CA 92660
    > Ph: 949-221-9140 xt.26
    > Fax: 949-221-9148
    > Cel: 949-584-9494
    >
    >
    >
    >
    > To unsubscribe from this group, send an email to:
    > isaotomita-unsubscribe at yahoogroups.com
    >
    >
    >
    > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/
    >
    >



    To unsubscribe from this group, send an email to:
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    #13
  14. ixqy at a...

    ixqy at a... Guest

    --- In isaotomita at y..., zen77 at t... wrote:
    (snip)
    > Also, are there any of us who are working with modular synths?

    (snip)


    Hi,(another 20+ year Tomita fan checking in)
    Yes.. I have an old PAiA 4700J modular, a combination
    MOTM/Wiard/Oakley/Blacet modular, and various old and new-ish
    keyboard synths.

    There was talk about a year or so ago from the musicians on this
    list about recording a couple of Tomita tribute songs. I still like
    that idea, but would like to wait until I get my PC setup to record
    audio. I have an old reel to reel 8 track, but somehow I think that
    realizing a Tomita work would take many more tracks than that. : )

    Andrew Sanchez
     
    #14
  15. EML also made a couple of strange ones....the
    Poly-Box which was basically a little tabletop type
    module with an octave of keys which apparently could
    simulte polyphonic sounds from monophonic synth
    input(essentially a top octave divider I believe)
    Then there was the SynKey which I think was
    polyphonic and had a 'memory' for programming patches
    which was a card reader like the OLD computers
    had.Punch out holes on a cardboard card and insert
    into slot!I never saw or played either of them.
    As far as getting instrument sounds out of the EML,I
    used to get some pretty good flutes,strings,French
    horn,cello,and a 'sax' that really ripped.I would run
    the 101 thru a Roland Space echo and divide the signal
    into stereo panned delay/reverb.The 101 would also
    play 2 note polyphonic(though the envelopes only
    worked monophonically)
    Hi Dom,how did you know of Voyager and Star Zeit?The
    Voyager albums never came out on cd.I don't know about
    the Star Zeit stuff...I lost touch with Mike Clay
    years ago.I actually did take my Voyager cassettes
    into a studio and made my own private cd
    remasters...if you are interested write me at
    charel196 at y...
    and I can burn you some cdrs of SOUND DREAMS and
    CONTACT.I put them into a double jewel box.
    I don't know what Tom Moore is doing now.He got
    married years ago and we lost touch.
    Cheers
    Charles Thaxton

    __________________________________________________
    Do You Yahoo!?
    Find the one for you at Yahoo! Personals
    http://personals.yahoo.com
     
    #15
  16. This is something John and I have tried to do several times in
    the past, but with little or no success, so if anyone else is
    prepared to give it a try, great! :)

    Ben


    > Hi All,
    >
    > My brother is fluent in speaking and reading japanese, if
    anyone can supply
    > the source materials, I'd be happy to try and get this organised.
    >
    > Regards,
    > Lance
    > -----
    > lance at s...
    > http://www.soundscapemusic.com
    > http://www.mp3.com/lance
    >
    >
    > -----Original Message-----
    > From: zen77 at t... [mailto:zen77 at t...]
    > Sent: Wednesday, 14 November 2001 6:22 AM
    > To: isaotomita at y...
    > Subject: Re: [isaotomita] Question from London!
    >
    >
    > I think that one of the great projects this group could do would
    be to
    > translate Tomita's
    > Sound Creature to english. Is there anyone who knows how to
    read both
    > Japanese &
    > English who would be willing to embark on such a project?
    >
    > Obviously, it could be done a little at a time.
    >
    > Also, are there any of us who are working with modular
    synths?
    > I know a friend who is, and I have played with it myself.
    >
    > Long live the Tomita group! :)
    >
    > Kevin
    >
    >
    > > on 11/10/01 8:30 AM, XTABAY at mmitor at y... wrote:
    > >
    > > >
    > > >
    > > > I am an old fan of Isao Tomita currently living in
    > > > London, however to my demise, Ive just realized that
    > > > the album of his that I fell in love with is also the
    > > > hardest to find (Bermuda triangle) Ive tried amazon
    > > > and such without success, does anyone living in london
    > > > have this album or a way to getting one...Cheers
    > > > mates...Best regards.
    > > >
    > > >
    > > >
    > > >
    __________________________________________________
    > > > Do You Yahoo!?
    > > > Find a job, post your resume.
    > > > http://careers.yahoo.com
    > > >
    > > >
    > > > To unsubscribe from this group, send an email to:
    > > > isaotomita-unsubscribe at y...
    > > >
    > > >
    > > >
    > > > Your use of Yahoo! Groups is subject to
    > http://docs.yahoo.com/info/terms/
    > > >
    > > >
    > > >
    > >
    > > Biff Butler - DPI Inc.
    > > Dynamic Productions Interactive Inc.
    > > 4120 Birch St. Suite 111
    > > Newport Beach, CA 92660
    > > Ph: 949-221-9140 xt.26
    > > Fax: 949-221-9148
    > > Cel: 949-584-9494
    > >
    > >
    > >
    > >
    > > To unsubscribe from this group, send an email to:
    > > isaotomita-unsubscribe at y...
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    docs.yahoo.com/info/terms/
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    Service.
     
    #16
  17. > EML also made a couple of strange ones....the
    >Poly-Box which was basically a little tabletop type
    >module with an octave of keys which apparently could
    >simulte polyphonic sounds from monophonic synth
    >input(essentially a top octave divider I believe) never saw or played
    >either of them.
    >


    Hi Charles,

    I have a Polybox. The hype was a bit confusing but basically you described
    it right. It needs a readable monophonic voice as a source otherwise it
    just squawks and screeches. It tracks the pitch of that voice making that
    pitch the root of the keys with the lowest key (which is a "C" key)
    playing the root and the keys above it tracking relative to it. (does that
    make sense?)

    It does not preserve the timbre and envelope of the source, the new voices
    being more or less square wave-ish in tone. You can, of course send the
    output of the poly back thru filters, etc .

    There's a few more options like a doubler but that's basically it.

    Mike Berman
    digiboy at n...
     
    #17
  18. Hi,
    Is there any site or link to visit and have a look at that beast?
    I am curiuos.

    Thanks
    Dot
    ----- Original Message -----
    From: Mike B (digiboy)
    To: isaotomita at yahoogroups.com
    Sent: Wednesday, November 14, 2001 10:48 PM
    Subject: RE: [isaotomita] Question from London!


    > EML also made a couple of strange ones....the
    >Poly-Box which was basically a little tabletop type


    Hi Charles,

    I have a Polybox. The hype was a bit confusing but basically you described
    it right. It needs a readable monophonic voice as a source otherwise it
     
    #18
  19. >Also, are there any of us who are working with modular synths?
    >I know a friend who is, and I have played with it myself.

    I have a few Roland System 100M modular synth modules, an old System 100
    sequencer, Korg MS20, and Roland MC202. Haven't played with that stuff for
    ages, might be fun to do some more recordings again. Now that I have all
    those audio tracks in cubase, should be a bit more pleasant than the way it
    used be bouncing around 4 tracks.

    Regards,
    Lance
     
    #19
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