>MUSIC
`>MICROS
`>MIDI
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`>MUI.T|-
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`TRACK
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`h
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`M u s I c I
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`SEPTEMBER 1986
`
`Frank Zappa
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`W111‘11“*""0$
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`MIDI Data Dispiay
`Software, 30 DrumTraks
`Mods, Program Stepper
`
`Basics:
`
`g]
`
`Discover the different
`types of programs that
`make music with
`personal computers.
`
`«663
`
`r,
`
`:
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`_
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`Apple Exhibit 1121 Page 00001
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`Apple Exhibit 1121 Page 00001
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`themselves in an enviable position, forby
`making suggestions and discussing issues
`directly with the very people responsible
`for much of what is currently on the
`market, PAN users are able to directly
`make an impact on the future of MIDI
`technology On-line beta—testing and de—
`bugging of new products is common-
`place, as are advisories and file exchanges
`of new software revisions.
`
`With over 150 of its 1,000 plus mem-
`bers calling in every day fromjapan alone,
`combined with a multi-megabyte data-
`base, PAN has taken a big step towards
`centralizing the international synth and
`MIDI community into an “electronic city,”
`accessible from anywhere in the world,
`and at any time of the clay or night.
`A special membership sign-up (which
`costs $150) is required to access this
`system, plus fees for connect time rang—
`ing from $24/hour during business hours
`to $ 12/hour for evenings, weekends and
`holidays. For further information, please
`contact PAN at 215/489~4640, or write to:
`The PAN Network, PO. Box 162, Skip—
`pack, PA 19474.
`
`Perry Leopold spent several years as a
`touring singer/songwriter. He started PAN
`in 1981 and, despite having no previous
`experience in computers, computerized
`the network in 1983.
`
`
`
`Synth7Banh: The
`Ultimate Patch Library
`
`BY BRYAN BELL
`
`Synth—Bank is a software database that
`includes a public domain library featur-
`ing the,latest sound files from major keys
`board manufacturers, an on-line shop-
`ping service where users can purchase
`specific sound files created by popular
`artists and programmers, and a third area
`dedicated to sampling keyboards. This
`area consists of sounds and sound effects
`
`oriented toward production houses and
`film scoring applications. Although Synth—
`Bank is designed to be portable to more
`than one host system, the initial offering
`will be configured as a complete SIG (spe—
`cial interest group) on the musical net—
`work PAN.
`
`Being part of PAN allows for electron-
`ic mail between members, conferencing,
`databases, and the shopping area (to pur-
`chase sound patches). For a limited time
`only, Synth—Bank membership will be
`available for $50. This includes a PAN
`membership (a $150 value) to qualified
`
`26 Electronic Musician/September 1986
`
`professionals. There will be no Synth—
`Bank charges (other than normal PAN
`connect charges) for the downloading of
`the public domain sound files.
`The sound files for the non-sampling
`keyboards will be stored in Opcode‘s
`Patch Librarian format and will be priced
`roughly at a dollar per sound (Le. 32 DX7
`sounds for $30). The sampling keyboard
`files will be stored in Sound Begigner
`format and will be based on a sliding
`scale from $15 to $30. High end synths
`such as the Fairlight and Synclavier will
`have sounds stored in their own format
`and cost anywhere from $30 to $150 (for
`lenghthier samples.)
`I started Synth-Bank to provide a serve
`ice, and a common meeting ground, to all
`sides of the music industry. I wanted to
`help musicians organize and standardize
`their methods for trading and selling their
`sounds.
`I have seen the frustration of
`many major artisrs pouring hours and
`hours into programming a synth when all
`they needed was a sound slightly better
`than stock; now they can dial up Synth-
`Bank and download an acceptable sound
`within minutes. Another end user will be
`small production studios that cannot af-
`ford to maintain a sound effects library. If
`they need something specific (even 24
`hours a day)——a car crash or a helicopter,
`they can dial up and download into, say,
`a stock Mirage. Amateurs who are out of
`touch with the entertainment industry,
`and hungry for the latest sounds, are also
`potential users—as are pro players who
`are too busy recording and touring to
`learn how to program different synths
`from scratch. And of course, manufac—
`turers can use Synth-Bank to distribute
`their latest sound files and software up-
`dates to qualified users.
`To join up, contact Bill Hartman in
`the Los Angeles office (7731 Hollywood
`Blvd, Hollywood, CA90046; tel. 213/876—
`8609) or Bryan Bell on-line (PAN: SYNTH—
`BANK, lMC: BELL—US, CIS: 763273041,
`The Well: BBELL, MCI: SYNTHABANK).
`We will mail you a signup package along
`with a PAN membership access code.
`Then simply log onto PAN and send a
`mail message to the Synth—Bank ID and
`say “I want to join.” We then flag your ID
`for immediate access into Synth-Bank.
`Concerning the future, I believe the
`real value of telecommunications to the
`
`artist is as an archive of important data. It
`is a hassle to bring all of your backup files
`on the road with you at all times; it’s
`easier to download your backup files from
`a host system anywhere in the world—-
`24 hours a day.
`However, the single most exciting as—
`
`
`
`
`
`pect to me is that telcom opens up the
`entire global community as a single re-
`source—crossing economic, political,
`and racial barriers. Before you had to
`know someone in order to hear their
`work. Now, via telcom, you can get the
`best from Australia, Europe, Japan, and
`North America—all with a local phone
`call!
`
`Bryan Bell is an engineer/producer/pro—
`grammer who specializes in live sound
`mixing and high-tech instrument design.
`Over the last 11 years he has worked with
`Herbie Hancock, Santana,]ohn McLaugh»
`lin, Al DiMeola, and many others.
`
`
`Synth-Net and MIDI-
`Connection: Tech
`Supportfor the
`Working Musician
`
`BY GARY ROTTGER
`As someone who has been involved in
`computers and electronic music since
`1980, I’ve always felt a need for like-
`minded musicians in this field to ex—
`change information and ideas in this
`ever-growing MIDI wonderland. This led
`to my starting Synth—Net, a telecommuni-
`cations network geared specifically to-
`wards electronic musicians.
`Synth—Net offers a wealth of informa—
`tion ranging from DX7 patches and Emu-
`lator 11 samples to direct correspondance
`with Fairlight Instruments in Australia.
`The sign-up fee is $200, and total connect
`time costs $16.50 per hour; there are no
`surcharges for downloading synth patch—
`es, samples, or any other type of data.
`Synth-Net caters to a clientele of
`working musicians who use this type of
`new technology in the recording indus—
`try. Anyone using the system with a par-
`ticular technical problem or question can
`usually find another Synth-Net member
`who has had a similar problem and can
`recommend a solution. However, on-line
`is not the only place Synth-Net provides
`technical help to its subscribers. A unique
`attribute of Synth—Net compared to simi—
`lar networks is that almost all of the equip—
`ment discussed on»line is in use on a
`daily basis in Synth—Net’s own pre-pro-
`duction room; a Synth—Net staff member
`is literally able to walk into the next room
`to research a detailed question about a
`certain keyboard or computer.
`The ability to answer technical ques—
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