gacki

I'm having a PowerMac 4400 for that exact reason. Back in the day I retrofitted it with an USB card which makes file transfers a bit easier - just use a thumb drive which can be read in both Mac OS 9 and current systems. While SoundDiver was starting up nicely and the library with the factory sounds was there it was always complaining about the missing MIDI interface (that's why I didn't sort the Patches). Exporting to .syx was no problem. But on my current Mac I couldn't import the .syx file into Dexed. Turns out this wasn't a single dump but a conglomerate of three different dumps (and different data types). But thanks to a hex editor I was able to extract the actual data which then could be imported. SoundDiver had been coming to the rescue a couple of times in the last few years. One time it was for restoring the factory patches to a Lexicon LXP-1 which had lost its memory due to a low battery. There was no .syx data for those patches to be found anywhere on the internet - but they were in the SoundDiver library. Another case was a Roland D-50 which had a battery change - but the owner sold it for little money because he wasn't able to restore the patches (since Roland at this time used a peculiar handshake protocol).

Here's the stuff. Sadly the files are not ordered correctly but I believe they contain all the patches. If not let me know. (As usual: SoundDiver to the rescue. SoundDiver came with a folder containing the factory patches for a number of devices including the TX802. The whole process of getting the stuff out of it and onto my current computer was somewhat messy though.) The files load in Dexed and FM8. TX802VoiceA2.syx TX802VoiceA1.syx

I'll see if I can find the TX802 Sysex elsewhere.

Those are from the Dexed cart; I have naturally no idea if they are all correct or work. TX802BankA1.SYX TX802BankA2.SYX TX802BankB1.syx TX802BankB2.syx

I would have to look through the Kronos manual for this; but here are a few quick thoughts: 1. Are you sure that those are CC's and not Program Changes? 2. At least control surfaces often require their own protocol to drive the LED's; those things are basically independent from the actual controllers. 3. Do you actually have a "backchannel" from Mainstage to the Kronos? In many cases (but certainly not all!) Mainstage is used mainly as the recipient for data coming from a controller but not automatically also as a sender back to the controller.

Jon Stewart made fun (or did shine a light on) about exactly this: "prompt engineers", as a Microsoft managers call them: https://www.youtube.com/watch?v=20TAkcy3aBY&t=574s But back to a more serious note: To me, creating music has to a certain degree always been about individuality and originality. I do most of my work in education nowadays; and I am always fascinated that people "pick" their favourite music at least partly "off the beaten path". I know they don't consciously pick it - there's simply something that resonates with them. So both the act of creation and the act of listening are both highly individualized processes: What speaks to me doesn't automatically speak to you and vice versa. And that's the beauty of it; and I am convinced that that's also a limit for AI.

I've tried numerous times to get something useful out of StaffPad but so far I've failed nearly every time. So I wouldn't hold my breath here. (IMO handwriting recognition still sucks for normal texts let alone music notation.)

I've listened to a couple of the "trending" songs featured on the starting page and to me they sounded rather bland and generic. Which isn't exactly surprising IMO because "originality" is comparatively hard/impossible to train. (We've been over this argument elsewhere before.) The musical segment of stock or library music will probably be most affected by this. Outside this we can only guess.

Yes, and written sheet music is in horizontal fashion. So at one point one has to make that mental switch anyway. The problem with the whole Synthesia piano thing is that it is basically hiding the "big picture". If you look at a piece of sheet music you can easily make out way more things at once. I blame that tendency on Guitar Hero and similar things.

It's a question of how we want time to be represented - horizontally like on a tape machine or vertically. It's always becomes slightly confusing when those two are mixed; and hence nearly all DAW's have switched to a horizontal scrolling. Youtubes piano tutorials of course use the vertical approach again which definitely drives me mad.

Nah, Ableton is fine. I'm using it frequently; when it comes to loops it's hard to beat. But you have to adapt to its way of doing things.

AFAIK Magix is trying to restructure; so there's hope for the product line. I've only watched the whole thing from the sidelines during the past years and I never was quite sure how the business side of the company as a whole worked. Interestingly there obviously was - at one time - a substantial cooperation between Emagic and Magix. For some time the "Magix Music Studio" was a "light" version of Logic (I'm not sure if I still have some of that packaging); of course this was at a time before Apple took over. Emagic had basically licensed various Logic versions to other companies (like Magix); there was also a "special" Logic version included with stuff from one of the educational publishing houses (was it Lugert? can't recall...). During one of the Magix summer parties I even met some Emagic stuff that had come to Dresden - but that's over 20 years ago so my memory is a bit foggy. All this naturally came to a halt after Apple bought Emagic and cancelled the Windows products.

Most certainly not! Magix was (basically) formed by former employees of the Studio for Electronic Music (or more precisely at this time "Studio für elektronische Klangerzeugung") at the Dresden College of Music. The first Samplitude versions were written for the Commodore Amiga and then rewritten for PC. I owe them and especially the former head of the studio a lot. Several of my teaching jobs are direct results of that connection.

Ableton Live can do lots of extremely cool things, like including chance operations (for example: "Play a certain clip 8 times, then switch to a different clip", or basically having a randomized fill every 16 bars and and and... Logic's "Live Loops" feel to me quite a bit influenced by Ableton Live. I use Ableton Live frequently when asked to do loop based things. Studio One? I tried it a couple of years ago and was stunned that the metronome routing was fixed to the master bus. Cubase I can work with; I always found the workflow similar to Logic's but in a way more clunky. ProTools refused to run on my computer so I didn't press this further. Tracktion Waveform is something I find very weird; and so far I haven't really gotten my head around NI's Maschine (and I really tried!).

Well, Ableton has traditionally been really, really good for loop-based workflows; and there's also Max for Live. Logic has caught up somewhat to this with the "Live Loops" functionality. So I can easily see people choosing Live over Logic (or similarly Bitwig over Logic). For many other programs it might be what one grew up with or what is considered the standard in certain environments (see ProTools). FL Studio? My experiences were a couple of years back. I would have to be paid serious money to work with that.