I've just resurrected an IBM PS/2 Microchannel 486 at my school and installed a Chip Chat soundcard on it. The combination works great; good sound and the performance under Warp 3 is OK.

The problem is this; When I try to play, record, or do anything with the sequencer, It locks up the program and gives me a "Delay or block error" message.

Anything you can offer is appreciated; this is pretty time sensitive.

i can get my mp3 to audio cd but can anyone tell me how to get it to audio cd so the words are on for karaoke thanks

This message depicts the mysterious nature of amplitude in a digital system. I hope it will "increase the Q of your information filters".

I know i'm on the right track when i get censored. OK. I can be cool. Here's some useful information about computer music, which has absolutely nothing to do with {deleted}, the unusual nature of {deleted}, or the intense social repercussions of {deleted} upon musicians and {deleted} worldwide.

In order to properly edit recorded audio of speech, it is advisable to consider the content. How prevalent is the noise floor? What is the nature of the amplitude dynamics? Are there repeating (un)disirable elements? What are the prominent frequency components, good or bad? Once you ask yourself those questions, you will find it easier to use an Editor to edit your recorded dialog.

Most ADR is used to edit out breathing noises, mouth clicks, extraneous background noise, and to perform overdubs of conversation (dialog) to increase clarity.

For example, a conversation in a movie might be presented as an urban or wildlife scenario recorded on site. The efforts to record all those real-life sounds as well as a clear and compelling dialog is too overwhelming for many efficient Sound Editors.

As a result, noise gating, overdubbing, noise-reduction, compression, and splice-editing of phonemic speech components is employed. That way, the sound can be arbitrarily tailored for playback and listening systems as well as for recording systems.

This is especially the case in recording/playback systems that aren't capable of 120 decibel dynamic range (or higher) recording. In reality, hearing and actual sound events reach far beyond what can be tolerated in currently primitive recording/playback systems. Yes, I said primitive. (Please be aware that 120 decibels need not be present literally to a playback audience. 120 decibels can be useful in reference to amplitudinal levels of attenuation. Therefore, no one needs to be bombarded by painfully high levels of sound just to justify a hi-fi system.)

To clarify, a typical 16-bit system can typically only handle 15-bits of equivalently less than 96 decibles of amplitude. 1 bit is often lost, because clipping is hard to prevent if you only have a singular binary choice between ON (clipped) and OFF (unclipped). You just can't dial in a difference when forced to risk the undesirable clipping. Thus, every amplitude bit system is one less than its specifications, at least in terms of human control.

Since an upward increase in bit-resolution tends to decrease quantization noise and other forms of aliasing distortion, this is an issue in ADR, where noise reduction is often critical.

The solution (and conclusion of this message) lies in the tactful employment of ironic tools such as compressors, limiters, gates, filters, and other tools which are designed to arbitrarily exploit the limits of auditory perception and also exploit the limits of recording mediums. This is ironic, because hi-fidelity recording is typically epitomized by the employment of linear tools (what you put in, is what you get out, undistorted). That association of high-fidelity sound with lack of distortion is ironically incorrect, because the only way to avoid some forms of corrupt sound is to bend clean sound into "accepted" forms of distorted sound.

That is one of the wonders of mastering in recording engineering as well.

If you study Calculus, you are lucky because you will be able to apply the notion of linearity transfer functions to your recording projects. These principles can be directly applied in the use of graph-driven VST/DirectX/TDM/ compression plugins.

A very simple example is the VST plugin called Cyanide. Its actual use depends upon manual manipulation of an input/output linearity curve.

It's also a key to understanding the difference between time-based compression, and so-called tube saturation compression, or overdrive.

That is the end of my message. This version is rather dull and boring compared to my last message which contained much more potent and varied information. But that is the nature of filtration. It is inherently a form of distortion.

Statistically speaking, it all depends upon what kind of data (or samples) you are looking to preserve, and which seem just to be noise, and not any useful part of a waveform. Of course, one man's noise is another man's musical instrument. The same applies to information. But that is beyond the scope (headroom/dynamic range) of this discussion.

i rebuilt a bridge i had burned to bring you this overtly cryptic musical message:

-8) Don't forget to zap the PRAM. 4x is the fastest reliable CD burning speed for datamusic. Print your discs, don't burn them. Noise is a form of dither. Dithering is an oxymoron of digital hi fi.

-7) Double buffer your thoughts if you don't want to experience framing errors induced by the cultural virus. It will be easier to recall your songs as well.

-6) This discussion group is like Trance music.

-5) No drive is hard, no disk is floppy, they are all volumes. If your volume fails in the digital forest and no one is there to hear it, it makes the sound of white noise if you compressed your data. Otherwise, it all sounds like your modem talking to your lawnmower. There are Potholes in My Lawn. Do you know the song?

-4) Someday, the heterodyne logic will shower us in silent ultrasonics. Tweeters make the sweetest bass in the future. Viruses can't handle resonance. It doesn't matter what kind of literal or metaphorical virus. Viruses can't handle resonance. Train your system to oscillate properly, and you'll have a chance to defend yourself.

-3) The only waveforms truly needed for interesting electro music is a sinewave for bass/percussion, and a saw wave for everything else. Filtration and Quantization are the keys.

-2) The wonder of tube compression is that it is not compression at all. It is a nonlinear transfer function. Thus, SOFT KNEE compression relies more on the curve, and less upon the timing. Ring modulation, 6 bit decimation, and messy time expansion yields a Trent Reznor instrument kit.

-1) 12 more megabytes regained by changing the Finder from type FNDR, into type APPL. fill the free memory with nulls, and suddenly invisible debris is erased, much like defragmenting a hard drive. Erase invisible space. OS 8.1 and 8.5.1 can be hybred to yield a system capable of software synthesis with OMS, even if you only have 32 MB of physical RAM. Windows are for naked people. Mac, the knife.

0) You can't claim to be non-fascist and censor the lyricist for seditious content. This is true regardless of whether or not you even comprehend the lyrics. If you wish to ban music, you will incite your own artistic Quiet Riots. So be it. I see the future forming.

1) Required reading: "Secrets & Lies", by Bruce Schneier. Confirms the Macintorque / dBPMS / LOGICAL GUY/ schleierenkraft ideology with a more professional array of supporting evidence. Direct social, technological, political, and cryptological implications. Insurance and Assurance are nice principal touches. This man, the author, is a genius.

2) The offline Macintorque project has thus far been surprisingly successful. A computer is no longer essential for information mining. Social engineering isn't even needed either. The so-called "media" are finally catching onto subculture. "Sources" are aware of the Hip Hop Information War.

3) The system IS truly naff.

4) Conspiracy is, in fact, a fact.

5) Columbian Necktie. Front 242 remixed this, i believe. It's not on the album "Tyranny for You". But it doesn't matter. Much like the movie "Brazil", this has nothing to do with Latin America. The rhythm is in the frequency. Who knows if Orbital was involved. Apparently somebody sent "Victor the Cleaner" to correct the "Rhythm of Time" remix of whatever was "Circling Overland". It's time to feed the felines. I don't like the kind of "Work" that was likely involved. Shooting the cameraman is not acceptable, even in the world premiere of a music video.

6) DSP cannot synthesize talent, but the rhythm signature can be verified.

7) Most of you have no idea that what I'm talking about is not pure gibberish, but that does not preclude others from gleaning information. To create music, is to create your own language. To create your own language, is to create your own culture. To create your own culture is to be an outcast.

8) Cross reference your intuition with the songs present in everyday life.

9) Your computer is slowing you down.

10) KMFDM, ATTAK/RELOAD: Rip the System, there is no spoon.

11) Oceans of musical data exist. Novelty is hard to find.

13) Luck is computer-generated melodies that tend to sound cool, regardless of their inherent capacity to become LAME 5-15 years later. LAME is BLADE.

Data Compression destroyed and recreated the music industry. What do you wish to preserve with your music. If you lose you ability to retrieve your music media, how will you cope with that data loss?

You must be your own best instrument.

This popular thread has been given its own page : How do I burn CD's from KaZaa?

Can anyone recommend a midi librarian and synth editor. Midi Quest 8 looks quite good, does anyone have any experience of using it. I run Cubase VST on windows 98se.