DJRND2

[PERILLE <perille@club-internet.fr>]

> >Then came
> >out the S20 (which is the same product made in a plastic package). AMKO
> >came out with their DJS-1 (Belgium). Then came up the ZOOM ST-224 (some
> >effects are interesting to me in this product). You have also the SP-202
> >from BOSS (ROLAND).
> 
> well, before we re-write history, both the Lexicon Jamman ('94) and the
> Oberheim Echoplex ('95) were being used by dj's long before any of these
> existed. Boomerang came in '96, and maybe some dj's used it too? (I don't
> know.) And the Paradis LoopDelay was even earlier in '93 (and other 
>devices
> were earlier), although I've never heard of a dj using one.  All these 
>have
> the live, no-preparation approach that you talk about. When Akai showed 
>up
> with the Remix16 at '97 winter NAMM, we rather smirked at how behind they
> were. Their innovation seemed to be a crossfader! :-)
> 
> In fact, your device still requires more preparation than any of these
> earlier devices, as the user must know the BPM ahead of time and type it
> in! For Jamman, echoplex, etc, you don't need to know anything about the
> source before you start looping it. You just tap the record in time and
> it's immediately sampled and looping.
> 
> I don't mean to put you down, you are doing a very cool thing. Just keep
> the history straight and respect what has come before you! :-)
> 

For live musicians, A tap record method is certainly sufficient since
they can still manage to sync on their own.

But a more accurate approach should be usefull for DJs, and this is
maybe why existing tiny loopers integrated in DJ mixing tables have not
been a big success.

A DJ can still make one loop at a time. If he wishes loop polyphony, he
still has got a loop a editing phase to do before triggering back his
loops. But a BPM based cyclic method lets him work just only with one
parameter to keep sync in real time, which is also a more similar
approach to his mixing art.


> >I have reached a certain amount of experience in the use of BPM looping,
> >and this is one of the reasons I could have my looping method patented.
> >As I told you just before, I feel I come out to soon in comparison with
> >the other existing products, but I still hold on.
> 
> Well, we know the feeling of coming out too soon. ;-)
> 
> I'm not sure about your claim for patent. You have some interesting new
> ideas, certainly! but the basic method of sampling the loop to the BPM is
> very much like what we invented for the echoplex sync to midi clock in 
>'94.
> We have the same notion of the loop cycling around to the tempo, so that
> would likely be prior art. The primary difference is we get the BPM from
> the midi clock or an analog sync pulse, and you get it from the user
> entering in on the front panel. And you have some interesting variations
> with the gear ratio ideas, as opposed to our approach to that with 
>multiply
> and insert and 8ths/cycle. Otherwise it is quite similar....
> 

In fact, the methods are lightly different.

Using midi clock or an analog sync pulse to determine the loop lenght
deals with terms of physical durations, even if it comes out from a BPM
based metronome. It is a kind of time quantized method where is counted
a number of sync pulses for a loop recording. This also means that the
loop to record is still determined with A start and B stop points, the
starting point corresponding to the next incoming sync pulse immediatly
after the rec keypressed. And then the recorded loop runs with a given
sampling rate and a finite number of x(n) samples going from A to B.

But a permanent cyclic loop straightly defined in terms of tempo and
bars set you free from any need of external sync, and rec start can
appear wherever around the wheel, the loop being perfectly made once a
whole revolution made. The method works in terms of Omega/phi (Omega =
pulsation = tempo) and (Phi = phase = differential bar synchronization),
Omega commun to every loop, Phi given for each loop. It is a BPM
gearwheels recording machine. No start/end points. Free running in your
own beat where you can record at any time during your playback. An
eternal and fiendish grooving method which allows BPM changes.

Furthermore, polyphony is total whatever the number of loops to mix is.
Memory pointer computing is equivalent to only one pointer in real time.

> Still, keep running with your ideas! I like it.....
> 
> kim

Thank you Kim

Emmanuel