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Sorry, I
didn’t know Dave still where fighting for his name and intellectual property
regarding Simmons products. I haven’t picked up on his voice and opinion on any
of the major forums? Are the any links where I can read up on the topic?
>>> I'm afraid not much. Dave doesn't have time and isn't really interested into wandering on forums etc ...
I think there's a recent interview in Digital Drummer (a few years old ) where he mentionned it. I have it somewhere if you want it. it might even be in Yahoo group files.
There are mates here who must have that for sure.
Will we see
an awakening of Simmons like Oberheim's SEM, Dave Rossum's EMU modular and alike?
>> only Dave knows that ;)
>> P
wrote: “why should you give away what you had to pay (for a lot of money) ?”
Regarding selling copies of schematics and sounds is just plain wrong, that we agree on. That might also be the reason OT stated he will not pay for it? Could it be a simple misunderstanding?
>>it could be ... no offense.
I think I'm upset by the fact that the guy "asks", "wants", but doesn't give or offer anything in return. At least , informations on his units , serial numbers , history etc ...
We're not a simmons supermarket that has any obligations to anyone. it works bc we talk, share informations, spares and eventually friendship etc...
Dave wouldn't be realistic to spend time and resupply anything for such a small market now ...And he's not someone turned towards the past . he looks far ahead in the future.
but we're a few to have stuff we can share, sell, swap trade etc ... and we did . We have original library , and also extra one. I sometimes trade some. and rarely just refuse ^^. same for SDX schematics (all the other Simmons stuff as I said , it's been copied so much for the best and the worse sometimes, but it's definitely available. so not a problem to spread)
In a perfect world copyright holders could say "no we don't want to sell sounds and schematics".
>>in French law, a company must let available the schematics (for 10 years if I remember well, not sure that needs to confirmed).
If most does it, there are still companies like TC electronic or AMS Neve who don't give any schematics without special restrictive agreement to keep them in control. even on very old systems like rmx16 or sdmx etc ... you won't find that schematics on internet easily. it's annoying and I understand in the same time.
Actually most of them do but as I see it
there are only one way to fight these crimes. Make the items in demand even
more accessible to everyone, then there are no value selling illegally – other than
get payed for the physical e-prom programming or floppy disk copying.
>>I don't know what we can really do about that. but at least we can trade respecting the value of things , swapping between us or whatever.
Inviting users being in that circle. I don't know if there are more than 50 SDX units still alive these days. certainly less than 100 actually. So we're a very small comunauty.
The massive
illegal sharing of music that took place past decades has dropped drastically
in regions where music has become easily and cheaply availably. Sadly not in a
manner that got musicians payed that much more money, but now at least it’s
done legal.
> it could be a way. but musician should be re - placed at the center of what or who makes music.
that's only my opinion but otherwise it appears to stay a perverse way to consume, cut from its roots. We're going in a world when "AI" will probably do music at our place very soon just for the best benefits of a few. quite a fashionable tendancy this last years ^^.
I still want to beleive in Talent and creativity. Like a painter chooses his colours , Choice of the equipment is determinant.
Like the movie and music industry spend two decades to learn. If Dave or whomever
still own the right for the sound library and schematics put up an automated webpage
to sell this this stuff electronically that should help. Although lots of people
will try to access this stuff for free any copyright holder now have the tools
and respect in the community to make their claims and easily shut down illegal sales and sharing.
>> it's more complicated than that in Dave's case , but yes it could be a way.
Here are food for thoughts. As more people get
access to great sounding VST simulation of old vintage synthesizes and drum
machines the more valuable the original hardware gets.
>>ExactlyThat's it mate ! Everyone have access to some good stuff today , the old rare gear is the originality now. not as sophisticated as actual VSTs in many ways , but such a bigger sound on the other hand... That exactly what I meant by protecting the rarities. That would be fair if Dave would create an SDX emulation and bring back the nice sound library etc ... but really unfair if a greedy prick just put it on Ebay in WAV format. Yes they would be available to anyone but 1)they wouldn't sound as it should, and 2) the creator would be rubbed instead of having money to make something good with the same innovating spirit.
Yes I noticed you first made the point its not the money value of SDX that concern you, but to keep it unique. I'm not sure yet where I stand when it comes to this question :)
>> do you have one ?
For me, on the paper SDX has no value today. only what people want to pay for it. it can go from 200£ to 3000£. it's completely irrational. And in the same time, it can be my first choice before any contemporary VST or 2box ddrum more easy to use.
Therefore I think that , what makes the value of each unit, is the soundbank and good state. And who will use it and how ;)... (not to mention the filters and converters of the SDX)
For some other people it's rare so it should be expensive anyway.
For me it's old and risky to use. it could be secured, but it stays a challenge. some passionate mates are working to redevelop stuff for it. like Alan about new FSR for examples. We'll see what future brings us. we all know weakness and strong points of the system, we know what to do and how to use it within the system limits.
As long it gives this hypnotic sense of creativity it seems it can trigger on people, then it's worthwhile to fight for this machine.
Anyway we are a few to actively maintain the myth alive as much as we can. Bruce and I have a massive soundbank beyond the original one, he knows very well the
system restored many units. Alain is very involved (and in love) too in research for the future... we all invested quite some money in spares, sounds, schems etc ...
If there where made 250 SDX units and only 5000 people knew about it. Is that more unique than if there where made 250 SDX units, 20.000 DSP / VST versions and 2 million people had heard about it?
by definition yes I think so ... ;) but it's not necessary the goal to keep it so unique, so no ones ever heard of it. Fact is people knew it wthout noticing what it was (Prince used it a lot on Batman's stuff, Genesis , Vangelis, Pink floyd, jmJarre etc...) but it's been a very short adventure mainly concentrated in between 1988 and 1992 ...
SDX system deserves to be redevelopped in a way or another. how the Zone Intelligent pads "zones and dynamics" can affect envelopes , Pan, Pitch, filters is unique and still ignored by most succesful manufacturers today. (only the ddrum3, Mandalas, approached that for example)
SDX story is painted of drama, deception, fascination not to say fantasy. But in the end it's a fabulous unique sound, with unique functions the actual Edrum builder haven't necessary come through..In term of sound, it's unique like an Emulator II , III, or a Fairlight cmi II can be. They are called digital bc they are samplers but they are very analog sounding ...
Despite the samples or VST, they stay a privilege to own and use... and also a nightmare too ;) so determination is the key.
They have that fascinating power on some people, to increase and trigger creativity. Love it for that.
Take care , you can PM me if you wanna talk further on the subject . We're only two in that post at the moment ;)
thanks for reading and making the effort to understand and share.