On Corporate Partnering

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What Works and What Doesn’t: A review of corporate partnering with Intel and Creative Labs” for White & Lee Forum Session 3 – “Corporate Partnering, International Transactions and Technology Commercialization” Center for Software Development, San Jose

My cousin, David Young, and I shared the same podium, talking about birthing our respective companies.

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The greatest impediments to the wider acceptance of technically-based music and media products — be they targeted for the home, studio, or corporate office — are not technical, but operational, educational, and ergonomic issues.
This assumption underlies MIDIWorld’s work. And in attacking these problems for the past fourteen years for the music instrument industry’s leading companies, MIDIWorld’s President, Stanley Jungleib, has established a unique tenure. Widely read and known in the music instrument (MI) industry, he has been involved from their inception in dozens of leading-edge instruments, as well as in the creation and enhancement of MIDI itself.

MIDIWorld takes the position that a quality presentation cannot be accomplished without quality music. It considers MIDI vital to the success of multimedia, as it provides a high-quality, low-bandwidth, low-storage requirement alternative to digital sound files.Committed to bringing presentation technology into MI, MIDIWorld is built around a pair of fully expanded Macintoshes (IIfx and IIx: see separate studio specification). It is acquiring most Macintosh multimedia tools as they emerge, and carefully studying the applicability of this technology to MI market education as well as to user interfaces.

The advent of computerized multimedia presentations gives us important new tools for making the instrument maker’s case directly to the customer on the showroom floor, without convolution through an untrained salesperson. The studio is now demonstrating the newest techniques for controlling sound and MIDI interactively, with MacroMind Director (2.0), as well as working prototypes of interactive MIDI system simulations including browser-controlled study materials, real-time MIDI and CD-quality digital audio.

A recurring problem in instrument design is incomplete, vague, or shifting specifications. Certainly it is a tough art to design an instrument on paper, and there will always be corrections and changes as empirical development converges with reality. Experience and foresight are essential, but perhaps not sufficient to prevent something important from being overlooked. All oversights are costly; preventable ones can be extremely wasteful and easily delay a product’s introduction by months.
To address this problem, access to an explicit, “living,” interactive simulation reveals and prevent gaps at the earliest possible stages. MIDIWorld can now economically design and simulate the operation of a functioning musical instrument or system on the Macintosh. The “virtual” system serves as a vehicle of communication for those with input to the product definition, and provides essential feedback concerning the design. The negotiated model then becomes a concrete target for the programmers. The model also assists the development of documentation and tutorials. With planning, some of the model’s code can even be used in the actual application.

In two or three years, competition will force synthesizers to include user features and DSP techniques so radical and new that programming them on even an 8-line by 40-character display will be laughably frustrating if not impossible. For example, using graphics is the logical way to edit physical models based on waveguide techniques. There are only two possibilities: front panels will become the province of the home system computer, or the successful stand-alone instruments will likely boast large, programmable, touch-sensitive display panels. Now is the time to start thinking about how to capitalize on window-based or touch-screen technology and the interface issues they raise.
Much of MIDIWorld’s research is being developed and validated for Cogswell College’s Electronic Music Technology B.S. degree curriculum. Jungleib has a broad mandate to totally revamp the program in preparation for California State Education Training Panel (ETP) funding in 1991. The goal is to totally automate training based on behavioral objectives, using Director. The increased learning efficiency should actually create more time for the teacher to spend with individuals.
In addition, MIDIWorld has just contracted Intensive Care of San Francisco to spearhead a new sales and marketing effort for its sound-for-media techniques.
MIDIWorld seeks to align itself with corporate clients as well as graphics and video organizations looking for leadership in interactive documentation and training involving music, MIDI, and digital audio for the ’90s. The miraculous tools this industry is bringing forth today are also so inherently complex that designing the features, user interface, documentation, and market education are really inseparable. Increasingly, successful general products require cross-fertilization between experts in a wide variety of fields.

And in this era of hidden functions and the widely-loathed quasi-English imported manual, outstanding interfaces supported by powerful, informative sound and outstanding interactive documentation provide any serious enterprise with a clear opportunity to distinguish itself, whatever the marketplace.

Prophet-T8 Librarian:

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The First Synthesizer Patch Randomizer??
1983.02 MIDIWorld EAR (first MIDI ear-trainer?)
1983.02 MIDIWorld Possible Music Generator (first MIDI algorithmic composer?)
[I have to get my dates stragiht on this]

Prophet-T8 Librarian General Info

for Commodore 64
and Sequential 242 or Passport MIDI Cartridge
(c) 1987 by Stanley Jungleib

Sequential’s Prophet-T8 was the design apex of the classic analog performance synthesizer. Although it has long been out of production, the Prophet-T8 remains popular because of its sound, keyboard, and ease of use. Its robust analog voices, and deep, rich bottom and mid-range, embarrass most digital synths. The solid wood keyboard provides highly expressive velocity and polyphonic pressure control. (This very same keyboard was chosen by New England Digital for their Synclavier.) And the Prophet-T8 was also one of the last instruments to provide separate knobs for editing parameters — before the market gave way to “one-knob” synths. As a result, it is much easier to edit on the T8 than virtually any other synth.

Sequential released a Model 900 dump utility for the Commodore 64 and 242 cartridge which stored complete sets of T8 programs. Many early starters in the MIDI game used this combination of hardware, and/or the Passport MIDI cartridge. But there has not yet been a librarian for the same hardware that allows you to name, save, and load individual programs.

Finally, appears this librarian. It makes it much easier to organize, and therefore take advantage of, your favorite Prophet-T8 programs. The difference this system will make over the long haul, in allowing you to fully explore the T8’s powers, will be quite significant and well worth the modest cost — even if you don’t already own a C64.

T8 Librarian also includes a random program generator — which inspired the same feature on the Prophet VS. This tool destroys programmer’s block and forces your T8 to create instruments and effects that you probably didn’t think it could. (You can expect 10 – 20 % of your random programs to be promising.)

For convenience, the program also includes a general-purpose MIDI utility which displays the status and data bytes of incoming data.


The MIDIWORLD T8 Librarian is not terribly complex or exotic. But it does the job, does it accurately (because each transfer is verified), and does it quickly. The user interface has been streamlined to require the absolute minimum number of keystrokes.

The screen is color-coded for easy menu recognition and to signify user actions:
green means “go ahead” and make a selection,

yellow means “be careful” because you are doing something that may alter T8 memory or the disk, and

red means “stop” and wait for the C64 to do its thing.

To prevent having to convert back and forth between MIDI decimal program numbers and T8 L/R program numbers, all program selections are made on the T8.

The program requires: a Commodore 64 with 1541 disk drive (or SX-64), Sequential Model 242 (or 64) or Dr. T Model T MIDI Cartridge, or Passport MIDI Cartridge, Prophet-T8, and two MIDI cables.
To take full advantage of this software, I recommend that the C64 be equipped with a disk accelerator such as the Skyles 1541 Flash. Operating this Librarian with an SX-64 and a ROM accelerator gives you a compact, fast, and flexible virtual memory for the Prophet-T8.
In answer to many inquiries, there is no Macintosh version at this time. This Librarian justifies buying a C64 to commit to the T8!
Because of the librarian’s program verification routines, to save or load individual programs, both MIDI cables must be connected directly between the MIDI cartridge and T8. (You cannot include an accessory box which generates active sensing.)
Note: When ordering, please specify Sequential or Passport interface. Sorry, I have no information on availability of these cartridges.
Copies of the T8 Librarian are $35, which includes the disk, two sample programs, instructions, handling, first class shipping anywhere, and guaranteed satisfaction. California residents add 7% sales tax.
Note: This is not a Sequential product. It is produced and sold by Stanley Jungleib’s MIDIWORLD studio. Sequential and Passport are registered trademarks.
Thank you very much for your inquiry…

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