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Hi dp4+ Sysex would be great . I have been meaning to unravel it with unisyn. Can you attach here?
Yup the court case is up on the WWW to read as well as Datorro’s AES paper. Separately, i have a 224 and i can attest that the character of the 224 is spot on but it misses the ‘size’ of the 224 which comes from the transformer coupled output, beyerdyanmic input and the Cauer 4558 network – this on the plates. This is why the UAD can’t come close to the 224 despite what you read. The Dp4+ is amazing effects machine and its up there with the H3000 which these days sells for £900-1000, twice as much as the DP4+. The problem with the DP4+,Dp4 is reliability but you can fix the power issues and put in better regulators.
re. Dp/pro heritage: Datorro told me the same think, in not so many words. Something along the lines that it takes man-years to make these algorithms and you can’t start from zero.
Have you tried the Ensoniq Paris group who seemed to have a lot of background information and help, courtesy of E-mu when they terminated Paris prematurely. Unfortunately there is no one left at E-mu to provide that kind of help for Ensoniq let alone for Emu samplers and RFX-32.
Not sure there is a complete spec for DP4+ so that would be most welcome. There is one for DP4. Dp/Pro is very different from the DP4 line. Whilst the algorithms sometimes have the same names and even the same modifiers its different. ESP2 is on both DP4 and DP/Pro but its a smaller fabrication on the DP/Pro and probably a bit quicker. This is covered in the ESP2 assembler document.
Fizmo has Dp/Pro effects and if you want the DP4 effects get the TS10/12. Really, though you should get the DP4+. I think a lot of the Fizmo’s character comes from the effects and whilst the DP/Pro has nicer delays and a smoother reverb it misses the grainy quality from the Dp4 and most of all it misses the meaty phaser, flanger and chorus. Datarro who designed many of the algorithms for the DP4 did not work on the DP/Pro but clearly the DP/Pro is inspired by the DP4 as it has that unique ‘cross-regen’ in the delays, something that isn’t found on other delay programs.
On the Ensoniq Paris group someone ported the Dp/Pro reverb over as well as the DP4 reverbs so the assembler, coding and engineering is still out there.
hi,
there is also this but it may put you off, or give prevent you getting stuck:http://sequence15.blogspot.co.uk/2012/02/fizmo-project-progress-report.html
This link might help you and give you some background on the sysex spec that is available
: http://comments.gmane.org/gmane.comp.audio.emagic.sounddiver/17611
