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 Post subject: Re: SONICCORE MARKETING
PostPosted: Tue Mar 28, 2017 1:54 am 
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Joined: Tue Oct 01, 2002 4:00 pm
Posts: 242
Location: Bergen, Norway
Marketing was at a time an effort shared between Creamware and distributors. Here is a copy of a page 2 advertisement in a Computer music special issue from 2001. The ad refers to a Pulsar II card v3 which I think precedes the software revision 3.1 called Scope fusion platform which bacame a 1 sw-platform across all versions of the DSP cards. Scvlondon was at the time the exclusive distributor in UK, it seems. The ad advises to "hurry to the nearest Creamware dealer for a demo". I am not sure if the network of dealers in the UK became very extensive. There were at the time some listings by Turnkey and other London based dealers in the ads published in Sound on Sound. Critics may of course claim that the S|C community still boast of software which dates back to 2001. The content listed to the left are still included in the v 5,1 environment.

Neb


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 Post subject: Re: SONICCORE MARKETING
PostPosted: Tue Mar 28, 2017 4:27 am 
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Joined: Thu Jul 17, 2003 4:00 pm
Posts: 605
Location: Varies Between 30Hz & 20KHz
I have to add to my previous post. To fill in some blanks. During the month of the Keyboard mag ad, July 2003, Cakewalk gave a demo of Project 5 (actually was a great concept, MIDI pattern based sequencer, stitch and sew a song) but the sound was incredible and after the demo, I spoke to the Cakewalk guy and he said that was because he was running Scope. He opened the lid on the PC and showed me the cards and the interface. He explained it really well and that there was nothing like it. That was at Sam Ash in Brooklyn. He was right. I never heard about Scope until that demo and when I saw the ad when I got home, I made the call the next morning. I remember anxiously waiting for NY to catch up to VC time, like 4 hours.

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"I’ve come to the conclusion that synths are like potatoes, they’re no good raw—you’ve got to cook ‘em, and I cooked these sounds for months before I got them to the point where they sounded musical to me." Lyle Mays


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