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boss bx-80 8 channel stereo mixer manualLearn more The problem appears to be that any fader on the board (channels and master) is dead (no output) until it reaches a spot something above 0 to give signal at the master (also LED meter shows nothing until that point).Strippinf it for parts is all thats left i.m afraid.Memorials, RIPs and Obituaries Grove Park, Maidenhead, Berkshire SL6 3LW.Hosted by Nimbus Hosting. Search results for: (found: ) ask for a document File Date Descr Size Popular Mfg Model: Found in chassis2model: Found in repair tips. Stay up to date with Roland news, artists, promotions, events, and more. Provides an overview of key features, functions and operational tips. The BOSS Worldwide Social Network keeps you connected to the latest products, exciting events, and much more. Stay up to date with Roland news, artists, promotions, events, and more. Provides an overview of key features, functions and operational tips. The BOSS Worldwide Social Network keeps you connected to the latest products, exciting events, and much more. With trusted Roland quality you can plug all of your gear into the BX-800 and count on the greatest quality sound. With straightforward design, the BX-800 is extremely easy to use and has everything you need to keep your inputs sounding clear and mixed properly. Use this mixer with your digital signal processor to get great effects and keep all of your levels under control. The unit is in excellent condition and everything on it works perfectly. It is equally suited for home studio or stage use. Please contact them to ask about shipping. I've used it for my rehearsal room but no longer need it. Here's the info from Boss: This Roland Boss BX-800 is an awesome little mixing board with 8 input channels with eq on each input. It is equally suited for home studio or stage use.Please check the fields highlighted in red. Trademarks and Copyrights are property of their respective owners. Login Registration is disabled.http://cosmetic-elit.com/pic/bose-model-p1-personal-music-center-remote-manual.xml

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We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it. Ok. Shipping, as quoted in this auction, applies to the 50 United States. Please use eBay's International Shipping Tool to determine shipping to all other Please message with any questions. Thanks! Product Description Selectable crossover freq: subwoofer: 40Hz-400Hz 50Hz-1.5kHz rear high pass It is fully functional with no issues. But you will find also some tracks I do on my own. He offers a huge collection of exceptional scans of service manuals for all kinds of electronical musical devices. You can download them without restriction, but I ask you to be fair and donate a little money as he asks you on top of his page. If you did so already, the you may scroll down on his page. I removed all service manuals from my page with exception of those, which are not available at synfo or which I scanned in better resolution. The complete service manual for the S-612. Some description of the less known multisampling upgrade. Editing software for Atari. But in the end the job was canceled. As it is a rare piece, I decided to publish it here. All rights by Peter Grenader. This gear has been stolen between 24th of December 2016 and 2nd of January 2017 in Berlin.Ownersmanual). Chord-Trigger module for the Polysix and Poly61. I don't own a Poly61, but I am thinking about to use its voiceboard as an extender for the MonoPoly. At the moment only two pictures. The Service Manual is available too. Also some pictures of my incredibly rotten Juno-6. This makes the tuning procedure much easier. These pages are mainly a simple gallerie, which uses the scans, that are available at Analogue Heaven. On analogue heaven there is no possibility to walk through the schematics. I don't own a System 700, so please don't ask me questions. Very helpful while tuning.http://forumsevens.com/images/bose-multi-cd-changer-manual.xml Sales were growing, and, with a string of world 'firsts' under its belt, the company had gained respect throughout the music industry. By the end of 1978, no fewer than 120 products graced the company's portfolio, and although some of these did not appear in the UK until the next year, this was a remarkable achievement for a business formed with no premises and limited capital. And for over a year after that, the impressive achievements kept on coming, before the company hit a rocky patch. Cube 60 bass guitar amp. VX120A vocal mixer. BOSS PRODUCTS CE2 chorus. DR55 rhythm machine. NF1 noise gate. PD1 Rocker distortion. PW1 Rocker wah. SG1 Slow Gear. EFFECTS RE150 Space Echo. SBF325 stereo flanger. SDD320 Dimension D. SIP300 guitar preamp. SIP301 bass guitar preamp. SPA120 stereo power amplifier. SPA240 stereo power amplifier. SPV355 PV synth. SVC350 vocoder. ORGANS VK1 combo organ. SEQUENCERS CSQ100 'digital' sequencer. System 100M modular synth. VP330 vocoder. Sure, there was a turkey, too.But such failures were rare, and there were three products in 1979 that we simply can't overlook. These are the System 100M modular synthesizer, the VP330 Vocoder Plus and, of course, the most famous of all Roland effects, the SDD320 'Dimension D'. These modules could be housed in two sizes of frame — the '190' three-module rack, and the '191J' five-module rack — which also provided power to the '180', '181' and later the '184' keyboards, as well as to internal keyboard CV, gate and trigger lines, which considerably simplified patching. In fact, you could even create a basic four-voice polyphonic synth with just a 191J rack, four 110s, a '131' output mixer, and the four-voice '184' keyboard. Add a second rack stuffed with '140' LFOs and dual envelope generators, and you had an instrument much like the larger, heavier, more expensive, but far less stable Oberheim Four Voice.http://schlammatlas.de/en/node/16389 Despite plans for a further nine modules, Roland shelved plans for five of these, and a final four — the 141, 165, 173 and 174 — appeared just before the company deleted the range five years later. A complete System 100M setup (shown above), as seen in a contemporary brochure, with the 184 controller keyboard at the heart of the system. There were two revisions; the first with large, friendly rocker switches to activate the voices, the second with LED 'momentary' switches, although both sported the same four-octave keyboard, and offered the same selection of sliders and knobs to control the instrument's three sections. Whether it was purely a marketing ploy ('if we include Strings, maybe we'll sell more Vocoders!'), or whether Roland appreciated how good the Strings would be, we can only guess. Second came the Human Voice (the Chariots Of Fire sound) with the basic waveform heavily filtered to generate a somewhat nasal sound. On its own, this didn't sound like people singing, but with the Ensemble engaged, the result was extremely useable and, for the first time, choral voices were heard emanating from a keyboard that didn't weigh a hundredweight and need to be handled like a Ming vase. The VP330 was hailed as the replacement for the Mellotron, and used as such. But neither of these were its raison d'etre. Even greater flexibility was provided by the External Synth input, which allowed you to 'vocode' any sound source. Widely adopted on its release, the VP330 has never fallen out of favour and — a quarter of a century later — it remains a highly sought-after cult instrument. The VP330 Vocoder Plus. If anything is to blame for 'talking synth'-style robot voices, it is this product. But used correctly (which always meant in stereo) this was a hugely desirable unit, providing width and animation without imposing a new character upon the sounds it treated.http://antenasmunarriz.com/images/boss-bx-80-8-channel-stereo-mixer-manual.pdf Consequently, the 'D' became part of the standard equipment in top-quality recording studios and, today, the second-hand prices they command reflect the reverence in which they are still held. Designed to handle audio and control voltages. Two of these, controlled using the external CV inputs, provided remarkable spatial effects. 182 Analogue sequencer A two-channel, eight-step sequencer with a 'series' mode for one-channel, 16-step operation.BOSS PRODUCTS BF2 flanger. DM100 Delay Machine (analogue delay). DM300 Delay Machine. FA1 FET amp. PH1R phaser. PV1 Rocker Volume. EFFECTS RE501 Chorus Echo. SEQ315 stereo graphic EQ. SEQ331 graphic EQ. SPH323 phase-shifter. SRE555 Chorus Echo. GUITAR SYNTHS GR300 guitar synth. G303 guitar controller. G808 guitar controller. G33 GR bass guitar controller. GR33B bass guitar synth. G88 GR bass guitar controller. PIANOS EP09 61-key piano. RHYTHM PRODUCTS TR808 Rhythm Composer. SEQUENCERS CPE800 Compu Editor. CSQ600 mono sequencer.They had never cracked the top end of the synth market, but their Space Echoes, Boss effects, guitar synths, Jazz Chorus amplifiers, and 'CR' rhythm boxes were pre-eminent in their respective fields. The following year continued in much the same vein, although there were, perhaps, only two major products launched, neither of which caused much of a stir on their release. Nonetheless, both would become classics. I'm referring, of course, to the TR808 Rhythm Composer and the GR300 series of guitar synths. As we now know, it was eventually to spawn a whole industry of clones and sample libraries, but its heyday began years after its short production run had ceased, at which point producers in the emerging house and techno genres discovered its unrealistic but compelling kick, snare and hi-hat sounds. The company later cashed in with digital recreations of the sound — the 'Grooveboxes' — but the TR808 itself was never the commercial success that its current popularity suggests.https://www.grandeprairie.org/wp-content/plugins/formcraft/file-upload/server/content/files/1626d83ae7373e---3m-overhead-projector-model-213-manual.pdf In 1980, it was merely Roland's latest drum machine, with 32 programmable patterns, a maximum of 768 measures, and 16 sounds that sounded nothing like the 'real thing'. Sure, it offered 12 independent outputs offering independent levels and tuning where appropriate, and was the first rhythm machine with non-volatile user-programmable pattern memories, but this wasn't enough to ensure its success against the existing Linn LM1 and the LinnDrum that emerged shortly thereafter. Now, we've made it obsolete'. This wasn't strictly true.While the GS500's tracking had been at best 'iffy', the dedicated G303 (bolted-on neck) and G808 (through neck) controllers were far better, and they still offer perhaps the best tracking of all dedicated guitar synthesizers. The same accolade is also true of the bass guitar version, the GR33B, which had a slightly different voice structure and a choice of two controllers, the G33 and G88. Kakehashi viewed this as a natural stage in the evolution of the guitar, from its acoustic beginnings, through the rapid development of the electric guitar in the 1930s, '40s, '50s and '60s, to the next level, wherein each string can be treated as a separate instrument. Indeed, the GR300 featured a unique hexaphonic distortion that treated each string independently, which is very different from distorting the combined sound produced by all the strings. Sure, there was only a single filter in the GR300, and virtually no enveloping of the sounds, but the synth had an instantly recognisable character that elevated it to the status of an instrument in its own right. 1979's replacement for the original GR500 guitar synth, the GR300. This was a good move because, like the GR500, the GR300 could only be controlled by Roland guitars with their dedicated multicore cables. However, unlike the GR500, you could also plug a quarter-inch jack into any of the '300' series guitars and basses, and play it as a conventional instrument.art-electric.com/userfiles/columbus-satellite-navigation-system-manual.pdf The GS202 guitar controller promoted (along with the G505) for use with the GR300. Surprisingly, Roland's reputation and enviable success did not guarantee financial stability. Although it recovered briefly in 1980, it was soon to rise in value again. Unfortunately, the strength of the Yen had a near-catastrophic effect on Roland, because their European distributor, Brodr Jorgensen, had been unable to cope with the increased cost of importing Japanese goods and, in 1980, they unexpectedly declared themselves bankrupt. This meant that Roland — who had themselves only just become cash-positive — suddenly found themselves without a European distributor, with one third of their worldwide business evaporating, and their European stock — millions of pounds of product — in the hands of Brodr Jorgensen's liquidators. For the first time since establishing the company, he faced a crisis. And it was a huge one. This didn't improve matters, but it stopped the situation from getting any worse. He then approached three banks for the credit necessary to continue trading, only one of which was prepared to help. Nevertheless, with a two-million dollar credit line from Daiwa Bank, the company was able to continue. Kakehashi himself spent the autumn and winter of 1980 criss-crossing Europe in an attempt to save his distribution network. By the time the new year arrived, Roland were at a crossroads. Their main product lines were small effects units and computer monitors manufactured for Roland (but not by Roland) in Taiwan. For a couple of years, the company proved to be surprisingly successful but, as competition mounted, Kakehashi decided not to compete with the large computer companies entering the market, and in 1983 he ceased supplying monitors, simultaneously discontinuing the effects units. But this was not the end for the company.http://discoveryenglish.org/wp-content/plugins/formcraft/file-upload/server/content/files/1626d83bf0e386---3m-office-air-cleaner-oac100-manual.pdf Kakehashi renamed it the 'Roland DG Corporation', and then used it as a vehicle to release a range of the company's own computer and music peripherals. Cube CK40 keyboard amp. MA15A micro monitor wedges. MS100A monitor speaker wedges. RM1200 console mixer. RM1200B console mixer. RM1600B console mixer. BOSS PRODUCTS CS2 Compression Sustainer. DM2 delay. FV100 volume pedal. FV200 volume pedal. GE7 EQ. SD1 Super Over Drive. EFFECTS GR100 electric guitar unit. SDE2000 digital delay. ORGANS VK09 combo organ. PIANOS HP60 electronic piano. HP70 electronic piano. RHYTHM PRODUCTS CR5000 CompuRhythm. CR8000 CompuRhythm. TR606 Drumatix. SEQUENCERS MC4 Micro Composer. TB303 Programmable Bass Line. However, he managed to repossess the huge inventory of Roland products held by Brodr Jorgensen's liquidators, thereby stopping the world market from being flooded by cheap equipment that would have undercut Roland's own sales. Simultaneously, he was filling the hole left by his distributor's demise. Building upon the joint-venture model he had already established elsewhere, he opened four new companies in the space of just three months. Roland UK opened their doors in January 1981, as did Roland GmbH (Germany), followed in March by Roland Scandinavia and Musitronic AG in Switzerland. Remarkably, Kakehashi also found the time to establish a new Japanese division, which he opened in May 1981. Called AMDEK (Analogue Music Digital Electronics Kits) this was a conduit through which Roland would market and sell Taiwanese products to its worldwide distribution network (see the above box). The TB303 and TR606 were clearly designed to be used together, as can be seen from their physical resemblence. But one went on to defy all expectations and become the sonic heart of thousands of dance classics, years after the deletion of the product, while the other is a now largely forgotten drum machine.http://www.davidwoodpersonnel.com/wp-content/plugins/formcraft/file-upload/server/content/files/1626d83d23396b---3m-overhead-projector-repair-manual.pdf Nonetheless, there must have been some point in 1981 when Kakehashi wondered if he had lost the magic touch. Roland and Boss launched more than 30 significant products during the course of the year yet, despite critical success, few seemed to catch the public's eye. Take, for example, the company's first big, polyphonic synthesizer and its toy bass machine. The former made little impact, while the other was soon to end up in the bargain bins, sold off cheaply for whatever dealers could get for it. But hindsight is a wonderful thing, as was Kakehashi's belief in his company and its designs. The polysynth was the Jupiter 8 (see the box on the next page). The toy was the TB303 Programmable Bass Line. The Prophet 5 and Oberheim OB-series dominated, so perhaps it's not surprising that the original JP8 made little impact when it was launched. Today, of course, it's one of the most revered of all synthesizers, the icon against which all Roland's subsequent polysynths have been measured (and, for many aficionados, found wanting.). Initially marketed as a 'computerised bass machine', it and its stable-mate, the TR606 'Drumatix', were intended for use as replacements for a bass guitarist and drummer, tasks at which they were singularly unsuccessful. It had a single, unremarkable oscillator, a primitive envelope, and few facilities other than a built-in sequencer. Had it not been adopted for the first acid house tracks later in the '80s, it's possible that the TB303 would have been no more than a footnote in Roland's product history. And why was it used.? Largely because it was cheap and easy to understand. Connected to a TR606 or TR808, or even the CR5000 and CR8000 CompuRhythm machines launched the same year, the TB303 produces an instantly recognisable sound that was eventually copied (with greater or lesser success) by almost every other synth manufacturer. There was even a fad in the mid-'90s for clones, with names such as MAB303, FB303, TBS303 and Tee Bee.argo-naut.com/userfiles/files/columbus-sat-nav-manual.pdf The sincerest form of flattery indeed! Very 1981! The first of these is the SDE2000, Roland's first digital effects unit. This was available in two models, the MC4A and MC4B, with an optional 32K memory expansion to upgrade the 'A' from 3900 notes to the 12,000 offered by the 'B'. Nowadays, the MC4 and its data-storage cassette recorder, the MTR100, look decidedly primitive, but for just a year or so, its bright LED screen, numeric keypad and the promise of true polyphonic sequencing made it an electro-pop star's dream machine. Indeed, the Jupiter 8 sounded as it looked — sleek and polished — in exactly the way that the competition didn't. Why this should have been so is one of life's little mysteries. After all, Sequential Circuits' Prophets, Oberheim's analogues and the Jupiter 8 all offered two VCOs per voice, a low-pass filter, a pair of ADSR envelope generators, and a range of modulation options. But there it was: Prophets and Oberheims were fat and imposing, whereas the Jupiter 8 could more easily complement other sounds without overpowering them. If you're looking for an example of a classic analogue polysynth, they don't come much better looking than the fabulous Jupiter 8. Furthermore, the Jupiter 8 bristled with features its competitors lacked. It had a split keyboard and numerous keyboard assignments, so that you could, for example, play unison lead lines above left-hand pads, or electric pianos above grunting bass lines. It offered oscillator sync, cross modulation, switchable 12dB-per-octave and 24dB-per-octave filtering, and polyphonic portamento. It saved and loaded voices reliably via its cassette interface, and it incorporated a superb arpeggiator. Finally, there was also a comprehensive complement of analogue interfaces that controlled the arpeggio speed, portamento, sustain, filter cutoff frequency, and the VCA. Add the CV and Gate outputs (with the pitch CV derived from the highest note played), and the result was an impressive package of features. What's more, the Jupiter 8 was more reliable than its competition, and its sound was more consistent from model to model, which made it very attractive for stage and studio use. In 1982, Roland released an upgraded Jupiter 8, the JP8A, which offered a number of enhancements, including an improved DAC that increased the resolution of the auto-tuning system from 12- to 14-bit, plus a brighter LED screen. The electro-pop community was convinced: 'Relax', by Frankie Goes to Hollywood was dominated by a Jupiter 8, Nick Rhodes relied heavily upon his, and players such as Steve Luscombe (Blancmange), Vince Clarke (Erasure), John Foxx, and Martyn Ware (Heaven 17) were soon adopting it. The path to classic status began here. BOSS PRODUCTS CE3 Chorus. OC2 Octave. SCC700 SET Sound Control Centre. VB2 Vibrato. PIANOS EP6060 dual-voice combo piano. HP30 electronic piano. Juno 60 polysynth. Jupiter 8A polysynth. SH101 monosynth. So, with their first major crisis behind them, Roland returned to their business plan, establishing yet another joint-venture company, this time in Belgium. It's not certain whether the slim range of products introduced in 1982 was a consequence of the previous year's difficulties (Kakehashi was, after all, one of the chief designers, and had spent much of the year travelling) or whether this would have happened anyway. There was the usual crop of Boss effects, another amplifier, the upgraded Jupiter 8, and a couple of instantly forgettable electronic pianos, but with just a handful of major launches, it's fortunate that the three new synths were to be amongst Roland's most successful products. They were the SH101, the Juno 6, and its almost immediate successor, the Juno 60. The Juno 6 was remarkable in many ways, but it did lack programmable memories. The Juno 60, launched soon thereafter, remedied this, and also offered a rear-panel DCB connector, Roland's first foray into digital interconnectivity (albeit a development rapidly surpassed by MIDI). This had been understood for decades, and by the middle of the 20th century, was employed as a means of broadcasting radio transmissions. It was not until the 1960s that John Chowning, a researcher at Stanford University, discovered that in addition to providing a means of carrying sound, FM could also generate audio timbres unobtainable by other means. Although the major thrust of his work lay elsewhere, Chowning continued to develop FM, and, in 1971, used it to synthesize conventional tones including organs and brass. Stanford subsequently approached a number of organ manufacturers with a view to licensing the technology. No American company showed interest, so Stanford turned to Yamaha. After a brief evaluation, they licensed the technology. Named the GS1 and the GS2, these were monstrously expensive, but more affordable products soon followed in the shape of the CE20 and CE25, both of which were aimed at the home-keyboard market. Then, in 1982, Yamaha demonstrated an FM synth that you could edit. It was the progenitor of the DX7, and was to have a profound effect on all other synthesizer manufacturers. Unfortunately for Roland, this was six months after Yamaha had agreed an exclusive licence with the university. In his book, I Believe in Music, Kakehashi admits that Yamaha were the natural partners in this venture, because they had the resources to develop the chips needed to make FM synthesis commercially viable. Nonetheless, it's interesting to speculate what might have happened had Stanford turned to Roland after Hammond and Wurlitzer rejected their approaches. Unfortunately, Roland possessed no commercially viable digital technology. Furthermore, the metamorphosis of 'string machines' into primitive analogue polysynths had begun, and it was apparent that the days of large, expensive, analogue polysynths were numbered. Roland needed to make something affordable and polyphonic.And they needed it quickly. Everywhere you looked, there was traditional analogue technology.The only suggestion of digital technology lay in its DCOs — its Digitally Controlled Oscillators. In 1981, the pitch stability of many VCOs left a lot to be desired, and their tuning was often temperature-dependent, so you could end up adjusting your synths many times during a gig or recording session. Not so annoying in the studio, this could be a significant shortcoming on stage. What we now regard as 'organic' was, in 1981, simply a pain in the posterior. It was, therefore, not just the sonic flexibility offered by early digital synths that appealed, but also their ultra-stable tuning. Unfortunately, not everybody could afford the digital technology of the day, so Roland developed the DCO; an analogue oscillator controlled by a digital circuit that ensured far greater tuning stability than was obtainable from VCOs. It seems incredible today, but the Juno 6 was the first analogue polysynth that you could carry onto a stage, switch on, and play with complete confidence that the instrument would be in tune. Moreover, it offered a good-quality keyboard, well-placed performance controls, a powerful arpeggiator, and Roland's classic ensemble. Oh yes. and it sounded superb and was excellent value. Roland had almost hit the bull's-eye. The only thing that the Juno 6 lacked was memories. This was in most ways identical to its predecessor, but its top panel sported 18 chunky buttons that offered 56 patch memories plus the saving and loading facilities that went with them. Nevertheless, the most significant change lay elsewhere. To be precise, it lay on the back panel alongside the analogue inputs and outputs. It was the Digital Communications Buss (see the box below). Synth players everywhere slung it around their necks and used it for axe-replacement therapy, while others noodled one-finger Vince Clarke knock-offs on it in their bedrooms. 1981's SH101 monosynth was an instant classic, and is still popular today. But unlike most of Roland's previous instruments, which were chunky affairs designed for use on tabletops and stands, much of the SH101 was constructed from high-density plastic, with the result that it was extremely light. Some players derided this, equating its weight to its sound, but this was foolish. The SH101 sounded excellent, and there was a good reason for its construction. Let's face it. the ability to run on batteries and the option of studs for affixing a guitar strap was a dead give-away. The SH101 was designed for posing. It was even available in three colours: grey, blue and red. With the optional MGS1 modulation grip — a stubby handle that provided LFO and pitch-bend controls — it became the de facto standard sling-on synth for the electro-pop crowd, and remains one of Roland's enduring successes to this day. So Roland developed the Digital Communications Buss (DCB), which first appeared on the Juno 60, shortly followed by the Jupiter 8A. The company even took care of the original Jupiter 8 by releasing a DCB add-on board, the OC8, which could be retrofitted to early models. By making it possible for these synths to communicate with one another polyphonically (and, therefore, for players to play one from another) DCB was a huge step forward. DCB even allowed players to sequence the three synths using one of the latest generation of Micro Composers, such as the JSQ60. But if the standard had a limitation (and it had), it was that it was not a standard. It was a hardware and software protocol specific to Roland. As we now know, a cross-manufacturer communications standard was just a year away, and Roland were to be a major player in its development and implementation. However, the company never let down its DCB users, because another Roland product, the MD8, made it possible for DCB to talk to MIDI. Consequently, the Jupiter 8, Jupiter 8A and Juno 60 became three of the first analogue synths with MIDI communication capabilities, years before retrofits became available for many of their contemporaries. Spirit 10A guitar amp. Spirit 25A guitar amp. SST120, SST80, SST60, SST40 speaker system. BOSS PRODUCTS BX400 four-channel stereo mixer. BX600 six-channel stereo mixer. DD2 digital delay. DE200 digital delay. HA5 headphone amp (Play Bus). HM2 Heavy Metal. TU12 chromatic tuner. EFFECTS SDE1000 digital delay. SDE3000 digital delay. PIANOS HP300 electronic piano. HP400 electronic piano. CMU800R CompuMusic. CMU810 synth. RHYTHM MACHINES TR909 Rhythm Composer. SEQUENCERS JSQ60 DCB Sequencer. JX3P 'Programmable Preset Polyphonic' synth. MC202 Micro Composer. MM4 MIDI Thru box. Roland's 14-pin DCB scheme was not acceptable, because its connectors and cables would have been too expensive for a universal interface, and nor was Smith's two-pin serial interface deemed suitable because it exhibited serious limitations in complex setups. So, in 1982, a group of manufacturers that included Yamaha, Korg and Kawai formed a committee to develop a communications standard that could be common to all musical devices — synths, rhythm machines, sequencers, or anything else. They eventually adopted the five-pin DIN plug as the hardware interface, and by freely sharing information about the proposed standard, managed to interest other companies. Thus, in the autumn of 1982, they were able to announce the creation of a new communications system to be supported by the majority of hi-tech manufacturers.