RICK ESCOBAR: All right. So what I’m going to do is I’ll run a small orchestra score we did, and it’s actually it’s just running this Mac Mini as a demo, then we used the Receptor, stock Receptor, 2 GB of RAM, running the East-West Platinum XP Symphony.

[RICK ESCOBAR RUNNING AN ORCHESTRAL SCORE WITH A MAC MINI AND A MUSE RESEARCH RECEPTOR HOSTING THE EAST-WEST/QUANTUM LEAP SYMPHONIC ORCHESTRA PLATINUM XP]

All right. So, that little orchestra score you heard there was running off this what I call the XP Receptor for the show, and we’re able to go into running Receptor remote right up here with the Mac. Oh there we go. Right. So, on this Receptor here, what you’re hearing was we had the East-West -- we had strings, woodwinds, percussion, brass. The drums were on a second Receptor that we had running all on UniWire. What happens with UniWire technology is that now each Receptor channel allows it to be a multitimbral synth on its own right. So, what we need to do here was various orchestra articulations, so here we had about a legato, marcato, spicccato violin, they’re all part of the same part, and that’s kind of the way the whole piece is built, and by using the UniWire technology, I was able to go bring up the UniWire just like you would -- All of the workstations and sequencers are all essentially same. You load up some kind of instrument, virtual instrument. UniWire is just seen as a virtual instrument.

If you open up UniWire, what you see is that we told UniWire that what we want to do is we wanted it to react to MIDI channels on this first Receptor channel. That’s really it. And as far as that point, this is using your assignments to let what that instrument or let that MIDI track which Receptor channel it would hit, and so as you saw it was playing the 16 MIDI tracks, 16 MIDI channels from that particular track on here. In case of the woodwinds, you’d find it here, and if I slide it to here, I can tell the new destination for UniWire, there are 16 more MIDI channels, and then that’s sure that’s really the basic operation of it.

ROB WARMOWSKI: As long as I got an engineer sitting here, let me ask you a question about summing on these units. What can you -- Can you comment a little bit about how you approach the problem with having so many disparate sources and yet, you know, bussing down to stereo?

RICK ESCOBAR: Well, I know from doing my own production stuff, we find -- everyone’s got a different way they’d like to do it. Myself, I keep it pretty simple. I do use a Receptor as a sub mixer to bring in a stereo return, and that’s fine because I want to make them all audio later. Now, a lot of people who are doing a lot of production stuff for cartoons and stuff, they need those extra audio outs because they’re not really mixing down in real time like that. They’re just taking a send of everything and bringing that back in as a stereo return and they’re done with the project, so in that case those UniWire outputs have been valuable to them.