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Re: What the heck is Behringer doing?

Just not to come back to old discussions - has anyone in here ever heard
about the Wilkinson Vs100 Convertible guitar bridge?
Wilkinson created it, it could not be a technological masterpiece, but it
was useful - a vibrato bridge that you could turn into a fixed bridge just
by not using the vibrato arm - I'm still looking around for one of these
beasts, as GIBSON decided to sue Wilkinson for copyright infringement, as
they claimed that Gibson patented a very similar unit, and asked Wilkinson
so much money for the licensig fee that the unit had to be discontinued. 
I never found a convertible bridge on a Gibson guitar or on anything they
had produced in the last 50 years.
----- Original Message -----
From: <stanitarium@earthlink.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Monday, June 11, 2001 12:55 AM
Subject: Re: What the heck is Behringer doing?

> sorry to be so cliche ridden,but -knowledge is power-ignorance is bliss-U
> get what U pay 4
> goinloopy
> stanner
> ----------
> >From: Richard Zvonar <zvonar@zvonar.com>
> >To: Loopers-Delight@loopers-delight.com
> >Subject: Re: What the heck is Behringer doing?
> >Date: Sun, Jun 10, 2001, 2:04 PM
> >
> >At 10:23 PM +0200 6/10/01, Martin Tauchen wrote:
> >
> >>If we trace it really strict and puristic,the whole digital Music
> >>were ripped off from Standford University.FM Synthesis was developed
> >>there in the seventies,a first commercial product-the DX7 was
> >>released in 1983.
> >>The same for phyical Modelling.Developed in the early eighties and
> >>manifested as consumertool in 1993 -again Yamaha with VL1.
> >
> >Not ripped off in these cases. Yamaha has a long-standing set of
> >licensing agreements with Stanford, dating to John Chowning's 1975
> >linear FM patent. Physical modeling was similarly licensed from
> >Stanford.
> >
> >I'm not aware of any claims against Yamaha of infringement. In fact,
> >my impression of the company is generally positive. They have a good
> >reputation for supporting research and education, and I've personally
> >found them (and by this I mean the individuals I've dealt with) to be
> >cordial and even generous.
> >
> >In contrast, I have no such warm and fuzzy feelings for the rippers
> >of the world, such as Behringer and Fernandes.
> >
> >That isn't to say there aren't problems. When Yamaha secured patents
> >on linear FM applications to musical instrument design, this meant
> >that other manufacturers were obliged to either pay them licensing
> >fees or cease to use the technique in their own instruments. Some
> >smaller manufacturers, such as Buchla, had already been using FM, but
> >didn't think to apply for a patent.
> >
> >Another case that I have problems with is Coda's patents on
> >interactive computer music and score following. They struck a deal
> >with Roger Dannenberg, who had the foresight to secure a patent in
> >1985, and Coda insisted that their patents applied to all score
> >following algorithms. Other researchers who had independently arrived
> >at score following were in theory obliged to pay Coda for a license.
> >--
> >
> >______________________________________________________________
> >Richard Zvonar, PhD
> >(818) 788-2202
> >http://www.zvonar.com
> >http://RZCybernetics.com
> >http://www.cybmotion.com/aliaszone
> >http://www.live365.com/cgi-bin/directory.cgi?autostart=rz
> >