Reviews of restored numbers

[TheHermit]

Regarding ports printed backwards: A perfect solution I never would have seen. Thank you Roj.

You're very welcome, Greg. Glad it worked out for you.
For my 2nd PCB, I've decided to have JLCPCB populate all of the SMDs on the bottom side of the PCB. Then, I'll hand solder the larger through hole stuff (DB25, trim pots, T4 headers, etc) on the other. By adding a Cu shim, the CODEC IC can be in direct contact with the aluminum case for cooling. If yours runs as hot as mine, you may want to consider some cooling options, as well.

Regarding 3D, I'm trying to imagine the 6b / 352 system of gains, offsets, enables, speeds and cues, rotations, joysticks, statics, all that stuff making equal sense when expressed in traditional 2D, and when switched into the 3D universe.
The SAGE did amazing 3D imagery, but I don't know of it doing separately computed 3D real time per channel. That's a new capability. How best to use it?

Is the 'SAGE' an artist or the ADC/DAC that plugs into your BELA?
TBH, this will most likely be the only 3D wireframe I'll ever use, only to demonstrate to folks that the Teensy could read ILD files.
It's extremely difficult to keep up with most music nor accurately project what's inside my head in real time, especially with a multiscan system and certainly not with independent imagery.
<Queue breaks> "That sounds this preset image", the mind says. The experienced hand hits the button on the 1st beat of the following measure. But 'the bird has already flown' and you're already behind time, desperately playing ketchup, while tweaking fine frequencies for timing. The harder you fight, the more things go awry so you bail on that and try another preset....
There are many tricks of the trade, like sharing different waveforms across multiple image variables (one control modifying many harmonics or multiple MIDI tracks mapped to a single control). But, one really needs to know where one's towel is to pull it off during a show.
My dream has always been to have a laser controller that could simply jam along with a track, (aka noodling). A visual instrument to contribute to the musical experience. Of course, in the real world, I'll be overlaying and 'sending' MIDI to output buses (projectors) during pre-production time, but, still be able to augment/ overwrite/repatch at any point, until the desired result is (hopefully) achieved.
This is why I love what we are doing. We can easily modify/reconfigure our code, patches, modules, and manual controls on a show-by-show basis. The 'instrument' is in a constant state of evolution, limited only by our imaginations (well, ignoring galvo limitations). "It's simply irresist-ible!"
With Laserium, I had no control over the data track, which is a very subjective experience for the wannabe unfettered laserist. That's why I had to 'ramble on'. But, it's a different game nowadays, with unlimited DAW tracks to pre-record/program whatever, whenever inspiration hits.
😎

[Greg]

SAGE was the computer that produced 3D effects in Laserium shows beginning in 1987. It was a separate thing from the Choreographics system. An example of sage graphics is the yellow and green zig zag lines in my tribute to L.A. Woman video. Until recently little was publicly known about the SAGE. Fortunately an individual or two, one of whom was one of the designers of the platform, as well as both being Laserium show directors / choreographers, have generously communicated with me regarding this recently.

This video shows the KQO with spiral ramp on the Z axis and the 3D computations I added yesterday. In this segment the emulator is in bit box mode, which means the 351 data is replaced by a static frame of 351 data that enables the desired system functions such as beams on and fixed rotation offsets.

Video here:
https://youtu.be/ekbCxZhv0ts