HDTenEightyP/NetNews huggingface dataset:
From: hm@cloud.apana.org.au (Hamish Moffatt)
Newsgroups: rec.music.synth
Subject: CFV: rec.music.makers.* groups
Date: 7 Oct 92 06:01:14 GMT

In an article of <Monday September 28 1992 14:55>, Rich Kulawiec wrote:

 RK> Charter: "Electric and acoustic guitar techniques and equipment"
 RK> Charter: "Upright bass and bass guitar techniques and equipment"
 RK> Charter: "Guitar tablature/chords, associated discussion and requests".
 RK> Charter: "Percussion (including drums) techniques and equipment"
 RK> Charter: "Synthesizers and computer music"  [UNCHANGED FROM CURRENT]

Why all rhythm-type instruments? What about other things. brass, woodwind,
strings. Or are the net all geeks.. :-)


Regards,
Hamish


    _--_|\  Hamish Moffatt     new: hm@cloud.apana.org.au
   /      \ Moffsoft Software  old: hamish@cloud.pub.uu.oz.au
   \_.--.x/ Melbourne,        fido: 3:635/552@fidonet
         v  Australia   The Australian Public Access Network Association!
From: metlay@netcom.com (metlay)
Newsgroups: rec.music.synth
Subject: Re: 8bit vs 16bit?
Summary: Who's Eddie Nyquist?
Date: 6 Oct 92 16:50:10 GMT
Article-I.D.: netcom.1992Oct6.165010.12232
Organization: Atomic City

In article <1680266@hpsad.sad.hp.com> smithj@hpsad.sad.hp.com (Jim Smith) writes:
>This gets my vote for Most Bizarre r.m.s. Explanation Of The Year.

Rats, missed out again. well, there's still two months to go....

>Randy, you should take the bull by the horns and write a FAQ file 
>for this group.  You have one twisted mind!  "Nyquist eddies," I love it...

Isn't "Nyquist Eddie's" the name of the bar in Berkeley on Shattuck Avenue
where you guys took me on Saturday night and served me weird rum-like 
umbrella drinx with dry ice foaming smoke out from under the snifters?

>                       Jim Smith  smithj@hpsad.sad.hp.com
>                     Oh Hannu, this is most unbusinesslike. 

Should I ask? Nah, I'll quit while I'm only THIS far behind.
|-*




-- 
metlay            | and she's a master of return hitting          
atomic city       | giving rhythm to her posts
                  | so you read her and think hey it sounds good
metlay@netcom.com | and wish her posts had a soundtrack too    (f. ercolessi)
Newsgroups: rec.music.synth
From: ddm@hamby.tx.ncsu.edu (David Mann)
Subject: MIDI Driver Chips
Organization: North Carolina State University
X-Newsreader: TIN [version 1.1 PL6]
Date: Mon, 28 Sep 1992 03:52:19 GMT

Does anyone know of a MIDI driver chip or interface device 
where I could control a
bunch of LED's, switches, relays (64 would be nice) using a midi
controller.

Any info would be appreciated...

--
I think someone should have had the decency to tell me the luncheon was free. To
make someone run out with potato salad in his hand, pretending like he's 
throwing up, is not what I call hospitality.
David_Mann@ncsu.edu                                -- A Deep Thought
Newsgroups: rec.music.synth
From: mayer@hplnpm1.hpl.hp.com (Niels P. Mayer)
Subject: Re: Alesis ADAT rumor
Date: Wed, 23 Sep 1992 06:28:19 GMT
Organization: Hewlett-Packard Labs, Media Technology Lab, Palo Alto, CA.


I played w/ an Alesis ADAT at Gelb Music in Redwood City CA. Worked nicely,
sounded great. Of course, I wasn't really there to look at the ADAT,
rather, I was using it to drive some effect units I was auditioning.

--
-------------------------------------------------------------------------------
	    Niels Mayer -- hplabs!mayer -- mayer@hplabs.hp.com
                     Collaborative Multimedia Project
		       Hewlett-Packard Laboratories
			      Palo Alto, CA.
				   *
From: colin@cogsci.ed.ac.uk (Colin Matheson)
Newsgroups: rec.music.synth
Subject: Re: Cubeat and Cubase files
Date: 29 Sep 92 11:01:03 GMT
Organization: Centre for Cognitive Science, Edinburgh, UK

In article <1992Sep28.144145.24489@PA.dec.com> arendi@loke.soo.dec.com  (Jaak A) writes:

>	I suspect that the file format is not downward compatible
>	but You can always try using the midifiles.

Thanks to everyone who responded to my question about transferring
Cubeat and Cubase files (both of you :-).  Despite the Cubeat manual
saying that Atari and Mac Cubase files should be readable, they're
not.  Maybe older formats were.  Midi file transfers are ok, though.

Colin
-- 
Colin Matheson     Phone: +44 31 650 4413    | Centre for Cognitive Science
                   Fax:   +44 31 650 4587    | University of Edinburgh
JANET:  colin@cogsci.ed.ac.uk                | 2 Buccleuch Place
        or Colin.Matheson@edinburgh.ac.uk    | Edinburgh EH8 9LW Scotland
From: be726@cleveland.Freenet.Edu (Joseph A. Ellis Jr.)
Newsgroups: rec.music.synth
Subject: Re: HELP ME PICK SOME MICROPHONES
Date: 26 Sep 1992 06:00:21 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: be726@cleveland.Freenet.Edu (Joseph A. Ellis Jr.)
NNTP-Posting-Host: thor.ins.cwru.edu


In a previous article, shiv@bnr.ca (Shiv Naimpally) says:

>I've been looking around myself and AT seems to offer the biggest bang
>for the buck. I had narrowed it down to the ATM41C and another AT model
>when I checked an Electronic Musician mag in which they had an article
>on mike selection and lo and behold some of their experts had picked
>the exact same AT model. Response was 40-20k and they were $109 at
>Sam Ash.
>

 
Interesting. I must have missed that one. (gonna have to break down and get 
a subscription one of these days...)

When I was shopping for mics, I needed a general purpose pair (buy _pairs_ when
possible... that way you are still covered when one goes out, and you don't
have to learn how to use a new one!) for live and recording work, primarily
vocal (baritone range). After some comparisons over freq response (and weeding
out those too expensive! <<grin>>) I ended up with a pair of Audio-Technica
260XL mics. I've been happy with them!

Audio-Technica 260XL
Moving coil Dynamic
Unidirectional (cardioid)
50-15000 Hz
-56 dBm sensitivity
250 ohms impedance

-- 
 Joe Ellis  o/~ The Synthetic Filker o/~    |     TesserAct Studios
     Internet:   usr6184a@tso.uc.edu        |       P.O. Box 18577
        GEnie:   J.ELLIS22                  |     Fairfield, OH 45018
    All filked up and no place to sing!     |   New Dimensions In Filk!
From: rberry@vnet.ibm.com
Date: Mon, 5 Oct 92 09:50:44 EST
Newsgroups: rec.music.synth
Subject: Re: Midi song - "Borderline - Madonna"
Reply-To: <rberry@vnet.ibm.com>

In  <1992Oct3.113823.15661@comp.lancs.ac.uk>  davei@comp.lancs.ac.uk (Mr D Ingles) writes:
>
> I realise that but what I am trying to find out is what exactly is
> the determining feature in copyright ?

I can only answer based on what little I know of American copyright
law.  I don't know how different other countries' laws are.

You're asking a question that nobody can answer in a newsgroup article.
Copyright law consists not only of statutes, but also many decades
of legal interpretation by judges.  There is no simple rule you can
use to decide whether something is fair use or not; there are guidelines,
but if you are sued for copyright infringement, it'll be up to a judge
and jury to decide -- on a case-by-case basis -- if you are liable.

If you really want to know American copyright law, go to a law
library and take a look at a volume called "Nimmer on Copyright."
It is the bible of copyright law.  It's also many hundreds of pages
long, with many supplements based on ongoing developments in the law.

--
:: Robert Berry
From: bull@vaxc.cc.monash.edu.au
Newsgroups: rec.music.synth
Subject: Re: Wavestation (+K2000 user interface)
Date: 30 Sep 92 12:13:52 +1000
Organization: Computer Centre, Monash University, Australia

In article <AA9AADEAC0E03927@ACS.WOOSTER.EDU>, WSCOTT@ACS.WOOSTER.EDU writes:
> Nick writes "I wish the K2000 had a decent effects processor..."
>
> I agree. The K2000 doesn't match the WS in effects "juciness". BUT they're
> not bat AND the K2000 allows for routing external signals through them
> just like the WS A/D. Wunnerful Wunnerful.
>
> not bat?

        They don't even look like a bat, so of course they're "not bat".
More like a surfboard than a bat if you ask me.

        Someone was talking about whether you can still get new
Wavestations. I bought one this morning for $1850 (Australian.
$1 = US$0.71 or UK 44 pence). That and a Tascam 464 multitrack 8-).


           Bull@vaxc.cc.monash.edu.au  OR  bull@monu1.cc.monash.oz
                    DOD# 251  '84 VF 750   Closet Ducatisto
             Disclaimer. If you love your llama, let it lambada.
Newsgroups: rec.music.synth
From: glennd@pioneer.arc.nasa.gov (Glenn Deardorff)
Subject: Re: "Ethnic" Samples vs. Proteus 3
Organization: NASA Ames Research Center
Date: Mon, 28 Sep 92 21:41:47 GMT

In article <NICK.92Sep25122948@vaila.ed.ac.uk>, nick@dcs.ed.ac.uk (Nick Rothwell) writes:
|> In article <1992Sep24.174932.21909@cmcl2.nyu.edu> galanter@nyu.edu (Philip Galanter) writes:
|> 
|>    I share your concerns about cultural vampires, but its not as if 
|>    western music is any easier to put into digital bottles...and yet folks  
|>    have found good uses for samplers and sample players applied to western  
|>    "first world" forms.
|> 
|> Sure. That's why I have nothing against the Proteus3 as a
|> (potentially) interesting instrument in its own right. What I have a
|> problem with is the "we need a didgeridoo and some Tibetan chanting...
|> no problem, the Proteus3 has them." attitude that the original message
|> seemed to carry.
|> 


Well, in case there's still a doubt, this not at all the attitude I meant to
convey. In fact, the whole purpose of my (simple, I thought) query was to find
out what people thought of their Protei, and if it were easy to obtain third
world samples for samplers, which I know would be much more flexible.  By the
statement "I know the Proteus 3 can do all this", I didn't mean "I know the
Proteus 3 can easily sound like any ethnic instrument with convincing realism",
but rather "I know the Proteus 3 is supposed to address some of these (ethnic
sound) concerns".  Perhaps I should have been more careful in my wording.

And it is NOT the case that "we need a didgeridoo and ...", as if I intend to
unleash a commercial bastardization of ancient music on an unsuspecting,
gullible populace.  Rather, "I desire" access to these types of sounds as grist
for a synthesis mill for my own pleasures, through (hopefully) a suite of
"distancing tools" - not to say that I wouldn't ever use ethnic percussion, or
other sounds, basically unchanged.  Ethnomusicologically correct music,
interesting as it is, is not my goal per se.

On a related note, for those interested in hearing excellent use of Gyoto monk
samples (sampled by the artist personally from his monk friends) mixed with
synthesizers (notably the TG77), check out David Parson's new release, Djor
Ling.  His music takes me to the heart of the Himalayas.

- Glenn
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Newsgroups: rec.music.synth
Subject: Re: MIDI Driver Chips
Date: 29 Sep 1992 17:53:17 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

David Mann (ddm@hamby.tx.ncsu.edu) wrote:
: Does anyone know of a MIDI driver chip or interface device 
: where I could control a
: bunch of LED's, switches, relays (64 would be nice) using a midi
: controller.

At the moment I am using a couple of single chip computers to do just
this (for my legendary midi-controlled harmonium). 

I believe there is a chip from maplin to code/decode midi, but more than
that no. I can give the spec's and eprom code when I've finished,
though.


Newsgroups: rec.music.synth
From: cwilson@void.ncsa.uiuc.edu (Chris Wilson)
Subject: Re: 8bit vs 16bit?
Organization: Nat'l Center for Supercomputing Applications
Date: Mon, 5 Oct 1992 01:36:23 GMT

D_NIBBY@UNHH.UNH.EDU (Dana   Nibby) asks:
> Can anyone tell me what the difference is in sound quality between 8bit
>and 16bit? I understand about sampling rate, and that if the rate is too low,
>aliasing/clipping occurs. I've asked this question before and gotten no respon.
> ...
>Can a comparison even be made here? Can *someone* out there help me
>understand the difference between 8-bit sound and 16-bit sound? Is 8-bit
>sound 'fuzzy', etc. etc.

andrews@sp2.csrd.uiuc.edu (John Andrews) answers:
>2)  The ESQ-1 has noticable grunge in the sound.  I think this is quantization
>    noise.  A waveform can take on only one of 256 possible values at a given
>    time.  Thus, rounding or truncation of the original precision in the
>    analog waveform must occur.
>
>A high quality LP played with a good cartridge has much more than 48 dB of
>dynamic range.

Basically,  that's a lot of it...  the less the resolution in terms of bit
depth,  the more quantization error you'll get.  This usually translates to
noise floor and dynamic range.

I've heard that 8-bit digital audio has about the sound quality of a standard
cassette tape.

>John Andrews (andrews@csrd.uiuc.edu) "He who dies with the shortest .sig, wins"
>Graduate Research Assistant, Center for Supercomputing R&D, Urbana, IL

-Chris Wilson
 I win.

Newsgroups: rec.music.synth
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Subject: Re: Synth timbres alone (was Re: I don't think any of us are belittling)
Organization: Digital Equipment Corporation
Date: Wed, 7 Oct 1992 04:20:51 GMT


In article <1992Oct6.203503.7905@netcom.com>, metlay@netcom.com (metlay) writes...
>machines are evolving too fast and people can't learn to use them before
>they're out of date. It's easy to say that unlike a computer, a musical
>instrument should never get too old to be useful in day-to-day practical
>affairs, but very few synthesists can accept that idea sitting down.
>The joy of synthesis is the creation of new sound with new technology.
>How, then, can one be contented with OLD new technology?

When the old technology hasn't been improved-upon.  I suspect that many of us
have pieces of gear which are simply the best available instrument of a given
class, where the class may be obsolete, but the replacements available are not
nearly adequate.  Often, a new technology can emulate the middle-of-the-road
of an older technology, but it takes a long time to obsolete the pinnacles of a
given technology, and often important features are ignored in the rush to the
next thing.  Between the MiniMoog and the Roland JD-800 there were many years
when you couldn't buy a new synth with knobs.  For playing Holiday Inns, a DX-7
was a great replacement for the then-standard Hammond, Rhodes, and Mini (or Arp
Oddessey), but it did not actually make them obsolete--each of those examples
cannot be sonically replaced with today's technology, at least not in an
instrument that you can go out and buy.  

I expect that most of us who have been at this for a while have an instrument
or two that are "keepers."

Eirikur

Eirikur Hallgrimsson   |    "Rhodes?  Where we're going, we don't need Rhodes!"
eh@ranger.enet.dec.com |
PATHWORKS for Macintosh|

Newsgroups: rec.music.synth
From: nsw@cbnewsm.cb.att.com (Neil Weinstock)
Subject: Re: Keyboard feel (was: Re: CZ101 for sale)
Organization: The Flying Squid Patrol
Date: Thu, 1 Oct 1992 20:10:43 GMT

In article <1992Sep29.171057.15321@nntpd.lkg.dec.com> eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson) writes:
[ ... ]
>One weird thing that I have noticed about keyboards is that the velocity curve
>on the sound that you are listening to influences how the keyboard feels. This
>mapping must be pretty subjective: the only instruments that really feel right
>to me playing the factory patches are the CZ-1 and the Chroma.

I recall something from Keyboard years ago (maybe around '85-'86) where someone
was using a TX-816 to simulate a piano.  Certain modules were dedicated to
the string sound, while others simulated the clunking sound of the action.
They found that by altering the volume of the clunking, they could get
the keyboard to "feel" different.

Which only goes to prove one thing, and I don't know what it is...

                                - Neil

--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--
Neil Weinstock @ AT&T Bell Labs         //     What was sliced bread
att!edsel!nsw or nsw@garage.att.com   \X/    the greatest thing since?
Newsgroups: rec.music.synth
From: valaris@swifty.dap.CSIRO.AU (Andrew Valaris)
Subject: IBM Sequencer
Organization: CSIRO, Division of Applied Physics, Sydney
Date: Thu, 1 Oct 1992 23:29:42 GMT

Thanks to all who replied to me with regards to MIDI interfaces and 8-bit
busses. Now that I have resolved that problem, I tackel the next one.

I'm looking for a sequencer for my IBM XT comp. ( IBM JX to be specific)
I don't need or want anything fancy :

	16 track ( 8 at LEAST )
	Decent event editing
	Cut/copy/paste features
	decent MIDI controllers implementation
	and whatever have you.....

I'm currently using a YAMAHA QX5FD, so anything with similar functions will do.
Something not too pricey.

Please e-mail response where possible.

Thanks,

Andrew

Newsgroups: rec.music.synth
From: Randomizer@cup.portal.com (Aron Fingers Nelson)
Newsgroups: rec.music.synth
Subject: Re: U-20/U-220 patch editors...hmmmmm.
Date: Thu,  1 Oct 92 23:50:12 PDT
Organization: The Portal System (TM)
Distribution: world

>IMPOSSIBLE!  The U-20 is basically a sample-player.  But it is a special
kind of sample player that plays RS-PCM type samples.  A PATCH editor would
have to convert audio samples into Roland's RS-PCM proprietary format,

Terminology conflict:

Roland call these PCMs original tones.
A PATCH is what you are calling "performance" parameters.
A TIMBRE contains the envelope/pitch parameters and references a tone.

So a PATCH editor exists because the U-220 refers to PATCHES as a collection
of parameters which reference TIMBRES to channels etc...
You are correct in saying that there is no program available to edit
the PCM samples or original tones.
Aron_Nelson@cup.portal.com
From: david@roth-music.com (David A. Roth)
Newsgroups: rec.music.synth
Subject: Re: MIDI Songs.....
Date: Mon, 5 Oct 92 00:40:21 EST
Organization: DAVID A. ROTH MUSIC
Reply-To: david@roth-music.com (David A. Roth)
X-Mailer: uAccess - Macintosh Release: 1.5v4


In article <1992Oct3.120324.16297@comp.lancs.ac.uk> (rec.music.synth), davei@comp.lancs.ac.uk (Mr D Ingles) writes:
> 
> In article <1ahttiINNb8t@usenet.INS.CWRU.Edu> be726@cleveland.Freenet.Edu (Joseph A. Ellis Jr.) writes:
> 
> OK, how about this.  How can anyone tell if a composition is yours, or
> if it has been copied off someone else ? 
> 
> If we think about it for a moment, there are very few notes in a musical
> scale.  Also, anybody who has studied music, will probably notice that

What many people fail to understand is that risking a law suit is
pretty stupid and can cost you a lot.  In order to argue your point
it would have to be in a court room only after you spend bucks on
your attorney.  Besides reading the copyright law which I just posted
about how easy it is and how to get it...it's just plain stupid to
play cat and mouse games with copyright infringement.  Even if found
not gulity by the court you still have a lot of costs.  It's been
said that we have the finest legal system in this country for those
who can afford it.
Newsgroups: rec.music.synth
From: cassiel@cassiel.demon.co.uk (Nick Rothwell)
Subject: Re: Question:  Powerbooks and MIDI
Date: Wed, 30 Sep 1992 21:38:33 +0000

>I'm pissed off that my cool new PB 170
>is useless for receiving SysEx.  But I don't feel compelled to accuse Apple
>of lying.  It just hasn't been my experience.  Maybe it has been yours.

Read the letter in the September issue of KEYBOARD. It's fiction.

Oh: OMS 1.2 should sort out your PB170 for input on the modem port.

>The PB100's DO NOT have a problem with MIDI.  However, they
>do only have one externally accessible serial port, no?

Correct. The PB100 is fine for MIDI - just. It can't handle serial comms at
higher than MIDI speeds.

>> HA! Opcode implemented the "inaccurate" version of TN318 and produced a
>> patch to OMS that rendered the 140 and 170 completely MIDI-friendly! So
>> Apple doesn't even know when they've gotten it RIGHT, the morons!

Actually, Doug Wyatt implemented some code to patch the floppy driver as
well.

>When I called OpCode to ask about their rumored PowerBook friendly OMS
>patch, they said that it was currently in Beta and that it did NOT use the
>technique outlined in TN318.  Perhaps they were lying.  :-)

According to the OMS 1.2b10 release notes, they've implemented PollProc.
Hmm. Maybe they took it out again...

                        Nick Rothwell  |  "Say, how many contemporary
dancers
     CASSIEL Contemporary Music/Dance  |     are there in this bar?"
          cassiel@cassiel.demon.co.uk  |  "Dunno; count the Dr. Martens
          cassiel@cix.compulink.co.uk  |     and divide by two..."
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: General <Duh> MIDI Poll (was Re: GM Good for Music)
Date: 28 Sep 92 18:06:00 GMT


Hey.. You pegged me.. Arf

John
Xref: sparky rec.music.synth:16020 comp.music:4664 alt.emusic:314
From: danfuzz@wastelands.kaleida.com (Dan Bornstein)
Newsgroups: rec.music.synth,comp.music,alt.emusic
Subject: Lounge Lizard Night / Downtown Mountain View
Date: 5 Oct 92 18:30:32 GMT
Organization: Kaleida Labs, Inc.

Attention ICMC Participants (and anyone in the Silly Valley area on Oct 13):
          ^
          International Computer Music Conference

The conference is at San Jose State from Oct 14 to the 18th, and in
gala celebration of its opening, Fred Malouf is staging an evening of
"improvisation... with technology" at Alberto's (a bar/dance club sort
of place) on the night of Tuesday, Oct 13. Music starts oozing at 9 and
should last till the wee hours. Come on down for a night of *FREE*
entertainment.

Performers include:
  Chris Chafe (celletto)
  Stanley Jungleib (keyboards)
  Fred Malouf (guitar, synths, CPU)
  Emily Bezar (voice, keyboard)
  Dan Oppenheim (keyboard, computronic)
  Barry Hall (zetaviolin)
  Andy Schloss (Max Drum) (maybe)
  Greg Powers (ivory...uh...plastic)
  Joe Catalano (more keys)
  Wendy Burch (larynx, vocal tract)

Alberto's is located at 736 West Dana St. in downtown Mountain View, one
block off of Castro St. Take the Moffet Blvd (*not* Moffet AFB) exit off
of 101. Left on Dana. It's halfway down the block on the left. See ya
there!
From: williams@ab.wvnet.edu (Tom Williams)
Newsgroups: rec.music.synth
Subject: CZ versus DX??? (was: CZ101 for sale)
Date: 28 Sep 92 02:15:58 GMT
 <1992Sep26.074013.15087@vax5.cit.cornell.edu> <1686E13210.EIVERSO@cms.cc.wayne.edu>
Organization: Alderson-Broaddus College

In EIVERSO@cms.cc.wayne.edu writes:
>  
>>The possible sounds are great, and it's a hell of a lot better deal than
>>paying $500 for a DX-7!!!!!
>  
> Agreed.
>  

          Disagreed.  This is a case of bicycles versus cars.  If all
          you need is a bike, and you never carry anything, and it
          doesn't rain... sorry -- I fell into the analogy.  

          Here's my point: If you want four voice polytimbrality and
          four-voice polyphony, and you *don't* need any type of
          expressive control whatsoever, by all means get the CZ-101. 
          They are incredible within those parameters. 

          If, on the other hand, you need something that can be played
          (using your hands) in a live performance, has velocity and
          aftertouch response, can use a damper pedal, accepts
          voltage-control for volume or controller, does *NOT* need
          polytimbral response, and can be used by itself (without
          needing a band around) for live accompaniment ala a piano,
          choose the DX-7.

          The reason the DX-7 is still going for about $500 is that
          there are few, if any, velocity- and pressure-sensitive
          synths going for any less, of any vintage.

-- 

                                                -Tom Williams
Newsgroups: rec.music.synth