HDTenEightyP/NetNews huggingface dataset:
From: boris@athena.eng.hou.compaq.com (Boris Litinsky)
Subject: Ear Training Programs
Organization: Compaq Computer Corp.
Distribution: usa
Date: Mon, 4 Jan 1993 20:34:50 GMT

Has anyone used Ibis Software "Play It By Ear" program or a similar
interactive computer ear-training program? I am looking for comments on its
effectiveness and usability.


--
| Boris Litinsky	          "I came to the woods to live deliberately,  |
| ASIC Design Engineer 	          "so that when it came time to die, I did    |
| boris@athena.eng.hou.compaq.com "not learn that I have not lived." -Thoreau |
| "The views expressed here are my own, and not those of my employer."	      |
From: lm011@rrz.Uni-Koeln.DE (Alexander Tuchacek)
Newsgroups: comp.music
Subject: VRship Hamburg: Participate
Date: 11 Jan 1993 11:56:06 GMT
Organization: Regional Computing Center, University of Cologne
Distribution: world
NNTP-Posting-Host: rs1.rrz.uni-koeln.de
Keywords: Send Sounds


Call for international participation in new art/science project.
KNOWBOTIC RESEARCH
Simulation Room -Mosaic of Mobile Sound Data
Hamburg, 5.2 - 20.2.93
We are a group of artists and scientists at the Academy of Media
Arts Cologne,  and will be showing a VR installation in February at
the MEDIALE93 - Festival for Media Arts and Media Future - in
Hamburg, Germany. The installation, housed in the freight ship Cap
San Diego in Hamburg - harbour, has three main areas.
Section one is a sophisticated, walk - in data - base  utilising a
collection of sound samples from around the world, which will be
used to produce a virtual 'sound room'.  The sound data will
correspond to the second section,  a physical room, where visitors
will be able to navigate through the space with the aid of a mobile
ultrasonic sensor and an artificial eye display and activate the data 
to a realtime-concert.
The action of the visitors, within  this 'virtual organism,' will be
displayedon a video screen shown in a control room area (the third
area).
We welcome your participation for the international sound - data -
base: To participate in this international project we need from you a
6 second long sound sample, a cultural statement, reflecting
your personal attitude towards the "world". Please send this via
email or ftp. (aiff, wave, next formats)
All participants and institutions will be credited in a publicly
displayed database during the exhibition.
For more information by email from: kr+cf@khm.uni-koeln.de
Thank you for your support - KNOWBOTIC RESEARCH
From: mtressle@bsu-cs.bsu.edu ( Eat Me.)
Newsgroups: comp.music
Subject: Re: What's going on here (SB Pro & Windows)?
Date: 7 Jan 93 04:04:42 GMT
Organization: CS Dept, Ball St U, Muncie, Indiana

bill@cv.hp.com (Bill Frolik) writes:
> What's going on here: I've got an SB Pro in a 25 MHz 386 with 16 Mb of
> RAM, and have been playing around with a few Windows programs that work
> with MIDI files.  On more than several occasions I've run into the
> following problem: Load a MIDI file into Microsoft's Media Player (the
> thing that comes with Windows 3.1) 


	That's probably you're problem. I've found that most thing's that come 
with Windows are complete Junk. I was using the Windows Midi driver thing 
along with the one that came with Cakewalk, and NOTHING worked. So I asked
a friend and he said: Lose the WIndows Midi, it's a waste. I do, and have had
NO problmes. I've even downloaded in the background while composing.

	This may not fix your problem specifically, but I suggest that if 
you're partially serious about midi under windows, go out and buy a real 
program for under windows (I thoroughly suggest Cakewalk for Windows).

> _________________________________________________
>                                                        
> Bill Frolik                   Hewlett-Packard Co. 
> bill@hpcvlx.cv.hp.com         1010 NE Circle Blvd 
> (503) 750-4082                Corvallis, OR 97330  



mike
mtressle@bsu-cs.bsu.edu
mtressle@lovelace.bsu.edu
00MBTRESSLER@leo.bsuvc.bsu.edu

_I_ want a piece of MEAT!
Newsgroups: comp.music
From: xrjdm@twinpeaks.gsfc.nasa.gov (Joseph D. McMahon)
Subject: Re: Any MAC-MIDI Source Code????
Organization: NASA/GSFC NCCS
Date: Mon, 11 Jan 1993 16:41:52 GMT
Reply-To: xrjdm@calvin.gsfc.nasa.gov 
X-Posted-From: twinpeaks.gsfc.nasa.gov
NNTP-Posting-Host: sol.ctr.columbia.edu

In article <19488@mindlink.bc.ca>, Hugo_Jackson@mindlink.bc.ca (Hugo Jackson) writes:
> Hoping that somewhere out there (FTP or otherwise) there is some code already
> written for MAC MIDI.
> 
> Mainly looking for the "preferred" method of driving the serial port.
> 
> Can anyone help?
FTP to castrovalva.gsfc.nasa.gov and get MIDIManagerEtc.cpt. This is a THINK C
set of routines which interface to the MIDI Manager, written by Nick Rothwell.
(128.183.33.197 for the nameserver-challenged.)
-- 
                  Joe McMahon | Take me out to the ball game
                  P.O. Box 13 | Take me ... out to the park
            Lothian, MD 20711 | Take me to ... the movies, 'cause
xrjdm@twinpeaks.gsfc.nasa.gov | I love to ... sit in the dark
Newsgroups: comp.music,rec.music.synth,comp.sys.ibm.pc.hardware
From: sonny@charybdis.harris-atd.com (Bob Davis)
Subject: What Determines Boot-up Video Mode?
Date: Tue, 5 Jan 1993 23:18:43 GMT
Distribution: usa
Reply-To: sonny@trantor.harris-atd.com (Bob Davis)
Organization: Advanced Technology Dept., Harris ESS, Melbourne, FL

	I have a single frequency monitor which needs a 60 Hz
vertical sync frequency. During boot up my computer evidently
uses a 70 Hz vert. freq. so the monitor rolls vertically during
this period. This continues until I can load a driver in CONFIG.SYS
to change the video mode, or until a mode-changing utility can be
invoked in AUTOEXEC.BAT.

	Is there any way I can force a given video mode during
the boot-up phase? Where is the video mode set during the initial
boot? Is some standard mode always used? If so, what mode is it?

	Thanks.

_____________________________________________________________________________
Bob Davis, UofALA alum \\ INTERNET: sonny@trantor.harris-atd.com  |  _   _  |
Harris Corporation, ESS \\    UUCP: ...!uunet!x102a!trantor!sonny |_| |_| | |
Advanced Technology Dept.\\ AETHER: K4VNO          |==============|_/\/\/\|_|
PO Box 37, MS 16/1912     \\ VOICE: (407) 727-5886 | I SPEAK ONLY | |_| |_| |
Melbourne, FL 32902 USA    \\  FAX: (407) 729-3363 | FOR MYSELF.  |_________|

Newsgroups: comp.music
From: thomasd@tps.COM (Thomas W. Day)
Subject: FOR SALE: CMI 401 card
Organization: TPS
Date: Tue, 5 Jan 1993 16:05:12 GMT

FOR SALE: CMI 401 PC-MIDI card with extra long cables on output/input 
connectors (including the click track output).  $50 obo

Reply to my E-Mail box or call 303-699-6479
From: millerje@CS.ColoState.EDU (Jeff Miller)
Subject: Re: MIDI cards
Date: Tue, 05 Jan 1993 22:46:36 GMT
Distribution: usa
Organization: Colorado State University, Computer Science Department

The best advice I can give you would be to go for a MPU401 
compatible.  This way you won't be limited when it comes to support (many
shareware/freeware MIDI sw supports nly the MPU 401 standard)

-- 
 _____________________________________________________________________________
|                                                                             |
| "Nuke the unborn gay whales!" |  millerje@cs.colostate.edu  |  Jeff Miller  |
|_____________________________________________________________________________|
Newsgroups: comp.music
From: iani@ai.rcast.u-tokyo.ac.jp (Zannos Iannis)
Subject: Re: ___ Envelope, envelope ___
Organization: RCAST, Univ. of Tokyo, Japan
Date: Fri, 8 Jan 1993 06:48:57 GMT



>Yet an other question, about dynamic variation of a sound.
>I'd like to know how are named the diferent phases of the envelope
>of a sound (or a wave in general). 

Envelopes are usually realized by approximating a curve with a
"piecewise linear function", which just means that the curve is made
to fit to a line made up of straight line segments.  This is sometimes
called a break-point-envelope, and can theoretically contain any
number of segments.  The number of segments implemented in the
hardware of a synthesizer is limited, and depends on the model, as
well as on the function of the envelope.  For example, the Proteus
Alternate Volume Envelope has 5 stages (segments): Attack, Hold,
Decay, Sustain and Release.  The shape produced is usually something
like this:

     ______
    /      \
   /        \
  /          \______
 /                  \
/                    \
 A     H   D    S   R    

Iannis.
From: pan@pannet.UUCP (The PAN Network)
Newsgroups: comp.music
Subject: RE: BETA-USERS wanted for new Music Nota 
Date: Mon, 4 Jan 93 00:50:51 EDT
Organization: The PAN Network
Reply-To: midigod@pan.com



I'd love to Beta for you. Give me an E-mail. Send to MIDIGOD via Pan. Also,
crippleware could be considered shareware, but most programmers are opting to
not do crippled stuff. They'd rather trust the end user. When I have your
address or phone we can talk more. Craig
From: whitcomb@aurs01.uucp (Jonathan Whitcomb)
Newsgroups: comp.music
Subject: Mac MIDI Problems
Date: 7 Jan 93 20:14:39 GMT
Distribution: world
Organization: Alcatel Network Systems, Raleigh NC

The current issue of Electronic Musician reports that the new Mac
Performa 600 and Mac IIvx have a problem with MIDI due to an operating
system change with regard to the serial ports.  Has anyone had any
experience with this, or has a solution been found?
*********************************************************************
*Jonathan Whitcomb, Alcatel Network Systems, Raleigh, North Carolina*
*  UUCP:  whitcomb%aurfs1.aur.alcatel.com@rockdal.aud.alcatel.com   *
*                        GEnie: J.WHITCOMB3                         *
*********************************************************************
Newsgroups: comp.music
From: mlec@bnr.ca (Marc Leclair)
Subject: Re: How to Xfer GP-16 Patches with MIDI
Reply-To: mlec@bnr.ca (Marc Leclair)
Organization: Bell-Northern Research Ltd.
Date: Fri, 8 Jan 93 13:46:37 GMT

frankc@tgf.tc.faa.gov (Frank Coffman) writes:

>A sequencer or librarian program capable of SYSEX up/downloading for
>transfering data.  Editing could be done crudely with a hex editor.
>GP-16 Editor programs are available commercially & shareware, I believe.
                                                    ^^^^^^^^^ 
Thanks Frank !!
Your comments will come in handy.


But first another question.

1) Can anyone tell me where I could start looking for a GP-16 
   shareware Editor? (some ftp site somewhere?)  

2) How easy would it be to write my own editor?
  
Thanks !

Marc Leclair

Newsgroups: comp.music
From: yy@cbnews.cb.att.com (alan.j.lapenn)
Subject: PCM68 PAIA midi pc interface 
Organization: AT&T
Distribution: na
Date: Mon, 4 Jan 1993 13:46:59 GMT

I have a PAIA midi interface for the IBM PC. Does anyone have a driver that
will work with this device under windows? Or does anyone have any driver
interface code that I can use as a template to construct a driver with?

Thanks,
-- 
Alan LaPenn      att!mvuxd!yy          .signature not found!
Newsgroups: comp.music,rec.music.synth,comp.sys.ibm.pc.hardware
From: tom@castlab.uucp (Tom Wuttke)
Subject: Looking for used or good deal on a new Wavestation
Organization: U of Wisconsin-Madison College of Engineering
Date: 5 Jan 93 19:07:04 CST

I would prefer the KORG Wavestation SR, but if anyone is selling or
knows of where to get a good deal on any wavestation, please let
me know.

- Tom
From: pan@pannet.UUCP (The PAN Network)
Newsgroups: comp.music
Subject: RE: OCR Music software 
Date: Mon, 4 Jan 93 00:50:57 EDT
Organization: The PAN Network
Reply-To: midigod@pan.com



Yes. PME, my company, is working on a Patent-Applied-For technique for sheet
music OCR recognition. I assure you that we will post as soon as it is
available.
From: james@astro.as.utexas.edu (James McCartney)
Newsgroups: comp.music
Subject: Re: just-tuned synth
Date: 10 Jan 93 04:43:15 GMT
Organization: McDonald Observatory, University of Texas @ Austin

In article <IANI.93Jan8153451@hyou.ai.rcast.u-tokyo.ac.jp> iani@ai.rcast.u-tokyo.ac.jp (Zannos Iannis) writes:

>>I'm using MAX and a K2000. I had tried using poly key pressure as a pitch

>Well, it seems we have the same experience on that - its not just for
>the Korg that poly pressure doesn't work well, but for other synths as
>well. 

   The K2000 is a Kurzweil, not Korg by the way.

>72 is the number chosen in modern Greek Music Theory because it
>divides the tone into 12, so you can use 1/2, 1/3 and 1/4 of the tone.
>I am not sure of its fitting into just tuning requirements though
>(pure fifths thirds, sevenths).  Pure fifths and thirds are well
>attained by the 53 division; pure fifths, thirds and sevenths by 171.

   Well it all depends how pure you are willing to accept. Here are
a table of som just intervals and their 72 equal representation with
errors given:

ratio	cents		72 equal	error
5/4	386.31		383.33		-2.98
3/2	702.00		700.00		-2.00
7/4	968.83		966.67		-2.16
11/8	551.32		550.00		-1.32

6/5	315.64		316.67		+1.03
7/6	266.87		266.67		-0.20
7/5	582.51		583.33		+0.82

   These are good enough for my purposes. If one wants to be a purist
about using just intonation, then you have to give up all vibrato, tremolo,
chorusing since they reduce the effect. I use nearly just intervals
to lend resonance, and they are quite good enough to fuse harmonically.
a dominant ninth chord of 1/1 5/4 3/2 7/4 9/8 is a very strongly fused
resonance in 72 equal.


>42 is also interesting: Ekrem Karadeniz used 41 tones in his work on
>Turkish Music (have to check the number).  Does Ellen Fullman obtain
>them from stacking 42 pure fifths/fourths?

  She and I came up with the 42 note tuning when she came to a point
where she was dissatisfied with her then current string layout. She had 
been using a set of strings tuned to Partch's 43 tones. It is now tuned
to a different set of 42 just pitches in an 11 limit. The strings are
set in six groups of seven related strings. 

   --- james mccartney
Newsgroups: comp.music
From: cassiel@cassiel.demon.co.uk (Nick Rothwell)
X-Sender:  (Unverified)
Subject: Re: Any MAC-MIDI Source Code????
Date: Tue, 12 Jan 1993 18:29:09 +0000

>Mainly looking for the "preferred" method of driving the serial port.

Preference is a personal thing.

Check out my MIDI Manager interfacing code on the EMUSIC-L FTP server (I
think it's castrovalva.gsfc.nasa.gov). Even if you insist on despising MIDI
Manager and/or Apple's support (HAH!) for it, it does allow you to
interface to Opcode's OMS, which is superb. These days I consider MIDI
Manager to be an OMS extension.

                      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: archer@elysium.esd.sgi.com (Archer Sully)
Newsgroups: comp.music
Subject: Re: Sampling laws? Re: Casey Kasem wrote and boy is he pissed...
Date: 12 Jan 93 22:09:24 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA

In <16B54D280.EIVERSO@cms.cc.wayne.edu> EIVERSO@cms.cc.wayne.edu writes:

*Let's suppose I lift Clint Eastwood's voice from
*Dirty Harry where he says "Well do ya, punk?"--is that legal?

No.  It is not.  The sounds and images of a movie are protected by
copyright, and you may not use any part of it without permission.

*I would be inclined to think I can do that without fear of litigation
*because Dirty Harry is not a song--I am not stealing a melody from
*someone's song, rather I'm just adapting a piece of popular culture
*much in the way a photographer captures the world around him.
* 

The difference is that a movie is protected by copyright, while the
exterior of a building, for instance, is not.

*Certainly sampling a small section of non-musical sound would be
*less infringing on copyright than say, making a silkscreen of a Campbell's
*Soup can. Right? Andy Warhol was sued for doing the same but he won
*the suit.
* 

I don't know the details of it, but perhaps the court ruled that Campbell's
didn't protect their copyrights and trademarks.

It also depends on the source of the non-musical sound.  Bob Ostertag, 
for instance, goes to many interesting places with a tape recorder sampling
all sorts of things, and turns them into very interesting music (IMHO).

*There is an
*intrinsic quality to Clint's voice that makes it preferable to imitating
*him. However if I did imitate him (or found someone who does it well)
*then I would be free of any fear of legal prosecution. After all, the
*phrase "Well do ya, punk?" itself certainly can't be copyrighted. Right?
* 

You have just stated why it is not legal to sample from movies.  You are
taking advantage of an actor's performance without compensation to the 
holder of the copyright on the performance.  Note that this is almost 
never the actor in question!

*By sampling him, what am I stealing? The sound recording itself?

You are stealing part of a copyright work.

*If that is the case, then I wonder if the sound of the whistling
*wind is copyrightable--provided it was wind noise that appears in a
*copyrighted motion picture, of course.
* 

This is a very interesting point.  Parts of work may not qualify for 
copyright protection without nullifying the claim for the work as a whole.

* 
*I wonder if sampling has ever played the role of free advertising, and
*led to increased sales of the sampled source material.
* 

It probably worked well for Rick James.  Of course, Hammer paid him for
the use of "Superfreak."

*I'd really appreciate some hard facts on the legal issues involved
*with sampling (everyone is an armchair lawyer), or if someone can
*give me pointers to sources for the info.

Sorry, you won't get those from me!


                    Archer Sully      archer@sgi.com

        You are a good man, but you are in the wrong place and
        you are going to die a horrible death.
                        - A Chinese Ghost Story
Newsgroups: comp.music
From: stefan@sinus.stgt.sub.org (Stefan Bechtold)
Subject: Any programs for Atari & Yamaha SY 77
Organization: Sinus Stuttgart, Germany
Date: Mon, 4 Jan 1993 23:28:39 GMT

Are there any programs for an Atari computer and a Yamaha SY77 synthe-
sizer existing ? If so , could you please give a ftp-address,etc. ?

Thank you very much,
Stefan
-- 
+ Stefan Bechtold # stefanb@delos.stgt.sub.org # Voice +49 711 813240 +
++++++++sed nemo potuit tangere: merda fuit ! (Martial III 17)+++++++++

Newsgroups: comp.music
From: steve@endgame.gsfc.nasa.gov (Steve Rezsutek)
Subject: Re: just-tuned synth
Organization: NASA Goddard Space Flight Center; Greenbelt, MD
	<2004@heurikon.heurikon.com>
Date: Mon, 11 Jan 1993 15:17:54 GMT

In article <2004@heurikon.heurikon.com> gtaylor@vme.heurikon.com (Gregory Taylor) writes:

   One poster asked about a quick and easy source of information about
   tunings. I'd normally tend to recommend Harry Partch's "The Genesis 
   of a Music", but the polemics in the book might get a little thick for
   newbies. 

IMHO, they become more tiresome than anything else, but it's still worthy
of being owned by anyone playing around it these waters.

One might also check out Herman Helmholtz's "On the Perception of Tone"
[I hope I got that right. :-)].  The translator [Ellis?] has added a 
wealth of information, tables, etc to the book in the appendixes, and 
it makes a nice compliment to Partch. My edition was put out by Dover 
books, and was not at all expensive (a rare treat in books these days).

Steve

---
Steven Rezsutek					steve@endgame.gsfc.nasa.gov
Nyma / NASA Goddard Space Flight Center, 
Greenbelt MD 					301 286 7014
Newsgroups: comp.music
From: tapas@esri.com (Tapas Das)
Subject: Re: MIDI hardware suggestions
Organization: Environmental Systems Research Institute
Date: Fri, 8 Jan 1993 21:56:03 GMT


In article
<ibhan.726520822@husc.harvard.edu> Ishir Bhan writes:

>Right now, I have a Korg Wavestation EX hooked up to my Mac, but I'm
looking to expand my setup.  There are two main things that I want: new
synthy sounds, non-emulative, with the analog richness.  Something with
portamento.  Also, a wide range of drum sounds, especially "big" sounds
with lots of reverb, but others as well.  I like artificial sounding
drums, but it's most important that I have realistic sounds.  I also don't
want to spend too much (definately under $1000 - close to $500 if
possible).  Anyone have any suggestions?
>

I have a good suggestion.  Go buy the Korg O1/W.

I could have suggested the EMU Proteus 1/2, or the Yamaha TG77, or
the Roland JV880 but I wont.  Simply because you already have 
the Korg WS EX.  

You owe it to yourself to own the Korg 01/W.  This unit will make a terrific 
compliment to your Wavestation.

The Wavestations' strong point lies in generating dynamically changing
textures that evolve and rotate with time as you hold a note, asides
from its incredible programming power.  This power of producing
changing waveforms make the WS sounds so interesting and unique and
sets is apart from the rest of the pack.  Also this unit like
all typical Korg products is extremely quit and the internal effects
are squeaky clean.

Only a Korg 01/W will be able to compliment your setup.  Sorry, even
the older M1 or T series will not help.  I say this from personal
experience.  After buying the WS EX, I had to basically upgrade
all my MIDI gear.  I sold the old M1 and got the O1/W FD.
Street prices on an O1/W is around $1400.  I am afraid I dont
think you will find anything suitable under $1000 to go with the WS.

The O1/W has some of the best samples of all current keyboards.
They sound specially great when you layer them over WS sounds.
The O1/W samples provide the depth, while the WS sounds give the
ever changing characteristics. 

The two internal effects processor on the O1/W sound even better 
than those on the WS.  You also have a hugh library of preprogrammed
sounds from third party programmers.   

I checked out all the current models before buying the O1/W FD.
I am confident I chose the right partner for my WS.

Try layering the 'Screamer' patch on your WS with the 'Lead Stab 1'
patch on an O1/W. Even your guitarist buddy will appreciate this!

You can try some other exotic layerings as well
 
             WaveStation Performance    O1/W Program
             =======================    =================
             Bowed Strings              String Pad
             Rain Cheffs                Gospel Organ
             New Sparkle                CX-3
             Octave Strings             Bow Bow Bass
             

The possibilities are endless.
The O1/W has a rich palette of nonemulative synth sounds *and* 
realistic deep fat analog sounds.  The drum sounds are pretty wild.
Let me know if you want to know more about the O1/W.

Good Luck!

Tapas Das
tdas@esri.com

Newsgroups: comp.music
From: rose@iear.arts.rpi.edu (Mike Rose)
Subject: Re: MIDI on the IIvx (was: MIDI Interface & Powerbook 100)
Organization: Rensselaer Polytechnic Institute, Troy, NY
Date: Wed, 6 Jan 1993 22:37:20 GMT


   Yes, the Mac IIvx is MIDI-crippled.  There was a sidebar in a recent
MacWeek which stated the IIvx will screw up MIDI timings like the
Powerbooks, although the reason for it is different.  Apple, of course,
does not seem to really be concerned.  I would imagine, though, that
Opcode will eventually include a fix for this just like there is a fix for
the Powerbook MIDI problems in the new OMS 1.2.

mike rose
Studio Engineer, iEAR Studios
Rensselaer Polytechnic Institute
rose@iear.arts.rpi.edu
Newsgroups: comp.music,rec.music.synth
From: boris@athena.eng.hou.compaq.com (Boris Litinsky)
Subject: Play It By Ear
Organization: Compaq Computer Corp.
Distribution: usa
Date: Mon, 4 Jan 1993 19:24:21 GMT


Has anyone used Ibis Software "Play It By Ear" program or a similar
interactive computer ear-training program? I am looking for comments on its
effectiveness and usability. 



--
| Boris Litinsky	          "I came to the woods to live deliberately,  |
| ASIC Design Engineer 	          "so that when it came time to die, I did    |
| boris@athena.eng.hou.compaq.com "not learn that I have not lived." -Thoreau |
| "The views expressed here are my own, and not those of my employer."	      |