HDTenEightyP/NetNews huggingface dataset:
From: ricko@ee.uts.edu.au (Rick Jelliffe)
Newsgroups: rec.music.synth
Subject: Re: JX-3P (was Super Jupiter/JX10 etc.)
Date: 28 Sep 92 09:56:17 GMT
Organization: University of Technology, Sydney
NNTP-Posting-Host: schutz.ee.uts.edu.au

ricard@axis.se (Ricard Wolf) writes:

>In article <svynvq+.metlay@netcom.com> metlay@netcom.com (metlay) writes:

>>The JX3P was a true analog synth keyboard with six voices and a combined 
>>preset/programmable memory.

>I always found the JX3P to have a thin sound; very good for airy
>strings however. Opposing views?

I thought it was fantastic: the organ/leslie simulation was just fantastic,
and it could do great shimmery steel drums/bell pianos, and good strings.
The chorus was good, and it marked a big step away from the Japanese 
tinky sound.

But you really need the programmer to use it, I found.

-ricko
From: michael@NSMA.AriZonA.EdU (Michael S. Williams)
Newsgroups: rec.music.synth
Subject: re:  Aint it dead yet vocals.....
Date: 2 Oct 92 20:02:40 GMT
Reply-To: michael@NSMA.AriZonA.EdU (Michael S. Williams)
Organization: Center for Neural Systems, Memory, and Aging

> This thing seems to grab the vocals
>virtually instantaneously and loop\echo them at speeds varying from regular
>echoing to lightining fast. 

Digitech has several of these effects processors, starting from
the DSP 128 (there may be an earlier one) to the "Time <something or rather>"
series 2000, 4000, and 8000 (for a 2, 4, or 8 second sample and hold 
time).  Once the input is sampled, the playback rate (and other
info) can be altered, createing that "lightening fast" echo which
can slow down to a "snail echo" if desired.

I'm sure other companies make these, but there are pretty much all
sample and hold processors.


-Michael
<><-><--><---><----><-----><------><======><------><-----><----><---><--><-><>
Michael Williams, michael@nsma.arizona.edu
University of Arizona's Division of Neural Systems, Memory & Aging
344 Life Sciences Bldg, North
Tucson, AZ 85724
(602)626-2611
<><-><--><---><----><-----><------><======><------><-----><----><---><--><-><>
Newsgroups: rec.music.synth
From: metlay@netcom.com (metlay)
Subject: Re: Synth timbres alone (was Re: I don't think any of us are belittling)
Summary: Modus vivendi
Organization: Atomic City
Date: Tue, 6 Oct 1992 20:35:03 GMT

In article <1504@bbx.basis.com> scott@bbx.basis.com (Scott Amspoker) writes:
>
>OK, I'll go along with you on that point - it's not impossible to have
>a great patch that will endure as well as a piano or a violin.  However,
>I will submit that most users of electronic keyboards are overly optimistic
>about the endurance quotient of their patches.  I've heard too many
>sun-in-their-eyes synth players who are satisfied with so little.

Very true. You don't have to turn on the radio to hear people who are
settling for the easy way to any given solution-- the so-called "electronic"
musicians are all guilty of the same shortcuts. Why? My guess is that the
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?

>I don't mean to give the impression that I fancy myself some kind of
>synth-god.  I sometimes really struggle with the sounds and I'm far
>from reaching my desired level of artistic sensibility.  I just know 
>what I *won't* settle for.  I can listen to some of my old tapes and
>think, "Whoa, I thought that patch was hot shit but now I know better."
>That's why I'm so skeptical about these things (the ultimate patch
>bank and all).  I spent years fooling myself when all I had to do was 
>use my ears.  I was using good equipment for the time and could have 
>done much better.

We all have had times when we took the easy way out and had reason to
regret it. I'm about to release a CD that is chock-full of hasty decisions
about what synth timbre would be best in any given arrangement, some of
which are good, others of which are not so good. At least you, Scott,
see that this problem exists. That puts you ahead of a lot of folx.

>I'm not accusing you or anybody of having their head in the clouds.
>However, whan we talk about the "collective" electronic music
>industry/community I think that we do have our heads in the clouds.

Of course we do. If we didn't, the electronic music industry would
have a much harder time getting us to buy This Year's Model. Again.
If I may quote a gentleman from New Mexico whose opinion on matters
musical I strongly respect:

"Too bad ignorance isn't really bliss. Then it could be outlawed."


-- 
metlay            |             No Panning
atomic city       |             No Phasing
                  |             No
metlay@netcom.com |
From: michael@NSMA.AriZonA.EdU (Michael S. Williams)
Newsgroups: rec.music.synth
Subject: Re: Kawai K5/K5m question
Date: 1 Oct 92 21:12:39 GMT
Reply-To: michael@NSMA.AriZonA.EdU (Michael S. Williams)
Organization: Center for Neural Systems, Memory, and Aging

>I was wondering if there are any "hiden" sys-ex messages that will
>change the single inside of a multi patch?  I know that the
>alternative is to make multiple multi patches each with the mapping I
>want at a given time and use program change messages, but for what I
>am doing that is the hard way (and forces me to use more memory slots
>than I would like to right now:-).

From memory:
Within the system section (or the MIDI section, if that's not part of
"system"), there is an option to set whether program changes affect
the multi-patches or the single-patches within the multi's.  You can
also specify the MIDI channel which will respond to the multi-patch
program changes.  

However, if you have it set for single-patch program changes, I don't 
know if there will be a way to switch to a new multi-patch from program 
changes, or not.  You may be stuck in the same multi patch for eternity,
unless you manually change it, or turn it off,  but have you ever
tried to turn off the power on a pissed-up K5 with a single-patch attitude? :-)


-michael
<><-><--><---><----><-----><------><======><------><-----><----><---><--><-><>
Michael Williams, michael@nsma.arizona.edu
University of Arizona's Division of Neural Systems, Memory & Aging
344 Life Sciences Bldg, North
Tucson, AZ 85724
(602)626-2611
<><-><--><---><----><-----><------><======><------><-----><----><---><--><-><>
From: brooksp@hpcc01.corp.hp.com (Peter Brooks)
Date: Mon, 28 Sep 1992 17:09:24 GMT
Subject: Re: Alesis ADAT rumor.
Organization: the HP Corporate notes server
Newsgroups: rec.music.synth

The brand-new Keyboard issue (November, I think) just reviewed the
ADAT, and fell all over themselves with joy.  They also got a
second unit and played with the master/slave features, and were
quite happy.  No review of the BRC; it's due out Real Soon Now.

Pete Brooks, who would be happy with a 1/4" 4 channel analog machine.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Vmsmail-To: SMTP%"synth-l@american.edu"
Newsgroups: rec.music.synth
Date:         Mon, 5 Oct 1992 16:41:38 -0400
From:         "(Richard L. Riccardi,
              SCSU Data Center)" <RICCARDI_R@SCSUC.CTSTATEU.EDU>
Subject:      K2000 Questions
Comments: To: synth-l@american.edu

Well, it looks like I'm going to take the K2000 plunge, but before I do,
I was wondering about a few things for those who already have one:

1) Is an internal hard drive worth it?  How difficult is it to install
your own hard drive?  What size is a good one to get?  Is the disk drive
that slow or the amount of data that large to make a hard drive worth it?

2) How are the Stratus Sounds?  Is it worth it to get the whole bundle,
or piecemeal?  I find it difficult to buy sounds that you can't test out
first.  I read the glowing review in Keyboard awhile back, but I'd like to
hear some confirmation about their quality.

3) How about transferring sequences from the Mac to the K2000.  Difficult?
Cumbersome?  How is the program from Sweetwater to convert SoundDesigner
samples?  Anyone try it yet?  How are the results?

						Thanks...

						Rick
						RICCARDI_R@SCSU.CTSTATEU.EDU
Newsgroups: rec.music.synth
From: mayer@hplnpm1.hpl.hp.com (Niels P. Mayer)
Subject: YO! --> YAMAHA SY-77 USERS <--
Date: Wed, 7 Oct 1992 04:47:15 GMT
Organization: Hewlett-Packard Labs, Media Technology Lab, Palo Alto, CA.


Gee, In all my recent sampling fervor, I've completely ignored my lil' Yam
SY-77, which I've been using happily for over 2 years (i purchased it back
in march '90). Alas, I've been using it "in a vacuum" and have ignored some
of the potential mfgr. and 3rd party developments/improvements on this
synth. (And no, i'm not about to upgrade to an sy-99)...

Some questions:

(1) Is there an SY-77 users mailing list (e-mail)?

(2) Any of y'all have any recommendations on 3rd-party SY-77 sounds and
wave-cards? (Which companys are reputable?, which should I avoid?)

(3) Any decent commercial patch-editors/librarians for the SY-77 running on
a MS-Windowless IBM-XT clone w/a MQX-32M MIDI card?

(4) What are the current synth and sequencer ROM versions for the SY-77?
Mine are 1.2 and 1.2 (respectively). You can find this out by pressing the
following buttons in sequence "VOICE", then "BANK D", then "8"... (note:
save your synth-all settings to disk incase you reset it by accident).

(4.5) If my ROMs are obsolete, anybody have any experience in getting
Yamaha to upgrade ROMs?

(5) Any recommendations for keyboard repair shops in the Bay Area? I have a
broken key (i'll never lend anyone my synth again!). Any idea on how much I
can expect to pay? 

(6) Any recommendations on "gig bags" for SY-77s under approx. $150.00? I'm
looking for a padded soft case that'll allow me to carry it around w/ a
shoulder strap, put it in my car, etc. I don't really need the weight or
expense of an Anvil "flight case" 

--
-------------------------------------------------------------------------------
	    Niels Mayer -- hplabs!mayer -- mayer@hplabs.hp.com
                     Collaborative Multimedia Project
		       Hewlett-Packard Laboratories
			      Palo Alto, CA.
				   *
Newsgroups: rec.music.synth
From: glatz@emily.uvm.edu (Terry A Glatz)
Subject: Zero you boards, ACK.
Organization: University of Vermont -- Division of EMBA Computer Facility
Distribution: usa
Date: Tue, 29 Sep 1992 03:49:58 GMT

Does your freind want to play your synths? Does he say, I will be gentle, dont
worry, I have used these things before? Whatch out synth/studio owners, there
can be disaster lurking from what seems to be a place of serenity.
 
Yesterday, a friend asked me if he could fool around on the synths. Sure, no
problem I replied, (yea right).... I then left to get some ciggs and a couple
rolls of rolaids, those things one must have during a session. I came back
and entered the studio. My friend was having a great ear melt, slamming away
to the point were the equiptment racks shook.
   I tapped his shoulder and he took off the headphones and wiped the sweat
from his ears. I told him that I had to set up for the next session and that
my client would be here in an hour. He left with a sigh, but I told him he
could come back tomorrow.
   My client arrived and we took care of all the hand shakes and formal bullshit
I took him into the studio and powered the amps up. The 2 crown Macro 1200's
weened, the lights dimmed for a split second, (this happeneds all the time).
This is where my hidden nightmare came true. The client asked me to play
some drum rifs on the Alesis D-4. The volume level on the D-4 check out
on the mark I had left with a grease pencil.
   Then it happened. My client was sitting in front of my monitors,    
(twin 18"s) Blam!!!!! I hit the kick drum and those crowns dumppedevery 
last possible watt into those monitors. My client hit the floor, the 
picture on the back wall fell, and I had a near heart attack.
My client took around 10 min to recover from the mini nuclear like explosion
that had taken place. Thnk god, he had a sence of humor and we luaghed it off.
   What went wrong? My freind cranked the gains and the monitor feed to max!
He was wearing head phones and the amps were powered down. I take the blame
for not zeroing the board before a session. I blame him for knowing better, 
but not putting his 7 years to work. He knew better than to crank then leave
without zeroing or telling me. 50-50 here.
 
Point is, if your freinds abuse, dont let them play, BUT if after reading
this you dont check and zero the board, its not their fault. 
 
I was lucky, nothing lost, well I had to pay 15 bucks for new glass for the
picture frame. I had impressed thcleint by the power of the system but 
once was enough for me. Call me stupid, yea, I was, but I know the next
time my neighbors piss me off.....HAHAHAHAHAHAHAHA, (mad laugh).
 
P.S. Apology for so many typos. It late and I can't see straight.
 
Have a great week all.
 
-Terry Glatz

Newsgroups: rec.music.synth
From: hjv@phil.ruu.nl (Hendrik Jan Veenstra)
Subject: Re: 8bit vs 16bit?
Organization: Department of Philosophy, University of Utrecht, The Netherlands
Date: Mon, 5 Oct 1992 12:03:16 GMT

dmcnamar@netcom.com (Dennis McManara) writes:

>>
>The 8 bit/16 bit has to do with dynamic range. THe highest number in 8 bits
>is hex FF or decimal 255, so the dynamic range is 256 steps. The largest
>number in 16 bits is FF FF hex or decimal 4095, or 256 times the 8 bit
>dynamic range. So the louds can be louder.

I suppose you made a typo here - of course 256*256=65536 and not 4096.

>If memory serves, even a very high fidelity vinyl peaks out about 15K Hz.
>I don't know about the dynamic range, whether anything over 8 bits is
>wasted.

Since 8 bit gives only a 48db dynamic range, I wouldn't think anything over 8
bit is wasted :).

>From the comp.sys.atari.st newsgroup, I found that the new Falcon will
>be able to produce sound smpled at 50K Hz with 24 bit words. That's
>described as being better than  CD quality. And the Digital Signatl
>Processor will be able ( they claim) to be programmed to act as a 
>19800 baud modem. Makes the $795 suggested retail seem cheap.

50k/24 bit is better than CDs - in principle. It will also heavily depend
on the circuit design  - which chips were used, are there strong magnetc
sources (e.g. trafo's) nearby, etc. A well designed 12 bit/40kHz can sound
a lot better than a badly designed 24 bit/50kHz. We'll just have to wait
to see what the Falcon will be able to accomplish (lots, I hope...:).


--
Hendrik Jan Veenstra  |   hjv@phil.ruu.nl   |   You look for your dreams in
Dept. of Philosophy   |                     |   heaven, but what the hell are
University of Utrecht |                     |   you supposed to do when they
The Netherlands       |                     |   come true...?
Newsgroups: rec.music.synth
From: koelman@cuby.stc.nl (Ton Koelman)
Subject: Re: U-20/U-220 patch editors...hmmmmm.
Reply-To: koelman@stc.nato.int
Organization: SHAPE Technical Centre, NL
Date: Wed, 30 Sep 1992 12:34:38 GMT

> 
> You U-20 owners should know better-- the only thing you can change that
> resembles changing the sound is the Envelope.  HARDLY editing the raw
> sound!!
> 

It is amazing what you can achieve by tweaking the patches
on a U20 or U220. Highly recommended. An Editor (I currently
don't have one) is HIGHLY DESIRABLE. I need one for the ST.

PS: I'm not giving away any clues as to how to tweak the patches...

--
Ton Koelman   e-mail: koelman@stc.nato.int (NeXT Mail Welcome!)
SHAPE Technical Centre, P.O. Box 174, 2501 CD  The Hague
The Netherlands  (voice: 31-70-3142429, fax: 31-70-3142111)
Newsgroups: rec.music.synth,rec.music.marketplace
From: tmm@world.std.com (Tom M Moravansky)
Subject: For Sale:  TR 808 
Organization: The World Public Access UNIX, Brookline, MA
Date: Tue, 29 Sep 1992 10:48:45 GMT


  TR 808 in mint condition, with manual & new RAM batteries installed

               --------   $500  (includes UPS shipping inthe US)

  EML 2001 Synkey w. Programmer & cards
               --------   $350  (includes UPS shipping in the US)
From: dan@hpwin052.uksr.hp.com (Dan Bennett)
Date: Wed, 23 Sep 1992 13:35:42 GMT
Subject: Re: Wavestation clearouts
Organization: HP Response Centre, Berkshire, England.
Newsgroups: rec.music.synth

Hi,

A bonanza of WS stuff, eh? Will that include the EX-upgrade for my
WS-1, do you think?

Dan Bennett.
From: alex@fiskville.mc.utexas.edu
Newsgroups: rec.music.synth
Subject: K2000 failures
Date: 6 Oct 92 19:11:07 GMT

One of the MIDI guys at my local music store tells me that the K2000  
machines are experiencing a minimal 75% failure rate in the field... due  
mostly to overheating. Anyone out there have any comments?

--
***************************************
Alex Currier
Texas Union MicroCenter
University of Texas at Austin

NeXTmail Preferred
Newsgroups: rec.music.synth
From: haynes@cs.unca.edu (Houston Haynes)
Subject: Yamaha SY99 for sale - $3000.00 + shipping
Organization: University of North Carolina at Asheville
X-Newsreader: Tin 1.1 PL3
Date: Wed, 30 Sep 1992 00:44:21 GMT

Newsgroups: rec.music.synth
From: bobhays@spss.com (Bob Hays)
Subject: Kawai K5/K5m question
Organization: SPSS, Inc.
Date: Thu, 1 Oct 1992 14:07:36 GMT

I was wondering if there are any "hiden" sys-ex messages that will
change the single inside of a multi patch?  I know that the
alternative is to make multiple multi patches each with the mapping I
want at a given time and use program change messages, but for what I
am doing that is the hard way (and forces me to use more memory slots
than I would like to right now:-).

Thanks and have fun! - Bob

-- 
===============================================================================
The opinions expressed above are those of Bob Hays and not SPSS, Inc.
 bobhays@spss.com  Phone: (312) 329-3529 | "I'm hovering like a fly, waiting
                   Fax:   (312) 329-3657 |  for a windshield on a freeway" -PG
From: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Wed, 30 Sep 1992 23:15:17 GMT
Subject: Re: DX7 list was Re: CZ101 for sale
Organization: HP Signal Analysis Division - Rohnert Park, CA
Newsgroups: rec.music.synth

In rec.music.synth, koelman@cuby.stc.nl (Ton Koelman) writes:
    What CPU is actually in there?
 
There are two microprocessors in the original DX7, a 63B03 main processor,
and a 6805 S sub processor.  The subprocessor does keyboard/switch scanning
and A/D conversion (for the wheels and sliders et al), and the main 
processor does everything else, including controlling the EG and OPS chips.

Hey now everybody now,                     Jim Smith
Hey now everybody,                         smithj@hpsad.sad.hp.com
Hey now everybody, now.  -- They Might Be Giants
From: gs@TEETOT.ACUSD.EDU (Greg Simon)
Newsgroups: rec.music.synth
Subject: U-20/U-220 patch editors...hmmmmm.
Date: 30 Sep 92 05:46:10 GMT

I've read about a couple of posts of U-20/U-220 patch
editors/librarians.  Well, here's my $.02 : 

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,
and then load them into the machine (that isn't even possible).  If this
code was available; it would be like Roland giving away it's
sound-generation secrets!!!!

If a "editor" of some kind exsists, it is STRICTLY for the performance
perameters and such.  Kind of like the MIDI ports on Guitar Effects
processors--they only change enviornments.

You U-20 owners should know better-- the only thing you can change that
resembles changing the sound is the Envelope.  HARDLY editing the raw
sound!!

Greg

**************************************************************************
* Greg Simon               | "Amiga: the computer for the creative mind"
* <gs@teetot.acusd.edu>    | "Macintosh: computer for the rest of us"  
* Univsersity of San Diego |
* Electrical Engineering   | Blitting is a way of life.
**************************************************************************
Newsgroups: rec.music.synth
From: hjv@phil.ruu.nl (Hendrik Jan Veenstra)
Subject: Re: 8bit vs 16bit?
Organization: Department of Philosophy, University of Utrecht, The Netherlands
Date: Sun, 4 Oct 1992 21:57:32 GMT

D_NIBBY@UNHH.UNH.EDU (Dana   Nibby) writes:


> 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.

Just a 'shorty'... When sampling the wave-height is measured from time to time
(determined by the sampling rate). This height is then rounded off to the
nearest available value - since sampling is a digital process, you'll only have
o distinct number of availabe 'vertical' values. Think of it like this: you
take a drawing of the wave and you take a sheet with lots of horizontal lines
on top of each other. Put the wave on this sheet and scan the wave
horizontally. Every inch you look how 'high' the wave is. Often this will be
somewhere *between* two lines and not exactly *on* a line. You now round the
'measured' value to the nearest line and write it's number down. Do so for the
entire length of the wave. The list with 'line numbers' you now have is a
sample. The sample *rate* determines how often you make a measurement (i.e.
every inch, every quarter of an inch, etc.). The number of bits determines
how coarse/fine your line-grid is - i.e. the number of lines (=the number of
available values). It should be clear that the more lines there are, the more
accurate your representation of the wave will be (i.e. less rounding errors).
With 8 bits, you only have 256 available values. This means that all those
zillion levels that are present in the real wave have to be mapped on a
256-point scale... With 16 bits, you have 65536 values... Hope you see
the difference :)
So don't mix up sampling rate and bits: the sampling rate determines the
horizontal grid, the number of bits determines the vertical grid. And
(simplifying things a bit) for both grids: the finer the better.

About vinyl: dunno. I'm sure 8 bit ain't enough to compare with vinyl. Maybe
16 bit is a bit too much (pretty sure). My guess would be that vinyl is
comparable to some 12-bit sampling... (blind guess). Any synth.guru know
better?

Hope this somewhat answered your question...

Hendrik "I'm a one-bit man" Jan :)


--
Hendrik Jan Veenstra  |   hjv@phil.ruu.nl   |   You look for your dreams in
Dept. of Philosophy   |                     |   heaven, but what the hell are
University of Utrecht |                     |   you supposed to do when they
The Netherlands       |                     |   come true...?
Organisation: European Space Technology Centre (E.S.T.E.C)
Date: Tuesday, 29 Sep 1992 17:03:10 CET
From: <ATONI@ESTEC.BITNET>
Newsgroups: rec.music.synth
Subject: -- Oberheim Matrix 1000 --

Hi,

1 - Is the M1000 still manufactured ??
2 - If yes can anybody tell me the name of a shop that sells them ??

I heard that Oberheim is in trouble and that the M1000 has been discontinued
but I hope some shop in USA should still have few of them.

3 - What would be a market price ( I remember 399 from Sam Ash ..
    but it looks like they do not have them anymore !!).



Newsgroups: rec.music.synth
From: foe@world.std.com (stephen j ormsby)
Subject: Ensonic ESQ1 help needed
Organization: The World Public Access UNIX, Brookline, MA
Distribution: usa
Date: Sat, 26 Sep 1992 16:23:06 GMT

Please help. I have an Ensoniq Esq1 with software version 3.5.  I'm
experiencing some difficulty getting it to record to Deluxe Recorder 1.0 or
Finale 2.6.3 on a Mac IICX, Sys 7.0.1, via an Opcode Studio Plus 2x8 
interface. I can play sample tunes from the applications, but I cannot record 
from the synth regardless of whether it's set to Poly, Omni, Multi or Mono. I
can, however, record the both applications from a TR-505 using the same midi 
cables. Any thoughts? Please respond to foe@world.std.com  
Thanks. -Steve