HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.synth

> The overwhelming response was to put in PVC pipe (at least 3/4")
> in the walls just about anywhere where I might think
> that I would want to have wire...

I've been wondering if you could wire your home for audio the same
way we wire buildings for twisted-pair LAN.  In other words, wire 
every room back to a central "wiring closet" where there is a 
patch panel to cross-connect different rooms.  If you put in
enough wiring, you could move amplifiers and speakers around,
and only change the cross-connects.

Has anybody done something like this?  The only hitches I can think
of are that the wire length will be longer than necesary, and I'm not
sure where to get the hardware.


--Jeff Wright                  HP IC Business Division--Palo Alto
  wright@hpctgrd.hpl.hp.com               (HPtelnet/415) 857-5351
Newsgroups: rec.music.synth
Subject: Re: Usenet Tape depression sets in.
From: doug@doug.ksc.nasa.gov (doug hammond)
Date: 10 Apr 92 13:13:01 EST
Organization: NASA - Kennedy Space Center

In article <JGJ.92Apr8130220@amber.ssd.csd.harris.com> jgj@ssd.csd.harris.com (Jeff Jackson) writes:
>
>I have an hypothesis about engineers and music, or at least software
>engineers and music.  We spend our entire day thinking about and in
>precise algorithms, tracing our way through deterministic (usually :-)
>systems, dealing with life through non-emotional, scientific
>objectivity.  In short, Computer Programmers/Software Engineers are
>nerds.  And we despartely want to feel, to get away from silicon and
>to our soul.  But it isn't easy.  And we approach it as a technical
>problem.  What is the algorithm for playing with feeling?  Our
>instinctual reaction to the problem is to throw hardware and software
>at it.  But doesn't work (or at least it hasn't for me ... yet).

Speak for yourself, John...

I've been a musician for 22 years, way before I even took my 1st algebra
class, let alone became any kind of engineer at all.  In other words, the
"musician way of thinking" took over my brain long before the "engineer way of
thinking" did.  What you have voiced is a popular stereotype, I believe.  True
in some cases, no doubt, probably accounts for a lot of the sterility I hear
in some music these days.  But I can't even imagine trying to apply my problem
solving technique to my songwriting/playing.  It's apples & oranges, my friend.

I haven't forgotten how to feel, just because I became an engineer.  I would
suggest that anyone who has is in serious need of some fresh air.  It's just
a job...

Music exercises the right side of my brain , and gives rest to the overworked,
overrated, and over-emphasized left side.


Doug

"science & technology, the new mythology, look deep inside, ...empty..."

Newsgroups: rec.music.synth
From: davet@cbnewsj.cb.att.com (Dave Tutelman)
Newsgroups: rec.music.synth
Subject: Re: Stagnation (or stability - take your pick)
Date: 9 Apr 92 11:18:25 GMT
Organization: AT&T Bell Labs - Lincroft, NJ

In article <1992Apr8.105149@twinpeaks.GSFC.NASA.gov> xrjdm@calvin.gsfc.nasa.gov  writes:
> The Brown Bottle <ross-c@DCS.LEEDS.AC.UK> writes:
>> ... Nothing inherently exciting either
>> but I suppose not every synth has to be a groundbreaker.
>
>No, it doesn't have to be. Which is a sad comment on the industry. 
>And the consumers as well, I guess.

The word "stagnation" conveys a value judgment. The same objective situation
viewed from a different subjective context could be called "stability".

I think Brown Bottle's comment is not a "sad" comment at all.
Groundbreaking costs a bunch of money, for the "industry" and ultimately
for the "consumers".  I'm glad there are people like Joe (and others I
read frequently on the net) who are willing to subsidize the progress
that they want.

I (and lots of other consumers, probably a majority) are more interested
in the construction of music than of sounds.  (Yes, I've tried both, and
I know which I find more rewarding.)  I don't mind a "cliche" sound, if
it sounds good to me.  My rack and stand have older equipment, mostly
bought used, because I'm not prepared to pay for the "latest and greatest".

Anyway, the fact is that a few synths ARE groundbreakers.  Some of those are
successful on some (artistic or market) scale.  They will be copied, in
the period of consolidation and stability that follows.  Joe and others
will be impatient during this period, and bad-mouth the companies
that perfect technology they didn't invent.  But the fact is that while
they're making it affordable for the unwashed masses (like me), they're
also building a technology base for the next advance.

As I said, I'm glad that some people are prepared to buy instruments and
make sounds (and sometimes music) on the cutting edge.  I like to do my
technology on the cutting edge, but I prefer my music a decade or five
behind.  Anyway, thanks for making it cheaper for me.

Dave
Newsgroups: rec.music.synth
From: dce@smsc.sony.com (David Elliott)
Subject: Re: Tascam 688 Midistudio -- Opinions wanted
Organization: Sony Microsystems, San Jose, CA
Date: Sun, 12 Apr 92 02:29:09 GMT


In article <1992Apr11.221827.19659@usenet.ins.cwru.edu>, aa596@cleveland.Freenet.Edu (Peter Haller) writes:
|> I think I started that, unintentionally. I was trying to make the point that
|> I would have prefered that 1/4" jacks were use for both the line and the mic
|> inputs, with a few (4?) XLRs available like on the 644. With the name
|> "MIDIstudio" I would have thought that MIDI audio connectors (1/4") would
|> prevail over XLR. (I can here the flames now from the nonMIDI and/or 
|> mic users now!)

Oddly enough, the reviews I read of the 688 before buying one also
seemed to indicate that the 688 only had XLR jacks on the main inputs.
This may also be a source of some confusion.

I agree with you on this point.  I find it odd that with so many jacks
on the unit that they couldn't have had a set of 1/4" line inputs
in parallel with the mic inputs.  Luckily, I only use 4 dual inputs
(by using separate mixers for the MIDI stuff), so I don't miss the
inputs and don't need to make adapters.

-- 
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."Nobody believes a laughing person." -- Farkle
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Via: sun3.nsfnet-relay.ac.uk; Mon, 13 Apr 1992 14:17:16 +0100
Via: dcs.leeds.ac.uk (csvax1.ARPA); Mon, 13 Apr 92 14:20:32 GMT
Newsgroups: rec.music.synth
Date:         Mon, 13 Apr 1992 14:16:43 BST
From:         The Brown Bottle <ross-c@DCS.LEEDS.AC.UK>
Subject:      Re: !!! The WAVE Flyer !!!
Comments: To: SYNTH-L@AUVM.AMERICAN.edu

[Amazing details of The WAVE deleted]

I know this comment has been made in this newsgroup several times before, but,

How much is all this going to COST.

I suspect this is the synthesiser equivilent of hand-made Pierre Cardin
clothing, fabulous, but fabulously expensive. And the clothing is a noted
money loser....

Wasn't the general opinion among manufacturers polled in April's Keyboard
that the >>$3000 synthesiser was dead? (No, I'm NOT expecting the WAVE to
be < $3000).

Brilliant specs though.........

Ross-c
Newsgroups: rec.music.synth
Subject: For sale: Yamaha RX17
From: pblack@vax1.umkc.edu
Date: 8 Apr 92 21:19:44 CST
Organization: University of Missouri-Kansas City

I have an RX17 for sale.  I'm asking $135.00.  Drop me an e-mail message.

Phil Black
PBLACK@VAX1.UMKC.EDU  (INTERNET)
PBLACK@UMKCVAX1.BITNET  (BITNET)
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: Vintage Synths: EML
Summary: VCS3 and Noseflute
Date: 6 Apr 92 19:49:49 GMT
Organization: Atomic City

In article <1680205@hpsadlu.sad.hp.com> smithj@hpsadlu.sad.hp.com (Jim Smith) writes:
>I was thinking that perhaps I had had a problem with an EML synth, but
>now I don't think it was an EML.  I think it was a Putney.  Maybe they
>were imported in the US by EML?  I don't remember, it's been a very
>long time...  

EMS made the Putney, and the Cricklewood, and the Portabella, more 
commonly known as the VCS3, the VCS3 Oscillator/Keyboard Module, and
the Synthi A (with or without the keyboard add-on that made it the AKS).

EML made the EML-101 and several other lovely machines. Different company.

>There was a Synthi VCS in an electronic music lab
>I used in college.  This unit used a pin grid patching scheme, 
>and the pin-grid connectors were quite intermittent.
>In addition, some of the pots would occasionally drop out.  And the
>unit went in and out of tune. 

This sounds like regular wera and tear, except for the oscillators, 
which were notorious for drifting all over the place. The real pain
in the ass, though, was losing the pins, which are hard to replace.

I learned on a VCS3, and miss it terribly. Oberlin won't sell me one
of theirs, the bastards. |-< And EMS are still in business and charging
a fucking FORTUNE for new units. I've never seen a Synthi A, or an AKS,
though. Pity. 

>Regardless of who made this synth;
>  - It was quite powerful for its size

Boy HOWDY, was it ever! Lovely box, and responsible for all the juicy bits
on DARK SIDE OF THE MOON, among other albums people may have heard of.
Best sound effect I ever got out of it, besides some lovely environmental
noises: whacking the case on the lower left side, to make the spring reverb
twang. |->

>I guess it just goes to show that different musicians use their instruments
>in different ways.  I still like the sound of my old Casio M-10's super-
>cheese "piano."  And I really LOVE the expressiveness of my nose flute!
>Anyone know of any MIDI nose flutes?  :->

Now THERE'S a retro for an old and beloved instrument that I hadn't thought
of! I still have my noseflute... hmmm, a contact mic and a Vocalizer....|->
or maybe a Voicetracker? |->

"Others, when the bagpipe sings i' the nose, can scarce contain their urine."

							--Shakespeare

--
metlay    | "If you have been so devious as to get this message,
@minerva. |  you will understand it, and you will deserve no sympathy."
phyast.   |
pitt.edu  |  -- Donald Knuth, in the TeXBook's chapter on error messages.
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: USENET 92 Tape ....
Date: 15 Apr 92 02:39:00 GMT


I thought I was going to be doing the USENRT92 tape (DISK?).  At any rate,
it is a little early to be worring about it now.  If I am the person doing
it I will be solliciting stuff aroundc July with a finalization date sometime
in November.  Allowable formats will be DAT, Cassette (no-Dol, Dol-B, Dol-C) 
(No cassette dbx), VHS-HiFi, BETA HiFi, or 1/2 track 1/4" analog rtr.  All
final mastering will be done to DAT (by me so that the results will be
unambiguously blameable on me, alone).  I should hae 2 DATs by Nov so all DAT
submissions will be DAT-DAT.  In addition, I will supply 1 sided noise 
reduction (if requested), compression, etc.

The main reason I am doing this is the way mt USENET91 was seriously broken by
whatever techniques were used to put it on the master tape.  I can assure
anyone submiotting that I will makle sure that the best sound possible goes
out to the printer.  If anybody else is going top make the same claims, please
feel free to do the tape.  All I really care about is getting the resultant 
tape to sound as much lile what was submitted as possible.

John
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: midi under windows 3.
Date: 16 Apr 92 18:30:00 GMT
Article-I.D.: EDDIE.9204162010.AA03847


Ok, I'll bite.  What, exactly, does the phrase 'Sucks to be you' mean? 

John
From: jamesmc@ut-emx.uucp (James McCartney)
Newsgroups: rec.music.synth
Subject: Re: FM on the K2000, Here's how
Keywords: K2000 FM
Date: 7 Apr 92 01:50:43 GMT
Organization: The University of Texas at Austin; Austin, Texas

Correction:
	'You can also use the output of PITCH as carrier'
should be:
        'You can also use the output of PITCH as MODULATOR'

Also, more than 2 op is possible, but without dynamic control of all
modulation indices.

 --- james mccartney


Newsgroups: rec.music.synth
From: bsanders@mrcnext.cso.uiuc.edu (Barry Sanders)
Subject: Re: !!! The WAVE Flyer !!!
Organization: University of Illinois at Urbana
Distribution: rec.music.synth
Date: Wed, 15 Apr 1992 03:15:08 GMT

There are three kinds of people in the world: those who make it happen, those 
who watch it happen, and those who wonder what happened.  I wonder what happenedI must have missed the posting where this wonderous device (or organism) was 
described in full glorious detail.  I did catch some gossip about the projected
price of the thing being that of the original PPG Wave synths, but none of the 
details.  Please be kind to the ignorant and repost.  I want to change my life, 
too.

Barry
bsanders@mrcnext.cso.uiuc.edu

Xref: sparky rec.music.synth:7980 rec.music.makers:5640 comp.music:2423
From: din@grad1.cis.upenn.edu (Clarence Din)
Newsgroups: rec.music.synth,rec.music.makers,comp.music
Subject: Re: ... Let's get USENET Recording '92 rolling ...
Date: 14 Apr 92 15:08:30 GMT
Followup-To: rec.music.synth
Organization: University of Pennsylvania

In article <pam+vqA@engin.umich.edu> malouin@engin.umich.edu (Curt Malouin) writes:
>Re: USENET CD
>
>One thing to keep in mind is that USENET '91 was 2x90 min.
>cassettes.  That would require 2 CD's.

Not only that, but there may be more people wanting to submit their
material now that there's this new format.  This may result in more
music than can fit on 2 90-minute tapes!!!
---------------------------------------------------------------------------
Clarence K. Din                  
Programmer Analyst II, Language Analysis Center, University of Pennsylvania
din@grad1.cis.upenn.edu
---------------------------------------------------------------------------
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: Gear Lust
Summary: You WOUND me!
Date: 14 Apr 92 20:59:52 GMT
Article-I.D.: unix.204918
Organization: Atomic City

In article <NICK.92Apr14131420@campay.ed.ac.uk> nick@dcs.ed.ac.uk (Nick Rothwell) writes:
>I suspect I'll be after something else in about a year's time; I feel
>that I have about a year of musical projects and learning to do before
>I feel the need to get something new.
>If you *dare* clip and quote this at me in three months' time, Metlay,
>I'll ...

There's only one of us who clips and quotes old posts, bucko, and it AIN'T
me. But I'll enjoy rubbing your nose in it anyway, when the time comes.

Personally, I feel that there's a lot to be done with the stuff I have, 
and now it's just a question of deciding what's worth how much of my time
to get better on. Do I split my time 50/50 between my two newest beasts,
or devote 80% to the gnarliest, or....?

And the music makes the demands that drive THAT equation.

--
metlay@minerva.phyast.pitt.edu  ||               "Oh, JOY!"
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: To Maurizio De Cecco
Summary: What's an AQMS?!
Date: 8 Apr 92 16:27:35 GMT
Organization: Atomic City

In article <34995@nntpd.lkg.dec.com> eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson) writes:
>>quasi-modular synth, as well as an MS-50 A.Q-M.S.
>>These are linear based machines. T he MS-20 has a keyboard.
>A.Q-M.S.?  

A. Q-M. S. Stands for Analog Quasi-Modular Synthesizer, an analog synth
with a hard-wired signal path but the capability to patch in modulations
by hand. It stands between the hard-wired (or "linear") synth, where
no patch cords are used (or usable) because the wiring is fixed, and 
the true modular synth, where you must patch everything together,
including the basic signal path. Hardwired analog synths would include
the Prophet 5 and all its descendants (every mod routing has a knob and
a switch or it just ain't there); modular synths include the Polyfusion,
Paia, Synton, Serge, Aries, Moog 15 and 55, etc etc etc.

Quasimods are my personal faves, as they respresent a good compromise
between power and portability. This includes the ARP 2600, the Chroma,
the Xpander, the Prophet VS (to a VERY limited extent!), the WS (a bit
better), and all of the Korg MS series, all the way down to the MS-10.
(I wouldn't call any of them hardwired...they all have patch panels.)

--
metlay    | "Oooo... bemahmma fluk moogie flabber nerble fremlap vimmdo
@minerva. |  "LXP-5" seegin waggy furplesmurch mibbur ig crumple bummy 
phyast.   |  "Quadraverb" ... horf, horf, horf."
pitt.edu  |                       --words to live by, from P. Robinson.
Newsgroups: rec.music.synth
From: dce@smsc.sony.com (David Elliott)
Subject: Re: For Sale
Organization: Sony Microsystems, San Jose, CA
Date: Sat, 11 Apr 92 01:18:51 GMT


In article <1493@b1.babss.UUCP>, quantum@babss.UUCP (Quantum Audio Concepts) writes:
|> Kawai K3m
|> 	rack mount, 6 voice, hybrid synth
|> 	2 DCOs that have 30+ waveforms
|> 	DCF w/Q, mono mode, portamento
|> 	chorus, filter cutoff mod by AT
|> 	RAM, Dr T's Atari Editor, GenEdit
|> 	Template				  $250

It's probably worth noting that the K3m's mono mode does some kind of
detuning which makes the thing sound very thick and meaty, and that you
can create one waveform per bank using additive synthesis methods.

In other words, if you need a good solo instrument, the K3m is pretty
hard to beat for the price.

--
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."Nobody believes a laughing person." -- Farkle
From: defrain@en.ecn.purdue.edu (Paul D. DeFrain -- aka master guru)
Newsgroups: rec.music.synth
Subject: Re: LP Stereo
Date: 7 Apr 92 23:39:45 GMT
Article-I.D.: en.1992Apr7.233945.19567
Organization: Purdue Electrical & Biomedical Engineering

In article <1992Apr7.040440.17691@sunb10.cs.uiuc.edu> cs318a62@ibmb2.cs.uiuc.edu (Philip M Scopes) writes:
>wesley@inqmind.bison.mb.ca (Wesley Konrad) writes:
>
>
>>I don't know if this question is totally appropriate but, 
>
>>Where do you get two tracks on an LP?  Do they really do stereo?
>
>I believe that the groove on a stereo record has a "left" and "right" half.
>The needle of a stereo record player separates these two signals and you get
>stereo.

That would be left-right and up-down for stereo.  The old quad LP's used
high frequency carrier groves with difference signals or something like that.
These HF groves tended to wear out after several playings leaving only
stereo behind.

cheers,

pdd

-------------------------------------------------------------------------\
Paul D. DeFrain   |  /----------------------\    |  Synthesizer  Basics  |
Purdue University |  | /-----\    /-----\   |    |  ~~~~~~~~~~~~~~~~~~~  |
EE box 145, 47907 |  | |     |    |     |   |    |  \/\/\/\/\/\/ -- LFO  |
------------------/  | |     |    \-----/   |    |  :::::::::::: -- VCO  |
start _______________|       |          |  yay.  |  ------------ -- VFX  |
_____________________________|__________|________|______________________./
From: five@sys6626.bison.mb.ca (skinny puppy)
Newsgroups: rec.music.synth
Subject: Re: To Maurizio De Cecco
Date: 6 Apr 92 06:45:08 GMT
Organization: system 6626 BBS, Winnipeg MB

rej@bob.sal.wisc.edu (Randy Jones) writes:

> In article <ssPJiB4w164w@sys6626.bison.mb.ca> five@sys6626.bison.mb.ca (skinn
> >Maurizio.  I've lost your address!
> >The analog sequencer came today!!! 
> 
> Yeah, *sure* you've lost the address, Ric. You just want us all to
> revel with you in the glory of your Fantastic Old Stuff. Like, "Sorry to
> post, I lost your address, but wanted to let you know that the *complete
> mint Aries modular* arrived today. *yawn* Oh, it's a bit big for my taste, bu
> I really appreciate the *amazing deal* you gave me... " ;-)
> 
 
I WILL admit, that I was quite happy to have received the unit, and had 
to tell 'somebody'.  :)  But I DID lose his address!
 
 ---------------------------------------
 \FIVE-Aural     \ A' modular I will go, \
  \     Research  \ A' modular I will go, \
   \     Foundation\ High, Lo, the VCO,    \
    ----------------\ A' modular I will go. \
                     ------------------------


--- (skinny puppy) a user of sys6626, running waffle 1.64
E-mail: five@sys6626.bison.mb.ca
system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
Organization: Junior, Math/Computer Science, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.synth
Date: Sun, 12 Apr 1992 16:43:35 -0400 
From: Michael Burks <mb1i+@andrew.cmu.edu>
Subject: Samples in general...


It is my understanding that samples are samples if they are in MIDI
sample dump format...  Is this really the case?

I ask because alot of people are asking about FTP sites for samples for
specific samplers, and this confuses me.

If samples are samples, then I think it would be of great use for all
sample owners if people who know of FTP sites with samples would post
them.

Blaine.

P.S.  Disclaimer:  Once again, I may just be really confused, or even   
                      ignorant.
Newsgroups: rec.music.synth
From: mvarg@ctp.com (Michael Vargo)
Subject: Re: MIDI Horn is back at DAMARK -- NOT!!!
Date: Mon, 6 Apr 1992 17:25:23 GMT
Organization: Cambridge Technology Partners

In article <1992Mar31.163510.260671@cs.cmu.edu> sef@sef-pmax.slisp.cs.cmu.edu writes:
>
>    From: smithj@hpsadlu.sad.hp.com (Jim Smith)
>
>    For those of you who would like a very cheap MIDI wind controller and missed
>    the last time it occurred, I have good news: DAMARK is once again listing
>    the Casio DH-100 in their catalog.
>    
>It sounded like such a neat toy that I called Damark right up.
>Unfortunately, despite what the catalog may say, they don't have them,
>believe they are discontinued, and don't expect to get them in again.
>
>-- Scott

I called them up the minute I got the catalog. They said it was on back order
til Mar 20 and then it would ship by ups 3 day or whatever it was.....
Sure enough, a few days after the 20th I got myself a neat little toy.....
I plug it into my SY22 if anyone cares......I can even make it play my
Soundblaster sounds, with the help of Sequencer + Gold..................
It's a real neat thing, and for 39.95 it's even better............

----------------------------------------------------------------
I Michael Vargo                  II  Internet: mvarg@ctp.com   I 
I Cambridge Technology Partners  II  ICBMnet: 42.22 N          I
I 617-499-1797                   II           71.04 W          I
----------------------------------------------------------------
I "If you choose not to decide, you still have made a choice"  I
I                                        - Freewill            I
----------------------------------------------------------------
From: smithj@hpsadlu5.sad.hp.com (Jim Smith)
Date: Wed, 8 Apr 1992 18:52:51 GMT
Subject: Re: Module idea for modulars
Organization: no risk to you!
Newsgroups: rec.music.synth

five@sys6626.bison.mb.ca (skinny puppy)  writes:
>To any builders out there:
> 
>How about a graphic equalizer module, with control voltage inputs for 
>each band?  
>If I remember correctly, something similar has been done for Parametrics 
>on a Digisound module.
> 
>Correct me if I'm wrong.  :)  This could be a very nifty module though, 
>no?
> 
Yes.  It HAS been done, sort of.  Some of the earlier "Modular" vocoders
had patch points available, so that you could scramble the bands being
modulated.  I don't remember which companies or modules, though.  (Moog?
Serge? Korg?)  Perhaps mister Metlay does.  I know that W. Carlos' 
spectral synthesis scheme used an off-the-shelf Moog fixed-filter bank 
as one of its elements, but I don't think that that product had 
built-in VCAs.

Since a (fixed analog filter implementation of a) vocoder is basically:

Modulator signal feeds a fixed filter bank which feeds envelope detector
bank which feeds:
  VCA bank fed by fixed filter bank fed by carrier signal,

one could think of the second half (the carrier chain) as a voltage-
controlled "graphic" equalizer.

I hope this helps in your search,

                    Jim Smith  smithj@hpsad.sad.hp.com
                 Going Up, Going Down, Going Up And Down.