HDTenEightyP/NetNews huggingface dataset:
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: Tascam 688 Midistudio -- Opinions wanted
Date: 10 Apr 92 16:00:39 GMT
Organization: BASIS International, Albuquerque NM

In rec.music.synth, Mike.Rivers@f440.n109.z1.fidonet.org (Mike Rivers) writes:
 >Why did Tascam use XLR inputs instead of 1/4" jacks. Most
 >- all? - synth gear uses 1/4" jacks, so you will need adaptors or a 
 >high end patch bay.

Something in this thread isn't making sense to me but I'll throw in my
two cents worth.  The Tascam 688 has 10 main input channels.  Each input
channel has both XLR and 1/4" phone jacks.  I'm not sure how anyone got
the idea that the 688 only has XLR jacks.

-- 
Scott Amspoker                       | 
Basis International, Albuquerque, NM |    "A man without a newsgroup"
                                     | 
scott@bbx.basis.com                  |
From: braithwa@remus.rutgers.edu (Darren Braithwaite)
Newsgroups: rec.music.synth
Subject: Backing up from ADAT to DAT
Keywords: Alesis, ADAT, BRC, DAT, digital
Date: 17 Apr 92 02:19:12 GMT
Organization: Rutgers Univ., New Brunswick, N.J.


It is conceivable that one could back up from an ADAT to
a 2 track DAT by going into the analog domain--from which there
should be miniscule audible loss.  It could be done as such:

for every track i from 1, n on your ADAT, do
{
	Record a SMPTE sync track on the left track of DAT tape i
	Record track i of the ADAT on right track of DAT tape i.
	}

Again, this is how Thomas Dolby had recorded most of his
previous album at home thus assembling each non-acoustic instrument
track to a multitrack recorder (not an ADAT) in the studio, all 
perfectly in sync.  He said that he could travel all around
the world with parts from his album in his pockets!

I could check that Alesis ADAT perspectus, but it will take a few
days for me to post a response about doing so 100% in the digital
domain.

					Darren


	
Newsgroups: rec.music.synth
From: fins@radgumbo.Corp.Sun.COM (Richard Schiavi)
Newsgroups: rec.music.synth
Subject: D4 sequencer??
Date: 15 Apr 92 22:36:57 GMT
Reply-To: fins@radgumbo.Corp.Sun.COM
Organization: Sun Microsystems, Inc.
NNTP-Posting-Host: radgumbo.corp.sun.com


I am investigating purchasing a Alesis D4 drum module.  I have
all the info I need to build the piezo drum pads, but am looking
for some additional info. . .

Does anyone know of a sequencer package for the IBM(clone) PC
that would be able to be used to program the D4.  I'm a kinda MIDI
novice, so perhaps it would be any old sequencer package.  Any
recommendations for a bare bones package that could easily whip up 
a few good drum patterns????  

Thanks,

Rich Schiavi
fins@Corp.Sun.COM

---


"If you have a beer you have a friend"
From: jamesmc@ut-emx.uucp (James McCartney)
Newsgroups: rec.music.synth
Subject: FM on the K2000, Here's how
Keywords: K2000 FM
Date: 7 Apr 92 01:36:43 GMT
Organization: The University of Texas at Austin, Austin, Texas


   I have just figured out how to do 2 op FM on the K2000. The K2000
has a module called SW+SHP which adds the input signal to a sawtooth
wave and then uses the result as an index into a wavetable. This is
basically a phase modulatable oscillator. Now, Yamaha actually implements
FM as phase modulation on their chips and the two techniques can produce
identical spectra. For more info on the relation between PM and FM see
the file 'pm-intro.Z' archived in /midi/doc on ucsd.edu, which I wrote.
A wavetable oscillator consists of two parts, a phase accumulator which
is basically a sawtooth wave generator followed by a table lookup, which
could be called a waveshaping of a sawtooth wave. Since the input signal
is being added to the sawtooth wave, this results in phase modulation of 
the oscillator.
   Set the K2000 program to algorithm 8. Set the DSP stages to:
      SINE -> GAIN -> SW+SHP
SINE is the modulator, GAIN controls the index of modulation, SW+SHP
is the carrier. You can also use the output of PITCH as carrier and
make the chain be : PITCH -> GAIN -> SW+SHP -> <whatever> -> AMP
which gives you one DSP stage to do what you like with, perhaps filtering
or further distortion.
   Have fun, 

   --- james mccartney
Xref: sparky rec.music.synth:7925 alt.guitar:2288
From: frankc@faatcrl (Frank Coffman)
Newsgroups: rec.music.synth,alt.guitar
Subject: Re: Korg Z3/ZD3 Guitar Synthesizer
Date: 13 Apr 92 18:04:09 GMT
Followup-To: rec.music.synth

ccecl@nuscc.nus.sg (Chandra Liem) writes:

>Hi, I am thinking of buying a Korg Z3/ZD3 Guiter Synthesizer and I would
>like some comments (good or bad) on this system.  The price quoted is
>S$1400 (about US $850).  Thanks in advance for any comments.

I've never played a Z3, but I understand they're very similar to the
Roland GR-50 in technology, sound and price.  My only advice is to
play it before you buy.  They don't track very well under certain
conditions.  There is also a delay (miliseconds, but noticible) in the
sound, due to the pitch-to-midi process, which you may or may not find
acceptable.


*********************************************************************
* Frank Coffman     Computer Resource Management, Inc. (CRM)        *
*                   NAS Sim. Support Facility, FAA Technical Center *
*                   Atlantic City Airport, NJ 08405                 *
* UUCP:  ...!rutgers!faatcrl!frankc  Internet:frankc@faatcrl.UUCP   *
*********************************************************************
Newsgroups: rec.music.synth
From: dml@wam.umd.edu (Douglas M. Lindsey)
Subject: Synth. comparisons 
Organization: Merriversity of Uniland, College Purgatory
Date: Tue, 14 Apr 1992 01:18:39 GMT

I'm planning to purchase a synth. of some sort next month.  I've been reading
this group for a month or two, and have found a lot of useful information.

A while back, someone posted a question inquiring about the different 
evolutionary stages of the Ensoniq VFX, and someone responded with a nice
concise description of the different features that the VFX, VFX SD, etc.
had.  

What I'm wondering is if there is a source for similar answers.  I've seen
several different Roland synthesizers in local stores.  Virtually all of them
sound great (I'm a neophyte), and obviously the more expensive ones have
more features.  But it would be nice if there were some sort of guide which
said "here are the basic features of a DX7.  Now, a DX7 IIFD adds these
features ______".  Do such guides exist? 

I bought a copy of Roland's "New products for 1992" video, and in it they 
demonstrated sound cards for several different models.  They also introduced
the JV-80.  One of the people they interviewed in the video compared it to
the D-70.  Other than the obvious fact that the JV-80 is newer, how does it
compare to the D-70?  The JD-800?            

As long as I'm asking questions along the same vein, what are the major
differences between the Yamaha SY77 and SY99?
Newsgroups: rec.music.synth
Subject: Sun Sparcstation 1 & Sound
From: fabrizio@deis65.cineca.it (Fabrizio Lugli)
Date: Wed, 15 Apr 92 08:36:52 GMT
Organization: DEIS - Universita` di Bologna - Italy 

I usually work with a Sun Sparcstation. I know it has got sound generation
capabilities. Does anybody know some software that can exploit it ? Perhaps Csound for
Sun ?

Any comment, info or hint would be welcomed.

					Fabrizio Lugli
					fabrizio@deis64.cineca.it
From: Will.ROCH803@XEROX.COM
Newsgroups: rec.music.synth
Subject: Turtle Beach Multisound
Date: 10 Apr 92 20:14:13 GMT
Reply-To: will.roch803@xerox.com

Anyone know about the price and availability of the new Turtle Beach multisound
(I think that's what they call it) card?

Thanks,

Will
will.roch803@xerox.com
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Newsgroups: rec.music.synth
Subject: Re: To Maurizio De Cecco
Date: 7 Apr 92 04:10:40 GMT
Organization: Digital Equipment Corporation


In article <XqkmiB22w164w@sys6626.bison.mb.ca>, five@sys6626.bison.mb.ca (skinny puppy) writes...
>Hi Eirikur.  The sequencer, basically:
.....
>What else would you like to know?

Who made it, and the model, just out of curiosity.  I'm interested in that
German MIDI seq with the analog-style U.I., myself.

>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.?  

Eirikur Hallgrimsson   | "Hey, what *is* that thing?  It looks like a telephone
eh@ranger.enet.dec.com |  switchboard trying to mate with a Hammond organ!"
PATHWORKS for Macintosh|

Xref: sparky rec.music.synth:7885 rec.music.makers:5585
From: ln63sdm@sdcc4.ucsd.edu (Em 2 da cee)
Newsgroups: rec.music.synth,rec.music.makers
Subject: Budget rackmount mixers
Date: 13 Apr 92 01:08:28 GMT
Followup-To: poster

I'm in the market for a budget rackmount mixer.  I need 8-16 channels, at
least one efx-loop and some sort of simple eq. would be good.

What units fit the description above and also maybe someone who wants to or
has upgraded their setup would be willing to sell me a mixer.

Please email any info or whatever...

	ln63sdm@sdcc4.ucsd.edu
From: ajv@roi.csd.mot.com
Newsgroups: rec.music.synth
Subject: Re: Usenet Tape depression sets in.
Date: 9 Apr 92 20:53:40 GMT

jgj@ssd.csd.harris.com (Jeff Jackson) writes:

>I have an hypothesis about engineers and music, or at least software
>engineers and music.
>... (extremely accurate insight deleted)

That's what I found with guitar and keyboard.  I finally broke out
of the mold on bodhran (a drum from Celtic tradition).  Maybe drum/
percussion is distinct enough from the fairly mathematical structure
of chords/intervals/progressions that a software guy can finally
put some distance from his analytic problem-solving mind-set?  Or maybe
I'm just as bad on drum, but don't care as much? :-)

				Just a thought...
				Andy Valencia
Newsgroups: rec.music.synth
From: bohdan.kiszczuk@rose.com (bohdan kiszczuk)
Subject: eq Plus Gold/Cakewalk
Organization: Rose Media Inc, Toronto, Ontario.
Date: Wed, 15 Apr 1992 09:11:43 GMT
X-Gated-By: Usenet <==> RoseMail Gateway (v1.2)


Date Entered: 04-15-92 03:06


S(> From: steve@etnibsd.uucp (Steve Myers)
S(> Subject: Seq Plus Gold/Cakewalk
 
S(> I'd like to exchange .MID files with a friend who has Sequencer Plus Gold,
S(> but it rejects the .MID files I have created with Cakewalk Pro 4.0 posting
S(> the message "not a .SNG file".  Similarly, I can't open .SNG files he has
S(> generated.  
S(> 
S(> Since .MID files are a standard, it seems like the answer is to get Plus 
S(> Gold to read and write .MID files.  Is there a configuration option that 
S(> allows this to happen?  When I save a file in Cakewalk it asks if I want 
S(> a .WRK or .MID file whereas Plus Gold seems to assume .SNG.
S(> 
S(> Also, in Cakewalk, is it possible to read a file into another file that's
S(> already open?  Sometimes a rhythm part from an older piece seems perfect
S(> for the song I'm currently working on but the 'Load' command just overwrites 
S(> the current file.

          In Cakewalk use the merge function. Load the file you're 
working on, select file/merge, and pick the file you want to copy 
from. The contents of the second file will be dumped into your scrap 
buffer. You can then paste it into your current work. You have to be 
careful. The stuff in the scrap buffer will paste exactly as the 
original file looks. In other words if the original file had stuff on 
tracks 1,2,3 starting at measure 3 the scrap buffer will paste into 
tracks 1,2,3 of the current file starting on measure 3.
---
   RR 1.60 R001028: Message too long for screen - Press Enter
   RoseMail 1.70:
From: smithj@hpsadlu.sad.hp.com (Jim Smith)
Date: Mon, 6 Apr 1992 06:14:38 GMT
Subject: Re: Looking for Analog Drum Machines
Organization: no risk to you!
Newsgroups: rec.music.synth

five@sys6626.bison.mb.ca (skinny puppy)  writes:
>Does anyone have any?  If so:  
> 
>1) Which?

Well, I've got this old Univox beat box that I've wanted to get rid of...

>2) Is it for sale?

Yeah...

>3) How much?

Real cheap. $20+postage?  
Not all of the drums work, and it's not programmable.  I
think its big claim to fame came on "McCartney."  It sounds like an
old organ rhythm box to me.

The only problem, Ric, is that I don't think it's worth the postage for ya!
On the other hand, I kinda had my doubts about the Paia, too, so...

                 - Jim Smith  smithj@hpsad.sad.hp.com
            Yupatupata da yupadupa chickida, Icktang icktang, 
            Ickitack tangdow, Rickitickatar ticka chingtar da.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Via: sun3.nsfnet-relay.ac.uk; Fri, 17 Apr 1992 13:13:37 +0100
Via: dcs.leeds.ac.uk (csvax1.ARPA); Fri, 17 Apr 92 13:16:03 GMT
Newsgroups: rec.music.synth
Date:         Fri, 17 Apr 1992 11:08:26 BST
From:         The Brown Bottle <ross-c@DCS.LEEDS.AC.UK>
Subject:      Re: Raise yours hands if ...
Comments: To: SYNTH-L@AUVM.AMERICAN.EDU

>From: David Sandberg <dts@COM.SIALIS.QUAD>
>Subject: Re: Raise yours hands if ...
>
>In <1992Apr15.041933.14067@cdsmn.mn.org> plate@cdsmn.UUCP (Doug Plate) sayeth:
>>In article <JHZ8iB6w164w@sys6626.bison.mb.ca> five@sys6626.bison.mb.ca (skinny
>puppy) writes:
>>>Everybody that wants a WAVE, raise your hand.       w
>>>                                                    |
>>>                                                   /
>>
>>Five,  no wonder your so into modular synths and Industrial type music:
>>The secret is out... You only have 2 fingers!
>
>Look closer... actually, you'll note he has two and a half fingers.
>

I actually think that's a thumb between two fingers, making you both right.
The amazing thing is, how does he manage to type so much in this newsgroup?

Five! Have you got an analogue modular voice recognition system???

Ross-c
Newsgroups: rec.music.synth
From: bohdan.kiszczuk@rose.com (bohdan kiszczuk)
Subject: eq Plus Gold/Cakewalk
Organization: Rose Media Inc, Toronto, Ontario.
Date: Thu, 16 Apr 1992 02:25:40 GMT
X-Gated-By: Usenet <==> RoseMail Gateway (v1.2)


Date Entered: 04-15-92 20:04
 
M(> Regarding Cakewalk's merge function, in article <1992Apr15.081144.5453@rose.uucp> bohdan.kiszczuk@rose.com (bohdan kiszczuk) writes:
M(> >         The stuff in the scrap buffer will paste exactly as the 
M(> >original file looks. In other words if the original file had stuff on 
M(> >tracks 1,2,3 starting at measure 3 the scrap buffer will paste into 
M(> >tracks 1,2,3 of the current file starting on measure 3.
M(> 
M(> This is incorrect.  One can force all tracks of the merged file to paste
M(> to a single track with the "Paste to One Track" function, and the paste
M(> location uses the "Now" marker just like any other paste.  In other words,
M(> after the merged file is loaded into the scrap buffer, it is treated like
M(> any other scrap buffer data.
M(> 

                You are correct. I just hadn't used this function in a 
long time.
---
   RR 1.60 R001028: A man's best friend is his dogma.
   RoseMail 1.70:
Newsgroups: rec.music.synth
From: scs@lokkur.dexter.mi.us (Steve Simmons)
Subject: Re: Usenet Tape depression sets in.
Organization: Inland Sea
Date: Fri, 10 Apr 92 03:20:47 GMT

After a long day banging bits for the electronic beast, making music
from chunks of wood, brass, bone and steel puts an entirely different
spin on the world.
-- 
When Dexter's on the Internet, can Hell be far behind?
Newsgroups: rec.music.synth
From: malouin@engin.umich.edu (Curt Malouin)
Subject: Disc Makers (was Re: CD COSTS (fwd) )
Date: Thu, 16 Apr 92 21:03:44 EDT
Organization: University of Michigan Engineering, Ann Arbor

I would be wary of dealing with Disc Makers.  A friend of mine
got cassingles done there are they sounded terrible--*very*
low levels and a lot of noise.  I have also heard bad things
about their vinyl.  Haven't heard a thing about their CDs,
though, and I don't have any personl experience (aside from
being impressed by their catalog).

	-cut-
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Newsgroups: rec.music.synth
Subject: Re: Arsinio and Korg
Date: 7 Apr 92 03:38:38 GMT
Organization: Digital Equipment Corporation


In article <3646@vtserf.cc.vt.edu>, pgr@ramandu.ext.vt.edu (Patrick Robinson) writes...
>Then you haven't been around these parts long enough to remember the Rossi-Korg
>matter.  Oh, the horror and trepidity of it all... !

TREPIDITY?  No, I'm not willing to go into the hardcover OED after that one.  I
know what I wouldn't find.  Trepidacious, certainly.  Trepidity, I'm willing to
waste bandwidth over.

Eirikur Hallgrimsson   | "Hey, what *is* that thing?  It looks like a telephone
eh@ranger.enet.dec.com |  switchboard trying to mate with a Hammond organ!"
PATHWORKS for Macintosh|
Newsgroups: rec.music.synth
From: steinman@is.morgan.com (Jan Steinman - CONS)
Subject: Mac serial ports (was Re: MOTU Apparently Now hiring...)
Organization: Morgan Stanley & Company
	<D88-JWA.92Apr10122035@dront.nada.kth.se>
Date: Fri, 10 Apr 1992 13:42:28 GMT

In article <D88-JWA.92Apr10122035@dront.nada.kth.se> d88-jwa@dront.nada.kth.se (Jon W{tte) writes:
   .edu> metlay@minerva.phyast.pitt.edu (metlay) writes:

      A Macintosh apparently cannot send data to a MIDI interface at a throughput
      of greater than 140 kilobaud.

      Would someone PLEASE point out a verifiable technical spec SOMEWHERE that
      proves me wrong? PLEASE?

   ...
   Any mac has at least two serial ports (except for the Poweook 100)

   You could also buy a serial board for you mac; someone makes a
   NuBus card that has an on-board CPU and has 8 ports; I'm sure they
   can be used to pump data as well, with the right kind of sequancer;
   probably would require MIDI manager compatibility.

I've got a Quadralink: 4 serial ports on a NuBus card. I have yet to
discover how to use them for MIDI. If fact, I have yet to discover how
to use them effectively for ANYTHING except ZTerm 0.9, which
wonderfully lets me choose from among all six ports. (AE does supply a
"shadow driver", which is like a software port switch, but it is
fairly useless, since neither MIDI stuff, nor sound input programs pay
it any attention; they simply insist on one of the two original
ports.)

Does anyone know of a Communications Toolbox driver for MIDI Manager?

--
::::: Jan Steinman	   steinman@is.morgan.com	       Bytesmiths :::::
::::: 2002 Parkside Court			 West Linn, OR 97068-2767 :::::
::::: 503/657-7703					     212/956-8722 :::::
From: aa596@cleveland.Freenet.Edu (Peter Haller)
Newsgroups: rec.music.synth
Subject: Re: Gear Lust
Date: 12 Apr 92 17:48:04 GMT
Article-I.D.: usenet.1992Apr12.174804.19995
Reply-To: aa596@cleveland.Freenet.Edu (Peter Haller)
Organization: Case Western Reserve University, Cleveland, OH (USA)


As a reformed 'Gearhead',  I can relate to the Gear Lust syndrome. IMHO
many of the netters here believe that "Gear" is the replacement for
practice. Many a novice believes just having the newest toy on the
block is all that they will need to make good music. They seek out that
instant gratification when they open the box. While this is fine, and
playing those built in demos of the newest piece of gear might impress
your friends, it fails to make music. 

To little time is spent on the music aspect, either composition or
techinical precision. This can be seen in the number of bad SMF that
float around on the nets, BBS, and pay services. Hell, how many 
versions of the Beatles Yesterday or such do we need in SMF form? As
far a original work goes, I have seen very little. This stuff should be
left to the General MIDI people and the record companies. (Which they
are probably already gearing (no pun) up for.)

In my own experiance I have found that most of my gear is used like
humans use their brain - ie 4%. I have just begun to master my Kurzwiel
K1000. This thing is so complex though, I can see why many would just 
throw their arms up and live with the stock sounds and patches. But
programming is not my point, musical literacy is.

I am not talking about being a virtuoso(sp?) but merely a professional
when it comes down to composition. Use the stock sounds, even General
MIDI. Just write music. Music that will sound good whether its played
live, on a Fairlite, or a Casio CZ101. Practice your chops. Think about
taking a few more lessons. Expand your musical expression, not in terms
of the size of your bank loan or your rack of gear, but the understanding
of melody or orchestration. 

While techincal proficiency of your hardware is important and may even land
you a job, your musical proficiency will, IMHO, bring you more personal
rewards and satisfaction.

I am now off my soap box...

Flames are welcome.

PCH


-- 
Peter C. Haller				|	'If you do what you 
Imagination Processing Systems		|	have always done,
aa596@cleveland.Freenet.Edu 		|	expect what you have
"Are we having fun yet?"		|	always recieved.'
Newsgroups: rec.music.synth
From: swanee@megadata.uucp (Geoff Swan)
Subject: Alternative to 150MB/s optic-fibre MIDI ...
Keywords: MIDI network
Organization: Megadata P/L, North Ryde, Sydney, Aust.
Date: Fri, 10 Apr 1992 03:47:32 GMT

Well after reading the thread on sequencing packages for the atari ST and
see it develop into a debate about wish lists for some new interface
standard for musical instrument interconnection, I decided to put my two
pacific pesos worth in. It would seem that many people are not reading
the question carefully enough and jumping to silly conclusions. MIDI is
fine for what it does - event control over a balanced low speed "network".

People who are asking for huge bandwidths over fibre or other medium
are asking for something to do sample dumps and generally non-event
related operations with. So perhaps we could retain MIDI as it stands to
interconnect our event recorders and generators to each other and for
those devices that require sample dumps and massive amounts of data
transfer, incorporate a second, high speed open-system network. In
addition to providing interconnectivity for these devices, it may also
allow you to attach servers (for storage of such chunks of data) and
workstations for manipulating the data.

So here we have two networks. One already firmly in place (called MIDI)
for those few people who have no problems in managing their systems
with a few carefully planned MIDI rings, and 10baseT (or equivalent)
for those who want to process or distribute large chunks of data around
their systems (with some form of open systems protocol). This means that 
those synths that don't require such a high speed (and comparatively 
expensive) communications link need not incorporate it and yet still be 
capable of event control or processing via MIDI.

Thank you for listening.

    Sla/n go fo/ill,
                    Risky B.
--------------------------------------------------------------------------
Geoff Swan                            _--_|\         swanee@megadata.oz.au
Megadata Pty Ltd                     /      \ 
2/37 Waterloo Rd, North Ryde,        \_.--._/               +61-2-805-0899
NSW 2113, Australia.                       v           (AH) +61-2-477-6519
From: sherman@induce.enet.dec.com (My name is...)
Newsgroups: rec.music.synth
Subject: Re: re: practicing vs. programming (was: Usenet tape depression)
Date: 10 Apr 92 03:41:39 GMT
Organization: Digital Equipment Corporation


In article <1992Apr9.224152.9318@uunet.uu.net>, kyle@uunet.uu.net (Kyle Jones) writes...
> > > Oh, and by the way, I usually end up practicing on my acoustic piano (better
> > > than even analog!  Sorry Metlay!! :-)
> > 
> > But acoustic piano *is* analog!  That's why it's so "insanely great"...!
> 
>Pitiful modulation routings, tho. :)
> 

And to think that when the piano came out there was this uproar about how
it belittled REAL instruments.  Then, there's the electric guitar.  Ya
gotta wonder what flack the inventor of the violin had to put up with from
the harp makers ...  Ah, but this is part of an old discussion.  (Didn't
this lead to the discussion about dropping boulders on cats or something?)

In the future I wonder of folks will turn up their noses at AI ...
"Not human enough.  It's just copying Monk's/Mozart's/Motley Crue's 
style.  Brainwaves are a copout.  REAL MUSIC requires that you use
your hands.  Those strings sound too real.  And, that sax - I can 
hear that Jonny Hodges parameter mix a mile away."

Steve