HDTenEightyP/NetNews huggingface dataset:
Newsgroups: bit.listserv.emusic-l
Date:         Thu, 17 Dec 1992 01:22:26 EST
From:         DHULCE@UCS.INDIANA.EDU
Subject:      Hello...I have a question.
Comments: To: emusic-l@auvm.bitnet

Good day,

I just recently subscribed to this listserv, and I am fairly new to lot
of subjects under the heading "MIDI".  Anyway, I have been doing MIDI stuff
for awhile, and I have decided to integrate my computer into the MIDI loop.
I wanted to find out what I/O boards everyone out ther would recommend.
Here's my system components right now:

        Yamaha SY22
        Yamaha DX7
        Yamaha DX21
        Yamaha QX5 Sequencer
        Yamaha RX17 Drum Machine
        Yamaha GEP50 Effects Processor

        Computer:  386 25mhz, 8 Meg RAM, 210 Meg HardDrive

And I am always adding stuff to it.  I am looking for a board that can handle
soft ware for sequencing mainly with a full 16 track utilization.  I want a
board that will be able to handle anything that I want to add on in thje
future.  I operate and program primarily in the Windows envirnment, if that
makes a difference.

                                        Thank You in advance,

                                                D.R. Hulce

                                                "The Dr."
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Fri, 11 Dec 1992 14:32:42 -0500
From:         Nick Rothwell <cassiel@CASSIEL.DEMON.CO.UK>
Subject:      Re: THE METLAY ET AL. SOUND
Comments: To: Electronic Music Discussion List <EMUSIC-L@american.edu>

>Women swoon over it,

Who? WHERE?

                      Nick Rothwell  |  cassiel@cassiel.demon.co.uk
   CASSIEL Contemporary Music/Dance  |  cassiel@cix.compulink.co.uk
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Delivery-Notice:  SMTP MAIL FROM does not correspond to sender.
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 14 Dec 1992 09:05:00 EST
From:         Scott Bringen <ZMSKB@GIBBS.GSFC.NASA.GOV>
Subject:      unsubscribe

please remove me from the emusic-l list.
thanks, Scott Bringen(ZMSKB@GIBBS.GSFC.NASA.GOV)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: Mail User's Shell (7.2.3 5/22/91)
Newsgroups: bit.listserv.emusic-l
Date:         Fri, 18 Dec 1992 16:18:52 +0100
From:         Adam MIROWSKI <mir@OPUS.CHORUS.FR>
Subject: Re: MIDI File spec in ascii format
Comments: To: Electronic Music Discussion List <EMUSIC-L@AMERICAN.EDU>

David HAUBENSACK (I have the impression I know him
personnally and visually) writes:

>
> Well folks, I received a few mails like this one. Obviously, it seems to me
> that cs.ruu.nl is dead... It was a correct address a week ago. Anyway don't
> panic, you can try (orchestra hit, suspended breathes...):
>

Are you sure you are not confusing mail adresses with
machine names? The namespaces are quite different.
Many mail adresses are not machine names but rather
domain names, and you cannot ftp to them. My address
is mir@chorus.fr (short is beatiful), but ftp chorus.fr
will fail. You need to ftp to opera.chorus.fr to get
to a real machine. I think it is possible to arrange
that every Internet mail address can be ftp-ed to,
but nobody seems to do that.

The ftp server is ftp.cs.ruu.nl.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
From: NLEONARD@RCNVMS.RCN.MASS.EDU
Newsgroups: bit.listserv.emusic-l
Subject: PAIA glitches
Date: 16 Dec 92 15:39:52 GMT
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-VMS-To: IN%"emusic-l@auvm.american.edu"
MIME-version: 1.0
Content-transfer-encoding: 7BIT
Comments: To: emusic-l@auvm.american.edu

We have a MIDI MUX with one expander card, which when standing alone
will operate fairly reliably for hours.  However, interfacing motors,
and even relays, will make it extreamely unreliable.  All outputs
of the expander card have been opti-coupled with a transistor and
a relay to drive the motors.  Whats wrong with this?

Neil Leonard

Computer Arts Learning Center
nleonard@ecn.mass.edu
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Wed, 16 Dec 1992 12:47:24 CST
From:         Al Vigland <vigland@ASIA1.MDC.COM>
Subject:      Windows Programming
Comments: To: EMUSIC-L@AUVM.AMERICAN.EDU

I'm gearing up to do some MIDI programming in the Windows environment
and have a few questions.  Any help would be much appreciated!

1) If I do my MIDI programming to the Windows MIDI device spec, does
this mean that any MIDI capable sound card that has a Windows 3.1
driver will be compatible with my program (i.e. MPU-401 type,
SoundBlaster, MediaVision, etc)?

2) Is there a clear "best-choice" in MIDI cards for the PC with respect
to programming?

3) My plan of action is to use Borland's C++ environment for Windows.
Do any of the other environments provide any niceties for MIDI-related
programming that the Borland environment doesn't?

4) What is the best source for reference material that pertains to
programming MIDI devices in the Windows environment (Windows Resource
Kit?)

5) After monitoring the list for several weeks it sounds like there are
a lot of Mac-heads out there (as there should be!). Could I hear some
noise from the Windows community? Are the Windows apps for musicians up
to snuff?

Thanks,
--
Al Vigland                                            vigland@asia1.mdc.com
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.3 PL11]
Newsgroups: bit.listserv.emusic-l
Date:         Tue, 15 Dec 1992 13:01:59 PST
From:         metlay <metlay@NETCOM.COM>
Subject:      Re: your mail
Comments: To: EMUSIC-L@american.edu
              "PLUI%IOSSVR.gm@hac2arpa.hac.com" at Dec 15, 92 12:43 pm

>Issue #8 of Mondo 2000 has an article titled "The Midi Warp Drive"
>It's about Jimmy Hotz's "Midi Translator".

<snicker>
>quote from magazine:
>
>   If the Hotz Translator doesn't even run on the Mac
>   (yet-Atari ST compatible, IBM and Mac to follow),
>   why does Steve Wozniak consider it one of the most
>   impressive computer technologies he's ever seen?

Woz must be easily amused.

>The article says its been around since '89, has anyone seen
>or used one? What does it really do?

I';ve seen one. It's a big piece of plastic with a bunch of
surfaces defined on it that send MIDI messages of different
sorts when touched or stroked. It has a flat "keyboard",
a set of "drum pads" and other surfaces. Sort of a poor
man's Thunder.

--
mike metlay                | Today's "Context is Everything" quote:
atomic city                |
p. o. box 81175            |              "Oo-er."
pittsburgh pa 15217-0675   |
metlay@netcom.com          |                          (n. rothwell)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Original_To:  @BITNET.MY_SUBSCRIPTION
Newsgroups: bit.listserv.emusic-l
Date:         Wed, 16 Dec 1992 12:43:00 CST
From:         "ABHINAV TREHAN (TONY)" <ATREHAN@UMKCVAX1.BITNET>
Subject:      add

add
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.3 PL11]
Newsgroups: bit.listserv.emusic-l
Date:         Fri, 11 Dec 1992 20:35:23 PST
From:         metlay <metlay@NETCOM.COM>
Subject:      Re: THE METLAY ET AL. SOUND
Comments: To: EMUSIC-L@american.edu
              Rothwell" at Dec 11, 92 2:32 pm

>>Women swoon over it,
>
>Who? WHERE?

My wife. Rossi's wife. Dean's girlfriend. Etc. Play the tape for
some of your dancer friends, dude, you never know WHAT might happen.
|->

--
mike metlay                | Today's "Context is Everything" quote:
atomic city                |
p. o. box 81175            | "It runs whimpering into the fern bar
pittsburgh pa 15217-0675   |  next door for a Corona and a plate of
metlay@netcom.com          |  pan-blackened munchkins." (s. masticola)
From: peter@BERTHA.KENTROX.COM (Peter Uchytil)
Newsgroups: bit.listserv.emusic-l
Subject: big punchy bass
Date: 15 Dec 92 16:13:03 GMT
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Comments: To: emusic-l@auvm.american.edu

Hey everybody.  I've been having trouble trying to program up some bass sounds
that really move (heh) me.   What I'm looking for are sounds reminiscent of
Pet Shop Boys, Dead or Alive, Erasure, old Madonna, or just about any dance
remix.  Here's what I've concluded so far:

1) My equipment just may not be able to do what I want, but I think I can come
   a lot closer than I am.  From what I understand, this "big punchy bass"
   sound is almost always produced by analog equipment.

2) It seems all the magazines I read say that "punchy" bass is achieved by
   using a compressor and/or exciter.

The easy answer is to go find a synth/sampler with the sound I want and buy
it, but I don't have the $$$ right now and also I just feel that I've got
tons of synth power in my SQ2 and ESQ but I'm not sure how to get at it.
At one point in time I did do patch programming on some old analog stuff
(ARP 2600, 2500), but I never got so I could hear a sound in my head and
make it happen on the synth.

Ok, questions:

1) Can someone explain a bit of what's involved with a good bass patch?
   What kind of waveforms do you typically use?  What kind of filter
   settings are used (these seem to give me the most trouble with my SQ2).
   I'd really like to be able to do this myself and not go out and buy
   someone's '200 patches for $30' package.

2) Am I fooling myself thinking the synth can do it all?  Do I need a
   compressor to get that tight, punchy sound?  I kinda hate for that to
   be the answer because it means I'd have to get a seperate module just
   for bass.  In an ideal world that would be great, but the current funding
   won't allow it.


So here's your chance star programmers!  Share some tips with me, please!

Pete
--
Peter Uchytil   | ADC Kentrox Industries | "Let your dreams start a fire
peter@kentrox.com |  Portland, Oregon    |  Let your hopes fan the flames"
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Subject: (no subject given)
Newsgroups: bit.listserv.emusic-l
Date:         Tue, 15 Dec 1992 12:43:58 PST
From:         PLUI%IOSSVR.gm@HAC2ARPA.HAC.COM
Comments: To: emusic-l%auvm.bitnet@cunyvm.cuny.edu@hac2arpa.hac.com

Issue #8 of Mondo 2000 has an article titled "The Midi Warp Drive"
It's about Jimmy Hotz's "Midi Translator".

quote from magazine:

   If the Hotz Translator doesn't even run on the Mac
   (yet-Atari ST compatible, IBM and Mac to follow),
   why does Steve Wozniak consider it one of the most
   impressive computer technologies he's ever seen?

(maybe he's got stock in the company! -pl)

The article says its been around since '89, has anyone seen
or used one? What does it really do?


_______________________________
Name:   Patrick Lui
E-mail: plui@iossvr.gm.hac.com
_______________________________
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 14 Dec 1992 12:58:06 ADT
From:         x92bba@ESSEX.STFX.CA
Subject:      Re: THE METLAY ET AL. SOUND
Comments: To: EMUSIC-L@AMERICAN.EDU

No, it's not too late to send them to me but as I am returning home
to Newfoundland for Christmas, maybe you could send the articles there. If
you want, I believe that you can put a trace on those goods (as I have many
times!). It will be just my luck that they will probably arrive here the day
after I leave for the holidays.....oh well.
Anyway, I'll log out of this network and send you my home address in Nfld.
Let me know if you get it all!
Thanks....Glen C
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.3 PL11]
Newsgroups: bit.listserv.emusic-l
Date:         Thu, 17 Dec 1992 11:06:25 PST
From:         metlay <metlay@NETCOM.COM>
Subject:      Re: Binaural sound
Comments: To: EMUSIC-L@american.edu
              "WSCOTT@acs.wooster.edu" at Dec 17, 92 1:22 pm

>mike metlay writes:
>     get GREAT binaural recordings of live concerts just by
>sitting and listening to the band with a DAT in your hand."
>
>I think he also said (just out of earshot for many), "you could do it
>but it would be wrong"  8-)

I doubt that the people on this list, good conscientious legally minded
copyright-aware professional musicians all, need to be reminded of this.
|->

However, I should point out that several bands encourage taping of
their concerts, among them the Grateful Dead and Phish. And I plan
to have a binaural recorder in the audience when I do my live shows
and may use a binaural rig to experiment with soundscapes for the
Outer Ear fest in '94. These devices are useful in legal ways too,
and people shouldn't overlook them because they SEEM designed for
bootlegging.

--
mike metlay                | Today's "Context is Everything" quote:
atomic city                |
p. o. box 81175            |              "Oo-er."
pittsburgh pa 15217-0675   |
metlay@netcom.com          |                          (n. rothwell)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-VMS-To: IN%"EMUSIC-L@AMERICAN.EDU"
Newsgroups: bit.listserv.emusic-l
Date:         Thu, 17 Dec 1992 13:22:00 EDT
From:         WSCOTT@ACS.WOOSTER.EDU
Subject:      Re: Binaural sound
Comments: To: EMUSIC-L@AMERICAN.EDU

mike metlay writes:
     get GREAT binaural recordings of live concerts just by
sitting and listening to the band with a DAT in your hand."

I think he also said (just out of earshot for many), "you could do it
but it would be wrong"  8-)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Wed, 16 Dec 1992 14:41:17 PST
From:         PLUI%IOSSVR.gm@HAC2ARPA.HAC.COM
Subject:      Eventide Harmonizer
Comments: To: EMUSIC-L@AMERICAN.EDU@hac2arpa.hac.com

My sister just started work on a demo in Vancouver.  She told me
about this Eventide H3500. I've heard of Eventide harmonizers, but
this one apparently samples as well (30-? seconds).

I am looking for a sampler, I considered an S950.

Does the Eventide act as a sampler (a la S950)?  If so, are there
any drawbacks to using it as both a sampler and harmonizer?
Has anyone out there used one as a sampler?

Any feedback is appreciated.
thanks
-plui

_______________________________
Name:   Patrick Lui                   *** If it moves... sample it! ***
E-mail: plui@iossvr.gm.hac.com
_______________________________
Newsgroups: bit.listserv.emusic-l
From: tfullert@magnus.acs.ohio-state.edu (Timothy D Fullerton)
Subject: Cmusic books
Organization: The Ohio State University
Date: Sat, 19 Dec 1992 21:55:05 GMT


        I am looking for any sort of instruction manual or third party 
books for cmusic.                                          
                                                                                
        Thanks
                                                                      
                Tim
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.3 PL11]
X-Charset: ASCII
X-Char-Esc: 29
Newsgroups: bit.listserv.emusic-l
Date:         Sat, 12 Dec 1992 01:11:38 EET
From:         Jari 'Jartsu' Lehto <jartsu@SNAKEMAIL.HUT.FI>
Subject:      Re: Atari program for constructing sample dumps
Comments: To: pgardner@crc.ac.uk
Comments: cc: EMUSIC-L@AMERICAN.EDU
              92 11:54 am

You (Phil Gardner) wrote:
>
> I have a vague recollection of seeing a review several months ago in a UK
> magazine (Sound on Sound, or Music Technology) about an Atari program that
> could be used to visually create sound waveforms.  These waveforms could then
> be sent via MIDI to a sampler for audition.  At the time I paid little
> attention since 'affordable' 16-bit samplers were beyond my reach...

This _could_ be the Avalon by Steinberg. Great sample editor, supports
multiple types of graphical sample editing and also SCSI-connection to
samplers. I have tried it with SCSI-connected Ensoniq EPS 16+. That
was a system beyond my wildest dreams...
Avalon is in the same class with Cubase, state of the art, designed
for the most demanding musician. =expensive.
If I remember it right, Avalon supports most available top end
samplers.

> Can anyone give me any information on the program, particularly if they are
> users of the program.

There should be lots of users, the program is widely known. Dunno
where to find them... If I only could afford a good sampler, at
least...

> Mant thanks,
>
>         Phil Gardner
>


--
*******************   "Jartsu"   **********************
***********   Jari                 Lehto   ************
****************   "I hate MS-DOS"   ******************
*****   Finger jartsu@vipu.hut.fi for more info   *****
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Sat, 12 Dec 1992 15:12:03 ADT
From:         x92bba@ESSEX.STFX.CA
Subject:      Re: THE METLAY ET AL. SOUND
Comments: To: EMUSIC-L@AMERICAN.EDU

Hello Mr. Metlay!
This is Glen, the thesis dude. Did you remember to send those back issues
of Keyboard magazine etc.? They sure would make nice Xmas presents!
Thanks.......Glen C
x92bba@essex.stfx.ca
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Content-identifier: 63
Content-transfer-encoding: 7BIT
Conversion: Prohibited
X400-Content-type: P2-1984 (2)
X400-MTS-identifier: [/PRMD=iris/ADMD=mensatex/C=es/;921215181058]
X400-Received: by mta iris-dcp in /PRMD=iris/ADMD=mensatex/C=es/; Relayed; Tue,
               15 Dec 1992 18:14:31 UTC+0100
X400-Received: by /PRMD=iris/ADMD=mensatex/C=es/; Relayed; Tue,
               15 Dec 1992 18:10:58 UTC+0100
X400-Recipients: non-disclosure:;
X400-Originator: gui@cpd.uva.es
Newsgroups: bit.listserv.emusic-l
Date:         Tue, 15 Dec 1992 18:10:58 UTC+0100
From:         gui <gui@CPD.UVA.ES>
Subject:      Info about CZ SysEx
Comments: To: emusic-l@american.edu

        Hi! I am a new CZ user and I have no manuals :( Can anybody tell me
something about SysEx, dumps and everything you want to?

        Thanx, people.

        Luis A. Fuente
        Valladolid (SPAIN)

        gui@cpd.uva.es
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.2 PL6]
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 14 Dec 1992 08:16:34 PDT
From:         mary crockett <maryc@INGRES.COM>
Subject:      unsubscribe
Comments: To: emusic-l@american.edu

maryc@ingres.com
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-VMS-To: IN%"EMUSIC-L@AMERICAN.EDU"
Newsgroups: bit.listserv.emusic-l
Date:         Sat, 19 Dec 1992 23:53:00 EDT
From:         WSCOTT@ACS.WOOSTER.EDU
Subject:      Re: PHIL COMP
Comments: To: EMUSIC-L@AMERICAN.EDU

Al Vigland writes of trying to come up with guitar fills that are familiar
but out of time with the overall peice. Is this something like the
Beach Boys arrangement of Santa Claus is Coming to Town that always comes
'round this time of year?  8-)

Bill Scott
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Thu, 17 Dec 1992 09:23:33 BRA
From:         Pedro Manoel <NCS01003@UFRJ.BITNET>
Subject:      Binaural sound

Hi...

Please tell me what "binaural sound" means.

Thanx in advance. Pedro.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Fri, 18 Dec 1992 17:38:00 EST
From:         Robert Depin <DEPIN@TARGET.COM>
Subject:      PHIL COMP
Comments: To: EMUSIC-L@AMERICAN.EDU

Since you asked,
        Joel, you've made several interesting observations regarding composition
of both e-music and a-music.

>       For  myself,   with  sequencing  I   tend   to
>        micro-manage the  music  much  more  than  when writing  in  more
>        traditional veins. My sequenced compositions tend  to  be  fairly
>        dense  and compact, probably  a by-product of spending  too  much
>        time doing and redoing limited sections of music.

Doing and redoing limited sections of music is part of music composition in
general.  Having taken many classical composition classes my method tends to
start on the global - the whole composition, in general where to I take the
listener.  Then I concentrate on the centeral theme(s) or motif(s) which will
be the basic melodic material for this piece.  Most music I've listened to only
has 2 or 3 main melodic elements form which the piece is created.  Anymore than
this gets confusing for me the composer and listeners.  The importance of these
music elemenets dictates that they be refined and polished so they can support
an entire piece of music.  The best analogy is the minot third form Beethoven's
5th symphony thse 4 notes provide the basis for the whole first theme.
        All the other parts you mention harmony, counterpoint, timbre play an
important part in any music.  I don't think you have to compose music based on
the performance meduim, electronic or accoustic.  There are certain advantages
that synthesizers provide that can't be denied.  The wealth of timbres available
to composers is infinite,  the control a composer has using synthesizers gives
me the the same thing Mozart had, a resident orchestra at my command to perform
my music the way I wish it performed.

        Sorry to jump up on the soap box, but as classically trained composer,
I appreciate the new and exciting timbres available today yet I have yet to
find a substitue for good planning and pen-and-paper composing.  I've tried
several times to just sit at the sequencer and "compose" but, for me it just
doesn't work.

Bob
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Mailer: ELM [version 2.3 PL11]
Newsgroups: bit.listserv.emusic-l
Date:         Thu, 17 Dec 1992 09:46:05 PST
From:         metlay <metlay@NETCOM.COM>
Subject:      Re: Binaural sound
Comments: To: EMUSIC-L@american.edu
              at Dec 17, 92 9:23 am

>Please tell me what "binaural sound" means.

This is an interesting question, as I think there are several
working definitions. I know of at least one headphone manufacturer
that distinguishes between stereo and binaural phones, and in that
context I'm not sure how the word is being used. In my experience,
binaural recording is a process (there are several) wherein a
stereo sound is given a sense of presence and realism by recording
the left and right channels with blockage by a human head. The
shape and density of the head causes a noticeable effect on the
sounds that reach the ear, and recordings made in this manner gain
an extraordinary ambience that's hard to put into words.

The "head" can be an artificial one, with microphones inside the ears,
or you can get a pair of mics that attach to your glasses near the
ears and get GREAT binaural recordings of live concerts just by
sitting and listening to the band with a DAT in your hand.

An example of binaural recording: "Aqua" by Edgar Froese, side 2.
Listen with headphones, and try not to duck too often. |->


--
mike metlay                | Today's "Context is Everything" quote:
atomic city                |
p. o. box 81175            |              "Oo-er."
pittsburgh pa 15217-0675   |
metlay@netcom.com          |                          (n. rothwell)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: bit.listserv.emusic-l
Date:         Mon, 14 Dec 1992 14:57:58 EST
From:         Duane <KHW1@MARIST.BITNET>
Subject:      Re: WANTED! Info. about Ballade
              14 Dec 1992 07:45:49 GMT from <cschen@CSIE.NCTU.EDU.TW>

>Hi, there
>
>        I am wondering if anyone out there uses or knows about Ballade.
>Somebody told me that it's a nice software for composing, etc.  Being
>new to this field, I will appreciate any further information about it.

I have found Ballade to be very limited. I got a copy when I purchased
my Roland MPU-IMU card. It only supports Channels 1-10 and track 10 must be
for the Drums. I does have some nice features if you use it with the
Roland MT-32, Reverb on and off, change and create new sounds. But if
you have any other device connected this is of no use. If you want
software that will draw out the music on the screen I would look
at something like Studio3 for Windows from MidiSoft. This will suppot
all 16 channels and up to 32,000 tracks (if you have the memory). Standard
Midi files or it own .SNG files that load much faster and Windows multi-media
extentions.

If you have any other questions drop me a note at URDB@MARIST.

Duane
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU