HDTenEightyP/NetNews huggingface dataset:
From: richards@mcnc.org (Bill Richards)
Newsgroups: rec.music.makers
Subject: MOOG TaurusII wanted...
Date: 22 Jul 92 13:55:07 GMT
Organization: MCNC Center for Microelectronics, RTP, NC

I'm trying to find an old (circa 1980) MOOG Taurus II system. They're a bit
hard to come by locally. If someone somewhere has one collecting dust in their 
closet they'd be willing to part with, please contact me. It doesn't need
to be in working order necessarily; matter of fact - that may be preferable.
I don't have a lot of cash to drop on this relic. By the way, for anyone's
information, I have full service documentation on this beast. If someone needs
a copy, I'd be glad to assist. The guts of the synth itself is a Rogue, so
the service info applies there as well. Thanks in advance...

							-bill richards-

--------------------------------------------------------------------------------
Bill Richards MTS					Phone: (919) 248-1452
Microelectronics Center of North Carolina		Fax:   (919) 248-1455
PO Box 12889
RTP, NC 27709-2889				e-mail: richards@mcnc.org
-- 
--------------------------------------------------------------------------------
Bill Richards MTS					Phone: (919) 248-1452
Microelectronics Center of North Carolina		Fax:   (919) 248-1455
PO Box 12889
Organization: Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.makers
Date: Tue, 21 Jul 1992 09:23:32 -0400 
From: "John D. Williams" <jwaa+@andrew.cmu.edu>
Subject: Simmons SDS9 Manual

Hello,

I am in desperate need of a Simmons SDS9 manual. If someone out there has one
to sell, or if out of the goodness of your heart you could photocopy it for me,
I will gladly pay you in advance for any costs that you may incur. I refuse
to ppay $40+ for a new (low quality) manual from Simmons Inc, (what's left of
Simmons, Inc.). I thank you in advance for your help.

--
John D. Williams
jwaa@andrew.cmu.edu
  "Blow like cyclone, my second wind..."  - Todd Rundgren
Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: EPS +16 samples
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
Date: Thu, 23 Jul 1992 23:29:35 GMT

>             A friend of mine who doesn't have access to the internet has
>just bought an Ensoniq (sp?) EPS +16 sampler, and he was wanting to know
if
>there was anyway of obtaining samples or software or whatever the thing
>takes :) I dont know if he meant free or to purchase (i suspect free :)
>But any suggestions would probably be very helpful....

If you or he is interested, contact the International Sampler's Co-op on
(818) 580-7792, via MUSO-BBS on (818) 884-6799 or fax on (818) 883-0349.
They will send you some information on this.  They also publish a
magazine for sampler swappers called LOOP.  Its a new organization and
its free to join at the moment.  Check them out.

Myles
Xref: sparky rec.music.makers:8593 rec.music.synth:12790
From: bediako@acsu.buffalo.edu (Bernard Bediako)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Simmons Pads forsale
Date: 28 Jul 92 18:52:45 GMT
Distribution: na
Organization: UB

for sale....
	3 pads :  2 SDS9 Tom Pads
		  1 SDS9 Snare pad (two triggers)
	Simmons Triple Tom Stand 
	3 Simmons Tom arms
	JLCooper Drum Slave trigger-to-MIDI interface
		with 8 trigger inputs (1 rackspace)

$230 plus shipping

Just plug into your drum machine and go....
I used this with a HR-16 to add to my acoustic set.
Just mail and I'll answer any questions, and describe how
evrything was set up and how it could be of use.

I have a manual for the JLCooper; everything works fine.
-------------------------------------
I also have some acoustic and LP Spike like triggers (I made)
I'd like to sell .... (CHEAP)

bediako@cs.buffalo.edu
From: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Newsgroups: rec.music.makers
Subject: Re: Anti-censorship T-Shirts
Date: 27 Jul 92 14:08:44 GMT
Reply-To: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Organization: Control Data Corp., Arden Hills, MN

In article <21613@sybase.sybase.com>, elton@sybase.com (Elton
Wildermuth) writes:
<..text deleted>
|>of enacting further foolish laws in the same spirit.  Why is it so very
|>difficult for people to simply live according to their own morals, and
|>to allow others to do likewise?  And why are the good burghers of
<text deleted...>

Because some people have no morals and they prey upon others.
Society, as a whole develops laws to protect innocent people
from the immoral. This should be obvious to someone so
'enlightened' as you.

By the way, there *are* such things as moral absolutes - 
things that are obviously agreed upon for society's benefit.

Alex.

----------------------------------------------------------------
A. T. (Alex) Stagg/ARH215      | INTERNET: ats@udev.cdc.com
Control Data Systems, Inc.     |
4201 Lexington Ave.N.          | fax:      01-612-482-4455
Arden Hills, MN USA 55126-6198 | Voice:    01-612-482-4718
Newsgroups: rec.music.makers,rec.music.synth
From: sef@sef-pmax.slisp.cs.cmu.edu
Subject: Re: AKAI AX-80 Info?
Date: Sat, 25 Jul 92 01:51:15 GMT
Organization: School of Computer Science, Carnegie Mellon

    From: peters@mips2.ma30.bull.com (Dan Peters)

    	Could anybody on the Net give me some info about the AKAI AX-80?
    
    	I just got one and was wondering:
    
    		what year they came out?
    		does any one have a manual?
    		how durable are they?
    		opinions? (but I don't think I'll get any opinions :-)
    		any other info?
    
I bought one new in the fall of 1985, and I think it was a relatively new
product at the time.  They never really caught on, and didn't last long on
the market.  It was my first synth, and I may not have learned all its
tricks when I unloaded it about a year later to buy a DX7.  I no longer
have the manual.

I think the AX-80 was real analog sound generation, though with the
parameters saved in a digital memory rather than knobs and polaroids.  I
think there was a single data-entry slider -- or maybe a knob, I don't
remember -- but the neat thing was that there was a little LED bar-display,
kind of like a level meter, for each parameter of the current patch.  This
made it a neat machine for learning analog synthesis, since you could see
everything about the current patch at a glance, and still store something
like 32 of them in memory for instant recall.

The sound engine was decent, with most of the usual things (two
oscillators, resonant filter, some kind of sync, and perhaps 8-note poly),
but I seem to recall being frustrated that none of the control parameters
had quite the range I thought they ought to have -- I kept bumping up
against the stops trying to get one effect or another.

The AX-80 came along very early in the age of MIDI, and it really
implemented only the basic MIDI in and out functions -- no sysex for
tweaking parameters.  That's what caused me to get rid of mine.  I wanted
to write all sorts of MIDI software, and this machine coundn't respond.
Imagine trading up to an original DX7 to get good MIDI functionality!

No idea about durability.

-- Scott
===========================================================================
Scott E. Fahlman
School of Computer Science
Carnegie Mellon University
5000 Forbes Avenue
Pittsburgh, PA 15213

Internet: sef+@cs.cmu.edu

Newsgroups: rec.music.makers
From: malouin@engin.umich.edu (Curt Malouin)
Subject: Re: Insuring home studio equipment?
Date: Fri, 24 Jul 92 23:28:51 EDT
Organization: University of Michigan Engineering, Ann Arbor

In article <155@bbx.basis.com> scott@bbx.basis.com (Scott Amspoker) writes:
>State Farm has never given me one iota of hassle about my studio ...

I can second that.  State Farm didn't even give me trouble when I was
18 and living in a dorm, as long as no money is made off the gear.
Great rates and great service--I have kept the same agent after
moving 50 miles away from their office.

	-curt

+----------------+ Curt Malouin              malouin@engin.umich.edu      #
| , , , , = = ;; |                                                       {|}
| _ _ _ _ __     | CAEN Hotline counselor                                 |
| | | | | || ### | Computer Aided Engineering Network, U of Michigan      |
| | | | | || ### |                                                        |
| -+- + + +- -+. |   "Life is incomplete unless you bang the beat"       /
+----------------+                                                      %
Newsgroups: rec.music.makers
From: bill@verdix.com (William Spencer)
Subject: Re: noise abatement shuts down Tesla
Keywords: noise abatement
Organization: Verdix Corp.
Date: Wed, 22 Jul 1992 22:49:47 GMT

larryh@cabezon.uucp (Larry Huntley) writes:
>In article <373@bit.UUCP> grego@bit.UUCP (Greg Sanguinetti) writes:
>>Well over there in Salem Oregon, USA, the city fathers decided, 2 hours
>>before their concert was to begin, that the band Tesla must comply to a
>>noise abatement ruling. The ruling restricts noise levels to 95dB.

>  Tesla had signed a contract to that effect and was well aware of the
>  limitation.  The sound check was performed two hours before the concert
>  was to start.  115dB. 

Anyone else noticed that this sounds wierd? I would think that normally
the restrictions would apply to sound crossing the borders of the property.
If the the level *there* was 115 dB, I would have been glad to get my money
back. At the same time, 95 dB at the border wouldn't be very restricting at 
all I think. A bit high actually. Anyway, the nieghbors have no buisness
dictating the sound levels at the stage, only leaving the property. (I expect
the real complaint is the commotion caused by the audience going home.)

Bill s
From: dan@aupair.cs.athabascau.ca (Dan West)
Newsgroups: rec.music.makers
Subject: Request for Fender/Boogie posting
Keywords: Rewiring
Date: 27 Jul 92 14:37:20 GMT

About a month ago I read a fascinating account here of how someone
rewired his Fender practice amp to the specs of a Mesa Boogie.  Like
a fool, I saved neither his name nor the posting.  Can that writer 
(or someone who did save it) please send me the posting?  I'd like
to give it a try.  Thanks...


Dan West

dan@cs.athabascau.ca
 
Newsgroups: rec.music.makers,alt.bass
From: gse9k@holmes.acc.Virginia.EDU (Scott Evans)
Subject: Still looking for a fretless...
Reply-To: thrash@virginia.edu (Scott Evans)
Organization: or lack thereof
Date: Mon, 27 Jul 1992 20:24:07 GMT


Well, folks, I'm still searching...I got a few responses last
time, but a majority seemed to be for early 70s Fender basses.
Unfortunately, I don't really like Fender basses.  I play an
Ibanez SG800, and I like the narrow neck and more "modern"
feel/tone of the bass.  Sooooo, if anyone knows of someone
who's looking to get rid of a decent fretless, in the 
cheap to $300ish range, I'd be interested to hear about it.
I'm looking for four or five strings (obviously I'd pay
more for 5).  Email me if you know anyone.

thanks!


scott
Newsgroups: rec.music.makers
From: Myles Wakeham <mylesw@amgen.com>
Subject: Re: royalties and copyrights
Organization: Amgen Inc.
X-Useragent: Nuntius v1.0
Date: Thu, 23 Jul 1992 23:27:35 GMT

>	- What is the standard royalty payment?

Varies depending upon type of performance and performing rights
organization.  Contact BMI or ASCAP for more info.

>	- How do we secure permission for the previously recorded stuff?

Usually through a licence available from the publisher of the material.

>	- For stuff that has not been previously recorded and that isn't
>	  registered anywhere for the handling of royalties, is there a 
>	  standard contract that can be used?

If the material is to be published, you can create your own publishing
company and then use a standard Songwriting Agreement to attach
songs to your roster.  Then you can use them how you wish (at least
within the boundaries of the agreement).  Standard Songwriting 
Agreements are available through the American Federation of
Musicians, or are printed in the back of most Songwriting business
oriented books.

>	- Can we copyright our particular arrangements of other people's
>	  songs, realizing that we are not in any way attempting to 
>	  copyright the song itself?

You can, I believe, copyright the work (ie. record, etc.) separately
from the songs.

>	- Do we have to copyright the performances as dinstinct from the
>	  written forms?  (I realize we need a compilation copyright to 
>	  protect the entire tape; how do we protect individual tracks?)

They are protected if you submit a compilation tape to the Library
of Congress.  The question is, "Do you have the money to pay attorney's
to uphold the copyrights"?  Copyrights still have to be proven in a
court.

>	- How much of the above is necessary for paid performances or for
>	  radio air play?

Radio stations typically get you to sign a "release agreement" stating
that you have the right to put your name to the material that is to 
be aired.  Paid performances are generally not policed all that hard.

Now remember, I'm just a poor musician.  If you really want some
help, see an entertainment attorney.  In fact, from the style of
questions you are asking, that might not be such a bad idea.

Myles
From: mason@dante.uucp (Mason Jones)
Newsgroups: rec.music.makers
Subject: Re: where to press vinyl records?
Date: 30 Jul 92 22:30:15 GMT
Distribution: usa
Organization: Charnel House Prod.

tom@onyx.dartmouth.edu (Thomas Richard Erbe) writes:
: 
: I want to put some of my music on a 10" record, and was wondering if anyone
: has any recommendations as to a good place to do it.  I wouldn't mind it if
: they print sleeves as well, and they must take DAT masters.

I definitely recommend Alberti Record Mfg Co, located in LA.  You
can call them at (818) 282-5181 and get their price information.  They
do a good mastering job, provide test pressings, do colored vinyl,
pretty much any varieties of vinyl you might want.  I've only used
them once, for a 7" project (I mostly do CDs now), but they were
responsive and did a good job; I used them because of good recommendations
from others.


  VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
             Mason Jones           Charnel House Productions
             P.O. Box 170277, San Francisco 94117-0277 U.S.A.
   ...{uunet,sun}!hoptoad!dante!mason   or   dante!mason@hop.toad.com
  ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: fovsutt@lims02.lerc.nasa.gov (VINCENT SUTTMILLER)
Newsgroups: rec.music.makers
Subject: Pickup Humming
Date: 23 Jul 92 17:44:00 GMT
Organization: NASA Lewis Research Center
News-Software: VAX/VMS VNEWS 1.41

I've  been attempting some home recording with a Tascam Porta Two, but I 
have a problem with the bass guitar were using in that the pickups hum.  
Can anybody help me with a solution to eliminating the humming of pickups.  
Is there a procedure a qualified tech can use to eliminate this or do new 
pickups have to be installed?  

Vince Suttmiller - NASA Lewis Research Center Cleveland, Ohio 
Newsgroups: rec.music.makers
From: andre@rurutu.wri.com (Andre Kuzniarek)
Subject: Re: Fog machine?
Organization: Wolfram Research, Inc.
Date: Wed, 22 Jul 1992 23:17:36 GMT

Having just experienced mongo amounts of oil-based fog at last night's  
Skinny Puppy concert in Chicago, I ask any of the knowledgeable folks here  
if the stuff doesn't seem downright nasty or the least bit carcinogenic?

AK
Newsgroups: rec.music.makers
From: mason@dante.uucp (Mason Jones)
Subject: Re: Drum Machine Question
Date: Mon, 27 Jul 92 22:45:10 GMT
Organization: Charnel House Prod.

carls@Ingres.COM (Carl Stanley) writes:
: I am thinking about buying a used drum machine within the next couple o
: weeks for both practice (I'm a bass player) and a little home recording...
: 
: I saw a Yamaha RX-15 (I think it was called RX-15) in a local pawn shop
: for about $200, but it came without the manual...
: 
: does anyone know if this is a good deal???
]
It's not a terrible deal, but you should be able to get one of those for
a lot cheaper these days.  I've got an RX-15, and it is by no means a
state-of-the-art drum machine.  It's barely adequate for me to use for
bare-bones backing tracks which I build on using my sampler.  Given that
you can probably get a used Alesis machine for $300 or less, I'd say
look around for something either better or cheaper.


  VVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVVV
             Mason Jones           Charnel House Productions
             P.O. Box 170277, San Francisco 94117-0277 U.S.A.
   ...{uunet,sun}!hoptoad!dante!mason   or   dante!mason@hop.toad.com
  ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
From: mjs@hpfcso.FC.HP.COM (Marc Sabatella)
Date: Tue, 28 Jul 1992 21:48:10 GMT
Subject: Re: Insuring home studio equipment?
Organization: Hewlett-Packard, Fort Collins, CO, USA
Newsgroups: rec.music.makers

As everyone has observed by now, insurance is straightforward as long as you
don't make any money from your equipment.  If you do plan to play
professionally, though, you need "commercial" insurance, at least that is how
State Farm categorizes it.  If I had to guess why, I'd say they might have to
fork over more on a payout to cover "loss of livelihood" or something like
that.  Otherwise, I can't say that I understand why the distinction.

When I set up car and renter's insurance, I had very little gear.  My insurance
agent basically pointed out that, as with my boat, the cost of insurance would
be more than replacement value after only a few years, so I left it uninsured,
and told him that I probably wouldn't be playing professionally much anyhow.

Last week, though, he happened to show up at a gig (first time I'd seen him in
three years).  He saw the equipment I was carrying around, and said it might be
about time to start think about the commercial insurance.  I plan to meet with
him soon, because most of this stuff stays in my car all the time, as I don't
really need to be lugging a 70 pound controller up to my second floor apartment
after every gig.  The pile of stuff in my back seat is probably worth more than
my car now...

-------------------------------------------------------------------------------
Marc Sabatella           Winner, 1992 First Annual Bill Evans Lookalike Contest
marc@hpmonk.fc.hp.com
Newsgroups: rec.music.makers
From: mjo@b24a.ingr.com (M.Jesus.O at Beat)
Subject: Re: I need more music jokes.
Organization: Intergraph
Date: Wed, 29 Jul 1992 14:26:00 GMT


Q: what do you call a musician without a girlfriend?

A: Homeless.
Newsgroups: rec.music.makers,rec.music.info,rec.music.marketplace,rec.music.info,alt.music.rush
From: boarjas@elof.iit.edu (Jason Boardman)
Subject: MAILINGLIST: Drum mailing list!
Followup-To: rec.music.misc
Originator: recmusic@galaxy
Reply-To: boarjas@elof.iit.edu
Organization: Illinois Institute of Technology, Chicago
Date: Mon, 27 Jul 1992 09:13:28 GMT

I have started a mailing list for drummers and
percussionists or anyone interested in the sort.
If you would like to subscribe, just send a message
to drum-request@elof.iit.edu with subscribe in the
subject line and your mailing address in the body
of the letter. 

Jason Boardman
boarjas@elof.iit.edu

Newsgroups: rec.music.makers
From: jejones@microware.com (James Jones)
Subject: warning labels (was Re: Anti-censorship T-Shirts)
Organization: Microware Systems Corp., Des Moines, Iowa
Date: Tue, 21 Jul 1992 15:26:10 GMT

In article <102360056@hpcvlx.cv.hp.com> bw@hpcvlx.cv.hp.com (Bill Wilhelmi) writes:
>Warning labels are appropriate for this music.

I respectfully disagree.  I'll state my reason briefly: music stickering,
unlike, say, UL stickering, reflects a necessarily subjective judgment, so
that the only real purpose it serves is that of being a convenient target
for boycotters and the like.

	James Jones
From: daver@sunspot.ssl.berkeley.edu (David Ray)
Newsgroups: rec.music.makers
Subject: Fender Precision 5-string bass 4 sale
Date: 30 Jul 1992 16:56:49 GMT
Organization: /etc/organization
NNTP-Posting-Host: sunspot.ssl.berkeley.edu

Fender precision bass for sale. Its a very nice custom job:

* cross-cut maple neck, American made
* selectable active/passive pickups
* Wilkinson 5-string retrofit installed
* action and intonation set up by Gary Brower of Real Guitars, San Francisco
* white, immaculate condition. 1 owner since new (me)
* hard shell case

I'm in the San Francisco area. If you're in the area you can check it out.
If outside area, you pay UPS COD + 1/2 shipping.
Asking $800/BO. I will not consider any offers below $650.

Dave  daver@sunspot.ssl.berkeley.edu  (510) 527-9010

Newsgroups: rec.music.makers
From: tomh@tellabs.com (Tom Huber)
Subject: Re: A personal experience
Organization: Tellabs, Inc., IL
Distribution: na
Date: Tue, 28 Jul 1992 22:43:31 GMT

In article <37171@unix.SRI.COM> mxmora@unix.SRI.COM (Matt Mora) writes:
>In article <1992Jul22.154358.1834@cypress.com> sh@cypress.com (Steven Haigh/VDSP) writes:
>>
>Have we come to a point that we assume every one is a great player and
>all we need to be worried about is looks?
>

No, we've come to the point where it doesn't matter if you can play or not,
as long as you have the right looks.  I've seen countless ads that are looking
for a guitarist/drummer/whatever, and the first qualification listed is either
looks or hair.  This seems to be a rather nasty consequence of the popularity
of MTV...

Tom
-- 
===============================================================================
tomh@tellabs.com    |        |   My opinions are, by definition, my own. 
Tom Huber           |   GO   |      
Tellabs             | IRISH! |   You can't fool all the people all the time,
Lisle, IL           |        |   but if you succeed once, it lasts four years.
===============================================================================
From: nunis@hpsgm2.sgp.hp.com (Simon NUNIS)
Date: Wed, 29 Jul 1992 09:23:58 GMT
Subject: HELP with 4 track info
Organization: HP Singapore Notes-Server
Newsgroups: rec.music.makers

hi everyone!

seems like i need to ask this question once again...

well, basically i am looking for 4-track portastudios...i need some information
from all who have experience with this sort of machines...which ones?

well, basically, i am interested in the tascam and fostex stuff.

i would be particularly interested in the 424,488,644.
also the x-26,x280.

please email responses to :  nunis@hpsgm2.sgp.hp.com

thanks.

simon.
From: rfisel@informix.com
Newsgroups: rec.music.makers
Subject: best effects unit for vocal recordings?
Date: 22 Jul 92 17:17:04 GMT
Reply-To: rfisel@informix.com
Organization: Informix Software, Inc.

What is the best for my home studio? I record vocals, acoustic strings, and I  
also need to smooth out sounds from the very dry Proteus 2 synth (orchestral  
sounds). Primary considerations are sounds, flexibility, low noise. Secondary:  
price. I'll post a summary if I get a lot of email.

Thanks,

Rick Fisel 
opinionated employee of opinionless
Informix Software
I prefer replies by email.