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Date:         Tue, 21 Jul 1992 17:29:30 -0600
From:         Thunder-Thumbs <siffert@HORTON.COLORADO.EDU>
Subject:      conger out of print
Comments: To: emusic-l@auvm.american.edu

Does anyone know of a way I can get Conger's
C Programming for MIDI?
It would be nice to have the disk of source code too, but
that's probably out of the question considering it's out
of print.  I have Midi sequencing in C, but it seems kinda
dumb to have that one out without the first one available.

I've checked used bookstores and I've tried ordering it,
but no one can get it.

You're my last hope!  (he said melodramatically)

Thanks,
Curt Siffert
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Date:         Thu, 30 Jul 1992 18:17:50 EDT
From:         ronin <HARNDEN@AMERICAN.EDU>
Subject:      speaker loads
Comments: To: EMUSIC-L@american.edu

ok, ok, so we all flip out every now and then...

but i still maintain that putting signal through an unloaded amp
with its output power raised places it at risk of being fried.
i'm reasonably sure that i have not hallucinated this phenomenon.

-----------< Cognitive Dissonance is a 20th Century Art Form >-----------
Eric Harnden (Ronin)
<HARNDEN@AUVM.BITNET> or <HARNDEN@AMERICAN.EDU>
The American University Physics Dept.
4400 Mass. Ave. NW, Washington, DC, 20016-8058
(202) 885-2748
---------------------< Join the Cognitive Dissidents >-------------------
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Subject: (no subject given)
Original-From: wbf@alux2 (Fox)
Newsgroups: bit.listserv.emusic-l
Date:         Thu, 23 Jul 1992 13:56:00 EDT
From:         wbf@ALUX2.ATT.COM

Subject:      The Noisy Room, Issue 1

	Mike Metlay, (phud, no less!) posted about TNR.  Here's the
email address I have in my (UNIX) .mailrc file.

		alias tnr att!itnvax.cineca.it!olivotto

Bill
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Date:         Thu, 30 Jul 1992 11:09:40 EDT
From:         Cap Bromley <NVBROMH@VCCSCENT.BITNET>
Subject:      MIDITAP & Lone Wolf

Does anyone out there have an address for the Lone Wolf company?  I
want to get some info on their MIDITAP hardware.

Thanks,

Cap Bromley
Northern Virginia Community College
NVBROMH@VCCSCENT.BITNET
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Date:         Thu, 30 Jul 1992 10:25:21 EDT
From:         ronin <HARNDEN@AMERICAN.EDU>
Subject:      Re: How Many Speakers fit on an Amp?

just to clarify martin's posting a little....

Serial Connection:

     +  ------> + SPEAKER 1 - -------> + SPEAKER 2 - ------
AMP                                                        
     -  <--------------------------------------------------

Parallel Connection:
         ------------------------------
     +  -----> + SPEAKER 1 - -----   ---> + SPEAKER 2 - ---
AMP                                                          
     -  <----------------------------------------------------

what has to be watched out for is the parallel condition. as martin points
out, serial connection is additive with respect to impedance (measured in
ohms), where parallel is inverse multiplicative (divisive?).
example: (again, somewhat redundant to martin) two 8 ohm speakers connected
in series = 8 + 8 = 16 ohms load on the amplifier. two 8 ohms speakers
connected in parallel = 1/(1/8 + 1/8) = 4 ohms.
the trouble comes when applying power to the speakers. the basic equation
is ohm's law, which is V=IR, or Volts = Amps times Resistance (resistance and
impedance are interchangable in this context). now, let's say your amp puts
out 16 volts at some point. flipping the equation for I=V/R, we get a current
draw of 2 amps for the serial connection, and 4 amps for the parallel. and
there's the lesson. parallel connections draw more power. this is why, unless
your amp has open-circuit protection (which most actually do), you do not
turn up the volume with no speakers attached. no speaker = inifinite resistance
= infinite current draw. that's where the fuses go. anyway, the upshot of all
this is that 1) hooking up speakers in serial is sort of ok... it'll just
reduce the power output of your amp, perhaps forcing you to crank it a
little harder to get the sound you want (if it's a cheap amp, it may
distort) and 2) hooking up speakers in parallel is ok if you keep it down.
turning it up will draw power twice as fast as you think. oh, one other
little caveat. be extra careful with the parallel hookup if you're playing
bass heavy music. very low frequencies reduce the speaker's impedance further,
and draw yet more power.

-----------< Cognitive Dissonance is a 20th Century Art Form >-----------
Eric Harnden (Ronin)
<HARNDEN@AUVM.BITNET> or <HARNDEN@AMERICAN.EDU>
The American University Physics Dept.
4400 Mass. Ave. NW, Washington, DC, 20016-8058
(202) 885-2748
---------------------< Join the Cognitive Dissidents >-------------------
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Date:         Tue, 21 Jul 1992 13:24:13 PDT
From:         John Michael Canino <johnc@M2XENIX.PSG.COM>
Subject:      unsub

Please remove me from the list.  Thank you.
--
John Michael Canino			johnc@m2xenix.psg.com
924 SW 16th Ave #404
Portland, OR 97205-137
+1 (503) 274-4223			Vote Ren-n-Stimpy in 1992!!
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Date:         Thu, 23 Jul 1992 13:16:40 EDT
From:         metlay <metlay@PHYAST.PITT.EDU>
Subject:      The Noisy Room, Issue 1
Comments: To: EMUSIC-L <emusic-l@auvm.american.edu>

I just got Issue 1 of the Noisy Room newsletter in the mail from Marco
Olivotto in Italy. It's an interesting mishmash of news about the recent
doings of The Noisy Room (an Italian indie band) and reviews of indie
tape and CD releases by various artists, including a couple who are
actually distributed by TNR. There's a brief editorial on the purpose
of indie labels, a "thank you" to Peter Hammill, who was apparently a
guiding force behind TNR, and some photos of and comments from the band.
The whole thing was nicely put together and very well written considering
that English is not the first language for these people-- only a few of
the idioms missed their mark. If you're at all curious about supporting
indie artists in Europe or in the States, you should get on TNR's mailing
list-- hell, it's free, and I consider the product a very good one regardless
of price.

Marco is on EMUSIC-L; I'm sure he can repost the address to write to, or
you can email him for details. (I don't have my copy of TNR at work, sorry.)

All in all, a nice job, guys. I'm looking forward to Issue 2!

--
mike metlay    (phud, no less)
metlay@minerva.phyast.pitt.edu
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Newsgroups: bit.listserv.emusic-l
Date:         Thu, 30 Jul 1992 13:16:59 EDT
From:         The Radio Gnome <V2002A@TEMPLEVM.BITNET>

Hi,

     Some thoughts on multiple speakers to one channel:

1)  Unless you have a four channel amp, the 'remote' connections for speakers
    simply place the second pair in parallel with the main pair (unless of
    course the switch will only select one pair at a time.)  This is probably
    why the ratings are for 8/16 ohms, meaning 8 ohms for one pair and 16 ohms
    for two pairs in parallel...  the amp still sees a minimum of 8 ohms.

2) If the speakers have different efficiencies, then their relative volumes
   will be different for the same power input.

3) By driving more than one speaker, you've increased the complexity of the
   load that the amp sees.  This could result in some unwanted sonic effects.
   Your mileage will vary :-)

                 Andy Wing
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Via: uk.ac.birmingham; Tue, 28 Jul 1992 12:27:20 +0100
Via: uk.ac.birmingham.computer-centre.vax1; Tue, 28 Jul 1992 12:24:06 +0000
Newsgroups: bit.listserv.emusic-l
Date:         Tue, 28 Jul 1992 12:27:00 LCL
From:         DOWRJ@VAX1.COMPUTER-CENTRE.BIRMINGHAM.AC.UK
Subject:      Aural Training Programs for MAC and PC
Comments: To: EMUSIC-L <EMUSIC-L@EDU.AMERICAN.AUVM>

Hi -

does anyone know of any aural training packages for the MAC or PC (commercial
or (even better) public domain) ?

In particular we are looking for GUIDO developed at the University of
Delaway for the PC and PLAESTRINA developed at Dartmouth College, UK for
the MAC. We want to find a supplier of both these packages but have had no
luck. ANy help gratefully received:

Robert J Dow    University of Birmingham    DOWRJ@vax1.bham.ac.uk

(E-mail given with INTERNET ordering)


----
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Date:         Wed, 29 Jul 1992 09:36:24 EDT
From:         metlay <metlay@PHYAST.PITT.EDU>
Subject:      More on the Noisy Room newsletter
Comments: To: EMUSIC-L <emusic-l@auvm.american.edu>

Marco Olivotto is no longer on EMUSIC-L, it seems. Therefore he WASN'T able
to follow up my review of the TNR newsletter with his mailing data. But
John McIntyre, to whom I owe many favors already, forwarded my note to Marco,
who sent me this reply (edited for network television):


> >Marco is on EMUSIC-L; I'm sure he can repost the address to write to, or
> >you can email him for details. (I don't have my copy of TNR at work, sorry.)
>
>         This is wrong - Marco WAS on EMUSIC-L, since I can only handle one
> list, due to the lack of time. And, also, ALLMUSIC (which I'm on actually)
> is a killer of a list because of the massive mail movement.
>    So, would you be so kind to forward my address to the list? Here it is:
>
>         The Noisy Room
>         16 Via dell'Abetone
>         38068 - ROVERETO (TN)
>         ITALY
>         Fax: (+39)464/421433
>
>         My e-mail address for now is:
>
>         olivotto@itnvax.cineca.it
>         OLIVOTTO@ITNCISCA
>
>         Ciao and thanks a lot!
>         Marco
>


--
mike metlay    (phud, no less)
metlay@minerva.phyast.pitt.edu
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Newsgroups: bit.listserv.emusic-l
Date:         Tue, 28 Jul 1992 17:32:26 BSC
From:         Flavio Bressan <87141167@BRUFSC.BITNET>
Subject:      Problem with my email address was solved!

Hello Folks,

    Last week I have a problem with my emal address, because a
HACKERS's invasion! The postmaster from here canceled some addresses,
and mine was one too. Now, the problem was solved and the things are
normal. My email address is working, and my 'analog' address is with
the correct zip.

_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-
FLAVIO BRESSAN - 87141167@BRUFSC    | FLAVIO BRESSAN
GRAD IN ELECTRICAL ENGINEERING      | R AFONSO PENA, 987 - ESTREITO
FEDERAL UNIVERSITY OF SANTA CATARINA| 88070-650 - FPOLIS - SC - BRASIL
------------------------------------------------------------------------
NAO CONFIE EM NINGUEM COM MAIS DE 25 ANOS! :-)
-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_
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Newsgroups: bit.listserv.emusic-l
Date:         Wed, 29 Jul 1992 10:31:14 EDT
From:         ronin <HARNDEN@AMERICAN.EDU>
Subject:      musicbox
Comments: To: EMUSIC-L@american.edu

i threw this question up to rec.music.synth the other day, and it
belatedly occurs to me that i ought to ask my own group...

ever hear of MUSICBOX, a PC-based modular event generator/processor by
john (peter?) dunne? i've got version 2, i think, and love it dearly.
not having a mac at home, and therefore not being able to work with MAX,
this is the closest i've been able to get to the kind of work i used to
do with analog, multi-parameter interactive equipment, while remaining
in the midi domain (which i must do at home, having no tape deck, either).
anyway, i wonder if anyone knows what the last version is. did it ever
evolve? did anyone ever extend it as dunne hoped?

while on the subject (sort of) i thought i might mention that i've got
into this rather odd production groove at home. some time ago i bought
a q80 sequencer... it was the right machine - on board disk drive, decent
editing, good price... and i've been quite happy with it. then, a couple
of weeks ago, i stuffed an old xt in the room, and loaded up a few oddments-
various midi processing packages, languages, and cakewalk. and that's been
fun. so much so, in fact, that i seriously considered dumping the q80 and
finally getting a new percussion sound thingy of some description. but...
wait a minute... if i do this motif here and mutate it through this odd
note slurring thing i've got going over here... re-record it back and edit...
then dump back over here where i can do real neat controller fill stuff, and..
and... well, you get the picture. i've suddenly got more than two competing
sequencing packages, i've got a whole new environment. damn. just too much fun.
now i can't justify selling the q80 after all, and i'll just have to come up
with the drumsound money some other way. the point of all of which is that i
keep re-learning the same thing. no tool is the tool. interestingness, for me,
lies in the breaking down and reassembling of engineered purposes in things.
when something (a musical phrase, a tonal event) can be removed from its
original context, and is looked at another way... when inspirations and
experiments that draw on multiple thought processes and techniques can be
combined... then i'm having fun.

-----------< Cognitive Dissonance is a 20th Century Art Form >-----------
Eric Harnden (Ronin)
<HARNDEN@AUVM.BITNET> or <HARNDEN@AMERICAN.EDU>
The American University Physics Dept.
4400 Mass. Ave. NW, Washington, DC, 20016-8058
(202) 885-2748
---------------------< Join the Cognitive Dissidents >-------------------
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Newsgroups: bit.listserv.emusic-l
Date:         Wed, 29 Jul 1992 17:07:06 GMT
Reply-To:     M.Rootes@scp.ac.uk
From:         Martin Rootes <M.Rootes@SCP.AC.UK>
Subject:      Kandinsky Music Painter

Dear all,

   Just seen a review of a rather wacky PD music package in one of the latest
UK Atari mags. It's called Kandinsky Music Painter and is aparantly a
Grafikorientiertes Musikprogramm (well it is apparently in German). What it
does is let you draw shapes on the screen which it then turns into Midi. The
examples shown bear great resembelence to graphic notations used by avant garde
music composers. Looks really fun. However, the article only gives the Sounds
Digital BBS as a source, does anyone know if it is available on any ftp sites?

   Martin.

------------------------------------------------------------------------------
Martin Rootes - Senior Systems Programmer/Analyst - Sheffield City Polytechnic
Email :         M.Rootes@scp.ac.uk
Disclaimer:     Sheffield City Polytechnic has no opinions, the ones above are
                mine.
------------------------------------------------------------------------------
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Newsgroups: bit.listserv.emusic-l
Date:         Thu, 30 Jul 1992 09:08:16 +0100
From:         Martin Roth <roth@IPS.ID.ETHZ.CH>
Subject:      Re: nets continued
Comments: cc: roth@dxcern.BITNET
              29 Jul 92 11:01:30 -0400. <9207291531.AA24895@dxmint.cern.ch>

Eric Harden (Ronin) writes:
> how would you represent the patterns that are so clear
> to you as a musician or an audience? when looking at a score, your eye does
> not see statistical properties. it registers motion, density, uniformity.

You are talking of "patterns", as dealt with in any pattern recognition
program (PR).
This means you can not just run a statistical analysis of the raw data and come
up with a measure of 'motion'. You will have to group some events while
excluding others
to see the motion (as I understand, there may be several 'motions' in a
piece at once, say
a slow chord progression and a part of a scale as melody - if _that_ is
not 'motion',
sorry, I don't know much about music theory, and I'm not native english
 speaking).

Currently, I'm writing a PR (pattern recognition) program as my diploma
thesis which is
able to 'read' printed music (sheet music, scanned in). This seems
relatively simple
since there are lot of rules on notation. But then, as you put it, 'your eye'
 sees
that there are lines, heads, rests. You recognise the symbols 1)
without any 'thinking'
ans 2) even if a symbol is partly occluded or touches others. Now programs do
 not
have this ability, and there is no 'standard' way to deal with this.

Finding patterns in music is probably even worse than finding 'optical'
patterns. It's
difficult to find a measure for grouping events (in optical PR,
neighbouring pixels are
grouped). The problem is, you 'just see' (or hear) figures, ornaments.
You can name some
(chords, scales, intervals, pedal tone, melody). But you can't tell
_why_ you think that
some tones belong to the melody. In some peaces, the melody moves from
one instrument
(voice) to another, maybe even in the middle of a phrase.

I would begin with the simplest task you can think of, for example
recognising the chord
(key?) of the music at every moment. This does not seem trivial to me
if you run the
program on a complete score. Of course it's easy the way keyboards with
automatic bass,
background and rhythm do this. But their chord recognition sees only
the left hand notes
and not the whole melody.

Well, just my thoughts. I may be understanding 'motion', 'density' and
 'uniformity'
completely wrong...

What do you want to do with the program anyway? 'Interpret' music?

-Martin

_______________________________________________________________________
      _   Martin Roth                Martin Roth    ETHZ, ips, RZ F16
|\  /|_)  Mail: roth@ips.id.ethz.ch  Sandacker 14   g 01/256 55 68
| \/ | \  (Student of Computer    CH-8154 Oberglatt p 01/850 32 75
          Science / Engineering)     Switzerland    (F-)emails welcome!
-----------------------------------------------------------------------
Newsgroups: bit.listserv.emusic-l,rec.music.synth
From: bt979@cleveland.Freenet.Edu (Jeff Preston)
Subject: Roland D-5: What have I gotten into here?
Reply-To: bt979@cleveland.Freenet.Edu (Jeff Preston)
Organization: Case Western Reserve University, Cleveland, OH (USA)
Date: Wed, 22 Jul 92 05:50:53 GMT


  Well, the non-keyboardist finally took the plunge -- I went out and
bought a synth to round out my microstudio setup. Not having kept up
with the appropriate lists/newsgroups, I'm not sure if I bought a
great synth, but the price seemed right: $300 for a almost-never used
(and yeah, it didn't have a scratch on it... even the manuals look 
brand new) Roland D-5. 
  So... what I was wondering was if anyone here has any info about
this thing (other than the fact that it's a stripped-down D-10/D-20),
such as known bugs or quirks. Anything that might catch on fire or
electrocute the cat would be nice to know in advance. I would have
asked here first, but a friend of a friend was moving in a hurry and
needed the cash, so I lept before looking... did I screw this one up
good?
  If this sounds like a "keeper", how about some budget hardware-based
sequencer advice?  :)  Hey, you didn't think I would try to actually
*play* this thing, didja??

  Thanks,

  Jeff

-- 
| Jeff Preston - owner and moderator of | "We don't  get  many requests |
| the  Allan Holdsworth discussion list |  for recent history."  -- Mr. |
| *** To subscribe, send e-mail to: *** |  Atoz, from the '69 Star Trek |
| <atavachron@morekypr.morehead-st.edu> |  episode _All Our Yesterdays_ |
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Original_To:  BITNET%"emusic-l@auvm"
Newsgroups: bit.listserv.emusic-l
Date:         Wed, 29 Jul 1992 12:10:00 EST
From:         MCINTYRE@MSUPA.BITNET
Subject:      address for The Noisy Room

>From:   EDU%"metlay@PHYAST.PITT.EDU"      "metlay" 23-JUL-1992 13:20:10.60
>Subj:   The Noisy Room, Issue 1

>I just got Issue 1 of the Noisy Room newsletter in the mail from Marco
>Olivotto in Italy.
>If you're at all curious about supporting
>indie artists in Europe or in the States, you should get on TNR's mailing
>list-- hell, it's free, and I consider the product a very good one regardless
>of price.
>Marco is on EMUSIC-L; I'm sure he can repost the address to write to, or
>you can email him for details. (I don't have my copy of TNR at work, sorry.)

        This is wrong - Marco WAS on EMUSIC-L, since I can only handle one
list, due to the lack of time. And, also, ALLMUSIC (which I'm on actually)
is a killer of a list because of the massive mail movement.
        So, would you be so kind to forward my address to the list? Here it is:

        The Noisy Room
        16 Via dell'Abetone
        38068 - ROVERETO (TN)
        ITALY
        Fax: (+39)464/421433

        My e-mail address for now is:

        olivotto@itnvax.cineca.it
        OLIVOTTO@ITNCISCA

>All in all, a nice job, guys. I'm looking forward to Issue 2!

        Already being written and definitely out by mid-September...

        Ciao and thanks a lot!
        Marco
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Date:         Fri, 31 Jul 1992 09:29:00 EDT
From:         RAY BROHINSKY <RAYBRO@HOLON.RES.UTC.COM>
Subject:      Re: speaker loads
Comments: To: EMUSIC-L@AMERICAN.EDU

Eric writes:
but i still maintain that putting signal through an unloaded amp
with its output power raised places it at risk of being fried.
i'm reasonably sure that i have not hallucinated this phenomenon.
(end quote)

No, you're not hallucinating. In Tube amps that use the speaker as the
sole load for the output stage, an open speaker connection can result
in the grid being used as a quasi-plate. Grids are meant for
controlling, not sinking lots of current, and they burn up when
they take on current.

Open-circuit protection was, I believe, pretty simple: supply a low-current
path to keep the plate positive with respect to the grid, or ensure that the
grid never, ever, ever, gets more positive than the cathode.

In transistors, something similar can happen if the collector is open
and the base-emitter junction gets forward biased, but again, there
are safeguards.

Short-circuit protection is a bit more complicated to do right, since
you have to sense the current and determine what is a bad level, and
then choke off the supply to keep current flow in a reasonable range.
Still, this isn't hard to do, and there are even IC's on the market
that do it without putting unacceptable noise in the system (if it's
designed right).

raybro
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Newsgroups: bit.listserv.emusic-l
Date:         Thu, 30 Jul 1992 07:57:40 EST
From:         Jon Crystal <OFABJC@UVMADMIN.BITNET>
Subject:      How Many Speakers fit on an Amp?

Can anyone offer advice on the wisdom (or lack thereof) of connecting more than
 one set of speakers to the same output of a "consumer" amplifier? I don't mean
 using the "remote speaker" connections, but doubling the main ones for a total
 of four speakers. The amp is rated for 8-16 ohms: is that additive? Will this
simply reduce the signal going to each - and at what cost? Thanks for the advic
e.
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Newsgroups: bit.listserv.emusic-l
Date:         Thu, 30 Jul 1992 14:30:55 EST
From:         Jon Crystal <OFABJC@UVMADMIN.BITNET>
Subject:      Re: In Query

On the Eno 3rd speaker experiment: I hooked one up almost a year ago, after the
 last round of discussions here. The impact varies considerably with the nature
 of music being played: virtually none from mono signal, to what seems almost l
ike a third distinct track onsome recordings (phase differences?). Overall I li
ke the effect - it is in fact similar to early surround sound efforts - and the
re has been no evidence of negative impact on the amp.
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