HDTenEightyP/NetNews huggingface dataset:
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: K2000 < analog
Date: 20 Aug 92 15:56:57 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1992Aug19.173940.9941@bmerh85.bnr.ca> shiv@bnr.ca (Shiv Naimpally) writes:
>Keyboard had a 'minimoog' patch for the Yamaha TX81z 4-op FM box
>and it was pretty decent ! Mind you, the 81z is capable of waveforms
>more complex than sine waves to begin with, and this patch used all
>8 voices stacked and detuned to produce a huge monophonic sound.

I once hooked up an oscilliscope to an SY77 and was able to create a
near-perfect sawtooth using FM ops.  I should also point out that
I have examined the sawtooth of older analog synths (such as Polymoog
and Korg MS-20) and found them to be less that perfect on an oscilliscope.
I guess that's what give each synth its unique sound.

What I don't get is why Yamaha decided not to provide a sawtooth waveform
as one of the 16 operator wave forms.  I imagine that an FM sound using
6 sawtooths would kick some butt.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
Newsgroups: rec.music.synth
From: wright@lims01.lerc.nasa.gov (Ted Wright)
Subject: Re: K2000 teste drive (vs SY99)
Organization: NASA Lewis Research Center
Date: Thu, 13 Aug 1992 17:19:37 GMT

In article <1992Aug12.044156.14658@ads.com> jtn@ADS.COM (John T. Nelson) writes:
>From: jtn@ADS.COM (John T. Nelson)
>Subject: K2000 teste drive (vs SY99)
>Date: Wed, 12 Aug 1992 04:41:56 GMT


>Well I finally got a chance to demo the K2000 and SY99 (kindof)
>side-by-side at my local music store.  Here's my conclusion:
...
>It is by no means perfect though.  Limited polyphony.  Doesn't have a
>decent sequencer (it has a play-only, read-only sequencer of some kind
>but I couldn't figure out how to control it).  The demo that comes with
>the unit is ... well rather conventional stuff but does a fair job of
>showing off its range of expression.  Teeny tiny little LCD display is
>cluttered and difficult to read at times.  Not much in the way of front
>panel controls either.  And it won't do FM synthesis.

When does the Yahmaha patent on FM expire? I would expect machines like the
K2000 to add FM to its processing capabilities as soon as it does.
From: quantum@mfci.UUCP (Quantum Audio Concepts)
Newsgroups: rec.music.synth
Subject: Re: DX100 transmits wierd sysex
Keywords: DX,blah,blah,blah
Date: 13 Aug 92 23:23:49 GMT
Reply-To: quantum@mfci.UUCP (Quantum Audio Concepts)
Organization: Bell Atlantic Business Systems Service Branford, Ct.

In article <rogalsky.713738582@sfu.ca> rogalsky@fraser.sfu.ca (Matthew Rogalsky) writes:
>I am toying with this little DX100 ... plugged it into a Mac
>running HMSL, started up the midi.scope, and was looking at
>the data as it came in.  Note on/off - fine.  Then I hit
>a program change and instead of seeing a simple MIDI program
>change message come into the computer I saw a sysex message
>of at least 100 bytes!!  I haven't got a manual for the DX100,


Does the program change get sent along with it (before or after)?
The juno 106 has a mode where it will send it's patch memory on a program
change (but that is only 18 - 30 bytes).
Xref: sparky rec.music.synth:13820 rec.music.makers:9125
From: tynor@prism.gatech.EDU (STEVE TYNOR)
Newsgroups: rec.music.synth,rec.music.makers
Subject: SynthAxe Drumitar?
Date: 23 Aug 92 16:00:21 GMT
Followup-To: rec.music.synth
Organization: Georgia Institute of Technology

What is it?  "Future Man", the drummer for Bela Fleck and the
Flecktones, uses it exclusively on on the latest album (Flight of the
Cosmic Hippo).  The liner notes imply that it generates all the drum
sounds on the album and that it was recorded 'live' without overdubbing
or sequencing.  From the glimpse of the Drumitar from the photos on the
liner, it looks like a (psychedelically painted) portable keyboard
controller.

Is it also a sampler, or are the drum sounds handled by a remote drum
machine or sampler?  The drumming is _incredibly_ acoustic sounding! I
find it really hard to believe that "Future Man" is not using an
acoustic kit!

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Look out! There are llamas!
                     
    Steve Tynor
    Georgia Tech Research Institute
    tynor@prism.gatech.edu
From: mdturner@riker.acs.calpoly.edu (Mark)
Newsgroups: rec.music.synth
Subject: Re: Calling all Spuds (rec.music.devo, anyone?)
Keywords: Devolution
Date: 18 Aug 92 22:53:59 GMT
Reply-To: mdturner@riker.acs.calpoly.edu
Distribution: rec.music.alternative
Organization: Cal Poly State University, San Luis Obispo

Madman Omar writes
}
}There's this group- they're called Devo, and they've been around since
}the mid-70's. 
}
}During their extended sojourn into the realms of music, they have
}created some of the most interesting music in existence, and have
}given to the world their own personal philosophy.
}
}Now- would there be any interest in forming rec.music.devo? I'm not
}quite sure what to do to begin this process- if someone could either
}start the process themselves, or tell me what needs to be done, I
}would be greatly appreciative. 
}
}All flames with be cheerfully ignored.
}
}Josh Brandt
}-- 
}                We weren't stupid enough to be businessmen,
}            and we weren't pretty enough to be David Bowie.   Devo
}                                         - mute@wpi.wpi.edu   Joshua Brandt -

Yes by all means start this group!  Devo is well worth its own group.
I don't know how to start the process but would contribute to the news as much  
as possible.

Calling all Compu-Spuds how do we make this happen?!?

Mark Turner
Newsgroups: rec.music.synth,comp.music,comp.sys.ibm.pc.misc,comp.sys.mac.misc
From: mspace@netcom.com (Brian Hall)
Subject: Re: New specs of Atari Falcon (500 Pounds)
Date: Sun, 16 Aug 92 04:37:59 GMT
Organization: Netcom - Online Communication Services  (408 241-9760 guest) 

system@cyberden.uucp (Xorcist) writes:

>Um... err... a Mac setup to do 8 Ch. DSP 50K playback and recording
>would run yer ass $10,000 US dollars or higher... 2 Pro-Tools with
>software, Tax, etc... for $700, this little gem MIGHT kick some 
>butt... Now we just have to see what software will be driving it.
> 
>The other consideration is if the S/PDIF AES/EBU ports are OPTIONAL for a 
>gazillion dollars, or standard.
><X>orcist

While not $700, you could look into SampleCell NuBus cards for your Mac.

Having been an Atari developer in the early-mid eighties, I would not
ohold my breath for any piece of hardware from the Tramiel Atari.

-- 

 \ | /   | Brian Hall                 mspace@netcom.com
 - : -   | Mark/Space Softworks       Applelink: markspace
  /|\    |                            America Online: MarkSpace
 |-+-|   |
/-\|/-\  | People don't kill people, toasters kill people.
Newsgroups: rec.music.synth
From: gilstrap@sbctri.sbc.com (Brian R. Gilstrap)
Subject: Tell me about the K2000
Organization: Southwestern Bell Technology Resources
Date: Fri, 14 Aug 92 18:42:16 GMT

I'm curious about just how the K2000 produces its sounds.  From what I've
gleaned reading this group, it appears to do synthesis but it's unclear
whether it uses samples as a basis for generating sounds.

How has the service for the K2000's been since Kurzweil's operation
was bought by the Korean company (can't recall the name right now)?

Also, considering the recent discussion regarding the noise introduced
into the output of the K2000 when using the effects chip, can anyone tell me
how much you take away from the K2000's sound-generating abilities if you
don't use the effects chip?

By the way, I have the FAQ from NetJam and, personally, it seems rather
computer-oriented rather than synthesizer-oriented.  I have heard that there
has been some talk of producing a FAQ specifically for rec.music.synth and
would be willing to help construct it.

Thanks!
Brian Gilstrap
-- 
-- 
Brian R. Gilstrap                      Southwestern Bell Technology Resources
gilstrap@calvin.sbc.com                550 Maryville Centre Dr.
Phone: 314-529-7639                    St. Louis, M0 63141          USA
From: mitch@banana.fedex.com (mitch wood)
Newsgroups: rec.music.synth
Subject: FOR SALE: Yamaha SY-22
Date: 14 Aug 92 18:59:40 GMT
Distribution: usa
Organization: Federal Express Corp.

I have an extremely clean SY-22 with the Studio ROM card
for sale. I will sell the keyboard by itself for $600.00
and for  $650.00 with a calzone hardshell case. All manuals
included.. I'll *SPLIT* shipping.

call me at 901-725-5610 and leave a message if I am not home.

Mitch Wood
mitch@banana.dis.fedex.com

-- 
********************************************************************************
** Sysop of: MIDImadness QuickBBS in Memphis, TN (901) 725-1815  (1200/2400)  **
** mitch@banana.fedex.com or ..!rutgers!banana!mitch or ..!mips!banana!mitch  **
********************************************************************************
Newsgroups: rec.music.synth
From: galanter@nyu.edu (Philip Galanter)
Subject: Re: Need Recommendations on Adding Polyphony
Reply-To: galanter@nyu.edu (Philip Galanter)
Organization: New York University
Date: Wed, 12 Aug 1992 21:04:28 GMT

In article <1992Aug12.123141.7977@cbnewsk.cb.att.com>  
paulb@cbnewsk.cb.att.com (paul.l.bidwell) writes:
|
|I have a VFXsd that has 21 voice polyphony. I find myself needing to
|add more polyphony, and I'm looking for some advice as to the most 
|economical way to do so.
|
|Options I've considered are:
|
|1.  Upgrading to an SD-1, which gives me 32 voice, but is quite expensive
|    ($700).
|2.  Buying a sound module (e.g. Proteus-1, and Sound Canvas). Again, not
|    cheap ($600-$700). Anyone interested in selling a used one?
|3.  My local dealer told me that Kawai sells a module for around $300. I
|    don't know the model number.
|
|What do just piano modules go for? I typically use a lot of piano notes
|and I have thought that might be an alternative.

One advantage to the Proteus route is that you can plug the VFX into it  
and avoid buying a mixer.  (Most other modules do not have this as an  
option).  The Proteus offers 32 voices, but like most others they get used  
up by layering (and unlike some, by selecting a chorus effect).

You should decide what kind of timbres you need.  I happen to like the
Proteus family very much...the /1 being for rock/jazz/pop, the /2 being
for classical/symphony/soundtrack, and the /3 being for "world" kind of
stuff.  If you want analog synth sounds any sample based instrument
(K2000 aside) will not deliver.  For FM you need some kind of Yamaha box.
Etc.

On the Kurzweil vrs Proteus issue, the Kurzweil has a more animated 
mid-range, but cuts off at about 10-12 Khz.  The Proteus has a cleaner  
high end and more variety in the samples and more voices, but some feel it  
sounds "less real" than the Kruzweil (1000 series).

A K1000 series used with an Aphex C is a great combo because the missing  
high end can be restored.

Phil

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Philip Galanter         New York University    phone:    212-998-3041
Research Associate      251 Mercer             fax:      212-995-4120
Academic Computing      New York, NY 10012     internet: galanter@nyu.edu
 
   O f f i c e   o f   A r t s   &   M e d i a   T e c h n o l o g i e s
Newsgroups: rec.music.synth
From: sef@sef-pmax.slisp.cs.cmu.edu
Subject: Re: Tell me about the K2000
Organization: School of Computer Science, Carnegie Mellon
Date: Mon, 17 Aug 1992 04:30:26 GMT


    From: gilstrap@sbctri.sbc.com (Brian R. Gilstrap)
    
    I'm curious about just how the K2000 produces its sounds.  From what I've
    gleaned reading this group, it appears to do synthesis but it's unclear
    whether it uses samples as a basis for generating sounds.
    
In general, yes, it begins with samples and then puts these through a very
powerful and flexible set of sound-modification options: filters of various
kinds, distortion, nonlinear operations that do various kinds of
wave-shaping, and so on, all controlled by an amazingly flexible system of
modulation routings.  This modification facility is the VAST system.

It's a bit confusing because some of the VAST operators and algorithms mix
in some other simple waveform, such as sine or sawtooth.  Some even replace
the incoming signal with a sine or sawtooth.  So, if you like, you can
ignore all the newfangled sample stuff and have a very powerful subtractive
synth with the usual palette of simple waveforms as a starting point
(including pulse-width modulation).

The samples come from the built-in 8M of ROM sound files, two optional 8M
ROM banks with additional sounds (coming soon), or add-on RAM memory (up to
32M) that can be loaded from floopy disks, SCSI hard disk, MIDI (if you're
patient), or the audio sampling option (coming soon).

    How has the service for the K2000's been since Kurzweil's operation
    was bought by the Korean company (can't recall the name right now)?
    
They seem quite determined to treat their customers well.  My one service
problem was solved quickly by my dealer, but two different Kurzweil people
followed up to make sure that all was well.

    Also, considering the recent discussion regarding the noise introduced
    into the output of the K2000 when using the effects chip, can anyone tell me
    how much you take away from the K2000's sound-generating abilities if you
    don't use the effects chip?

You then have a great synth with no built-in effects.  Then you can use the
outboard effects box of your choice.  I should also say that the effects
chip isn't terribly noisy, just not as quiet as John Rossi seemed to be
suggesting.  After exchanging some mail with John, I now suspect that my
unit is noisier than his -- maybe I have a slightly defective one, or maybe
he has an unusually good one.
    
-- Scott
===========================================================================
Scott E. Fahlman
School of Computer Science
Carnegie Mellon University
5000 Forbes Avenue
Pittsburgh, PA 15213

Internet: sef+@cs.cmu.edu
From: freewill@carson.u.washington.edu (William Kaufman)
Newsgroups: rec.music.synth
Subject: Favorite Drum Machines
Date: 20 Aug 92 16:39:54 GMT
Article-I.D.: u.1992Aug20.163954.6229
Organization: University of Washington, Seattle



I have been interested in the Yamaha RY-30 for a while now. It appears
to have similar functions to the Roland R-8, but is a little cheaper.
The music store has one guy working there that can really play it like
a regular drum kit. Is anyone else "playing the pads" to work on more
live-sounding drum patterns? Also, I was told it can load sounds from 
the SY series wave cards, but what are the limitations? You can at
least play 12 bass notes (1 per pad). It's also supposed to have the
dynamic playback articulation like the Alesis boxes. In any case, as a 
controller it seems to lend itself to more rhythmic playing than a key-
board, due to the spacing between the pads. (Editor's note: the SR-16 
pads are useless.) Anyone else having interesting experiences with the 
newer drum machines?      freewill
Newsgroups: rec.music.synth,bit.listserv.emusic-l
From: d88-jwa@dront.nada.kth.se (Jon W{tte)
Subject: Re: Help w/ Gates & Vocals
Originator: d88-jwa@dront.nada.kth.se
Organization: Royal Institute of Technology, Stockholm, Sweden
Date: Tue, 18 Aug 1992 23:12:33 GMT

> <MRLCC@CUNYVM.BITNET> writes:

      Can anyone please give me the low down on compressers and/or gates? I am
   using a non-digital studio and am having some trouble with vocalist blowing
   the peak meters at times. I've heard that compressers can work for me and I
   have access to them but have never used them. Can anyone enlighten me?

A compressor can work in two modes: RMS or peak. RMS is cool for stuff
that varies in a sensible fashion (I would use it for auto-levelling
of a video track recording...) and Peak mode is what you want to cut
peaks (and to squeeze more punch into the final mix!)

What a compressor (in peak mode) does, is it reduces its gain when
the sound goes above a certain level. What that level is, and how
much it reduces the gain, are usually settable parameters. If you
want to, you can reduce the gain so that the output level never
exceeds the trigger level; that's eternity:1 compression, and
is also called limitting. Or you could opt to reduce only half of
the amount above the trigger level for a very soft compression.
I usually do 4:1 or 5:1 on vocals, and as a safeguard when sampling
since sampling clipping distortion sounds TERRIBLE.

The reduction also comes in an envelope: you set how fast the
compressor responds to a peak, and how long it takes for it to
return to its "normal" state. Use a very fast attack (.1 ms)
to get a good peak protection; use a longer attack to have
some of the peak "punch through". Adjust the decay to taste; a
fairly fast decay usually works OK (100 ms) - the wrong value will
result in a "pumping" sound - much like your favourite disco radio
station :-)

Compressors also come in stereo pairs, where a reduction in one
channel is reflected in the other as well, to avoid a skewed
stereo image.

Calculation example:

Compression 4:1, trig level -10 dB

	Input	Output
	-30 dB	-30 dB
	-20 dB	-20 dB
	-10 dB	-10 dB
	-5 dB	-8.75 dB
	0 dB	-7.5 dB
	5 dB	-6.25 dB
	10 dB	-5 dB
	20 dB	-2.5 dB
	30 dB	0 dB

Good compressors also have a little fuzz in the trig level
area ("soft knee") to make the compression sound smoother.
and start a little gentler, a little earlier than the actual
setting.

Looking at my Alesis 3630 from a recent vocal recording, it
says Trig -15dB, Comp 3:1, Attack .1ms, Release 180ms, and
Output +8dB

The last parameter is simply amplification; since a sound
usually will be compressed, it will lose in strength, and
that loss needs to be equalized with added amplification.
That also makes softer sounds come more to the front of the
mix.

Hope this helps (and I'm no mixing engineer, just a hobbyist...)

-- 
- I have decided that it is not boxes but my lack of skill that's the problem.
- Traitor! This kind of attitude will get you nowhere around here. If you must
  know, it's not your boxes that are the problem, it's your lack of a
  sufficient number of boxes. Go out and buy something.
Newsgroups: rec.music.synth
From: paulb@cbnewsk.cb.att.com (paul.l.bidwell)
Subject: Need Recommendations on Adding Polyphony
Organization: AT&T
Date: Wed, 12 Aug 1992 12:31:41 GMT
Keywords: polyphony


I have a VFXsd that has 21 voice polyphony. I find myself needing to
add more polyphony, and I'm looking for some advice as to the most 
economical way to do so.

Options I've considered are:

1.  Upgrading to an SD-1, which gives me 32 voice, but is quite expensive
    ($700).
2.  Buying a sound module (e.g. Proteus-1, and Sound Canvas). Again, not
    cheap ($600-$700). Anyone interested in selling a used one?
3.  My local dealer told me that Kawai sells a module for around $300. I
    don't know the model number.

What do just piano modules go for? I typically use a lot of piano notes
and I have thought that might be an alternative.

I don't want to spend a log of money, and I don't really want another
keyboard - one is enough.

Any recommendations would be welcomed.

Paul Bidwell
AT&T Bell Labs
paul@alux2.att.com
From: srivats.bbs@cybernet.cse.fau.edu
Newsgroups: rec.music.beatles
Subject: george and pete
Date: 13 Aug 92 14:35:43 GMT
Organization: Florida Atlantic University, Boca Raton

could someone tell me what george harrison's been up to the past 2 
years?/
Newsgroups: rec.music.beatles
From: miller@convex.com (Ken Miller)
Subject: F.B.I. vs. John Lennon
Organization: CONVEX Computer Corporation, Billsburg, VA., USA
Date: Fri, 14 Aug 1992 16:39:36 GMT
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

Article from the Daily Press, Hampton Roads, Va, 08/14/92:

Jon Wiener, author of "Come Together: John Lennon and His Time", is one step
closer to getting the FBI's file on John Lennon. The Supreme Court recently
upheld a lower court decision that the FBI must prove that releasing certain
pages would jepordize national security. "I assume that the withheld files
have nothing interesting about Lennon," Wiener says, "but may contain 
material that reveals FBI misconduct or abuse of power by Richard Nixon."
An FBI spokesman says the agency will make it's case in court. Both sides are
due to confer in U.S. District Court in LA Monday.
Newsgroups: rec.music.beatles
From: jcsmith@eos.ncsu.edu (Jay C. Smith)
Subject: Re: Playing Pepper
Organization: North Carolina State University, Project Eos
Date: Wed, 12 Aug 1992 18:17:20 GMT

In article <9208120238.AA16159@ray.met.fsu.edu> dave@RAY.MET.FSU.EDU 
(Dave Faciane) writes:
>Sgt. Pepper[...]
>title track and reprise (both Lennon's and Harrison's rhythm tracks and
>George's blistering leads)[...]

But didn't Paul play the "blistering leads" on that?


--
Jay C. Smith
Domain/internet: jcsmith@eos.ncsu.edu  uucp: ...!mcnc!ncsuvx!eos!jcsmith
------------------------------------------------------------------------
"Good.  For a minute I thought we were in trouble."
From: bh@anarres.CS.Berkeley.EDU (Brian Harvey)
Newsgroups: rec.music.beatles
Subject: Re: Beatles novelty list (rough) *LONG*
Date: 16 Aug 1992 06:01:46 GMT
Organization: University of California at Berkeley
NNTP-Posting-Host: anarres.cs.berkeley.edu


"I Want to Bite Your Hand" is by Gene Moss (RCA records)

Songs mentioning the Beatles:

"Liverpool Bound" by Vito and the Salutations

"Girl at the Window" by the Idle Race [Jeff Lynne etc.]

"Sally Sails the Sky" by Ian Whitcomb (doesn't exactly mention
   the Beatles but talks about a rock star named Elvis St. Pepper)

"We Love You Beatles" by I can't remember who, really bad though.
   (takeoff on "... Birdie")

Lennon-McCartney songs done by others:

Lots of Peter and Gordon, of course.

"It's For You" by Springwell (Parrot records in the USA; UK Decca I guess)
Newsgroups: rec.music.beatles
From: hensley@ssd.comm.mot.com (Dave Hensley)
Subject: Re: The Beatles Live (was:Re: Beatles:Live
Reply-To: hensley@ssd.comm.mot.com
Organization: Motorola LMPS
Date: Tue, 18 Aug 1992 19:13:41 GMT

It seems that in the past few years, many Japanese CDs have
been released with some set of Star Club and Decca Session
material on them.  (The ones I've seen include McCartney
Tracks, Lennon Tracks, Beatles Gold volumes I and II,
Sixty Greats, etc.)

I own a copy of Sixty Greats which is a three disc set with
all of the Star Club stuff (I think) plus some other
miscellaneous news conferences.

Has anyone catalogued the many Japanese CDs that have
Star Club material?

David Hensley

This article represents only the opinion[s] of its author, and is not
an official or unofficial position of, or statement by, Motorola, Inc.
The text is provided for informational purposes only.
It is supplied without warranty of any kind.




Newsgroups: rec.music.beatles