HDTenEightyP/NetNews huggingface dataset:
From: little@cs.ucsd.edu (Glenn Little)
Newsgroups: rec.music.synth
Subject: Re: I've just about had it with Performer. How much is Vision?
Date: 13 Oct 92 18:50:13 GMT
Organization: CSE Dept., U.C. San Diego


In article <ssanders.718664354@starman>, ssanders@convex.com (Steve Sanders) writes:
|> 
|> How come nobody talks much about Cubase for the Mac? Hasn't anyone tried it
|> yet? The demo works great and, though without a manual I've had difficulty
|> figuring out how certain functions work, the variety of edit modes and
|> options make it look to be a "tweakers" delight. It has Score Edit, like
|> Performer, but you can display several staves at once, which I find helpful
|> when trying to compare the music on one track with another.
|> 
|> I've yet to pick my package, (I currently have MasterTracks Pro 5),
|> but it's between Vision and Cubase.
|> 
|> Steve Sanders			Convex Computer Corporation
|> ssanders@convex.com		San Jose, CA

  I've got Cubase for the Mac, and overall I like it.  I was looking
  at Performer, Vision, and Cubase.  I decided that I liked the overall
  feel of Cubase the best, even though the other two may have a slight
  edge at the current time in specific features.  In Cubase, you can
  work with less "musical downtime" where you have to navigate menus
  or otherwise think of something other than the music.  Also, it
  has a lot of different styles of data presentation and manipulation,
  so you pick the one you like, or that fits the given situation.  

  Unfortunately, what I consider Cubase's biggest weakness is also
  one of the things I consider most important:  it's tempo functions.
  Currently it is difficult to create complex tempo maps, especially
  if you have lots of gradual tempo shifts.  Editing the tempo track
  is a pain.  It BADLY needs a graphical user interface.  What I'd 
  really really like to see is something like what Vision now has,
  where you can play in some rubato passage, then go back and tell
  it where the beats and bars are, and it will then go in and 
  create a tempo map such that the music all fits.

  Overall, as long as Cubase comes out with some minor bug-fixes and
  improvements soon, I'm happy with it.  The (*&(*& Powerbook I bought
  at the same time is another story though.  #@^%#&^!!!!!

		Glenn Little

		glittle@ucsd.edu
		little%cs@ucsd.edu
From: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Wed, 7 Oct 1992 21:28:28 GMT
Subject: Re: Re: What is Ring Modulation?
Organization: HP Signal Analysis Division - Rohnert Park, CA
Newsgroups: rec.music.synth

In rec.music.synth, rolfe@fraser.sfu.ca (Christopher John Rolfe) writes:

    dan@hpwin052.uksr.hp.com (Dan Bennett) writes:

    >w.r.t. ring modulation, if your two input signals are identical,
    >there'll be no effect, I think. If your two input signals are, say
    >a minor second apart, you'll get some wonderfully upsetting sounds
    >at the output. Real 1950's Stockhausen stuff!

    	No.  If the carrier and program are the same, then the output
    will be one octave higher ( output=carrier + program, carrier -
    program , therefore c=100 hz and p=100 hz, output= 100 + 100, 100 -
    100 = 200, nil.


Weeell, ACTually, this is only true if the input is a sine wave.  If the
input is anything but a sine wave it will also have harmonics, and all the
harmonics will add and subtract with each other, so you'll get a tone which
(if the original signal was purely harmonic) is still perceived as the same
note (perhaps an octave up), but which has a different harmonic content.
If the input was not purely harmonic (ie, non-integral frequency ratios
among partials), then there will be some degree of "clang" in the output.

                       Jim Smith  smithj@hpsad.sad.hp.com
                     Oh Hannu, this is most unbusinesslike.

Newsgroups: rec.music.synth
From: d88-jwa@byse.nada.kth.se (Jon Wtte)
Subject: Re: Midi song - "Borderline - Madonna"
Originator: d88-jwa@byse.nada.kth.se
Organization: Royal Institute of Technology, Stockholm, Sweden
	<D88-JWA.92Oct9103759@byse.nada.kth.se> <1514@bbx.basis.com>
Date: Sat, 10 Oct 1992 10:09:56 GMT

> scott@bbx.basis.com (Scott Amspoker) writes:

   >Please define how close "coincidence" is. And how to measure it.

   That's ultimately for a jury to decide.

Isn't a prime concept in any judical system that you should
have the possibility of being aware that you're comitting a
crime when you do it? I.e. no retroactive laws. How could you
know what the jurys musical taste will dictate when you wrote
a piece of music? Especially when you hadn't even HEARD the
other song...

To me, all Opera sounds alike :-) Maybe I should join a jury...

-- 
 -- Jon W{tte, h+@nada.kth.se, Mac Hacker Suedoise (not french speaking) --

   What we need is a good GNU [...] licence manager implementation.
                     -- Raphael Manfredi
Newsgroups: rec.music.synth
From: doogie@garfield.catt.ncsu.edu (Jeff House)
Subject: Re: FOR SALE: Yamaha DX7 Original
Organization: Computer and Technologies Theme Program, NCSU, Raleigh
Date: Fri, 9 Oct 1992 15:19:43 GMT

In article <Bvu9zI.A84@news.cso.uiuc.edu> ja51359@uxa.cso.uiuc.edu (axelrod) writes:
>doogie@garfield.catt.ncsu.edu (Jeff House) writes:
>
>
>>This synth is in great shape, and posesses the infamous electric pianos
>>that Yamaha FM is reputed for. Not sure what it is worth, or what
>>someone would be willing to pay, but I am willing to negotiate.
>
>>Let me know!
>
>>Thanks!
>
>>Doogie
>>____________________________________________________________________________
>>    Jeff House                     "I am nobody telling everybody about
>> house@dg-rtp.dg.com                somebody that can save anybody."
>> doogie@catt.ncsu.edu 			 wjhouse@eos.ncsu.edu
>
>dude, you didn't like it??  I ended up trading the ESQ for a Tascam porta-2
>and a boss DR550 drum machine...
>
>do you think that' was a good trade?  I'm not sure..
>
>
>Thanks,
>Jeff
>

Liked it fine... Am still using it as we travel and sing... I'm looking
to raise money for another Roland piano...

Thanks!
Eh--- Don't know if yours was a GREAT trade, but if you're happy, more
power to you!

(grin)

Doogie
____________________________________________________________________________
    Jeff House                     "I am nobody telling everybody about
 house@dg-rtp.dg.com                somebody that can save anybody."
 doogie@catt.ncsu.edu 			 wjhouse@eos.ncsu.edu
Newsgroups: rec.music.synth
From: dce@smsc.sony.com (David Elliott)
Subject: Re: Dropouts in Hi-8mm
Organization: Sony Microsystems, San Jose, CA
Date: Sat, 10 Oct 92 01:49:29 GMT


In article <1992Oct9.170235.11417@leland.Stanford.EDU>, jay@cmn19.Stanford.EDU (Jay Kadis) writes:
|> You are entirely correct, sir. (As Ed McMahon would say)  I just assumed  
|> that every digital audio recording system uses interleaving in addition to  
|> error detection.

I think I was pointing out that it not only depends on whether or
not you interleave, but on how much.  With 8 tracks, you have a lot
of data to get encoded, interleaved, and written in a short amount
of time.  The ADAT and similar machines may have to compromise
between being able to get the data on and off the tape against
the error correction.

Then again, they may also use more error correction bits.  After
all, when CDs were designed, they were pushing the limits of
microprocessors.  The same processing is slow by today's standards.

-- 
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."I take my arms and I wrap them around my art." - F
From: five@sys6626.bison.mb.ca (A.R.F.)
Newsgroups: rec.music.synth
Subject: Deathlehem Tapes
Date: Wed, 14 Oct 92 19:52:37 CST
Organization: System 6626 BBS, Winnipeg Manitoba Canada

There are still tapes being produced   *  for Dan Harkless and Verity.
Our master deck (IE: the machine that we record the copies from, a 4 
track) is DOWN.  The tapes will be delayed at least another 1 - 2 weeks 
(completing and then mailing) until it's fixed.  
 
Sorry for the length of delay!
 
 ------------------------------------------------
 \ FIVE-Aural \Their current stuff is too digi- \
 \ Research   \tized,quantized and just plain   \
 \ Foundation \sterile, compared to that analog \
 -------\ organicness from earlier albums - SHIV\
        -----------------------------------------
From: adcg9841@uxa.cso.uiuc.edu (flannel man)
Newsgroups: rec.music.synth
Subject: Roland module vs Alesis D4??
Date: 15 Oct 92 19:40:53 GMT
Article-I.D.: news.Bw6HCA.BCt
Organization: University of Illinois at Urbana

Well I received my "Roland Users Group" the other day, the fine piece of
objective literature that it is.  But something caught my eye:
A "TD-7 Percussion Sound Module".  Looks much like a half-rack version
of the Alesis D4.  500 internals sounds.  9 external pad trigger inputs
(sounds like most any piezo buzzer will work, as with the D4), lotsa
MIDI stuff, and even a simple, pad-triggerable sequencer, and on-board
digital effects (programmable, i pressume, as opposed to the pre-recorded
effects on the D4 drums).  I'd elaborate, but that seems to be the crux of it.

Does anybody know what sort of price this beast would go for?  I am very
pleased with what i've seen and heard with the D4 but i'd prefer something
lower than $400 (damned Alesis price fixing).  Anybody know more about this
device?
		Thanks
			Adam
From: dce@smsc.sony.com (David Elliott)
Newsgroups: rec.music.synth
Subject: Re:      Re: Dropouts in Hi-8mm
Date: 9 Oct 92 18:10:56 GMT
Organization: Sony Microsystems, San Jose, CA


In article <9210081755.AA04760@ktxs8.ktxnet>,         "(Peter Uchytil)" <kentrox!ktxs8!peter@UUNET.UU.NET> writes:
|> Ok, help me out.  I'm not real sure what "dropouts" are.  I imagine something
|> evil as in a silent spot in the middle of a tape.  How big a spot?  With video,
|> do you get a spot of static?

A dropout is a spot on the tape where the magnetic properties are out
of whack.  This can be caused by a manufacturing defect, or from the
tape getting scraped or overheated or crushed or whatever, or even from
the tape being cut wrong so that it doesn't fit the head guide and
tracks differently every time you use it.

Most dropouts are very small, but you can get really long ones as the
tape gets old.

A dropout doesn't have to be silent.  In some cases, they are just
places where the signal is attenuated or has really bad frequency
response.  In video, it usually causes the machine to lose tracking for
a moment, so you see a short "glitch" (I have one old VCR that can be
driven crazy by this kind of thing).

Scratches on laser discs are a similar problem.  Even though laser discs
use similar technology to CDs, they aren't digitally recorded, so
scratches show up similarly to LPs.

|> How about DATs?  Do they suffer from frequent dropouts, too?  What about
|> analog tape decks?  Just trying to get up to speed on this one.  Thanks!

All tapes have dropouts.  Whether or not they "suffer" depends on a couple
of factors.

With analog tapes, dropouts can ruin the recording.  Luckily, there are
a lot of places on a music tape where silence isn't a bad thing.  Also,
you don't use all of the tape to encode the signal, so you reduce the
probability that a defect will exist where you are recording.

With DAT (and other digital tape formats), dropouts are handled by data
interleaving.  Instead of writing the bytes directly as they come in,
the machine buffers the data up into blocks, adds the error correction
data, scatters the bits all over the block, and then writes the data.
As a result, a short dropout may only screw up one bit on a set of
samples, and the error correction can fix that.  According to Ken
Pohlmann's "Principles or Digital Audio", a rotary head device can
correct a 4096 bit long dropout (a CD, by comparison can only correct
3874 bits, but can conceal a 13282 bit problem).

--
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."I take my arms and I wrap them around my art." - F
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Mailer: Elm [revision: 66.33]
Newsgroups: rec.music.synth
Date:         Wed, 7 Oct 1992 11:09:16 MET
From:         Andrea TONI <andrea@SIHP03.SI.ESTEC.ESA.NL>
Subject:      Re: Korg DSS1 keyboard/sampler/synthesizer
Comments: To: "('Redistribution of rec.music.synth')" <SYNTH-L@AMERICAN.EDU>

>
> First, about the memory expansion:
>
> Originally, the DSS-1 had a memory and SCSI controller upgrade available, but
> the upgrade was very complex and toasted too many DSS-1s. It was removed from
> production and is not available anywhere....

.. Too bad !!

> The DSM-1 is a much better choice to pick up used than a DSS-1. It has twice
> the memory(1mb vs 512kb), is multi-timbral, has eight individual outputs, and
> loads disks (high density) twice as fast. What it lacks is the programable
> digital delays, so synthesizer-type sounds aren't as rich sounding (unless you
> use outboard processors), but it's a more powerful sampler. Additionally, it
> can read DSS-1 sample disks, while the DSS-1 can't read DSM disks.

Well I'm sorry to say that there are two other missing features in the DSM-1
and (to me !) very important .. the VCF has no resonance !! it's a simple LPF !
and (even worst) there is a possibility to assign a sample to one OSC only !
Whereas on the DSS-1 you could assign two different sample to two separate
OSC (1 and 2).
Of course the DSM-1 has more memory, is rack mounted is faster in disk-loading
.. but as "generator of atmospheres" it's  less powerful then the DSS1.
The DSM-1 is, sadly a cannibalized version of the DSS-1 !!

> Hope this helps.

Thanks anyway !!

> Scott Kahn

Ciao
Andrea TONI
From: dnibby@asylum.UUCP (Dana Nibby)
Newsgroups: rec.music.synth
Subject: ambient
Date: 12 Oct 92 17:00:14 GMT


 I'm looking for synth suggestions for doing ambient/atmospheric
music. If you had approx $800 to spend, which synth would *you* choose?
(used, of course) --as a main synth for ambient music. Would an Oberheim
Matrix-1000 be a good choice? (errr... that's a module, but that's ok)

  Dana
From: wb@tornado.kodak.com (wb@tornado.kodak.com)
Newsgroups: rec.music.synth
Subject: A.R.T. Multiverb Alpha 2.0 FOR SALE
Date: 15 Oct 92 20:03:50 GMT
Organization: Digital Equipment Corp. (Telstar), Rochester, N.Y. 14653


 Hello, I have a Multiverb Alpha 2.0 for sale, for $300. I will
 handle the shipping. This unit is a very nice digital multiple
 effector. It is even quieter than their SGE Mach 2 line of equipment.
 Some of the reverb rooms in this unit are stunning! It does 4 digital
 effects at once, there is 7 band digital EQ and ...

 A GUITAR TUNER!  Stunning quiet effects AND a tuner for $300!

 The unit has been used in a studio for less than 30 hours total.
 Reason for selling is that I'm upgrading all my effects to Lexicon
 so they can be controlled from one place using the Lexicon MRC-1.

 Thanks for considering my post!

 If you decide to respond to this post, please note that you must
"SEND" to wb@tornado.kodak.com rather than "REPLY" 'cause the "REPLY TO"
address is "nobody@kodak.com," irrepairably so...
-----------------------------------------------------------------------------
     ------->----->----->----->----->----->----->-----| -----|
                                                      | -----|
                                                      v      v

Wendell Bigelow:                              | PLEASE "SEND" rather than
Systems Integration & Software Development,   | "REPLY"!! The "REPLY" address
Printer Products Division                     | is "nobody@kodak.com"...
Eastman Kodak, Rochester, New York            | Internet:wb@tornado.kodak.com
-----------------------------------------------------------------------------
Newsgroups: rec.music.synth
From: cassiel@cassiel.demon.co.uk (Nick Rothwell)
Subject: Re: I've just about had it with Performer. How much is Vision?
Date: Sat, 10 Oct 1992 00:00:00 +0000

>I paid $368 for a Vision/Galaxy bundle from Mac's Place and have been very
>very VERY happy with the results (although I'm beginning to learn the hard
>way why Nick regards the D-70 as such a totally braindead MIDI machine).

You mean the fact that you want it in local-off mode for sequencing but
then that disables all transmission while editing so you have to enable
local-echo whenever editing and turn it off afterwards? Or the fact that
the tone palette responds for the keyboard part only, on the performance
channel, so you can only control one part? Or the fact that you can only
edit the keyboard part, so if you're doing remote palette animation you
have to move the keyboard part around? Or the fact that tones/patches
written to new locations aren't reflected in the enclosing patches and
performances? Or the fact that performance selection is disabled if you
have a part receiving on the same channel? Or maybe it's just the fact that
any cursor movement kills all sounding voices on all channels.

That's Roland for you.

>You might be able to do better ordering from Jamie at Sound
>Deals, Inc. (his NEW store in Birmingham, AL, doing walk-in business as
>well as mail order).

Bit far for me to walk, unfortunately. If I do go for Vision though I'll do
it through Jamie, since I got a good deal on MAX from him. And Opcode
upgraded MAX faster from the US that MOTU upgraded Performer via Sound
Technology in the UK (it took months for P4 to come through and we have to
pay over $100).

>and tell him Metlay sent you....

Oh, he already knows...

Nick.

                      Nick Rothwell  |  "Say, how many contemporary dancers
   CASSIEL Contemporary Music/Dance  |     are there in this bar?"
        cassiel@cassiel.demon.co.uk  |  "Dunno; count the Dr. Martens
        cassiel@cix.compulink.co.uk  |     and divide by two..."

Newsgroups: rec.music.synth
From: ljnelson@unix.amherst.edu (Laird Nelson)
Subject: Re: I've just about had it with Performer. How much is Vision?
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 15 Oct 1992 21:58:15 GMT

Brian R. Gilstrap (gilstrap@calvin.sbc.com) wrote:
      In article <1992Oct15.140430.13102@ads.com>, pdel@ADS.COM (Peter
      Delevoryas) writes:
      |> 
      |> >  is a pain.  It BADLY needs a graphical user interface.  What I'd 
      |> >  really really like to see is something like what Vision now has,
      |> >  where you can play in some rubato passage, then go back and tell
      |> >  it where the beats and bars are, and it will then go in and 
      |> >  create a tempo map such that the music all fits.
      |> 
      |> Yikes, does Vision have that? I didn't see that in the info w/ my
      |> update. That would be nice if it's true. I'll take off from work
      |> right now to play with it  :^]
      
      I'm curious too.  Can you give specifics on how to accomplish this?  Now
      I'm itching to get off work and go home and try this....sigh.
      
At the risk of repeating somebody, Performer 4.01 has this, and despite the
overall program's bugginess--well, alleged bugginess, anyway; maybe I'm not
doing the sorts of complicated things needed to bring out all these supposedly
crippling bugs--despite all this, as I say, it's one of the best features 
available.  It's also resonably intuitive.

LAiRD

--
ljnelson@unix.amherst.edu           |
ljnelson@amh.amherst.edu            |          The Quintet-essential.
(413) 542-2932                      |
Newsgroups: rec.music.synth
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: Kawai K4r: Comparable Modules?
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Wed, 14 Oct 92 19:21:00 GMT

I have the K4R and really like it. The factory sounds are hit and miss,
some are great, others lousy. Sound Source Unlimited has some great
sounds available for the K4R.

The disadvantage to the K4R is that the waveforms are built-in. You cannot
add new waveforms. The RAM card only stores individual patches and
multi patch setups. 

Other similar boxes to look at are the Yamaha TG55, which DOES accept
waveform cards so that new waveforms can be added. This unit has been
discontinued and is available at very cheap prices. Yamaha also has
several waveform cards available. The TG77 is an amazing device and
it too has been discontinued and is available at 1/3 off its original
device. It is still twice the price of a K4R though (in Canada at least).
The Korg M1R and M3R are available used and also accept waveform cards.
If you are looking at new units, the Korg 03Wr, and the Emu Proteus
are also available. The Proteus can be expanded but it is an internal
expansion that adds 4M (I think) of ROM. There are some 3rd party
expansion ROMs available for the Proteus as well.

Stay away from the Roland U110 - its very noisy. The U220 is strictly
sample playback - there is no synth architecture (ie. filters etc.)
like the K4R, M1, TG55, etc.. You can vary the attack and decay of
the VCA though and it does accept waveform cards.
From: soh@gdstech.grumman.com (Scott O'Hare)
Newsgroups: rec.music.synth
Subject: Note Off Problems (was: Korg DS-8 multitimbral problems anyone?)
Date: 8 Oct 92 13:28:20 GMT
Reply-To: soh@gdstech.UUCP (Scott O'Hare)
Organization: Grumman Data Systems-Woodbury

In article <sgs.1sqs@terapin.com> sgs@terapin.com (Stan Sawyer) writes:

>what this means is, the DS-8 *must* have a note off at the end
>of each note in multi-timbral mode.  
...
>Most sequencers allow you to turn off running status (i.e., turn on
>note offs).

The Ensoniq ESQ-1 has a sightly different problem with Note Off commands
that this discussion reminded me of: namely, it sends "proper" Note Off
commands (3-byte sequences beginning with hex 08), instead of the more
usual practice, which is: sending a Note On command (3-byte sequences 
beginning with hex 09) with Velocity (3rd byte) set to zero. Do all 
Ensoniq keyboards do this? and is there some way of "fixing" it (without 
buying a note mapper or equivalent piece of external hardware)?

soh
-- 
---------------------------------------------------------------------
- Scott O'Hare (soh@gdstech.grumman.com)                            -
---------------------------------------------------------------------
Newsgroups: rec.music.synth
From: rej@sal.wisc.edu (Randy Jones)
Subject: CD Spec (was: Re: 8-bit 16-bit)
Organization: mmm
Date: Thu, 15 Oct 1992 23:37:15 GMT

In article <Bw6Azs.8F4@news.cso.uiuc.edu> bsanders@mrcnext.cso.uiuc.edu (Barry Sanders) writes:
>BTW:  I remember reading in the original Philips CD pre-release glossy (1982??)
>      that Quad was to be incorporated in the CD standard.  Hmm.  Where is it? 

The Quad spec is the paragraph right after the Lock Groove spec.

-- 
| Randy Jones           | "The electron tube is a marvelous device. It makes
| rej@bob.sal.wisc.edu  |  possible the performing of operations, amazing in
|                       |  conception, with a precision and a certainty that 
|                       |  are astounding."     -- RCA Receiving Tube manual