HDTenEightyP/NetNews huggingface dataset:
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: 8-bit 16-bit
Date: 5 Oct 92 14:48:00 GMT


This newsgroup never ceases to amaze me.  From a simple question concerning
the differences between 8 and 16 bit, we learn that FF FF hex is equal to
4096, that cassette recordings may actualy be 8-bit quality, that vinyl
is capable of reproducing frequencies up to a 15KHz limit, and that the
D-110 may actually be a 16-bit module.  From the same sample of readers
we also have learned about Nyquist eddies and how Roland solved the problem
of said eddies using long pc-board tracings (actually, I liked the Nyquist
eddy article, its just that I'm not sure how, exactly, it related to the
question).

Anyway, Nyquist eddies aside, depending on what you are attempting to
accomplish, the primary difference between 8-bit and 16-bit resolutions
is 48 dB of dynamic range (8-bit = 48 dB : 16-bit = 96 dB).  However, it
doesn't have to be exactly that way.  Those dB values are based on linear
encoding schemes where equal quantization is distributed over the entire
range of signal to be encoded.  Quite early on, people have employed various
compression/expansion schemes and used non-linear encoding which allows
an 8-bit system to handle as much as about 68 dB without much trouble.  In
a neurophysiological context, I have seen 8-bit companded systems produce
quality not distinguishable from 12-bit linear systems.  So, while you are
more restricted with 8-bits than 16, how you use those bits makes a big
difference as to the actual results you get.

There.. now I have inserted my $0.02 of relatively useless trivia into the
confusion soup.

FYI... Cassette tape companded using Dolby B should be capable of handling
at least 68 dB dynamic range.  Dolby C specs for most decks available today
run about 72 dB.  dbx encoding theoretically pushes the dynamic range of
cassette tape to greater than 84 dB.  As for the frequency resolution of
vinyl, 30KHz should not be uncommon and I would think that 40KHz would be
a lot more reasonable an upper limit than 15KHz (isn't this one of the big
factors brought up in the CD vs audiophile LP debate).  Even the shitiest
magnetic carts for LP turntables boast frequency responses in excess of
30KHz.

Oh, and 256 x 256 = 65536.

John
Newsgroups: rec.music.synth
Date:         Fri, 2 Oct 1992 12:11:26 BRA
From:         Marcio Felipe <MAD01010@UFRJ.BITNET>
Subject:      JX8P Patches ???

Hello again !

    I'm lookinng for new patches to Roland JX8P .

    I'd like a help from you, saying where I can find It in FTP sites or
if someone could mail me some Patches .  Please help me !!!

    Thanks ,

             Marcio Felipe


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 Federal University of Rio de Janeiro  -    BBB   RRR   AAAA   Z   I L
                                            B  B  R  R  A  A  Z    I L
                                            BBB   R  R  A  A ZZZZ  I LLLL
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Newsgroups: rec.music.synth,rec.music.marketplace
From: knight@rtsg.mot.com (Paul E. Knight)
Subject: Yamaha DD-5, Simmons SDS8 For Sale
Summary: For sale, with manuals
Keywords: Yamaha DD5, Simmons SDS8
Organization: Motorola Inc., Cellular Infrastructure Group
Distribution: usa
Date: Mon, 28 Sep 1992 12:57:25 GMT

I have the following for sale:

1 - Simmons SDS8 electronic drum brain, w/ manual.  No pads, no
    sequencer.  $50 plus shipping, OBO

1 - Yamaha DD5 drum pads, w/ manual.  $50, plus shipping, OBO

Both units are clean, and in perfect working order.  

Please contact me at:  paulk@cradhp10.comm.mot.com

Tnx,

Paul Knight
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Distancing Tools (was: Re: "Ethinc" Samples vs. Proteus 3)
Date: 6 Oct 92 20:17:00 GMT


The original concept was coined by Dr. Nick Rothwell as a way of initially
explaining why he didn't think so much of about a Korg Wavestation.  The idea
which he conveyed was that 'distancing tools' are those sorts of things
which can be applied to generated sound (either a sample-based, wavetable
based, or even simple oscillator based) engine which allows a synthesizer to
make the output sound significantly different than the input.  In the
'Wavestation doesn't have enough' thread he pointed to the fact that the
Wavestation is missing a resonant dynamic filter system as a good example of
an otherwise fine machine lacking distancing tools.  Actually, the term
'distancing tools' is a wonderful one in that it really does convey a lot
of information with little jargon overhead.  

In that regard, one would have to look at the K2000 as being the ultimate in
'distancing tool implementation'.  Soon to become Dr. Rothwell's favorite
synth, the K2000's synthesis engine is composed almost entirely of
distancing tools.  Additionally, distancing tools are only as good as the
provided means of controlling them.  For example, a resonant LPF which can
only be contrlled by a 4-stage envlope is only capable of 'so much'
distancing.  If you allow anything you think of to control all the parameters
of that filter (slope, resonance, and cutoff) you end up with a lot more
degrees of distancing freedom.  Actually, if you look at the flow diagrams
for what happens to a sound after it leaves the PITCH module in VAST, you
are looking at what amounts to be a 'distancing diagram'.  That is to
say, as the sound is passed through each algorithm on its way to the output
amplifiers, it is capable of being made more sonically distant from its
initial state.

If I had a vote on such things, I would be strongly in favor of incorporating
the term 'distancing tools' into the OFFICIAL LEXICON OF MUSICAL SYNTHESIS.

John
Newsgroups: rec.music.synth
From: xxrich@alliant1.lerc.nasa.gov (Rich Rinehart)
Subject: Re:      Re: Alesis ADAT rumor
Organization: NASA Lewis Research Center
Date: Mon, 28 Sep 1992 13:17:37 GMT

In article <B86BB5C5A0E025BD@ACS.WOOSTER.EDU> WSCOTT@ACS.WOOSTER.EDU writes:
>John Rossi writes " Now, assuming that the Tascam 8mm machine is
>going to be even better (8mm is a much superior transport mechanism), I will
>probably buy one as soon as they are available (Dec 1, according to the Tascam
>Rep.) "

Hmm, I would rather play a SVHS deck a hundred times than a 8mm drive.  That
is, if they're the same as the 8mm used as system backups.  Pretty flaky
devices....

Also, 8mm tapes can only be used about 50 times (that we have found) before
problems start occuring.  We are using top-line tapes too.  But again, this 
is for UNIX system backups.
-rich

-- 
Rich Rinehart (xxrich@alliant1.lerc.nasa.gov) |     
NASA Lewis Research Center |    "Life if one big editing session" -rr
Cleveland, OH              | "Technology changes everthing...even our dreams"
From: dan@cafws2.eng.uci.edu (Dan Harkless)
Subject: SH-101 wanted by a friend
Newsgroups: rec.music.synth
Organization: University of California, Irvine
Date: 2 Oct 92 00:13:15 GMT

	I showed a friend of mine my SH-101 the other day and now he wants one.
I know it's not mind-blowingly likely, but I thought I'd ask anyway:  Anyone
selling one right now?

------------------------------------------------------------------------------
| Dan Harkless                | "The sore in my soul                         |
| dan@cafws1.eng.uci.edu      |  The mark in my heart  ->  Front 242,        |
| dharkles@bonnie.ics.uci.edu |  Her acid reign..."        Tragedy >For You< |
------------------------------------------------------------------------------
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Thu, 1 Oct 1992 10:40:52 BSC
From:         Flavio <87141167@BRUFSC.BITNET>
Subject:      Please read this if you sended material for my radio show

Hello Fellows,

    About six months ago I request your contribuition to my e-music
radio show here at UFSC/FLORIANOPOLIS/BRASIL.
    I received works from DAVID VESSEL, BOB NEUMANN, STEVE SHERMAN,
DAVID A. ROTH and ANDY WING, this latter about 2 months ago.
    Some other people said that sended their musics to me, but
after ANDY, I not received anything from anyone. Please note that
I don't be questioning the people, but the post-office.
    I was complain and the guy at p.o. said: "If mail not registered,
we can't do anything." Now I'm complaining at national p.o. .

    If you not sended your material yet, please register it when send.
    If you already sended, please drop me a note.

    The radio program is going very well, and I already have a
cative public. Very thanks for all of you that contributed.

    Excuse me for my delays in answering, my temporary disappearing...
I was in the last semester of ee course, and things are a bit hard
here.

A hug for all you,
Flavio Bressan da Luz

_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-
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
-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_
Newsgroups: rec.music.synth
From: b78261@venus.cap.mmc.com (Kevin Brislin)
Subject: Re: SMPTE Woes
Organization: Martin Marietta
Date: Tue, 29 Sep 1992 14:41:46 GMT

In article <skipa.717751230@milton>, skipa@milton.u.washington.edu (Skip Albertson) writes:
> 
> b78261@venus.cap.mmc.com (Kevin Brislin) writes:
> 
> 
> >	I am having a problem using SMPTE sync in my studio. I'm using an Outbound
> >2030 notebook computer with Vision 1.4 and a Tascam 244 Portastudio for
> >analog tracks. Vision recognizes the SMPTE track and displays timecode with
> >no problem, but once I specify the offset (the starting point that I want
> >the sequence to start following the tape) Vision will only play for a few
> >seconds and then drop sync. I've tried this with different tapes, two different
> >recorders, and many different recording levels...all to no avail.
> >	Does anyone have an idea what is going on and why this is happening? I've
> >called Outbound and Opcode on this, but both point to each other as the
> >blame even though they can't substantiate why. Help!!!
> >Kevin
> 
> Could this have to do with the noise reduction (DBX or whatever)
> circuitry that is implicit in the 244 (and can't be turned-off)?  Maybe
> your SMPTE code is being filtered out!
> 
> Just a thought,
> 
> alberts@apl-em.apl.washington.edu
> 
> 
Actually, I have the same problem using a two track with no noise reduction
running. This is really starting to annoy me and I'm getting nowhere in
solving the problem.
Kevin
From: seanw@mks.com (Sean Wilson)
Subject: Re: 8bit vs 16bit?
Organization: Mortice Kern Systems Inc., Waterloo, Ontario, CANADA
Date: Mon, 5 Oct 1992 13:19:37 GMT

In article <718220794.880000.D_NIBBY@UNHH.UNH.EDU> D_NIBBY@UNHH.UNH.EDU (Dana   Nibby) writes:
>
> Can anyone tell me what the difference is in sound quality between 8bit
>and 16bit? I understand about sampling rate, and that if the rate is too low,
>aliasing/clipping occurs. I've asked this question before and gotten no respon.
>  
The number of bits in a sample determines the dynamic range (which is the 
difference between the softest and loudest sounds).  An 8-bit sample allows
only 256 (2^8) discrete volume levels in the sample, giving a dynamic range of
around 50dB (there's an equation to figure this out buried somewhere in
one of my EE textbooks, but I can't be bothered to go find it).  A 16-bit
sample allows 65536 (2^16) different levels, giving a dynamic range of
over 90dB.  That's the technical difference.  The sound quality difference
is 8-bit samples sound like mud.

Sean Wilson      | "It was a small incident one night involving me and 150 
MKS Tech Support |  Mexican cops.  I asked to see some identification.  They
seanw@mks.com    |  said:  'Badges?!  We don't need no stinking badges!!'" 
                                                            - John Caravella
From: shiv@bnr.ca (Shiv Naimpally)
Newsgroups: rec.music.synth
Subject: Re: K2000R should be ready shortly.
Date: 28 Sep 92 16:27:35 GMT
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.

The K2000R has additional outs, additional SCSI port, and other
enhancements so that price-wise it is very close to the current K2000
price according to my salesman :-( Maybe they will lower the K2000 price
when the 2000R comes out.
Newsgroups: rec.music.synth
From: phantom@casbah.acns.nwu.edu (James Choi)
Subject: fixing my roland U20 myself.
Organization: Northwestern University, Evanston Illinois.
Date: Tue, 6 Oct 1992 00:43:44 GMT


A velocity sensor in my roland u20 went bad.  Is it hard to order a part
and replace?  How much does it cost to replace one sensor at a repair
center?  What does it look like inside?

Help.

James Choi
From: dan@hpwin052.uksr.hp.com (Dan Bennett)
Newsgroups: rec.music.synth
Subject: Re: What is Ring Modulation?
Date: 5 Oct 92 10:19:12 GMT
Organization: HP Response Centre, Berkshire, England.

Hi,

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!

Dan Bennett.
From: procopio@graphics.cis.upenn.edu (Joseph L. Procopio)
Newsgroups: rec.music.synth
Subject: Re: Ensoniq VFX
Date: 28 Sep 92 05:36:02 GMT
Organization: UPENN Computer Graphics Research Laboratory
In-reply-to: jwaa+@andrew.cmu.edu's message of 15 Sep 92 19:45:00 GMT


To find out the version number of a VFX, hold the PRESET button and the MASTER
button together. 

You'll get a screen that says something like :

			ENSONIQ VFX

          SOFTWARE -   ROM V 2.10    KPC V 203
From: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Mon, 28 Sep 1992 20:06:05 GMT
Subject: Re: Re: JX-3P (was Super Jupiter/JX10 etc.)
Organization: HP Signal Analysis Division - Rohnert Park, CA
Newsgroups: rec.music.synth

In rec.music.synth, ricko@ee.uts.edu.au (Rick Jelliffe) writes:

    ricard@axis.se (Ricard Wolf) writes:

    >In article <svynvq+.metlay@netcom.com> metlay@netcom.com (metlay) writes:

    >>The JX3P was a true analog synth keyboard with six voices and a combined 
    >>preset/programmable memory.

    >I always found the JX3P to have a thin sound; very good for airy
    >strings however. Opposing views?

    I thought it was fantastic: the organ/leslie simulation was just fantastic,
    and it could do great shimmery steel drums/bell pianos, and good strings.
    The chorus was good, and it marked a big step away from the Japanese 
    tinky sound.

I also was able to get quite fat sounds out of the JX3P.

    But you really need the programmer to use it, I found.

I also disagree with this.  Once I learned the function-to-key mapping, I
was able to very quickly program the JX3P without a PG200.  The user interface
is similar in style to the DX7, except for the key labeling, and the
architecture is much simpler, so I found it very easy to navigate.

                 - Jim Smith  smithj@hpsad.sad.hp.com
            Yupatupata da yupadupa chickida, Icktang icktang, 
            Ickitack tangdow, Rickitickatar ticka chingtar da.
Newsgroups: rec.music.synth
From: valaris@swifty.dap.CSIRO.AU (Andrew Valaris)
Subject: IBM MIDI Card
Organization: CSIRO, Division of Applied Physics, Sydney
Date: Thu, 1 Oct 1992 05:41:37 GMT

I'd like to know if there are any MIDI cards I can connect to an 8-bit bus
( I have an IBM JX - similar to a jr -similar to an XT ) or am I chasing
unicorns. I'd like just the basic IN OUT THRU connecters. I intend to use
it for sequencing only (possible librarian/editor), nothing fancy, meat and
potatoes stuff.

All information appreciated.

E-mail responses if possible please.

Cheers

Andrew

Disclaimer: I have been a mac user for too long and no little about IBM systems.

Newsgroups: rec.music.synth
From: dan@cafws2.eng.uci.edu (Dan Harkless)
Subject: Re: TECHNO Samples...
Newsgroups: rec.music.synth
Organization: University of California, Irvine
Date: 6 Oct 92 22:51:46 GMT

In article <1992Oct3.171857.20349@netcom.com> metlay@netcom.com (metlay) writes:
>In article <1992Oct3.014704.23677@magnus.acs.ohio-state.edu> mjbrown@magnus.acs.ohio-state.edu (Mike J. Brown) writes:
>
>>Every sound you could ever need has already been made; you just have to
>>find them.
>
>Am I just old and humorless, or is anyone else out here as disturbed
>by this statement as I am?

	Nope, I'm young and mirthful, and I'm just as disturbed as you are.
Sampling other people's music and making it recognizable _really_ bugs me, but
I won't get off on a tirade...

>BTW, anyone have a copy of Negativland's "U2" that I could bootleg?

	Sure, see you in email.

------------------------------------------------------------------------------
| Dan Harkless                | "The sore in my soul                         |
| dan@cafws1.eng.uci.edu      |  The mark in my heart  ->  Front 242,        |
| dharkles@bonnie.ics.uci.edu |  Her acid reign..."        Tragedy >For You< |
------------------------------------------------------------------------------
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: How Does a record gets nominated for Gramy's
Date: 6 Oct 92 18:16:00 GMT


I suspect that K-Y Jelly plays a very important role.

John
From: smithj@hpsad.sad.hp.com (Jim Smith)
Newsgroups: rec.music.synth
Subject: Re: What is Ring Modulation?
Date: 26 Sep 92 21:08:51 GMT
Organization: no risk to you!

In rec.music.synth, mir@chorus.chorus.fr (Adam Mirowski) writes:


    Could someone explain what the ring modulation
    is supposed to produce as effect? An what is
    it's principle? I didn't found that in any of
    the FAQs floating around.

Ring modulation of two oscillators produces extra harmonics, the
sum and difference tones of the original signals.  If the two oscillators
are not tuned to integral multiples of each other's frequency, "bell-like"
tones will be produced.

In principle, ring modulation is four-quadrant multiplication of two
signals.  This can also be considered as amplitude modulation of one
signal with another, with the two original signals suppressed.

You should definitely be able to hear the effect.

                    Jim Smith  smithj@hpsad.sad.hp.com
                 Going Up, Going Down, Going Up And Down.
Newsgroups: rec.music.synth
From: galanter@nyu.edu (Philip Galanter)
Subject: Re: Re: Midi song - "Borderline - Madonna"
Reply-To: galanter@nyu.edu (Philip Galanter)
Organization: New York University
Date: Wed, 30 Sep 1992 22:23:12 GMT

In article <9209302055.AA12742@ucbvax.Berkeley.EDU>  
JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
|
|How is this UUENCODED SMF 'copyrighted material'?  First, we don't even  
know
|what is in the SMF.  What we have is a subject header which indicates  
that
|when it is UUDECODED, the resulting SMF when played back (as to how it is 
|played bback, usin what 
|MIDI modules, etc.) should somehow resemble (what we must presume to be)  
the
|song Borderline as made famous by Madonna.  This SMF isn't being sold and
|there are no assertions that the UUDECODED SMF will even vaguely resemble
|the song Borderline.  Also, the poster is not taking credit for the  
creation
|of the said work, and is, indeed, attributing it to (one would suppose)
|Madonna (who, incidentally, might not even think that the played SMF even
|resembled her song).
|
|Anyway, these types of SMFs have been around for years.  They exist on  
BBSs
|which belong to MIDI/Computer companies (Hybrid Arts, as an example)  
which
|would probably not want to jeopardize themselves in any kind of legal
|copyright murk.  My guess is (although, I don't profess to know the  
specifics
|of how these kind of things fit into copyright law) that this way of  
passing
|song information would be no less acceptable than doing a hand  
transcription
|of a song on sheet music and giving it to a friend.

I am not sure what the above is a response to...but...

Copyright protection, other than what is allowed for within the realm
of "fair use", is not limited by a change in media, translation, the  
automatic or by-hand process used, what the (non-copyright holder) person  
asserts the material is, his claims made concerning authorship, or the  
cost (or lack of cost) he demands for it.  

Just because midi SMFs have been around for years doesn't mean they are  
immune to copyright law.  It may mean that those holding the copyrights  
didn't consider the violation worth punishing.  Or it may mean they simply  
didn't know about it taking place.

SMFs are derivative works and from the point of view of copyright law no  
different than photocopies of a score or dubbed tape copies of a CD.   
Companies which sell SMFs have to pay royalties to do so.

Somewhat related are GIFs scanned from magazines.  They have been a recent  
target for copyright violation lawsuits after years of being ignored.

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: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: PC-Based Hard Disk Recording
Organization: DSO, Stanford University
Date: Tue, 6 Oct 92 19:26:05 GMT

My experience has been that audio circuitry should not be located inside  
the computer.  The issue is clouded if I/O is via AES/EBU, since the noise  
seems to couple into the analog circuitry.  It is possible to shield these  
circuit elements, but this requires very careful design and layout which  
weren't adequately done on the first generation of such boards. The newer  
high-end systems have moved the analog circuitry to external boxes.  It  
should be relatively easy to hear the computer's contribution to noise:  
play back a silent soundfile and crank up the gain.  If you hear "spurts"  
or bursts of noise, it's probably disk access (SCSI).  If you hear a more  
constant noise, it's probably CPU clocking.  (The Dyaxis exhibits SCSI  
coupling into the DACs if you use the analog I/O even with an external  
audio processor unit.)

Jay
From: D_NIBBY@UNHH.UNH.EDU (Dana   Nibby)
Newsgroups: rec.music.synth
Subject: 8bit vs 16bit?
Date: 4 Oct 92 17:46:34 GMT


 Can anyone tell me what the difference is in sound quality between 8bit
and 16bit? I understand about sampling rate, and that if the rate is too low,
aliasing/clipping occurs. I've asked this question before and gotten no respon.
  
  People tend to say, "Well, 16bit sounds better." Gee, well, in what respect?
Is 8-bit sound tinny, whereas 16-bit sound is warmer? For example, does an
Ensoniq ESQ-1 sound tinny/weak because it has an 8-bit processor?
How does 8-bit/16 bit sound compare to what you hear on vinyl? I mean, what
are the fequency limits of vinyl? And if anything much past 8-bit is useless
for vinyl... In other words, is 8-bit sound good enough for vinyl records?
Can a comparison even be made here? Can *someone* out there help me
understand the difference between 8-bit sound and 16-bit sound? Is 8-bit
sound 'fuzzy', etc. etc.


  Thanks,

    Dana