HDTenEightyP/NetNews huggingface dataset:
From: remler@m.cs.uiuc.edu (Daniel Remler)
Subject: SIGGRAPH music highlights
Summary: SIGGRAPH music highlights
Keywords: SIGGRAPH music highlights
Organization: University of Illinois, Dept. of Comp. Sci., Urbana, IL
Distribution: rec.music.synth
Date: Fri, 31 Jul 1992 07:10:50 GMT


I just drove back from SIGGRAPH '92 in Chicago. There were three things
of particular interest to music-people. The first was a very
impressive virtual reality piece done by a famous guy (I wish I could
remember his name). The impressive aspect about it was not so much his
simply playing notes on virtual instruments, but rather his mapping of
the virtual "keys" of the instruments to music pitches and sounds that
made the end result *actually sound good*! Having sat through many
painful algorithmicly-composed-music recitals, I was really excited
with the quality of the final product: that being that it was a
*pleasure* to listen to. I talked to this gentleman a bit at a party
later the next night and asked about his mapping. I had figured for
sure that he apriori picked a particular tonic, say C major, and then
constrained all the other keys to be ones that were "related" - like
say lot's of A's F's and G's. In other words I had figured that he
simple laid down a "mask" over the piano so that whatever keys he hit
would be in a certain family. He claimed that he did *not* do this at
all. He proceeded to explain a little bit about the relationships
between attributes of his virtual instruments and pitches/sounds (like
*twisting* the sax means look up the current rotational speed of some
other weird virtual instrument and calculate a glissando value from that) -
it quickly became evident to me that he had constructed some highly
complex connections between these things. It was not the right setting
to get into detail, so that's all I can know about it for now. But the
bottom line was that he did something entirely non-trivial to produce a
"good-sounding" piece.

The second thing of musical interest was a world-premier that Todd
Rungreen gave of his lates video "Theology". He did it all with the
Video Toaster and it was apparently only finished at 3:00 AM on Tuesday
night - shown the next day at a party hosted by NewTech. I was excited
while watching it - most films at SIGGRAPH just employ sound effects - 
Rungreen's music blended beautifully with his video - the combined
effect was impressive.

The last nugget was the excitement of watching Karl Simm's latest film
shown at the "Electronic Theater" (formerly the Film and Video Show)
and hearing Peter Gabriel's voice over a song I had never heard. And
sure enough at the end, "Music by Peter Gabriel" - I don't know how Mr
Simms went about getting that song or whether Mr Gabriel did it special
for him... but it was exciting - it sounded a bit like out-takes from
"Mercy Street" music-wise, but the lyrics were completely different.

Well, that's all folks...

Daniel Remler
(remler@cs.uiuc.edu)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Via: uk.ac.leeds.ai; Fri, 24 Jul 1992 14:40:18 +0100
Newsgroups: rec.music.synth
Date:         Tue, 21 Jul 1992 16:04:07 BST
From:         The Brown Bottle <ross-c@DCS.LEEDS.AC.UK>
Subject:      Re: Why are there synths?
Comments: To: SYNTH-L@AUVM.AMERICAN.EDU

>From: duslt@UUCP.DCATLA
>Subject:      Re: Why are there synths?
>
>For those like myself who would use a synth primarily in a studio environment,
>your arguments regarding replacing them with a full-blow computer system with
>appropriate expansion cards and interfaces makes a lot of sense, but what
>about those among us who are actually keyboard players.
>
>I for one would hate to have to drag a complete computer system, plus cables,
>plus a keyboard controller, plus disks, etc., all over the country to every
>gig.  Having everything you need to play keyboard in one compact box that you

Umm. What's so different about dragging a complete computer system, plus
cables, plus a keyboard controller from dragging a normal master keyboard,
plus rack, plus midi cables, plus sequencer, plus disks, etc.

But, I think that if plug-in computer boards gain popularity, this would
help road-portability. Imagine a master keyboard with the guts of a
Macintosh inside, and a near laptop size gas-plasma screen. It could run
Mac software and have Nu-bus slots inside. You could build up your live
performance system by putting sound modules in (what's the name of the
Proteus on a card?) + Sample Cell, etc. You could have a trackball instead
of a mouse, mounted on the top of the keyboard. The computer keyboard would
be a bit of a problem, but quite a lot of Mac use can be done just with
the mouse, especially when you aren't actually creating anything new.
From a software point of view, the clavier keyboard could look as if it
was linked in through the serial port.

From what I've heard of Nu-bus, it would have to be strengthened a bit
to be road-worthy though.

Then, when you got home, you could plug in a colour monitor, printer, and
keyboard, and have a Macintosh (or PC or Atari or Amiga whatever). It seems
to me that a system like this would be quite efficient hardwarewise, doing
both home and road work, and being convenient for both.

Cheers,

Ross-c
From: jriitala@polaris.utu.fi (Jari Riitala)
Subject: Re: D70 SysX problem
Reply-To: jriitala@polaris.utu.fi
Organization: University of Turku
Date: Wed, 22 Jul 92 11:16:39 GMT

warlock@grapevine.EBay.Sun.COM (Dennis Richards Montgomery) writes:

>I'm having a problem transferring SysX files between my D70 and Cakewalk3.0.
>Actually, I can do all the transfers *to* the midi bulk storage device 
>(Cakewalk3.0 System Xclusive screen: D70 One-way-mode {I can't get
>Handshake mode to work}).  Problem is I can't dump SysX back
>into the D70.  I turn SysX 'On' and set unit# to 32 on my D70, then I hit
>Send (or Send All) from Cakewalk...One of 2 things happens:

>	1) My D70 squawks:     1: Midi Buffer Full
>					&
>			       2: Exclusive Communication Error

>	2) The D70 shows no errors but the internal memory remains unchanged.

I would vote that the D-70 can't handle the incoming sysex data quickly enough
resulting a full midi buffer and and error. The one-way mode is painfully slow
and handshake mode ain't much better. Why can't you get handshake mode working,
doesn't Cakewalk support such a protocol? I'd suggest you check the ftp sites,
probably someone has written a general sysex utility that is versatile enough
to handle the handshakes, at least if every one of them is explicitly written
out, something like
	request data
	receive dump
	ack
	receive dump
	..

There is an extended transfer mode available when powering up while holding 
one of the number keys (5?) that is faster than the standard but I think it 
uses handshake, too.

-- 
------------------------------------------------------------------------------
!       Jari Riitala	    !  	  Kuusiharjunkatu 34        !                !
! 	    	 	    !	  20660 Littoinen           !    100 100 1   !
!      jriitala@utu.fi      !	  Finland                   !                !
!   JRIITALA@KONTU.UTU.FI   !  	                            !  - Neil Peart  !
!     riitala@hcc.utu.fi    !     phone: +358 21 442 371    !                !
------------------------------------------------------------------------------

Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Via: uk.ac.leeds.ai; Wed, 22 Jul 1992 10:54:26 +0100
Newsgroups: rec.music.synth
Date:         Wed, 22 Jul 1992 10:45:28 BST
From:         The Brown Bottle <ross-c@DCS.LEEDS.AC.UK>
Subject:      Re: airiness and organs (was Re: Help on an Ensoniq SQ-1 please)
Comments: To: SYNTH-L@AUVM.AMERICAN.EDU, waksman@cvl.umd.edu

Ah, but if the organ was a primitive synthesiser, then surely the choir was
an earlier one.

Independent oscillators, complex enveloping, primitive filtering (four cutoffs,
bass, tenor, alto, soprano), additive synthesis, etc, even a very primitive
analogue sampling technique (ever heard the King Singers doing their
"instrumentals"?)

:-)

Ross-c
From: metlay@venus.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: F.M. (was Re: Nash the Slash Rises Again!!!)
Summary: A second opinion
Date: 24 Jul 92 21:45:00 GMT
Organization: Atomic City

In article <3dWE02h11b5401@JUTS.ccc.amdahl.com> ptt00@DUTS.ccc.amdahl.com writes:

>FM discography:         Opinion:  Comments:
>1. Headroom  1977       Great     Hawkins,Deller,Mink-> Great Fusion

I had a little trouble with this one myself. It really is more of a jazz
fusion "set" than a coherent album, and it was recorded direct to disc.
But the talent is definitely there....

>2. Black Noise 1978     Great     Hawkins,Deller,Slash-> One of Their Best

Their second best. Nash had not yet developed his utterly killer style, 
but the promise was there in spades. Try "Aldebaran" or the title track.

>3. Surveillance  1979   Great     Hawkins,Deller,Mink-> Another Best

Their best. Mink just works better in this lineup, IMO. The three-song
segue set on side A, "Orion/Horizons/Random Harvest" is a must-have.

>4. City of Fear  1980   So-So     Hawkins,Deller,Mink-> A 50%er at most

Um, I wouldn't be that harsh, actually. It wasn't as "pure" as the last
one, but it really wasn't bad. "Surface to Air" and "Nobody at All" are
among my alltime faves. Also, it's by FAR the easiest disc to find used
here in the USA, so I wouldn't want to turn anyone off on it.

>5. Con-Test  1985       Stinks    Hawkins,Deller,Slash,Mink->total sellout

THIS, on the other hand, I agree with. The interplay between Hawkins and
Slash on vocals is interesting, but there is only one true keeper on the
disc, namely "STOP!" at the end of the last side. The rest? Hurl bait.

>7. Tonight  1987        Stinks+   Hawkins,Slash,+2 new guys->modern pop

Never heard it, would like to at some point. I'm looking for a vinyl copy
if anyone wants to sell one....
--
dr. michael metlay          \ 
atomic city                  \ "ZIS ist ze pahrt ov Shprocketz vhen ve TANZ!"
                              \ 
metlay@minerva.phyast.pitt.edu \                                     (dieter)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Return-Path: crispen <@ada3.ca.boeing.com:crispen@efftoo>
X-Envelope-To: SYNTH-L@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Fri, 31 Jul 1992 07:19:40 CDT
From:         crispen <crispen@EFFTOO.BOEING.COM>
Subject:      Re: Attn: MIDI Newcomers!
Comments: To: SYNTH-L@ada3.ca.boeing.com

rfisel@INFORMIX.COM (Rick Fisel) says:

>I also notice a LOT of
>posts by people who know just a little music theory (just enough to be
>dangerous ;=)),

I *would* take that personally, but I'm not near dangerous enough yet.

> and there was an FAQ assembled from that, including all the
>posts that were way wrong.

Can someone please email me that -- or rather can someone please tell
me they can email it, etc., etc.

Thanks,
Bob
crispen@foxy.boeing.com
From: dart@lock60.UUCP (Darius Taghavy)
Newsgroups: rec.music.synth
Subject: Yahama TG-77 FM synth/sample player for SALE (bo over $950)
Date: 26 Jul 92 22:13:04 GMT
Reply-To: dart@lock60.UUCP (Darius Taghavy)
Distribution: usa
Organization: Lock #60 on the Schuylkill Canal, Mont Clare, PA, USA


   ======================================================================
   PLEASE REPLY TO ...uunet/rutgers!cbmvax!albright or call (215)430-7040
   ======================================================================

   Yamaha TG 77, rack version of SY 77 (minus disk drive and sequencer),

   . advanced 6 op FM synthesis and sample playback
   . advanced FM highlights:
      48 algorithms,
      3 feedback loops,
      2 modulator inputs per operator which can be chosen from
      from another FM operator or sample voice,
      carrier waveforms can be any sample
      as well as more waveforms (including sine of course),
   . good drum samples
   . huge backlit LCD display (with graphics) makes editing a breeze
   . high quality dual integrated effects units
   . 16/32 voice polyphonic
   . 16 part multitimbral with dynamic voice allocation
   . 8 polyphonic individual outputs in addition to stereo outs

   Comes with original box, manual, templates,
   absolutely mint (been outside of box less than 2 days).
   This is a STEAL!

   Price: best offer over $950!

   Shipping extra.

   -dart

   ======================================================================
   | Darius Taghavy  | POSTING FROM: dart@canal.org                     |
   | (215)430-7040   | READING FROM: ...uunet/rutgers!cbmvax!albright   |
   ======================================================================
   |  I will consider trade of following items towards advertised item: |
   |   . Yamaha TX-802/DX-7II/FD/E!                                     |
   |   . Atari ST harddrive (prefer ICD hostadaptor w/case but w/out HD)|
   ======================================================================
Newsgroups: rec.music.synth
From: haynes@ivy.cs.unca.edu (Houston Haynes)
Subject: Yamaha CX5m, CX5mII, TX1P for sale CHEAP!!
Organization: University of North Carolina at Asheville
X-Newsreader: Tin 1.1 PL3
Date: Tue, 28 Jul 1992 19:46:23 GMT
From: GFCARDINALE@UCDAVIS (Greg Cardinale)
Newsgroups: rec.music.synth
Subject: Re: Yamaha TX16W Sampler Memory Expansions Wanted
Date: 26 Jul 92 20:36:52 GMT
Organization: UC Davis

In article <Brurs4.M6n@news.cso.uiuc.edu>, cwilson@void.ncsa.uiuc.edu (Chris Wilson) writes:
> 
> TX16W memory expansions are available from Valhala (1-313-548-9360 or
> 1-800-648-6434 (orders only)).  They sell a 1 Megaword expansion for US$180-.
> The product name is TX16W-MEM, and it says you can install up to 3 of these
> boards in a TX16W.


I believe there's a dealer that sells 1.5 MB boards for the TX16W for around $160;
the name is Sound Logic (or something like that).  They usually advertise toward the back of
Keyboard magazine, near the beginning of the Classified section.

Greg C.
gfcardinale@ucdavis.edu
From: sherman@ecad2.enet.dec.com (My name is...)
Newsgroups: rec.music.synth
Subject: Re: SY99 has no peers?
Date: 23 Jul 92 15:06:17 GMT
Organization: Digital Equipment Corporation


In article <1992Jul23.052106.11655@ads.com>, jtn@ADS.COM (John T. Nelson) writes...
>In article <9207221343.AA02456@ucbvax.Berkeley.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
>>
>>K2000, need I say more?
>>
>>John
> 
>Ya know considering that at least half a dozen people have recommended
>the K2000 as an option I guess I should take the hint and listen to one
>of these although I did test drive the K1000 a couple years ago and
>just about tossed my cookies.
> 
>I don't want just a sampler though... I like the idea of combining
>synthesis techniques with samples (like the aaaaaaahhh..... SY99).
>Someone mentioned that the K2000 could do synthesis via algorithms in
>software somehow.  Maybe worth a lookat.
> 
>- John

Um ... it's pretty underrated, but the DLM capabilities of the D70 are pretty
good for getting some distance from the samples.  That and the resonance and
filter envelopes plus gobs of other goodies make the D70 a pretty good 
alternative, IMO.  Still, I expect that someday I'd like to try out a K2000
in my rig, perhaps as the replacement for my D70.  But, I really like my D70.

Steve
Newsgroups: rec.music.synth
From: awl@extro.ucc.su.OZ.AU (Tony Locke)
Subject: Re: I need help with my FZ-1
Organization: Sydney University Computing Service, Sydney, NSW, Australia
Date: Thu, 30 Jul 1992 22:40:15 GMT

crispen@EFFTOO.BOEING.COM (crispen) writes:

>Oh, all right, ;-) -- I lust after that keyboard!  An honest-to-god
>sampler (not a canned sample playback unit) with not-too-bad keyboard
>and pretty good built-in editing for under $1K!  About the only
>thing that really pisses me off about it is that it doesn't remember
>the MIDI channel assignment, and can't load it from disk.  I've got
>one at work (a long story) and I wish I could find one for home.
>Congratulations on finding one.  Let me know what you find out about
>your problems.

I bought one in AUstralia for $A1500 (around $US1200) and find it really
good, however the screen is hard for me to see after a few hours of editing.
One thing that bugs me is that if your using an external sequencer (I use Vision) you have to go back to the MIDI function menu and set control to be AREA from
BASIC. A full dump should remember this little fact. 
If I assign voices to specific MIDI channels in a bank then if I reload all
my stuff from a full dump then my FZ-1 remembers my MIDI channel assignments.

I like my FZ-1, and I know about 3 other people in Sydney who have them and swear by them. It's just to get standard disks for them of samples. I just use mine
basically for recording drum loops and grooves.
Tony Locke


Xref: sparky rec.music.synth:12597 rec.music.makers:8434 alt.music.progressive:1399
From: jeff@svl.cdc.com (Jeff Needham)
Newsgroups: rec.music.synth,rec.music.makers,alt.music.progressive
Subject: Re: Nash the Slash Rises Again!!! NEW RELEASE
Date: 22 Jul 92 19:44:40 GMT
Followup-To: rec.music.synth

zerobeat@intacc.uucp (Ferenc Szabo) writes:

>like Jeff Gl*****. 

my guess from badly maintained non-SECDED memory:  Jeff Plewman?

jeff
--
We threw the empty frame of reason out the cabin door
As we won't be needing reasons anymore" --- Eno/Cale
| Jeffrey Needham
| Yet Another Oracle Performance Group
| Control Data - Santa Clara, CA - INTERNET jeff@hawk.svl.cdc.com
Newsgroups: rec.music.synth
From: knight@rtsg.mot.com (Paul E. Knight)
Subject: Korg DSS-1 sample editor / CD sampler recommendations
Summary: I'm looking for a recommendation ....
Keywords: DSS-1, sample editor, IBM, CD sample libraries
Organization: Motorola Inc., Cellular Infrastructure Group
Distribution: usa
Date: Tue, 28 Jul 1992 15:55:20 GMT

I am looking for 2 recommendations:  1st, I'm interested in a sample editor
program which runs on IBM-compatible machines and supports Korg DSS-1 / DSM-1
samplers.  Any advice would be appreciated ....

2nd, can someone recommend a CD sampler library ??  I am interested primarily
in acoustic / orchestral instruments, not samples of other synths.  Most of
my work is jazzy/orchestral, if that helps.

Tnx very much,

Paul Knight

knight@whitefish.rtsg.mot.com
knight@rtsg.mot.com

PS. I'd also be interested in hearing which of the forementioned items to stay
away from, for whatever the reason !!
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Via: uk.ac.leeds.ai; Fri, 31 Jul 1992 09:48:47 +0100
Newsgroups: rec.music.synth
Date:         Fri, 31 Jul 1992 09:44:46 BST
From:         The Brown Bottle <ross-c@DCS.LEEDS.AC.UK>
Subject:      Re: I need help with my FZ-1
Comments: To: SYNTH-L@AUVM.AMERICAN.EDU

>From: Michael Chen <mchen@EDU.PSU.CS.GROUCHO>
>Subject:      Re: I need help with my FZ-1
>
>In article <awl.712536015@extro.ucc.su.OZ.AU> awl@extro.ucc.su.OZ.AU (Tony
>Locke) writes:
>
[I use mine...]
>>basically for recording drum loops and grooves.
>
>   I hate when people do that.  Find a drummer friend, or learn how to program
>a drum machine without sounding like a robot.  If you're going to sample drum
>beats and grooves (unless it's a parody of the sampled material), you might as
>well sample the whole song... that's the way to get those creative juices
>flowing.  Yes, this goes for successful groups like Dee-Lite too.
>

I hate it when people do that, use commercially made drums! Go find yourself
an old hollow log and stretch some animal skin across the top. This goes for
successful groups like The Police too. ;-)

Seriously though, good music is done over the top of sampled drum loops. Go
listen to the two David Sylvian/Ryuichi Sakamoto collaborations on RS's a
album "Heartbeat" - Excellent!

Cheers,

Ross-c
Newsgroups: rec.music.synth
From: dram@progress.COM (David Ramirez)
Subject: Re: Attn: MIDI Newcomers!
Organization: Progress Software Corp.
Date: Wed, 29 Jul 1992 14:37:19 GMT

asrbb@acad2.alaska.edu writes:

>Attention MIDI Newcomers!                                            

>Don't post to this newsgroup if you need assistance or information about
>MIDI topics.  Speaking from experience, the people who post here are not
>interested in your problems or troubles...you're on your own!

>Sorry about that, but that's just the way it seems to go and I thought
>I'd save you some time.  Try the magazines and users groups in your area
>if you want support.

	I have to STRONGLY disagree.  I have requested various information
	in the past and have always received useful replies.

	Yes, it is unlikely that someone will give you step-by-step
	tutorial on a particular subject.  But I find that at least some
	of the readers of this group are more than willing to point someone
	in the right direction.  

						Dave

--
David Ramirez				UUCP: mit-eddie!progress!dram
Progress Software Corporation           UUNET: dram@bedford.progress.com
14 Oak Park 
Bedford, MA 01730 			(617) 280-4327
Newsgroups: rec.music.synth
From: georg@miro.nlp.physik.th-darmstadt.de (Georg Mueller)
Subject: Re: SERGE (was: insane ramblings ...)
Date: Tue, 21 Jul 1992 10:57:12 GMT
	<1992Jul20.163336.11353@sal.wisc.edu>
Organization: TH Darmstadt, Institut fuer Angewandte Physik

In article <1992Jul20.163336.11353@sal.wisc.edu> rej@bob.sal.wisc.edu (Randy Jones) writes:

   >...[EMS]...

   You say it's expensive, do you have a price list from them? I would
   love a Synthi AKS if only because it's the neatest-looking synth
   ever made. Imagine this: A Powerbook 100 running Vision alongside
   the Synthi AKS, the composer twiddling away at two little briefcases:
   <roll roll> <frob frob> boopbebeeep <frob> bipbip <roll> Wild Eep!

Last year I think, EMS Rehberg, the company which supports JMJs EMS
Synthies had a booth at Frankfurt Musik Messe. I took some material
with me, including a price list. The prices are exorbitantly high, the
Putney sells for 3000,- to 4000,- DM and the Synthi 100 a BIG MONSTER
was listed for, hold your breath, 63.000,- DM... 

This year (sniff) there was no EMS Rehberg booth.

	Georg.
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Thu, 30 Jul 1992 15:50:07 EST
From:         Jon Crystal <OFABJC@UVMADMIN.BITNET>
Subject:      Re: Live Performance Question
              30 Jul 1992 14:25:06 CDT from <crispen@EFFTOO.BOEING.COM>

Another simple solution is the addition of a midi switcher, like Nexus, which a
llows small scale rerouting of midi paths (I think it is 3 in 8 out, with a sim
ple assignment switch)
Xref: sparky rec.music.synth:12765 comp.music:3864