HDTenEightyP/NetNews huggingface dataset:
From: sullivan@nodename.dec.com (Greg Sullivan)
Subject: Re: Kurzweil 1000 PX - sounding thin over upper middle range.
Organization: Digital Equipment Corporation
Date: Tue, 15 Sep 1992 11:24:29 GMT


In article <1992Sep10.153151.26613@advtech.uswest.com>, plyall@lookout.it.uswc.uswest.com (Pete Lyall) writes...
>I have a Kurz 1000PX with A/B blocks, and the same roms as you. They
>ARE made by Kurzweil, and so are your setups.

The salesman (ok - he could be wrong) said that the roms were NOT manufactured
by Kurzweil. What he probably means is that the ROM chips themselves were not
PROGRAMMED by Kurzweil, but that the contents were 'handed over' to what
ever company now supplies them. Of course this other mob (whoever they are -
I don't think he means Young Chang, either) would not have done any development
of new samples. (The thought DID cross my mind, though; I was looking for ANY
explanation whatsoever of my perceived lack of quality in some of the sounds).
He told me that I could NOT order just the PXA upgrade, because this new
company did not sell just the PXA by itself. The reason he gave for the
unavailability of the old PXA/PXB upgrades was the takeover of Kurzweil by
Young Chang.

Re: 10KHz, yeah, I agree, for piano that's probably quite ok. I'm sure that
those notes that offend me  on the Grand Piano (B4 to D5) could be made to
sound quite ok with harmonics <= 10KHz. I wish that I could describe what I'm
hearing a bit better. I guess it sounds to me like those notes just have a
single string vibrating - they just lack aural complexity. I could  sample it
with my Soundblaster at 8 bits, and spit it over the network to someone...;-)

Greg.

ps. Getting to like the PX Rhodes sounds. It's a nice warm sound - distorts
more than my RD300S. Has more sustain in the upper notes, and doesn't have a
huge 'sample' break at F2, as the RD does. Of course, it doesn't respond NEARLY
as well with velocity, but it's still very useful. My main gripe with it is
that I just can't get rid of the 'mallet' sound, though. Even the 'alternate
attack' doesn't get rid of it over the top half of the keyboard.
-----------------------------------------------------------------------------
Greg Sullivan                         |  This space may one day be better
e-mail: sullivan@aussie.dec.com       |  utilised.
Newsgroups: rec.music.synth
From: schabtac@stout.atd.ucar.edu (Adam Schabtach)
Subject: Re: Moog/SCI questions (Devo/gary numan)
Organization: Atmospheric Technology Division/NCAR Boulder, CO
Date: Sun, 6 Sep 1992 00:06:11 GMT

In article <1992Sep5.165530.12813@sdf.lonestar.org> 6o25@sdf.lonestar.org (Stephen M. Jones) writes:
>In article <1992Aug31.162801.18241@cbnewsk.cb.att.com> nastasi@cbnewsk.cb.att.com (joseph.l.nastasi) writes:
>>The Realistic synth was a copy of the Moog Rogue.  Very simple &
>>cheap mono synth.  
>
>sorry, the realistic moog was polyphonic.

Only in a very limited sense was it polyphonic. It had a
top-octave-division circuit which produced a polyphonic square wave
signal; this signal could be mixed in with the signal from the
monophonic VCO-VCF-based synthesizer.  It wasn't a "true" polyphonic
synth because it had only one VCF, VCA, and EG.

In other words, it was basically a marketing gimmick.

--
--Adam                          |   I'm looking for a 16-bit sample of
schabtac@stout.ucar.edu         |     the sound of one hand clapping.
From: dunning@cpsin3.cps.msu.edu (Roger E. Dunning)
Newsgroups: rec.music.synth
Subject: Wanted
Date: 7 Sep 92 19:27:59 GMT
Reply-To: dunning@cpsin3.cps.msu.edu (Roger E. Dunning)
Organization: Dept. of Computer Science, Michigan State University
Originator: dunning@cpsin3.cps.msu.edu


I am looking for a flanger, phaser, distortion, compressor, and maybe
a used synth. :)  Okay okay, if you're selling anything remotely similar
to my wish-list send me mail.   Thanks.

Roger Dunning  -- dunning@cps.msu.edu
From: bc2y+@andrew.cmu.edu (Brian T Cheek)
Newsgroups: rec.music.synth,rec.music.maker
Subject: Roland CM-300, CM-500
Date: 15 Sep 92 14:20:08 GMT
Organization: Misc. student, Carnegie Mellon, Pittsburgh, PA


	I'm surprised Roland hasn't touted their whistle about the CM-300 and
CM-500.  Basically the CM-300 is a Sound Canvas-155, a General MIDI 
instrument with 317 voices all accessable at any time.  It is 24 voice
polyphony with 16 sounds accessable at once.  Also it costs *much* less
than anything else comparable.  It's got all the sounds one could
possibly want.  Piano's are great, drums are plentiful, any sound under
general MIDI you name it.
What's wrong?  The box is a white box with 2 controls; on/off and volume.
Oh no you say?  Never fear, the box is 100% programmable through MIDI.
You can call any voice, any volume, pan, chorus level, reverb level,
etc.etc. over MIDI easily.  Not only that, but if you learn how to type
sysex (editor please, you universal ed/lib people!) this box has more
programmability and routability than *any* other commercial synth I've
seen.  You can do anything!  One note,  you'll want a computer to use
this box to its fullest.
It sounds great.  As a bonus, it is MT-32 compatible, CM-32P compatible,
and General MIDI compatible.  If I'm not mistaken, a lot of the sounds
I've heard on the D-70 could be reconstructed here (maybe it has D-70
innards?).  Another lovable fact with the box is your sequencer can set
it up and play songs back on it, and they will sound 100% correct each
and every time!  Thats because the machine has no programmable slots,
and your sequencer must send all the song information before the song. 
But what a bonus that is, when you have 4 synths & samplers, hearing the
same song twice is an art.  Here, you just hit play (people with
multiple synths and thousands of patches will be quick to show you their
ingenious systems for documenting song patch info)
The unit is quite noise free.  One reason I like it so much is that as a
professional musician, (alias Brian Thomas) I thought such a box would
be a joke.  It proved to be fast, efficient, and good sounding (and
inexpensive).
I'm trying to get Roland to send me a demo of their CM-500, which is a
CM-300 with a 32 voice MT-32 in it (with 64 slots to store my sound
info).  Thats a total of 56 voices for a box that weighs <8 lb, and fits
in a briefcase.  True portable Multi-Media.  The CM-500 boasts
compatibility with CM-300, CM-32P, CM-32L, CM-64, MT-32, and General
MIDI.
I must say I love .MOD files.  It lets me listen to other peoples music
in a convenient, modemable format.  General MIDI also lets you do this. 
While I first denounced General MIDI to yet more uncreativity, it may be
the most important way to let people hear each others music.
My music dealer doesn't carry this box.  If you want to hear it, listen
to the Sound Canvas-155.  That's basically a CM-300.
Newsgroups: rec.music.synth
From: brian_vickers@isd.jpl.nasa.gov (Brian Vickers)
Subject: Re: PB100, MIDI: Well, *I'm* impressed...
Followup-To: rec.music.synth,comp.sys.mac.misc
Organization: Jet Propulsion Laboratory
Date: Thu, 10 Sep 1992 18:00:03 GMT

In article <NICK.92Sep10115115@vaila.ed.ac.uk>, nick@dcs.ed.ac.uk (Nick
Rothwell) wrote:
> If Apple had any sense, they'd be pushing (and maintaining) MIDI
> Manager, as well as getting PB100's properly publicised as superb
> little MIDI computers. For $600 these beasts are a steal. Of course,
> Apple don't have any sense. That's why the PB100 (the only PowerBook
> which can do MIDI) has been discontinued and they've let MIDI Manager
> atrophy through neglect. Thank goodness for Opcode (whose OMS system
> has saved the day) and UPS (so that I could ship a PowerBook 100 from
> the US).
> 

How is it that the PB100 is the only PB that can do MIDI?

-- Brian
brian_vickers@isd.jpl.nasa.gov
Newsgroups: rec.music.synth
From: jameson@cal.isac.ca (Kevin Jameson)
Subject: test again
Reply-To: jameson@cal.isac.ca (Kevin Jameson)
Organization: I.S.A. Corp. (Calgary)
Distribution: na
Date: Tue, 8 Sep 92 17:37:20 GMT


test
Newsgroups: rec.music.synth
From: jjh@col.hp.com (Jeff Haeffele-x3570)
Subject: Re: Cakewalk for Windows Question
Date: Thu, 10 Sep 1992 22:49:41 GMT
Organization: HP Colorado Springs Division

ptl@cs.tut.fi (Launiainen Petri) writes:
> 
> Surely you can do it with CAL, but using the event filter while
> cutting is much simpler and is available without any fuss.  Just
> select area and choose Edit...Cut...Use Event Filter...OK and mark the
> limits you want to have for cutting.  Then move to destination track and
> choose Paste on One Track. This is the tricky part: if you use standard
> Paste, the stuff drops down to the original track, independent of your
> current cursor track.

I checked the filter options last night and didn't see anything that
provided the function that I need.  The closest I could come was a
filter by range of notes.  What I need is a filter that takes the
topmost note of each beat in order to separate the multiple parts.
Is this a feature that is not in the demo version?

Thanks,
Jeff
From: potrzebi@sys6626.bison.mb.ca (potrzebi)
Newsgroups: rec.music.synth
Subject: Tapes
Date: Fri, 11 Sep 92 16:34:33 CST
Organization: system 6626 BBS, Winnipeg MB

Has anyone received the Deathlehem tapes yet from Five?
 
potrzebi

;--- (potrzebi) a user of sys6626, running waffle 1.64
;E-mail: potrzebi@sys6626.bison.mb.ca
;system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
From: five@sys6626.bison.mb.ca (A.R.F.)
Newsgroups: rec.music.synth
Subject: Deathlehem Tape Update
Date: Tue, 15 Sep 92 18:58:32 CDT
Organization: system 6626 BBS, Winnipeg MB

3 people have now received the tapes, with one person left to be heard 
from.  3 more tapes going out this week.
Commercial version should be ready this week or next.  Cost to follow.
 
P.S.  The commercial version will have a tune that none of the others 
had.  A surprise ending piece.  :)
 
Five

--- (A.R.F.) a user of sys6626, running waffle 1.64
E-mail: five@sys6626.bison.mb.ca
system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
Newsgroups: rec.music.synth
From: wang@hp4at.eunet.co.at (Wang)
Subject: Softwareinterface to M.ROS wanted!!
Organization: EUnet EDV-Dienstleistungsgesellschaft m.b.H
X-Newsreader: Tin 1.1 PL4
Date: Tue, 15 Sep 1992 09:00:45 GMT

In order to control internal soundcards from Cubase for Windows I need a
description of Steinbergs M.ROS operatingsystem to write appropriate drivers.
I know nothing about the internal structure, so any hint, pointer,
help is appreciated!!!

Thanks in advance!
/m


-- 
Michael Zacherl, Wang Austria Ltd., Vienna         |
E-MAIL: mza@pag.wang.co.at                         | "Proof your chances,
PHONE:  +43 (1) 89-111 ext. 433                    |  and leave them or not."
FAX:    +43 (1) 894-17-14                          |     
Newsgroups: rec.music.synth
From: jpittas@cbnewsf.cb.att.com (john.pittas)
Subject: WANTED: Ensoniq VFX-SD
Organization: AT&T
Distribution: usa
Date: Fri, 11 Sep 1992 17:21:17 GMT


A friend of mine is looking for a used Ensoniq VFX-SD (no flames,
please ;-).  If you have one you'd like to sell, or if you hav
any pointers on where to find one please drop me a line at
jjp@mink.att.com.  Thanks in advance.
From: ricko@ee.uts.edu.au (Rick Jelliffe)
Newsgroups: rec.music.synth
Subject: Re: MIDI Wind Instrument
Date: 14 Sep 92 14:31:58 GMT
Organization: University of Technology, Sydney, Australia

shiv@bnr.ca (Shiv Naimpally) writes:

>My friend has a WX11 and loves it. It works great with seqeuncers.
>Check it out !

But be very very careful what synth you use these controllers with. 
Many older ones will not cope well. For instance, the Roland U110 module
is a complete disaster with a WX7(?). 

-ricko
Newsgroups: rec.music.synth
From: skipa@milton.u.washington.edu (Skip Albertson)
Subject: HELP! Vocals: Compression/Reverb settings for ALESIS
Summary: HELP: Vocals: Compression/Reverb settings for Alesis
Keywords: HELP, Compression, Reverb, Alesis
Organization: University of Washington
Date: Thu, 10 Sep 1992 02:06:08 GMT

I'm seeking advice on how to process male vocals with an
Alesis 3630 Compressor and a Quadraverb.  I'm thinking of
compressing LAST before the 4-track but I'm open to
suggestions.  What settings would you use?

Thanks in advance,

alberts@apl-em.apl.washington.edu
Newsgroups: rec.music.synth,comp.music.compose
From: dhenchoz@ulci20.unil.ch (Daniel HENCHOZ)
Subject: MIDI sequences for jazz standards
Organization: University of Lausanne CH (Switzerland)
Date: Tue, 15 Sep 1992 13:08:21 GMT

Hello world !

I'm looking for MIDI sequences of jazz standards from the Real Book !
Any information would be welcome, Thanks in advance.

						Daniel Henchoz
From: dan@cafws1.eng.uci.edu (Dan Harkless)
Subject: OB-X and Juno-60
Newsgroups: rec.music.synth
Organization: University of California, Irvine
Date: 15 Sep 92 20:59:30 GMT

	Over the weekend I got to play with an OB-X and a Juno-60.  Nice 
boards.  Both were pretty lean on modulation options, but each had a great 
sound.  Incredible chorusing on the Juno - too bad it introduces so much noise.
One thing I couldn't figure out on the OB-X was what the Xmod button in the
VCO section did.  Anyone want to clue me in?  Also, is it just me, or does the
oscillator sync on the Xpander suck rocks?  In playing with some old "real"
analogs, I've heard amazing stuff from sweeping one of a synced oscillator 
pair, but I haven't been able to do too much with it on the Xpander...

------------------------------------------------------------------------------
| 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< |
------------------------------------------------------------------------------
Newsgroups: rec.music.synth
From: sullivan@nodename.dec.com (Greg Sullivan)
Subject: Re: Kurzweil 1000 PX - sounding thin over upper middle range.
Organization: Digital Equipment Corporation
Date: Sat, 12 Sep 1992 05:05:40 GMT


In article <1992Sep9.233236.18146@funlwb.enet.dec.com>, sullivan@nodename.dec.com (Greg Sullivan) writes...
>To hear the offending sound - strike F4 with any velocity up to and including
>47, using the Stereo Extended Piano program. That's assuming I have the genuine
>Kurzweil samples - which I am starting to doubt. On this program, the sound can
>be heard from F4 to B4 (six notes). On the plain Grand Piano, I hear it from 
>B4 to D4 (four notes). The sound is kinda like a flute or clarinet. It does not
>pass as a piano to my ears.

Correction: it's a *seven* note range for the Stereo Extended Piano, and the
range is B4 to D*5* for the Grand Piano. As was said before, I don't think it's
as bad on the Grand Piano.

For the Stereo Extended Piano, I'm going to stick my neck out and say it's a
MAJOR problem (for me). Even on the Grand Piano, it almost rates as 'major'.
Really, why couldn't they move the 'problem' somewhere where it wouldn't
matter so much, like up a couple of octaves? 

There is another problem over that octave that I haven't even mentioned yet.
The main offender is Bflat 4. It (plus others below it) sounds 'cheesy' when
struck with medium to high velocity. 

I expected better. In future I will listen with _my_ ears before buying.

Anyway, thanks for all the advice and feedback.

Greg.
-----------------------------------------------------------------------------
Greg Sullivan                         |  This space may one day be better
e-mail: sullivan@aussie.dec.com       |  utilised.
From: markp@noncomf.tdkcs.waterloo.on.ca (Mark A. Pitcher)
Newsgroups: rec.music.synth
Subject: WANTED: SYNTH & EFFECTS.....
Date: Wed, 09 Sep 92 22:05:47 EDT
Distribution: world
Organization: Dark Park

	Here are some things that I WANT.

	- a Multi-effects unit. Digitech, BOSS, ZOOM, ART. 

	- Any other effects for mixing purposes. Such as,
	dedicated reverbs, etc.

	- An analog synth. Sequential Pro-One, Korg Poly-6 or
	Mono/Poly, or anything else. Something with CV would be
	preferable, but not essential (Rule #42 of integrating
	old analog gear in a MIDI studio: If you can't sequence it,
	sample it!)
	  Any other analog synth you may have lying around may
	interest me. The only requirement is that it have KNOBS
	(I don't want something like the DW6000.)


	I have money to _finally_ start my own personal studio, but don't
have _that_ much, and want to stretch my money as far as I can,
so CHEAP is the operative word. If you have anything else you
think you can sucker me into buying, let me know.


------------------------------------------------------------------darkPARK BBS
markp@noncomf.tdkcs.waterloo.on.ca (Mark A. Pitcher)
------------------------------------------------------------------------------
Newsgroups: rec.music.synth
From: soh@gdstech.grumman.com (Scott O'Hare)
Subject: Re: VZ10 (was Re: Casio CZ-101
Reply-To: soh@gdstech.UUCP (Scott O'Hare)
Organization: Grumman Data Systems-Woodbury
Date: Thu, 3 Sep 1992 14:02:42 GMT

>I didn't think the VZ had the same voice architecture as the CZs.
>Can you enlighten me on the voice architecture ? Did it have DCOs
>with ring mod, etc. ? If so I'll have to start looking for some used
>VZ10Ms I think ! :-)


No, the architecture is quite different. In fact, the VZ seems to 
resemble the DX-7 architecture in many ways. Each voice has 8 operators
organized into four pairs, called "lines". The operators can generate 
sine, sawtooth, or noise waveforms (independently of each other, of 
course). The two operators in each line can interact via phase 
modulation, ring modulation, or simply coexist as two separate sound
generators. The lines themselves can generate sound independently or
modulate each other (via phase mod only, I think). The only thing
you really don't have that the DX gives you is the Feedback operator 
loop (not clear whether Casio's phase distortion is adequate 
compensation...). There are also a couple of key envelopes, like the
filter, which are global when they should be per-operator or per-line
(other envelopes - like keyboard following - are available on a per-
operator basis, which seems excessively "flexible", and makes 
programming this thing a real bear.)

My guess is that the VZ should be able to cover most of what the DX-7 
can do, and quite a bit besides. It has more ops per voice and more 
modulation and stacking algorithms. It is also alot cleaner (than the 
original DX, anyway), and more flexible MIDI-wise (8-part multitimbral,
for example). The real problem is, it is EVEN HARDER to program than the
DX-7, and alot fewer people seem interested in making the attempt! I
personally picked one up about 2.5 years ago, when Sam Ash blew them
out at $239 (a steal, they originally were selling around $800!). It 
is still sitting, mostly unused, in my rack (the factory patches really
blow, except for a few killers like "See God"). There is no point in
selling the damn thing, as I probably can't even get my $239 back.
Besides, one of these days I'm going to write some awesome sounds for
this thing...! (don't hold your breath?)

soh
 
-- 
---------------------------------------------------------------------
- Scott O'Hare (soh@gdstech.grumman.com)                            -
---------------------------------------------------------------------
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: Kurzweil 1000 PX - sounding thin over upper middle range.
Date: 10 Sep 92 14:43:55 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1992Sep9.233236.18146@funlwb.enet.dec.com> sullivan@nodename.dec.com (Greg Sullivan) writes:
>[about the 1000PX...]
>The problem is that over the upper middle, it sounds a bit thin - well,
>sometimes *very* thin. amd mainly while playing softly. It is not what I would
>expect over such an important range, at least from Kurzweil. I own an Roland
>RD300S, and I tell you that I would prefer it's sound over that particular
>range - and the RD300S sounds thin over the middle as well.

I assume you're talking about the piano sample.  I found the 60db dynamic
range to be too much for my playing (especially live performance).  Try
setting the dynamic range of the piano program to 30db.  That's still
enough for artistic expression but with a more solid feel.

For what it's worth, although the 1000PX piano has beautifully rich harmonics,
I find it to be rather weak in a typical mix.   The Roland pianos (especially
the MKS-20) hold up much better in a mix.

-- 
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: glatz@emily.uvm.edu (Terry A Glatz)
Subject: Re: Which keyboard for Live work?...
Organization: University of Vermont -- Division of EMBA Computer Facility
Distribution: usa
Date: Tue, 8 Sep 1992 05:20:22 GMT

Hi Murray,
 
     Which keyboard is good for live work? There are several things you want to look at.
(1) Construction, is it built well, is the action heavy duty (wimpy keys don't
    cut it). Are the control knobs and buttons flush or do they risk being torn
    of if they pertrude. 
   
(2) Do you like the feel of it? Does playing this thing drive you into jumping 
    of a cliff?
 
(3) It's a good idea to buy a road case such as Anvil or another manufacture.
 
    I am biased when it comes to recomending a synth. I love the Korg and
Roland products. I have a Korg Wavestation A/D rack mod. I have heard the Korg
01W/FD and the 01W. If you are using a computer get the 01W. The FD is the same
synth but a floppy is installed for storing samples. A computer is the best bet!
I use a Epson 386/20 in my studio and a Compact portable 286 on the road. 
A portable IBM clone with screen and drives all in one, or a Mac is my choice  
 
Having a computer on stage would provide you with a sequencer and a system     
a means to storing and recalling your sounds and samples. If you can't get
a computer right away, get the Korg 01W/FD with the ram upgrade. It will give 
you a 50,000 note sequencer plus a 3 1/2'' floppy drive for storage and  
retreval. 
     I have found one problem with loading from a on board disk drive. Time!
Somtimes it take a min to load another sequence and patches and ect.....
Unless your band stops between songs, no back to back, you may have a 
problem. 
 
If money is no object, here is what I would get if I were you.
 
(1) A good Mdid keyboard controller, (No sounds, Just a way to switch patches).
(2) A Korg 01, rack version.
(3) A Roland JD-800
(4) PC 286 portable with a Music Quest Midi card or a Mac plus with Midi int
Sorry, glitch here
(4) A PC portable 286 or 386 all in one with a Music Quest midi card or a 
    Mac Plus with the midi interface. 
(5)Midi cables 
(6) Nexus Midi merger/patchbay 
(7) Cakewalk Pro for the PC or Performer for the Mac and a MIDI Quest editor
    for either. Midi Quest editors allow full control over you synths
    parameters.
 
  This is what I would get as a starter system. You could add more rack 
synths as you expand. Once more, I am biased so my best advise when it comes
to choosing synths is....Pick the one that you like best. If you love the 
sounds, it feels right and you are truly happy with it, get it!
The Korgs and Rolands make awsome gear. I love them so much that when I die, 
I want my wife to bury me with them.
 
If you have any other questions or see somthing I left out, please let me know.
Good luck with your purchase.                                 
 
Sorry for any typo's, lag time sucks here.
 
Have a Good One.
 
-Terry Glatz
             -------------------------------------------------------      
              Music.... The ultimate expression of one persons true
              inner self. 
             -------------------------------------------------------