HDTenEightyP/NetNews huggingface dataset:
From: leikvoll@hsr.no (Morten Leikvoll)
Subject: Re: Atari Falcons $799!!!!!
Organization: Rogaland University Centre
Date: Tue, 8 Sep 1992 09:35:58 GMT

In article <1992Sep4.185205.7093@athena.cs.uga.edu>, kjohnson@castor.cs.uga.edu (Kristopher Johnson) writes:
> In article <1992Sep2.141126.10084@newshost.lanl.gov> gavin.adams@lso.mts.dec.com (Gavin Adams) writes:
> >
> >Elaborate more on the genlock capabilities
> 
> Okay, genlocking is available in all the Falcon's graphics modes and the
> only extra piece of hardware you need is something to strip the video 
> sync signal.

The Amiga also has a external sync input. But you need more than a stripped sync!

> 
> >Can I hook up my hard drive to this port, or is something else needed?
> 
> Yes, you can hook ANY SCSI or SCSI-II device to the Falcon's SCSI-II port.
> 
> >What do you mean by LAN?  Ethernet?  Token Ring?
> 
> It is a Localtalk-compatible LAN port (like the Mac's have)

It is a plain RS422 port.

> 
(stuff deleted)
> 
> Steve

-Morten Leikvoll (Is it short enough?)
Newsgroups: rec.music.synth
From: rej@sal.wisc.edu (Randy Jones)
Subject: Re: REMG CONTROLLERS
Organization: Hanatarashi
Date: Fri, 11 Sep 1992 21:27:02 GMT

In article <1992Sep9.121058.1@lure.latrobe.edu.au> musth@lure.latrobe.edu.au writes:
>I am a Music Student completing a major project on using EMG to control
>>electronic music devic If anyone has any information in this area I would be
>>most grateful to receive it. I am particularly interested in combining
>acoustic
>>performance with EMG control, in both solo and group situations, using the EMG
>>for real-time signal processing as well as driving synthesisers.

Rosenboom, David. _Extended Musical Interface With the Human Nervous System_.

Eaton, Manfred L. _Bio-Music_.

Sorry, no full biblio handy.
Rosenboom has also had recent articles in Computer Music Journal which you 
might find helpful, although his writing is of a more music-theoretical 
than technical bent.  Eaton is a fantastic kook, that book was written in the
early '70s, good for entertainment value and maybe some creative ideas.

-- 
| Randy Jones           | \B/
| rej@bob.sal.wisc.edu  | RXE
| 608 259 0311          | /O\
Newsgroups: rec.music.synth
From: richards@mcnc.org (Bill Richards)
Subject: Is there an FAQ for this newsgroup?
Organization: MCNC Center for Microelectronics, RTP, NC
Date: Tue, 8 Sep 1992 19:49:22 GMT

Just curious. I don't hang here too much (being a guitarist primarily).
There's been a thread going about mail-order houses, a quite
useful one (for me anyways) concerning PC interfaces and some other useful
stuff. Is there an FAQ posting somewhere for this newsgroup? Seems like this 
would save some bandwidth if someone had the resources to administer it... 
just a thought.

By the way- to Mark- I accidently wiped out my copy of the PC interface survey.
Could you or someone else e-mail me a copy? Thanks. Contrary to the views of
some, I could care care less whether you read an introductory text on statis-
tical methods, I'm looking for a card and found the results and comments
pretty interesting. Thanks again...

							-bill richards-

--------------------------------------------------------------------------------
Bill Richards MTS					Phone: (919) 248-1452
Microelectronics Center of North Carolina		Fax:   (919) 248-1455
PO Box 12889
RTP, NC 27709-2889				e-mail: richards@mcnc.org

-- 
--------------------------------------------------------------------------------
Bill Richards MTS					Phone: (919) 248-1452
Microelectronics Center of North Carolina		Fax:   (919) 248-1455
PO Box 12889
Newsgroups: rec.music.synth
From: beltran@ns.network.com (Tony R. Beltran)
Subject: Re: Hardware Sequencers
Organization: Network Systems Corporation
Date: Thu, 10 Sep 92 21:19:05 GMT

In article <1992Sep10.152504.21772@col.hp.com> jjh@col.hp.com (Jeff Haeffele-x3570) writes:
>Is there a rack mount version of the sound canvas combined with a
>hw sequencer?  What is an MV-30?
>
>Thanks,
>Jeff

The MV-30 is Roland's all-in-one hardware sequencer.  It has what seems to
be a U-220 with D-70 filters, automating mixing (on midi - not audio), and
a sequencer that comes with 512 KB of RAM and is easily upgradeable to 
1 MB.  I think it is great for what I do, but probably very limiting for
many people.  Aside from that, it is expensive.  The list is $2695US, but
usually sells for around $1795US.  For that kind of money, you could get a
synth with sequencer that has a keyboard, or a used computer and a software
sequencer, or...<fill in the blank>.  This MV-30 is a simple case of - if
it does what you need, it is worth the money.  For me, it simplified my
studio down to one box and my FP-8 digital piano.  It was worth it.

Tony
From: mxmora@unix.sri.com (Matthew Xavier Mora)
Newsgroups: rec.music.synth
Subject: Re: Why I like the Mac for Music
Date: 4 Sep 92 21:05:20 GMT
Followup-To: rec.music.synth
Organization: SRI International

In article <NICK.92Sep3135652@vaila.ed.ac.uk>, nick@dcs.ed.ac.uk (Nick
Rothwell) wrote:

> In article <D88-JWA.92Sep3105305@dront.nada.kth.se> d88-jwa@dront.nada.kth.se (Jon W{tte) writes:
 
>    However, to tie in to MIDI; I'm waiting for QuickTime to
>    support MIDI as track data. It's supposed to come! Way
>    cool!
 
> Pah, given Apple's record with MIDI Manager (you know, that important system
> component to boost the power of your Macintosh for MIDI, and which will be
> an integral part of the forthcoming System 7) I doubt it.
 
> I don't have any use for QuickTime anyway. I don't work with pictures. I
> work with dancers.

At the developers conference, Apple said that they solved the problem with 
Apple Corp and are working on midi support. I know the new sound manager
will have a midi synth driver that will support general midi. This way you
can
write midi music for your apps and know that the user will be able to hear
the sound even if they don't have a midi synth. So if you do have a synth
it will use that else the internal synth. "The new sound manager, Sucks
Less!" will be incredible.

Not many people were at the sound demonstration. I guess most developers
don't care or there was a better topic to see. Like "The future of
Macintosh Graphics", "Communication toolbox", "AUX" or "Calling Routines
Asyncronously on the Macintosh"


Matt 
Newsgroups: rec.music.synth
From: kathy edwards <KTHY@UNB.CA>
Subject: What is this microwave thing?
Organization: The University of New Brunswick
Date: Wed, 9 Sep 1992 12:17:10 GMT

Dear omnipotent users of this group,
   I was hoping someone could help me. My husband just picked up
a new microwave which he said would make life much more pleasant.
The strange thing is he has put it in his studio rather than in the
kitchen. Also I looked at it and I can't figure out where you put the
food in. It has a pretty, red dial and it looks neat but he won't
let me read the instruction manuals to figure out how to use it.
Can anyone give me an idea how this thing works? Thanking you in
advance, I remain, yours sincerely, Kathy Edwards
P.S. I thought Waldorf made hotels?!?

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: Fri, 11 Sep 1992 03:00:41 GMT


In article <1992Sep10.173522.191@cmcl2.nyu.edu>, galanter@nyu.edu (Philip Galanter) writes...

...
>|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.
> 
>My standard advice for all Kurz 1000 owners is to spend another $250 or so  
>to get an Aphex C rackmount to restore upper harmonics.  The 1000 series 
>cuts off at 10K-12K or something like that...a little Aphex helps a lot.

Phil,

Over most of the range I am quite satisfied with the harmonics - it's great. If
anything, I need to *cut* to get the sound I want. It's just over that range
that I mentioned before that there is a real problem.  Maybe that 'Aphex' (is
that some kind of 'exciter'?) unit would help - I'm just surprised that the
sound is weak over such a critical range. Kurzweil have *such* a good
reputation - that's why I'm trying to determine whether there is anything at all
wrong with my unit.

Thanks,
Greg.
-----------------------------------------------------------------------------
Greg Sullivan                         |  This space may one day be better
e-mail: sullivan@aussie.dec.com       |  utilised.
From: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Wed, 9 Sep 1992 22:37:03 GMT
Subject: Re: Broken Prophet 6.
Organization: HP Signal Analysis Division - Rohnert Park, CA
Newsgroups: rec.music.synth

In rec.music.synth, harry@harlqn.co.uk (Harry Fearnhamm) writes:

>    I have a Prophet 6 with the following problem: usually, after a couple
>    of minutes, 

After something warms up a little bit,

>    the LED's go out, 

The CPU probably stops scanning them.

>    and it gives off a sad, decaying whine,

The sample-and-hold circuits on the analog voltages generate slowly decaying
voltages as the CPU is no longer scanning them, either.

>    which does not seem to respond to any of the knobs or switches.  After

The CPU is also no longer scanning the switches.

>    this, it usually does not come back for a few hours, and it seems to
>    be getting worse.

Sounds like a thermal intermittent.  Do you have to shut it off for a few
hours before it will come back?
>
>    Before I go inside, does anyone have any suggestions as to what might
>    be the problem?  Does the Prophet 6 suffer from any loose socket
>    problems or something like that?
>
I don't actually have any firsthand knowledge of the Prophet 6 internals,
but this sure sounds like a thermal intermittent related to the CPU to me.
Since the unit gives off a decaying whine, the analog power supply voltages
(at least) are probably okay.

I'd give you better than even odds that the problem is simply an intermittent
contact in a socket, either an IC socket or a ribbon cable or other board-to-
board socket.  Most probably an IC socket.  Products made around the late
70's and early 80's often had socket problems.  Go in, and firmly press all ICs
back into their sockets, and reseat all ribbon cables, etc.  This will probably
fix the problem.  If it doesn't, I'd suspect (in approximate order of
probability):
 - bad solder joint on a board
 - hairline crack on a board
 - bad ribbon cable
 - intermittent digital IC or clock circuit
 - intermittent power supply, probably +5V
 - everything else

Good luck,

                 - Jim Smith  smithj@hpsad.sad.hp.com
            Yupatupata da yupadupa chickida, Icktang icktang, 
            Ickitack tangdow, Rickitickatar ticka chingtar da.

Newsgroups: rec.music.synth
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: HELP! Vocals: Compression/Reverb settings for ALESIS
Organization: DSO, Stanford University
Date: Thu, 10 Sep 92 16:58:41 GMT

Regardless of the compressor used, I recommend compression between the mic  
preamp and the EQ (if used) before going to tape.  I use gentle  
compression before recording and further compress on mixdown.  This allows  
a greater degree of compression without the squashing generated by heavy  
compression in a single pass, and allows tailoring of the amount of  
compression at mixdown.

Jay Kadis
jay@ccrma.stanford.edu
From: D_NIBBY@UNHH.UNH.EDU (Dana   Nibby)
Newsgroups: rec.music.synth
Subject: Ensoniq VFX
Date: 12 Sep 92 16:00:53 GMT


I was considering buying a used VFX... Despite *all* the previous flames,
I've heard that as long as it has a recent operating system, there's nothing
to worry about. (1) How do I found out what a particular VFX's operating system
is. (2) What is the most recent version of the operating system. (3) How
much does it cost to upgrade to a recent operating system?

 Also -- What is the difference between a VFX, and a VFX-SD besides having
a disk drive? I can buy a brother disk drive for about $100 I think, and
the VFX-SD is a lot newer, right? Thus they'll cost more used... I'm looking
for a low price. As far as the SD maybe having a better sequencer... no problem.
That's what computers are for.
I'll be using an A500 for that. As long as the VFX has some sort of sequencer,
(8 tracks will suffice) that's fine. Anyone have a VFX they want to sell?
What is a high-low price for a used VFX? What should I expect to pay for one.
Flames are ok, as long as you're not talking about problems that were fixed
with the newer operating systems. 

 Is the VFX 16-bit or 8-bit? Can someone tell me what the difference is
between between 16 bit - 8 bit, vs. sampling rate? I thought clarity came
from a high sampling rate. Does 16 bit give more 'warmth' or something?

    Pax,

      Dana
From: smets@dmi.ens.fr (Jean-Paul Smets)
Newsgroups: rec.music.synth
Subject: Where should I buy my EIIIXP in the US
Keywords: EIIIXP K2000 DPM-SP taxes
Date: 14 Sep 92 14:17:08 GMT
Organization: Ecole Normale Superieure, PARIS, France


I'm going to NYC, Boston and Philadephia next week and I'd like to buy there:

a sampler, upgradable to at least 32mb
   (EIIIXP, SMP-SP, K2000, S1000)
a mac powerbook 145 or 170


Can anyone tell me where I should buy these machines (which state, which taxes) since all
I want is: cheap price and quick delivery.


Thanks in advance.


Jena-Paul Smets (smets@ens.ens.fr)
Xref: sparky rec.music.synth:14843 rec.music.makers:9558
From: ching@argon.berkeley.edu (Michael Ching)
Newsgroups: rec.music.synth,rec.music.makers
Subject: WANTED: Snd Module (Proteus, U220, SC-55, etc.)
Date: 14 Sep 92 23:29:25 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: argon.berkeley.edu


I need more polyphony, so sell me your sampled 
sound modules that you don't use anymore.

Wanted:  Emu Proteus 1, 1XR, or 1Plus, Roland U220, 
         Sound Canvas SC-55, etc. 

**********************************************************
* Mike Ching                            U.C. Berkeley    *
* ching@nitride.Berkeley.EDU                             *
* (510) 644-0351                        usual disclaimers*
**********************************************************
Newsgroups: rec.music.synth
From: cbm@well.sf.ca.us (Chris Muir)
Subject: Re: Captain Waldorf is blowing his top. (Re: Why I like the Mac for Music)
Organization: Whole Earth 'Lectronic Link
Date: Mon, 7 Sep 1992 19:34:01 GMT

In article <D88-JWA.92Sep7200859@dront.nada.kth.se> d88-jwa@dront.nada.kth.se 
(Jon W{tte) writes:
>Also, when the low end is there; the high end gets lifted (and cheaper)
>Apple would probably make the built-in MIDI note synth listen to the
>MIDI manager, and having a simple synth for on-th-subway composition
>would be sort-of nifty. And it would push Apple harder than now in the
>MIDI arena.

Such a thing already exists, hiding away in OvalTune. You can hook it
up to the MIDI manager and have it play back Mac samples. You could
also do this with the Max "snd" object.

Unfortunatly, I think that the MIDI Manager is dead. None of the authors
are at Apple anymore. Apple hasn't released a new version in quite a
while, even though they had a great "invitation" to do so with the 
PowerBook fiasco. 
Apple was the first company to add MIDI at the OS level,
only to have it atrophy from neglect. I guess what this is really
saying is that MIDI is much more of a niche market than I think
in day-to-day life.

-- 
__________________________________________________________________________
Chris Muir                              |   "There is no language in our
cbm@well.sf.ca.us                       |    lungs to tell the world just
{hplabs,pacbell,ucbvax,apple}!well!cbm  |    how we feel"  - A. Partridge
Newsgroups: rec.music.synth
From: d88-jwa@cyklop.nada.kth.se (Jon W{tte)
Subject: Re: Why I like the Mac for Music
Originator: d88-jwa@cyklop.nada.kth.se
Organization: Royal Institute of Technology, Stockholm, Sweden
	<NICK.92Sep4132437@vaila.ed.ac.uk>
	<D88-JWA.92Sep7120625@dront.nada.kth.se>
	<NICK.92Sep9134241@vaila.ed.ac.uk>
Date: Wed, 9 Sep 1992 18:42:49 GMT

> nick@dcs.ed.ac.uk (Nick Rothwell) writes:

      I knew there was a catch. (Else, yes, it's reality !)

   That's what I meant. I'm sure I could blow $100000 on a superb video
   imaging and processing system and do what I want performance-wise. Short
   of that, the technology doesn't interest me because it's of no use.

Actually, these days you can shave off a zero on that figure, if
you already have a Mac Quadra.

   One (1) presentation box of Lindt and Sprungli Dark Chocolate Ballpoints
   on its way. Blue ink or black?

Through electronic mail, I presume. I'll trade you my color radio set.

-- 
Jon W{tte, h+@nada.kth.se, Sweden, Phone +46-8-107069

Help eradicate FIDO-Net <-> Usenet gateways in our time!
Newsgroups: rec.music.synth
From: bgood@sundagger.lerc.nasa.gov ()
Subject: Re: MIDI Wind Instrument
Organization: NASA Lewis Research Center
Date: Mon, 14 Sep 1992 20:09:40 GMT

In article <1992Sep11.180328.22538@bmerh85.bnr.ca> shiv@bnr.ca (Shiv Naimpally) writes:
>For serious wind players there is Neil Steiner's EWI & EVI (Electronic
>Wind Instrument, Electronic Valve Instrument) and the Yamaha
>WX7/11/Windjammer. The Casio horn has recorder fingering (and Casio's
>own fingering) so it may look like a sax, but you can't use sax
>fingering. Also the construction is very toy-like. It is a useful
>beastie but doesn't sound like the thing you are interested in.

There are conceptual differences in the design of the EWI/EVI and
Yamaha controllers.  The Yamahas (at least the 7 & 11) are pure MIDI 
controllers, while the EWI includes a two- (EWI 2000)  or four-oscillator 
(EWI 3000) analog module which also provides limited MIDI capabilities.
If you're primarily going to use the thing for entering parts into a
sequencer, I'd recommend the the WX7 over the EWI, as the MIDI implementation
seems better.  For example, the WX7 emits velocity (I *think*;  it's been about
three years since I used one extensively), while the EWI emits a constant
(though user-selectable) velocity;  This is a real limitation if you're trying
to enter sequences to be played back on a patch that does respond to velocity.

On the other hand, the EWI (which is hard-wired to its analog module) is a
bit more expressive than any pure-MIDI device I know.  I've also used mine to drive
a Wavestation A/D with generally good results.

No matter what you get, you'll have to spend some time relearning technique, as
there are some differences compared with acoustic winds.  For me the worst part
was using all the octave keys smoothly--it took six monthes of almost-every-
night practicing before I dared play in public.



--
brian good                     
NASA Lewis Research Center     
bgood@sundagger.lerc.nasa.gov
Newsgroups: rec.music.synth
From: gilstrap@sbctri.sbc.com (Brian R. Gilstrap)
Subject: Studio-4 versus Midi Timepiece II
Organization: Southwestern Bell Technology Resources
Date: Tue, 8 Sep 92 21:54:57 GMT

I'm considering either the Midi Timepiece II or the Studio-4 for my home
setup.  I have Vision and have read some of the recent comments about the
MTP (1 & 2) not integrating with Opcode's OMS very well.  I know that OMS can
work with Apple's Midi Manager but have also heard some criticism about 
the Midi Manager.

Since my setup at this point isn't large enough to stress test any of this,
I'm wondering if anyone out there can give me their perspective on the pros
and cons of the Studio-4 versus the MTP II.  Also, why should I avoid the
Apple Midi Manager?


A likely eventual setup will be (e.g. in the next couple of weeks or so):

Current equipment:
------------------
Korg DS-8 (anyone remember this old beast?)
Korg DDD-5 drum machine
Mac II with Vision/OMS

Equipment I'm getting ready to purchase
---------------------------------------
Ensoniq SD-1 OR Kurzweil K2000
Tascam 238 8-track tape unit
Tascam 1516 mixer

I'd be using it primarily (if not exclusively) in my home.  It's possible
(but unlikely) that I might actually get the courage to try to land a gig
someplace someday but that's definitely much less important than "studio" 
(e.g. in my house) use. So, in your opinion which of the Studio-4 or MTP II
is better for me and why?

Thanks!
Brian Gilstrap

P.S. I realize I've been posting a lot here lately, and I really appreciate all
the helpful advice everyone has given me.  I hope my posts reflect the fact
that I'm trying to learn fast and hope to stop asking dumb questions
"Real Soon Now".

-- 
-- 
Brian R. Gilstrap                      Southwestern Bell Technology Resources
gilstrap@calvin.sbc.com                550 Maryville Centre Dr.
Phone: 314-529-7639                    St. Louis, M0 63141          USA
Newsgroups: rec.music.synth
From: dpelton@nyx.cs.du.edu (Dennis Pelton)
Subject: Re: Guitar and Keyboard sound?
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Fri, 11 Sep 92 15:38:23 GMT

In article <IefJFLm00awVQ7nmJm@andrew.cmu.edu> kd28+@andrew.cmu.edu (Karen M. Dryer) writes:
>I was also wondering if anyone can suggest a sound system compatible
>with keyboards and guitars.

Running keys through a guitar amp (as you say) sounds like crap.
Running guitar through a "keyboard" amp (full range speakers)
will sound OK (if you're looking for that crystal-clear acoustic 
sound) until you want some distortion, then it sounds like 
crap, too.  The only answers are: 
   a) two different amps (heavy and expensive)
   b) run the guitar thru a special FX box that sounds like 
      a guitar amp
In the "b" category, my suggestion (as always) is a SansAmp.  Some
people like 'em (I'm one) and others don't.  Your mileage may
vary.  Try it and see.  Some people say the "stomp box" sounds 
different from the rack mount.  The rack costs 2+ times
as much.  There are other boxes that claim to sound like an amp 
thru a speaker--to my ear they all sound like crap.

Dennis Pelton              "She came in wearing a pair of clam diggers
dpelton@nyx.cs.du.edu       that had obviously never been to a beach, 
                            and a halter top that had been in a dryer
                            for three weeks...on high."
Newsgroups: rec.music.synth
From: mgray@gucis.cit.gu.edu.au (Murray Gray)
Subject: Which keyboard for Live Work?
Organization: Griffith University, Brisbane, Australia.
Date: Mon, 7 Sep 92 13:21:51 GMT

Please Give Me Some Advice.

I have an Ensoniq EPS 16+ but it is not the best for live work as it is too
limited in it's sequencer and I don't need the sampler, and also I need   
access to alot of sounds at instantaneously.

I have been looking at the Korg 01W/FD, the Ensoniq SD, the Roland D70.
I like the Korg best so far because of its user interface. It is very
natural and easy to produce results with quickly.

Can anyone give me information that I might find useful?

Thanks in advance.

mgray@gucis.cit.gu.edu.au

-- 
                                   *"I mean. look at this.
    mgray@gucis.cit.gu.edu.au      *   What is it?"
                                   *"I'm surprised you've
 	Murray Gray	    	   *   forgotten my Lord."
From: gene@ok.sw.stratus.com (Eugene Loparco)
Newsgroups: rec.music.synth
Subject: Attention MusicQuest owners
Date: 10 Sep 92 14:12:01 GMT
Organization: Stratus Computer, Software Engineering

I own a Roland JV-30 and have recently hooked it up to my PC (386-25) via
the MusicQuest PC Midi Card.  The problem I have is that when I play my
keyboard without hooking it up, it sounds fine, however, when I plug it into
my computer the sounds are distorted.  This happens only when the computer
is on and the MIDI in cable (on the keyboard) is plugged in (the MIDI out
cable has no effect).  So when recording using cakewalk, I can't really hear
the true sounds.  Curiously, though, when playing back through cakewalk, the
sounds are true.  Note that this isn't a cakewalk problem because this happens
even if I play the keyboard without a sequencer loaded on my pc.

Any help would be appreciated.

Thanks.

-Gene