HDTenEightyP/NetNews huggingface dataset:
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Newsgroups: rec.music.synth
Subject: Re: 8bit vs 16bit?
Date: 8 Oct 92 18:21:30 GMT
Article-I.D.: nntpd.1992Oct8.181046.19733
Organization: Digital Equipment Corporation


In article <1680272@hpsad.sad.hp.com>, smithj@hpsad.sad.hp.com (Jim Smith) writes...
>  One problem with linear VCO's is that the vibrato can get pretty gnarly
>  at the low end.

Linear VCO's are basically misfeatured for scale or interval-oriented
music, because ANY modulation that is applied to them has linear
consequences which aren't *musically* linear, because music is
exponential...  The difference in frequency between one note and another
(say one octave up) is different in each octave.  Linear VCO's operate on
frequency, not semitones. Hence, a pitch envelope that applies an up-sweep
from a third below the note will only work in one place on the keyboard--at
all other keys it will be off musically.  There are valid timbral reasons
for having linear FM inputs on VCO's, though.

Divider architectures (electronic organs) have the same problem, according to
my memory, but I can't prove it to myself on the back of a PostIt right now.
Maybe I'm wrong.  I do recall very unpleasant effects in the bass pedal
register from switching on vibrato in my (dear, departed) Farfisa CC23 and
CC26 (Combo Compact and Compact Deluxe).

I once tried to design a system that allowed PWM (pulse width modulation)
in a divider system.  Dates me, eh?

ObChroma: The Chroma, being slightly pre-MIDI, has a very interesting scale
of modulation levels and attenuation.  It's based on semitones, which was
necessary because some control signals are real analog, and some are
software.  I think it better than the everything in the world goes from
0-127 that manufacturers have gone to to make MIDI implementations simpler.
Hmmmm.  I should check to see if the KMX MIDI adaptor for the Chroma sends
or receives both bytes of the pitch-bend message.

Eirikur Hallgrimsson   |    "Rhodes?  Where we're going, we don't need Rhodes!"
eh@ranger.enet.dec.com |
PATHWORKS for Macintosh|
Newsgroups: rec.music.synth
From: andersm@edb.tih.no (Anders Myrvold,o92b)
Subject: Re: patch ftp sites
Posting-Front-End: Winix Conference v 92.05.15  1.20 (running under MS-Windows)
Date: Thu, 8 Oct 1992 09:52:59 GMT

In article <1992Sep28.091351.1@tesla.njit.edu>, kpm8447@tesla.njit.edu writes:

>I have a roland d-50
>roland d-110
>yamaha tx81z
>and a proteus 1+ (8 meg of ram) (4 meg of proteus 1 sounds, 4 meg of orchestral)
>Does anyone know any ftp sites that have patches for these and/or programs
>to save/dump patches to an ibm pc?
> - Thanks in advance
> - Kirk
>
>

Try : ftp ucsd.edu .. pub/midi/patches..
From. andersm@baron.edb.tih.no
From: system@cyberden.uucp
Newsgroups: rec.music.synth
Subject: QUESTION: SV-3700 pass through signal wo head engage?
Date: Fri, 09 Oct 92 23:12:42 PDT
Organization: Indescribable Creations

So... deep in the bowels of the SV-3700 DAT machine, does anyone know how
to pass through input signals to the out WITHOUT engaging the record head?
(Rec+Pause)

I hate to waste the head just to pass through signals to the DAT I/O in
soundtools and I don't want an AdIn...

<X>orcist

__________________________________________________________________________
   |       /         |\
   | H E   \ Y B E R |/ E N            [ system@cyberden.uucp ]
Newsgroups: rec.music.synth
From: pdel@ADS.COM (Peter Delevoryas)
Subject: Re: I've just about had it with Performer. How much is Vision?
Organization: Advanced Decision Systems, Mtn. View, CA (415)960-7300
Date: Thu, 15 Oct 1992 14:04:30 GMT


>  is a pain.  It BADLY needs a graphical user interface.  What I'd 
>  really really like to see is something like what Vision now has,
>  where you can play in some rubato passage, then go back and tell
>  it where the beats and bars are, and it will then go in and 
>  create a tempo map such that the music all fits.

Yikes, does Vision have that? I didn't see that in the info w/ my
update. That would be nice if it's true. I'll take off from work
right now to play with it  :^]

PD





--

 login name:   L1-A                      
 In real life: Peter Delevoryas
 In any other life: a cheap imitation
Xref: sparky rec.music.synth:16347 comp.music:4726
From: mcarlsso@sdcc13.ucsd.edu (Mars)
Newsgroups: rec.music.synth,comp.music
Subject: Are there samples available via ftp anywhere???
Date: 10 Oct 92 10:33:04 GMT
Followup-To: poster

Anybody know of ftp sites that have samples in SoundesignerII or AIFF
files????


-- 
_______________________________________________________________
 		
   mars@ucsd.edu
From: mrk@gvgspd.GVG.TEK.COM (Michael R. Kesti)
Newsgroups: rec.music.synth
Subject: Note Off Problems (was: Korg DS-8 multitimbral problems anyone?)
Date: 12 Oct 92 20:14:12 GMT
Article-I.D.: gvgspd.2063
Organization: Grass Valley Group, Grass Valley  CA

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

>One of the problems you may be running into is that the DS-8
>does *not* recognize "running status" which is what most sequencers
>incorporate by default.

If this is true, then it means that the DS-8 does not conform to the MIDI
standard, and is, by definition, buggy.

>what this means is, the DS-8 *must* have a note off at the end
>of each note in multi-timbral mode.  If you send only the "running
>status" note on of value 0, it will give you things like "notes
>cutoff, notes forgotten, strange notes, delays", etc.

>Most sequencers allow you to turn off running status (i.e., turn on
>note offs).

I often get in trouble around here when I set out to correct anybody, but
in this case I'll take the risk, because I don't want countless readers to
get an incorrect concept set in their minds.  Running Status and expressing
a Note Off as a Note On with a velocity of zero are separate concepts.

Running status allows a device transmitting a stream to omit the status byte
of a given message when that status is identical to the status of the
previous message.  This is a simple (but lossless) data compression scheme;
it allows one to eliminate redundant data.

A Note On with a velocity of zero is, in effect, a synonym for a Note Off.
This synonym was implemented by the protocol designers designers to increase
the likelyhood that the conditions that allow running status would occur,
but is not, by itself, running status.

Any device that fails to handle either of these concepts correctly is buggy,
in that it will not behave appropriately when it receives valid data.  This
kind of incompatibility is exactly what the use of a standard (in this case,
the MIDI protocol) is supposed to prevent.

-- 
============================================================================
Michael Kesti  Grass Valley Group, Inc. | "And like, one and one don't make
    mrk@gvgspd.GVG.TEK.COM              |  two, one and one make one."
    !tektronix!gvgpsa!gvgspd!mrk        |         - The Who, Bargain
Newsgroups: rec.music.synth
From: metlay@netcom.com (metlay)
Subject: Emu Plans for Future Upgrades
Summary: Speak now or forever hold your peace....
Organization: Atomic City
Date: Thu, 8 Oct 1992 18:57:13 GMT


I was just on the phone with a friend who had been talking to a techie
at Emu Systems. According to this techie, the technical staff at Emu are
in the planning stages for the Emax III (no firm data available yet), and
are preparing code for its OS. There is some question, apparently, as to
whether or not any time should be spent on a bugfix/upgrade release for
the Emax II in the meantime. My friend, an Emax II owner, was emphatic
in his desire for the best possible OS for the II, and asked me to post
a note here to any Emax II owners on the Net. He'd appreciate it if anyone
who was interested in OS upgrades for the II would call Emu and ask about
their future availability. While Emu is not officially calling for input,
they are generally quite receptive to perceived need on the part of their 
user base. So if you'd like to see an upgraded OS for your Emax II, call
and ask-- enough responses may produce action. Thanks.

-- 
metlay            |             No Panning
atomic city       |             No Phasing
                  |             No
metlay@netcom.com | 
Newsgroups: rec.music.synth
From: metlay@netcom.com (metlay)
Subject: Re: Clavinet Example (was: Re: Keyboard feel (was: Re: CZ101 for sale)
Summary: Whammy bars on Clavinets!
Organization: Atomic City
Date: Thu, 8 Oct 1992 18:02:12 GMT

In article <1992Oct6.184626.5243@nntpd.lkg.dec.com> eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson) writes:
>
>In article <9210051853.AA04984@ucbvax.Berkeley.EDU>, JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes...
>> 
>>About the most 'famous' clavinet example is the song Superstition by
>>Stevie Wonder.  The whole thing is Clavinet with whammy bar.
>Gee, John, was there a hardware mod to the Clavinet to give it a whammy bar?
>Neither of mine have it, and I don't recall there being one in the data sheets
>even as high as the model E7.  Of course, it was probably a third party like
>Dyno-My-Piano or somesuch.  Still, I never heard of it.

Oho! Hoist by thine own arrogant petard, sirrah! Thy humorous attempt at 
bastinado reboundeth upon thee with embarrassing effect! Or, for our readers
in Pittsburgh, "Yaha, yinz'r'BEAT!" I hate to out-trivialize you (actually,
that'd be a baldfaced lie if I didn't have a goatee), Eirikur, but John is
not whistling the proverbial "Dixie" here....

The whammy bar for string bending on the Clavinet was a well-known modification
that appeared on many Clavis. If you want to hear a relatively recent recording
of one, check out the flexidisc of "Babylon Blue" by Guy Babylon, who won the
KEYBOARD Original Song Contest a few years ago. It's his main board, and the
photo in the accompanying article shows him playing it with the whammy. It was
manufactured by a small third-party firm whose name eludes me at the moment.

>I think that Superstition may just be a stock Clavinet with a wah-wah or
>similar effector.

However, this statement may be true. Because Stevie's never been interviewed
by any magazine that's had an interest or ability to assemble a gear list, 
I don't think it's recorded anywhere whether he had this mod performed on 
his D-6. It wouldn't be the easiest thing for a blind player to get used to;
unlike the whammy bar on a guitar, the Clavi whammy is just kind of "out 
there" in space above the keyboard, and would require some groping to grab in
a hurry.

-- 
metlay            |             No Panning
atomic city       |             No Phasing
                  |             No
metlay@netcom.com | 
Newsgroups: rec.music.synth
From: henryf@imagine.com (Henry Flurry)
Subject: Need basic, clean mixer: Mackie 1202 ??
Organization: Imagine Multimedia, Inc., Ann Arbor, MI, USA
Date: Wed, 14 Oct 1992 23:39:15 GMT

(You're probably catching the drift of my messages, by now...)

I'm thinking of purchasing a Mackie 1202 mixer (List $399).

My goals are:
  - clear controls (Hah!  Good luck when using a mixer!)
  - clean sound
  - Minimum 3 stereo pairs (or 6 channels)
  - effects in/out
  - other standard features

The Mackie 1202 could be overkill (but also a lot of fun...), but I  
can't imagine finding anything significantly less.

What's your experience with the Mackie line?
Do you have other mixer recommendations?

Thanks in advance!

- Henry Flurry
Newsgroups: rec.music.synth
From: zerobeat@intacc.uucp (Ferenc Szabo)
Subject: Re: 8bit vs 16bit?
Date: Fri, 9 Oct 1992 22:17:49 GMT
Organization: Inter/Access' Matrix BBS

In article <BvMKGo.MnG@news.cso.uiuc.edu> cwilson@void.ncsa.uiuc.edu (Chris Wilson) writes:
>>    noise.  A waveform can take on only one of 256 possible values at a given
>>    time.  Thus, rounding or truncation of the original precision in the
>>    analog waveform must occur.
>>
>>A high quality LP played with a good cartridge has much more than 48 dB of
>>dynamic range.
>
Not much more though; perhaps 60 db?

>I've heard that 8-bit digital audio has about the sound quality of a standard
>cassette tape.

This has to do with the s/n ratio. A rule of thumb or big toe is that
for every bit you get 6 more db s/n ratio. 8bit --48db s/n
                                          16bit --96db s/n
This does not account for neat tricks to make it quieter, nor does it
account for imperfect components/design, thermal noise to make it
noisier. (That's why it's a GENERAL rule).

An audio cassette WITHOUT noise reduction has about 50 db s/n ratio
but this is very variable because of the vastly different qualities
of decks and tape.

Most 8bit samplers used some form of data compression or companding
to get more (much more) s/n ratio.  I can't think of any sampler
that would sound as noisy as un-noise reduced cassette (recorded at
0 VU    not +7!!)

ferenc
From: MBRUNEAU@UOTTAWA.BITNET (Michel Bruneau)
Newsgroups: rec.music.synth
Subject: (no subject given)
Date: 8 Oct 92 11:44:45 GMT
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU

I was about to purchase a Roland U-20.  Surprise! They are discontinued.
The replacement model is JV-30, was I told by the saleman.  Yet, three
sales pitch and brochures later, I can't still figure-out if it is a
better machine than the U-20.  The apparent claim is that the JV-30 is
all of a U-20 and D-50 merged together (that's the sales pitch); none of
that in the brochure.  Also claimed is that all U-20 sound cards can be
put into the machine (no mention of sound cards in the brochure).
Considering the price of the JV-30, the sales pitch is hard to swallow.
Any Roland experts on the list could provide additional information?  My
dilemna is between buying a used U-20 (roughly $700 in Canadian
dollars), versus a brand new JV-30 (roughly $1200).  Unless there are
distinct improvements the extra money could be put to better use.  It
does appear however, for what I know so far, that the U-20 had more and
better quality sounds sampled from real instruments, and no
synth-special effects.  U-20 had 30 voices, JV-30 only 24.  U-20 was 7
part multi-timbral, JV-30 is 16 parts.  But as with most electronics,
you have to play with it a long long time to find its limitations.  Any
advise would help (or directing to existing reviews).
Michel Bruneau
University of Ottawa
From: galanter@nyu.edu (Philip Galanter)
Newsgroups: rec.music.synth
Subject: Re: Wendy Carlos, where are you???
Date: 15 Oct 92 01:43:14 GMT
Reply-To: galanter@nyu.edu (Philip Galanter)
Organization: New York University

In article <9210141909.AA02828@ucbvax.Berkeley.EDU>  
JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
|
|Not sour grapes from me, guy.  I really don't give a shit about how  
emotionally
|strained Wendy was when she was Walter.  Her attitudes which are  
reflected
|in the last series of Keybunk interviews suggest she is the one with a
|sour grapes problem.  Clearly, my choice of words was not Politically  
Correct,
|but it did reflect my opinion.  I think that Wendy Carlos is exhibiting a
|classic case of 'penis envy'.  It isn't my fault that she once had penis  
and
|decided to get rid of it.  That, in my opinion, leaves her especially  
open
|for this kind of comment.  
|
|By the way, if you haven't noticed I kinda like treading on sacred cows.   
In
|this period of listening to Clinton/Gore rhetoric and watching the  
imbecile
|American public eat it up I get more prone to venting.  Sure as shit, all  
you
|have to do is mention the sex change in anything other than reverence and
|you can get a rise out of this newsgroup.  Funny thing, I am a sensitive  
person,except, of course, when I can be Pollitically Incorrect.
|
|John

This is not a case of being politically incorrect so much as not being  
correct in any sense.

Transexuality is a medical condition not a political statement.

Penis envy doesn't exist.  But even if penis envy does exist, I don't see  
any sign of it in the case of Wendy Carlos.  And even if penis envy did  
exist in the case of Wendy Carlos surely your posts on the matter would  
cure it.

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
From: cwilson@void.ncsa.uiuc.edu (Chris Wilson)
Newsgroups: rec.music.synth
Subject: Re: Korg DS-8 multitimbral problems anyone?
Date: 7 Oct 92 16:20:28 GMT
Article-I.D.: news.BvrEq6.1wH
Organization: Nat'l Center for Supercomputing Applications

biloggen@cs.few.eur.nl (R.P. Loggen) writes:
>I am using the Korg DS-8 synthesizer.
>Recently I bought a MPU 401 midi interface and some
>sequencer software.
>My DS-8 manual promised me 'full multitimbral power',
>I could divide the 8 DS-8 voices over max. 8 midi-channels.
>
>In reality, the result was quite different then I expected.
>Notes cutoff, notes forgotten, strange notes, delays in
>keyboard-reaction... It seems Korg promises don't work out.
>After some tests I suspected that de DS-8 was too slow to
>handle multi-timbral data. But I'm not sure.

I've used my Korg DS-8 as my primary keyboard for around 6 years now.  The DS-8
has two main problems with its multi-timbral mode:  
1.) The voice allocation is static,  not dynamic.  This means that if you want
to set up a piano voice on channel 1 and a saxophone on channel 2,  you have to
tell the DS-8 to use 4 of its 8 voices for the piano patch and 4 for the sax.
If you hit more than 4 keys on the piano voice, you won't hear them (or they'll
cut off other notes,  depending on how you have it set),  even if you're not
playing the sax voice at all!  This is a not too bad a problem if you do mostly
monophonic pieces (or light chording) and don't split the voices among more
than 3 or 4 channels,  but splitting it among 8 channels isn't going to work
very well.  (As I assume you've discovered.)
2.)  There is only one Modulation Generator for all the patchs in a Multi.
Basically,  this translates to "Don't try to use two voices in a Multi that are 
dissimilar."  For example,  the DS-8 can't play a flute sound and a handclap
patch at the same time - either the flute sounds like static (if you set the MG
up as the snare patch)  or the snare sounds like a high bongo (if you use the 
flute patch's MG.)  If you use "similar" sounds (like a violin and a cello,
for example) in a multi,  you shouldn't have any problems.  Heheh.

-Chris Wilson
 cwilson@ncsa.uiuc.edu
From: quent@pinn.nacjack.gen.nz (Quentin Gannaway)
Newsgroups: rec.music.synth
Subject: Roland Card
Date: 13 Oct 92 02:40:17 GMT
Organization: The Pinnacle Club BBS, Auckland, New Zealand. +64-9-631-5382

Thanks for reply but my E20 will only admit very expensive Roland cards.
Does anyone know of a solution? (Don't say "swap" keyboards! I am still
considering this possibility.....). I'm quite frustrated as I like the
instrument very much.
Newsgroups: rec.music.synth
Subject: post
From: quent@pinn.nacjack.gen.nz (Quentin Gannaway)
Date: Sat, 10 Oct 92 20:53:43 +1200
Organization: The Pinnacle Club BBS, Auckland, New Zealand. +64-9-631-5382

Why do Roland disks cost so much (for so little value), as compared with
the "standard" 3 1/2" disks as used in computers? They cost 10-times more 
and can only handle 3 songs, as compared with about 20 songs on the 
3 1/2" ones. I have a Roland E20 and am very happy with it except for the
point I have just mentioned. Any comments? I'm almost tempted to change
to a "lesser" keyboard which will take standard disks.....
Cheers from Kiwiland!
From: gingeric9178@iscsvax.uni.edu
Newsgroups: rec.music.synth
Subject: Output, stereo output
Date: 12 Oct 92 10:27:03 -0500
Organization: University of Northern Iowa

Hello,
   What are some somewhat cheap PA systems that you can run a synth through
with some real,real,real,real nice stereo output.  Anyone up for selling one? 
I am real tired of running through my stereo.  Short post, but I guess there is
not much else to say except I am the happiest guy this here world has ever
seen!!!!!!!!!!!  

NOT GINGERIC9178 at all, but rob williams
Newsgroups: rec.music.synth
From: keith@scic.intel.com (Keith Self)
Subject: Re: Compressors, Limiters
Followup-To: keith@scic.intel.com
Keywords: Compressor, Limiters
Organization: Intel Corporation, Beaverton, OR
Distribution: usa
Date: Thu, 15 Oct 1992 20:21:55 GMT

Recording piano requires dealing with the dynamic range.
Does anyone have suggestions for Compressors/Limiters
that they have used in this application. I am interested
both in techniques and the hardware ( model and manufacturer ).
Any advice is greatly appreciated by many of us. Thanks
Newsgroups: rec.music.synth
From: lawrence.lougheed@rose.com (lawrence lougheed)
Subject: K2000r Hardrive
Organization: Rose Media Inc, Toronto, Ontario.
Date: Thu, 8 Oct 1992 17:55:02 GMT
X-Gated-By: Usenet <==> RoseMail Gateway (v1.70)


Date Entered: 10-08-92 12:49
Can you add an internal hard drive to the K2000r?

lawrence.lougheed@rose.com
---
   RoseMail 2.00 : Usenet: Rose Media - Hamilton (416) 575-5363
From: dan@hpwin052.uksr.hp.com (Dan Bennett)
Date: Thu, 8 Oct 1992 16:00:52 GMT
Subject: WS-1 to EX upgrade kit: price in Canada?
Organization: HP Response Centre, Berkshire, England.
Newsgroups: rec.music.synth

Excuse me,

What is the price in Canada of a Wavestation-to-EX upgrade kit?

Thanks,

Dan Bennett.

Xref: sparky rec.music.synth:16415 rec.music.makers:10164 alt.emusic:326
From: doug@flute.ccit.arizona.edu (Doug Wellington)
Newsgroups: rec.music.synth,rec.music.makers,alt.emusic
Subject: Re: Copyrights
Summary: How does ASCAP/BMI pay the artists?
Keywords: BMI ASCAP
Date: 12 Oct 92 15:30:00 GMT
Article-I.D.: flute.12OCT199208305832
 <1992Oct11.165102.14822@comp.lancs.ac.uk> <1992Oct12.000915.18934@smsc.sony.com> <1992Oct12.141358.12627@comp.lancs.ac.uk>
Distribution: world,local
Organization: University of Arizona
News-Software: VAX/VMS VNEWS 1.41

OK, since it got brought up, how does ASCAP/BMI determine how
to pay each of its artists?  In other words, if I write one little
song and have it registered with BMI, does that mean that I get
a certain fee each year, whether or not anyone plays my song on
a radio or in a bar?  To extrapolate, say I write 50 little songs
and register them - do I get 50 times that fee?

Seems like I could make a lot of money from that situation, albeit
a little unscrupulous...

Enquiring minds want to know...
-Doug
From: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Wed, 7 Oct 1992 23:23:54 GMT
Subject: Re: 8bit vs 16bit?
Organization: HP Signal Analysis Division - Rohnert Park, CA
Newsgroups: rec.music.synth

In rec.music.synth, metlay@netcom.com (metlay) writes:

>Isn't "Nyquist Eddie's" the name of the bar in Berkeley on Shattuck Avenue
>where you guys took me on Saturday night and served me weird rum-like 
>umbrella drinx with dry ice foaming smoke out from under the snifters?

Naah, that was some two-bit jernt.  At Nyquist Eddie's they serve 
EIGHT-BIT fogcutters.

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

>Should I ask? Nah, I'll quit while I'm only THIS far behind.
>|-*

I guess you might call it a physics joke.  (How many physicists does it
take to change a Gammasphere?  None, it's perfect the way it is!)

ObSynth:
  One problem with linear VCO's is that the vibrato can get pretty gnarly
  at the low end.

             Jim Smith                   smithj@hpsad.sad.hp.com
  I grabbed the Spike of Power from the ugly doodle, and there was a flash...
 I looked *cute as a button* as I thumped the forest floor.  Flower laughed.  
   There was smoke in the distance.  Man had come to the forest.  Bambi's 
    mother looked worried, even though the evil spirit was safely locked 
in a tree.  The men had a machine that ate trees.  And Godzilla was coming.