HDTenEightyP/NetNews huggingface dataset:
From: george@smsc.sony.com (George Maestri)
Subject: Re: How to test (was Re: "Digital Is A Huge Rip-Off")
Organization: Sony Microsystems Corp, San Jose, CA
Date: Thu, 16 Apr 92 21:28:23 GMT

In article <1992Apr16.160151.2287@smsc.sony.com> dce@smsc.sony.com (David Elliott) writes:
.... Stuff deleted ....
>
>First of all, do you know that the people who did the CD mastering
>didn't re-EQ, expand, or otherwise process the music in order to put it
>on the tape?  Or, if the original recording was done with the CD in
>mind, do you know that the album wasn't compressed and re-EQ'ed to
>fit that format's dynamic range and typical response curve?

In fact, master tapes for albums *must* be RIAA eq'd in order to squish
the low end frequencies in that tiny groove (or else the needle'd just
jump right off the turntable!!)

.... Stuff deleted ....

To add more fuel to the fire - To me, it seems that mastering to my DAT 
makes the recording sound *better* than the original.  I usually master
pretty hot (peaks at -2db to -4db), and it may be a smidge of compression
that it's adding.  But it really sounds better than the mix coming straight
off the Eight track.  hmmmm.  But it *is* an analog eight track.

I'm surprised no one has mentioned Lenny Kravitz in this discussion.  This
guy *hates* digital.  Doesn't hardly like transistors.  He records his 
stuff with mostly tube gear.  Tube mics, tube amps, tube mixers, the whole
sebang.  Listen to one of his recordings - they sound great.

Analog will not die, it might just become another way of attaining an "effect".  
Just like people go ape over 200 year old violins, 40 year old electric guitars, 
and 30 year old amplifiers, people will want old "vintage" recording gear just 
because it does have a distinct sound that arises from it's imperfections.  
People still pay big bucks for Old Neumann tube mics, Neve hardware, and Pultec 
compressors just to get a certain "sound".  The same thing is happening with 
old synth gear (Minimoogs and TR808's for example).  The same for good digital 
gear (old Lexicon reverbs), not to mention the Pre-CBS Strat, and '57 Les Paul.
Even though modern gear is "cleaner" and "better", I don't see people giving
up vintage equipment, ever. 

Digital may be the closest thing to perfection, but sometimes perfection
isn't always the way to go....If all art was supposed to be "perfect", 
we'd toss aside paintings in favor of photographs....nuff said.

George.
From: donald@devv03.distri.hydro.qc.ca (Donald Robidoux)
Newsgroups: rec.music.makers
Subject: Channel switching and MIDI gear
Date: 6 Apr 92 13:02:10 GMT
Distribution: rec.music.makers
Organization: Hydro-Quebec


I'd like to know how you, dear guitar players, interface non-midi gear with
midi gear.  I have a 3 channel Peavey Rockmaster preamp with a Digitech
DSP-256XL midi multi-effector.  When I'm switching from one channel to another
on the preamp, I'd like also to change the program number on the DSP.  I know 
that I can buy a Rockman octopus (midi device that can do on/off switching 
using 1/4 jack) but I think it's very expensive for the purpose considering
that I won't use all the 1/4 jacks on the octopus.

I also like to know what kind of midi footpedals you're using for midi patch
changes (Digital, Rockman, ART, ...)?


Thanks a lot.


===============================================================================
Donald Robidoux

Oracle Corporation inc.
Montreal, Quebec, Canada
===============================================================================
Newsgroups: rec.music.makers
From: cs318a62@ibmb2.cs.uiuc.edu (Philip M Scopes)
Subject: book of artists' agents
Organization: University of Illinois at Urbana-Champaign
Distribution: usa
Date: Tue, 7 Apr 1992 04:11:23 GMT

I once had in my posession a book with a title like "Calvacade" that had a
listing of popular artists' booking/PR agents.  I have lost this book, and was
wondering if anyone knew the full title/publisher's name, and where I could get
a (recent) copy.

Send email to cs318a62@ibma0.cs.uiuc.edu or pms26964@uxa.cso.uiuc.edu

Newsgroups: rec.music.makers
From: rjc1@kepler.unh.edu (Ryan J Charland)
Subject: HELP -> AC adapter for RAT distortion pedal
Organization: University of New Hampshire  -  Durham, NH
Date: Thu, 16 Apr 1992 03:21:38 GMT

	I went to Radio Shack to purchase a AC adapter for my RAT distortion
box but the salesman didn't know if I should get a 300 miliamp or 500 miliamp
9V adapter.  Since I bought the pedal used, I have no documentation.  Does
anyone know which adapter works with the RAT?  Thanks...


|   | |\  | |   |  : ryan j. charland is... rjc1@kepler.unh.edu  "Some people :
|   | | \ | |---|  : say the pen is mightier than the sword, I say fuck the   :
|___|.|  \|.|   |. : pen, because you can die by the sword." -Tom Araya       :


Newsgroups: rec.music.makers
From: ramasubr@ecn.purdue.edu (SUBU Ramasubramanian)
Subject: Indian classical music concert at Purdue
Reply-To: ramasubr@ecn.purdue.edu
Organization: Purdue University Engineering Computer Network
Distribution: usa
Date: Tue, 7 Apr 1992 08:53:57 GMT

========================================================================
<         INDIAN CLASSICAL MUSIC ASSOCIATION OF PURDUE
<         --------------------------------------------
<                    PRESENTS A FLUTE RECITAL
<                            BY
<                      DR. N. RAMANI
<
<A.KANYAKUMARI (VIOLIN)              GURUVAYUR DORAI (MRIDANGAM)
<-----------------------------------------------------------------

			FLUTE: An indian wind instrument
			MRIDANGAM: An indian percussion instrument
==================================================================

<DATE: TUESDAY, APRIL 14, 1992         TIME: 7.30 PM
<VENUE: NORTH BALLROOM, PURDUE MEMORIAL UNION
<       WEST LAFAYETTE, IN 47907
<
<TICKETS: $7 (STUDENTS), $10 (OTHERS)
<         AVAILABLE AT
<         LOEB AND HALL OF MUSIC OFFICES
<FOR TICKET INFO CALL (317) 494 3933

 NOTE FOR FOLKS COMING FROM OUTSIDE OF LAFAYETTE:
 1.Overnight accomodation can be arranged for a max. of 10 persons; let
 us know in advance (email to ramakril@vm.cc.purdue.edu)
 2. Preferably reserve your tickets in advance
 3. Children below 10 will not be permitted
 4. Directions -

Take I65 (South /North) and exit at State Road 25
After the ramp take a left onto 25 South towards
Lafayette.
At the first Trafic Lights (TL) take a right onto
US 52 West
Keep going on US 52 W, pass two TL
On the third TL take a left onto Yeager Rd.
(At this light you should see a Amoco gas station
just ahead of you and ACE Hard Ware Store on your right)
Take a left onto North Western on the next TL
Keep going on North Western. You should see Smittys on
your left after passing the first TL. After this TL
pass one more TL. On the third TL, you should see a McD
on your left and University Buildings on your right.
You are now on the intersection of North Western and
Stadium.

Pass the next TL and take a right onto State St on the
second TL.
Take a right onto Grant St. on the next TL and park in the
garage on your right, which is right after you make the
turn.
North Ball room is in the Purdue Memorial Union
which is opposite to the garage.

Newsgroups: rec.music.makers
From: fovsutt@lims02.lerc.nasa.gov (VINCENT SUTTMILLER)
Newsgroups: rec.music.makers,rec.music.misc
Subject: Re: Fusion sugesstions
Date: 13 Apr 92 17:53:00 GMT
Article-I.D.: lims02.13APR199212533506
Organization: NASA Lewis Research Center
News-Software: VAX/VMS VNEWS 1.41

In article <1340@hydra.bucknell.edu>, cwalker@canopus.tmc.edu (carleton walker `93) writes...
>In article <1992Apr10.184306.19107@clpd.kodak.com> benham@anion.serum.kodak.com (Todd Benham (x37354)) writes:
>>Would any of you make suggestions on artist/albums of good fusion?
>>I like Jeff Beck's Fusion stuff like Blow by blow and Al DiMeola's stuff.
>>What else is out there?
> 
>	Since you mentioned Al Dimeola, I'd recommend checking out
>Return to Forvever. Romantic Warrior is a good summary of RTF. Al is
>only 19 on the album, yet is great.
> 
>>
>>What about great guitar albums like Steve Vai's Passion and Warefare?
>>There must be alot.  Appreciate any help. Email please (will summarize
>>if much response).  Thanks.
>
 You may check out some Spyro Gyra. They've got some good sounding stuff.
"Stories without Words" is one of my favorites.  Also try Brian Auger and
the Oblivion Express.  That is if you can find it.  He's considered one of 
the first fusion bands.  Lately he's been touring with Eric Burdon. 
Also, try some of Miles Davis latest works.  I saw his last tour and some 
of his newer stuff is excellent. (along with his older stuff ) 

Vince Suttmiller - NASA Lewis Research Center Cleveland, Ohio
From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 16 Apr 92 20:23:27 GMT
Organization: NCR E&M Columbia SC.

In article <74117@netnews.upenn.edu> bae@eniac.seas.upenn.edu (Kyung Nam Bae) writes:
>
>I think he is right.  This is just my opinion.  Try this, get a CD and an
>the same on album.  Play them both (of course you need a quality turntable)
>next to each other.  You can tell a big difference (at least I can).  I
>personally like the analog sound.
  
I think Neil loses credibility when he makes statements about what a "dark age this
is for music".  That people will say, "the digital age was terrible".  

Bottom line, every one agrees that the *average* CD player in the *average* person's
house is better than the *average* turntable that is in the *average* person's closet!

That doesn't sound like a bad thing to me.

Also, Kyung hit the nail on the head, it is a personal preference.  Neil implies
that it is more than that, we are being cheated in the digital age.

Analogly Yours,
Elliott New


P.S. - I'd like to see what the "noise" level of a needle scraping thru a vinyl
record is... on an average turntable and on a $10K turntable.  Seems like it
has got to be pretty damn high.  Hell, just listen to the noise as the needle
makes its way from one song to the next...  can't you audiophile's hear that?!!
Now, analog tape, that's a different story, but Neil seemed to be partial to LPs over CDs.
Newsgroups: rec.music.makers,alt.guitar
From: timk@meaddata.com (Tim Klein)
Subject: Guitar and Guitar School mags wanted
Organization: Mead Data Central, Dayton OH
Date: Mon, 6 Apr 1992 13:14:04 GMT
Distribution: usa


I'll pay $5 each plus postage if you'll sell me at least two of these,
in near-mint condition:

Guitar School  Sept. 91
Guitar for the Practicing Musician  Jan. 88
Guitar for the Practicing Musician  June 90
Guitar for the Practicing Musician  Oct. 91


===========================================================================
Timothy Klein                 I wish TV had a knob so you could turn up
timk@meaddata.com             the intelligence.  The one marked Brightness
...!uunet!meaddata!timk       doesn't work.      -- Gallagher

Newsgroups: rec.music.makers,alt.rock-n-roll
From: gphelan@isis.cs.du.edu (Greg Phelan)
Subject: King of the Hill lyrics?
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Tue, 14 Apr 92 20:39:42 GMT


Does anyone have the lyrics to roger Mcgwinns "King of The Hill" ?
E- mail or post

Thanks

Greg

Xref: sparky rec.music.makers:5449 rec.music.synth:7523
From: nick@dcs.ed.ac.uk (Nick Rothwell)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Re: MIDI clock & FSK
Date: 6 Apr 92 11:29:22 GMT
	<hjv.702415637@groucho.phil.ruu.nl>
Organization: Friends of the Salter Duck
In-reply-to: hjv@phil.ruu.nl's message of 4 Apr 92 19:27:17 GMT

In article <hjv.702415637@groucho.phil.ruu.nl> hjv@phil.ruu.nl (Hendrik Jan Veenstra) writes:

   MIDIclock is *not* a counter. It's just a pulse-train, sent at a rate of 24
   pulses per quarter note. So when syncing e.g. a tape and a sequencer with
   MIDIsync, it's not possible to start the tape somewhere in the middle of a song
   and then having the sequencer chasing to the right time-stamp - because there
   is no time stamp. For such purposes you need some kind of realtime-sync, such
   as SMPTE.

Sorry - can't resist: "BZZZT! Wrong, but thanks for playing."

You have to understand that there are two kinds of sync: realtime
(hr/min/sec/frame and bar/beat/pulse). You need the latter to lock two
sequencers which don't have the same notion of tempo map (and even if
they do, since I suspect you'd get jitter and drift otherwise).

You *can* position with the MIDI clock protocol (as opposed to the
clock messages themselves) by using Song Position Ptr. This lets you
position to the nearest 6 pulses. I know, 'cos I run MAX and Performer
and cue Performer from MAX using SPP and MIDI clock, and it works.

   So, although MIDI clock is sent at the rate of 24 ppq, it *does
   not* COUNT the quarters since the beginning of the song.

This is true. The MIDI clock pulses themselves are just pulses.

The term "MIDI clock" is totally misleading, btw. It's not a clock.

Nick.
--
Nick Rothwell, LFCS, Edinburgh | Mark X here if article is a gift .. .. .. (X)
             nick@dcs.ed.ac.uk | Il s'agit d'un cadeau
Mentation Consultancy Services | or a sample of merchandise .. .. .. .. .. ( )
   cassiel@cix.compulink.co.uk | d'un enchantillon de marchandises
From: chang@ADELPHI-ASSB01.ARMY.MIL (Forrest Chang)
Newsgroups: rec.music.makers
Subject: Drummers are cool AND technology is cool
Date: 13 Apr 92 21:26:14 GMT
Article-I.D.: adelphi-.9204132126.AA02719

>I know that if I ever form a band (right now I just play with my 4
>track, drum machine, keyboards and guitar for fun), I have no desire
>to have a drummer on stage, unless he's willing to play an Octopad or

	The problem here is you don't have the interaction with a live,
coherent, creative rhythmic force.  Drum machines are good for composing
on your own, repetive rhythm backing to jam/noodle over, getting a decent
sound on tape with little effort.  But you have to program them, they
can't, so far, respond to the other intruments, i.e. dynamics, tempo changes,
long drawn out endings to songs in mid seventies hard rock vein, etc.
I think that if you have the chance to work with a creative, competent 
drummer who's on your wavelength, you'd change your mind.

>equivalent.  Real drums are too large, too loud and too much bother.

	Real drums can be quite loud, tho' I know two drummers who are not.
One is just "god with the sticks", he's so good he can play just about any
lick at any volume, the other guy just made an effort not to be loud.
Admittedly my drummer on his acoustic TAMA set is TFL (too loud), we
used to put him in another room and close the door and he was still too
loud which is why I bought a simmons drum kit for him to bang to his delight
and still not kill neighbors.

>Don't take this as a flame against drummers.  I would rather have a
>real piano on stage, but I will almost certainly just use a synth
>instead (and probably supplemented with sequences at that).

	Speaking of electronic vs. acoustic drums, Mike (said drummer)
loves the the simmons kit.  Admittedly the sounds aren't that great and
it doesn't quite feel the same or have the response of an acoustic set,
it allows him to cut totally loose and not hurt anyone.  We will be adding
an alesis D4 as a sound module to midi'd to the drum brain and are trying
to figure out how to electrify the symbols, we're probably going to make 
a setup of a foot switch and this trigger stick thing (some product he
saw in a music store in NY) for the high hat, and either a dog frisbee thing
(like some other guy who made his own kit for the D4) or damping the cymbals
and putting piezos on them.  

	Fo

no signature needed
Newsgroups: rec.music.makers
From: paulk@ecs.comm.mot.com (DQ518 Paul Kuban)
Subject: Re: Pro Reverb and  the Vintage SCAM
Organization: Motorola, Inc.
Distribution: usa
Date: Wed, 15 Apr 1992 17:15:58 GMT
Keywords: vintage, classic, overpriced, firewood


>   Here in Portland (OR), I was in a used guitar store and saw genuine
>    pieces of crap, stuff that they sold in K-Mart and S&H Green Stamp
>    Redemption Centers when I was a kid.  (Does the name Teisco Del Ray
>    ring bells for anyone?)  This stuff was ticketed and SELLING for
>    prices in the $300-400 range.  The cat that owned the shop told me
>    that people who had played in garage bands in the 60's and were now
>    doctors or lawyers were buying these logs faster than he could find
>    them at garage sales.


I've got a Teisco Del Ray that I let my 2 year old smash/throw/etc. in order to 
keep him away from my good guitars.  I'll sell it for $300-$400 :)

Paul
From: dcampbel@timshel.austin.ibm.com (David L. Campbell)
Newsgroups: rec.music.makers
Subject: Re: Dis-information about pans (was Steel Drums)
Date: 7 Apr 92 15:56:29 GMT
Organization: IBM Austin, TX


In article <309@sousa.ltn.dec.com> phillips@nwaces.enet.dec.com (Errol M. Phillips) writes:
>skipa@milton.u.washington.edu (Skip Albertson) writes:
>>afo@apollo.HP.COM (Aaron Oppenheimer) writes:
>>>Are all drums 'tuned' to same way? Is C always going to be in the same
>>>place on every drum?
>
>>There ARE 'standard' pans!  These were developed many years
>>after the first drums were pounded-out in Jamaica.  Probably
>>due to European influences (i.e. the first steel drummers
>>made their own pans and learned to play them without regard
>>for someone else playing it... everyone a little bit different)...
>>and if you tried to play someone else's, you were screwed!
>> 
>>If I was buying a lead pan, I would get a standard pan.  If you
>>REALLY want the layout of a standard lead pan, E-Mail me and
>>we can arrange something by snail-mail (US post)!
>> 
>>alberts@apl-em.apl.washington.edu
>
>SET High FLAME ON
>
>ABSOLUTE BULL SHIT. Gets the facts before writting this kind of crap
>all over the net misinforming folks. Yes I am mad damm mad because you
>should keep your stupid trap shut before running that crap.
> [ .. lots of interesting stuff about pan drum history .. ]

Geez -- you could stand to skip that second cup of coffee in the
morning!  After reading your article several times over, there
weren't all that many errors in the post you were responding to.
At least none that really merit that kind of treatment.  So he
got his history wrong -- you should enlighten him, but you don't
have to slam him.

>Also where the hell you get "due to European influences (i.e. the first steel 
>drummers....)" . Was it the Europeans that gave the Africans drums? The
>only European influence is the fact that the first pan was tune to the
>European musical scale.

I believe that the influence referred to was the tuning.  Nowhere did he
say that Europeans gave the Africans drums.

>Now what the hell is a standard pan?

From the context of the original article, I would assume that it is
a pan tuned European style.  Wasn't that obvious?

>Anyways, I had plan to post some info to net about pans but this crap just
>got me p*ss*d.

Please do!  But cool down first.

>Set FLAME/OFF.

Turn WATER/OFF.


David.
--
+----==== opinions expressed do not represent those of my employer ====----+
| David L. Campbell, IBM PSP Austin       | "After all, he was the walrus. |
| INET: dcampbel@ajones.austin.ibm.com    |    I could be the walrus too." |
| IBM TR: dcampbel@timshel.austin.ibm.com |               FBDO             |
Newsgroups: rec.music.makers
Subject: Re: Usenet Tape depression sets in.
From: doug@doug.ksc.nasa.gov (doug hammond)
Date: 10 Apr 92 13:57:48 EST
Organization: NASA - Kennedy Space Center

In article <JGJ.92Apr8130220@amber.ssd.csd.harris.com> jgj@ssd.csd.harris.com (Jeff Jackson) writes:
>
>I have an hypothesis about engineers and music, or at least software
>engineers and music.  We spend our entire day thinking about and in
>precise algorithms, tracing our way through deterministic (usually :-)
>systems, dealing with life through non-emotional, scientific
>objectivity.  In short, Computer Programmers/Software Engineers are
>nerds.  And we despartely want to feel, to get away from silicon and
>to our soul.  But it isn't easy.  And we approach it as a technical
>problem.  What is the algorithm for playing with feeling?  Our
>instinctual reaction to the problem is to throw hardware and software
>at it.  But doesn't work (or at least it hasn't for me ... yet).

Speak for yourself, John...

I've been a musician for 22 years, way before I even took my 1st algebra
class, let alone became any kind of engineer at all.  In other words, the
"musician way of thinking" took over my brain long before the "engineer way of
thinking" did.  What you have voiced is a popular stereotype, I believe.  True
in some cases, no doubt, probably accounts for a lot of the sterility I hear
in some music these days.  But I can't even imagine trying to apply my problem
solving technique to my songwriting/playing.  It's apples & oranges, my friend.

I haven't forgotten how to feel, just because I became an engineer.  I would
suggest that anyone who has is in serious need of some fresh air.  It's just
a job...

Music exercises the right side of my brain , and gives rest to the overworked,
overrated, and over-emphasized left side.


Doug

"science & technology, the new mythology, look deep inside, ...empty..."
From: bonobo@Ingres.COM (David Victor)
Newsgroups: rec.music.makers
Subject: Re: FAQ (or Where to send my tape?)
Date: 8 Apr 92 17:50:53 GMT
Reply-To: bonobo@Ingres.COM (David Victor)
Distribution: na
Organization: Ask Computer Systems Inc., Ingres Division, Alameda CA 94501

In article <1992Apr6.154616.8370@mnemosyne.cs.du.edu> dpelton@isis.cs.du.edu (Dennis Pelton) writes:
>In article <01050130.09cdkr@trail.sharpstone.com> asp@trail.sharpstone.com writes:
>>Hi everyone,
>>
>>Figuring this is an FAQ but Where does one send their tape?  Does
>>buying these lists of record producers *really* the way to go?
>
>Hey, this has got to be a popular subject.  If anyone has a, like,
>way-cool answer to this one, please post it.  We'll get lots of
>discussion, I'm sure.

Speaking as someone who's sent out close to one quadrillion tapes, I'd
have to say that mostly what sending out tapes with the "shotgun
approach" does is help keep the U.S. Postal service in business.
You're chances of someone who can do anything about signing you
actually hearing your tape approaches nil.

However, there are things you can do to enhance your tape's chances of
being remembered.  At least do the regular stuff (best song first,
ideally three songs max, best-sounding mix you can afford).  

One really good thing to do is to send out query letters which
basically tell a little about yourself and ask if it's okay to send a
tape.  For one thing, it's cheaper than sending a tape to everybody,
and it's a lot easier to put together a huge mailing campaign of
letters only (just a little work with the word processor).  The ones
who are accepting unsolicited tapes will either write or call you
back.  You can then address your tape/bio package to the correct person
and be reasonably assured of some kind of response, one way or the
other.

Sometimes, certain record companies and producers have "codes" which
prevent unsolicited packages from ever making out of the mail room.  
You can gain access to these codes, usually by speaking to somebody
who's responding to your query letter.  The codes will change from
time to time, for obvious reasons.

In my experience, I've found that a short, clever cover letter sent
with your tape usually gets the best response.  It's my belief that a
boring letter can actually be an impediment to their remembering you.

Good luck!

-David Victor
Newsgroups: rec.music.makers