HDTenEightyP/NetNews huggingface dataset:
X-Delivery-Notice:  SMTP MAIL FROM does not correspond to sender.
Newsgroups: rec.music.synth
Date:         Thu, 8 Oct 1992 13:44:00 CET
From:         "CRI/CD/OS; Rene de Bie" <CRISRB@RULMVS.LEIDENUNIV.NL>
Subject: Re: Cakewalk to MIDI convertion utility
Comments: To: "Redistribution of rec.music.synth"
              <SYNTH-L%AUVM.bitnet@MIZZOU1.MISSOURI.EDU>

By the way , where can I get the cakewalk for win demo?

Rene de Bie - CRI - University Leiden - Holland
Mail   :P.O.Box 9512 - 2300 RA Leiden - The Netherlands
Phone  :+31 71 277028/276921
Xref: sparky rec.music.synth:16176 rec.audio.pro:1917
From: metlay@netcom.com (metlay)
Subject: Re: DSS samples: ftp site? Trade?
Summary: Negativland
Organization: Atomic City
Date: Thu, 8 Oct 1992 19:09:55 GMT

In article <1992Oct7.153913.22284@magnus.acs.ohio-state.edu> mgunders@magnus.acs.ohio-state.edu (Mark T Gunderson) writes:
>    Hey Metlay, get your U2 copy yet? Negativland's just released a CD
>and magazine regarding their whole legal debacle surrounding it.

The book, with CD interview bundled, is called "The letter U and the number
two." And yes I am in the process of getting a copy of U2, from Dan Harkless
who is using the opportunity to extort Xpander sounds from me, the lousy bum.




-- 
metlay            | and she's a master of return hitting          
atomic city       | giving rhythm to her posts
                  | so you read her and think hey it sounds good
metlay@netcom.com | and wish her posts had a soundtrack too    (f. ercolessi)
Newsgroups: rec.music.synth
From: dce@smsc.sony.com (David Elliott)
Subject: Re: I've just about had it with Performer. How much is Vision?
Organization: Sony Microsystems, San Jose, CA
Date: Sat, 10 Oct 92 01:23:55 GMT


In article <9210082011.aa29484@gate.demon.co.uk>, cassiel@cassiel.demon.co.uk (Nick Rothwell) writes:
|> What's the street price for Vision? Is there a trade-in deal? It's a shame
|> it's not as good as Performer for composition and arrangement, but if Doug
|> Wyatt's work on OMS is anything to go by, it'll at least work.

Thanks for the info on Performer.  I guess I won't waste my time trying
to use it until these problems get resolved (too bad, because I
really like it for some things).

Vision basically costs the same as Performer.  That is, you should be
able to get it for around US$350, and that price includes a copy of
Galaxy (which can be upgraded to Galaxy+Editors for something like
$129).

There is a trade-in offer for Studio Vision.  Anyone with a $495 list
sequencer can upgrade to Studio Vision for $500, and the upgrade
includes Galaxy.  I don't know if there is a trade-in offer to go from
Performer to Vision.

My only complaint about Opcode is that they don't give breaks to
existing customers.  I upgraded from Sequencer to Vision, and bought
Galaxy and upgraded to Galaxy+Editors.  If I upgrade to Studio Vision,
I get a free copy of Galaxy, which I already have, and I don't get any
breaks on the upgrade or hardware.  In other words, it makes no
difference whether I upgrade Vision or Performer to Studio Vision.
Opcode told me a few months ago that they were looking into putting
together a special deal, but I haven't heard anything.

--
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."I take my arms and I wrap them around my art." - F
From: ipc@otter.hpl.hp.com (Ian Crighton)
Newsgroups: rec.music.synth
Subject: "Crystal EP" on the M1?
Date: 15 Oct 92 14:18:36 GMT
Organization: Hewlett-Packard Laboratories, Bristol, UK.

Having had great success in getting a "Surf and Seagulls" patch from
Anthony Becker, I'd like to ask other M1.programming.experts for 
another voice.

Do you know of a good sparkling Rhodes type voice for the M1? I use 
E.Piano1 a lot and I love it, but I really need that processed, sparkly 
feel that seems to get used in various ballads quite a lot. I remember 
hearing a patch for the DX7 called "Crystal EP" that was close to the
ideal. Any ideas anyone?

BTW, I have no means to electronically dump patches. What I need is a
good old ascii text description of the voice parameters that I can program 
in myself. Sorry, but I'm still in the stone-age MIDI-wise.

-----------------------------------------------------------------------------
Ian Crighton   Hewlett-Packard  Computer Peripherals Bristol, UK   
                                                      ianc@hpcpbla.bri.hp.com
-----------------------------------------------------------------------------
Newsgroups: rec.music.synth
From: rbd@eo.soest.hawaii.edu (Roger Davis)
Subject: Re: Emu Proteus/2 likes/dislikes
Organization: School of Ocean and Earth Science and Technology
Date: Thu, 8 Oct 1992 20:55:49 GMT

> I'm thinking of purchasing a Proteus/2 for my Dad.  He's retired, and  
> I'm setting up a synth setup for him to transcribe some never-performed  
> and some yet-to-be composed compositions.
>
> His compositions are for traditional instruments, so he doesn't need the  
> electric-ice synth patches.
> ...
>
> What are y'all's reactions to this or the others in the Proteus series?
 
I bought a P/2 for the purpose of creating 'mock-ups', if you will, of
compositions for traditional orchestral instruments. I'm basically quite
satisfied with it in this regard, but I'd bear the following in mind:

(1) It's got no piano, a large oversight for a box that's supposed to
be designed with instrumental composers in mind. I bought a P/1 shortly
after it hit the market (and well before the P/2 was available) that I
would gladly get rid of now that I've got the P/2 except for the fact that
it's got a piano (if not a great one) and the P/2 has none.

(2) Many of the samples have an unalterable vibrato that's exceedingly
annoying with sustained notes. It's a dead giveaway that you're hearing
a sampler instead of the real thing.

(3) It's easy enough to get sound out of the box, but be prepared to
make a big investment in some serious sequencing software if you really
want to make compositions listenable. I spend an immense amount of
time editing continuous controller data to get decent phrasing.

(4) Like any other sampler (at least in its price range), it's very
limited in its range of articulation. There are lots of ways to bow a
violin, for example, but you're going to get very few of them with a P/2.

That said, I think it's a pretty amazing gadget with a definite use.
I don't consider the material I've generated from it to be the definitive
performance of my work, but it's good enough to (a) provide a substantial
amount of immediate gratification at hearing my work 'played', and
(b) be useful in providing human performers with insight into a piece
that is difficult or impossible to glean from merely looking at a
notated score.
-- 
Roger Davis
University of Hawaii/SOEST
rbd@soest.hawaii.edu
Newsgroups: rec.music.synth
From: lawrence.lougheed@rose.com (lawrence lougheed)
Subject: Homespun Tapes
Organization: Rose Media Inc, Toronto, Ontario.
Date: Sat, 10 Oct 1992 02:05:38 GMT
X-Gated-By: Usenet <==> RoseMail Gateway (v1.70)


Date Entered: 10-09-92 21:00
Any comments, pro or con, regarding the Homespun video tapes?  I have
been considering trying the David Cohen Blues Piano Tape 1.  Thanks.
---
   OLX 2.2   Internet: lawrence.lougheed@rose.com
   RoseMail 2.00 : Usenet: Rose Media - Hamilton (416) 575-5363
From: WWEBER@UCS.INDIANA.EDU (W. John Weber)
Newsgroups: rec.music.synth
Subject: RE: AT&T Bell Labs -- DISQ Digital Mixer
Date: 8 Oct 92 16:42:13 GMT
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU

>     So, what's the deal?  What group built this thing?  Is Bell Labs (or DISQ
>     Inc) getting into the synth business?

     More like the digital console business from what I hear.  This thing uses
an SSL (a half million dollar recording console) as a control surface.  All
audio is handled by the cube, however.  The A/D and D/A are supposed to be
impecable, and the DASP algorithms are supposed to be fantastic.  If I recall
correctly, George Massenberg (or was it Rupert Neve?) had a hand in the design.
I don't believe it was designed to have any synth capabilities.... but with
processing power like that, it'd be pretty easy.

______________________________________________________________________________
W. John Weber                          | It'd be nice if we could set all this
Bitnet: wweber@iurose                  | [sound equipment] up and look at it
Internet: wweber@ucs.indiana.edu       | for a while, then tear it down, and
P.O. Box 22, Bloomington, IN 47402     | not have to deal with the performers.
Phone: (812)330-4965 (touch-tone pager)|                          - Anon.
_______________________________________|______________________________________
Newsgroups: rec.music.synth
From: bsanders@mrcnext.cso.uiuc.edu (Barry Sanders)
Subject: Powerful PC Soundcards
Organization: University of Illinois at Urbana
Date: Thu, 15 Oct 1992 16:32:46 GMT

Recently, when doing a keyword-search throughout the currently active NetNews
article database (like 1200+ newsgropes), I noticed a TON of postings with a 
lot of excited talk about several powerful new heirs to the SoundBlaster throne.
Though most of the talk surrounded the gaming potential for these new boards,
explosions and jet sounds are just part of the story.  These new boards pack a 
technological punch, esp. for $200ish. We're talking 16-bit stereo A/D & D/A,
Hard-Drive recording utilities (!), polyphonic stereo 16-bit sample playback, 
built-in MIDI ports (naturally), SCSI port (!!! Intriguing...),  and even an
on-board general-purpose DSP chip (the new Sonia board, $349).  What does this
say to you, the electronic musician?  If you think that PC sound cards are just
bad 8-bit 4-op FM synths in disguise, guess again.  These are more like sound
workstations on-a-card!!  And a *lot* cheaper than most 16-bit samplers.
 To my previous posting on this subject, I received 2 replies.  One respondent
said that the cards would lack the horsepower (paraphrased) to do polyphonic
sample playback (ie: the essential function of all samplers and sample-playback
devices).  I would tend to disagree, since the specs of the Gravis UltraSound,
in fact, cite its polyphonic stereo sample playback capabilities.  Additionally,
it is my understanding that one or more of these new boards have on-board CPU's
(what kind, I don't know) which perform essentially all of the necessary 
operations for sample playback (get the samples, clock them to the DAC, etc.)
Well, of course, the question remains whether or not you could really get one
of these boards to do what a sampler can do:  digital filtering, pitch & volume
modulation, enveloping, dynamic loop modulation, etc.  Quite intriguing...

Barry 
bsanders@mrcnext.cso.uiuc.edu

Newsgroups: rec.music.synth
From: colleyck@ucunix.san.uc.edu (Buckweat)
Subject: Cakewalk Demo 
Organization: University of Cincinnati
Date: Thu, 15 Oct 1992 05:45:19 GMT


Does anyone know where I can get (ftp) an older demo version of cakewalk.. 
....one that doesn't require MS Windows. If you only know the name, that
would help tremendously. I have tried every name I can think of on 'archie',
but to no avail. Any help would be GREATLY appreciated..

Thanks a bunch!
colleyck@ucunix.san.uc.edu

P.S.  Please send E-Mail if you can...I don't have very frequent access
      to the News feed.
From: macpherson@earvax.waisman.wisc.edu
Newsgroups: rec.music.synth
Subject: RE: Sources for CEM VCOs? (Fixing a Roland SH101)
Date: 7 Oct 92 15:20:15 GMT
Organization: Waisman Center, University of Wisconsin-Madison


 rjt2@bnr.co.uk (Richard J. Thomas) writes:....

>Seeing all this resurgence in interest in Roland SH101s spurred me on to try
>to fix one I acquired from a friend a while back. I have traced the problem to
>the VCO which quite happily sits buzzing away at 40kHz and not much else. The
>device is as follows:
> 
>CEM 3340 (Curtis Electromusic Specialities)
> 
>I have the full data sheet on it and it appears the circuit around it is OK.
>Hence I need a source for a new one.
> 
>Anybody know where I can get them?

Try PAIA. I just got their catalog, and they are carrying the CEM chips again.
Their address is:

	PAIA Electronics
	3200 Teakwood Lane
	Edmund, Oklahoma 73013
	(405) 340-6300

Hope this helps.

ewan.



Ewan Macpherson | Hearing Development               | " Support your right
                | Research Laboratory               |   to keep and arm bears."
                | University of Wisconsin - Madison |
Newsgroups: rec.music.synth
From: David Cortright <davidc@engin.umich.edu>
Subject: Re: Wendy Carlos, where are you???
Date: Wed, 14 Oct 92 15:40:39 EDT
Organization: University of Michigan
X-Useragent: Nuntius v1.1.1d9
X-Xxmessage-Id: <A701F1B3AC01C27E@forrestal.engin.umich.edu>
X-Xxdate: Wed, 14 Oct 92 15:48:03 GMT

Sure you're sensitive, in your own narcissistic way, but obviously not
toward others. 

 First, does the personal life of an artist really matter when it should
be the final output that we judge?  While I am not "pro sex change"
anymore than I am "pro abortion", I certainly don't look down upon her
because she had one.  Why that would be discrimination, and no educated
person would do that!

Look at her new album: she recorded it entirely in the digital domain,
with Dolby Surround Encoding, AND she used several alternate tunings. 
While it may not be an artistic masterpiece, the audio technology
involved is most definitely cutting edge.

And if you want to drag politics into this, I should simply say that the
Bush/Quayle ticket is no more appealing.  Their campaign is based
primarily on the hopes of making Clinton look bad, and not making
themselves look good.  Also,  CNN pointed out that as much as Quayle
criticized Clinton for not telling the truth, Dan himself gave false
facts and figures on several separate occasions last night.  Maybe I'll
vote Libertarian this year.
							-Dave Cortright
From: dan@cafws2.eng.uci.edu (Dan Harkless)
Newsgroups: rec.music.synth
Subject: Re: anyone familiar with Dick Hyman Moog albums?
Date: 8 Oct 92 21:35:01 GMT
Organization: University of California, Irvine

In article <ukevc.718575134@mcl> ukevc@mcl.ucsb.edu (Ink Killed Crayons) writes:
>
>So yeah, I grew up listening to "The Topless Dancers of Corfu", "Legend
>of Johnny Pot", "The Moog and Me" (it really WAS in the soundtrack to
>MASK?  My grammar school friend told me it was , and i always meant
>to see that movie...)

	Yes.  There was a scene where they went to the fair - it was played in
the funhouse.

------------------------------------------------------------------------------
| 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< |
------------------------------------------------------------------------------
From: Randomizer@cup.portal.com (Aron Fingers Nelson)
Newsgroups: rec.music.synth
Subject: Re: What's With Wine Country (Prophet Stuff)
Date: Wed, 14 Oct 92 23:42:28 PDT
Organization: The Portal System (TM)
Distribution: world

>  A knob for the front panel is
$20!  Who the hell are these people?  Why are they charging so much?

I'll say one thing for Wine Country, they don't hold back when charging
us poor musicians.  I just got their new flyer $450 for MIDI retrofit
for the PRO one.  Was $250.

Oh well....

Aron_Nelson@cup.portal.com
Newsgroups: rec.music.synth
From: mikelle@vaxb.gbus.virginia.edu (Eddie Mikell)
Subject: WANTED Mirage (keyboard or rack) or TX-7
Keywords: Mirage
Organization: Darden Center, University of Virginia
Date: Thu, 15 Oct 1992 12:35:55 GMT

Greetings:

I'm interested in buying a Mirage or a TX-7.  The units must be in good 
playing condition (minor scratches and dents okay) and have the manauls.

Thanks

Eddie Mikell
mikelle@vaxb.gbus.virginia.edu
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-VMS-To: IN%"SYNTH-L@AMERICAN.EDU"
Newsgroups: rec.music.synth
Date:         Fri, 9 Oct 1992 09:07:00 EDT
From:         WSCOTT@ACS.WOOSTER.EDU
Subject:      Re: WANTED:Used Drum Machine/Zoom
Comments: To: SYNTH-L@AMERICAN.EDU

Speaking of his 1972 way-cool fuzzy flute, Dennis Pelton says:
"It was, in fact, cool as all get-out.  Fortunately it was a little
too late (historically speaking) to be groovy."

I think, in 1972, it was to late to be cool, too. It was probably
far out.

Bill Scott
Newsgroups: rec.music.synth
From: klink@cbnewsl.cb.att.com (steven.r.klinkner)
Subject: AT&T Bell Labs -- DISQ Digital Mixer
Organization: AT&T Bell Laboratories
Distribution: att
Date: Wed, 7 Oct 1992 15:52:22 GMT

This is from the Bell Labs electronic news:

>>>> DSP3 -- Bell Labs, along with leaders of the recording industry, debuted
> the DISQ Digital Mixer at the Audio Engineering Society convention in San
> Francisco on October 2.  The soul of the DISQ system is the AT&T DSP3
> Parallel Processor, a 22-inch cube with the supercomputing power of an early
> Cray, capable of more than two billion floating point operations per second.
> The DISQ system works with the most popular analog boards in use and is
> software-driven, facilitating migration to future technological
> advancements.  DISQ, Inc., an independent company, has been formed to market
> and distribute the $425,000 system targeted at high-end recording studios of
> commercial music.

So, what's the deal?  What group built this thing?  Is Bell Labs (or DISQ
Inc) getting into the synth business?  Is this part of a larger plan for
an all-digital music production system (digital synth --> digital mixer -->
DAT/CD)?  Or perhaps a digital music network? 

It seems like these should be marketable ideas.  Speculation?  As usual,
no proprietary info, just rumors please ;-)  

-----------------------------------------------------------------------------
Steve Klinkner                AT&T Bell Labs                 srk@mink.att.com
-----------------------------------------------------------------------------
Newsgroups: rec.music.synth
From: David Cortright <davidc@engin.umich.edu>
Subject: Re: Wendy Carlos, where are you???
Date: Wed, 14 Oct 92 15:41:32 EDT
Organization: University of Michigan
X-Useragent: Nuntius v1.1.1d9
X-Xxmessage-Id: <A701F1EC0902C27E@forrestal.engin.umich.edu>
X-Xxdate: Wed, 14 Oct 92 15:49:00 GMT

Sure you're sensitive, in your own narcissistic way, but obviously not
toward others. 

 First, does the personal life of an artist really matter when it should
be the final output that we judge?  While I am not "pro sex change"
anymore than I am "pro abortion", I certainly don't look down upon her
because she had one.  Why that would be discrimination, and no educated
person would do that!

Look at her new album: she recorded it entirely in the digital domain,
with Dolby Surround Encoding, AND she used several alternate tunings. 
While it may not be an artistic masterpiece, the audio technology
involved is most definitely cutting edge.

And if you want to drag politics into this, I should simply say that the
Bush/Quayle ticket is no more appealing.  Their campaign is based
primarily on the hopes of making Clinton look bad, and not making
themselves look good.  Also,  CNN pointed out that as much as Quayle
criticized Clinton for not telling the truth, Dan himself gave false
facts and figures on several separate occasions last night.  Maybe I'll
vote Libertarian this year.
							-Dave Cortright
From: skipa@milton.u.washington.edu (Skip Albertson)
Subject: Yamaha TG500: Opinions???
Summary: Yamaha TG500, Opinions??
Keywords: Yamaha TG500 Opinions??
Organization: University of Washington
Date: Sun, 11 Oct 1992 02:17:17 GMT

Does anyone out there have any opinions on the Yamaha TG500
tone module that is just out?  Evidently it has 64-note
polyphony and the same filters as the SY99.

Thanks in advance for your advice,

alberts@apl-em.apl.washington.edu
From: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Newsgroups: rec.music.synth
Subject: Re: Weird MTP/DW8000 behaviour
Date: 9 Oct 92 18:05:24 GMT
Reply-To: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Distribution: rec
Organization: Control Data Corp., Arden Hills, MN

In article <OLA.92Oct9143715@lesti.hut.fi>, ola@lesti.hut.fi (Ola
Rinta-Koski) writes:
|>
|>  I've noticed a strange phenomenon: when I use the arpeggiator in my
|>DW-8000, all 8 MIDI OUT lights on the MTP blink at the speed of the
|>arpeggio. Funny thing is, no MIDI input from the DW-8000 cable is
|>routed to ANY of the MTP output cables...
|> 
|>  Anybody have any idea about a) what it is the DW-8000 is sending,
|>MIDI-wise and b) why do ALL the lights blink? No other symptoms so
|>far (my WS doesn't register any activity on its cable).
|>--
|>	play the piano drunk                  ola rinta-koski
|>		like a percussion instrument  ola@vipunen.hut.fi
|>until the fingers begin to bleed a bit        jt 3 c 352  02150 espoo 
finland
             
Lemme guess...

Turning on the arpeggiator causes the DW-8000 to start sending
out MIDI clock messages so that external stuff can sync with
the arpeggiator?

Then, the MTP unconditionally blasts MIDI clock to all outputs
to keep potentially everyone listening in sync?

Just a guess... (I own neither)
Alex.

----------------------------------------------------------------
A. T. (Alex) Stagg/ARH215      | INTERNET: ats@udev.cdc.com
Control Data Systems, Inc.     |
4201 Lexington Ave.N.          | fax:      01-612-482-4455
Arden Hills, MN USA 55126-6198 | Voice:    01-612-482-4718
Newsgroups: rec.music.synth
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: ob matrix1000
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Wed, 14 Oct 92 20:38:27 GMT

Polyphony refers to how many notes can be played in all, ie.
if you had a few extra hands or are using a sustain pedal,
how many notes can sound at a given time. 

Multi-timbral refers to how many different sounds can be played
at once on distinct MIDI channels. For example, a Casio CZ101,
Yamaha FB01/TX81z, and almost any modern synth can be made to 
respond with different sounds on multiple MIDI channels.

The Matrix 1000 is not multi-timbral. It responds only to one MIDI
channel, and can only play one sound at a time, but it can play
many notes of that one sound so it is polyphonic.
Newsgroups: rec.music.synth
From: wang@hp4at.eunet.co.at (Wang)
Subject: DP/4 vs. LXP 1 (was: Ensoniq DP/4 questions)
Organization: EUnet EDV-Dienstleistungsgesellschaft m.b.H
X-Newsreader: Tin 1.1 PL4
Date: Fri, 9 Oct 1992 13:30:30 GMT

WSCOTT@ACS.WOOSTER.EDU writes:
: I need some opinions from anyone who has spent time with the DP/4. I
: spent some time in the local dispensary yesterday auditioning the DP/4
: and then compared it to the LXP-1 and, in comparison, it did not sound
: very good at all. 

We had a DP/4 for testing in our studio and compared it to our LXP 1.
It appeared to me that the reverbs o fthe DP/4 are not as good as in the
Lexicon. Diffusion is not enough and long reverbtimes bring up 'looping'
in the decay (aka long time shattering). 
I've to say that we had not enough time to reprogram some reverbpresets and
to check out if it's a principle problem or 'just' the presets.

On the other hand the DP/4 is the most versatile FX-Box I've seen. Some 
presets are really fun to play with (Distortion etc.)

Any further comments on this?? I'm considering an DP/4 for at home ..

Thanks,
/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: st10t@rosie.uh.edu (Bloo Square)
Subject: Ensoniq EPS 16+ (w/ w/o/ Turbo)
News-Software: VAX/VMS VNEWS 1.41    
Organization: University of Houston
Date: Tue, 13 Oct 1992 00:00:00 GMT


Could somebody please give a review on the Ensoniq EPS 16+
Sampling workstation (WITH keyboard)??

Could a person be a one-man-band with just this keyboard?

Any complaints, raves, good-points, bad-points,  etc., is
greatly appreciated!