HDTenEightyP/NetNews huggingface dataset:
From: plate@cdsmn.mn.org (Doug Plate)
Subject: Re: Microphones
Organization: Dicomed, Inc.
Date: Tue, 29 Sep 1992 15:20:52 GMT

In article <1992Sep28.221603.9604@nmsu.edu> mmalenfa@dante.nmsu.edu (Michael Malenfant) writes:
>In an article about 100 back, someone quoted prices for the Sm-57
>and -58 (we got a new editor and i can't figure it out yet, so...)
>and the prices were for the SM-57 LC and SM-58 LC, not the "real"
>57's and 58's...The non-LC models are about $100 more in stores
>than the prices given, however...
>
Excuse me, but... doesn't the LC simply mean "less cable" (as in no mike
cable included with the mike).

Regards,
Doug Sr.

Newsgroups: rec.music.synth
From: tonyb@juliet.ll.mit.edu ( Tony Berke )
Subject: Re: Audio Technica 4033 ?
Organization: M.I.T. Lincoln Lab - Group 43
Date: 6 Oct 92 08:46:47

In article <ld1gj3INNfu1@jethro.Corp.Sun.COM> elf@oldearth.Corp.Sun.COM (Ed Fleschute) writes:

>   glatz@emily.uvm.edu gave a super positive review of the Audio Technica 4033 on
>   the net.  I will be getting the H&SR issue where they reviewed this Mic later
>   this week.

>   Before I spend a bunch of money I have a few questions:

>       How would the 4033 be as the main microphone in a home studio? ...

At the risk of sounding like I think I know what I'm talking about (I don't),
I'd suggest that a single-pattern mic might not be the best choice for a main
mic.  Of course, the 4033 is inexpensive enough compared to an AKG 414 or the
MG UM70S that you could buy it *and* another good single-pattern mic for the
same price, so maybe that isn't true.

>       How would the AT 4033 compare to others (in it's price range) for a
>       rich, alto-tenor female voice?

The reviews I've read have indicated that the AT4033 sounds pretty much identical
to the AKG414 in cardioid mode.  For what it's worth, I've found that the 414
sounds fantastic on warm-toned female vocalists.  I suggest that you find a dealer
that will loan you a demo version of any mic you intend to buy, and experiment
with it.  Worst-case, you should be able to get someone to rent you a mic and
apply the fee towards purchase if you decide to buy it.

>       Would it be better to get two other Mics, or a stereo Mic, to provide
>       better imaging?

Not knowing what you intend to record, I doubt anyone here can answer that
question.  That said, having a matched pair of good mics on hand can be kinda
handy for various tasks.  I wouldn't sacrifice quality for quantity, though.

>   Ed Fleschute (w/ 415-336-3753)


Happy recording!

Tony
From: sytang@euclid.math.colostate.edu (Shoou-yu Tang)
Newsgroups: rec.music.synth
Subject: Wanted: Kaiwa K5 or K5m
Date: 2 Oct 92 05:03:42 GMT
Distribution: na
Organization: Colorado State University, Fort Collins


  Hello:
  I'm interested in buying an used K5 or K5m, if you're thinking of changing
 your equiptment and would like to sell a K5 or K5m please let me know the
 asking price and the condition of it.

  Thank you.
  Tang
   sytang@euclid.math.colostate.edu
From: be726@cleveland.Freenet.Edu (Joseph A. Ellis Jr.)
Newsgroups: rec.music.synth
Subject: Re: MIDI Songs.....
Date: 4 Oct 1992 18:00:15 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: be726@cleveland.Freenet.Edu (Joseph A. Ellis Jr.)
NNTP-Posting-Host: hela.ins.cwru.edu


In a previous article, davei@comp.lancs.ac.uk (Mr D Ingles) says:

>In article <BvI25p.KvJ@news.cso.uiuc.edu> pms26964@uxa.cso.uiuc.edu (CS223 GRADER) writes:
>>If the MIDI file was made by someone on the net just "playing by ear" and
>
>Or "playing by sight" even. A blind person could 'play by ear' just as well as
>a non blind person can 'play by sight'. I believe that the majority of piano 
>tuners are blind as they can take advantage of 'playing by ear'
>
>>sharing the file with others, is it really copyright infringement if he just
>>posts it to the net?  
>
>I don't believe it is, that is why I am trying to find out about it.
>
>Davei
>


As I said before, it IS infringement, and illegal. It doesn't have to be 'for-
profit', all it has to do is to be unliscensed. Now, if the person is willing
to pay the owner of the copyright a bit over a nickle apiece as the 
'compulsory liscense' fee for _every_ person that has access to the file, then
he can go ahead and post... IF the fee is paid, AND the work has been previously
recorded. Before you jump on this as a "good deal", think about how many folks 
have access to the internet... and how many nickles that adds up to!

-- 
 Joe Ellis  o/~ The Synthetic Filker o/~    |     TesserAct Studios
     Internet:   usr6184a@tso.uc.edu        |       P.O. Box 18577
        GEnie:   J.ELLIS22                  |     Fairfield, OH 45018
    All filked up and no place to sing!     |   New Dimensions In Filk!
Newsgroups: rec.music.synth
From: jmw@tasman.cc.utas.edu.au (John Mark Williams)
Subject: Advice sought about Ensoniq keyboards
Summary: Are they reliable?
Keywords: SQ-2
Organization: University of Tasmania, Australia.
Date: Mon, 28 Sep 1992 23:12:48 GMT

Hi All,

I'm thinking seriously about buying an Ensoniq SQ-2, but I have heard a
couple of rumors that Ensoniq keyboards are not reliable. I'd like to hear
from anyone who can confirm or deny this. Also if anyone out there has a copy
of the Keyboard review of the SQ-2, in the October '91 issue (it's the one
with Hammer's keyboardist), and could fax it to me, I'd be everlastingly
grateful. 

Many thanks,
--
John M Williams, 
School of Health Sciences, University of Tasmania
J.M.Williams@med.utas.edu.au
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: Hope for the Future (was Re: Vintage Synth Re-Issues)
Date: 5 Oct 92 20:50:05 GMT
Article-I.D.: bbx.1502
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <2FA98BE0A06017AF@ACS.WOOSTER.EDU> WSCOTT@ACS.WOOSTER.EDU writes:
>Andrea TONI says:" new extra-useless complicated (RCM)
>techniques " and then lists the SY99 as a one of the good new synths.
>Isn't it the RCM that makes the sy/tg/99/77 a standout? 

Not really.  I have an SY99 and the RCM feature has a rather limited
use.  The vastly improved FM capabilities and resonant filters are
the main draw of the SY77/99 IMHO.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
Newsgroups: rec.music.synth
From: Bob.Weigel@bbs.oit.unc.edu (Bob Weigel)
Subject: Andrea TONI/ K5MP
Organization: Extended Bulletin Board Service
Date: Fri, 2 Oct 1992 20:16:29 GMT


   	Sorry to clog the net with personals, but I cannot return mail
to you under the address supplied Andrea.  Please supply some other way
of responding to your inquiry.  I don't understand how mail can get
to me, but I can't return it.  Oh well,   Thanks, 
						Bob.Weigel@bbs.oit.unc.edu
--
   The opinions expressed are not necessarily those of the University of
     North Carolina at Chapel Hill, the Campus Office for Information
        Technology, or the Experimental Bulletin Board Service.
           internet:  bbs.oit.unc.edu or 152.2.22.80
From: sgs@terapin.com (Stan Sawyer)
Newsgroups: rec.music.synth
Subject: Re: 8bit vs 16bit?
Date: 5 Oct 92 20:29:45 PST
Organization: BBS

>I have an 8-bit ESQ-1, and a 16-bit (I think) D-110.

The D-110 is has 12-bit samples, but does have some 16-bit internal
processing.

  sgs
From: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Mon, 5 Oct 1992 03:36:56 GMT
Subject: Re: Re: MIDI hookups
Organization: no risk to you!
Newsgroups: rec.music.synth

In rec.music.synth, michael@NSMA.AriZonA.EdU (Michael S. Williams) writes:

    Otherwise, short of swapping the OUT and THRU cables of the keyboard
    to the module each time you want to record and playback, you will
    need to merge (via hardware) the keyboards OUT and THRU.

    for under $100, or you could invest in a patch bay, if your rig is eventually
    going to get more complicated.

I think that an inexpensive MIDI thru box could help in this situation, or
even a simple MIDI switchbox.

- Jim 

Newsgroups: rec.music.synth
From: mmalenfa@dante.nmsu.edu (Michael Malenfant)
Subject: Re: Microphones
Organization: New Mexico State University, Las Cruces, NM
Date: Mon, 28 Sep 1992 22:16:03 GMT

In an article about 100 back, someone quoted prices for the Sm-57
and -58 (we got a new editor and i can't figure it out yet, so...)
and the prices were for the SM-57 LC and SM-58 LC, not the "real"
57's and 58's...The non-LC models are about $100 more in stores
than the prices given, however...

I'd use either the 57 or the 58 anyday of the week for anything, including
teaching the kid how to sing.  I worked in this theater a couple years
back and boy, we used those for everything, and they sounded pretty darn
good...and most of the ball screens on the 58's were mashed, the mics were
often dropped of the stage, and the 57's were often used to...

my point is, i stand by shure, even though they pay me nothing...

Michael Malenfant,
mmalenfa@nmsu.edu
"F__K I hate reality
(damn editor...)

Newsgroups: rec.music.synth
From: John M Sellens <jmsellen@taipan.uwaterloo.ca>
Subject: Monthly posting: Roland Sampler Users' Mailing List
Organization: University of Waterloo
Date: Thu, 1 Oct 1992 08:17:02 GMT

This is an automatic monthly posting that provides information
about the "sgroup" - a mailing list of Roland Sampler users
(S50, S550, S220, W30, ...).

Send subscription/deletion/administrative requests to
    sgroup-request@taipan.uwaterloo.ca
The sgroup mailing list address is:
    sgroup@taipan.uwaterloo.ca
Address all group correspondence to this address.  The mailing list
is unmoderated and unedited.

Please send anything else (file requests, etc...) to me:
    jmsellens@watdragon.uwaterloo.ca

There is an FTP archive that includes introductory information, useful
utilities (read Roland disks on your computer), and some samples.
The archive is on taipan.uwaterloo.ca in the pub/sgroup directory.

John Sellens
University of Waterloo
Waterloo, Ontario
N2L 3G1 Canada
519-888-4594
jmsellens@watdragon.uwaterloo.ca
From: jseboldt@pnet51.orb.mn.org (John Seboldt)
Newsgroups: rec.music.synth
Subject: Re: VFX SD best workstation for the money
Date: 29 Sep 92 01:25:03 GMT
Organization: People-Net [pnet51], Minneapolis, MN.

felske@erich.triumf.ca (FELSKE, WAYNE W.) writes:
>In article <717438340.160000.D_NIBBY@UNHH.UNH.EDU>, D_NIBBY@UNHH.UNH.EDU (Dana   Nibby) writes...
>> 
>> 
>>  A number of people have told me that the Ensoniq VFX-SD is the best
>>workstation for the price. (approx. $1000 used is what I can spend)
>>Many have said the M1 has a 'worthless' sequencer, (and only 8 tracks,
>>although I could live with 8 tracks quite nicely) so I've ditched the
>>idea of getting an M1. I just purchased a Boss DR-660 for all my percussion
Another VFX-SD user who says, "go for it!."  If you want freebie patches, the
Transoniq Hacker is about the best Ensoniq specific user magazine, bar none. 
Best band in a box you'll get for the price -- and sound-wise, that
"dark/ambient/noise" category is exactly what drew me to it in the store.

Get the Version II -- better piano waves (still not stunning, though), and
some neat piano resonance waveforms that might suit you.

:  John Seboldt...Minneapolis, MN...                            :
:  As a ham, K0JD...as a human...well, you judge!               :
:     UUCP:{crash, tcnet, petrus, quest}!orbit!pnet51!jseboldt  :
:     ARPA:crash!orbit!pnet51!jseboldt@nosc.mil                 :
:     INET:jseboldt@pnet51.orb.mn.org                           :
Newsgroups: rec.music.synth
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Subject: Re: Keyboard feel (was: Re: CZ101 for sale)
Organization: Digital Equipment Corporation
Date: Fri, 2 Oct 1992 21:08:36 GMT


In article <1680258@hpsad.sad.hp.com>, smithj@hpsad.sad.hp.com (Jim Smith) writes...
>This is one reason why I always play the keyboard of an instrument without
>listening to its output as part of an evaluation.  Maybe they just haven't
>had the right patches, but I've never like playing the Chroma.  I like a
>keyboard that has a bit more resistance at the top, then a bit of give in
>the middle, and then a bit less resistance at the bottom, like the original
>DX7.  But my all-time favorite keyboard action is the Hammond B3.  It
>almost feels like it's pulling my fingers down!  Give me that action in a 
>touch-sensitive, lightweight keyboard, and I'd be a very happy camper.

With your detailed discussion of the varying resistance on a keyboard (my good
piano comes to mind) you make me think about the Chroma keyboard and wonder
why I like it.  Yes, mechanically, it is a simple weighted lever, there's no
action at all.  Now, I really dislike the K1000-series keyboards (Kurzweil),
which are the same thing, but with a lightweight key and a strongish spring.
I can't abide that, it's like playing an old toy Emenee reed organ.  I think
the saving grace on the Chroma is that the lead weight exhibits some piano-like
behavior, and this behavior pleases my fingers and displeases yours.  What
happens when you hit a Chroma key is initially inertia of the key, it resists
your strike, then it accelerates to your finger's velocity, consequently
reducing the back-force on your finger, until you hit bottom, if you play that
hard, or sustain notes.  So, on the Chroma, you throw the key (weighted lever)
where on a piano, you throw the hammer via the key.

A piano has a lot going on, although a good action smoothes this out (like any
good user interface).  As you depress the key, first the dampers are lifted,
and the force of your strike is used to accelerate the hammer (stage 1:
heaviest resistance), when the hammer comes up to speed and is released, you
get reduced resistance, and then you bottom out, and get a little more
resistance back due to not having momentum overcoming the damper springs.

For me, it seems to come down to a preference for "throwing something," if I am
using fine distinctions in velocity.  I don't actually need the mid-strike
behavior of a real action.

Just to point out that I'm not a weighted-keys bigot, for string pads, and
similar things, I want an unweighted keyboard that sets to volume of each note
equal to key depression distance.  I might be able to kludge something like
this by using a synth that allowed me to use poly-pressure as volume for each
note.  This would be good for working inner voices, and fun could be had
computing derivations of velocity and depth for use as another modulator.


Eirikur Hallgrimsson   |    "Rhodes?  Where we're going, we don't need Rhodes!"
eh@ranger.enet.dec.com |
PATHWORKS for Macintosh|

Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-VMS-To: IN%"synth-l@american.edu"
Newsgroups: rec.music.synth
Date:         Mon, 28 Sep 1992 22:51:00 EDT
From:         WSCOTT@ACS.WOOSTER.EDU
Subject:      Effects units for sale
Comments: To: synth-l@american.edu

A:  Alesis MIDIVERB II. 100 presets. Very nice 16 bit reverbs, gates,
     choruses, echoes, multitaps, etc. No programmability. Great sound.
     $100.00


B:  Peavey ADDVERB. Just like a MIDIVERB except its got programmable
     parameters. Nice box. $100.00

Both work perfectly and have never been on the road. The MIDIVERB's
clip light is stuck in the "on" mode. No effect on sound.

Bill Scott
WSCOTT@acs.wooster.edu
216-263-2464
From: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Sun, 27 Sep 1992 17:23:30 GMT
Subject: Re: CZ101 for sale
Organization: no risk to you!
Newsgroups: rec.music.synth

In rec.music.synth, EIVERSO@cms.cc.wayne.edu writes:

 
    >I think the CZ is a great synth for the starting electronic musician!
 
    Agreed.
 
    >The possible sounds are great, and it's a hell of a lot better deal than
    >paying $500 for a DX-7!!!!!
 
    Agreed.
 

One very nice thing about the DX7 is its keyboard.  It's velocity-sensitive,
has channel aftertouch, and (IMHO) feels great to play.  The CZ keyboard,
on the other hand, is small, short, feels mushy (IMHO), and is not
velocity- or aftertouch-sensitive.  The DX also has 16 moderately powerful
voices.  The CZ has 8 voices, which must be layered (which leaves 
4 effective voices) to achieve many of its best sounds.  It DOES, however,
have very nice envelope generators, and is multitimbral (with some
work).

    >(which is what they're still going for as far as
    >I know....now that's a real ripoff!!!)
 
    Well, at least they aren't going for the original list of $1395.

Uh, try $1995.  I paid $1700 for mine in 1983, and thought I got a pretty
good deal.  I was able to sell it three years later for $1200.

At one point, I was using a DX7 with a CZ101 sitting on top of it in a
band I was in...

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

Newsgroups: rec.music.synth
From: EIVERSO@cms.cc.wayne.edu
Subject: Re: CZ101 for sale
Organization: Wayne State University, C&IT
Date: Sun, 27 Sep 1992 01:45:44 GMT

In article <1992Sep26.074013.15087@vax5.cit.cornell.edu>
lzvx@vax5.cit.cornell.edu writes:
 
>In article <168698996.EIVERSO@cms.cc.wayne.edu>,
>EIVERSO@cms.cc.wayne.edu writes:
>> In article <1992Sep20.045158.28416@wam.umd.edu>
>> gcasa@wam.umd.edu (Gregory John Casamento) writes:
>>>Hi.  I am selling my CZ101 synthesizer by Casio.   It is in perfect condition.
>>>I have the original manuals and documentation.
>>>I will accept the best offer which is given me for it.
>>>I am asking around $350 dollars...
                      ^^^^
>>>again I *WILL* accept the best offer.
>> Which should be around $90, which is what I paid for mine.
>>>thanks,
>> No problem.
>   So'r'ya saying I got ripped off if I paid $100 for mine just a few months
>ago?
 
No.
 
>I think the CZ is a great synth for the starting electronic musician!
 
Agreed.
 
>The possible sounds are great, and it's a hell of a lot better deal than
>paying $500 for a DX-7!!!!!
 
Agreed.
 
>(which is what they're still going for as far as
>I know....now that's a real ripoff!!!)
 
Well, at least they aren't going for the original list of $1395.
 
>Dave Rensberger
>drensber@ucs.indiana.edu
 
--Eric
 
  ======================================     eiverso@cms.cc.wayne.edu
 |[  RP-1  [____]|[  1] -<>-<>- 0  0   ]|   WSU, Detroit, Michigan USA
  | 6     7     8     9     0          |
  | ====  ====  ====  ====  ====  ==== |  "Persuaded of the co-operation
  | 1     2     3     4     5          |    of the Techno-mechanic with
  | ====  ====  ====  ====  ====  ==== |        the Dynamo-ideal..."
  |____________________________________|             --Sarah Austin, 1833
From: markp@noncomf.tdkcs.waterloo.on.ca (Mark A. Pitcher)
Newsgroups: rec.music.synth
Subject: ARP INFORMATION NEEDED
Date: Mon, 05 Oct 92 18:37:39 EDT
Distribution: world
Organization: Dark Park

	I have the opportunity to purchase an ARP ODYSSEY (pre 1980), but
can't find any information about it. 

	How much would this be worth?
	
	What features does it have? # of oscillators, etc.

	CV?

	What does it sound like? Is if "fat" enough for basslines?

	How controllable is it?

	I know absolutely nothing about this synth, and can't
find anything on it. I don't even know what it looks like. Any
info on it would be appreciated.


	Thanks.....


------------------------------------------------------------------darkPARK BBS
markp@noncomf.tdkcs.waterloo.on.ca (Mark A. Pitcher)
------------------------------------------------------------------------------
From: ercolessi@uimrl7.mrl.uiuc.edu (furio ercolessi)
Newsgroups: rec.music.synth
Subject: Re: KS-32???
Date: 1 Oct 92 04:59:37 GMT
Reply-To: ercolessi@uimrl7.mrl.uiuc.edu (furio ercolessi)
Organization: MRL - UIUC

In article <1992Oct1.020203.2519@walter.bellcore.com>, mo@gizmo.bellcore.com (Michael O'Dell)
writes:
|>just played on the new ensoniq KS-32.  the store dude claims it
|>is an SQ-2 with a *very* nice fully weighted wood keyboard.
|>it feels fabulous and it has piano sounds which i actually like
|>better than my kurz (sniff).  one curiosity, though, is that
|>every so often it would make an odd pop or other random noise.
|>i couldn't decide whether this was noise coming in from the AC mains
|>because some of the spikes did seem to coincide with the salesdude
|>fiddling with other things around the area, but then again, some of
|>them didn't seem to, and i'm a bit concerned that there are a few
|>latent bugs.  i was listening though cans exclusively.

mine does not make any odd pop noise.
one night I heard an annoying high-frequency burst, perhaps
250 ms long.  It appeared every 2 minutes or so.  BEEEP!
I spent about half an hour tracking it down.  Eventually
I had the KS-32 switched off, the amp powered down and all
the plugs out of the wall and the fucking noise was still there.
It disappeared when I removed the battery from the smoke 
detector in my apartment.

|>in general, the samples and effects both sound pretty cool.
|>there is one patch called "Sunday School" which sounds like
|>a cross between a B3 overdriving a Leslie and a reed pump organ.
|>really sweet'n'raunchy - makes you itch to play some gospel blues.

yes that's nice, i think there is also a layer of piano on that sound.
i can look at it in detail if you wish. 

|>the Leslie-simulator triggers alternately on and off with a sharp shot of
|>aftertouch.    

actually the shot of aftertouch must not be too sharp.
if it's too sharp the machine wouldn't sense it.  it's not the
pressure that matters, provided it's above the threshold,
but the duration.  once you get acquainted with it, it's fine
and IMHO it's better than the other method found on patches of
SQ1/SQ2 origin (modulation wheel controls leslie speed),
because your hands do not have to leave the keyboard.
probably the best thing would be to move it to the voltage-controlled
pedal.  

|>  the acoustic orchestrals are quite good
|>as well, including a really vivid Harmon muted trumpet.  and the
|>harpsichord patch uses key-up to generate the little "restoring the
|>plectrum" noise.

i have never played a real harpsichord, but by listening to records,
i think that they exaggerated with the restoring noise, it's not
_that_ strong!  well it's probably trivial to change it.

i have not found any serious bug yet, but i am still in the stage
i get lost playing the piano for hours instead of exploring 
the machine.

furio
--
Furio Ercolessi
Materials Research Laboratory           |   Intl School for Advanced Studies
Univ. of Illinois at Urbana-Champaign   |   Trieste, Italy
furio@uiuc.edu                          |   furio@sissa.it
Newsgroups: rec.music.synth