HDTenEightyP/NetNews huggingface dataset:
From: ted@dgbt.doc.ca (Ted Grusec)
Subject: Re: Mark Fontana's survey (and the RESULTS thereof)
Organization: The Communications Research Centre
Date: Sat, 12 Sep 92 01:29:05 GMT

In article <9209112122.AA14438@ucbvax.Berkeley.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
>
>No, it would not surprise me to find out that some r.m.s readers are PhD
>statisticians since we have a ton of PhD computer scientists, at least one

>having a PhD in a dicipline does not always assure that the lapses in
>reasoning can occur.  For example, several months ago, xxx vos Savant (in

>up digesting a considerable amount of yoke.  The moral... a PhD in
>statistics means that a considerable amount of book learning and a dissertation

>the entire readership is the population.  There is no generalization error
>because the readership is not sampled.  Granted, there response bias problems

>in a non-polarized poll as was Mark's, the results were affected by any other
>variable than whether people could (a) care less or (b) have the time to

>rememberingf which discussed biased samples (or what not).  What Mark actually
>did was a very stratified poll of an inclusive population.  I would assert

>on the data.  The only intent was to secure some information concerning
>what types of interfaces r.m.s. readers used and a reasonable estimate of
>the numbers of each interface in use.
>

There is nothing in the least esoteric about criticisms of what was
done.  The major problem was that the sample was self-selected and
this makes it a non-representative sample.  There are other problems
too.  But let's not make too much of this.  There is absolutely
nothing wrong with seeking out and acting on rumours.  What is
troublesome is if someone is misled that they are something more than
rumours.  We spend a lot more of our life acting on rumours than on
"valid" information and that's perfectly OK.  Let's just be clear on
when evidence has scientific validity and when it does not.  Lots of
people have responded here that the information gathered was useful to
them and so be it.
-- 
==========================================================================
Ted Grusec    Communications Research Centre    (Govt. of Canada, DOC)
 3701 Carling Ave., Ottawa, Ont.K2H 8S2, CANADA  Internet: ted@dgbt.doc.ca
  Compuserve: 73607,1576  (613) 998 2762   Fax (613) 993 8657
Newsgroups: rec.music.synth
From: burd@hydra.unm.edu (Stephen Burd ASM)
Subject: Does anyone know of a planned update to the KX88?
Date: Thu, 10 Sep 92 17:06:56 GMT
Organization: University of New Mexico, Albuquerque

I've been leisurely looking for a second MIDI controller (I currently
have a KX88).  I like the KX88 primarily because of its action.  I'd
prefer to stick with it (or a similar Yamaha product) for a second 
controller because I don't want to mix keyboards with different actions.

I assumed that Yamaha would have updated the KX88 by now (I believe it
was first offered in 1985) but I haven't heard anything through dealers
or the trade rags.  I might buy  a used KX88 but I don't want to do that
and then find an updated version released 6 months later.  Does anyone
know of any plans by Yamaha to upgrade this model or release an entirely
new one?

-- 
FROM:      Stephen D. Burd			AT&T:      (505)-277-6418
USNAIL:    Anderson School of Management        FAX:       (505)-277-7108
           University of New Mexico		INTERNET:  burd@hydra.unm.edu
           Albuquerque, NM  87131
Newsgroups: rec.music.synth,comp.music,misc.forsale,rec.music.marketplace
From: gibson@hplabsz.hpl.hp.com (Bill Gibson)
Subject: Re: For sale:  Roland Juno **WATCH OUT**
Date: Thu, 10 Sep 1992 20:37:15 GMT
Organization: Hewlett-Packard Laboratories Palo Alto,CA

jeynes@adobe.com writes:
> mcarlsso@sdcc13.ucsd.edu (Mars) writes:
>> Roland Juno 106 Analog synthesizer
>> ...
>> Asking $325 or best offer.  Prefer to sell loclly(So. Cali.).
>> 	mars@ucsd.edu
>
>DON'T buy anything from this scumbag.  He ripped me off two years ago and  
>still owes me 80 bucks.

As usual with the net, there are other experiences. 
I bought something from him a couple of months ago
and had no problem. Your mileage may vary. Sorry if
you got a bad deal, though.

As always, anyone making a deal on the net will
probably be happiest if all the transaction is 
clearly defined beforehand: exactly what is getting 
sent, exactly when & where, exactly what form of 
payment is desired, the condition of all the pieces, 
etc. Good luck out there.

Bill
gibson@hplwsg.hpl.hp.com
From: hatter@cs.utexas.edu (John Eichenseer)
Newsgroups: rec.music.synth
Subject: Re: Kurzweil 1000 PX - sounding thin over upper middle range.
Date: 13 Sep 1992 23:24:03 -0500
Organization: U Texas Dept of Computer Sciences, Austin TX
NNTP-Posting-Host: needmore.cs.utexas.edu

In article <=zxn2#b@lynx.unm.edu> burd@hydra.unm.edu (Stephen Burd ASM) writes:
>To my ears, the soft strike and hard strike pianos simply sound like
>two halves of the grand piano sample.  The remainder of the list up to
>and including extended dynamic piano 2 sounds like heavily processed
>versions of some piano sample (I can't tell if it's the grand piano
>sample).  The processing on some of these leaves much to be desired.
>In particular, there are flagrant inconsistenices between note ranges
>on several samples, such as those Gregg heard in the Stereo Extended Piano
>program.

Right, the soft and hard strike pianos are two halves of the grand piano
soundfile, which switches between halfway through the velocity curve. The
mellow, bright, and very bright piano soundfiles are the samples that are
combined to produce the dynamic pianos - again, velocity switched. 

I would imagine that those samples are NOT processed; they are probably
samples of striking keys at different velocities. Not sure, though. They
are a bit less crafted than the grand piano, but I still find them 
useable. When I play jazz or rock-n-roll gigs, I often use the dynamic
piano szmply because the bright sample has enough upper harmonics to 
cut through a mix, whereas the straight sample is more flat. Again,
the situation dictates my choice of patches. 

Incidentally, a velocity map customized to your playing does wonders for
the fell of a piano patch. 


regards,

jhno
hatter@cs.utexas.edu

Newsgroups: rec.music.synth
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: MIDI Wind Instrument
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Fri, 11 Sep 92 18:03:28 GMT

For serious wind players there is Neil Steiner's EWI & EVI (Electronic
Wind Instrument, Electronic Valve Instrument) and the Yamaha
WX7/11/Windjammer. The Casio horn has recorder fingering (and Casio's
own fingering) so it may look like a sax, but you can't use sax
fingering. Also the construction is very toy-like. It is a useful
beastie but doesn't sound like the thing you are interested in.

The EWI/EVI have touch capacitance keys - touch the key to make a note.
The Yamaha instruments have 'real' keys, you press on them to make a note.
A friend who is a sax player preferred the Yamaha because he was used to
resting his fingers on the keys and then presing them to play. On the
Akai you have to keep your fingers above the keys and touch them to play.
Both do require time for the player to get used to them (eg. use of the
ocatve key etc.), but the Akai seems to have a longer learning curve
since some habits have to be 'unlearnt'.

The WX7 is first generation, the WX11 (okay its actually a WT11 & WX11,
with one being the instrument and the other the sound generation module)
second and the Windjammer third. I'm not sure what the differences (and
compromises) are between the WX11 and Windjammer.

My friend has a WX11 and loves it. It works great with seqeuncers.
Check it out !
Newsgroups: rec.music.synth
From: ecldco@ultb.isc.rit.edu (E.C. Loyd)
Subject: Re: Parting with old synths
Originator: ecldco@ultb
Organization: Rochester Institute of Technology
Date: Thu, 3 Sep 1992 14:32:47 GMT

In article <1992Sep1.024200.9487@cbnewsm.cb.att.com> nsw@cbnewsm.cb.att.com (Neil Weinstock) writes:
>How do you part with an old synth?

[stuff deleted]

>So what do folks out there do who turn over a lot of instruments all the
>time?  Do you redo old sequences or just retire them?  Do you worry about
>losing certain staple sounds?  Or just keep all your old instrumnets, period?
>(I know people like that ;-)
>
>Curious,
>
>                                - Neil
>
>--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--
>Neil Weinstock @ AT&T Bell Labs         //     What was sliced bread
>att!edsel!nsw or nsw@garage.att.com   \X/    the greatest thing since?

I have sold one synth in my life.  I've owned a Moog/Realistic (still own),
a Korg DW-6000 (sold), Ensoniq Mirage rackmount (still own, actually, traded
it for the following beastie), Ensoniq Mirage keyboard version (still own),
picked up another Ensoniq Mirage rackmount (so I guess I still own one),
Roland MT-32 (still own), Kawai K1-II (still own), Roland Alpha Juno-1 (still
own), ARP Omni-II (still own), Casio PMP-300 (still own), Suzuki SX5000 (still
own), and bunches of effects boxes, equalizers, amps, mixers, sequencers,
and the like.

As you can see, I must be one of the people that never gets rid of my old
instruments.  :-)  As far as sequences go, most of my sequences have the
patches built into them as a single part, built into the entire song.
Each time I want a patch change, I create a part that contains that patch
changes, and add it to the song at the point I want it to change.  So, if 
I get new gear, or revamp old stuff enough so that the machine that was
originally playing that part is no longer, then all I have to do is change the
patch part of the sequence to get it right.

Of course, I don't sequence much, depending more on the eight-track and my
incredibly talented live playing skills.  :-)


-Eric

-- 
Eric C. Loyd                            ecldco@ritvax.isc.rit.edu
ISC/Data Center Operations              Phone: (716) 475-7320
Rochester Institute of Technology       FAX:   (716) 475-5306
Rochester, NY  14623  USA               All-In-One: LOYD EC (@a1.isc.rit.edu)
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Tue, 15 Sep 1992 09:46:53 EST
From:         Jon Crystal <OFABJC@UVMADMIN.BITNET>
Subject:      Wanted:MIDI Patch Bay

Looking for a used MX-8, MSB Plus, or Nexus Plus. If you have one you'd part wi
th, and have all the manuals to go with it, contact me by email and let me know
 what price you are looking for.
Newsgroups: rec.music.synth
From: nathan@laplace.biology.yale.edu (Nathan F. Janette)
Subject: Re: HELP! Vocals: Compression/Reverb settings for ALESIS
Reply-To: nathan@laplace.biology.yale.edu
Organization: Yale University, Department of Computer Science, New Haven, CT
Date: Thu, 10 Sep 1992 18:50:53 GMT

In article <skipa.716090768@milton> skipa@milton.u.washington.edu (Skip  
Albertson) writes:
> I'm seeking advice on how to process male vocals with an
> Alesis 3630 Compressor and a Quadraverb.  I'm thinking of
> compressing LAST before the 4-track but I'm open to
> suggestions.  What settings would you use?

I would put the 3630 after the preamp (perhaps in an insert loop),
and before the effects.

I would use the 3630 in RMS mode, which sets the attack and decay
times for you.  I would try about 4:1 ratio and play with the
threshold setting so that louder vocals are compressed somewhat,
but softer ones are passed through with little or no compression.

Read the manual, and experiment!

--
Nathan Janette		"I'm a NeXTstep man,
Dept MB&B, Yale Univ	 I'm a NeXTcube guy"
New Haven, CT
nathan@laplace.biology.yale.edu (NeXT)
From: arpraym@ac.dal.ca
Newsgroups: rec.music.synth
Subject: WANTED: QuadraVerb
Date: 9 Sep 92 09:00:25 -0300
Organization: Dalhousie University, Halifax, Nova Scotia, Canada

If anyone has any version of the QuadraVerb that they would like to sell,
could you please contact me?
THanks in advance...


Ray MacNeil
Halifax, Nova Scotia
Canada
Newsgroups: rec.music.synth
From: five@sys6626.bison.mb.ca (A.R.F.)
Newsgroups: rec.music.synth
Subject: Memory for Modular Synths (projects)
Date: Tue, 15 Sep 92 19:05:34 CDT
Organization: system 6626 BBS, Winnipeg MB

Had a thought the other night, for anyone out there that might be 
dabbling in the world of building your own synth, or modifying existing 
analog/modular gear.  Memory.
None of the really old machines really had any memory.
 
Now you CAN (in a way .... :) ).
 
Example:  Take for instance, your pots (knobs) for Filter Cutoff 
Frequency and Resonance.  If you were to hook up a 2nd set of knobs (or 
more, depending on how masochistic you are) with a toggle switch.  It 
would theoretically be possible to switch between the two different 
settings, for "presto change-o" Patches, on a previously none patchable 
machine.
True, this isn't a way to save an ENTIRE patch, but, if you have a row of 
switches set up, for the most versatile controls, you could go on stage 
with both sets of knobs set for a patch each, and (almost) instantly, 
switch to the other 'patch'.  Or while playing one, you could set up the 
other.
Looking forward with this, you could setup duplicates for most 
everything, if you had the panel space.
This feature (in a limited manner) is going to be built into the syntht 
that I'm building for a customer.  If anyone's curious as to the results, 
I'll keep you posted.
 
 ------------------------------------------------
 \ FIVE-Aural \Their current stuff is too digi- \
 \ Research   \tized,quantized and just plain   \
 \ Foundation \sterile, compared to that analog \
 -------\ organicness from earlier albums - SHIV\
        -----------------------------------------

--- (A.R.F.) a user of sys6626, running waffle 1.64
E-mail: five@sys6626.bison.mb.ca
system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
From: nick@dcs.ed.ac.uk (Nick Rothwell)
Newsgroups: rec.music.synth
Subject: Re: PB100, MIDI: Well, *I'm* impressed...
Date: 11 Sep 92 11:25:59 GMT
Organization: Naff Green Shorts Dance Co.
In-reply-to: DUNN@SAFFRON.BITNET's message of 10 Sep 92 17:14:45 GMT

In article <9209101714.AA02511@saffron.IntelliCorp> DUNN@SAFFRON.BITNET (Casey Dunn) writes:

   nick old man,
    just where in america did you find a PB100 for $600?

I actually paid more than that: I got a week-old 6/20 from a friend
who upgraded to a 4/40+FDHD. Whole Earth Access in Bezerkley, CA seem
to be the place to try at the moment. I have some other leads but
they're probably stale by now.

Nick.
--
  Nick Rothwell, LFCS, Edinburgh | "Say, how many contemporary dancers are
               nick@dcs.ed.ac.uk |     there in this bar?"
CASSIEL Contemporary Music/Dance | "Dunno; count the Dr. Martens and
     cassiel@cix.compulink.co.uk |     divide by two..."
Newsgroups: rec.music.synth
From: pck@mdf.mitre.org (Peter Krupp)
Subject: Re: Grand Piano Advice Wanted
Followup-To: rec.music.synth
Organization: MITRE
Date: Tue, 8 Sep 1992 21:19:27 GMT

In article <25576@castle.ed.ac.uk>, ngse18@castle.ed.ac.uk (J R Evans)
wrote:
> 
> 
> rdm@hpdmd48.boi.hp.com (Bob Morrison) quotes someone unnamed:
> 
> >>I'm interested in buying one of the smaller grand pianos (under 6ft), and would
> 
> I'm not sure that r.m.s is the best place for this discussion, but in the
> absence of any other followup ...
> 
> My upright (Knight K10 -- fully recommended) has been taking a bashing
> lately (too many Cecil Taylor imitations!) and I put my head into my dealer's
> shop to ask him to call in and move me up in his tuning rota.  I took the
> opportunity to drool over the grands he had in stock.  Last time I looked,
> I had been quite impressed with the Yamaha Conservertoire, in terms of its
> price/quality ratio, but on the example he had on this occasion, I was less
> than happy with the action.  He tells me that Yamaha use their own design
> rather than the classic Renner (sp?) mechanism.  He persuaded me (OK, so I 
> didn't need a lot of persuading!) to try a Seiler he has just started to stock
> as a midpoint between the Yamahas and the Bechsteins.  I was very impressed.
> The repetition was very fast, and the tone as bright as a Steinway (to my
> ear, anyway -- he didn't have one to compare against).  Are these pianos
> sold in the States?  Anyone have any experiences?  [Although I might be
> able to afford a Yamaha soon, the price of the Seiler will beggar me!]
> 
> Russ

Yes, Seilers are sold here in the U.S. (Boston, MA) along with Bechstein,
Bosendorfer, Steinway, Schimmel, Grotrian, Feurich, Yamaha, Kawai, and the
new Mason and Hamlin.  The prices of the German pianos are out of sight. 
But after six months of shopping around, the three that I liked the best
were Bechstein, Steinway, and Feurich.  I didn't get an opportunity to try
a Seiler.

A book that I found that was very helpful was "The Piano Book", by Larry
Fine, published by Brookside Press for around $20.  This book
comprehensively covers the piano industry and most high quality pianos,
even some that are rare in the U.S., such as Bluthner and Grotrian.  I
highly recommend it for anyone in the market for a piano.  The author also
provides an 800 number for consultation for piano purchasers were he can
help sort out the market, and provide help with getting a good deal. I used
his service  ($30/1/2 hour) and found it valuable. (I have no connection
other than being a satisfied customer).  He also covers topics in his books
such as maintenance, climate control, adding MIDI interfaces, ....

Peter

--------------------------------------------------------------------------------
These are not necessarily the opinions of my employer.
Newsgroups: rec.music.synth
From: jon@chopin.udel.edu (Jon Deutsch)
Subject: Music Quest Win3 Drivers uploaded
Organization: University of Delaware - What state is that in?
Date: Wed, 9 Sep 1992 01:07:48 GMT

I just uploaded, upon request, mqxdrv.zip on

ftp.cica.indiana.edu  /pub/pc/win3/uploads

It is the Win3.1 driver for the Music Quest MPU-401 compatible MIDI interface.



       X-------------------+--------------+-----------------------X
       |  |   |\       |>jon@chopin.udel.edu<|  "For my 2 cents,  |
       | \|on |/eutsch |>>-----------------<<|  I'd pay a dollar" |
       X------+--------------------+--------------------+---------X
From: trog@midiline.la.ca.us (Ralph Stempel)
Newsgroups: rec.music.synth
Subject: Re: Any expansions/modifications for Roland JP-8???
Keywords: expansions, modifications, Roland JP-8
Date: 9 Sep 92 23:55:45 GMT
Organization: MIDILine BBS - Altadena, CA - (818) 797-3285

wang@hp4at.eunet.co.at (Wang) writes:

> Two days ago I purchased an used Roland Jupiter 8 (JP-8) synth.
> 
> Are there any expansions/modifications availiable for this gear??
> Like newer software (e.g. for variable splitpoint), smart midi-interfaces
> providing sys-ex functionality or memory expansions etc.
> 
> Thanks a lot!
> /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                          |     

   Encore Electronics makes what appears to be a very cool MIDI interface 
for the JP-8. I talked to the guy when it first came out, and it's 
definitely on my list of stuff-to-glom-onto. 
   It supports sysex patch transfer, controllers including VCA and VCA 
pedals, real-time sysex control of many (maybe all) patch parameters, 
seperate MIDI  channels for splits, and synching the arpeggiator to MIDI 
clock. It does not use the Roland DCB. (YAY!) 
   The guy I talked to claimed it was very fast. As you may know, the 
Roland interface was slow and very limited in function. (Not to mention 
expensive) There are also no doubt other features I can't remember off 
the top of my head.
   Encore is in Danville CA, at (415) 820-7551. I have no connection with 
them, other than being an almost certain future customer.

-----
trog@midiline.la.ca.us (Ralph Stempel) 
MIDILine BBS (midiline.la.ca.us) - Altadena CA - (818)797-3285
Organization: Information Technology Center, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.music.synth
Date: Tue, 15 Sep 1992 10:09:46 -0400 
From: David Anderson <dba+@andrew.cmu.edu>
Subject: Re: MIDI Wind Instrument
	<1992Sep14.200940.19637@eagle.lerc.nasa.gov>

Excerpts from netnews.rec.music.synth: 14-Sep-92 Re: MIDI Wind
Instrument @sundagger.lerc.nasa.gov (1826)

> I'd recommend the the WX7 over the EWI, as the MIDI implementation
> seems better.  For example, the WX7 emits velocity (I *think*;  it's
> been about three years since I used one extensively), while the EWI
emits a constant (though user-selectable) velocity

This is no longer true -- this was fixed 2-3 years ago. My EWI (2000)
transmits velocity. I hear that the 3000 has MIDI in; my 2000 only has
MIDI out.

> On the other hand, the EWI (which is hard-wired to its analog module) is a
> bit more expressive than any pure-MIDI device I know.

This I agree with -- in fact, I'd say the EWI is *rather* more
expressive. I'm very attached to mine. However, the learning curve is
significant. I was immediately able to make music that excited me with
its potential, but it took weeks of practice before I was comfortable
enough to play in public.

--david
Newsgroups: rec.music.synth
From: ladasky@netcom.com (John J. Ladasky II)
Subject: Re: MIDI Wind Instrument
Date: Tue, 15 Sep 92 17:09:44 GMT
Organization: Netcom - Online Communication Services (408 241-9760 guest)

shiv@bnr.ca (Shiv Naimpally) writes:
[stuff deleted]
>sound module, the WX7 comes with a WT7 and the WX11 with a WT11 sound
>module. I'm not familiar with the WT7 but the WT11 is basically the
>sound generation portion of the DX11 (enhanced 4-op FM a la TX81z)
>and the effects of a REX50. The Yamaha and Akai are similar in that
>the controller plugs into the sound generation module and it is the
>sound generation module that also does the conversion to MIDI.
>So you cannot take a WX11 and plug into just any MIDI module - you
>must plug it into the WT11 and then use the MIDI out on it. I suspect
>that Yamaha has doen this for the same reason as AKAI, to allow
>the WX11 to control the WT11 module with greater control than the
>0-127 resolution that MIDI allows.

	This is not true.  The WX11 may be plugged directly into the
WT11.  However, there is also a belt pack with a WX11 input, and a 
standard MIDI output.  It's your choice which way you want to go.  I
chose the belt pack, mostly to keep the cost down.

	Now I'm looking for synths which respond to MIDI volume change
messages!  I can do an awful lot with the WX11, my FB01 and my S-10
sampler, but I really really really want to be able to sculpt a single
note with breath control.  Any suggestions?

-- 
== John J. Ladasky II ("ii") ========================= ladasky@netcom.COM ==
"Great composers do not borrow -	     "Talking about music is like
 they steal."  - John Ladasky	      ~ -     dancing about architecture."
(quote stolen from Stravinsky, who    o o     - Elvis Costello?  Laurie
 stole it from a statement made by     >        Anderson?  Frank Zappa?
 Pablo Picasso about painting, who    \_/    -------------------------------
 stole it from...)			     "Property is theft." - Groucho
============================================================================