HDTenEightyP/NetNews huggingface dataset:
Organization: University of Illinois at Chicago
Date: Monday, 13 Apr 1992 08:52:56 CDT
From: <U36300@uicvm.uic.edu>
Newsgroups: rec.music.newage
Subject: Re: Ray Lynch
 <1992Apr03.171027.21767@hpmcaa.mcm.hp.com>
 <1992Apr8.163342.27039@bnlux1.bnl.gov> <1992Apr10.182004.484@yvax.byu.edu>

To settle the argument whether "blue thing" and "breakfast" sound the same,
listen to "the true spirit of mom and dad" off blue thing...the most inspiring,
uplifting piece Lynch has done to date.  Sweeping and almost orchestral in its
sound, it truly sends the heart soaring, and it's wonderful how Lynch divides
this eight-minute piece into various mini-movements/themes to signify the
coming-of-age process.  Divinely beautiful imho.

rr
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Fri, 10 Apr 1992 23:15:20 CST
From:         Rod Lemcke <WEBERLOI@MAX.CC.UREGINA.CA>
Subject:      Re: Galaxy modules for D4, Mirage, DSP128?
              10 Apr 1992 13:16:08 PDT from <DUNN@INTELLICORP.COM>

I gotta ask you this because I just bought a D4 and already have a Mirage....
What is a Galaxy module????????    Please advise.     Thanks...
                                                                Rod L.
Newsgroups: rec.music.synth
From: chansen@borland.com (Craig Hansen-Sturm)
Subject: ===> FOR SALE:  Korg M1REX, Alesis QUADRAVERB
Followup-To: chansen@borland.com
Keywords: Korg M1REX, Alesis QUADRAVERB
Organization: Borland International
Distribution: usa
Date: Thu, 16 Apr 1992 20:22:56 GMT

For Sale:

  Korg M1REX (rack mount M1 with the T1 Roms)
  $900  

  Alesis Quadraverb (4 simultaneous effects: ring modulator, detune,
  chorus, delays, reverb, eq, ...)
  $300

Both of these units are completely defect free and are in excellant
condition.

Contact:

  Craig Hansen-Sturm
  408-439-1497 (work)
  408-476-3957 (home)
  chansen@borland.com
Newsgroups: rec.music.synth
From: hank@uieea.ece.uiuc.edu (Matthew Henry)
Subject: Re: New KORG M1 patches
Organization: University of Illinois at Urbana
Date: Fri, 10 Apr 1992 17:09:46 GMT

There's a patch program for the IBM which generates random patches.
A lot of them turn out pretty cool.  It's called M1 patchmaster or something
unimaginative like that.  Unfortunately I can't email it to you as it's
at home.

--led hanklin
Organisation: European Space Operation Centre (E.S.O.C)
Date: Monday, 13 Apr 1992 13:35:04 CET
From: <ATINTON@ESOC.BITNET>
Newsgroups: rec.music.synth
Subject:    SY99 bug ...

Hi,

Just for the hell of it, I ran the pattern mode on the SY99 and pressed
a LOT of notes within one measure.  This locked up the keyboard, and
I was not able to stop the sequence.  I got the beast operational
by switching it off and on.

So if you try this while you have a sequence store - BEWARE.

Andy Tinton.
From: bayomi@bldghsc.lan1.umanitoba.ca (Dennis Bayomi)
Newsgroups: rec.music.synth
Subject: Patch cards for Roland KR-500
Keywords: Patch cards, Roland KR-500
Date: 14 Apr 92 23:03:13 GMT
Organization: Computer Department, Medicine, Univ. of Manitoba

Does anyone know where I might get my hands on patch cards for the 
Roland KR-500 ? 

Dennis
Newsgroups: rec.music.synth
From: heys@odin.unomaha.edu (Matthew D. Heys)
Subject: Kawai Spectra: Appraisal?
Summary: Is the Kawai Spectra a competent entry-level keyboard?
Keywords: Kawai
Organization: University of Nebraska at Omaha
Date: Mon, 13 Apr 1992 00:25:16 GMT


After spending about two years behind a Casio CT-650, I've decided it is time
I graduate from the home synthesizer market to the entry-level professional
units. This is not the first time the idea has occured to me; it's just been
the case that every previous attempt ran into a "price" wall.

Well, it's been a few years now, and I must confess that the price wall seems
more formidable than ever! Though the home models have improved, some of them
even now offering velocity sensitive keyboards at an affordable price, they
still seem to me to be typically a vast collection of squishy rubber buttons
and canned rhythms [I am still very much haunted by the infamous Yamaha
"polka" demo button on the PSR-6 collecting dust in my attic].

Meanwhile, the professional synthesizers seem to have gone UP in price!

As something of a solution to this, the Kawai Spectra was recently recommended
to me. Does anyone out there have anything glowing or defamatory to say about
it?

This is what appeals to me about the Kawai Spectra -

    o  It is velocity sensitive.

    o  It is small and elegant in its design

    o  It seems to provide a reasonable introduction to patch editing

This is what troubles me about the Kawai Spectra -

    o  The wave list seems largely devoid of any originality

    o  Why is it so affordable?!?!

I've been offered $400 for a new one, which I've been told is quite a steal -
what do YOU, the professional-synthesizerally educated, think of the Spectra?

Replies in mail or news rewarded with obnoxious expressions of gratitude,

Matt Heys,
Internet e-mail |||||| heys@odin.unomaha.edu
BITNet ||||||||||||||| HEYS@UNOMA1.BITNET
From: nick@dcs.ed.ac.uk (Nick Rothwell)
Newsgroups: rec.music.synth
Subject: Re: DidINukeMy Performer in Install?
Date: 14 Apr 92 13:34:28 GMT
Organization: Friends of the Salter Duck
In-reply-to: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL's message of 13 Apr 92 15:40:00 GMT

In article <9204131541.AA02226@EDDIE.MIT.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:

   This must be another
   example of Mac-idiocy, I mean, to have to resize a window to see the
   effects of adding a progrm to a folder.

(i)   what if there are too many files to show in a window without it being
      too big for the screen?

(ii)  what if you move a file system to a new Mac with a smaller screen?

(iii) hit the zoom-box: it'll zoom the window to fit all the icons.

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
Newsgroups: rec.music.synth,rec.music.makers,ba.market
From: jef@wsl.dec.com (Jonathan E. Flamm)
Subject: Monitors/Guitar amp For SALE
Organization: DEC Western Software Lab
Date: Mon, 13 Apr 92 19:53:07 GMT

FOR SALE:

1 pair Auratone T6 Near Field Studio Monitor Speakers
       6" poly woofer, dome tweeter, tuned port -- these
       are tight and accurate      $175

1 pair JBL control-1 monitor speakers with
1 pair tripod black microphone stands (speakers are mounted)
1 JBL SB-1 SubWoofer (specifically designed for contol-1's)
       all for                     $295

Gallien-Krueger 250ML Stereo Guitar Amp.  Compression, EQ, chorus, and
delay effects built in.  Has two seperate channels with gain switch.  Effects
loop, direct XLR output, and stereo output for external speakers.  Includes
microphone stand mounting option.  $295
-- 
 Jonathan E. Flamm		DEC Western Software Lab, Multimedia Group
 flamm@wsl.pa.dec.com		305 Lytton Ave (UCB1), Palo Alto, CA 94301  
 				Tel:  415/688-1548
Xref: sparky rec.music.synth:7824 rec.music.makers:5559
From: ed@stauff.UUCP (Edward L. Stauff)
Newsgroups: rec.music.synth,rec.music.makers
Subject: Re: Usenet Tape depression sets in.
Date: 10 Apr 92 22:32:48 GMT
Organization: Minstrelsy & Lutherie

jgj@ssd.csd.harris.com (Jeff Jackson) writes:

> True.  I'm one of those engineers, have lots of toys, could stand to
> make a little more money (:-) and have difficulty playing barre cords.

I have a few expensive toys, and shun barre chords - which I don't need for
folk music in the keys of D and G anyhow :-) - but I *can* play keyboards.

> 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).

Sorry, and this isn't meant to be a flame, but I can't let you get away with
that generalization without standing up as an exception to your rule.  As a
software engineer I will accept, with some reservations, the appelation "nerd".
However, I find music to be an intensely emotional experience, whether
listening or playing.  I sometimes find it difficult to detach myself enough
from a piece so that I can "practice the notes" properly.  Still, I agree
that it isn't easy.  I can't say exactly when over the last 20 years I reached
the point where the technical aspects of what-note-or-chord-to-play-when
became second nature so I could concentrate on the emotional, "musical"
aspects of my playing, but I do know that I haven't nearly reached that point
on the guitar, and I sorely want to.  (I know, practice.  More time...)


=============================================================================
Edward L. Stauff, Nashua NH; ed@stauff.UUCP *or* uunet!mv.com!gozer!stauff!ed
        "Specialization is for insects." -- Lazarus Long
From: philg@zurich.ai.mit.edu (Philip Greenspun)
Newsgroups: rec.music.synth
Subject: Congress to tax home recording and send money to Japan
Date: 17 Apr 92 20:16:40 GMT
Reply-To: philg@zurich.ai.mit.edu
Distribution: rec.music.synth
Organization: M.I.T. Artificial Intelligence Lab.


Congress is about to pass the Audio Home Recording Act of 1991.  This
bill will tax digital audio recorders and digital audio media, create
a new Federal bureacracy to distribute the tax revenue to
foreign-owned record companies, and restrict the capabilities of
digital audio recorders so that digital-to-digital copies cannot be
made.  In addition, the bill does not distinguish between digital
media used for computer data storage and digital media used for audio
recording.  Just as consumer DAT and 8mm video tape have become the
standard high-capacity backup media for workstations/minis, it is
likely that writable optical digital audio disks will replace
today's magnetic floppy disks.  Sony and Matsushita own two of the
largest record companies in the US and would get the most money from
this bill.  Two years from now, every time American users of IBM
computers make a backup, they'll be paying a tax to help out
IBM's Japanese competitors.

Is it fair that you should pay a tax on tape that you buy to record
your own performances?  Is it fair that you'll have to pay $5,000 for
a "professional" digital audio recorder in order to use the equipment
for editing?  Is it fair that a small American company wanting to
compete with heavyweight Japanese digital audio manufaturers will have
to pay a lawyer to wade through hundreds of pages of legal
requirements, technical specifications, and administrative decisions?
Is is fair that our Congress would pass a copyright bill without
anyone even once mentioning whether it will "promote the progress of
the arts", which is the only constitutional justification for
expanding copyright?  (Since the money is to be distributed linearly
according to sales, only the biggest record companies and most popular
stars will get any significant money.)

You can stop this bill from passing.  Congress is sticking it to us
because the recording industry paid them and they don't think anyone
will notice.  CSPAN and most newspapers haven't covered this issue at
all because the bill has dozens of co-sponsors and is therefore
considered non-controversial.  If a Congressman gets even a few
letters regarding this bill, which he's probably hardly thought about
at all, it might be enough to make him think that taxing the American
public to subsidizing Japanese computer vendors isn't such a great
idea.  The bill is going to be voted on in about two weeks.  It is
called the "Audio Home Recording Act of 1991" and is S-1623 in the
Senate and HR-3204 in the House.  You can write to your elected
representatives this way:

    Senator Foo Bar
    The Capitol
    Washington, DC 20510

    Representative Foo Bar
    The Capitol
    Washington, DC 20515

If you want any more information, please feel free to contact me
(philg@altdorf.ai.mit.edu).  I testified before the relevant Senate
subcommittee last Fall as the "nerd witness from MIT."
From: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Newsgroups: rec.music.synth
Subject: Re: JV-80
Date: 8 Apr 92 14:13:32 GMT
Article-I.D.: shamash.40622
Reply-To: ats@phoenix.udev.cdc.com (alex t stagg x4718)
Followup-To: rec.music.synth
Organization: Control Data Corp., Arden Hills, MN

In article <585.9204081304@orsun.dcs.leeds.ac.uk>,
ross-c@DCS.LEEDS.AC.UK (The Brown Bottle) writes:
|>[ ... ]
|>Main differences (in the synth engine, the JV-80 should walk all over the D70
|>                  as far as ROM goes):
|>
|>-DLM
|>+Ring Modulation.
|>
|>Now I wish to step out of this thread while other people argue about
|>which of these is "better".
|>
|>Ross-c
                        
So does this mean a JV-80 engine is closer to a D-50 than a
D-70? Does it still suffer from the weaker modulation routings
of the D-70?

Alex.

----------------------------------------------------------------
A. T. (Alex) Stagg/ARH215      | INTERNET: ats@udev.cdc.com
Control Data Corporation       |
4201 Lexington Ave.N.          | fax:      01-612-482-4455
Arden Hills, MN USA 55126-6198 | Voice:    01-612-482-4718
From: nick@dcs.ed.ac.uk (Nick Rothwell)
Newsgroups: rec.music.synth
Subject: Re: Synth Family Trees
Date: 8 Apr 92 11:32:46 GMT
Organization: Friends of the Salter Duck
In-reply-to: metlay@minerva.phyast.pitt.edu's message of 7 Apr 92 21:46:16 GMT

In article <204535@unix.cis.pitt.edu> metlay@minerva.phyast.pitt.edu (metlay) writes:

   Roland is an independent corporation whose independence is fiercely 
   protected by Kakehashi Ikutaro, its founder and CEO.

I've always found it fascinating that Roland make (i) musical instruments,
(ii) plotters and (iii) nothing else. When you call their tech. support line
in the UK you have to say that you want musical instrument tech. (rather
than plotter, I presume.) The flashy, upmarket Apple dealer I buy my Mac
hardware from is also a Roland dealer - it says so on a shiny plaque - and
they have Roland plotters. Maybe I'll ask them one day if they'll demo me
a JD-800.

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: cdodson@beast.cac.stratus.com (R. Craig Dodson)
Newsgroups: rec.music.synth
Subject: Re: Roland JV-80
Date: 7 Apr 92 15:04:09 GMT
Reply-To: cdodson@beast.cac.stratus.com

In article <1992Apr7.000935.18987@u.washington.edu>  
newshound@bogus.u.washington.edu (Kraig Eno) writes:
> Geez, I just spent part of the afternoon at the music store pounding on
> keyboards.  Played with the JD-800 for a while, had some fun, but then
> I moved on to the JV-80 to see what you guys have been talking about.
> 
> What an insipid board.  I didn't ask how much they wanted for it (was
> afraid they might force me to take it with me when I left), but I wouldn't
> pay more than about $300.  The only things I liked were the bass response
> and the fact that notes kept sounding across patch changes (at least they
> did one thing right).  Other than that, it sounded like a toy.
> 
> What is Roland's "best" board now if they don't make the D-70?  Or do
> they have any good ones at all?  The JD-800 was fine, but it didn't look
> like what I'd want as the centerpiece of my sound, really.
> 
> I feel a lot better about buying a Wavestation after today, that's for sure.

Oh give me a break...

This is almost as funny as the M1 bashing. The JV-80 sounds like a toy ? What
were you listening to it through, an Emerson clock radio ? The Jv-80 I heard
has the same excellent sound quality as the JD-800 - probably because they both
use the same 44.1khz samples. Granted some of the presets are a little cheesey, 
bit it's no Casio. 

I won't even go into your expert evaluation of the JD-800 - "didn't look like  
what I'd want" - if we judged synths on looks they'd sell the K2000 right
next to the Casios at Kmart . . .but I digress. 

You shouldn't believe everything you read in this newsgroup . . .

Craig Dodson (Stratus Computer)
cdodson@beast.cac.stratus.com
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Fri, 10 Apr 1992 23:18:03 CST
From:         Rod Lemcke <WEBERLOI@MAX.CC.UREGINA.CA>
Subject:      Re: Alesis D-4 Prices
              10 Apr 1992 22:20:16 GMT from <rainer@SPOT.COLORADO.EDU>

$350 is not the best price for a D4.  I cannot divulge the actual price I paid
 for mine (because I bought 3), but call Guitar Plus in Arlington Heights, IL.
         Tell them I refferred you.      Good Luck...
                                                      Rod Lemcke
From: jalkio@cc.helsinki.fi
Newsgroups: rec.music.synth
Subject: Gear Lust and K2000
Date: 7 Apr 92 15:22:25 GMT
Organization: University of Helsinki

Oh Well...

I just HATE new technology! :-)

Having seen the K2000 manual my mind is totally confused. It looks like
some academic mathematics textbook. I didn't have the chance to try the
sounds really well yet. But the basic filter drones seemed to be as good
as I presumed...

Gear Lust (TM) is an awful thing. It makes your life BAD. You can't make
any music since you are already planning on the next synth you don't
HAVE yet. I thought I got rid of this lethal disease after buying my
current rig (WS A/D, Cheetah MS6, Korg A2, Midiverb II, Alesis 1622,
Casio FZ-1).

But, the only "special" thing I've got now is the WS A/D. But the K2000
just seems so much MORE special than even it.

Since I don't basically have any job now (=no income), I would possibly
have to sell almost ALL my current stuff to get a K2000 if I wanted it.
And the bad thing is, it seems I DO want it really bad. But do I NEED
it? Well, to keep my mental health, kind of.

Well, well. With my current setup I can basically make complete music,
since I have the mixer, effects, enough synts, etc. The question
remains, could I do it with the K2000 only?

If I go the K2000-way, there are 2 main solutions:

1)
If I had only the K2000, and perhaps one additional effects box (either
the A2 or midiverb II) plus a lot of sample memory and the sampling
option I wouldn't have a lot of polyphony, but versatile synthesis. I
just wonder how good dynamics you get when you MIX the K2000 sounds
internally (i.e. without any external mixer)? Is the quality good
enought? I have understood that you can EQ the sounds in the program level,
somehow.

2)
Another option would be to sell all but the WS A/D and put it throught
the K2000's inserts (or vice versa). This way I couldn't afford to get
the sampling option, but after all, it's not available yet (and when it
will be, I might have the extra money to get it). I would also have some
more EQ power with the A/D effects and some things I couldn't do with
the K2000 alone (wave sequencing, vectors = easy-made changing sounds
and vocoders). The question would still be, can I make final mixes
without an outboard mixer? 

Hmm. The second option begins to look quite interesting... Any comments?

                                       Jouni
From: dpm@cray.com (Donald P. Maghrak)
Subject: Re: Who synth usage on Who's Next
Organization: Cray Research, Inc.
Date: 9 Apr 92 10:53:02 CDT

In article <9204091358.AA13015@EDDIE.MIT.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
>
>If I remember correctly, the thing that everybody thinks is a synth in Won't
>Get Fooled Again is actually an organ being run through a VCS3's.  Most of
>the other synth stuff on that album was Arp 2600 (could have been Oddysey,
>however.. Definately was pre-2500 which first appeared on Quadrophenia).
>But, yes, a Synthi VCS3 was definately used on Who's Next.
>
>John
Thanks for the clarification John.  I thought that was the VCS3 on 
Won't Get Fooled Again (albeit using an organ).  Actually that keybaord part
sounds sequenced.  What organ was used (if it was indeed sequenced) that
had the necessary cv triggers?
I remember doing playing this part on an ARP OMNI. (the first OMNI with that
stupid [IMHO] keyboard triggering method -- hold a chord, play a bass line,
listen to the chord retrigger with each note in the bass line -- yuch)

Pete was very into sequencers.  Does anyone know what was used to do
Eminence Front? (prophet5? and ?)

Don
.standard disclaimers apply
From: Randomizer@cup.portal.com (Aron Fingers Nelson)
Newsgroups: rec.music.synth
Subject: Re: Gear Lust
Date: Thu, 16 Apr 92 10:06:58 PDT
Organization: The Portal System (TM)
Distribution: usa
  <campo.702850218@calspan.com> <1992Apr12.134427.17854@cbnewsj.cb.att.com>
  <1 <1992Apr13.130941.23742@usenet.ins.cwru.edu>
  <1992Apr13.181319.14257@smsc.sony.com>

>Manufacturers should be working tightly with
the generic librarian and editor folks so that we at least get a set of
librarian modules with the devices.  As I understand it, the programmers
have to beg to get equipment and specs (Aaron, do you want me to fax
you the K5 and XD5 specs?).

Yes, we have to beg to get the devices.  Also, it's amazing how each
device has a totally different looking sysex document even when the're from
the same manufacturer.  This makes development time even longer.

Yeah, what the heck, send the XD5 at least! :-)

Aron
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
From: larryh@cabezon.uucp (Larry Huntley)
Newsgroups: rec.music.synth,rec.music.makers,rec.music.bluenote
Subject: Re: How Engineers make music
Date: 9 Apr 92 18:50:08 GMT
Article-I.D.: cabezon.1992Apr9.185008.5341
Organization: Logic Modeling Corporation / Beaverton OR & Milpitas CA

In article <1992Apr9.142621.26608@cas.org> lrm28@cas.org writes:
>and play what _feels_ right.  Sure, instead of the 1.5 step bend, it only
>went a step and a quarter.  That's what made that solo different and
>special.  Playing nothing instead of the 38-note speed scale is an
>eye-opening experience.
>
>Boy, am I gonna get it _now_.

    I don't think so.  I think you're right and lots of others probably
    will think so, too.

    Music that is put together layer by layer, with attention to every
    detail, is a delight to listen to and can be a joy to play.  But, the
    music comes from the soul, not the pocketbook or the signal pro-
    cessing or production.

    Note that a lot the people you find at Sunday night jam sessions have
    a band or studio gig that uses up most of their time, but the con-
    finement of playing within such a structure ultimately drives them to
    a forum in which they can play in a less structured framework.
    You can put soul into a chart reading, but only if the conductor/
    leader/arranger will let you.

    Technical ability and knowledge are wonderful things, something that
    every musician should strive for, but:  "It don't mean a thing if it
    ain't got that swing."


-- 

    Larry Huntley / Logic Modeling Corporation / Beaverton  OR
    Fire and Chains and/Fire and Chains and/Fire and Chains and...
                      [Stop Continental Drift!]
From: brooksp@hpcc01.corp.hp.com (Peter Brooks)
Date: Mon, 6 Apr 1992 17:08:27 GMT
Subject: Re: K2000 Oscillators
Organization: the HP Corporate notes server
Newsgroups: rec.music.synth

I stand (well, sit) corrected.  Lovely sounding synth, though.

Pete Brooks

Newsgroups: rec.music.synth