HDTenEightyP/NetNews huggingface dataset:
From: ricard@axis.se (Ricard Wolf)
Subject: Re: Sources for CEM VCOs? (Fixing a Roland SH101)
Organization: Axis Communications AB, Lund Sweden
Date: Thu, 8 Oct 1992 08:07:30 GMT

In article <1992Oct6.201109.20475@bnr.co.uk> rjt2@bnr.co.uk (Richard J. Thomas) writes:
>Greetings netters!
>
>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? Preferably, but not solely, within the UK.
>I know a company called DIGISOUND used to distribute them, but that was 10
>years ago and I don't know if they are still in business.

DIGISOUND is well out of business, as I found out around '87 when I
needed VCO's for a synthesiser I was building. I'd suggest
getting in touch with PAiA electronics in the US, who I seem to recall
still carry Curtis chips, or Vine County Productions or whatever they're
called, who service and refurbish Sequential stuff; the Prophet 5
used 3340's. Possibly someone in the US will have the addresses; otherwise
I think I have them away on a file...somewhere...

Apart from that, it seems to me that the Curtis chips are quite stable;
a few years ago I succeeded in plugging in the power supply cable wrong
for a voice board in a MemoryMoog (which also uses Curtis chips). After
replacing the fuse, which had blown, it was dead silent. "Oh sh*t, all
the CEM's have been blasted into Synthland...". Not so, it turned out. 
8 40174 CMOS latches had self-distructed thouth; I replaced these
and the machine started up as sweet as anything...

/Ricard
-- 
Ricard Wolf                   / | \  / | /-           email: ricard@axis.se
Axis Communications AB       /__|  \/  | \__          uucp:  axisab.se!ricard
S - 223 70 LUND             /   |  /\  |    \         Tel:   +46 46 19 18 63
SWEDEN                     /    | /  \ | \__/         Fax:   +46 46 13 61 30
Newsgroups: rec.music.synth
From: cassiel@cassiel.demon.co.uk (Nick Rothwell)
Subject: K2000 SCSI (Was: K2000 patches and samples ftp sites?)
Date: Wed, 14 Oct 1992 00:00:00 +0000

>Both the drives and the Kurzweil are connected
>on the same SCSI bus.

This cannot be right...

>There's only one restriction: never try to access the same disk at the
>same time. It makes the Mac crash.

Like I said, this cannot be right (especially since the MacOS might go for
the hard disk at any time). How IS this supposed to be set up? I'd think
having a Mac with local SCSI storage, and then the K2000 downstream, but
the '2000 with its own local storage in its own format. But SCSI doesn't do
that: it requires a single bus master. I can't think of a way of getting a
computer-based K2000 rig working without SCSI switchers and stuff.

                      Nick Rothwell  |  "Say, how many contemporary dancers
   CASSIEL Contemporary Music/Dance  |     are there in this bar?"
        cassiel@cassiel.demon.co.uk  |  "Dunno; count the Dr. Martens
        cassiel@cix.compulink.co.uk  |     and divide by two..."

Newsgroups: rec.music.synth
From: d88-jwa@byse.nada.kth.se (Jon Wtte)
Subject: Re: Midi song - "Borderline - Madonna"
Originator: d88-jwa@byse.nada.kth.se
Organization: Royal Institute of Technology, Stockholm, Sweden
	<1992Oct8.162147.9672@comp.lancs.ac.uk> <1511@bbx.basis.com>
Date: Fri, 9 Oct 1992 09:37:59 GMT

> scott@bbx.basis.com (Scott Amspoker) writes:

   the infringing work.  Period.  If you made tons of money off of a song 
   you claim to have written and it sounds too much like something else
   to be a mere coincedence then you will probably have to pay a major fine

Please define how close "coincidence" is. And how to measure it.

-- 
Jon W{tte, h+@nada.kth.se, Sweden, Phone +46-8-107069

"From now on, I think I'll re-label the EQ on the
 desk as Fizz and Wobble, rather than HF and LF."
Newsgroups: rec.music.synth
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: Wendy Carlos, where are you???
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Wed, 14 Oct 92 20:03:52 GMT

Keyboard magazine featured her and SOB2000 in a recent issue.
Since her new album is on Telarc it would indeed seem reasonable
to assume she has a contract with them.
Newsgroups: rec.music.synth
From: dabl2@nlm.nih.gov (Don A.B. Lindbergh)
Subject: Re: CAKEWALK for WIN???
Keywords: CKW
Organization: National Library of Medicine
Distribution: na
Date: Wed, 14 Oct 92 15:55:40 GMT

In article <1992Oct13.081427.17663@comp.lancs.ac.uk> davei@comp.lancs.ac.uk (Mr D Ingles) writes:
>In article <1992Oct12.150935.8712@mnemosyne.cs.du.edu> gfini@nyx.cs.du.edu (Gianluca Fini) writes:
>>Cakewalk for Win??? It exists ? I didn't know. Is it interesting I normally use
>>MasterTrack Pro 4.5 or Finale as notator. Does Cakewalk Win include a notator??
>
>Yes but only a very basic notator.
>
>>Is it better then the two programs mentioned above? 
>
>Not for notating ! It is however a very nice 'all round' package. It has 
>built in sysex routines and a scripting language.
>
>>Tell me something ... I knew Cakewalk was a Dos program!!!
>>Can I find it in Italy or in Europe??
>
>The demo of it should be still on ftp.cica.indiana.edu
>
>Davei

Has anyone had the problem of incoming data on track 10 not showing up
in the track view until AFTER the file has been saved, then re-opened?

--Don Lindbergh
dabl2@lhc.nlm.nih.gov
Newsgroups: rec.music.synth
From: soh@gdstech.grumman.com (Scott O'Hare)
Subject: Re: RE: 8 bit vs. 16 bit?
Reply-To: soh@gdstech.UUCP (Scott O'Hare)
Organization: Grumman Data Systems-Woodbury
Date: Fri, 9 Oct 1992 13:09:57 GMT

In article <1680273@hpsad.sad.hp.com> smithj@hpsad.sad.hp.com (Jim Smith) writes:
>In rec.music.synth, Bob.Weigel@bbs.oit.unc.edu (Bob Weigel) writes:
>
>
>    	Actually, my K1, which is an 8 bit machine has quite a bit of
>    volume dynamic range.  The differences between it and a good 16 bit,
>    or even 12 bit unit is that the timbral range is limited.  Also the sounds
>    have a common noise element.  Since there is a maximum of 256 signal
>    levels which can be represented by an 8 bit DAC, many sounds cannot be
>    accurately represented.  On the other hand, some can.
>
>Yeah, like square waves! :->
>
>Anyway, I thought I'd mention that, even though the ESQ-1 has only eight-bit
>oscillators, it follows these with filters and VCAs, which give it a greater
>dynamic range.  (If those oscillators used better phase-interpolation methods,
>and if the controller update rate were faster, the sound would be much
>cleaner in spite of being only 8 bits.)
>Anyway, in a hybrid machine like the ESQ, number of bits doesn't even come
>close to telling the whole story.
>
>                       Jim Smith  smithj@hpsad.sad.hp.com
>                     Oh Hannu, this is most unbusinesslike.
>

"Dynamic Range" is simply a ratio of the loudest sound a machine can produce 
to the softest (logarithmically scaled). Equivalently, it is a measure of the 
subtlety with which a machine can implement changes in amplitude. Note that
it has nothing do do with signal to noise ratio (except perhaps for the 
resolution with which noise is reproduced - if a "round-down" algorithm is 
used, the lower resolution machine might actually act like a gate and have
a LOWER noise floor!)

soh

-- 
---------------------------------------------------------------------
- Scott O'Hare (soh@gdstech.grumman.com)                            -
---------------------------------------------------------------------
Newsgroups: rec.music.synth
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Subject: Paging Forest Chang, others please disregard.
Organization: Digital Equipment Corporation
Date: Mon, 12 Oct 1992 18:43:26 GMT

Paging Forest Chang.  Mr. Chang, please pick up the white convenience phone
and give me an updated email address.  The army seems to think that your node
has evaporated.


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

Newsgroups: rec.music.synth
From: ljnelson@unix.amherst.edu (Laird Nelson)
Subject: Re: Dennis spotted playing guitar (was Re: WANTED:Used Drum Machine/Zoom)
Organization: his final hour
X-Newsreader: TIN [version 1.1 PL6]
Date: Fri, 9 Oct 1992 14:11:57 GMT

Eirikur Hallgrimsson (eirikur@ranger.enet.dec.com) wrote:

   You're doing pretty well on the getting your music out side, too.  I saw a
   review this week of the Paula Westerfield album, with you credited with some
   writing and tasty guitar.  Come to think of it, that may have been on one of
   the net-published music zines, but hey, press is press.
      
Hey, I'll add to said press: the album is a good one; very tight, very clean.
Gotta thank Dennis for sending that one along.  Kudos etc.

LAiRD

--
ljnelson@unix.amherst.edu           |
ljnelson@amh.amherst.edu            |          The Quintet-essential.
(413) 542-2932                      |
From: kraig@biostr.washington.edu (Kraig Eno)
Newsgroups: rec.music.synth
Subject: Re: Lime (Demo v1.1c) doesn`t work on my MacPlus
Date: 14 Oct 92 03:28:29 GMT
Article-I.D.: biostr.07001992Oct13.201333.1
Organization: University of Washington

tony@scotty.dccs.upenn.edu (Anthony Olejnik) writes:
> Q: Does Lime (demo v1.1c) work on a MacPLUS?
>   If so, why is an `unimplemented trap' happening?

I can't say for sure whether Lime works, but I can tell you the following:
	a) Apple MIDI Manager v1.1 works on a Plus
	b) Apple MIDI Manager v1.2 DOESN'T work on a Plus
	c) Apple MIDI Manager v2.0.1 is supposed to work on a Plus

Since (last I knew) Lime requires MIDI Manager, you have to have the right
version.  I found all this out when I tried out Lime with v1.1, thought the
basic idea of the MIDI Manager was cool, and decided to buy it from APDA.
They shipped 1.2, KNOWING that it wouldn't work on a Plus, and then wouldn't
do anything for me when I complained.  "Wait for v2", they said, but they
wouldn't ship me a free update and by the time it came out, I was past caring
anyhow.  Part of the benefit would have been having a fine-tuned, commercially
supported product doing my MIDI I/O for me, but MIDI Mangler decidedly isn't
that.

I got versions 1.1 and 2.0.1 from the archive where I got Lime...there was a
window of time where they had it up for public access, but I don't know if they
still do.

Why do companies like Apple shoot themselves in the foot like that, I'd like
to know?  I mean, making people angry after they've already paid their money
for the product is a short-term profitability boost, but you'd think they'd
be intelligent enough to see the long-term disadvantages.  It's almost enough
to make you revert to DOS, except they do the same thing there, too.

> I'm running v6.0.8 on the MacPLUS.

I just heard about 6.0.8 today; I'd be interested in what's different from
6.0.7, and what it's for.  Bug fixes?  Or is it just intended to allow people
with the LC II to avoid System 7? Please e-mail if you have time, or post it if
you think it's relevant to the group.

Kraig Eno, kraig@biostr.washington.edu
"Instead of actually producing goods, American industry shifted to put an
emphasis on the analysis of the process of producing goods." -- K. Reichard
From: metlay@netcom.com (metlay)
Newsgroups: rec.music.synth
Subject: Re: Oberheim dead again!
Summary: Rend thy heart and not thy garments (Joel Chapter 2)
Date: 11 Oct 92 21:35:11 GMT
Organization: Atomic City

In article <67470@cup.portal.com> Randomizer@cup.portal.com (Aron Fingers Nelson) writes:
>It has happened again....
>Yes it is true, Oberheim is gone again.

Wail!!!

>To quote raw fish, RFollowing a trend started long before New England Digital,
>GMI (Gibson) has suspended all operations of Oberheim.S
>This came from Richard Bugg who was designing the OB-MX.

Richard, a good friend of mine, was not designing the OB-MX. He was, however,
working with the design team and handling liaisons with users like moi.

>What a loss...

That's for sure. I'll talk to Richard and get details ASAP.



-- 
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: campo@calspan.com (Jim Campobello)
Subject: Vision version
Organization: Calspan Advanced Technology Center
Date: Thu, 15 Oct 1992 16:53:03 GMT

   >> What's the street price for Vision?
   >From: ssanders@convex.com (Steve Sanders)
   >Rogue Music lists Vision 1.32 + Galaxy bundle for $389.
   >Studio Vision + Galaxy bundle is $875.

     Vision 1.4 has been shipping for a few months now.  Since it's a
     $50 upgrade from 1.3n, you would be wise to insist on 1.4 for any
     new purchase.
                         Jim Campobello
                         campo@calspan.com
Newsgroups: rec.music.synth
From: cjd@osf.org (Chris Doherty)
Subject: Re: Mail Order
Organization: Open Software Foundation
Date: Thu, 8 Oct 1992 20:52:08 GMT

In article <geooZA200WBM85TS4M@andrew.cmu.edu> Miguel Pating <mp51+@andrew.cmu.edu> writes:
>Can anyone please e-mail me some names and phone numbers of some
>reliable mail order companies that provide a good selection and price
>for sound modules?  I'm looking for a Roland Sound Canvas or a CM-32,
>and would like to find a used one if possible. 
>

I can give you my experience with New York Music in Boardman Ohio.
I bought an Ensoniq SD/1, at a good price, and noticed a slight hiss
with the reverbs.

I returned it to them a week later and they sent me another one.
I noticed the same hiss with the new one.  Ensoniq said they weren't
aware of it.  The hiss is very low and subjective.  I never remembered
hearing any hiss with my VFXsd and I knew the SD/1 was suppossed to be
quiter.  So they offered to ship me a third one and if I didn't like it 
they would give me a full cash refund!!

The moral of the story?  I'll use New York Music for mail order.  These
guy's were the nicest music store guy's I've ever dealt with.
They'll match any price too.

				-Chris

New York Music
7144 Market St.
Bordman OH 44512
216-758-4705

Jim Nole is the keyboard guy.

Tell him Chris Doherty recommended them.


-----------------------------------------------------------------
Chris Doherty				work: (617)621-7252
Open Software Foundation		inet: cjd@osf.org
Cambridge, MA				uucp: uunet!osf!cjd

	"As for me and my household, we will serve the Lord"
				-Joshua, son of Nun
-----------------------------------------------------------------
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: metlay/erikur fooled by vfx-sd
Date: 14 Oct 92 03:11:00 GMT
Article-I.D.: ucbvax.9210140354.AA18461


To correct Metlay's reconstruction of our phone conversation...

There were no piano sounds played (except, maybe by Dean).  The sounds to
which I refered were synth soloing sounds.  These sounds were basically
monophonic sounds.  I may have the gray hair, but it is clear to me that it is
Metlay who is aging agead of schedule.

John
From: sgs@terapin.com (Stan Sawyer)
Newsgroups: rec.music.synth
Subject: Re: Korg DS-8 multitimbral problems anyone?
Date: 7 Oct 92 23:59:30 PST
Organization: BBS

>Notes cutoff, notes forgotten, strange notes, delays....

I still like the version of FM synthesis in my DS-8 =)

One of the problems you may be running into is that the DS-8
does *not* recognize "running status" which is what most sequencers
incorporate by default.

what this means is, the DS-8 *must* have a note off at the end
of each note in multi-timbral mode.  If you send only the "running
status" note on of value 0, it will give you things like "notes
cutoff, notes forgotten, strange notes, delays", etc.

Most sequencers allow you to turn off running status (i.e., turn on
note offs).

Good luck.

  sgs@terapin.com
Newsgroups: rec.music.synth
From: ljnelson@unix.amherst.edu (Laird Nelson)
Subject: Re: FORSALE: KORG m1
Organization: Amherst College
X-Newsreader: TIN [version 1.1 PL6]
Distribution: usa
Date: Tue, 13 Oct 1992 16:05:50 GMT

Sunny Singh or Airpreet (airpreet@csd4.csd.uwm.edu) wrote:
      hi...
      	i would like to sell my Korg m1 with 6 sound cards..
      	for $1000..

Or, you could buy my M3R for $500 and forego the sequencer.

LAiRD

--
ljnelson@unix.amherst.edu           |
ljnelson@amh.amherst.edu            |          The Quintet-essential.
(413) 542-2932                      |
Newsgroups: rec.music.synth
From: dpelton@nyx.cs.du.edu (Dennis Pelton)
Subject: Re: net purchases (followup)
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Fri, 16 Oct 92 18:03:16 GMT

In article <1992Oct16.102219.268@hp4at.eunet.co.at> wang@hp4at.eunet.co.at (Wang) writes:
>As I mentioned in an earlier post I purchased a Rhodes Chroma.

>I started programming this thing and I love it! 

>and may take
>a long time (e.g. 3 months all in all in case of the Chroma). 
>But sometimes it's worth to do that.

In the case of the Chroma, ANY time/expense/effort is worth it,
of course.  (JMBFO)

Dennis Pelton
dpelton@nyx.cs.du.edu

(Just My Big Fat Opinion)
Newsgroups: rec.music.synth
From: d88-jwa@byse.nada.kth.se (Jon Wtte)
Subject: Delta versus absolute
Originator: d88-jwa@byse.nada.kth.se
Organization: Royal Institute of Technology, Stockholm, Sweden
	<1992Oct5.131937.10787@mks.com> <6873@kielouta.fi>
Date: Wed, 7 Oct 1992 12:26:12 GMT

(Mikko Helin) writes:

   multiplication of sample rate and bit number of sample and used conversion
   method. So 8 bit 88 kHz with delta-sigma (or inc/dec ) conversion is as
   good as 16 bit 44 kHz with linear conversion (or actually, better). 
   One bit A/D converters use oversampling to get better linear response 
   and less distortion and, for an example, ASR-10 uses 64X oversampling.

Not true. 15bit at 88kHz delta is "the same" as 16bit at 44 kHz,
since each bit means a doubling in the reachable range.

The one-bit CD players all use noise shaping to achieve a decent
sound; else you would need a reconstruction rate of about 3 GHz
for the same slew rate as a 16bit player. That's right in the
realms of your microwave oven...

-- 
Jon W{tte, h+@nada.kth.se, Sweden, Phone +46-8-107069

"From now on, I think I'll re-label the EQ on the
 desk as Fizz and Wobble, rather than HF and LF."
Newsgroups: rec.music.synth
From: jbmbens@cs.vu.nl (Benschop JBM)
Subject: Boss DS 330 specs wanted
Organization: Fac. Wiskunde & Informatica, VU, Amsterdam
Date: Mon, 12 Oct 1992 11:22:00 GMT

When I went to a store in Holland to get some more information
about the Roland SoundCanvas SC-55 or equivalent modules, the
guy helping me pointed me at the Boss DS 330. He said, that except
for the MT-32 mode the SC-55 has, the two module are very much the
same (but not in price). Unfortunately he said the module has just
yet been introduced in Holland so there is no information about it.

The only thing I know about this module is, it is compatible with 
Roland GS-Midi. Can anyone tell me what the specs of the Boss DS 330
are? Is Boss just an other name for Roland? How does the Boss DS 330
sound in comparision to the SoundCanvas?

				Jeroen Benschop, Holland
				email: JBMBENS@DRAAK.CS.VU.NL

Newsgroups: rec.music.synth
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: Tascak DA-** digital 8-track info from rec.audio.pro
Date: 8 Oct 92 13:33:00 GMT


Well, it's good to see that the Tascam rep I have been talking to has been
straight with me.  I'm not sure why Phil Galanter thinks that the description
in the articl he posted suggests that the Tascam is an inferior product to
the Alesis.  First of all, the list price he quotes is on the money with
what Ace music has gotten from Tascam.  However, Tascam ain't Alesis and there
will be no attempt on Tascam's part to discourage steep discounting of the
DA-88.  According to the Tascam rep (who I am begining to believe more and
more over the questionable info channels of those people here who suposedly
know something), whe the DA-88s are finally ready to ship, they are going to
ship bigtime.  He assured Ace that there would be adequate quantities available
right from the get-go.  Obviously, Tascam is posturing themselves to acquire
the lion's share of the market simply by making their unit readily available.
Now, according to the pro-audio/recording guy at Ace (Geno), the actual selling
price of the DA-88 there will be $3699.  Now, if you figure that Ace works on
a pretty big overhead budget, you should figure that Jamie should make them
available closer to $3600 (maybe even less).  Next, I for one am usually of
the opinion that (unless we are discussing American autos), the heavier
something is, the more it is worth.  That the Tascam box weighs twice as
much as the Alesis doesn't bother me in the least.  The Tascam DA-30 is quite
heavy for its size, and I am very impressed with its construction and 
reliability.  Also, I can't see how a jog wheel on the front of the deck
would not be something to kill for.  If you have ever compared the editing of
video tape with or without the jog shuttle dial you will realize how much
of a cleaner approach this is than fast-forward/rewind transport shuttling.

According to the Tascam rep, the remote control which Galanter refers to is
more analogous to the BRC than it is to a standard remote control.  The
machine is supported by a standard remote control which comes in the box.

The issue of sound quality will obviously be settled as soon as some people
can do some a/b testing of the two units.  Still, I will go with my anti-
VHS bias and will buy the Tascam.  It may well be that the ADAT's days are
numbered.  People all over the industry are getting a little pissed off at
Alesis's distribution/allocation system.  Most feel that the company is 
deliberately keeping the supply of ADATs short in order to keep resale profits
up.  People who follow South Africa politics will recognize this as the same
tactic which DeBeer's diamond cartel has successfully used to keep the price
of diamonds artificially inflated for the last twenty five years.  I have
never liked Alesis's price fixing strategies.  I hope that Tascam is capable
of shipping in the quantities projected by the rep. 

John
Newsgroups: rec.music.synth
From: ljnelson@unix.amherst.edu (Laird Nelson)
Subject: Re: What is Ring Modulation?
Organization: the end of his rope
X-Newsreader: TIN [version 1.1 PL6]
Date: Fri, 9 Oct 1992 02:58:49 GMT

bull@vaxc.cc.monash.edu.au wrote:
      
              No, Ring Modulation was Wagner's lesser known folloup to his
      operatic triumph, The Ring Triology.
      
The third movement was fed into the control input of the first, as I believe.
Maybe this is why opera sounds so bad.

LAiRD

--
ljnelson@unix.amherst.edu           |
ljnelson@amh.amherst.edu            |          The Quintet-essential.
(413) 542-2932                      |
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Newsgroups: rec.music.synth
Subject: Re: pitch/modulation wheels
Date: 12 Oct 92 23:26:26 GMT
Organization: Digital Equipment Corporation


In article <1992Oct12.202124.6702@odin.corp.sgi.com>, gints@prophet.esd.sgi.com (Gints Klimanis) writes...
>Yamaha used to sell a nifty box with a few wheels, sliders and buttons. 
>Was like $150.  Maybe you could ask around to get model #.  I'm sure
>it's no longer in production.

It's your basic Yamaha MCS-2.  Two wheels, two sliders, one set of patch-select
buttons, if you like their bank scheme, inputs for two linear pedals and two
switch pedals.  Very handy.  Also provides a merge!  These things are useful
to anyone with a non-monolithic setup.  

Mine has been reliable for years.  The foot pedals it expects are Yamaha FC-7s,
but I was able to connect things like a RadioShack Color Computer joystick,
with little trouble.

Eirikur Hallgrimsson   |    "Rhodes?  Where we're going, we don't need Rhodes!"
eh@ranger.enet.dec.com |
PATHWORKS for Macintosh|
Newsgroups: rec.music.synth,rec.music.marketplace,rec.music.makers