HDTenEightyP/NetNews huggingface dataset:
X-Envelope-to: SYNTH-L@AUVM.BITNET
X-VMS-To: IN%"SYNTH-L@AUVM.BITNET"
Newsgroups: rec.music.synth
Date:         Thu, 16 Apr 1992 11:37:00 EDT
From:         WSCOTT@WOOSTER.BITNET
Subject:      Re: best price wanted

>    A friedd oe to
>    get the best price on a Mackie 1604
>  (envy, envy).

Mackie CR1604 mixer     795    Boynton Auio (Morris, NY)              Feb 92

marc webster

WAIT!!   Gattuso's Music in Canton Ohio sells them for $750.00

Bill Scott
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: practicing vs. programming (was: Usenet tape depression)
Summary: Thoughts from the thumbfingered end of the curve
Date: 9 Apr 92 22:01:17 GMT
Organization: Atomic City

In article <".9-Apr-92.10:31:44.EDT".*.Marc_W._Webster.henr801c@Xerox.com> webster.henr801c@XEROX.COM writes:
>> I am going to get flamed up the wazoo for this, but I think that too many
>> people waste alot of time programming their synths and worrying about the
>> latest and greatest equipment
>
>before the flames start, I'll just throw in my support of the above statement.

>Oh, and by the way, I usually end up practicing on my acoustic piano (better
>than even analog!  Sorry Metlay!! :-)

Don't apologize. If I had the room and the strength to move it, I'd probably
own one too. As it is, though, I think I've got the wife convinced that 
when we finally have a house with a living room large enough for a musical
instrument, it's going to be a glass harmonica.

I think that Jack, and Marc, and everyone else, are being a little too
paranoid about the faceless horde of gearheads out there ready to
stone them because they actually know how to play. I haven't seen a
single flame on this thread yet, and I don't think I will, either.  I
would never tell someone that practicing piano and getting one's chops
to the point where feeling becomes idea becomes music with little
stumbling is not productive or worthwhile, and I'm about the most 
technophilic noise-hound on this group. I agree that a lot of people
are starting out and trying to let technology take the place of hard 
work, but they'll either learn otherwise or their work will suffer.
Dedication applies to whatever kind of music you do, and all *I* ask
is that people who enjoy making new sounds with electronics, as I do,
not get swept under the rug out of hand.

--
metlay    | "Now, why can't I buy a decent Venetian cutaway 76-key master 
@minerva. |  keyboard in flamed maple with full body sunburst finish?
phyast.   |  (and gold Schallers, whatever they are.)"
pitt.edu  |                                               --Nick Rothwell
From: d88-jwa@hemul.nada.kth.se (Jon W{tte)
Newsgroups: rec.music.synth
Subject: Re: Macintosh Powerbook & MIDI
Date: 12 Apr 92 10:36:31 GMT
	<D88-JWA.92Apr8105502@hemul.nada.kth.se>
	<NICK.92Apr9173614@vaila.ed.ac.uk>
Organization: Royal Institute of Technology, Stockholm, Sweden
Originator: d88-jwa@hemul.nada.kth.se

.ac.uk> nick@dcs.ed.ac.uk (Nick Rothwell) writes:

   <I write:>
      If you use a sequencer that
      understands about the MIDI manager, though, it should work.

   False.

Are you sure ?

I've heard people say that running the MIDI manager makes the
problem go away...

-- 
h+@nada.kth.se; Jon W{tte, the Diplomat - NOT!
Newsgroups: rec.music.synth
From: malouin@engin.umich.edu (Curt Malouin)
Subject: Re: Sampling CD review
Date: Wed, 08 Apr 92 00:19:06 EDT
Organization: University of Michigan Engineering, Ann Arbor
Summary: breakbeats

I have the entire Simon Harris set on vinyl.  I can post
reviews of volumes 1-7 if anyone's interested.  The set
is designed for DJ's, and more specifically, hip hop DJs.
The breakbeats are designed for backspinning or mixing,
and the samples are great for dropping in or scratching
during a mix or song--a lot of the samples are guitar hits
and stuff like that.

A word on breakbeat albums: in general, avoid them.  The
Simon Harris collection is the best (IMHO), and there
are a few other good ones (such as the "Wildstyle" break-
beats).  Most, however, are a collection of tracks that
weren't strong enough to be songs on their own, and are
programmed tracks instead of [sample] loops.  If there is
any interest, I can post some reviews.

	-cut-
--
email: malouin@engin.umich.edu; Curt.Malouin@um.cc.umich.edu
+-------------------+                  +-------------------+   
|    :::::::     #  |                  |    :::::::     #  | Curt Malouin
|  :::::::::::  {|} |+----------------+|  :::::::::::  {|} | 313/764-7795
| :::::::::::::  |  || , , , , = = ;; || :::::::::::::  |  |            
| ::::::o::::::  |  || _ _ _ _ __     || ::::::o::::::  |  | University
| :::::::::::::  |  || | | | | || ### || :::::::::::::  |  | of Michigan
|O :::::::::::  / | || | | | | || ### ||O :::::::::::  / | | College of
|#_  ::::::: . %  | || -+- + + +- -+. ||#_  ::::::: . %  | | Engineering
+-------------------++----------------++-------------------+
Newsgroups: rec.music.synth
From: nsw@cbnewsm.cb.att.com (Neil Weinstock)
Subject: Re: Elvis in keyboard issue April 1992
Organization: The Flying Squid Patrol
Distribution: na
Date: Fri, 10 Apr 1992 21:47:51 GMT

In article <287@bbx.basis.com> scott@bbx.basis.com (Scott Amspoker) writes:
>In article <8brjbdm@lynx.unm.edu> kholland@hydra.unm.edu (Kiernan Holland) writes:
>>Does anyone know what kind of trick they were trying to pull 
>>in keyboard magazine, april 1992?? All the writers and editors 
>>pictures were replaced with pictures of Elvis. Keyboard, 
>>Elvis is dead. ;-)
>
>I saw that too.  Dominic's Editor's column offers *some* half-baked explanation
>for it but I got the feeling it was an inside joke of some sort.

Urgh.  Am I the only one who's completely certain that it was just part of 
their April's Fools prank for this year?

                                   - Neil

--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--==--
Neil Weinstock @ AT&T Bell Labs        //     What was sliced bread
att!edsel!nsw or nsw@edsel.att.com   \X/    the greatest thing since?
From: dce@smsc.sony.com (David Elliott)
Subject: Re: DidINukeMy Performer in Install?
Organization: Sony Microsystems, San Jose, CA
Date: Tue, 14 Apr 92 17:44:18 GMT


In article <4108@sumax.seattleu.edu>, bill@sumax.seattleu.edu (Bill Flowers) writes:
|> From article <9204131541.AA02226@EDDIE.MIT.EDU>, by JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL:
|> > 
|> > Welcome to the sad world of Mac-ownership.  Actually, MOTU appears to have
|> > 
|> 
|> Now, now, let's not inflict one's personal distaste for a particular
|> unfamiliar product on other novices.  The install was muffed.  Sh*t happens.

Yeah, but it sure is annoying that this kind of thing has to happen.
People shouldn't have to worry about muffed installs.

Companies that put copy-protection in their software will hopefully
wake up to the fact that they aren't stopping any software piracy,
and are just annoying the hell out of their customers.

-- 
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."Nobody believes a laughing person." -- Farkle
Newsgroups: rec.music.synth
From: jmcclain@isis.cs.du.edu (jesse mcclain)
Subject: Re: need info on mirage
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: Sun, 12 Apr 92 18:04:13 GMT


I screwed up my address it really is jmcclain@isis.cs.du.edu
sorry guys
Newsgroups: rec.music.synth
From: dce@smsc.sony.com (David Elliott)
Subject: Re: DidINukeMy Performer in Install?
Organization: Sony Microsystems Corp, San Jose, CA
Date: Fri, 17 Apr 92 15:52:03 GMT

In article <1992Apr16.154403.4737@gumby.cc.wmich.edu> obryan@gumby.cc.wmich.edu (Mark O'Bryan) writes:
>On the other hand, do you really feel that "they aren't stopping any
>software piracy"?  It seems to me that the installation method that
>many companies use must eliminate at least the casual copying/sharing
>that frequently occurs?  If it wasn't stopping any, i.e., it was so
>easy to circumvent by casual copiers, then the legitimate owners
>wouldn't find it such a hassle either and be complaining all the
>time.  Right?  Or am I missing something?

I think it depends on your view of software piracy, and what aspects of
it are important to stop.  To me, there are different mindsets for
people stealing software.

First, there's "packrat" piracy, where the person just wants a copy of
everything, but really uses very little.  The existing Mac protection
schemes do prevent most of this, but these people don't really result
in a "loss of revenue" because they wouldn't have bought the program
anyway.

Second, there's "evaluation" piracy, where the person wants to
extensively try out the software before buying.  The existing Mac
protection scheme doesn't prevent as much of this because these people
are willing and able to convince a friend to let them have an install,
resulting in requests for more installs from the company ("I had ummm...
a hard disk uh crash.  That's it!  A disk crash!").  In any case, these
people usually buy the software if they want it, because they tend to
use their system enough to crash it every once in a while.

Third, there's "blatant" piracy, which involves pirate BBSes and "disk
utilities".  These people enjoy circumventing copy-protection schemes
like crackers enjoy breaking into computers by modem.  No scheme is
going to stop these folks if they want to use the software.  The worst
part is that the information ends up everywhere (have you read
comp.sys.mac.games lately?), and even old hacking information (which
may not works and may actually cause problems) makes the rounds.

I *do* buy copy-protected software because the software I want to use
happens to be copy-protected.  The fact is, I don't mind copy
protection, since I'm not planning to give away the software (heck, I
paid good money for it, why shouldn't others?).  What I mind is copy
protection that forces the owner to know so much, especially in a
system where people don't often read manuals.  I'm also annoyed that I
can't use common things like disk reorganizers without either
de-installing the software or jumping through hoops using software
partitions and such, and that my faithful backups won't do me a bit of
good with my music software if I do have a disk crash.
From: shepard@athena.cs.uga.edu (William Erik Shepard)
Newsgroups: rec.music.synth
Subject: Re: Microphonics (was Re: Yamaha TX81Z problem - HELP)
Date: 16 Apr 92 20:26:15 GMT
Article-I.D.: athena.1992Apr16.202615.5059
Organization: University of Georgia, Athens

In article <1992Apr16.154439.10728@nntpd.lkg.dec.com> eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson) writes:
>>I have a fond memory of a jam session in a target room once: one guy
>>clapping in time to the detector microphonics, another one using a
>>piece of sandpaper on a piece of tubing he was polishing as a cabasa,
>>and yours truly playing the open end of a hollow structural beam as a
>>tabla drum.  It was pretty hip, but we didn't have time to make a tape,
>>alas.  |->
>
>This is the most musically relevant, not to mention inspiring, posting in this
>group in a long time!

Eirikur (or Metlay);

Do either of you (or anyone else) for that matter have a copy of the original
posting?  I seemed to have missed that one and now deeply regret it (wistful
sigh appropriate here).  Thanks!!!

Erik Shepard
shepard@athena.cs.uga.edu
Newsgroups: rec.music.synth
From: mbl@media.mit.edu (Marc LoCascio)
Subject: Re: MOTU Apparently Now hiring ex Radio Shack Employees for Tech Support
Organization: MIT Media Laboratory
Date: Fri, 10 Apr 1992 19:39:50 GMT

In article <35100@nntpd.lkg.dec.com>, eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson) writes:
> 
> What about a near-term solution involving SCSI?
>  Oh, you said you didn't have a product requirement for better
> than 4X MIDI bandwidth.  Oh, well, John needs one, and I certainly like to have
> a lot of headroom, myself.

it would be *great* if the MTP's could do 32x MIDI bandwidth, and they 
*should*.  it's just not possible on the Mac without additional SCSI or 
NuBus hardware.  the market hasn't seemed to notice any audible problems
with the current 4x MIDI scheme, so such hardware is not really a priority.

Marc LoCascio	(mbl@media-lab.media.mit.edu)
Newsgroups: rec.music.synth
From: Marty D Weil <mweil@magnus.acs.ohio-state.edu>
Subject: Audiomaster II manual wanted
Organization: The Ohio State University
Date: Sat, 11 Apr 1992 02:21:28 GMT



Does anyone out there have documentation for Audiomaster II?  If so, I
would be be grateful if I could get a copy of it.  Send replies via email.

thanks
From: brooksp@hpcc01.corp.hp.com (Peter Brooks)
Date: Mon, 6 Apr 1992 17:13:03 GMT
Subject: Re: Who make professional quality sampled pianos?
Organization: the HP Corporate notes server
Newsgroups: rec.music.synth

Beyond the obvious E-mu Proformance, consider a Kurzweil Pro 1 synth
module.  Very nice piano, and the full gamut of sample-player
sounds, with extensive effects, LFOs, etc.  A local store (Guitar
Showcase in San Jose) is now selling them for $795 (one-month deal)
with a normal asking price of 1000 or so.  If I didn't already have
a Pro 76, I'd get the module.

Pete Brooks

Newsgroups: rec.music.synth
From: mikelle@vaxb.gbus.virginia.edu (Eddie Mikell)
Subject: --|| TOA KD-1 amp for sale ||--
Summary: TOA KD-1 for sale, $200.
Organization: Darden Center, University of Virginia
Date: Mon, 13 Apr 1992 13:20:22 GMT

FOR SALE:

TOA KD-1 amplifier.  4 inputs with high/low eq, and reverb for each 
channel.  There is also a input for a microphone.  The unit has a 12" two 
speaker, and outputs a ample 50 watts.

It is in excellent condition, and is great if you need a very portable, 
sturdy amp.

$200....

Eddie Mikell
mikelle@vaxb.gbus.virginia.edu
Newsgroups: rec.music.synth
From: briansp@css.itd.umich.edu (Brian Spolarich)
Subject: Berklee in Boston
Keywords: schools, colleges, Berklee 
Organization: University of Michigan, ITD Consulting and Support Services
Distribution: na
Date: Fri, 10 Apr 92 20:59:31 GMT

     I am thinking about transferring to Berklee College of Music in
Boston, and I was wondering what people on the net thought about the
school.  I am interested in synthesis, as well as more traditional forms
of music and composition.  I also really love chamber music (Renaissance,
Madrigals, etc.) and I was wondering if this kind of stuff was done at
Berklee at all.  I know the school is considered rather contemporary,
but I am looking for a place that combines commercially-oriented kind
of work with new music and traditional composition.
     Also, are there any other schools out there that I might like?
                                           -brian


________________________________________________________________________
Brian W. Spolarich                   "Until I die there will be sounds.
816 South Forest Ave.                 And they will continue following
Ann Arbor, MI  48104                  my death.  One need not fear for
(313) 996-5980                        the future of music."
Internet:                                     -John Cage
briansp@css.itd.umich.edu
Bitnet:  USERW292@UMUMICH.BITNET
________________________________________________________________________






Newsgroups: rec.music.synth
From: rainer@spot.Colorado.EDU (Rainer Malzbender)
Subject: Alesis D-4 Prices
Organization: University of Colorado, Boulder
Distribution: usa
Date: Fri, 10 Apr 1992 22:20:16 GMT

The recently posted synth price list shows a Sep. 1991 price of $350
for the D-4, which is also what my local dealer is quoting. Is this
the best I can do?

-- 
Rainer Malzbender 
Post-doc, Physics
U. of Colorado, Boulder (303)492-1366              rainer@shelley.colorado.edu
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Mon, 6 Apr 1992 03:24:35 CDT
From:         "Jonathon Simon" <JSIMON@TRINITY.BITNET>
Subject:      Re: KORG 01/W fd
              5 Apr 1992 01:22:00 GMT from <ar_mill@PAVO.CONCORDIA.CA>

I recently posted a price of 1989.00 at Hermes Music here in San Antonio
Texas.  I think this is unusually low - this music store is new and is
trying to break into the local market.  I got a price from Grandma's
in New Mexico and Syntheny Music earlier this year.  They were
both in the $2150 range.  I don't know how these US dollar prices
would convert to Canadian?  I assume you do.
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: Elvis in keyboard issue April 1992
Date: 9 Apr 92 17:31:23 GMT
Organization: BASIS International, Albuquerque NM

In article <8brjbdm@lynx.unm.edu> kholland@hydra.unm.edu (Kiernan Holland) writes:
>Does anyone know what kind of trick they were trying to pull 
>in keyboard magazine, april 1992?? All the writers and editors 
>pictures were replaced with pictures of Elvis. Keyboard, 
>Elvis is dead. ;-)

I saw that too.  Dominic's Editor's column offers *some* half-baked explanation
for it but I got the feeling it was an inside joke of some sort.

-- 
Scott Amspoker                       | 
Basis International, Albuquerque, NM |    "A man without a newsgroup"
                                     | 
scott@bbx.basis.com                  |
Newsgroups: rec.music.synth
From: johann@nevada.edu (johann)
Subject: WANTED: info on Simmons SDS9 + homebrew drumpad ideas
Originator: johann@redrock.nevada.edu
Keywords: drum
Organization: University of Nevada System Computing Services
Distribution: na
Date: Thu, 9 Apr 1992 15:47:15 GMT

I have a Simmons SDS9 "brain" (no pads) and want to make some
pads for it.  I have been using trig pulses from an old Roland
Drumatix but now need a human interface.

What type of pulse does the SDS9 expect as input:
	nominal voltage?
	trig on rise or fall of pulse?

Anybody know how to assign different drums to different midi
channels (I want to trigger my Yamaha SPX90II sample with midi
out from the SDS9...but only when a certain drum is triggered...
currently the SPX90 is trig'd by any drum [I guess the SDS9 is
stuck in Omni-out])?

Any ideas or plans for homemade drum pads are most welcome.
I recall something about mouse-pads and transducers...

Email to johann@nevada.edu    - Jason W Cathcart N7OJN
From: wesley@inqmind.bison.mb.ca (Wesley Konrad)
Newsgroups: rec.music.synth
Subject: Re: Elvis in keyboard issue April 1992
Date: 10 Apr 92 06:50:02 GMT
Organization: The Inquiring Mind  1 204 488-1607

kholland@hydra.unm.edu (Kiernan Holland) writes:

> Does anyone know what kind of trick they were trying to pull 
> in keyboard magazine, april 1992?? All the writers and editors 
> pictures were replaced with pictures of Elvis. Keyboard, 
> Elvis is dead. ;-)


If you read the editorial, all will be explained.  

wesley

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
WESLEY KONRAD                            "I EAT KIDS YUM YUM!
Inquiring Minds BBS                      I STUFF THEM DOWN MY TUM.
Winnipeg Manitoba Canada                 I ONLY LEAVE THE TEETH AND CLOTHES
+1 204 488 1607                          (I SPECIALLY LIKE THE TOES.)"
wesley@inqmind.bison.mb.ca
___________________________________________________________________________
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Tue, 14 Apr 1992 18:38:46 PDT
From:         more dark than shark <DUNN@INTELLICORP.COM>
Subject:      Re: mac plus & midi
Comments: To: synth-l%auvm.bitnet@cunyvm.cuny.edu

Massimo

try to get a cheap version of EZ vision. I dunno about
this TRAX.

practica musica is a training/educational program. is
_that_what you want?

audio trax if for syncinc mac snd (and otherstuff I suppose)
to midi files or TRAX files. won't run on a plus. unless your
plus is unique.

there is a version of EZ bundled with a midi interface from
opcode. starter kit or somthing.

also you _will_ need a midi interface. unless your plus is unique.

casey

-------
From: five@sys6626.bison.mb.ca (skinny puppy)
Newsgroups: rec.music.synth
Subject: Programming Tips
Date: 14 Apr 92 09:51:49 GMT
Organization: system 6626 BBS, Winnipeg MB

Quick and dirty synth programming tips.  Issue #1  (Will there be more?)

Flanging:

Ensoniq ESQ1/ESQ1m/SQ80:

Have an LFO oscillating (with a triangle wave) at a value of 3 with
RESET and HUMAN set to OFF.

Have the filters resonance set to 15 and the cutoff set to 61, and one
of the filter modulation amounts set to 21.


Kawai K5/K5m

Have the LFO oscillating (with a triangle wave) at a value of 3.

Have the filters cuttoff at 40, cutoff-mod at 31, slope at 0,
slope-mod at 31, flat-lvl at 29 and LFO-mod amount at 20.

Panning tip:  Using the above settings, have the exact same values for
each oscillator and it's related parts (set things up on
DFG1/DHG1/DDF1/DDA1 and copy them to ///2), and set osc 1's fine tune
to -3 and 2's fine tune to +3.
Next, in a Multi, set up 1 copy of this sound going out 1 output (that
is panned hard left in your mixer) with a detune of +1  and set up 
another copy of this sound going out another output (That is panned 

hard right) with a a detune of -1.  This will produce a panning effect
in the stereo field, that shifts at the speed that the LFO is set to.
 
 ---------------------------------------
 \FIVE-Aural     \ A' modular I will go, \
  \     Research  \ "Hrrrrr-moble-eeeble" \
   \     Foundation\ Horf, horf, horf.     \
    -----------------------------------------
 

;--- (skinny puppy) 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: "wayne kelso" <wayne.kelso@canrem.com>
Newsgroups: rec.music.synth
Subject: what are the various
Date: 13 Apr 92 13:06:12 EST
Reply-To: "wayne kelso" <wayne.kelso@canrem.com>
Distribution: rec
Organization: Canada Remote Systems

On 04-12-92, CLARENCE DIN wrote to ALL:

 CD> Could anyone give me a summary of each of the various DX7 models 
 CD> available?  Specifically, what does the DX7 II D or FD models have 
 CD> over the basic DX7?  Another stupid question: I read that the DX5 is 
 CD> "basically two DX7's in one."  Can anyone elaborate on this? 
 CD> Thanks!!
  
DX7: 12 bit DAC's; transmits only on midi channel 1; 32 programs
DX5: two DX7's  boxed in a huge coffin {allows for 32 voice bi-tymbral 
splits & layers} 
DX7IID: 16 bit DAC's; midi functions much more evolved;allows for 16 voice 
bi-tymbral splits & layers; stereo outputs; 64 programs + performance 
set-ups;microtonal tunings
DX7IIFD: same as above, but with a floppy drive for tons of programs to 
peruse
TX807:{worth mentioning}: Same specs as DX7II, but allows for 16 voice
 multi-tymbral operation up to eight intruments. Also has eight outputs 
plus a stereo output.This is a module.


I have both a DX7 and a TX 802, and the 802 is definitely quieter. I 
played a DX5 once, and if I remember correctly, the front panel consisted 
of two sets of independent controls for each "DX7". You would not want to 
cart this puppy around. It was huge! There might have been some neat 
features, but it seems that the natural evolution of this instrument was 
realized in the newer FM instruments.

Wayne.Kelso@canrem.com   


---
 * Freddie 1.1 * Sticks and Stones may break my bones, so quit it.
--
Canada Remote Systems  - Toronto, Ontario/Detroit, MI
World's Largest PCBOARD System - 416-629-7000/629-7044