HDTenEightyP/NetNews huggingface dataset:
From: grahame@skyfox
Newsgroups: rec.music.makers.synth
Subject: RE: [EMAX II] Who's got one & disk format.
Date: 26 Jan 93 17:47:21 GMT
Organization: University of Saskatchewan
NNTP-Posting-Host: sask.usask.ca

Given a choice between an Emax-II and an ASR-10, I'd choose the Emax anyday.
You've got 16 phase-coherent stereo voices, as well as wonderfully extensive
sound manipulation capabilities (including a built-in additive synth module).
A SCSI port is built-in (costs a few hundred extra on the ASR), and the
Emax has eight polyphonic outs, which work wonders for mixing.
        The Ensoniq is also buggy... I crashed one several times while working
with it (and I wasn't doing anything unreasonable). As for memory and the Emax,
that is it's one restriction... you're limited to 8MB. The base machine comes
with 2MB, and you MUST buy an Emu board (about $400) to increase the memory.
The basic memory expander comes with 2MB, so that brings you to 4MB. However,
you can upgrade from this to 8MB simply by adding 256Kx4 80 ns. RAM chips.
A piece of cake (and affordable too).

James Grahame

PS - BTW, I love my Emax-II sound library... & I'm more than willing to
     with any other Emax II'ers out there.
Newsgroups: rec.music.makers.synth
From: bgood@sundagger.lerc.nasa.gov ()
Subject: Re: Akai EWI
Keywords: akai,wind,saxophone
Organization: NASA Lewis Research Center
Date: Thu, 28 Jan 1993 18:51:24 GMT

In article <nat92-23.728000277@math.chalmers.se> nat92-23@math.chalmers.se (Jakob Schlyter) writes:
>
> 
>    I have a Yamaha WX11/WT11 MIDI wind controller today and I'm considering
>buying an Akai EWI 3000/3000m instead. Therefore I would be very pleased if
>some of you who have any comments, positive or negative, on the EWI system
>would like to share these with me.
> 
>/Jakob

You haven't said why you want to replace your Yamahas--what is it that you
think the EWI will do better? The EWI is a bit more expressive since it
controls its own analog synth via control voltage (though the difference
between it and a WX-7 *with properly set up wind patches* is not enormous). 
The EWI's analog synth has a MIDI in port, but don't expect to get 
a general-purpose anolog synth; it's monotimbral and monophonic.  It also
has an analog input, which you can use with external MIDI modules.  And, of
course, you can control external modules via MIDI in the normal way.  I think
the WX-7 has a slightly better MIDI implementation than the EWI (don't know
about the WX-11).
--
brian good                     
NASA Lewis Research Center     
bgood@sundagger.lerc.nasa.gov
Newsgroups: rec.music.makers.synth
From: drice@ponder.csci.unt.edu (D. Keith Rice)
Subject: Re: Sampling/Copyright, etc.................
Organization: University of North Texas
Distribution: aus,world
Date: Sat, 23 Jan 1993 01:55:17 GMT

In <1616@b1.babss.UUCP> quantum@mfci.UUCP (Quantum Audio Concepts) writes:

>In article <pet.727704482@munagin> pet@mullian.ee.mu.OZ.AU (paul eng-yi tan) writes:
>>
>>2) The person sampling will not ask for permission to use the sample. Instead,
>>he/she will use it regardless. It is the copyright owner's responsibilty to
>>track down the person using the sample. 
>Why should the copyright owner have to track this information down? Such an
>effort would take time and money. I assume the copyright owner is in the
>business of making music, not running a detective agency.

It's the copyright holder's choice whether or not to file a lawsuit.  Anyway,
who else would track it down?

--
_____________________________
__-----____--___--__-----____	D. Keith Rice
__--__--___--__--___--__--___	University of North Texas
__--___--__--_--____--___--__	Department of Computer Science
__--___--__----_____--__--___	Denton, Texas, USA
__--___--__--_--____--_--____
__--__--___--__--___--__--___	drice@ponder.csci.unt.edu
__-----____--___--__--___--__	drice@cs.unt.edu
_____________________________
From: bethp@milton.u.washington.edu (Beth Plotkin)
Newsgroups: rec.music.makers.synth
Subject: What do you think of Roland's JV-880 Module?
Date: 24 Jan 93 20:45:42 GMT
Organization: University of Washington
NNTP-Posting-Host: milton.u.washington.edu
Summary: What do you think of Roland's JV-880 Module?
Keywords: Roland, JV-880

I have an old Kawai K1 - 2 keyboard, a computer-based sequencer
and a D4 drum module.  I went into a nearby music store hoping
to update my system with a Korg Wavestation SR but the salesperson
tried to talk me into a Roland JV-880 Module.  I have to admit
that it sounded pretty good, but I haven't heard much discussion
on them on this group.  Is that because they are new?

The salesperson seemed to think that, for example, the piano
sounds were realistic because they were sampled several times
and "wave-sequenced" (i.e. the harmonics change with time in
the sample).  Is this how it works?

What do you think of the JV-880 and the Wavestation SR?
Would you recommend my saving more money to buy a K2000?

Thanks in advance for your opinion,

bethp@milton.acs.washington.edu
Newsgroups: rec.music.makers.synth,rec.music.synth,rec.music.industrial,comp.music
From: mason@netcom.com (Mason Jones)
Subject: Re: Make Sampling Legal...
Organization: Charnel House
Distribution: inet
Date: Wed, 27 Jan 1993 17:49:19 GMT

eric@muttley.ucsd.edu (Eric Lyon) writes:
: Mason Jones writes:
: 
: >Several of you folks are attacking copyrights
: >as both a recognition of originality, and as a barrier to creation.
: >Personally, I look at copyrights from my own point of view as merely
: >protection given my participation in a capitalist society. If I don't
: >copyright my works, then I run the risk of someone else appropriating
: >it and profiting from it, which I frankly see as unfair.
: 
: The use of the word "appropriating" is ambiguous here. If it is taken to mean
: "steal", as in make duplicates of someone else's work and distribute copies
: commercially, that would certainly be an example of "appropriation" which 
: is both unethical, would have a negative economic impact on the original
: artist, and is justifiably protected against by current copyright laws.
:{...} 
: We don't have to throw out copyrights but we do have to limit their
: destructive power in the hands of record companies. Otherwise we'll have
: a lot more Michael Jackson and a lot less Negativland.

I'd certainly go along with this. I was trying to make it clear that
I feel there is a purpose to the copyright laws which makes them useful.
On the other hand, I wouldn't have any trouble agreeing that as currently
employed they are needlessly restrictive.

Speaking again personally, I'd have no problem whatsoever with someone
sampling bits of my work. I have to admit that I haven't given any
thought really to how much is too much. That is, how large a hunk of
my music would someone have to sample for me to feel as though it were
an inappropriate act.


<====================================================================>
   Mason Jones               Charnel House Productions
   mason@netcom.com          P.O. Box 170277, San Francisco, CA
                             94117-0277    Phone/fax (415) 255-8554
<====================================================================>
From: spatel@hpcuhe.cup.hp.com (S Patel)
Date: Thu, 21 Jan 1993 17:12:03 GMT
Subject: Info needed on JV-880 synth
Organization: Hewlett Packard, Cupertino
Newsgroups: rec.music.makers.synth

Hi,

Is there a ftp site where I can find patches for Roland's JV-880 synthesizer ?

Thx,

-Sam-
Newsgroups: rec.music.makers.synth
From: drice@ponder.csci.unt.edu (D. Keith Rice)
Subject: Re: Make Sampling Legal...
Organization: University of North Texas
Date: Thu, 21 Jan 1993 05:41:08 GMT

In <1993Jan20.192648.10334@sco.com> jondr@sco.COM (Karen Silkwood's car) writes:


>drice@ponder.csci.unt.edu (D. Keith Rice) writes:
>>A company cannot lose their trademark simply because people misuse the
>>terminology.  If the trademark is registered (as are Kleenex and Xerox),
>>it belongs to the trademark holder and it cannot be lost because someone
>>calls a Canon copier a Xerox machine.

>false.  a company must fight to "protect" its copyright or lose the right to
>the name.  this is why if you order a coke in a restaurant that serves
>pepsi, the server is supposed to ask you "is pepsi OK?"

The issue above was about _trademarks_, not copyrights.  BTW, the server is
supposed to ask you if Pepsi is OK if you asked for Coke because if he/she
doesn't then you are being sold something fraudulently.

--
_____________________________
__-----____--___--__-----____	D. Keith Rice
__--__--___--__--___--__--___	University of North Texas
__--___--__--_--____--___--__	Department of Computer Science
__--___--__----_____--__--___	Denton, Texas, USA
__--___--__--_--____--_--____
__--__--___--__--___--__--___	drice@ponder.csci.unt.edu
__-----____--___--__--___--__	drice@cs.unt.edu
_____________________________
From: eijkhout@cupid.cs.utk.edu (Victor Eijkhout)
Newsgroups: rec.music.makers.synth
Subject: Re: Cheap Multitimbral
Date: 27 Jan 93 14:39:49
Organization: /pearl/homes/eijkhout/.organization
NNTP-Posting-Host: cupid.cs.utk.edu
In-reply-to: billy@irvine.com's message of Wed, 27 Jan 1993 05:13:18 GMT

In article <C1HyI7.4ry@irvine.com> billy@irvine.com (*** Bouncer **) writes:

   >I'm looking for an inexpensive multi-timbral keyboard....any
   >suggestions/recommendations....appreciate it...... 

   Try Roland's Sound Canvas.  It can be had for just about $500,

That's not a keyboard, it's a module. If you're going for a module
check out the Yamaha TG100 too. I've just ordered it for $350 from
Manny's, and for that I even get a built-in Midi interface.
Since I don't have any synths yet, that's dandy with me.

--
Victor Eijkhout ................................ `There are also a few bugs,
Department of Computer Science .......... though not as many as I've come to
University of Tennessee ............... expect in new [MS]Windows products.'
Knoxville TN 37919 ................................ (from a software review)
From: kin@island.COM (Kin Blas)
Subject: Sending ucsd.edu DX-7 Patches to DX-7
Organization: /usr/local/rn/organization
Date: Mon, 25 Jan 1993 17:19:46 GMT

  Is there a Mac program that will either

  1. convert the ucsd.edu DX-7 patches to Opcode's Galaxy format or
  2. download the patches to a TX-7?

  Is it available via FTP? If so can I have the exact location so
that I can make an e-mail FTP request?

Thanks,

--== Kin Blas ==--
kin@island.com
From: grahame@skyfox
Newsgroups: rec.music.makers.synth
Subject: FOR SALE: E-mu Emax II sampler.. 8MB, internal HD
Date: 22 JAN 93 16:24:15 GMT
Organization: University of Saskatchewan
NNTP-Posting-Host: sask.usask.ca


E-mu Emax-II sampler... as new, max'd out memory, 61 keys, 40MB internal
HD, CD-ROM full o' sounds. Send me an enote if you'd like to know more
or make an offer.

James Grahame
-------------
Grahame@Sask.Usask.CA
Newsgroups: rec.music.makers.synth
From: cassiel@cassiel.demon.co.uk (Nick Rothwell)
X-Sender:  (Unverified)
Subject: Re: Re:Wavestation limitation
Date: Thu, 21 Jan 1993 22:05:23 +0000

>The main reason is that they are easier
>to program.

This is a matter of studio ergonomics; you just need to place the racks
where you can get at them. (I say "just" but studio layout is a very
complex topic.) It's not a weakness of the racks themselves, unless they
don't provide the full interface. The Wavestation A/D does (complete with a
WONDERFUL little joystick); the SR doesn't.

The other issue perhaps is performances control surfaces (that same
joystick, say); it depends on whether you're happy about generic MIDI
slider boxes.

                      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.makers.synth,rec.music.synth,rec.music.industrial,comp.music
From: dippybir@tz.ucs.sfu.ca (# 1 1 6)
Subject: Re: Make Sampling Legal...
Organization: Somewhere in The Twilight Zone, Vancouver, B.C
Date: Fri, 22 Jan 1993 22:50:16 GMT

gtaylor@vme.heurikon.com (Gregory Taylor) writes:

> Having gone to some length in a previous posting to create situations
> which would lead one to accept the notion of propriety and ownership,
> I'll have to say that it would seem to me that one of the reasons that
> more radical attacks on this comfortable notion that you "own" what you
> "do" in a world which has democratized your access to the technologies
> of production, reproduction, and distribution are greeted with such
> exceptional hostility is NOT that they strike at your potential livelihood
> as the "next big thing" with a synth [putting aside the only thinly
> veiled bits of ah....exclusionism I read in the attacks on (c)rap,
> which ISN'T MUSIC], but on the notion that one's unconsidered and
> cherished notions of "self" force-fed by consumer culture may be under
> attack. Asking these kind of questions to a network full of young men
> [mostly] who fervently believe that we're seated on the top of the
> resource usage pyramid solely on the basis of our own merit and efforts
> is, I think you may agree, to invite the kind of nose-cone full of 
> testosterone that the "you leaches (sic) make me want to puke" school seems
> to have dished up in large measure.
> 

 
Your posts always seem very cryptic to me.  They have an outward 
appearance of being interesting, then when I get into them I get 
thoroughly confused.  If I understood you correctly, you've said that you 
beleive that certain 'artists' who copywrite their material are doing so 
not because they are concerned about a financial loss due to 
appropriation of their product, but because they feel as if the 
'stealing' of their work somehow equates to the stealing of their 
character or soul, much like those natives somewhere who wont let you 
take photographs of them.  As for artists who don't copywrite their 
material, you say these are 'thinly veiled attempts at exclusionism'. 
So in other words its a no-win situation.  If you release your material 
without copywrite, you're trying to fool the public into thinking you 
have integrity, which will in turn make them want to buy your product.  
But if you copywrite your material you are a money-grubbing SOB.  
Well I just don't know..  I hope most of the 'artists' who's albums I've 
bought care more about cocaine & groupies than copywrites.  
Newsgroups: rec.music.makers.synth
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: Need advice.
Keywords: ?
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Tue, 26 Jan 93 17:24:29 GMT

In article <1993Jan25.181850.6113@solace.hsh.se>, dent@solace.hsh.se (Michael Lidgren) writes:
|> Hi !
|> 
|> I need some advice on buying a synthesizer. As I have no experience
|> with music-making on synths at all (some exp. on making music with
|> a computer only) I have no idea what synth to buy. The kind of 
|> music I wish to create is that of, for example, Front 242, Frontline
|> Assembly and Lazerdance. Groups which use the synth more than for
|> backup.
|> All advice appreciated.
|> 
|>  / Dent@krynn.solace.hsh.se
|> 

You don't state your budget - its kind of hard to make reccomendations
without knowing how much you have to spend.

Front 242 (and many other techno/industrial) bands use samplers.
I recall seeing Front 242 using lots of Emu Emulators. While you can
buy some sampling CDs (CDs with sounds that you sample into your
sampler) with industrial sounds, it is better if you can do your
own samples. In either case it is important to find a sampler that
is easy to work with - especially sampling-wise. Any of Emu's and
Akai's samplers would do the trick. Look for used stuff such as the
Emax, S900, S950, etc..

Some analog sounds are always useful in techno/industrial as well.
Pick up a used analog synth (too many to list really, any Moog, Arp,
early Roland or Korg, etc.) or even a digital one with resonance on
the filters. The Kawai K4 and the much maligned Yamaha SY77 come to
mind though there are others ...
From: grahame@skyfox
Newsgroups: rec.music.makers.synth
Subject: INTERESTING ANALOGUE SYNTHS WANTED... $$$
Date: 22 JAN 93 01:40:38 GMT
Organization: University of Saskatchewan
NNTP-Posting-Host: sask.usask.ca

Being the kind of analogue freak that I am, I can't get enough. If you've
got an interesting analogue beast that you'd like to send to a caring home,
gimme a yell.
        I'm especially interested in Obie's, Jupiter 8's, P5's, etc. (You
know, all the stuff I couldn't afford but wanted really bad as a kid).

James Grahame
-------------
Grahame@Sask.Usask.CA
Newsgroups: rec.music.makers.synth
From: davet@cbnewsj.cb.att.com (Dave Tutelman)
Subject: Re: help ID this synth chip.....
Organization: AT&T Bell Labs - Lincroft, NJ
Distribution: na
Date: Tue, 26 Jan 1993 12:09:17 GMT

In article <1993Jan25.181647.3495@dms.agames.com> mandel@dms.agames.com (Glenn Mandelkern) writes:
>>In rec.music.makers.synth, rmartin@ccu.umanitoba.ca (Richard Martin) writes:
>>
>>> All the chip says on it is
>>> what I assume to be a serial number SN94281N.
>>> It also has the number 8001 on it, and it also has Malaysia writen on it.
>>>  
>>> thats it.  Go to it, you analog gurus.......
>>> thanks in advance
>>
>
>This chip was once carried by Radio Shack, probably between 1980 and 1982.
>Its part number was indeed SN94281N.  I remember using the chip in a junior
>high science project as a sound synthesizer to drive a trivia machine--
>right answers would generate sirens, wrong ones would make explosion sounds.
>This was done by varying values of resistors and capacitors.  It was powered
>using 3V.
>
>It was similar to another TI part, the 28-pin SN76477.

How similar is it to the 76477?  I couldn't find the 94281 in any of my data
books (even those of the right company and vintage), but I may have a couple
of 76577 chips (yeah, the ones from Radio Schlock) in my basement, complete
with spec sheets.

Dave
Xref: sparky rec.music.makers.synth:1787 rec.music.makers:12110 comp.music:6344 comp.sys.mac.misc:22308 rec.music.synth:20299
From: ee154fbk@sdcc15.ucsd.edu (MC)
Newsgroups: rec.music.makers.synth,rec.music.makers,comp.music,comp.sys.mac.misc,rec.music.synth
Subject: DX7 patch transfer problems...
Date: 23 Jan 93 21:50:34 GMT
Followup-To: rec.music.synth


I have problems getting the patches at ucsd.edu into my synth.
The 4096 bytes long dumps of 32 patches available at uscd.edu was
downloaded to my unix machine.  I then used the code below someone
posted earlier to add the DX7 sysex header and checksum ending.

Then I DL the patches, now 4104 bytes long, to my Mac and tried to
get them into my synth, TX216(basically two DX7s in a rackmount),
without much success using the Bulk-Sysex utility software also to
be found at ucsd.edu. 

Seems that the data isn't received right or not at all.  I have the
memory protection off as the manual states but still nothing happens
when I transmit bulk dumps.

Any suggestions...

-----------------------------------------------

/* Here's a little program to take a DX7 patch file whose header and checksum
 * have been stripped off, and replace them.
 *
 * This program has NOT been tested extensively and is NOT robust.
 * It works ONLY if the original file size is 4096 bytes.
 * It is specifically written for files in the ucsd.edu DX7 patch archive.
 *
 * You might need to change the "r" and "w" in the fopen() calls in AddIt()
 * to "rb" and "wb" for computers (like the IBM PC) that need special
 * handling for binary vs. text files.
 *
 * Dan Barrett, barrett@cs.umass.edu, Public Domain.
 *
 * Usage:  addit oldfile newfile
 */

#include <stdio.h>

typedef unsigned char UBYTE;
 
#define DX_FILESIZE	4096L	/* Size of the patch file. */
#define	EOX		0xF7	/* End of system exclusive. */
#define HEADER_SIZE	6	/* Size of system exclusive header. */

UBYTE header[HEADER_SIZE] = { 0xF0, 67, 0, 9, 16, 0 };

UBYTE MakeChecksum();
void AddIt(), Update();

	
main(argc,argv)
int argc; char *argv[];
{
	if (argc != 3)
	{
		fprintf(stderr, "Syntax:  %s oldfile newfile\n", argv[0]);
		exit(1);
	}
	else
		AddIt(argv[1], argv[2]);

	exit(0);
}

	
UBYTE MakeChecksum(patchData)
/* Given your array of patch data, compute and return the checksum. */
UBYTE patchData[];
{
	UBYTE sum;
	int i;

	sum = 0;
	for (i=0; i<DX_FILESIZE; i++)
		sum = (sum + patchData[i]) % (1 << 8);
	return((UBYTE)((1 << 8) - sum));
}


void AddIt(oldfilename, newfilename)
char *oldfilename, *newfilename;
{
	FILE *old, *new;

	if ((old = fopen(oldfilename, "r")) == NULL)
	{
		fprintf(stderr, "Cannot open %s\n", oldfilename);
		exit(1);
	}
	else if ((new = fopen(newfilename, "w")) == NULL)
	{
		fprintf(stderr, "Cannot write %s\n", newfilename);
		fclose(old);
		exit(1);
	}
	else
	{
		Update(old, new);
		fclose(new);
		fclose(old);
	}
}


void Update(old, new)
FILE *old, *new;
{
	int i, c;
	UBYTE data[DX_FILESIZE];

	for (i=0; i<HEADER_SIZE; i++)	/* Write header to newfile. */
		putc(header[i], new);

	i = 0;
	while ((c = getc(old)) != EOF)	/* Copy old file to new. */
	{
		data[i++] = (UBYTE)c;
		putc(c, new);
	}

	putc(MakeChecksum(data), new);
	putc((UBYTE)EOX, new);
}
Newsgroups: rec.music.makers.synth
From: dan@korgrd.com (Dan Phillips)
Subject: JX-8P oscillators (WAS: RE: The Newest Emu....)
Organization: Korg Research and Development, Milpitas, CA
Date: Mon, 25 Jan 1993 21:54:43 GMT

The JX-8P, and other synths of its type, used analog
ramp generators to generate the basic sawtooth wave.
To produce a given pitch, the generators were 
sent reset pulses every period by the onboard micro.
The computer also controlled the ramp time, so that
the amplitudes of different pitches would remain 
constant. Otherwise, with a constant ramp rate, lower
pitches (longer periods) would allow the ramp to rise 
to a greater level than higher pitches (shorter periods).

The resulting sawtooth wave could then either be used 
as-is, or run through a rectifier to create pulse or square
waves. This works by forcing the value to either 0 or 1, 
based on a cutoff point in the value of the input signal; to create a 
square wave, you set the cutoff point in the middle of the
sawtooth, and to create alternate pulse widths, you set the 
cutoff more off-center.

I personally would call a "digital oscillator" one which 
reads its waveform from a digital wave table, such as 
those used in the ESQ-1, PPG/MicroWave, or any sample-
playback synth or sampler.

The advantage to the digitally-controlled analog oscillator 
over the true digital oscillator is that its sawtooth wave
will be much smoother, not subject to aliasing or other
digital grunge...trading this off for analog grunge, of course. 
But we all appreciate that now, don't we? :-)


- Dan Phillips
-- 
Dan Phillips			KORG Research and Developement
____ "Stupid quote"  "Cheerful Remark" Meta-Sigs Inc. ________
Opinions here are not necessarily those held by my employers.
Or mine, either. Maybe.
Newsgroups: rec.music.makers.synth