HDTenEightyP/NetNews huggingface dataset:
From: jaz@icd.ab.com (Jack A. Zucker)
Subject: Re: How Engineers make music (was Usenet Tape depression sets in)
Organization: Allen-Bradley Company, Inc.
Date: Thu, 9 Apr 1992 13:36:12 GMT

In article <35042@uflorida.cis.ufl.EDU>, tmfm@uflorida.cis.ufl.EDU writes:
|> I think you're right, engineers do approach music algorithmically. It
|> probably is because we are accustomed to work everything exactly, within
|> precise rules and parameters, and here we are in this game of inspiration,
|> of unbounded rules.
|> 
|> I had so many problems with my band because I kept (and still keep)
|> "planning" music carefully, approaching it like a mathematical problem
|> (okay, this goes here, but... if I put this here, then that goes there,
|> which means this part must be like this). The rest of my band created
|> light, "free" songs, totally different from my approach.
|> 
|> However, I believe planned music has an advantage (or is it a
|> disadvantage?) in that it usually is more complex than simple music
|> (No, I don't want to get flamed! Please!!! 8-} )
|> 

The interesting thing here is the question: "What is complex music ?"
To me, complex music is not heavily sequenced and digitally arranged,
programmed, pre-concieved, etc. I believe that jazz, especially when
played by players such as Tony Williams, Herbie Hancock, 
Jack DeJohnette, Keith Jarrett, etc; is infintately more complex than
any arranged midi sequence. And the irony is that it is amazingly
simple as well. The complexity is in the rhythms, time, melodic and
harmonic concepts. When Jarrett performs, there is no need to arrange
pre-conceive anything. The music is born as he touches the keys. To
put it in engineering terms, it is conceived in "real-time". The
heavily arranged "WAVE" format stuff that many engineers perform is
often times sterile. One guy I work with brought in a tape of a
Bach violin piece that he had systematically input in step mode (he
admitted that he never could have read it). I told him that it was
admirable and that I understood that without Midi, he could never
have gotten the joy out of music that he gets now, but I strongly
encouraged him to try actually "playing" the music (What a novel
concept) and that when he accomplishes that goal, that he would
get an even greater joy than watching and listening to his computer/
sequencer play the piece.

-Jaz
-- 

                       (Chasin' the Trane)

| Jack A Zucker                              {uunet}!jaz@icd.ab.com |
| Allen-Bradley Company, Inc.                    or  ICCGCC::ZUCKER |
| 747 Alpha Drive                                                   |
| Highland Hts., OH 44143 Phone(216) 646-4668   FAX: (216) 646-4484 |
From: cdodson@beast.cac.stratus.com (R. Craig Dodson)
Newsgroups: rec.music.synth
Subject: Re: Roland JV-80
Date: 7 Apr 92 18:49:11 GMT
Reply-To: cdodson@beast.cac.stratus.com

In article <9204071542.AA21517@EDDIE.MIT.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL  
writes:
> 
> Craig Dodson summed it all up...
> 
> The JV-80 DOES, INDEED, have about the same sound quality as a JD-800...
> 
> I rest my case.
> 
> John

Sorry, I didn't realize that I was taking sides in the K2000 discussion.
I was merely poking fun a very funny JV review. Honestly I am GLAD that I 
saved $1000 and bought my JD800 instead of the K2000. Flame me if you
will but the superb ergonomics, crystal-clear (and dead silent) sound
quality and numerous effects more than justify the 800's existence for
me. Having spent some time playing the K2000 this weekend I fully agree
that it is truly a remarkable synth. But it does not automatically make  
everything that came before it obsolete. 

And the point I really wanted to make . . .

Machines like the K2000 and JD-800 can't be properly auditioned in one or two
hours in a music store. It takes weeks or even months to truly delve into
the depths of the machine and see what it's really capable of. That's why
I thought that guy's statement about "I played the Jd800 for a while but 
it didn't look right to me" was so funny.

Craig Dodson (Stratus Computer)
cdodson@beast.cac.stratus.com
Newsgroups: rec.music.synth
From: quayster@cynic.wimsey.bc.ca (Tony Chung)
Subject: Re: Master Tracks Pro and Windows 3.1 - HELP!
Organization: Mad Artists' Technological Hangout
Date: Wed, 15 Apr 1992 08:23:46 GMT


JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL wrote:
 
 >If there was a way to run 8 MQX-32s in a single PC, I'd sell my 
 >recent Macintrash acquisition in a heartbeat in order to buy the 

Why concern yourself with MQXs?  Apparently CMS makes expandable
MIDI boxes, and you can chain and merge them to your heart's content.

-tonyChung


-- 

Come see/hear MR. & MRS. SMITH * or is it "Mr. & Mr. & Mr. & Mr. & Mrs. Smith"?
Vancouver's only Zep*Rock*Funk*Punk*Operatic*Folk*Pop*Talk*Ethno*Dance band!!!!
-------------------------------------------------------------------------------
From: ochikubo@mamacass.etdesg.trw.com (Craig F. Ochikubo)
Newsgroups: rec.music.synth
Subject: Re: MOTU Apparently Now hiring ex Radio Shack Employees for Tech Support
Date: 11 Apr 92 00:26:24 GMT
Organization: TRW Inc., Redondo Beach, CA

In article <35100@nntpd.lkg.dec.com> eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson) writes:
>
>In article <1992Apr9.190720.19009@news.media.mit.edu>, mbl@media.mit.edu (Marc LoCascio) writes...
>Marc, that's a good authoritative answer.  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.
>
>

What I really is important to me more than just sheer bandwidth, is the
the synchronization of data out of each port.  If I transmit sixteen notes
on sixteen MIDI channels, wanting them to occur at the same time, you end
up with that slight "rolling" of the notes, does the MOTU box realign
the data at the separate outputs, so that the notes that should occur at
MIDI time zero, actually occur at that time???

craig
ochikubo@desperado.etdesg.trw.com
ZZ
From: din@grad1.cis.upenn.edu (Clarence Din)
Newsgroups: rec.music.synth
Subject: Compiling a List of Synth Reviews...
Date: 9 Apr 92 22:22:50 GMT
Organization: University of Pennsylvania

Hello everyone!

I just thought of a great idea.  In ucsd.edu, there's an old
circa 1987 compilation of synth reviews (compiled by Glenn Bruns).
I'd like to maybe get together a more current list.  What synths
do you people have out there?  How are your older synths holding
out (eg. D-50, DX-7 IIFD)?  I WANT YOUR REVIEWS!!!!

Review Format:

I'd like your review format to be essentially the same as the
old synths.nov87 compilation, that is:

# <name of synth>

<review here>

<your name and e-mail address>

You can review as many synths as you like, just so long as you
follow the format.  I will simply add these reviews to a file
(which will get to be a BIG file, hopefully) and post this
thing in a few weeks.
---------------------------------------------------------------------------
Clarence K. Din                                                   "scholar"
Programmer Analyst II, Language Analysis Center, University of Pennsylvania
"Flame me, not my employer.  My opinions are my own!"
din@grad1.cis.upenn.edu
Newsgroups: rec.music.synth
From: zalewk@rpi.edu (Kenny Zalewski)
Subject: Re: USENET '91 TAPE (looking for Elliott or Boutin)
Organization: Information Technology Services at Rensselaer, Troy, NY
Date: Wed, 8 Apr 1992 23:24:59 GMT

In article <1992Apr8.171126.28175@intelhf.hf.intel.com> dcovell@hfglobe.intel.com (David Covell) writes:
>
>To my great frustration I've been unable to get a copy of the tape, even
>though I'm one of the contributors. It's partially my fault, since I
>ordered rather late (about 1 month ago). It may be that there are no copies
>left. I've made 3 attempts to contact Dog via email, which have neither
>bounced nor been replied to, so I'm hoping that he or someone else who
>knows what's going on will see this and respond. The prospect of losing
>$8.95 is no big deal, but it's much more discouraging not to be able to
>hear my and others' material on the tape.

If David Elliott and/or Paul Boutin are reading, maybe one of you guys
can help out...  like David Covell above, I sent in my check for $8.95
at LEAST a month ago, probably closer to 6 weeks.  The check has been
cashed, and I got back the cashed check.  However, I've received no tape,
and I've gotten no response after 2 or 3 mailings to Leland D. Apedaile.
The address that I have is "cosumn!root@csusac.ecs.csus.edu".  No mail
has bounced, but no reply either.

And as far as I'm concerned, the prospect of losing $8.95 _is_ a big deal,
especially considering the check has been cashed.  If anyone get info on
this, please let me know.  Thanks.         -- kennyz

-- 
Kenny Zalewski -- Information Technology Services at Rensselaer
Rensselaer Polytechnic Institute, 83 Albright Court, Troy, NY, 12180
zalewk@rpi.edu | Kenny_Zalewski@mts.rpi.edu | USERGANY@RPITSMTS.bitnet
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Newsgroups: rec.music.synth
Date:         Wed, 15 Apr 1992 17:59:00 EDT
From:         WSCOTT@WOOSTER.BITNET
Subject:      Re: Seq Plus Gold/Cakewalk

It would be hard to get SeqGold to give the error message "not a SNG file"
unless it were looking for a SNG file. Did you change the mode to midi at
the level of the basic file menu?

It should then be looking for a "mid" file.

Bill Scott
WSCOTT@ACS.WOOSTER.EDU
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: Gear Lust
Summary: pant gasp drool
Date: 8 Apr 92 18:32:13 GMT
Organization: Atomic City

In article <SYNTH-L%92040713230995@AUVM.AMERICAN.EDU> MCINTYRE@MSUPA.BITNET writes:
>>From:         jalkio@CC.HELSINKI.FI
>>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.
>I gave up on "NEED" as a criterion long ago.  Does wonders for the
>mental health. 8-)

Basically true, but requires a certain degree of mental fortitude that
most folx can't hack easily. I, for my part, am content to drool over
new stuff coming out by saying, "Oh, THAT would be nice to have around,
maybe I can use it for my NEXT project" -- thereby assuring that my
CURRENT projects don't get bogged down by dreams of what I don't have.

They only get bogged down by OTHER unimportant garbage. Like doctoral 
dissertations. |-P

(Actually, I hate to say this, but in a phone conversation about three
weeks ago, just after he'd gotten the K2000, John 3 mentioned offhand
that "that poor kid in Finland, Jouni whatshisname, is gonna go NUTS 
when he sees this thing". At the time, I *think* he thought he was
kidding....|-> )

woot-boof wammie,

--
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: pgr@ramandu.ext.vt.edu (Patrick Robinson)
Newsgroups: rec.music.synth
Subject: Re: Tounges & Interpretation (was Re: Problems!!!!!)
Keywords: Nerble fremlap
Date: 9 Apr 92 14:08:15 GMT

metlay writes
> I leave the translation of Mr. Robinson's eloquent speech to him, as I think
> the power and beauty of his words would be lost on mere English speakers.

Woggle biddie toecheese blippies ummy gumble.  Groober heinie 'horfie' penny
ig tooflen chapperwhanky mup whop!  Harg!

> Wishing you glub blug dip woot-boof wammie,

Bunky flug, horfi.  Immer "woot-boof" fripple critz wammie.

> | "Oooo... bemahmma fluk moogie flabber nerble fremlap vimmdo
> |  "LXP-5" seegin waggy furplesmurch mibbur ig crumple bummy 
> |  "Quadraverb" ... horf, horf, horf."
> |                       --words to live by, from P. Robinson.

Hummbie wiggie "LXP-5" ubber muggle silbo "Quadraverb" plobble crappie.
Dillbag whopple, horfie-horf.

-Patrick
 pgr@ramandu.ext.vt.edu
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: What, me whine?
Date: 15 Apr 92 17:28:00 GMT
Article-I.D.: EDDIE.9204151729.AA29763


Sory for writing ambiguous prose.  What I meant is that currently no PC-System
5 interface appears to exist.  Additionally, what the compressed sentence also
pointed out was that if and when it does exist it will probably use the MOTU
PC-->MTP interface or something like it.

Pardon my ignorance but, Nick, exactly what is a Salter Duck?

John
From: smithj@hpsadlu.sad.hp.com (Jim Smith)
Date: Mon, 6 Apr 1992 05:23:50 GMT
Subject: Re: MIDI PIN wirings...
Organization: no risk to you!
Newsgroups: rec.music.synth

Thanks for the correction, Dave.  I was wrong, you were right.  A bit of
random brain static, there, I guess!

                    Jim Smith  smithj@hpsad.sad.hp.com
                 Going Up, Going Down, Going Up And Down.
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Microphonics (was Re: Yamaha TX81Z problem - HELP)
Date: 15 Apr 92 20:19:01 GMT
Organization: Atomic City

In article <RWK.92Apr15062724@taunton.crl.dec.com> rwk@crl.dec.com (Bob Kerns) writes:
>Microphonics was the tendency of certain vacuum tubes in
>certain circuits to convert mechanical vibration into
>electrical output.  This happened through the effect of
>the vibration moving the grid or other structures in
>the tube, and modulating the operating characterstics
>of the tube.

Actually, the term "microphonics" can be legitimately be used
for ANY process by which external mechanical excitation is 
turned into electrical output. It was probably first studied
extensively with valves, but....

>Fortunately, microphonics are almost unheard of in this
>semiconductor age.

....it continues to be a real and difficult problem to get around in
semiconductor instrument design, especially when one works with
semiconductor-based radiation detectors that require inhumanly low
noise floors. Modern gamma-ray detectors are basically supercooled
back-biased diodes the size of baseballs. If they come loose inside
their cryostats, they immediately exhibit strong microphonics-- this
gives rise to the interesting phenomenon of bunches of haggard grad
students clambering over a gamma array, clapping their hands and 
watching oscilloscope outputs and wincing....

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.  |->

--
metlay    | 
@minerva. |                      G*R*A*S*P*!
phyast.   | 
pitt.edu  | 
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Newsgroups: rec.music.synth
Date:         Mon, 6 Apr 1992 17:59:00 EDT
From:         WSCOTT@WOOSTER.BITNET
Subject:      The Casheab S100 board

Does anyone know anything about the Casheab S100 board that was recently
mentioned in another thread?  I would really like to find any S100 based
synth board, but the Casheab appears to be pretty powerful.

I have a very reliable and well-built Morrow S100 system just sitting around
doing nothing.  I feel guilty every time I look at it.

Bill Scott
WScott@ACS.WOOSTER.EDU  or  WScott@WOOSTER.BITNET
From: salisbur@cs.washington.edu (Mike Salisbury)
Newsgroups: rec.music.synth
Subject: Another novice question
Date: 9 Apr 92 05:17:05 GMT
Organization: Computer Science & Engineering, U. of Washington, Seattle


I've got another silly question for all of you.  A few people have
recently said that they no longer expect to find great preset sounds 
in keyboards.

Does this mean that they plan to sample their own sounds?  What about for
non-sampling keyboards.

Does it mean that the internal waveforms are fine, but they've just been
combined poorly for the preset patches?

I'm concerned, because as I said before, I'm looking for a keyboard at
the moment.  I'd like it to have very real-sounding sounds built-in.  I
suspect I'd play around with mixing up my own sounds for a while, but that
eventually I'd settle on just using the presets due to the trouble I 
expect to find in designing my own really good sounds. 

The sounds I'm looking for are really just a variety of basic real
instruments - pianos, strings, horns, winds, guitars, drums.  I want to
be able to sequence real-sounding stuff (obviously not REAL real, but
pretty real.)  I don't understand why the synths out there right now
don't/can't do that (at least according to some around here.)

I'm I deluding myself in thinking that really good sounds do/should/will
ever exist?

-- Mike Salisbury
From: rigas@eniac.seas.upenn.edu (Marc L. Rigas)
Newsgroups: rec.music.synth
Subject: Yamaha PSR-70 for sale
Date: 10 Apr 92 01:32:03 GMT
Organization: University of Pennsylvania



                         YAMAHA PSR-70 ELECTRONIC KEYBOARD


* 61 Keys
* 32 preprogrammed instruments
* Programmable Rhythm and Bass Section
* Fully MIDI compatible

$400 or best offer.

email: rigas@eniac.seas.upenn.edu
**Preferably sale within the Philadelphia Metropolitan Area****
From: dce@smsc.sony.com (David Elliott)
Newsgroups: rec.music.synth
Subject: Re: SC-155
Date: 6 Apr 92 03:18:29 GMT
Article-I.D.: smsc.1992Apr6.031829.5558
Organization: Sony Microsystems Corp, San Jose, CA

In article <DOWDING.92Apr3115522@palm.ai.sri.com> dowding@ai.sri.com (John Dowding) writes:
>I like the idea of putting synths on PC cards, does anybody have an
>intuitions about whether we are about to see a flood of these kinds of
>products on the market?  How about add-in cards for Macs?

We're already seeing a comparative "flood".  I can name 4 PC sound
cards without even thinking hard.

On the Mac side, I doubt we'll see too many cards.  The main reason is
that Macs basically come with sound comparable to (IMHO, much better
than) the SoundBlaster (including the PRO).  The MacProteus was a nice
idea, but it doesn't seem to have been a big seller.  Also, you have to
realize that there really isn't a standard Mac card format.  As I
understand it, the majority of Macs do not have NuBus slots, and the
PDSes are not consistent enough to be able to create a card that will
fit in a Plus, a Classic, and all of the other popular models.
Xref: sparky rec.music.synth:7937 rec.music.makers:5620 comp.music:2412
From: five@sys6626.bison.mb.ca (skinny puppy)
Newsgroups: rec.music.synth
Subject: Patch Lib/editor for Kawai XD-5
Date: 8 Apr 92 10:10:31 GMT
Organization: system 6626 BBS, Winnipeg MB

Does anyone have a patch editor and/or librarian for the Kawai XD-5 drum 
synth?  For the Atari ST?
 
That they could send me?  :)
 
 ---------------------------------------
 \FIVE-Aural     \ A' modular I will go, \
  \     Research  \ A' modular I will go, \
   \     Foundation\ High, Lo, the VCO,    \
    ----------------\ A' modular I will go. \
                     ------------------------

;--- (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
Xref: sparky rec.music.synth:8149 rec.audio.pro:538
From: mbl@media.mit.edu (Marc LoCascio)
Newsgroups: rec.music.synth
Subject: Re: Synth Family Trees
Date: 8 Apr 92 18:23:15 GMT
Organization: MIT Media Laboratory

In article <NICK.92Apr8123246@vaila.ed.ac.uk>, nick@dcs.ed.ac.uk (Nick Rothwell) writes:
> In article <204535@unix.cis.pitt.edu> metlay@minerva.phyast.pitt.edu (metlay) writes:
> 
> 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.

Roland started a digital graphics product line several years ago (Roland DG?).
i believe they've broken into the high-end printing industry as well.

Yamaha, of course, has been diversified from day one.  they're a "recreation"
company that makes musical instruments, motorcycles, tennis rackets, etc.
they now own several vacation resorts around Japan as well.

Marc LoCascio	(mbl@media-lab.media.mit.edu)
Newsgroups: rec.music.synth
From: aa596@cleveland.Freenet.Edu (Peter Haller)
Subject: Re: Gear Lust
Reply-To: aa596@cleveland.Freenet.Edu (Peter Haller)
Organization: Case Western Reserve University, Cleveland, OH (USA)
Date: Mon, 13 Apr 92 13:17:13 GMT


In a previous article, dce@smsc.sony.com (David Elliott) says:

>
>Similarly, my studio is set up so that I can turn it on with a single
>switch.  I can change MIDI controllers with a single switch.  I have
>enough voices and effects units that I don't have to worry about
>repatching things.  None of this makes me a better musician, but it
>does make it easier for me to concentrate on music instead of on
>how to get around any perceived limitations.
>
Goo point. Having the right tool for the job still holds. I am
like you. I have everything I need to avoid the 'swap this here,
patch this there..' approach. (I'm lucky, I can afford it.)

My point was that many users think that the lastest piece of gear
will solve their 'musical' deficiancies. Sounding better? Well
yes, my Sample playback sounds a lot better then the next guys
Soundblaster. Sounding better, IMHO, is not enough.

PCH
-- 
Peter C. Haller				|	'If you do what you 
Imagination Processing Systems		|	have always done,
aa596@cleveland.Freenet.Edu 		|	expect what you have
"Are we having fun yet?"		|	always recieved.'
From: smithj@hpsadlu.sad.hp.com (Jim Smith)
Date: Thu, 16 Apr 1992 00:13:25 GMT
Subject: Re: What a whiner!!!!
Organization: no risk to you!
Newsgroups: rec.music.synth

"Sean F. Jepson" <SJEPSON@ERS.BITNET>  writes:

>Is anyone else getting sick of his whining?

Nope.  Although Rossi has a tendency to, um, rant, I find that he usually
brings some new perspective or information to the discussion.

                    Jim Smith  smithj@hpsad.sad.hp.com
                 Going Up, Going Down, Going Up And Down.
Newsgroups: rec.music.synth
From: cgobs@gmuvax2.gmu.edu (Charles Gobs)
Subject: Roland D-5 Programmer
Keywords: Roland
Organization: George Mason University, Fairfax Va.
Date: Thu, 16 Apr 1992 20:33:48 GMT




Nick Rothwell's post about the D-50 programmer got me wanting one for my
D-5.  The manual says the model number is PG-10.


Anybody used one? Know where to get one?


thanks,

chip gobs

cgobs@gmuvax2.gmu.edu
Newsgroups: rec.music.synth
From: dave@bradley.bradley.edu (David Vessell)
Subject: Re: Usenet Tape depression sets in.
Organization: Bradley University
Date: Thu, 9 Apr 92 22:09:45 GMT

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

>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).

If that's the case, then I'm glad I'm a mediocre programmer.  =-)

-- 
=========*davE*.....making the world safe for intelligent dance music.=========
As you're cleaning the orange carpet, you will hear a voice that says, "Fetch 
my cigarettes."  Another voice will say, "THEY'RE ON TOP OF THE REFRIGERATOR."
--(David Vessell)--(Bradley University Computing Services)-(dave@bradley.edu)--
Xref: sparky rec.music.synth:7844 rec.music.makers:5565