HDTenEightyP/NetNews huggingface dataset:
Newsgroups: rec.music.synth

five@sys6626.bison.mb.ca (skinny puppy)  writes:
>Anyone checked out the latest interview with Wendy Carlos in Keyboard?
>Carlos Moog Modular, sits forgotten in a corner of the studio, and is 
>used only for it's Low Pass Filter.

But, hey, that's the BEST PART of it, isn't it?  :->  Actually, in spite of
her acknowledged abilities, Carlos has never struck me as the type to really
need the major assets of modular analog over digital, ie, immediacy in sound
creation and all those modulation paths.

>????  Bummer.  I guess her thought processes have finally run out of new 
>things to do with that powerful monster.  That's too bad.

Well, she DOES have a few other powerful monsters just lying around that
studio, now doesn't she?  She admits that her performance skills aren't all
that great, so she is happy to work with sequencers, and being the 
perfectionist that she is, she's probably happy to leave all those drift
problems aside as well.  Now she just has to contend with studio equipment
hassles.  She doesn't like vinyl LPs, either.
At least she didn't leave the Moog beast out in the snow all winter, like
Keith Emerson's!!!  (If I'd have known it was there, I'd have given it a 
new home! :->)

>Though I can't wait to hear the new Switch On Bach 2000 album, I can't 
>help but feel that it's almost total digitalness, wont be able to compare 
>to the analog warmth of the original.

I think its strengths and weaknesses lie in different aspects than the
original SOB.

>I'll give it as fair a listen as I can though.

I think that the lead sound at the opening of the first movement of the 
Third Brandenburg Concerto is quite warm, and amazingly subtle in its evolution,
and has a fundamental timbre that is not really like anything I've heard 
before.  The fugue from Toccata and Fugue in D-minor is the gentlest rendition
I've ever heard.  And I STILL think Bach sounds cool played on a Gamelan!
The horns in the second track are nasal, aggressive, and all too loud, though,
IMHO...

> ------------------------------------------------
> \ FIVE-Aural \If they drop the bomb, say good  \
> \ Research   \bye to RAM/ROM in digital synths \
> \ Foundation \synths, and learn to love analog!\
> ------------------------------------------------

Hey, I'm not sure any FETs in your analog babies are going to survive
a 25Kv-per-foot pulse any better than a memory IC.  It's okay with me if
we never test it, though!

Paris in the
the spring,

             Jim Smith                   smithj@hpsad.sad.hp.com
  I grabbed the Spike of Power from the ugly doodle, and there was a flash...
 I looked *cute as a button* as I thumped the forest floor.  Flower laughed.  
   There was smoke in the distance.  Man had come to the forest.  Bambi's 
    mother looked worried, even though the evil spirit was safely locked 
in a tree.  The men had a machine that ate trees.  And Godzilla was coming.
From: jtn@ADS.COM (John T. Nelson)
Newsgroups: rec.music.synth
Subject: Re: The K2000 vs. SY99 debate - SY99 Owner
Date: 31 Jul 92 02:11:38 GMT
Organization: Advanced Decision Systems, Mtn. View, CA (415) 960-7300

In article <9207301520.AA19032@ucbvax.Berkeley.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
>
>
>As for MODULAR approaches.  What is so modular about a sequencer attached to
>a synth with effects?  If you want to talk really modular (as in "That', like,
>MODULAR, man!"), unless you are planning to talk Serge (i.e., probably the
>only really modular synth still in production?), you're forced to talk K2000.
>The whole point of VAST is it's modular approach.  The VAST acchitecture 
>has been reduced (to the user) as a set of modules (i.e., in the algorithms),
>which are chosen and linked (as in MODULAR) in order to produce the desired
>

This is all very well and good but what does it SOUND like?  Can the K2000
emulate an SY99?  Can it in any way compare to the gorgeous sound of the
Korg 01/W Pro?!  Let's talk sound quality and the ears!  Someone
remarked that the Emulator library would be available for the K2000.
Does that mean I'll at least have the quality of a proteus in the K2000?

One thing I'm not pleased with is the limited poliphony of the K2000.
Only 24 voices!  You loose 8 whole voices compared to say the Proteus
or that wonderful Korg 01/W Pro!
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: K2000 .. Question for Aron_Nelson
Date: 31 Jul 92 13:05:00 GMT


Aron_'Magic Ears'_Nelson writes : The operating system leaves something to be
desired too.

What, or at least, what that any other synthesizer on the planet has?

John
From: hpky@okeeffe.cc.rochester.edu (Hanan Polanski)
Newsgroups: rec.music.beatles
Subject: Re: Revolution 9
Keywords: Take this brother, may it serve you well.
Date: 31 Jul 92 20:05:46 GMT
Distribution: rec.music.beatles
Organization: University of Rochester - Rochester, New York

In <1992Jul31.082707.20221@fuw.edu.pl> michals@fuw.edu.pl (Michal Szleper) writes:

>Could anyone enlighten me in the following subject:
>I've never really understood the meaning of "Revolution 9"
>held on the White Album.  Did John want to say anything
>specific with it?  How do you understand this strange
>quasi-musical composition?  Any ideas?

Yes, he was warming up for future Plastic Ono Band albums
with Yoko. I-)

					James Willer email to jmw1388@cs.rit.edu
{The opinions above are probably NOT those of
 Hanan Polansky. I don't know. I never asked.}
From: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Newsgroups: rec.music.beatles
Subject: Re: Who wrote what?  Does it matter?
Date: 24 Jul 92 16:22:40 GMT
Reply-To: brennan@cunixf.cc.columbia.edu (Joseph Brennan)
Distribution: usa
Organization: Columbia University

In article <1992Jul23.194132.13384@news.media.mit.edu>
ereidell@media.mit.edu (Evan A. Reidell) writes:

>  In a Lennon/McCartney composition, which stuff is Lennon and which
>  stuff is McCartney?

This has been the stuff of endless discussions.  A few books have
attempted to sort out the credit-- one even gives hairsplitting
percentages based partly on comments by the Beatles and partly on the
author's judgement-- but we don't quite know.  John said in the 1970
Rolling Stone interview that nearly all were entirely his or entirely
Paul's, but in the 1980 Playboy interview he said "I lied", proving
you can't even take their word for it.  

Basically, the lead vocalist is the songwriter.  In many cases, John
and Paul contributed to each other's songs, and to a lesser degree
they contributed to George's songs, and George and Ringo (and others)
contributed to some Lennon-McCartney numbers.  You don't normally get
songwriter credit for minor contributions.  John and Paul agreed early
on to just use Lennon-McCartney for all their work, and I think one
advantage of that is to eliminate problems with crediting each song.
I have a feeling they probably couldn't remember themselves who wrote
certain bits-- I've read other songwriting teams say that.

>In The Book, Mr. Lewisohn is not as explicit about Who Did What as he
>is in the liner notes to the Sgt. Pepper CD: "Writer: Paul" "Writer:
>John, with Paul." "Writer: John"...

I wonder what Lewisohn used as source for these attributions.  His
judgement is good, but does he really know?

>Did John ever write a song then give the lead vocal to Paul, or P->J?

Not that I know of.  The lead seems to be the chief writer in all
cases, except the L-M songs given George or Ringo to sing.  Some of
the early ones are jointly written and there they had to decide; for
example, I've read that Paul sings lead in "Love me do" solely because
John had trouble alternating harmonica and lead, which he had
attempted to do.  Also, choice of harmony vs doubletracking seems to
be a musical decision rather than a reliable hint that the other guy
wrote that section.  

--Joe Brennan
From: leoso@cs.arizona.edu (Leo WaiChung So)
Newsgroups: rec.music.beatles
Subject: Re: Chords for songs
Date: 29 Jul 92 17:34:58 GMT
Organization: U of Arizona CS Dept, Tucson

In article <92211.120104TXK9@psuvm.psu.edu> TXK9@psuvm.psu.edu writes:

>I have come across many different books which gives guitar chords for
>beatles songs. But now I am looking for a good and comprehensive book
>which has entire collection of songs. Could anyone suggest a book like
>that? Or can any one mail e-mail me a collection of such songs? Is the
>chords available on ftp sites? Thanx in advance.
>Kesh

I got a fake book called "The Beatles Fake Book", ISBN 0-88188-757-9, 
it contains 200 songs from the Beatles. It it arranged for piano, 
portable keyboard, guitar.  And full lyrics are included along with 
complete guitar chord frames.

For more information, write to:

Hal Leonard Publishing Corporation
8112 W. Bluemound Rd. PO Box 13819
Milwaukee, WI 53213

Hope this helps!

For more information
Newsgroups: rec.music.beatles
From: franblan@leland.Stanford.EDU (Francois Marcel Blanc)
Subject: Re: Maxwell's Silver Hammer
Organization: DSG, Stanford University, CA 94305, USA
Date: Fri, 24 Jul 92 05:20:26 GMT

In article <1992Jul23.190853.1@wombat.newcastle.edu.au> c8906822@wombat.newcastle.edu.au writes:
>There's a bit in "Maxwell's Silver Hammer", where McCartney laughs while
>singing the lines : "....so he waits behind
>		     writing (laughs) 50 times....."
>
>everytime, and I mean EVERYTIME, I hear that I think what IS McCartney
>laughing at!!! So if anyone out there has read/heard/or has an opinion tell me!
>This might seem like a stupid question, but I thought "what the hell, can't
>hurt?

The same goes for "...the doctor came in
                   (laugh) Stinking off gin..." in Rocky Raccoon

My guess is just that Paul enjoys what he is doing a lot.
Paul bashers may think that he finds what he writes is funny.

	Francois.
From: jpalen@arghouse.UUCP (Joe Palen)
Newsgroups: rec.music.beatles
Subject: Re: Beatles' record impact on you?
Keywords: impact, first
Date: 26 Jul 92 10:59:22 GMT
Organization: The Listening Post

dennis@hpwrce.mayfield.hp.com (Dennis Alstrand) writes:

> 
>    [Deleted majority of message re: impact of various records]
>
> Here's something I'm curious about regarding the rmb gang.  What song or
> record by the Beatles most impacted you when it came out.  I would imagine
> Please Please Me in the UK and I Wanna Hold Your Hand in the US would
> probably be at the top, but would like to hear from fellow fans on this.
> 

Well, being that I was born in 1960, memories of specifics from the 1964-65 
period aren't available, though my parents tell me that I was singing and 
doing the Beatles' accents by the time they did their first Sullivan show.

My first personal memory of a specific song is "Help".  In 1966, I toured 
our elementary school as a member of the Beatles (air-guitars, air-drums), 
and the song that sticks in my mind is "Help".  Why?  Well, because we had 
it choreographed.  Clever stuff...
      "...I'm feeling down..."            [Squat down]
      "...appreciate you being round..."  [Turn in circles]
      "...my feet back on the ground..."  [Jump]
To this day, every time I hear that song, I do my little dance.

Back in that band, I was Paul.  He was my favorite.  Later on, in my teens, 
I began to identify more with John.  Something I'm curious is about is 
whether or not other RMB'ers have a favorite member now, had
a fav' back in the sixties, and if your favorite changed as you changed?

                     - Joe


------------------
The Listening Post, San Diego, CA, USA  +1 619 563 1084
Opinions expressed are those of jpalen@arghouse.uucp.
From: apsihvonen@cc.helsinki.fi
Newsgroups: rec.music.beatles
Subject: Stardust in Finland
Date: 21 Jul 92 15:06:05 GMT
Organization: University of Helsinki

Last friday Ringo played for the first time here in Finland. Paul played
here in 1972, Ringo now in 1992, so maybe we will see George here in
2012 ?

Ringo played in Pori Jazz Festival and over 10000 people came to see him
and his All Stars Band. As you can quess it was an outdoor concert, but
luckily the weather was nice and warm.

Ringo was wearing a red jacket, black and white shirt and black jeans,
and Joe Walsh had a nice fur hat !

The band played about two hours (from 8 pm to 10 pm) and was very good
and tight and everyone had a good time. Unfortunately the only surprise
was ~Boys`.

Anyway, here is the set list from Pori,  17 july 1992:


I Am the Greatest
No No Song
No Timme Left For You     Cummings
Girl Talk                 Edmunds
Rocky Mountain Way        Walsh
I Can{t Tell You Why      Schmidt 
          (Ringo on some kind of electric drum)
Shine Silently            Lofgren
Bang the Drum All Day     Rundgren
Don{t Go Where the Road Don{t Go
Yellow Submarine
          (Ringo left the stage)
Keep On Trying            Schmidt
          (only Schmmidt on acustic guitar)
Wiggle                    Capello
Black Maria               Rundgren
In the City               Walsh
Riungo came back and introduced the band
You{re 16
Weight Of the World
A song by Lofgren I did not regognize   (Walking etc)
I Hear You Knocking       Edmunds
American Woman            Cummings
Boys
Photograph
Act Naturally       (encore)
With A Little Help From My Friends

				

				Ari-Pekka Sihvonen
From: stevedc@syma.sussex.ac.uk (Stephen Carter)
Newsgroups: rec.music.beatles
Subject: Re: Visit to England (Long)
Date: 23 Jul 92 07:19:09 GMT
Organization: University of Sussex

From article <1992Jul20.210003.29764@ethome.et.iupui.edu>, by damon@ethome.et.iupui.edu (Damon Beals):
> 
>      Hello r.m.b readers
> 
>    I just got back from my trip to England and the following are
> just my thoughts of the country the site (beatles sites) and what
> I learned and what to do once you get there.  Hope someone finds
> it useful.
> 
>      My trip started at on a Sunday, left Indianapolis at 1100
> and arrived in Gatwick at 0800 on Monday from there took the
> Gatwick Express to Victory Station where I took the Tube (London
		     Victoria


> subway) to Euston Station (pronounced Houston) where I grabbed a

No it isn't.  It is Euston pronounced with the leading part sounding
like useless (if you get what I mean).

BTW, British Rail covers the whole of the United Kingdom, so tickets
bought are valid to travel in Scotland and in Wales.  Glasgow and
Edinburgh are not in England but in Scotland.  :-)


Stephen Carter, Systems Manager, The Administration,
The University of Sussex, Falmer, Brighton BN1 9RH, UK
Tel: +44 273 678203  Fax: +44 273 678335     JANET: stevedc@uk.ac.sussex.syma
EARN/BITNET  : stevedc@syma.sussex.ac.uk      UUCP: stevedc@syma.uucp
ARPA/INTERNET: stevedc%syma.sussex.ac.uk@nsfnet-relay.ac.uk
From: rshapiro@bbn.com (Richard Shapiro)
Newsgroups: rec.music.beatles
Subject: Re: Hey Jude
Date: 31 Jul 92 16:37:17
Organization: BBN, Cambridge MA
	<1992Jul30.174426.18165@menudo.uh.edu>
	<1992Jul30.213852.22624@dartvax.dartmouth.edu>
	<71260268115971@c00031-118dan.eos.ncsu.edu>
NNTP-Posting-Host: pilsner.bbn.com
In-reply-to: jcsmith@eos.ncsu.edu's message of 31 Jul 92 17:11:21 GMT

In article <71260268115971@c00031-118dan.eos.ncsu.edu> jcsmith@eos.ncsu.edu (Jay C. Smith) writes:
   Some people just don't understand that a bootleg not
   only constitutes a theft, but also a breach of privacy. 




Do you object on moral grounds to the publication of Kafka's novels?
Forget the legalities and economics for a moment (we'll get to them
later); consider only that he wrote them and he did NOT want them
published. Did his executors commit a sin by having them published
anyway? Most readers would say that the greater sin would have been to
leave them unpublished. The *morality* of releasing Beatles' music
that the Beatles themselves don't want to see circulating is just the
same. Even more so in their case, since their career, unlike Kafka's
writing career, was a public one in its entirety. They made public
music that was intended to be taken seriously and they should live
with the consequences of that: serious students of the music are
inevitably interested in what wasn't originally public. Privacy has
nothing whatever to do with it.

So much for the ethical issues. The legal and economic issues are
purely a side-effect of the fact that EMI refuses to release this
important music. If they did, bootleggers would disappear and the
issues would disappear with them. This is the crucial difference
between bootlegging and counterfeiting. EMI is creating bootleggers in
just the same way that Prohibition created bootleggers.

Conclusion: bootlegs are illegal but not immoral. It's nonetheless a
drag to have to support an illegal activity like bootlegging. The
solution is for EMI to release this music legitimately.

rs



Newsgroups: rec.music.beatles
From: hinz@bonfire (David Hinz Mfg 4-6987)
Subject: Re: Beatles' record impact etc..
Organization: GE Medical Systems, Magnetic Resonance
X-Newsreader: Tin 1.1 PL4
Date: Wed, 29 Jul 92 10:45:28 GMT

I think, MUSICALLY, Rubber Soul influenced me more than anything else.  Nowhere
Man, And Your Bird Can Sing, etc. are all very well crafted songs.  I think
(at times) that that is my favorite album, although they all are at different
times.


--

Dave Hinz  -  Opinions expressed are mine, not my employer's.  Obviously.
Pherrets are Phun!! 
SAAB - you get what you pay for; you pay for what you get.
hinz@picard.med.ge.com


Newsgroups: rec.music.beatles
From: enf1@ellis.uchicago.edu (Eric Fischer)
Subject: Re: The worst Beatles compilations? (was: Re: The Old Mixmaster)
Reply-To: enf1@midway.uchicago.edu
Organization: University of Chicago Computing Organizations
Date: Wed, 29 Jul 1992 20:31:22 GMT

In article <1992Jul28.180402.11845@menudo.uh.edu>, edward s. chen knocks the
LP releases of Past Masters, saying that they were pointless and redundant.

Redundant they may be, but the opportunity to complete one's vinyl Beatles
collection in one fell swoop is no less valid than completing one's CD
collection in the same manner.  As a certified vinyl addict but one without
the cash to go seeking out lots of singles and compilation albums purely
for the sake of a few songs, I found the Past Masters double album a
vaulable addition to my collection.  I will grant you that the cover should
have been something more stylish and that there are better things (like
unreleased recordings) that could have been compiled, but the LP release
serves the same purpose as the CD one, and I think does its job just as well.

Eric
enf1@ellis.uchicago.edu
From: bh@anarres.CS.Berkeley.EDU (Brian Harvey)
Newsgroups: rec.music.beatles
Subject: Re: Beatles' record impact etc..
Date: 28 Jul 92 11:57:53 GMT
Organization: University of California at Berkeley
NNTP-Posting-Host: anarres.cs.berkeley.edu

I think the song that most affected me has to be "Can't Buy Me Love,"
because that's what you hear on the soundtrack as they're running down
the fire escape to play on the field.  That's the moment when I became
a Beatles fan.

About profound statements:  I never thought that what they said was so
terribly profound.  Early on, I remember the flap about someone asking
them "don't you think you have a responsiblity to set a good example
for kids by not smoking" and (I forget which Beatle) basically just
said "it's none of anyone's business what we do."  I didn't agree.
(I don't mean that anyone had the right to *force* them to do or not
do anything, but I thought it irresponsible to think (and say) that
they just didn't care.)  Then John kept going back and forth about
whether he was a radical with a political understanding of the causes
of (for example) war, or a vaguely-liberal peacenik with an "everyone
should just love everyone" stance.

What was profound was what they *did*.  Like running around on that
field.
Newsgroups: rec.music.beatles
From: hinz@bonfire (David Hinz Mfg 4-6987)
Subject: Re: Maxwell's Silver Hammer
Organization: GE Medical Systems, Magnetic Resonance
X-Newsreader: Tin 1.1 PL4
Date: Fri, 24 Jul 92 09:20:38 GMT

c8906822@wombat.newcastle.edu.au writes:
: There's a bit in "Maxwell's Silver Hammer", where McCartney laughs while
: singing the lines : "....so he waits behind
: 		     writing (laughs) 50 times....."
: 
: everytime, and I mean EVERYTIME, I hear that I think what IS McCartney
: laughing at!!! So if anyone out there has read/heard/or has an opinion tell me!
: This might seem like a stupid question, but I thought "what the hell, can't
: hurt?
: 
I've always thought that John was doing something silly to try to shake Paul,
acting it out or something.  Same with Rocky Racoon, where he 'proceeded to
lie on the table', and Paul is barely under control.  I think it adds to
the songs, however, it shows that they were having a good time.


--

Dave Hinz  -  Opinions expressed are mine, not my employer's.  Obviously.
Pherrets are Phun!! 
SAAB - you get what you pay for; you pay (and pay, and pay) for what you get.
hinz@picard.med.ge.com
Newsgroups: rec.music.beatles
Subject: Paul article in rec.music.misc
From: thompson@gumby.mgi.com
Date: 28 Jul 92 21:07:13 CDT
Organization: Management Graphics, Inc.

For those of you who don't read rec.music.misc, there is an article titled
"RE: Promoters sued?" that discusses how Paul was overcharged U.S.116K
dollars for a concert booking in Philadelphia in 1990. I don't know how the
standard reference numbers work for posts, but the poster is starr.dpe.enet.
dec.com and it originated 28 July. "starr"?! Hmmmm....
From: hertzberg@elwood.enet.dec.com (Marc Hertzberg (History: Love It Or Leave It))
Newsgroups: rec.music.beatles
Subject: Re: Beatles Songs in 3/4
Date: 29 Jul 92 14:50:03 GMT
Reply-To: hertzberg@elwood.enet.dec.com (Marc Hertzberg (History: Love It Or Leave It))
Organization: Digital Equipment Corporation



	And let's not forget "I Dig A Pony."  A terrific waltz tune.

							Marc
Newsgroups: rec.music.beatles