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

In rec.music.makers.synth, 
fsgab@thelastone.acf-lab.alaska.edu (Grant A Beaugard) writes:

<    A friend of mine recently dug an old synth out of her closet when she  
<    heard I was interested in e-music.  She said it's called a CAT  
<    something-or-other. 

I have a March 1977 issue of "Contemporary Keyboard" that has an ad for
the CAT from Octave Electronics, Inc.  (Unfortunately no picture of the
box.)

From the ad:

    "...  If you're wondering what we could possibly offer you for
    $599.00 list, read on:  37 note keyboard, 2 oscillators (waveforms
    on oscillator 1 - sawtooth, triangle, modulated pulse, sub-octave
    square, ALL SIMULTANEOUSLY MIXABLE.  (Not available on many more
    expensive synthesizers).  Waveforms on oscillator 2 - square,
    sawtooth, sub-octave square, ALL SIMULTANEOUSLY MIXABLE.  (Not
    available on many more expensive synthesizers).  An ADSR with repeat
    plus an AR generator.  An automatic sample and hold whose output can
    be patched to VCO 1, VCO 2, or the VCF.  A 24dB/octave
    voltage-controlled low pass filter with adjustable Q that can be
    used as a sine wave oscillator.  A VCA that can be modulated by the
    ADSR, AR or can be bypassed.  An LFO with a rate of .2Hz to 20Hz.
    The Cat can also be easily connected in series with a simple stereo
    cable.  (Not available on many more expensive synthesizers).  Plus
    much, much more.  ...  "

They make a big point about how it competes with any synthesizer "(that's
right, we said ANY synthesizer) under $1700.00 list in the store." :-)  And
remember, the waveforms are ALL SIMULTANEOUSLY MIXABLE! :-)

It sounds like a cheap Arp Odyssey competitor.  The Odyssey and
Mini-Moog were getting a little dated by 1977, but they were probably
still up above $1500 list (any other old folks out there?).  I bought a
used Odyssey for $700 or so in 1977 or 1978.  I don't remember if I ever
saw a CAT.

Bob Montgomery
From: quantum@mfci.UUCP (Quantum Audio Concepts)
Newsgroups: rec.music.makers.synth
Subject: Re: Sampling/Copyright, etc.................
Date: 23 Jan 93 22:14:10 GMT
Reply-To: quantum@mfci.UUCP (Quantum Audio Concepts)
Distribution: aus,world
Organization: Bell Atlantic Business Systems Service Branford, Ct.

In article <drice.727754117@ponder> drice@ponder.csci.unt.edu (D. Keith Rice) writes:
>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,

Of course it the copyright holder's choice whether or not to file a lawsuit,
but that isn't the issue.

>who else would track it down?

My point is why should _anyone_ have to track it down? If someone wants to
sample some of my work, they should ask me. I should'nt have to look for
them. So, refering back to the original post, point #1 is acceptable to me,
the point above, #2, is not.






========================================================================
Quantum Audio Concepts                       Yamaha, EMU, Korg, Kawai
800 Village Walk, Suite 122
Guilford, CT 06437                                 203-481-3289
========================================================================


Newsgroups: rec.music.makers.synth,rec.music.synth
From: mchen@sol4.cs.psu.edu (Michael Chen)
Subject: Re: Ensoniq list? (was: Re: [EMAX II] Who's got one & disk format.)
Distribution: rec
Date: Thu, 28 Jan 1993 17:57:10 GMT

   Michael Chen writes
   > You can subscribe to the EPS list by sending mail to eps-request@reed.edu.
   > There is a FTP site called eps.reed.edu with samples and utilities to grab.

     Hmmm... does this list cover all Ensoniq synths/samplers, or just the EPS?

   Steve
   --

It's for Ensoniq samplers (EPS, EPS16+, and ASR10 I guess; no Mirage stuff that
I know of.)  I have a SQ-R, and I'm still looking...

--Mike
--
_____________________________________________________________________________
| Michael Chen			| From the depths of our most lucid horrors |
|				| spring our fond hopes and pure desires... |
| mchen@cs.psu.edu		| except what comes from HELL! :-) 7/23/92  |
\_______________________________\___________________________________________|
From: grahame@skyfox
Newsgroups: rec.music.makers.synth
Subject: MORE ON ASR-10 and EMAX II (shoudl be RE: something or other)
Date: 27 JAN 93 21:50:34 GMT
Organization: University of Saskatchewan
NNTP-Posting-Host: sask.usask.ca


>From: dgj2y@kelvin.seas.Virginia.EDU (David Glen Jacobowitz)
>Date: 26-JAN-1993 13:35:23

>	I can think of quite a few points in favor of the Ensoniq. As
>was mentioned the ASR10 has better memory expansion. The Ensoniq can
>also play in 16 voice stereo. The ASR10 has effects. MOreover, they're
>good effects and are _very_ flexible. It is possible to re-sample with
>effects ( totally in the digital domain ) as well as to route sound
>from the input through the effects while you are playing. Another
>thing it the keyboard. I don't know about you, but the Emax keyobards
>are just BAD. Ensoniq's is not thousands of times better, but it's
>better, and it has polyphonic aftertouch, which I'm sure the Emu
>doesn't have. 
>	Finally, the Ensoniq sampler has a just as large ( if not
>larger ) library of very well made samples floating around for it as
>the Emax.
>	I think that's all I wanted to say. Other niceties: patch
>selects, play while load, serious sequencer.

>				david jacobowitz
>				dgj2y@virginia.edu

	Hmm. I'd argue on a couple of points. The Ensoniq can play in
16 voice stereo, but NOT at full voice bandwidth (I think it's reduced
down to 29Khz). As for the keyboard, YEEECH! The ASR has a "classic"
Ensoniq clicky keyboard... their poly aftertouch scheme makes for a 'board
that has the weirdest touch of any modern keys.. not to mention noisy (unless
you like a tactile "kerlunk" everytime you depress a key). As for the library,
something tells me that the EIII lib is better than anything released by
Ensoniq. Additionally, the number of CD-ROM's available for the Emax II is
much greater.
	As for the sequencer, WHO NEEDS ANOTHER DARN SEQUENCER!?!? Give me
a computer over a keyboard-based one anyday. The one thing the ASR has is
its FX unit and resampling. But then it would have to, since it's amazing
complement of outputs (a mere two) makes any other kind of processing
almost impossible :-)

James Grahame
-------------
Grahame@Sask.Usask.CA

PS - Actually, I like the ASR-10. Just gotta keep the blood pumping! The real
     problem is Ensoniq's stupid desire to sell essentials such as SCSI ports
     as extras. Can you imagine loading 16MB from floppies???
From: cubase@cs.tut.fi (Pekka Martikainen)
Newsgroups: rec.music.makers.synth
Subject: Re: The Newest Emu synth...
Date: 24 Jan 93 18:00:09
Organization: Tampere University of Technology, Finland
Distribution: world
NNTP-Posting-Host: kaarne.cs.tut.fi
In-reply-to: dan@korgrd.com's message of Sat, 23 Jan 1993 04:22:17 GMT

In article <C1AHH5.7p9@korgrd.com> dan@korgrd.com (Dan Phillips) writes:

> According to an old Roland brochure, the JP-8 has VCOs.
> Perhaps the writer was thinking of the newer JX-8P, which 
> used digitally controlled analog oscillators...

Yeah, I had to look that paper too to discover that it really has VCOs.
I wasn't thinking of JX-8P.

But. Are digitally controlled analog oscillators VCOs or DCOs? I tguess JX-8P
uses digital oscillators and analog filters. I know I may be wrong, again :)

> - Dan Phillips

Pekka Martikainen
Newsgroups: rec.music.makers.synth
From: furio@uiuc.edu (furio ercolessi)
Subject: Re: MusicBox - A new dimension in composition
Reply-To: furio@uiuc.edu (furio ercolessi)
Organization: MRL - UIUC
Date: Fri, 22 Jan 1993 00:37:28 GMT

In article <C186pD.1nv@news.cso.uiuc.edu>, jl52800@uxa.cso.uiuc.edu (The Incredible Mr.Wong)
writes:
|>Could someone please give a FTP site where I can get a hold of this program?
|>Thanks.
|>
|>Mr.Wong

archie reports two sites, one in US and one in Europe:

Host reseq.regent.e-technik.tu-muenchen.de

    Location: /informatik.public/comp/usenet/comp.binaries.ibm.pc
      DIRECTORY drwxrwxr-x        512  Nov  1 19:59  musicbox

Host wuarchive.wustl.edu

    Location: /usenet/comp.binaries.ibm.pc/volume01
      DIRECTORY drwxrwxr-x        512  Jun 25 00:00  musicbox

--
furio ercolessi    <furio@uiuc.edu>*    <furio@sissa.it>+
* materials research lab, uni illinois at urbana-champaign
+ intl school for advanced studies, trieste, italy   

"Change nothing and continue with immaculate consistency"
                                      [ Brian Eno, "Oblique Strategies" ]
From: dent@solace.hsh.se (Michael Lidgren)
Subject: Need advice.
Summary: Need advice.
Keywords: ?
Organization: Solace Computer Club, Sundsvall, Sweden
Date: Mon, 25 Jan 1993 18:18:50 MET

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
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.makers.synth
Subject: Re: What's a MicroMoog?
Date: 28 Jan 93 02:57:13 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1k61uhINNpn3@rave.larc.nasa.gov> dmg@wmod2000.larc.nasa.gov 
(David Grant) writes:
>[about the MicroMoog...]
>bass lines and leads.  It's a monophonic single oscillator with a
                                          ^^^^^^^^^^^^^^^^^
>noise generator, filter with resonance, attack/release EG's (one for
>the filter and one for the VCA), sample and hold, pulse width
>modulation, and a pitch bend pad.

While there was only one oscillator per se, there was also a
sub-oscillator that created deep octaves.  Nice touch.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
From: john@hpwin052.uksr.hp.com (John Radley)
Newsgroups: rec.music.makers.synth
Subject: Akai S1100 hard disk help wanted
Date: 25 Jan 93 14:09:37 GMT
Article-I.D.: hpwin052.C1Ey05.FCu
Organization: HP Response Centre
X-Newsreader: TIN [version 1.1.4 PL6]



Hello,

I am thinking of getting a hard disk for my Akai S1100 and could really
do with some advice with regards to internal drives.

I could get an external drive, but this undoubtedly will be more expensive
than a PC internal drive. Does anyone know if a PC SCSI internal drive can
be mounted inside the S1100 ? And if so, are the connections inside (power
and SCSI) the same as a PC ?

Any advice on this subject is much appreciated.

John
(e-mail john@hpwin051.uksr.hp.com)
Newsgroups: rec.music.makers.synth
From: cashby@dsd.es.com (Cary Ashby)
Subject: FOR SALE:  Kawai Q-80 Midi Sequencer
Keywords: Kawai Q-80
Reply-To: cashby@dsd.es.com (Cary Ashby)
Organization: Evans & Sutherland Computer Corp., Salt Lake City, UT
Date: Tue, 26 Jan 93 17:18:51 GMT


For Sale:


	Kawai Q-80 Midi Sequencer.

	-	32 tracks
	-	100 motifs
	-	26,000 notes
	-	10 songs
	-	3.5" floppy drive
	-	Active mathematical quantization
	-	Real Time and Step recording
	-	Punch In/ Punch Out
	-	64K Midi Patch Data Storage for SysEx data


	This is a killer sequencer.  I've loved using it.  I'm selling
	it to finance another music project.  In perfect shape, lovingly used.
	$500 + shipping.

	Cary Ashby
	(801)582-5847 x4636
	cashby@dsd.es.com
Newsgroups: rec.music.makers.synth
Subject: Re: Info on EMU Procussion
From: raver909@telerama.pgh.pa.us (Rave Crusader)
Date: Fri, 22 Jan 1993 19:17:42 GMT
Organization: Telerama
X-Newsreader: TIN [version 1.1 PL8]

Scott Amspoker (scott@bbx.basis.com) wrote:
: In article <C17K9n.Cyt@csn.org> whubis@teal.csn.org (Walter A. Hubis) writes:
: >I've been considering adding an EMU Procussion Module
: >to my rig, and I'm looking for the experiences of owners
: >of this unit. Foremost is quality and range of samples,
: >editing features, and audio quality.

: I own a Procussion and I highly recommend it if you want programmability
: and are willing to pay a little extra for it.  The drum sounds range from
: natural and transparent to the meanest attitude to ever come out of a
: drum module.  The quality of the samples is superb and Emu's G-chip can
: transpose the samples great distances while maintaining the fundamental
: sonic quality (this is especially noticable with cymbols).  There
: are approximately 300 raw samples that are used to create about 550
: factory percussion sounds and 512 user-programmed percussion sounds.

: One fun thing to do is to create a simple repeating drum pattern on your
: sequencer and let it play while you step through the different factory
: drum kits (there are 64 factory kits and 64 user kits).  It's amazing
: the different styles and character available.

: Programming is rather straightforward.  A drum sound can consist of up
: to 4 layers.  Each layer consists of a raw sample and a host of
: modulations and envelopes.  For example, you might want to create a 
: tom sound that has a distinct attack transient and certain type of
: body.  You can use the attack of one sample with the decay of another.
: They can be fine tuned to "go together" and modulations can be setup
: to respond intelligently to velocity.  There are reverb ambience samples
: that can be enveloped, tuned, and layered to other drums allowing
: a convincing "processed" sound even though there are no on-board effects.

: To my surprise, I find that I customize my drum sounds a lot more than
: I originally thought I would.  Someone into techno or house music
: would have a field day with the Procussion.
Or even better a Kawai XD-5 for a few bucks more. A drum SYNTH!
: On the other hand, if you aren't interested in programming, the Alesis
: D4 is less expensive and has a fundamental sonic quality comparable to 
: the Procussion but fewer sounds (and the cymbols aren't quite as good).

: -- 
: Scott Amspoker                       |    
: Basis International, Albuquerque, NM |  Too bad ignorance isn't really
:                                      |  bliss.  Then it could be outlawed.
: scott@bbx.basis.com                  |
-- 
"Watcha gonna do when the bass hits you???" -Adrenaline 92 Toronto, Ontario.
Newsgroups: rec.music.makers.synth
From: cassiel@cassiel.demon.co.uk (Nick Rothwell)
X-Sender:  (Unverified)
Subject: Re: Why joystick instead of wheels, Dan ?
Date: Sun, 24 Jan 1993 17:23:34 +0000

>(thanx God the WS *did* have wheels, why didn't you
>continue ?).

The WS was a US-designed machine, by the San Jose (?) team. I believe the
other Korgs were Japanese-designed. I don't see them as that closely
related.

                      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
From: n9120389@henson.cc.wwu.edu (Eel)
Subject: yamaha and alesis
Keywords: help
Organization: Western Washington University
Date: Wed, 27 Jan 1993 22:25:01 GMT

	I have a (piece of junk??) Yamaha PSS-480 and an Alesis MMT-8.I can't
get my portamento function to stick when I switch betweeen midi mode 99
and 00. The instruction manual suggests that I should be able to use it on
midi mode 99 but I have never found how to do it. Is there a trick? Or
does my equipment just suck? I also have to know if there is a way to use
modulation in midi mode 99. I'm really lost. Please help. 
 
                                             nothing really cool 
                                              or interesting to
                                                  say here 
                                             
                                                    DANA
From: townsend@msc.cornell.edu (Stephen J. Townsend)
Newsgroups: rec.music.makers.synth
Subject: Re: JV30 problem?
Keywords: JV-30, Roland
Date: 26 Jan 93 22:43:21 GMT
Organization: Cornell-Materials-Science-Center

In article <1993Jan26.165204.27952@aio.jsc.nasa.gov>, todd@motif.uucp (Todd Phillips [PT2]) writes:
|> Yo, all you folks with Roland JV-30 experience:
|> 
|> Whenever I assign an instrument to parts 2-16 via the front panel, the 
|> instrument in part 1 changes to whatever I just assigned the other part to.
|> So when setting the parts up, this requires me to set part 1 last, cuz
|> otherwise it will just get changed.
|> 
|> Is this a bug or a feature, or am I just missing something?  I searched
|> the manual, but no dice.
|> 
|> Todd

I've experienced a similar problem that drove me crazy for an evening or two.
My problem was having "local on" in the "master midi" settings even though
I had my computer up and running a sequencer. Here is what was happening
in my case (if I had it figured out correctly):

After setting the current part to #2, say, pressing the front panel buttons
to select the patch for part #2 does two things.  First, it sets the patch
for part #2 (intended effect) and second, it sends a MIDI message for the
patch change through the MIDI Out. Then the MIDI patch change message was
being echoed by the computer onto channel #1, due to the settings I had
chosen in software. (In EZVision the echo of MIDI In can be set for the
channel number of the current track or turned off.)  When the message got back
to the JV-30 it caused part #1 to be changed to the same patch, since part #1
was set to receive on channel #1 (same as its part number, as is usual).
Yikes.

The way I avoid this sort of thing now is to make sure that I set "master midi
local" to "off" whenever I have my computer running MIDI software.  This takes
about 8 button presses on the front panel. The annoying thing is that every time
you power-up the JV-30 it is automatically set to "on."  I think I read that
this is to insure you will always get a sound if you just power-up and play the
keyboard controller.

Hope this helps,
Steve
townsend@msc.cornell.edu
Newsgroups: rec.music.makers.synth
From: ola@lesti.hut.fi (Ola Rinta-Koski)
Subject: Re: Why joystick instead of wheels, Dan?
Organization: /u/opi/t/ola/.organization
Date: 22 Jan 93 16:45:54

In article <C163Lx.3Mo@korgrd.com> dan@korgrd.com (Dan Phillips) writes:
>manufacturing cost, however...also, Korg did offer a kit which substituted 
>wheels for the T-series joystick, but I believe very few of them were sold, 
>which may have settled the issue in Korg Inc.'s mind.

  Yes, but if Korg offered a kit which substituted a joystick for the
WaveStation's wheels, then I bet even fewer would be sold.

  Now if some designer REALLY wanted to go out of his way to ensure
customer satisfaction on this issue, a retailer would get a shipment
of keyboards with NEITHER, as well as a shipment of plug-in wheel sets
and joysticks. This way a customer could (and would have to) choose,
of course, all this adds to the cost and doesn't really make a
keyboard all that much more marketable (which I'm sure is a
humongously major factor in designing what features to include).
--
say darling, can i buy you a drink, are you looking for mr. goodbar? on guitar
we have denny walley, on guitar we have... wait a minute i've got it, you're on
guitar! you're not on guitar? wait a minute you must be an albanian! if you're
an albanian then I definitely love your nails because you're on guitar; well...
Newsgroups: rec.music.makers.synth
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Analog Multi timbral 
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Fri, 22 Jan 93 17:25:27 GMT

In article <v5tji2s@zola.esd.sgi.com>, archer@elysium.esd.sgi.com (Archer Sully) writes:
|> In <1993Jan21.114721.1@acad.drake.edu> seh003@acad.drake.edu writes:
|> *
|> *Any manufacturers out there listening?  This guy has a great idea that I've
|> *often wished for myself.  Up-to-date analogs with proper MIDI and MULTI-TIMBRAL
|> *capability.  A multi-timbral analog synth would be a godsend.  Anyone else
|> *agree?
|> *
|> *Stephen
|> 
|> The OBMx was going to be multi-timbral before Gibson pulled the plug on them.
|> 
|> While I would love such a box, I can't really justify paying for it, and 
|> not enough other people can, too.  Witness the large number of analog synth
|> makers that have gone belly up.

Cheetah in the UK makes an analog rack module that is multi timbral.
Cheetah products are now being distributed in the US judging from recent
ads I have seen in Keyboard but I haven't seen any in Canada.

Can anyone in the UK comment on multitimbral analog boxes in Europe ?


Newsgroups: rec.music.makers.synth
From: smith@ecs.comm.mot.com (Jeff Smith)
Subject: Re: Make Sampling Legal...
Organization: Gagging Sloth Records
Date: Thu, 21 Jan 1993 16:33:41 GMT

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

> This isn't exactly accurate.  If you're so obscure that the original
> artist is unlikely to ever hear your work then you don't need to
> worry.  However, if the copyright owner becomes aware of an infringement
> then the owner has no choice but to try to protect his property.  To

What I can't figure out is the law regarding "industrial style" sampling.
What I mean is, the sampling of little snippets of speech from, say, a
movie, and then inserting it into a song in a way that is totally out of
context.  As far as I'm concerned, that constitutes a completely different,
and therefore artistically viable (and legal under the "fair use" clause)
action.  However, I do know of several cases (e.g. "song 10" on Skinny
Puppy's "Last Rites" disc) where a song was not allowed to be released
because the artists weren't able to get permission.  So, is it common
practice to somehow track down the owner of every obscure bit of sampled
speech?  I should think that would take more time than writing the damn
songs!

jds

***************************************************************************
                               * Health and knowledge and wealth and power,
Jeff Smith                     * Passion and poems and sex
smith@fl08-g.comm.mot.com      * I wear a smile like a leather glove,
                               * I won't shut my mouth for less.
                                                - shriekback
***************************************************************************
Newsgroups: rec.music.makers.synth