HDTenEightyP/NetNews huggingface dataset:
From: lei@rtsg.mot.com (Peter P. Lei)
Subject: Roland MC50 MicroComposer Sequencer for sale
Organization: Motorola Inc., Cellular Infrastructure Group
Distribution: usa
Date: Tue, 1 Sep 1992 19:57:19 GMT



*** FOR SALE ***

Roland MC-50 Micro Composer Seqencer:  $475
   8 track (16 channels each) sequencer.  Extensive editing capability.  3.5"
   MSDOS format compatible floppy drive.


This unit is in mint condition with original accessories.  Reasonable offers
will be considered.  

-------------------------------------------------------------------------------
Peter Lei                                           UUCP:   ...uunet!motcid!lei
Motorola, Inc.                                      Internet:  lei@rtsg.mot.com
Cellular Infrastructure Group                       Phone:     (708) 632-5654
1501 W Shure Dr, IL-27/AR-3215B 
Arlington Hts, Illinois  60004                    Standard disclaimers apply =)
From: rfisel@informix.com
Newsgroups: rec.music.compose,rec.music.synth
Subject: Re: Help in Creating FINALE crescendos
Date: 31 Aug 92 19:47:13 GMT
Reply-To: rfisel@informix.com
Organization: Informix Software, Inc.

In article <1992Aug24.125636.13836@eagle.lerc.nasa.gov>  
xxrich@alliant1.lerc.nasa.gov (Rich Rinehart) writes:
> In article <1992Aug20.142649.3969@zip.eecs.umich.edu>  
fields@zip.eecs.umich.edu (Matthew Fields) writes:
> >Good for you in discovering the metatool mess.  Now look at your
> >pallettes and discover that you've created a bunch of copies of the
> >same structure.
> Yes, what a mess.
> 
> >executable shapes work by displacement from the current value.
> >thus if p is, say, 30 in your score, and you have a line sloping up
> >from 0 to 4 (=4 *288evpus=16 * 36 evpus), this line will cause
> >a graduation (changing every eighth note) up to veloc=46 (regardless
> >of the dynamic indicated on the note just after the cresc)
> 
> Why did they implement it that way? (BTW).  I would think 99% of the
> time one would want it to interpolate from the starting dynamic to
> the finishing dynamic (automatically).
> 
> >when the executable shape dialog box has 1s in its scale boxes.
> >So if you have crescendos of different lengths which make velocity
> >changes of different amounts, you'll have to develop different
> >executable shape definitions for each (although they might all
> >use the same shape i.d.---decrescendos could even use that
> >same shape i.d. with a negative scale-number in the definition).
> 
> Hmm, does the shape really matter (could use the bottom left corner
> to top right corner supplied shape) if you tweek the time scale and
> level scale parameters?   But, I really don't want to recalc
> them for every crescendo (plus I am having a hard time figuring what
> they should be anyways).
> 
> >
> >You might find it easier to mess with the velocities of the notes
> >using the 'scale...' feature of the midi tool, which is also
> >notably arcane.
> >
> >The easiest thing would probably be to export the midi without
> >cresendos into some sequencer and apply the crescendos there.
> 
> You may be right but I was hoping NOT to do this!  
> -rich
> 
> -- 
> Rich Rinehart (xxrich@alliant1.lerc.nasa.gov) |     
> NASA Lewis Research Center |    "Life if one big editing session" -rr
> Cleveland, OH              | "Technology changes everthing...even our dreams"

-- 

For crescendos on a single note, this will not work, as I found out. There  
should be a way to get the executable shape to apply as a foot (volume) pedal  
setting, but I wonder if this will actually be applied during a whole note,  
say, or will it wait for the next note, eighth or higher? So far, I have had no  
luck.

(Another reason why I say the Finale user interface really was written by  
gerbils...)

Rick Fisel 
opinionated employee of opinionless
Informix Software
I prefer replies by email. 
Newsgroups: rec.music.synth
From: johns@cs.umr.edu (John Stone)
Subject: Need PG-??? for JX-8P and MKS-50...
Date: Wed, 2 Sep 1992 06:17:04 GMT
Organization: University of Missouri - Rolla
Originator: johns@mcs213c.cs.umr.edu

Hi there,
I own a Roland JX-8P and an MKS-50...
I don't have manuals for either of them since I bought
them new, and as such I don't know what the name of the
"programmers" for them are.  I know that they are all 
called PG-x00's usually, but I need to know what their
model number is etc.  

Also, if you have one of these beasties (I want PG's for
both the JX8P and the MKS-50) and are willing to sell it (them)
let me know...

Also, I'd like to talk with anyone else who has similar
equipment.  I have no patches for either of them except what
is in them.  I've been playing with programming both of 'em
(not impossible since they have pretty standard analog technique)
but I'll need a manual to explain a few things.. (or at least an
experienced JX-8P or MKS-50 owner :-)

Is there an ftp site that has patches for these older synths?

Oh yeah, is there anything else I should get for these synths
before they get so old that stuff is literally impossible to find
for 'em??? 

Anyone out there selling a Roland Super JX rack mount (MKS-70 I think)
or a Super Jupiter (MKS-80??)

(If you haven't guessed, I like some of these analog synths :-)

Thanks,
          John Stone
          johns@cs.umr.edu


Newsgroups: rec.music.synth
From: trice@bnr.ca (Tony Rice P885)
Subject: Re: Synclavier/New England Digital
Reply-To: trice@bnr.ca
Organization: BNR, Inc. Research Triangle Park, NC
Distribution: usa
Date: Thu, 03 Sep 1992 13:44:38 GMT

For more information on the customer support and business 
impact of the demise of NED see the October issue of
Keyboard Magazine.

They have about a page and a half article on it.  Its very
well written!  I hadn't thought about the impact this is 
going to have on medium to large size studios who have
suck 1/2 a million bucks into their Synclavier systems. Check
out Frank Zappa's words on his instrument

My favorite part of the article was the mention that Fostex
hired 30 of NED's 32 R&D engineers.  Look for some digital recording
gear from them in a while!

Think what it would be like if Yamaha, Korg, Ensoniq, etc. went
under! 
-- 
==========================================================
                      Tony R. Rice                      
         Systems Development Environment Support         
----------------------------------------------------------
trice@bnr.ca                        Bell-Northern Research     
mrmidi@aol.com                  Research Triangle Park, NC
----------------------------------------------------------
Opinions are my own, and do not reflect those of BNR or NT
----------------------------------------------------------
                       "Go Hokies"
==========================================================

Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Via: uk.ac.leeds.scs; Fri, 4 Sep 1992 11:43:37 +0100
Newsgroups: rec.music.synth
Date:         Fri, 4 Sep 1992 10:47:57 BST
From:         The Brown Bottle <ross-c@DCS.LEEDS.AC.UK>
Subject:      Re: Synclavier/New England Digital (Was: Parting with old synths)
Comments: To: SYNTH-L@AMERICAN.EDU

>From: Andrew Studer <studer@AU.OZ.SU.PHYSICS>
>Subject:      Re: Synclavier/New England Digital (Was: Parting with old synths)
>
>(independantly of course) Fairlight went down the tube, lotsa folk down
>here were saying "Fairlight really needed to make a machine like the EPS".
>

Read Frank Zappa's comments on New England Digital in the early '87 cover
story in Keyboard. He was saying the same thing. Interesting article in
general for people wanting to know about the Synclavier in general too.

Also, I thought Fairlight were still going, with hard disk recording systems
or something.

Cheers,

Ross-c
Newsgroups: rec.music.synth
From: brian@aicorp.cmhnet.org (Brian Lockrey)
Subject: What digital piano/synth to buy?  Need furniture!
Organization: Applied Innovation, Inc.
Date: Fri, 28 Aug 1992 02:40:37 GMT

I'm looking for input on a digital piano/synth for my living room.
Must be like furniture. Sorry, no rack mount, Marshall amplifier, speakers,
etc., allowed in "our" living room. :-)

I've seen the Yamaha Clavier series and it looks ok and sounds
pretty good too, although I want GS midi, which I don't think the Clavier is.
The salesman didn't know and sales lit. didn't say it was.

It also cost about $5K which is fine if I can get what I want. (Sorry,
can't afford the $25K Yamaha Disklavier, and that is not really what I want)

Does Roland or other vendors make devices like the Yamaha Clavier?

A E-mu MPS Plus or Roland JV-80 (??) in a wood cabinet would sure be nice...

Thanks your your input.

Brian Lockrey


Newsgroups: rec.music.compose,rec.music.synth
From: fields@zip.eecs.umich.edu (Matthew H. Fields DMA)
Subject: Re: Help in Creating FINALE crescendos
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Tue, 1 Sep 1992 13:37:11 GMT

In article <1992Aug31.194713.28422@informix.com> rfisel@informix.com writes:
>In article <1992Aug24.125636.13836@eagle.lerc.nasa.gov>  
>xxrich@alliant1.lerc.nasa.gov (Rich Rinehart) writes:
>> In article <1992Aug20.142649.3969@zip.eecs.umich.edu>  
>fields@zip.eecs.umich.edu (Matthew Fields) writes:
[dialog between me and rich rinehart re: key-velocity-based crescendos
in Finale(r)]
>
>For crescendos on a single note, this will not work, as I found out. There  
>should be a way to get the executable shape to apply as a foot (volume) pedal  
>setting, but I wonder if this will actually be applied during a whole note,  
>say, or will it wait for the next note, eighth or higher? So far, I have had no  
>luck.
>
>(Another reason why I say the Finale user interface really was written by  
>gerbils...)
>

The separaration of "loudness" into key velocity and foot pedal
controller is a conceptual oddity of MIDI (that results from its
keyboard orientation).  You need to go to the manual for your synth
and find the controller number for post-attack volume.  Make an
'expression' with playback type MIDI controller, then check off 'Use
Aux Data 1' and fill in the number of your controller in the
appropriate box.  Controllers are often scaled not in the 0-127 range
but rather in the 0-8191 range or the -4096 to +4095 range (look this
up in the manual for your synth), so that will affect the Level Scale
you choose for your shape.  The time scale and horizontal width of
your shape will work as I described previously, i.e. by default the
shape is consulted discontinuously every eighth note, but if you
stretch the shape out to, say, end at x=32 inches and then set a
timescale of 1:32, the shape will be consulted every 32nd of an eighth
note throughout 4 beats.  Depending on the tempo, that may or may not
give you a satisfyingly smooth sound.  I've personally used that
method to perform trombone glissandi on a friend's synthesizer.
Reminder: make the end of your shape go back to zero and stay there
for a while just after the note ends.  MIDI controller info tends to
be cumulative.  E.g., when I forgot to put a hop-back to zero at the
end of my glissandi, all the music after the first glissando was
transposed.  But because the note ended before the hop-back, I never
had to actually hear the hop-back.
From: cfoley@Bonnie.ICS.UCI.EDU (Ciaran Foley)
Subject: Powerbooks and MIDI
Newsgroups: rec.music.synth
Date: 1 Sep 92 06:46:11 GMT

I've heard much rumor that the Apple Powerbooks are incompatible with
present midi gear. Specifically, I'm looking at an Apple Powerbook
145 4/40 with an Opcode Midi Two (2 in 6 out) box. Does anyone know
for sure whether this will present a problem? I've heard that the
lower power consumption of the Powerbook cannot drive the midi ports
through the serial connection correctly...

Ciaran Foley

-------------------------------------------------------------------------------
California Software, Inc.  | cfoley@bonnie.uci.ics.edu |  (714)729-4230 Office
2121 E. Pacific Coast Hwy  | eaiu131@orion.oac.edu     |  (714)644-6277 Fax
Suite # 220                | Internet                  |  (714)729-4222 Main
Corona Del Mar, Ca 92625   |                           |  (714)830-3579 Home
-------------------------------------------------------------------------------
Newsgroups: rec.music.synth
From: dce@smsc.sony.com (David Elliott)
Subject: Re: Performer 4? (was Re: Price for Performer sequencer)
Organization: Sony Microsystems, San Jose, CA
Date: Thu, 27 Aug 92 17:15:03 GMT


In article <tDj-gc@engin.umich.edu>, darrin@arrakis.engin.umich.edu (Darrin P Cardani) writes:
|> 
|> In article <41050151@hpcc01.corp.hp.com>, brooksp@hpcc01.corp.hp.com (Peter Brooks) writes:
|> > Performer (first 3.61, then 3.64) would crash on me with annoying
|> > regularity, *until* I turned off After Dark.  It hasn't crashed since.
|> > ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^`
|>   I've been using with After Dark for well over a year and it has not crashed
|> once as I said in my last post. I wonder what it is that I'm doing differently?

You're probably doing lots of things differently.

The problem may not be After Dark at all, but some other piece of software
that causes Performer to crash when After Dark is running.  Or, it may
be that you don't invoke some specific feature of Performer that Peter
used (I've had programs that didn't have any problems except when I did
some fairly complex sequence of things).

I've almost resigned myself to the fact that I need *two* Macs: one for
normal use (color, VM, printer, neat peripherals, lots of applications
and extensions), and one for music (monochrome, no VM, just a MIDI
interface, and only apps and extensions required for music).  And, to
be honest, I'm not sure I'd want both of those machines to be Macs...

--
...David Elliott
...dce@smsc.sony.com | ...!{uunet,mips}!sonyusa!dce
...(408)944-4073
..."I take my arms and I wrap them around my art." - F
From: davei@comp.lancs.ac.uk (Mr D Ingles)
Newsgroups: rec.music.synth
Subject: Encore demo
Date: 26 Aug 92 17:22:44 GMT
Organization: Department of Computing at Lancaster University, UK.

Has anyone got a copy of the Encore demo that they could ftp to me ?

Davei (davei@lancaster.ac.uk)
Newsgroups: rec.music.synth,comp.dsp,comp.sys.hp
From: dkennedy@nyx.cs.du.edu (Don Kennedy)
Subject: Re: AUDIO-CD READING ?
Organization: University of Denver, Dept. of Math & Comp. Sci.
Date: Tue, 1 Sep 92 00:36:17 GMT


When I was involved in a digital audio project a couple of years ago, I
had some information from Philips that described in detail ALL of the
intermediate data formats used in the Philips CD chipsets. This included
all the Reed-Solomon stuff and the chips that at the time had several of
the functions split out rather than all integrated into a single package.
I'm sure the equivalent is still available today, if you ask nicely.

Don Kennedy
dkennedy@nyx.cs.du.edu
Donald.Kennedy@bbs.oit.unc.edu

Newsgroups: rec.music.synth
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Subject: Re: Looking for suggestions on price of ...
Organization: Digital Equipment Corporation
Date: Fri, 28 Aug 1992 06:20:37 GMT


In article <cH4VPB4w164w@sys6626.bison.mb.ca>, five@sys6626.bison.mb.ca (A.R.F.) writes...
>.... a Freeman String Synthesizer.  Who amoung the other 'old timers' 
>here, are/were familiar with this beast?  What do you think it would be 

Ok, ok, already.  I've never seen one but I have heard them.  It sounds, to the
educated ear (yes, my ears were in college at the time) like a
divider-architecture machine with chorusing and a filter bank.  That is, it
sounds like a Solina, or ARP String Ensemble (SE IV), only a bit different,
probably due to a fixed filter bank.  It sounds like a more natural string
spectrum to my ears, and less chorused than the Solina sound.   

It's heard on the Peter Sinfield album "Still."  Others have probably spotted
it elsewhere.  BTW, for extra credit, who was Sinfield, and what else did he do
besides write poor lyrics for ELP.  I'm looking for an answer that does not
involve writing.

Valuable only as a curiosity (I'd certainly pick one up if I saw it, but we
have learned about shipping things from Winipeg to Massachusetts, haven't we?),
due to size, weight and impossibility of meaningful MIDI.  Acch, I shouldn't say
totally impossible.  Something that could spit out contact-closures would work.
As many contacts as keys, tho.   Not that you would corrupt your studio with
the dread scurge of M....


Eirikur Hallgrimsson   |    "Can I have some more aftertouch on that
eh@ranger.enet.dec.com |     snooze-alarm?"
PATHWORKS for Macintosh|  

Newsgroups: rec.music.synth,rec.music.compose
From: dfiled@med.unc.edu (Dean File)
Subject: ISO Notation Software for Macintosh
Originator: dfiled@pelham
Organization: UNC School of Medicine
Date: Wed, 2 Sep 1992 21:09:57 GMT

I am in search of Macintosh software for musical notation.  Can someone 
point me in the right direction?

Note that I am _not_ interested in attached keyboards with MIDI interfaces,
sequencers (I don't even know what they are!), or playing sounds on the Mac.
(Sorry--I'm old-fashioned--my keyboard is a Steinway and doesn't require a
MIDI interface.)  All I need for this software to do is put notes (and words)
onto paper.  (I need the words as well as the notes because most of the
transcribing I'll be doing is choral music; for this same reason, the software
needs to have good capabilities in variable note spacing and text underlay,
as well as copy-and-paste capability--after all, music is mainly a matter of
repetition and variation.)

Of course, if a particular software package does what I need, and also does
the MIDI bit (but doesn't _require_ the MIDI trappings), I would still be
interested.

I've heard of something put out by a company in Cambridge, MA, called the
Mark of the Unicorn, but don't know much about it.

Please reply to me personally via e-mail.  I do not customarily read the
rec.music groups.

Dean File
UNC School of Medicine
Chapel Hill, NC

dfile@ralph.med.unc.edu
Newsgroups: rec.music.synth
From: a-kraus@uiuc.edu (Albert L. Kraus)
Subject: midi inferface for Mac
Followup-To: rec.music.synth
Organization: PES
Date: Mon, 31 Aug 1992 13:00:26 GMT

I would like to buy a MIDI interface for my Mac.
At this point the only one I found is the Altech MIDIFace LX for $35 from
MacWarehouse! Please send mail if you know a better interface for ~$100.
Please include the vendor address.

Thanks!
Have a nice day!
Newsgroups: rec.music.synth
From: tmm@world.std.com (Tom M Moravansky)
Subject: MIDI Controller for Sale
Organization: The World Public Access UNIX, Brookline, MA
Distribution: usa
Date: Sun, 30 Aug 1992 13:22:10 GMT

I am trying to get in touch with Steve Selick
<selick@bucsf.bu.edu>  and Ashley
<as35@prism.gatech.edu

They were looking for a MIDI Controller Keyboard and I have one that
I believe would suit their needs and is in their price range.

Please post or email me (tmm@world.std.com) if you are interested.

thanks
Newsgroups: rec.music.synth
From: AS.TLK@forsythe.stanford.edu (Timothy Kaufman)
Subject: Re: Proteus1 Orchestral Expander
Organization: Stanford University, California, USA
Distribution: usa
Date: Wed, 26 Aug 1992 16:28:26 GMT

smd@sl0091.srl.ford.com (Steve Dahmen) writes:
>
>Well, I just bought an EMU Proteus MPS, which has the board already
>[...]
>The Orchestral expander comes with solo cello, viola, and violin,
>which all sound really clean, although I still havent figured out
>how to do a nice slurred passage at higher volumes, since a large
>key velocity on these voices causes a bowed attack (you can almost
>hear the bow!).


At least a couple ways 'round this.  Since the velocity is routed to
attack AND volume, when you try to play louder by banging the keys
harder, you're also getting the hard attack.  You can try relying
more on a foot controller or mod wheel to control volume (and reduce
the amount of velocity routed to volume).  For loud legato passages,
simply play softly but put the pedal to the metal.

Or, you could retain the keyboard control of volume, and route the
pedal or wheel to attack.  Whichever way feels best to you.  One
interesting consideration is, which parameter do you want to be
controllable individually by key--that's what should be controlled
with velocity.  That is, if you want to bang a loud, low note with
the left hand, and simultaneously a soft chord with the right, you
need velocity control of volume.  A global controller won't do.

-Timmer
Newsgroups: rec.music.synth
From: avi@Warren.MENTORG.COM (Avi Ziv)
Subject: Synthaphone
Organization: Mentor Graphics, Silicon Design Division
Date: Wed, 26 Aug 1992 18:44:09 GMT

Does anyone out there have experience with the Synthaphone ? I am interested
in how it compares with other MIDI wind controllers. How expensive is it?
Who distributes (repairs ?) them in the US ?

The recent issue of Saxophone Journal had a fairly long article describing it
but it did not talk about my above questions. Sounded very interesting though.

I'd appreciate any information about it.

Avi Ziv
Newsgroups: rec.music.synth
Subject: Re: Atari Falcons $799!!!!!
From: feijai@endor.byu.edu (Sean Luke)
Date: 2 Sep 92 13:09:04 -0700
Reply-To: sean@digaudio.byu.edu

In article <D88-JWA.92Sep2004247@byse.nada.kth.se>  writes:

>Not to mention there's still nothing that beats QuickDraw in
>imaging model. (No, there isn't)

Er, for speed, absolutely.  But for power?  I think DPS has QuickDraw  
stumped there.

It really depends on the speed/power ratio you want.  For a personal  
computer, QuickDraw is an excellent choice.  But for a more powerful  
system where algorithmic speed isn't as important, there are better  
options.

--

Sean Luke
Brigham Young University                   MILK:  It Comes From Cows
sean@digaudio.byu.edu  
NeXTmail and nifty Mac stuff welcome
From: webster.Henr801c@XEROX.COM
Newsgroups: rec.music.synth
Subject: re: Okay, what's a decent but affordable Mac sequencer
Date: 25 Aug 92 16:44:24 GMT


> So can anyone recommend a decent sequencer for the Mac that
doesn't cost half as much as the computer itself?

Master Tracks Pro is less expensive, and (I've heard from those familar with
all three) more straightforward with the things you typically have to do the
most frequently.  Doesn't have as many esoteric features, but very clean and
easy to use for bread and butter things.

I have MTPro 4 and like it very much.

From the Price list:

Passport MasterTrackPro	289	--					Mar 91


marc webster
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Newsgroups: rec.music.synth
Date:         Fri, 28 Aug 1992 10:41:01 PDT
Reply-To:     dunn@intellicorp.com
From:         Casey Dunn <DUNN@SAFFRON.BITNET>
Subject:      Re: Okay, what's a decent but affordable Mac sequencer?
Comments: To: SYNTH-L@AMERICAN.EDU

You said (Re: Re: Okay, what's a decent but affordable Mac sequencer?)
> niski@ssd.intel.com (Joe Niski) writes:
>
>
> EZ Vision costs about 100 pounds but only does 16 track MIDI. Not sure but it
> may run on a Plus
>

16 tracks of MIDI, plus it reads standard MIDI files. graphic editing.
runs fine on a Plus. in conversation with other users we've found a
fair amount of "random death" in the program, but it dosn't seem to be
enough to deter us.

>
> I use Concertware from Graet Wave - it's hopeless for inputing from a keyboard
> but works ok manually (pedal notes confuse it) Wouldn't recommend it.

the version of this I have dosn't read SMF. This was a major reason I
"upgraded" to EZVision. Additionally when the most recent version of
Concertware came out the company had no upgrade policy - they wanted
full (alabet cheap) price; their reason was that "upgrade policies
wern't a part of their customer profile..."

however it does do notation, after a sort, and if that's important to
you it might be a reason to use it.

>
> EZ Vision looks a good bet for something cheap and cheerful.

I used EZ Vision for a couple of years, but have upgraded to the full
vision. I also like the full vision.


>
> Dave
> --

casey
From: ruska@hpfcso.FC.HP.COM (Dave Ruska)
Date: Mon, 31 Aug 1992 16:07:29 GMT
Subject: Re: Ensoniq SD-1 with An Alesis D4
Organization: Hewlett-Packard, Fort Collins, CO, USA