HDTenEightyP/NetNews huggingface dataset:
From: gpr@midiline.la.ca.us (Gary Richardi)
Newsgroups: rec.music.synth
Subject: Re: SMPTE Woes
Date: Wed, 30 Sep 92 12:19:27 PDT
Organization: MIDILine BBS - Altadena, CA - (818) 797-3285

b78261@venus.cap.mmc.com (Kevin Brislin) writes:

> 	I am having a problem using SMPTE sync in my studio. I'm using an Outbound
> 2030 notebook computer with Vision 1.4 and a Tascam 244 Portastudio for
> analog tracks. Vision recognizes the SMPTE track and displays timecode with
> no problem, but once I specify the offset (the starting point that I want
> the sequence to start following the tape) Vision will only play for a few
> seconds and then drop sync. I've tried this with different tapes, two differe
> recorders, and many different recording levels...all to no avail.
> 	Does anyone have an idea what is going on and why this is happening? I've
> called Outbound and Opcode on this, but both point to each other as the
> blame even though they can't substantiate why. Help!!!
> Kevin
I had the same problem with my Tascam 144 a few weeks ago when I first 
got my MIDIMAN SMPTE unit. I've had the 144 for over 10 years and ignored
TEAC's recommendation to only use C-60 casettes. I've used C-90's with no
problem - until I tried to use SMPTE. I tried everything - cleaning, 
demagnetizing, chanting paragraphs from "Home & Studio Recording". I
remembered the manual siad to only use C-60's and went out and got some.
THE PROBLEM DISAPPEARED IMMEDIATELY AND HAS NOT RETURNED! Apparently,
C-90's are to thin and subject to dropouts when subjected to super-dense
signals, like SMPTE. The dropouts are not noticible when C-90's are used
for normal music recording, 2 or 4 track (at least not to my ears). So,
until I start using ADAT S-VHS or ??? Hi-8, or whatever digital deck I
wind up with, I'm sticking to MAXELL C-60 XL-IIS tapes for use with my
144 dinosaur.

Gary
gary_richardi@vnet.ibm.com


-----
gpr@midiline.la.ca.us (Gary Richardi) 
MIDILine BBS (midiline.la.ca.us) - Altadena CA - (818)797-3285
Newsgroups: rec.music.synth
From: hjv@phil.ruu.nl (Hendrik Jan Veenstra)
Subject: Re: TECHNO Samples...
Organization: Department of Philosophy, University of Utrecht, The Netherlands
Date: Sun, 4 Oct 1992 21:52:34 GMT

metlay@netcom.com (metlay) writes:

>In article <1992Oct3.014704.23677@magnus.acs.ohio-state.edu> mjbrown@magnus.acs.ohio-state.edu (Mike J. Brown) writes:

>>Every sound you could ever need has already been made; you just have to
>>find them.

>Am I just old and humorless, or is anyone else out here as disturbed
>by this statement as I am? I'm sorry, Mike, but every sound *I* need
>is buried in the circuits of some synthesizer or another, waiting for
>my imagination to bring it out. I won't argue that it takes ingenuity
>and skill to turn sampled beats into worthwhile techno, but you should
>note that just about anyone who's made it in the business so far
>utilizes original synthesizer programs in addition to the stuff they
>sample. Neither Cybotron, 808 State, Nine Inch Nails, nor Front 242
>has gotten to where they are with no sounds of their own....

Every sound *I* need is burried in the circuits of some synthesizer still
to be invented...:)
No serious, of course you're right... or am I old and humorless too..???

Hendrik Jan


--
Hendrik Jan Veenstra  |   hjv@phil.ruu.nl   |   You look for your dreams in
Dept. of Philosophy   |                     |   heaven, but what the hell are
University of Utrecht |                     |   you supposed to do when they
The Netherlands       |                     |   come true...?
From: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Mon, 5 Oct 1992 03:45:25 GMT
Subject: Re: Anyone else have this D-5 problem ?
Organization: no risk to you!
Newsgroups: rec.music.synth

In rec.music.synth, young_dick@macmail2.rtsg.mot.com (Dick Young) writes:

    The buzz is directly proportional to the decay time so, for example,
    you can hear it more drawn-out on "Warm String Fade" than on "Touch
    Piano".  It occurs in Performance Mode as well as Multitimbral Mode,
    and appears in both the headphone and line outputs.  It is difficult
    to describe in any greater depth than this, but if you've ever heard
    it, you'll know exactly what I mean.

I have not heard this on a D5, but it sure sounds like digital quantization
noise to me.  I don't know how many bits resolution the D5 normally has,
but if it's 12 or less, this may be audible normally.  Otherwise, you have
a non-linear D/A converter, or perhaps a power supply problem.


                 - Jim Smith  smithj@hpsad.sad.hp.com
                             chickida

Newsgroups: rec.music.synth
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: EM reviews the Alesis ADAT... and loves it
Organization: DSO, Stanford University
Date: Wed, 30 Sep 92 17:34:22 GMT

Thanks, John, for the discussion of the S-VHS vs. 8mm transports and the  
explanation of digital recording technologies. I would like to add that  
all the comparisons between S-VHS and 8mm fall away if the 8mm system uses  
stationary heads, which the Tascam MDR-88 apparently will.  It would be  
similar to the Yamaha DRU/DMR-8 recorders that use 8mm wide tapes in a  
stationary head system.  These are not video tapes, however, since the  
tape speed is higher than the rotary head systems and more tape length is  
required, hence the proprietary tape cassettes.  These systems actually  
distribute the data for each audio channel over several digital tracks,  
which allows complex interleaving of data and error detection algorithms  
so efficient that errors seldom, if ever, occur.  The DMR-8 we have has  
been used for almost a year and still has not indicated an error.  If the  
choice is going to be between rotary and stationary head systems, I think  
Alesis is going to have an uphill battle, which may account for their  
great haste in advertising the ADAT.

PS If anyone has more info on the Tascam machine, please post!!

Jay
Organisation: European Space Technology Centre (E.S.T.E.C)
Date: Friday, 2 Oct 1992 14:40:46 CET
From: <ATONI@ESTEC.BITNET>
Newsgroups: rec.music.synth
Subject: Re: Vintage Synth Re-Issues, what do you think? Would you buy?

Hi,
I would certainly re-issue the old super Krog series :

PS3100/Ps3200/Ps3300 !!!

Put some more stable VCO's or some extra control over the synch logic
a la Mono-POLy

The Roland 700 modular

The EMS series  put some more standard CV control and MIDI of course

The great Yamaha CS80 maybe with some Kg less !!

The Prophets  .. pity Sequencial does'n exist any more !!

The ARP Quadra  with some real switches instead of the soft-touche ones
                and with knobs instead of slider !

The Jupiter 8  .......Absolutely !!!

But having a look at the market today it is not difficult to understand why
all this great synth/companies has dissapear .. I'm sorry guys we are probably
a small group of *synthesist* .. People today didn't even appreciate the
Roland JD800 attempt !!! ..
Sighh .. I can't write anymore ..I'm going to cry !!!!
Where are we going ???

Ciao
Andrea TONI     ATONI@ESTEC.BITNET        ENV   ENV   ENV
-------------------------------------------I-----I-----I----------------
.. Bellezza e' semplicita' e modestia ..  VCO-->VCF-->VCA-->DUCATI 900SS
-------------------------------------------I-----I-----I----------------
                                          LFO   LFO   LFO
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: Re: Midi song - "Borderline - Madonna"
Date: 1 Oct 92 14:06:53 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1992Oct1.081713.11113@comp.lancs.ac.uk> davei@comp.lancs.ac.uk (Mr D Ingles) writes:
>Can anyone give me some input on the way copyright works with music
>stored as MIDI data ? Are there papers publically available stating
>exactly what is and what is not copyrighted ?

Yes.  Try the federal copyright code itself.  It is well written and
not too obscure.  It takes into account future technologies.  It
considers any machine readable embodiment of a musical work
to be copyrightable.  When I read it, I thought it was rather clear
that a sequencer data file would be covered.

>Someone told me that
>copyright on a piece of music covers any 2 notes in a sequence of that
>piece of music.  If this is the case, I would say that the majority of
>music is breaking copyright. 

Obviously this is not true for a music copyright.  Perhaps he was
refering to sampling two notes of a recording which would make more
sense but is still bogus as far as I know.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
Newsgroups: rec.music.synth,ont.forsale
From: davecole@casbah.acns.nwu.edu (David Cole)
Subject: Re: ROLAND JV-30 (MT-32 compatible??)
Organization: Northwestern University, Evanston Illinois.
Distribution: na
Date: Sun, 27 Sep 1992 20:11:36 GMT

In article <Bv60qM.E1J@DMI.USherb.CA> laurm00@DMI.USherb.CA (MARIO LAURETTI) writes:
>Is it realy MT-32 compatible???
>
>I have heard that the SCC-1 is not mt-32 compatible,
>and a SCC-1 is a sound canvas (a CM-300).
>
>The real question is : Does the JV-30 keyboard as a CM-300 or a CM-500 module.
>
>the only thing I know is the price : 1100$ (canadian)
>
>
>                             thank you!
>
>						Mario Laureti
>


The JV-30 is a Sound Canvas with a keyboard.  The SCC-1 is a SoundCanvas (less
nice LCD and buttons) on a card for pc's. 

Neither is truly MT-32 compatible -- they do not make sounds the same way and
so the Sound Canvas family cannot respond to sysex messages that produce new
MT32 patches.  In practice, this limits their uesfulness as substitutes for the
MT-32 or LAPC for use with computer games.  In particular, Sound Effects don't
work right with the SC products.

What they have is the MT-32 patch and percussion map.  So they will play
sequences designed for the MT-32 just fine.  Most midi sequences I have seen
for the MT-32 do NOT include sysex stuff and so will work fine with the SC
series.

I assume the JV-30 has the MT-32 "emulation" mode as well.  On the Sound
Canvas, you press a couple buttons simultaneously to put it in MT-32 emulation
mode.  On the SCC-1, you run a little program that sends it the code to put it
in the mt-32 mode.

The SC products are much newer than the MT32's, have 6 times the sample ROM,
and generally sound better for acoustic sounds, esp. piano.
I didn't find that much difference on percussion sounds.

Prices:  (US)  SCC-1 $370  SC-55 Sound Canvas $550  SC-155 $650  JV-30: maybe
$900.  

Cheers,

Dave Cole
Philosophy Dept.
University of Minnesota, Duluth

dcole@ua.d.umn.edu
Newsgroups: rec.music.synth
From: jjh@col.hp.com (Jeff Haeffele-x3570)
Subject: Re: What about "classical" sounds?
Date: Wed, 30 Sep 1992 19:14:22 GMT
Organization: HP Colorado Springs Division

I was looking for the same thing a few months back and finally gave up.
I came very close to getting a proteus 2 after listening to a demo until
I realized that there were no piano or organ samples.  Anybody know if
emu is planning on releasing a proteus 2 with several decent piano and
organ patches?
From: torsten@acadia.com (Torsten Ek)
Newsgroups: rec.music.synth
Subject: Proteus 1/Orchestral vs Korg 03w/R
Date: 6 Oct 1992 13:51:05 GMT
Organization: Torsten
Distribution: world
Reply-To: torsten@acadia.com
NNTP-Posting-Host: 140.239.1.41

I'm not sure my original posting made it, so I'm reposting this. 
Opinions greatly appreciated.


I need a good sound module with a broad spectrum of sounds from
drums, guitars, brass etc. to classical solo samples. I'm trying
to decide between the Proteus 1/Orchestral or the Korg 03W/R.

The primary differentiators seem to be that:

- The samples of the Proteus, especially the orchestral samples, 
  are more realistic.
- The Proteus a costs slightly less.
- The Proteus hardware is better
- The Korg is "open ended" (I suppose this refers to the card slots)
- The Korg has more "programming" capabilities.
- The Korg has built-in effects.

This is based on very limited experience with the modules, and
on conversations and collateral material. Did I miss something
significant? 

I'm told that the average "loop length" on the Korg is shorter,
because they wanted to fit hundreds of sounds and presets into
5 Mbytes, but that the orchestral card that you can buy separately,
is on par with the Proteus in sample quality, it this true?
What are the significant differences in programmability that I
should take into consideration?

Also, are there other products I should also consider that would
fit my needs? Any comments/experiences you can share would be 
appreciated. 

- Torsten
---
------------------------------------------------------------------------------
Torsten Ek                               10 Fawcett Street, Cambridge
CenterLine Software, Inc                 MA 02138, USA
(torsten@centerline.com)                 Tel: +1 (617) 498 3291
------------------------------------------------------------------------------
From: davei@comp.lancs.ac.uk (Mr D Ingles)
Newsgroups: rec.music.synth
Subject: Re: Midi song - "Borderline - Madonna"
Date: 3 Oct 92 11:38:23 GMT
Organization: Department of Computing at Lancaster University, UK.

In article <C15F6240C060201A@ACS.WOOSTER.EDU> WSCOTT@ACS.WOOSTER.EDU writes:
>Davei writes: " you cannot actually hear a midi data file so you can't
>actually compare it with the original piece of music."
>
>These arguments don't wash. You can't hear a CD or a vinyl LP or a videotape
>unless you use a peice of equipment to translate them. They're still
>subject to copywrite restrictions.

I realise that but what I am trying to find out is what exactly is
the determining feature in copyright ?

If you take a photograph of a cd, is that breaking copyright ?

Davei
From: aberigan@nde.unl.edu (A. Berigan)
Newsgroups: rec.music.synth
Subject: Re: PB100/MIDI works? SOS!!!!
Date: 4 Oct 92 04:40:39 GMT
Organization: Ord High School, Ord, NE

cassiel@cassiel.demon.co.uk (Nick Rothwell) writes:

>> 1, I've tried Finale and it drove my PB100 crazy. Coda support
>>    guy told me that the Finale does NOT work on PB100 after
>>    I struggled for almost 2 weeks. 

>Finale is a CPU hog, so this doesn't surprise me. Also, I don't know the
>nature of Finale's MIDI serial drivers. It wouldn't surprise me if they
>were nonfunctional. I'd suggest getting MIDI Manager and OMS up and running
>and try again. I wouldn't expect Finale to be that responsive even so.

This school (see header) recently got Finale for a Mac LC II, and it
seems to work fine.  I've found that music entry is pretty slow, but
still haven't mastered the transcription tool.

Anyway, we have a Korg keyboard which can hold 88 (base 9) instruments
in memory at once, but it loads them from a cassette like a VIC-20.
Getting volume and tone settings just right for it is a pain.  Is there
a way to load instruments into a keyboard using the MIDI interface?
(Manual for keyboard got lost somewhere along the line, likely during
change of band teachers.)

>                        Nick Rothwell  |  "Say, how many contemporary
>          cassiel@cassiel.demon.co.uk  |  "Dunno; count the Dr. Martens
>          cassiel@cix.compulink.co.uk  |     and divide by two..."

--     o
      /\_         (10/3)  1/      (11/3)
  ---P\--~\_    WF      + /(10-WF)
__P")=/-'_(`)__
~~~~~~~~~~~~~~~aberigan@nde.unl.edu (Greg Berigan)
From: D_NIBBY@UNHH.UNH.EDU (Dana   Nibby)
Newsgroups: rec.music.synth
Subject: Oberheims: another post from the man with too many questions
Date: 4 Oct 92 20:36:09 GMT


 Can anyone tell meDoes anyone have an Oberheim Matrix-1000, 6, or ^6r? Can ould you tell me a bit
about it (the 1000)/them? Is the 1000 actually analog or is it subtractive
synthesis? Is it a module? (are the 6 and 6r modules as well?)       How many voices/
polyphony do they have? What is the sound like? How would you compare a synth
like the Matrix and the Juno 106? Would anyone who owns a matrix 1000, be
willing to make me a cassette of some of the sounds if I send a cassette
with return postage? The music stores in my area have dreadfully littlea scanty selection
of synths.

   I'd be using the synth for techno/house dance, and amdark/ambient/soundtrack
material. My current set-up is:
 
   boss DR-660 drum machine

   Amiga 500 (8-bit sampling)

   - A VFX-SD if I can find a one, or an ESQ-1/SQ-80. This will/would be my main snthynth.


 Thanks,

    Dana
Newsgroups: rec.music.synth
From: ljnelson@unix.amherst.edu (Laird Nelson)
Subject: Battery Power?
Organization: 3/4 Quartet
X-Newsreader: TIN [version 1.1 PL6]
Date: Sat, 3 Oct 1992 23:03:06 GMT

Strange question, but I figure someone has done something like this before.

I want to take part of my group and do some outdoor live stuff--very informal
and all that.  PA for my keyboard would consist of a battery powered amp; these
are around, obviously, and are fairly cheap.  But power for the 'board itself
is a bit more tricky.

Various exotic schemes have been dancing through my head involving car
batteries and black boxes--is such a thing possible?  I mean, is there some
way to hook up a 'board to a self-contained power source other than a Honda
generator?

If so, or if anyone has actually *done* this, let me know.

LAiRD

--
ljnelson@unix.amherst.edu
ljnelson@amh.amherst.edu
laird j. nelson
(413) 542-2932
Newsgroups: rec.music.synth
From: rej@sal.wisc.edu (Randy Jones)
Subject: Re: "Ethnic" Samples vs. Proteus 3
Organization: What cultural elite?
Date: Sat, 26 Sep 1992 14:32:25 GMT

In article <1992Sep24.183532.8270@hemlock.cray.com> de@cray.com (Duane Eitzen) writes:
>In article <1992Sep24.202859.13095@sal.wisc.edu> rej@sal.wisc.edu (Randy Jones) writes:
>>In article <NICK.92Sep24132336@vaila.ed.ac.uk> nick@dcs.ed.ac.uk (Nick Rothwell) writes:
>>>The P3 is probably an interesting little beast, but I think that any
>>>claims of "authenticity" for doing "world" music are pretty
>>>far-fetched.  I wonder if such a box of homogenised, pasteurised,
>>>enhanced snippets from the wealth of world musical history and
>>>experience is going to do more cultural harm than good.
>>
>>Damn straight. Can you say "colonialism"? 
>
>Give me a break. Are electric guitars and drum sets traditional Southern African
>instruments? Then why is so much of the distinctive and and wonderful
>music from this region played with these instruments? They borrowed them.
>Everyone borrows (steals?) sounds and ideas from everywhere else. If you
>think sampled snipets are not musically interesting ... fine. But using these
>snipets is not some sort of cultural crime (provided the samplee was paid a
>fair price). 

I agree, it's not. I don't see why you'd read into my statement 
that I "disapproved" of instrument-borrowing or any sort of cultural 
cross-fertilization. What I do disapprove of is the prevailing attitude
that the simulacrum is just as good as, or better than, the real thing.
By its status as product the "ethnic" sample has more legitimacy in our
culture than the original sound. And the buyer of the sample then owns
a "homogenised, pasteurised, enhanced" token of the culture from which 
it came, giving him/her the ability to signify, say, "Javanese!" without
having had any real contact with that culture. I think this process has
many negative implications, and is entirely different in scope, intent,
and effect from your example of African musicians playing Western instruments.

-- 
| Randy Jones           | "She is atomic vomit woman... I like comic 
| rej@bob.sal.wisc.edu  |  of monkey golfer. He is earhole golfers..."
| 608 259 9674          |                                  -Yamatsuka Eye
Newsgroups: rec.music.synth,alt.emusic,rec.music.compose
From: huston@mksol.dseg.ti.com (william a huston)
Subject: CMS/MusicQuest MQX-32 comparison request
Followup-To: rec.music.synth
Keywords: cms music quest midi card
Organization: Texas Instruments
Date: Fri, 2 Oct 1992 18:50:40 GMT

Has anyone heard of the CMS cards? I think their top
of the line is the CM-444 or CMS-444. Maxed out, it
has 64 (SIXTY_FOUR!) bidirectional (no merged ins!!!!)
midi channels. MPU-401 compatible, etc. It's about
200 bucks (which is slightly less than the local price
for the MQX-32.

I presently have a small setup, but plan on expanding.
(SMPTE, more sound boxes, thus the need for many output
channels). 

What is the limitations of merged inputs? When would you
ever have more than 16 channels to capture? Does Cakewalk,
Mastertracks, et al support this many channels? What about
CMS -- reliable products? Or do I go with the de facto 
standard?

Thanks,
Bill

-- 
Bill Huston      214-480-4610 
Texas Instruments (Dallas/Forest Ln), ICC
MSG: ZAPA    email: huston@ap040.csc.ti.com
Newsgroups: rec.music.synth
From: kmorton@panix.com (Ken Morton)
Subject: Need Help with Quadraverb GT SysEx
Date: Sun, 27 Sep 1992 00:33:49 GMT
Organization: PANIX Public Access Unix, NYC

        I'm trying to write a QVGT editor with Opcode System's Max.
I'm having problems with the data format of opcode 01 - MIDI Editing.
Namely, I have no idea how it is coded.
 
        There are three data bytes in a 12 MIDI byte SysEx message.
 
This is what they tell you on the format of these bytes:
 
        <value 1-3> = new parameter value in the following format:
 
        data:   B7 B6 B5 B4 B3 B2 B1 B0 (MSB)
                A7 A6 A5 A4 A3 A2 A1 A0 (LSB)
 
        SENT:   0  A7 A6 A5 A4 A3 A2 A1 (VALUE 1)
                0  A0 B7 B6 B5 B4 B3 B2 (VALUE 2)
                0  B1 B0 0  0  0  0  0  (VALUE 3)
 
        Here's what three data bytes look like to send a "1" to a parameter:

			1 0 0

		and a '2':

			1 64 0

		then: 2 0 0, 2 64 0

	I'm sick from the change in weather, and totally confused.  Anybody?

	BTW the above are in decimal except where obviously not... :)

			Thanks

			Ken

-- 
Ken F Morton
kmorton@panix.com		"Good Tea, Nice house." -Worf

Newsgroups: rec.music.synth
From: koelman@cuby.stc.nl (Ton Koelman)
Subject: Re: DX7 list was Re: CZ101 for sale
Reply-To: koelman@stc.nato.int
Organization: SHAPE Technical Centre, NL
Date: Tue, 29 Sep 1992 11:18:27 GMT

> 
> Beep... HUh? oh, someone's pushing the button.
> DX7?  Yeah I also paid about $2000 for mine, just before they raised the
> prices again.  A used DX7 may not be worth $500.  A DX7 with a hard case
> maybe.  A DX7 with E! definitely.  I have thought about buying an extra
> DX7/E! just in case something happens to mine, but I do have the service
> manuals, so short of parts becoming unavailable, I should be able to  
keep
> it running for a few more years.  My dream now (one man's dream being  
another
> man's nightmare) would be to get the E! ROM source and a cross assembler  
so
> I could customize it.

What CPU is actually in there?
  
--
Ton Koelman   e-mail: koelman@stc.nato.int (NeXT Mail Welcome!)
SHAPE Technical Centre, P.O. Box 174, 2501 CD  The Hague
The Netherlands  (voice: 31-70-3142429, fax: 31-70-3142111)