HDTenEightyP/NetNews huggingface dataset:
Organisation: European Space Technology Centre (E.S.T.E.C)
Date: Tuesday, 29 Sep 1992 17:14:11 CET
From: <ATONI@ESTEC.BITNET>
Newsgroups: rec.music.synth
Subject: Re: JX-3P and JUNO 106 and JUNO 6/60
 <1992Sep22.120839.10259@si.estec.nl> <1992Sep29.083542.9438@axis.se>

.. Well I think the filter is just not everything in the chain of
sound generations and I do believe the Juno's are fatter because of the DCO
different architecture.

In the JX3P there are 2 DCO's but no sub-octave and if I remember properly
(I played a JX3P for the last time in 1986 !!) they sound quite thin ..
Yes you can fat the sound a bit with filter but the DCO's still generate
weaker waves !!

In the JUNO's the suboctave really helps a lot to pump up a sound
and actually I'm not even sure the filters are the same as in the JX3P ..
If you know Roland very well .. they call (for example) TVF the filters
of almost everything (D110/D5/D10/D20 D50 D70 JD800) .. but I certainly
can not say they all sound the same ( the resonance on the D110 is
an euphemism !!!) the TVF of the JD800 is on the other hand just
absolutely wonderful.
In design a good digital filter (hw /  sw) you will need very fast
dsp chips .. that I believe are in the JD and not in the D110.

Thanks for the hints on MIDI-Juno6 .. but I believe that because the Juno6
does'not have the digital-controlled part of the 60 (Memories and DCB)
it will be very difficult to get a MIDI kit !!

.. But maybe I can try to call Roland and ask for an update Juno6 -> Juno60 ??

.. Well Maybe !!
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: MIDI Songs.....
Date: 5 Oct 92 16:16:02 GMT
Distribution: usa
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <1992Oct4.135833.29844@cbnewsj.cb.att.com> davet@cbnewsj.cb.att.com (Dave Tutelman) writes:
>Anybody remember the copyright violation trial of ex-Beatle (George
>Harrison, I think) for writing "My Sweet Lord".  The melody and chords
>are almost identical to the old (at least ten years earlier) R&R song
>"He's So Fine".
>
>I'm prepared to believe the defense' contention that he didn't realize he
>was copying it.  After all, he wasn't some local club band that would
>never be noticed.  And "He's So Fine" wasn't an ancient or obscure work
>that would never be recognized.
>[...]
>I'm a little worried about that right now, myself.
>I've written down a couple of pieces over the summer, to be arranged and
>recorded when the music season (winter) comes to NJ.  They're the
>sort of thing I hear from time to time on WQCD ("CD101"), and I wrote
>them sufficiently easily that I'm afraid they MAY have been inspired by
>something that already exists.  How would I find out?

Don't worry so much about it.  Probably every composer goes through
this sort of thing from time to time.  Different songs within a genre
will have some degree of similarity.  Try your best to be original and
develop your own unique style.  Sure, there is going to be some amount
of inadvertant copying - a motif here or a prominant chord change there.
It is the blatant substantial copying that triggers a copyright 
infringement.  If you are worried about something you wrote, play it
for friends and other musicians and find out if it reminds them of
some other work.

-- 
Scott Amspoker                       |    
Basis International, Albuquerque, NM |  Too bad ignorance isn't really
                                     |  bliss.  Then it could be outlawed.
scott@bbx.basis.com                  |
From: brooksp@hpcc01.corp.hp.com (Peter Brooks)
Date: Mon, 28 Sep 1992 21:04:23 GMT
Subject: Analog suggestions, anyone?
Organization: the HP Corporate notes server
Newsgroups: rec.music.synth

I'm making up my Christmas wish list ("I wish my budget will allow me
to buy a XXX for Christmas...") and an analog synth is hitting the
top of the list.  I've got a couple of contenders; if I get a module,
the Oberheim Matrix 1000 is the most likely bet, but if it's a
keyboard, there's a fair amount of used beasties floating around the
market.

So, a couple of questions to help me make up my mind:  Aside from the
obvious lack of a front panel, any horrible problems with the matrix 1000?
I've seen the mini review in last year's Keyboard, and I think I can
live with the limitations.  Is it still in production?  If not, is
it supported?  I already have ed/lib capability via Galaxy, so that's
no problem.

For the keyboards, I've seen a couple in the 300-500 range.  One of the
units is a Sequential Prophet 600.  It's nice having *knobs* for the
front panel, but I get the idea that the programs are strictly
presets.  Is this true, or is there a way to write on to the memory
short of a PROM burner?  If true, what's available for ed/lib?  

A keyboard vs no keyboard is a moot point for me.  I'm pretty happy with
my digital synths for master control duties, so the only real attraction
for an analog keyboard is the front panel.  Still, it would be nice to
be able to store that information without a Polaroid.

So, to the analog.loving.net.gurus: What's out there for analog in the 
300-600 price range?  I'm keeping this under the price range for the 
Microwave (at least a new one), but anything used is fair game.  MIDI
programmability a plus, filters a must, and portamento very desirable.

Pete Brooks


Newsgroups: rec.music.synth
From: andrews@sp2.csrd.uiuc.edu (John Andrews)
Subject: Re: 8bit vs 16bit?
Organization: UIUC Center for Supercomputing Research and Development
Date: Sun, 4 Oct 92 20:49:54 GMT

I have an 8-bit ESQ-1, and a 16-bit (I think) D-110.  There are 2 large
differences in sound between the two units.

1)  The D-110 has much higher dynamic range.  If I pound on my keyboard, I
	 hear a large difference in volume.  An 8-bit unit is limited to a maximum
    of 48 dB (8 * 6) dynamic range (assuming linear encoding).
2)  The ESQ-1 has noticable grunge in the sound.  I think this is quantization
    noise.  A waveform can take on only one of 256 possible values at a given
    time.  Thus, rounding or truncation of the original precision in the
    analog waveform must occur.

A high quality LP played with a good cartridge has much more than 48 dB of
dynamic range.

I think the fact that most or all of the synths made today are more than 8 bits
says that the market is demanding it.  Based on my experience, I would never
consider another 8-bit unit, although the ESQ-1 is not a bad machine.

--
John Andrews (andrews@csrd.uiuc.edu) "He who dies with the shortest .sig, wins"
Graduate Research Assistant, Center for Supercomputing R&D, Urbana, IL
Newsgroups: rec.music.synth
Subject: Re: Do I exist?
From: feijai@endor.byu.edu (Sean Luke)
Date: 25 Sep 92 21:19:24 -0700
Reply-To: sean@digaudio.byu.edu

In article <9209251518.AA22092@ucbvax.Berkeley.EDU>  writes:
>
>You think me therefore I am.


Well, we try not to.

:)

--

Sean Luke
Brigham Young University                   MILK:  It Comes From Cows
sean@digaudio.byu.edu  
NeXTmail and nifty Mac stuff welcome
From: wb@tornado.kodak.com (wb@tornado.kodak.com)
Newsgroups: rec.music.synth
Subject: FOR SALE: GRAPHIC EQUALIZERS
Date: 29 Sep 92 21:09:25 GMT
Organization: Digital Equipment Corp. (Telstar), Rochester, N.Y. 14653

Hello,

I have some A.R.T. audio signal processor equipment for sale in pristine
condition. I will pay all shipping!

(2)HD-31: 31-band (1/3 octave) graphic EQ. Balanced 1/4" and XLR connectors.
	  Super quiet!

(1)HD:15: 15-band (2/3 octave) Stereo Graphic EQ. Balanced 1/4" connectors.
	  Same design as the 1/3 octave.

All units in immaculate shape. All original packing material.
Never left the studio! 

$250 each...


If you decide to respond to this post, please note that you must
"SEND" to wb@tornado.kodak.com rather than "REPLY" 'cause the "REPLY TO"
address is "nobody@kodak.com," irrepairably so...


-----------------------------------------------------------------------------
"If you lived here you'd be home by now."

				Firesign Theatre 


======>>>>>   P L E A S E    N O T E    T H E   F O L L O W I N G  <<<<<=====


     ------->----->----->----->----->----->----->-----| -----|
                                                      | -----|
                                                      v      v

Wendell Bigelow:                              | PLEASE "SEND" rather than
Systems Integration & Software Development,   | "REPLY"!! The "REPLY" address
Printer Products Division                     | is "nobody@kodak.com"...
Eastman Kodak, Rochester, New York            | Internet:wb@tornado.kodak.com
-----------------------------------------------------------------------------
Xref: sparky rec.music.synth:15587 comp.sys.mac.hardware:17875 comp.sys.mac.misc:17089
From: rand@muttley.ucsd.edu (Rand Steiger)
Newsgroups: rec.music.synth,comp.sys.mac.hardware,comp.sys.mac.misc
Subject: Re: PowerBook 100 & MIDI Problem : HELP!!
Date: 26 Sep 1992 23:05:24 GMT
Organization: Department of Music, UC San Diego
NNTP-Posting-Host: muttley.ucsd.edu

In my opinion your problem is that a PB100 is too slow and
disk intensive for running finale. I have tested it on a
140 and that seems fine. 

Try this - create a ram disk of 2mb. When you open Finale, hold
down the shift, apple, and option keys. You will get a dialog
box asking "where should I put the virtual file". Respond
by putting it on the ram disk. Finale constantly swaps data to 
and from the hard drive. This solution makes it swap with the
ram disk. 

If that dose not work, I suggest you either get a more powerful
Powerbook, or a simpler notation program, such as Mosaic.

Good Luck!
From: mrk@gvgspd.gvg.tek.com (Michael R. Kesti)
Newsgroups: rec.music.synth
Subject: UPDATE: The Urge To Merge
Date: 5 Oct 92 20:31:46 GMT
Article-I.D.: gvgspd.2055
Organization: Grass Valley Group, Grass Valley CA

Here is an update on my progress on the Urge To Merge project.  In the event
that this article reaches anyone who has yet to hear of this project, this
is an 8051 based MIDI merger (and more!), the software for which is being
written in a manner so as to facilitate data filters and transforms.  If you
are interested in more information, please write to me and I'll be very happy
to send it along.

The software is very close to completion, requiring only additional testing
of some of the filter and transform examples.  It performs quite well on the
breadboarded hardware, and I have been leaving it installed in one of the
more dense data streams in my home studio rig for several days with no ill
effects.

I have given up on the idea of powering the circuit from the MIDI input, ala
the Anatek Pocket products.  I find that the power requirements are just too
large, even for minimal configurations using CMOS components, so that all of
my attempts to power it in this fashion have failed.

Thanks to the suggestion of many interested parties, the hardware design now
includes the PSEN signal on the expansion connector, and an 8K static RAM
(Hitachi 6264).  I have submitted the design to my printed circuit designer,
who has returned an initial layout to me, which I have approved.

One difficulty I am having with the hardware is with the PC mount 1/4" phone
jacks for the footswitch inputs and relay closure outputs.  I would like
very much to use the connectors that Alesis uses on the 1622 mixer (as well
as many other products) and Emu uses on the ProFormance, but I've not been
able to determine who manufactures them.  If anyone knows, or has another
favorite connector, please let me know ASAP.  In the meantime, I have loaned
my ProFormance to my PC designer, and he is taking measurments from it in
order to proceed with the board design.

============================================================================
Michael Kesti  Grass Valley Group, Inc. | "And like, one and one don't make
    mrk@gvgspd.GVG.TEK.COM              |  two, one and one make one."
    !tektronix!gvgpsa!gvgspd!mrk        |         - The Who, Bargain
From: steveq@DIALix.oz.au (Steve Quartly)
Subject: MIDI Songs.....
Organization: DIALix Services, Perth, Western Australia
Date: Fri, 02 Oct 92 04:11:31 GMT
Summary: Madonna Borderline, Hotel California
Keywords: MIDI

Hi,

With regard to the discussion about the legality of the recent postings of
Madonna and other midi files to r.m.s, some people have suggested that they
be posted to a ftp site rather than r.m.s.

Surely this wont make it any more legal??

Are there any midi ftp sites around with these sorts of midi files on them?

In fact I would be interested in listeneing to any sorts of midi files
be it classical, JAZZ (my favourite!) or whatever. Any addresses of
midi ftp sites would be wonderful.

E-mail me at steveq@sndcrft.DIALix.oz.au if you can possibly help me.

Many thanks!

C.U.


""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""
  S t e v e  Q u a r t l y,    P e r t h   W e s t e r n   A u s t r a l i a,
            _--_|\       N                 steveq@sndcrft.DIALix.oz.au
           /      \    W + E        
Perth -->  *_.--._/      S       43rd Law of Computing: Anything tha can go wr
                 v               error: Segmentation violation -- Core dumped.
From: prich@monk (Paul Richardson)
Newsgroups: rec.music.synth
Subject: If you access PAN from a unix box
Date: 6 Oct 92 22:06:48 GMT

Please read on:

I just signed up with PAN (Performance Artists Network), they offer a software
package which does down-loading and the like for Macs and PC's.Has anyone come  
up with something for those of us who access pan from unix boxes coming in form
tymnet,telenet etc

send email

thanx in advance

--

/pgr

She's got Jungle Fevah... - Stevie
email: Paul_Richardson@next.com
Newsgroups: rec.music.synth
From: rej@sal.wisc.edu (Randy Jones)
Subject: Re: 8bit vs 16bit?
Organization: Gorgeous Ladies Of Wrestling
Date: Mon, 5 Oct 1992 02:36:50 GMT

In article <718220794.880000.D_NIBBY@UNHH.UNH.EDU> D_NIBBY@UNHH.UNH.EDU (Dana   Nibby) writes:
>
> Can anyone tell me what the difference is in sound quality between 8bit
>and 16bit? I understand about sampling rate, and that if the rate is too low,
>aliasing/clipping occurs. I've asked this question before and gotten no respon.
>  
>  People tend to say, "Well, 16bit sounds better." Gee, well, in what respect?
>Is 8-bit sound tinny, whereas 16-bit sound is warmer? For example, does an
>Ensoniq ESQ-1 sound tinny/weak because it has an 8-bit processor?

A true understanding of digital sampling requires some rather difficult math.
But I'll try and explain what is going on in layman's terms. 

First of all, the "tinny/weak" sound you describe is due to an effect
known as Nyquist phasing. There are two processor chips in every sampler:
the control processor, and the sampling processor. The ESQ-1, which you
mention, has an 8-bit control processor, which runs at 16 Megahertz, and
a 12-bit sampling processor, which theoretically runs at the same speed.
But in actuality, no two components can be perfectly synchronized due to
temprature variation and the like. Tiny current eddies set up by these
sorts of variation are known as Nyquist eddies. They can alter the
proper flow of instructions (sample data) from the sample processor to the
control processor during playback, causing audible perturbations in timbre.

Good digital design has gone a long way towards eliminating these errors,
resulting in a more natural sound. More bits per sample is one design 
trend. Because the Nyquist eddies affect only one bit in each sample datum,
a 16-bit machine will only have 1/16th of its sound disturbed each time an
eddy occurs, where an 8-bit sampler would be 1/8 corrupted, twice as bad.
(I said I wouldn't use difficult math!)

Component layout is very important too. When components with sympathetic 
resonances in their signals are placed too closely together, the signals 
can on occasion average out; this is called crosstalk. The high-end Rolands
(S550, S770) were designed to eliminate crosstalk almost entirely, with 
very long circuit paths which zigzag from one side of the board to the other. 
Crosstalk is so severe on the SK-1 (a cheap, tinny 8-bit Casio sampler) that
when the level is low and diffuse (sampled quiet hiss), the resonances 
amplify the Nyquist eddies to make, in effect, an audible thermometer! Try it!

Hope this clears things up.

>
>  Thanks,
>
>    Dana


-- 
| Randy Jones          | "Dos, cuatro, seis, seis. Cinco, cinco, quatro, seis. 
| rej@bob.sal.wisc.edu |  tres, dos, cuatro, dos. Cuatro, cuatro, seis, seis."
| 608 259 9674         |                                  -9.95 MHz, 3:20 GMT
Newsgroups: rec.music.synth
From: srmaster@hocm.nhlbi.nih.gov (Stephen R. Master)
Subject: Re: SCSI Sample dump on K2000
Organization: National Institutes of Health
Date: Tue, 29 Sep 1992 13:47:49 GMT

In article <1992Sep28.171623.24757@alw.nih.gov>  
srmaster@hocm.nhlbi.nih.gov (Stephen R. Master) writes:
> Does anyone have information on the SCSI sample dump protocol that the  
> K2000 is reputed to support?  It doesn't have to be K2000-specific  
info--a  
> pointer to a generic description of the protocol would also be much  
> appreciated...
> 
> Also, as a proud (Nick Rothwell comments notwithstanding) new owner of  
> said machine, I'd be interested in connecting via email with anyone  
who's  
> doing K2000 stuff...
> 
> Thanks in advance for any info.
> 
> Stephen Master
> srmaster@hocm.nhlbi.nih.gov

AARGH!! -- I just discovered that my machine has been bouncing mail.  It  
should be fixed now.

Stephen
srmaster@hocm.nhlbi.nih.gov (really...)
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: Synth timbres alone
Date: 5 Oct 92 20:26:00 GMT


A lot of this thread appears to be based on some assumptions which I am not
sure are warranted.  First, I'm not to sure that your average synthesist
is necessarily working within the 'traditional European' idiom.  For example,
there is nothing that says that a piece must be orchestrated.  In fact,
I once did a synth/tape piece which used only one small 15 note monophonic
sequences of control voltages controlling filter frequency and resonance of
a noise+oscillator EML-101 with injected Stringman strings (playing one
chord held down with penny rolls).  Basically, the two EML envlopes 
controlled the amplitude, the sequencer triggered the EML as well as
controlled the filter.  Not one key was played by hand nor was any knob
tweeked.  The performance of the permuted thing lasted almost 15 minutes.
It may not have been Beethoven, but I did get an 'A'.  Second, I'm not sure
that the boredom or fatigue syndrome which is assumed to occur necessarily
happens outside of fixed traditional contexts.  Obviously when you go
to hear a symphony orchestra play a symphony you expect that the woodwinds
will do woodwindy things and the percussion will do percussive things and
that the net result is a satisfying experience.  On the other hand, if you
force the listener to experience one tone played continuously with some
fixed duty cycle, the experience will not necessarily be one of boredom
with the tone.  The more likely endpoint will be frustration (like being
dripped upon with watter drops).  The greater degree of the induced
frustration, the more the satisfaction with relief provided by a difference
in either the tone or the way it is applied.  This is obviously an
exaggerated usage of tension/release, but it can have a lot more meaning in
an electronic music context, wher the ability to be sterile sets up the
effect for a more spectacular climax.

To extend Metlay's observation that a wonderful piano played poorly will
still not excite the listener.  In some contexts, a wonderful piano played
in virtuoso technique will still not excite the listener.  For example,
John 4 is bored to tears by my Chopin CDs.  Here there is a perfectly
good piano being played perfectly well and yet the listener is still bored.
Hence, there appears to be nothing particularly satisfying about the sound
of a 'real' piano, especially if the listener doesn't really want to hear it.

John
Newsgroups: rec.music.synth,comp.sys.laptops
From: metlay@netcom.com (metlay)
Subject: Re: Question:  Powerbooks and MIDI
Date: Tue, 29 Sep 92 20:49:00 GMT
Organization: Atomic City
Summary: Arse-covering

In article <1992Sep29.184020.11425@news.media.mit.edu> mbl@media.mit.edu (Marc LoCascio) writes:
>
>well, just to further confuse matters, last night on PAN Doug Wyatt (OMS
>author, Opcode programming wizard, and guru of this whole Powerbook/MIDI
>thing) said that Opcode *does not* support the PB100 for their MIDI 
>applications.  he said that the 100 can lose data during bulk dumps, have
>timing glitches, and generally not keep up.

I have heard this already, from other sources. Eppur si muove. Just because
Opcode says it's unsure about the 100 does not mean that the 100 doesn't
work. In fact, I know of people at Opcode who use the damn things themselves.
Nevertheless, it pays to be safe, from their point of view.





-- 
metlay                    | 
                          | General MIDI is God's way of saying "Duh."
                          | 
metlay@netcom.netcom.com  |
From: metlay@netcom.com (metlay)
Newsgroups: rec.music.synth
Subject: Re: Vintage Synth Re-Issues, what do you think?  Would you buy?
Summary: Translation
Date: 6 Oct 92 20:00:04 GMT
Article-I.D.: netcom.1992Oct6.200004.2621
Organization: Atomic City

In article <7859@vtserf.cc.vt.edu> pgr@ramandu.ext.vt.edu (Patrick Robinson) writes:
>> In article <1992Oct2.173153.12835@netcom.com> metlay@netcom.com (metlay)  
>writes:
>> >Harg! Glub blug dip woot-boof wammie!
>[alleged translation deleted]

Curses, foiled again. 

>No, no, no... those are MY thoughts.  Exactly!

Well, they're your WORDS exactly. i wouldn't presume to guess at what you
were thinking when you originally wrote them.

>BTW, Metlay... do I get any sort of royalties for sales of "Saturnalia"?
>:-)  :-)

No. Horf horf horf.
|-P |->



-- 
metlay            |             No Panning
atomic city       |             No Phasing
                  |             No
metlay@netcom.com | 
Xref: sparky rec.music.synth:15716 comp.sys.laptops:3760
From: Randomizer@cup.portal.com (Aron Fingers Nelson)
Newsgroups: rec.music.synth,comp.sys.laptops
Subject: Re: Question:  Powerbooks and MIDI
Date: Tue, 29 Sep 92 20:13:39 PDT
Organization: The Portal System (TM)
Distribution: world
  <NICK.92Sep25123912@vaila.ed.ac.uk> <murat-250992180146@192.100.87.66>
  <9p+pnfd.metlay@netcom.com>

>Unmitigated horse's hit. My poor little PB100 can handle SysEX dumps from
Oberheim Xpanders, Korg Wavestations, and Roland U-50s without dropping
a single bit. It does so every time, and hasn't failed yet.

That's great!

>-  Tech Note 318 "Serial PollProc" is inaccurate and will be revised

>HA! Opcode implemented the "inaccurate" version of TN318 and produced a
>patch to OMS that rendered the 140 and 170 completely MIDI-friendly! So
>Apple doesn't even know when they've gotten it RIGHT, the morons!

Actually I think that the tech note *is* wrong.  Doug or Dave @ Opcode
told Apple about the hack and they wrote up the tech note wrong!

>I'm not holding my breath. Thank heavens for Opcode's technical people,
without whom we'd be well and truly hosed....

Yeah.  Some people at Opcode can work wonders.

Aron
Xref: sparky rec.music.synth:15755 rec.audio.pro:1860