HDTenEightyP/NetNews huggingface dataset:
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Date:         Wed, 18 Nov 1992 10:41:16 PST
From:         metlay <metlay@NETCOM.COM>
Subject:      Re: (gyutosmurfin')
Comments: To: EMUSIC-L@american.edu
              at Nov 18, 92 1:59 pm

>> "Gyutosmurfing" is the Team-Metlayism [...] coined by Joe. It has a
>> certain panache to it, but I don't think it'll sweep the industry. |->
>>
>I will certainly do my part to promote it's use. Where is that list of
>syntho-terms ?  Oh ya...must have been on rec.music.random.name.change...

Not reading it any more, I wouldn't know. And I find I don't miss it,
either. The S/N ratio has climbed quite a bit on EMUSIC-L lately....

>> BOO! HISS! CHEATERS! BOOOOOOOO! My faith in Wendy Carlos is shot. |-P
>>
>Actually, (not wanting to start anything here...) it was Walter that
>did the cheating :-)

Be careful, Alan. John Rossi nearly went to prison for mentioning that
on the Internet. |-\

>I am interested in synthesizing this sound, since the piece I am opening
>my next concert with is going to be that Sinfonia...starting with the very
>best imitative sounds that I have, and gradually changing throughout until
>at the end it sounds just like S.O.B.. My tribute to the 20th anniversary.

I would imagine that you could do it very effectively with something like
the MicroWave I sold you (is Kathy still trying to pour soup into it?).


--
dr. michael metlay       |  how i pick my friends          (two examples)
------------------------ |  ---------------------------------------------
atomic city              | "Oooo, I need one of those. A "sick detector."
p. o. box 81175          |  Think of the applications!"     (p. robinson)
pittsburgh pa 15217-0675 | "Don't worry, it was good clean fun, no bodily
metlay@netcom.com        |  fluids intermingled."          (a. schabtach)
From: metlay@NETCOM.COM (metlay)
Newsgroups: bit.listserv.emusic-l
Subject: Re: Challenges
Date: 17 Nov 92 20:29:20 GMT
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              McMahon" at Nov 17, 92 2:38 pm

> - Tympani (NOT sampled). I've come close with drastically-downshifted
>   inharmonic sounds, but the overtone series shifts in non-obvious
>   ways as the sound becomes higher. Most of my effort sound good over
>   the range of about a 5th or so, and then gyutosmurf into interesting,
>   but non-tympani sounds.

Tympani are one of my few real victories in programming the Xpander,
I have a patch that has about a one-octave usable range and sounds GREAT
in orchestral use.


--
dr. michael metlay       | and she's a master of return hitting
atomic city              | giving rhythm to her posts
p. o. box 81175          | so you read her and think hey it sounds good
pittsburgh pa 15217-0675 | and wish her posts had a soundtrack too
metlay@netcom.com        |                               (f. ercolessi)
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Date:         Sun, 15 Nov 1992 20:37:20 MET
From:         "V. Palleschi" <IFAMDUE@VM.CNUCE.CNR.IT>
Subject:      Looking for patches for D-5/10/20/110 Roland synths
Comments: To: netjam-users@xcf.berkeley.edu, emusic-l@auvm.BITNET

A few weeks ago I bougth a Roland D-110 expander. Yes. I know it is a quite
old gear but, on the scale of my (very low) playing ability, I am enjoing
a lot the features of this module (it was relatively cheap for me, too...).

I am quit satisfacted of the sound of the D-110, except for what concernes
the piano section. I have found somwhere on the net a definition of this
sound as "thin and crystalline", but I believe it is really innatural for
this kind of section. Could someone send me some hint/trick for making the
D-110 playing better the Piano ? By the way, I own a very cheap keyboard,
and its piano sound is MUCH better than the D-110 one.... I believe that the
LA method should be a little bit more efficient. I am waiting for your help.

More in general, I am surprised about the small number of PD patches which
are available on the net for the D-10/D-110/MT32/etc. I have already visited
the two classic ftp sites (ucsd.edu and louie.udel.edu), but I am sure that
some of the users of this synths have produced a lot of new sounds. Would
someone kindly send me some of these? In the future, when I will became more
expert, I will probably send them back some other sounds :)... Thanks a lot
in advance. Sincerely yours
                                       V.Palleschi
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Date:         Fri, 20 Nov 1992 08:55:29 EST
From:         Larry Larraga <larry@TAQUITO.CNS.UDEL.EDU>
Subject:      Re: Mackie Automation (was Re: Fostex MIDI mixer)
Comments: To: EMUSIC-L@AMERICAN.EDU

>The Fostex EQ seems to be fairly weak ("Bass and Treble"!) so I probably
>won't do too much with it.
>

At the customary 100 Hz and 10 KHz centers.  I've grown fond of the
Mackie's 80 Hz "Ppauun-nnch" in da bass register.

I just got the latest American Music Supply catalog.  Their prices are
usually a tad high for mail order; certainly better than the local stores
tho'.  They have the DMC100 and MixTab listed.  I don't remember the
individual prices, but 2 DCMs and a MT come to $1830 before shipping.
That's about $500 more than I had hoped, unfortunately.  I doubt a really
good place would shave even $300 off that.  Ah, but what's half a grand
difference for getting 16 stereo channels of fully automated mixer in
2U spaces?

Uh...  half a grand...  $-(

Now if the s/n were 90 db or so, would I scramble?  Hmmm...
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Date:         Thu, 19 Nov 1992 09:21:15 PST
From:         metlay <metlay@NETCOM.COM>
Subject:      noise modulation
Comments: To: EMUSIC-L <emusic-l@auvm.american.edu>

Eric:

Is the Prophet's noise generator white or pink? I love pink noise,
and have always regarded the lack of a separate pink noise generator
on the Xpander as one of its biggest failings. Fortunately, however,
there are a number of easy ways to modulate VCO1 with VCO2 set to
a noise waveform (white noise, alas), to get sounds similar to what
you describe. One of the things I miss about my dearly departed
Prophet T8 is the fact that it had a separate (white?) noise source
you could mix in easily; one of the things I DON'T miss is that the
noise modulation you describe for the P5 is NOT available on the T8.

--
dr. michael metlay       |  how i pick my friends   (two examples)
------------------------ |  --------------------------------------
atomic city              | "See Dick bag Jane.   See Jane's monkey
p. o. box 81175          |  blow Dick's doors off."  (n. rothwell)
pittsburgh pa 15217-0675 | "Good therapy, though... for a man in a
metlay@netcom.com        |  monkey suit."              (j. curtis)
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Date:         Wed, 18 Nov 1992 20:15:36 +0000
From:         Nick Rothwell <cassiel@CASSIEL.DEMON.CO.UK>
Subject:      Re: For sale: ESQ-1
Comments: To: Electronic Music Discussion List <EMUSIC-L@american.edu>

>*********** For Sale **************************
>E N S O N I Q   E S Q - 1   s y n t h e s i z e r

You've only had it a week! Have you exhausted its possibilities already?


                      Nick Rothwell  |  cassiel@cassiel.demon.co.uk
   CASSIEL Contemporary Music/Dance  |  cassiel@cix.compulink.co.uk
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Date:         Wed, 18 Nov 1992 08:10:50 AST
From:         Alan Edwards <aedwards@JUPITER.CSD.UNB.CA>
Subject:      Re: Challenges

Joe M.  writes:
> > - Tympani (NOT sampled). I've come close with drastically-downshifted
> >   inharmonic sounds, but the overtone series shifts in non-obvious
> >   ways as the sound becomes higher. Most of my effort sound good over
> >   the range of about a 5th or so, and then gyutosmurf into interesting,
> >   but non-tympani sounds.

dr. michael metlay responds:

> Tympani are one of my few real victories in programming the Xpander,
> I have a patch that has about a one-octave usable range and sounds GREAT
> in orchestral use.
>
I would be interested in hearing how you did this. ( I also want to know
how to gyutosmurf a sound...)

I remember reading an interview with W.Carlos sometime after the first
S.O.B., and they asked about the tympani sound in the Sinfonia to Cantata
29 (side 1 cut 1). Apparently this got a lot of interest at the time,
because no one else was able to get that sound. It turned out they could
not either, so they cheated and wheeled a couple of tymps that were
sitting in the next room in and recorded them.

Alan

===========================================================================
  Alan Edwards
  UNB Physics                              internet:    aedwards@unb.ca
    Canada
---------------------------------------------------------------------------
 "General MIDI is to music what paint-by-numbers is to painting"  - Joe M.
===========================================================================
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Newsgroups: bit.listserv.emusic-l
Date:         Sat, 21 Nov 1992 16:18:14 +0000
From:         Nick Rothwell <cassiel@CASSIEL.DEMON.CO.UK>
Subject:      Racks
Comments: To: EMUSIC-L@auvm.american.edu

Gearhead alert.

I'm currently in mid-investigation of flight racks. I've come across some
reasonably decent-looking American ones made by SBA or SBX or something
like that - all curved, extrusion-moulded plastic with rubber-lined
rounded-corner aluminium frame front and back, rackmount hardware on front
only, fixed side carrying handles, and deep, removable front and back lids.
Anyone over there heard of these things? They don't feel as tough as
full-flight hardware, but certainly beat the hell out of the half-flight
junk I've seen (1/4" plywood covered in silver foil as far as I can tell)
and they're light and look impressive (or will with a CASSIEL logo
stencil-sprayed onto the sides). And the curvature means that there's 1/2"
of clearance above/below the top/bottom 1U space, good for ventilation. I'm
just not quite 100% convinced of their robustness for touring; anyone else
using these?

Onto the second problem: the racks are 15" deep, with another 1.75"-2" or
so clearance in the front and read lids. (So, what *is* 1/2 plus 5/8?)
Roland 2U racks are (hang on, where's my tape measure...) 16" deep. Grr,
that means 1" protrusion when in use, which is ugly, and more importantly
means only 1" of rear clearance when the lid is on. I can find right-angle
MIDI and 1/4" phono connectors which (with luck) are less obtrusive than
that, but I'm stumped by the MKS-70 and D-550 mains connectors which are
almost but not quite entirely unlike something totally different to the US
mains connector.

Oh-oh: how deep is the rack case holding the two Quantum 280's, and how
much can you bend a SCSI cable...?

Why don't the magazines run reviews and product line-ups of flight cases?

Oh-oh: how deep is the Fostex MIDI mixer? 358mm, that's, what, 14"...

                      Nick Rothwell  |  cassiel@cassiel.demon.co.uk
   CASSIEL Contemporary Music/Dance  |  cassiel@cix.compulink.co.uk
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Via:            UK.AC.CSM; 16 NOV 92 13:02:31 GMT
Via:            ramtek.ac.uk; Mon, 16 Nov 92 13:04:44 GMT
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Newsgroups: bit.listserv.emusic-l
Date:         Mon, 16 Nov 1992 13:07:08 -0800
From:         "Julian Sominka (CSM)" <jsominka@CSM.AC.UK>
Subject:      Please remove me from this list

I can't seem to get the listserv to remove me from the list. Can
someone please do it for me?

--
Julian

jsominka@csm.ac.uk
jsominka%csm.ac.uk@nsfnet-relay.ac.uk
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Date:         Mon, 16 Nov 1992 20:17:00 EST
From:         rg8 <Robert_L_GIBSON@UMAIL.UMD.EDU>
Subject: Re: Editor/Librarians
Comments: To: Electronic Music Discussion List <EMUSIC-L@american.edu>

>>I ran across an ad for OPCODE's Galaxy Plus Editors software for the
>>Mac in this months Keyboard magazine.  Has anybody had any experience
>>with this product?  Is it only intended for high-end studio use (it
>>sounds expensive)?  And lastly, are there any competing products
>>available to the starving musician?
>
>I use Galaxy without editors. I consider it to be the best-arranged,
>cleanest, least-aggravating librarian program for the Mac right now.
>I got my copy for free when I bought Vision, and love it to death.
>I may upgrade to the "Plus editors" package, but I try to avoid such
>things by buying synths with easily usable front panels. |->

Agreed, and I would add that the "Plus Editors" does the same good
things for editing.  My home studio became a nice place to work when I got a
MIDI Time Piece and installed Galaxy Plus Editors.  Unfortunately there are
some nice synths (good sound possiblities) out there which don't have nice
front panels :-).

Bob Gibson
rg8@umail.umd.edu
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Date:         Mon, 16 Nov 1992 19:07:00 EST
From:         CORV7402@SNYPLAVA.BITNET
Subject:      music

Does anyone read me?
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Newsgroups: bit.listserv.emusic-l
Date:         Tue, 17 Nov 1992 22:29:30 MST
From:         Adam Schabtach <schabtac@STOUT.ATD.UCAR.EDU>
Subject:      Re: Challenges
Comments: To: EMUSIC-L@AMERICAN.EDU

> - Tympani (NOT sampled). I've come close with drastically-downshifted
>   inharmonic sounds, but the overtone series shifts in non-obvious
>   ways as the sound becomes higher. Most of my effort sound good over
>   the range of about a 5th or so, and then gyutosmurf into interesting,
>   but non-tympani sounds.                   ^^^^^^^^

My God! Do we have a new term for the "Darth Vader/chipmunk effect"?
And he's turned it into a verb, no less!      :-)

(Joe, you didn't *really* think we were going to let that slide by,
did you?)

--Adam                              schabtac@stout.atd.ucar.edu
"Which is more musical, a truck passing by a factory or a truck
passing by a music school?"                  --Cage
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Date:         Thu, 19 Nov 1992 23:19:44 +0000
From:         Nick Rothwell <cassiel@CASSIEL.DEMON.CO.UK>
Subject:      Re: Mackie Automation (was Re: Fostex MIDI mixer)
Comments: To: Electronic Music Discussion List <EMUSIC-L@american.edu>

>Is this something
>that you're looking to tweak real time, or is more like having different
>settings for each piece?

Yes. :-) Actually, I'm thinking mainly of snapshot mixing, but will
certainly experiment with controlled changes (assuming the thing doesn't
zipper too badly); in particular, riding the FX send/return levels would be
interesting, as might main faders (although MIDI volume gives more
selective control for multitimbral devices). Realtime control of pan is
probably out; it'd annoy the dancers...

The Fostex EQ seems to be fairly weak ("Bass and Treble"!) so I probably
won't do too much with it.

I'm getting back to MAX programming now, in preparation...!

                      Nick Rothwell  |  cassiel@cassiel.demon.co.uk
   CASSIEL Contemporary Music/Dance  |  cassiel@cix.compulink.co.uk
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Date:         Fri, 20 Nov 1992 09:00:26 EST
From:         stud616@CUTB.UPR.CLU.EDU
Subject:      RE: guitars
Comments: To: EMUSIC-L@AMERICAN.EDU

I don't remember exactly the name of the company, but you can search in the
Guitar for the Practicing Musician magazine ads for a company thats do it
(I know I have seen the ad before!).
******************************************************************************
*     Carlos "Paranoid" Olivero        Internet: STUD616@CUTB.UPR.CLU.EDU    *
*        Computer Science student in CUTB, University of Puerto Rico         *
******************************************************************************
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Date:         Wed, 18 Nov 1992 20:16:34 +0000
From:         Nick Rothwell <cassiel@CASSIEL.DEMON.CO.UK>
Subject:      Re: Roland JV-80 Suggestions wanted...
Comments: To: Electronic Music Discussion List <EMUSIC-L@american.edu>

>A word for the D-70: (please no flames, this is personal opinion rather
>than Roland official news)
>The D-70 is a not very satisfying mixture of the U20/U220 with D-50 and a
>little
>masterkeyboard in it.

I'm quite happy with my D-70. The main point is that it's a light 76-note
keyboard with a remarkably nice, open voice architecture for a sample
player. It has a fairly impressive sound with a nice bottom-end.

The JV is probably better in many respects (apart from keyboard length),
but I'm a little tired of tracking Roland sample player technology, and I
own four Roland synths, so I'm laying off them until something original
comes along.


                      Nick Rothwell  |  cassiel@cassiel.demon.co.uk
   CASSIEL Contemporary Music/Dance  |  cassiel@cix.compulink.co.uk
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Newsgroups: bit.listserv.emusic-l
Date:         Mon, 23 Nov 1992 14:30:51 EST
From:         JOHN MAGUIRE <JMAGUIRE@ERS.BITNET>
Subject:      Re: Racks
              21 Nov 1992 16:18:14 +0000 from <cassiel@CASSIEL.D EMON.CO.UK>

On Sat, 21 Nov 1992 16:18:14 +0000 Nick Rothwell said:
>Gearhead alert.
>
>I'm currently in mid-investigation of flight racks. I've come across some
>reasonably decent-looking American ones made by SBA or SBX or something

TEXT DELETED

>stencil-sprayed onto the sides). And the curvature means that there's 1/2"
>of clearance above/below the top/bottom 1U space, good for ventilation. I'm

I am also considering buying an SKB.  I have heard they are pretty tough.
I haven't found anything that comes close as far as price.  I've seen 6
space SKBs for $95 ( at either Venamins or AMS).  That's still a lot of
money for a box.!!  WHY do these things cost so much?  My major concern is
ventilation.  I'm going to mount a DM 400 watt solid state bass head.  The amp
has a temporature controlled fan inside  and  vents on the both sides.
The SKBs curve in on the sides, to allow room for the handles.  This
would probably put the plastic right up against the vents on my amp. I don't
know how much room is required for ventilation.  I think I'm going to bring
my amp to Venamins to check it out.  If it doesn't work, I'll have to pay
$40 more for a Forge II rack.  Do you have any Rules of Thumb for ventilation?

John A. Maguire
JMAGUIRE@ERS.BITNET
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Date:         Mon, 16 Nov 1992 10:44:21 PST
From:         metlay <metlay@NETCOM.COM>
Subject:      Re: Spec question
Comments: To: EMUSIC-L <emusic-l@auvm.american.edu>
              at Nov 16, 92 6:40 pm

>.. To solve quickly and cheaply your problems Why don't you go and have a look
>to the new Roland 240R line input mixer (Ok no MIDI but 24 line 3 + 1 aux and
>here in Holland ~1200 $ .. I guess much cheaper in USA !! .. And
>usual high quality Roland specs ..).
>Well it looks nice on paper .. but I didn't try to use it .. SO go listen and
>judge yourself ! .. And it is only 4 rack space units !

With all due respect, Andrea, I no longer allow Roland mixers in my studio.
The ones that I have worked with have been of very poor quality in terms
of noise floor and S/N. I mixed my last CD on one and have regretted it
ever since. The Mackies are the least expensive option for high-quality
mixing currently available, although I agree with Larry that they're
quite bulky. I have solved the problem with a submix from a Rane SM82
16-channel 1-space mixer, which I run into two channels of the MAckie with
very little sound degradation.

--
dr. michael metlay       | and she's a master of return hitting
atomic city              | giving rhythm to her posts
p. o. box 81175          | so you read her and think hey it sounds good
pittsburgh pa 15217-0675 | and wish her posts had a soundtrack too
metlay@netcom.com        |                               (f. ercolessi)
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Date:         Thu, 19 Nov 1992 08:22:16 AST
From:         Alan Edwards <aedwards@JUPITER.CSD.UNB.CA>
Subject:      Re: Challenges

 "I (Throop,Henry B)" writes:
> Regarding W. Carlos and the timpani, I distinctly remember her mentioning
> them at the end of Secrets of Synthesis - she said something about how she
> could combine the characteristics of different instruments to make for
> instance a bowed timpani or a cello hit with mallets.  I don't have access
> to the tape right now, but you might want to check it out to restore your
> faith.
>
I believe that this combining characteristics of different instruments was
using the GDS...well beyond the abilities of the moog on S.O.B.

It appears that I will now have to track down this reference...where could
that have been? I remember being disappointed at the time.

Alan

===========================================================================
  Alan Edwards
  UNB Physics                              internet:    aedwards@unb.ca
    Canada
---------------------------------------------------------------------------
 Gyutosmurfing: when the tonal quality of a sample changes upon large
                transpositions upward or downward into a musically
                useful sound.                         Joe M.(again)
===========================================================================
From: metlay@NETCOM.COM (metlay)
Newsgroups: bit.listserv.emusic-l
Subject: Re: Challenges (fwd)
Date: 17 Nov 92 21:52:12 GMT
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>metlay writes:
>> But not right now, I have a sick detector to rescue.
>
>Oooo, I need one of those.  A "sick detector".  Think of the
>applications!
>
>;-}
>
>-Patrick

Well, at least I'm getting a new .sig file out of this interchange....


--
dr. michael metlay       |  how i pick my friends          (two examples)
------------------------ |  ---------------------------------------------
atomic city              | "Oooo, I need one of those. A "sick detector."
p. o. box 81175          |  Think of the applications!"     (p. robinson)
pittsburgh pa 15217-0675 | "Don't worry, it was good clean fun, no bodily
metlay@netcom.com        |  fluids intermingled."          (a. schabtach)
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Subject: (no subject given)
Original-From: alux1!wbf (William Fox)
Newsgroups: bit.listserv.emusic-l
Date:         Wed, 18 Nov 1992 15:18:28 EST
From:         wbf@ALUX1.ATT.COM

Subject: Mixer Automation

To what extent do you need/want to automate?  For volume/pan, are
controllers 7/10 inadequate?  I'm getting by with those, hence all I need
is line mixers.  EQ not included.  Actually, in order to do what I *REALLY*
wish, is to have sends and returns automated.  When that becomes
affordably available (as defined by my pocket book), then I would take
the plunge.  I do see the need/attractiveness of automated EQ, too, but
I'd rather have the pan, volume, fx sends, and fx returns automated
first.

Bill
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