HDTenEightyP/NetNews huggingface dataset:
From: be726@cleveland.Freenet.Edu (Joseph A. Ellis Jr.)
Newsgroups: rec.music.synth
Subject: Re: Copyrights
Date: 12 Oct 1992 16:41:23 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: be726@cleveland.Freenet.Edu (Joseph A. Ellis Jr.)
NNTP-Posting-Host: hela.ins.cwru.edu


In a previous article, doug@flute.ccit.arizona.edu (Doug Wellington) says:

>OK, since it got brought up, how does ASCAP/BMI determine how
>to pay each of its artists?  In other words, if I write one little
>song and have it registered with BMI, does that mean that I get
>a certain fee each year, whether or not anyone plays my song on
>a radio or in a bar?  To extrapolate, say I write 50 little songs
>and register them - do I get 50 times that fee?
>
>Seems like I could make a lot of money from that situation, albeit
>a little unscrupulous...
>
>Enquiring minds want to know...
>-Doug
>

It's pretty simple... it's the payout fromulas that are complex.

Radio and bars are sampled, or "spot-checked". A trained listener will write 
down every song played. If they don't recognise it, they'll give a tape to 
a skilled solfeggist who will take down the notation, then search their 
database of registered songs. 

TV, EVERYTHING counts, but at different rates. Background music counts less
than a featured performance. Unrecognised tunes are searched as above.

The payout formula weights radio and TV and bars differently, and is rather
complex... but at the end of the period (6 months? or is it quarterly?) 
they send out a mailing with your check and shares.

Getting played on the radio is NOT a guarantee of getting a check, tho, since
radio is just sampled. They have to be listening to the right station at 
the right time. Overall, it's a pretty reasonable system that makes the best
of a nearly impossible situation.

(BTW, I've gotten airplay several times, but have yet to see a dime...
they just weren't listening! <<sigh>>)

-- 
 Joe Ellis  o/~ The Synthetic Filker o/~    |     TesserAct Studios
     Internet:   usr6184a@tso.uc.edu        |       P.O. Box 18577
        GEnie:   J.ELLIS22                  |     Fairfield, OH 45018
    All filked up and no place to sing!     |   New Dimensions In Filk!
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: Powerful PC Soundcards
Date: 16 Oct 92 12:40:00 GMT


While many of these cards appear to be quite an improvement over the original
Adlib and Soundblaster cards, they are not a replacement for samplers or even
for high-end PC Soundcards such as the SCS-1 (or whatever the Sound Canvas on
a card is called).  While their claimed specs sound incredible, I'm afraid
that you get what you pay for.  Remember, these devices were never targeted
at 'serious' musicians, they are intended as a supplement to Multi Media
applications.  

John
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: Ensoniq DP/4 questions
Date: 8 Oct 92 16:00:19 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <716E620C4040012D@ACS.WOOSTER.EDU> WSCOTT@ACS.WOOSTER.EDU writes:
>I need some opinions from anyone who has spent time with the DP/4. I
>spent some time in the local dispensary yesterday auditioning the DP/4
>and then compared it to the LXP-1 and, in comparison, it did not sound
>very good at all. On the other hand, I have read reviews that say that
>the DP/4 compares with the very best reverbs. I want to know if I'm
>missing something.

You must be missing something.  The DP/4 is ultra-quiet and provides
some excellent algorithms.  I've had a lot of success getting the
sounds I want out of it.

>I think I only got the DP/4 to give me two unit rather
>than 4 unit effects, for example.

It shouldn't matter.  The single-unit effects alone are good quality.

>But still, the sounds were no great
>shakes. Any comments on excellent quality affordable reverb/effects would
>be appreciated.

It's hard to say if you got a lousy demo or if there is something
very, very special you're looking for.

-- 
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,rec.music.makers,comp.music,alt.emusic
From: wes@ian.stx.com (John S.)
Subject: Copyrights
Keywords: HR16, Alesis, Librarian, IBM
Organization: STX, Lanham Maryland
Date: Fri, 9 Oct 1992 21:54:54 GMT

  Just saw this today in "City Desk" column of the October 9th issue of
the Washington City Paper:

	HOT JAZZ  "My Funny Valentine" and "Take the 'A' Train"
	are such chestnuts that it's hard to believe their 
	copyrights are still valid. But they are (copyrights
	last the composer's lifetime plus 50 years). And Takoma
	Station Tavern, the live-music club just inside the
	District line, has run afoul of the copyright cops at
	the American Society of Composers, Authors, and Publishers
	(ASCAP) for allegedly playing those old Rodgers & Hart 
	and Billy Strayhorn standards without paying performance
	royalties. ASCAP sued the tavern in federal court, seeking
	up to $100,000 in damages for unauthorized playing of the
	two ASCAP-licensed tunes and three others by Chick Corea,
	Dizzy Gillespie, and Jimmy Van Heusen during April and
	May. The real aim of the suit, though, is to prod Takoma
	Station into signing a licensing agreement with ASCAP,
	something that the tavern has resisted for years. ASCAP
	exists because federal copyright law leaves it to composers
	to police the use of their music. This is a near-
	impossibility for individuals, so most tunesmiths join
	groups like ASCAP that issue blanket licenses to use
	copyrighted material of members, who divvy up the 
	royalties. When a club balks at signing a licensing
	contract, ASCAP sends out investigators who pose as 
	customers, swilling drinks and pretending to enjoy
	themselves, but actually keeping a written record of every
	tune they hear and an ear open for ASCAP members' hits.

Anybody else here get the opinion that maybe ASCAP is getting a little
greedy? First off, shouldn't they be going after the bands instead of
the bar? The bar doesn't tell the band what to play.I'm not saying
there shouldn't be copyright laws. I just don't feel a bar owner should
have to pay for the right to hire a band that might do a cover of an
old standard that most people in the audience, a) have heard performed
by other bands, and b) recognize as being a cover of an old standard,
if they don't actually know the original composer. 

I'm curious what others here think about this.

                                                                             \
==============================================================================>
         ______                 ____________________                         /
           /  __   _  _  _  _  /__   _  _  ___  __   _  _  ___  __   __  
       ___/  /_/ _/--/ _/\_/  ___/ _/--/ _/_- _/-' _/--/ _/_- _/-<,_/__>

         wes@ian.stx.com     (John Shepherd)    Hughes STX, Lanham, MD
Xref: sparky rec.music.synth:16249 comp.music:4704
From: gt5627c@prism.gatech.EDU (Matthew Seamus Pease)
Newsgroups: rec.music.synth,comp.music
Subject: Peavey SP vs. Akai S1000
Date: 8 Oct 92 22:13:59 GMT
Followup-To: rec.music.synth
Organization: Georgia Institute of Technology

Hello all in netland,
  I am currently in the market for a sampler which will be 
primarily used for House/techno music.  I have looked at the
Peavey SP and it seems nice specs - cost wise.  However,
I continue to hear that the S1000 is the nicest sampler available
on the market.  Could anyone out there with either of these
machines comment on their experiences with them?  

Thanks in advance,
Matthew Pease
gt5627c@prism.gatech.edu
From: klang@cowpas.waffle.atl.ga.us (Tim Seaton)
Newsgroups: rec.music.synth
Subject: Re: K2000 failures
Date: 10 Oct 92 02:54:40 GMT
Organization: COW Pastures

khaberl@bbn.com (Karl Haberl) writes:

> In article <50DE469660603332@ACS.WOOSTER.EDU> WSCOTT@ACS.WOOSTER.EDU writes:
> >[rumour about K2000 failures at very high level deleted]
> >
> >Nobody that I know has had a K2000 failure. Even the ones that run
> >Installing the fan is probably a good idea, though. One problem that
> >the hot ones (no fan) seem to have is that their batteries run down
> >faster.  Young/Chang require the fan be installed if any options such
> >as more the 4meg sample RAM, internal hard drive, etc. are on board.
> 
> I've had my K2000 since April, with 8MB of RAM and no fan. I've not had a
> single problem in that time. When the sampling option comes out, though,
> I intend to take the opportunity to install the fan.


I just bought a k2000 a few weeks ago and on the first night of extended 
usage the machine began to do strange things when it warmed up. Odd delay 
feedback loops that would not stop until I turned the machine off etc.
As soon as I hooked up a portable fan underneath the keyboard the 
problems went away and have not returned. The fan kit appears to be a 
necessity if you have any extra memory at all.

---TLS
Newsgroups: rec.music.synth
From: feng@m.cs.uiuc.edu (Wuchun Feng)
Subject: >EV257/EV357 microphone summary 
Reply-To: Wuchun Feng <feng@cs.uiuc.edu>
Organization: University of Illinois, Dept. of Comp. Sci., Urbana, IL
Date: Tue, 13 Oct 1992 14:58:06 GMT

I wrote:
  >My apologies if this is the wrong newsgroup to post the following question
  >(I couldn't find a more suitable newsgroup):

  >What's the difference between an EV257 and an EV357 dynamic microphone?
  >Does anyone have an idea as to their respective prices?


Here are the responses that I've received thus far ... thanks to the
following people:

  skipa@milton.u.washington.edu (Skip Albertson)
  mpdavis@mosaic.uncc.edu (Michael Parker Davis)
  YOUNG_J@SCSUC.CTSTATEU.EDU (John Young)

----

The 357 is slightly more expensive (maybe $135 or so) and has a
Supercardioid response pattern making it a little more
directional than the 257.  That way, if you play in a band
it will pick-up your voice better than sounds coming from
the side.  The 257 has Cardioid response which isn't as extreme.
I have, and like, a 357.

------

EV357 has a humbucking coil --- EV257 does not -- as best as I can tell

------

The main difference is in feedback rejection.  We use 257's for a classic
rock band that I play with.  Our sound man has a 357.  You can get more
gain out of it because of the better feedback rejection.  As far as
frequency response or sound quality, there is not much difference (at least
to my untrained ear...).

------

-- 
Wuchun Feng // feng@cs.uiuc.edu // University of Illinois // Urbana, IL 61801
From: kpm8447@tesla.njit.edu
Newsgroups: rec.music.synth
Subject: .mid track splitter?
Date: 10 Oct 92 20:47:15 GMT
Organization: New Jersey Institute of Technology

Does anyone know of a way to convert .mid files that have
all the tracks beln
blended into one track into a .mid or .wrk (cakewalk) file with each
track/channel on it's own track/channel?

The reason is that I have a program to convert .cmf files to .mid but
they put all of the info into ta
channel or track 1

-- 

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Kirk Membry             ( * * * T H I S   S P A C E   F O R   R E N T * * * )

kpm8447@tesla.njit.edu                                    kpm8447@teak.njit.edu
kmembry@andromeda.rutgers.edu                             kpm8447@maple.njit.edu
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
From: jay@cmn19.Stanford.EDU (Jay Kadis)
Subject: Re: Schools with Computer Music degree programs
Organization: DSO, Stanford University
Date: Thu, 15 Oct 92 16:49:59 GMT

In article <54778@dime.cs.umass.edu> barrett@astro.cs.umass.edu (Daniel  
Barrett) writes:
> I wrote:
> >> ........  For example, if you go to Stanford's CCRMA, you may see
> >> tons of equipment, some really impressive computer programming...
> 
> In article <1992Oct14.214024.20453@leland.Stanford.EDU>  
jay@cmn19.Stanford.EDU (Jay Kadis) writes:
> >Gee, where  is  all that equipment?!?
> >Jay Kadis, Audio Engineer, CCRMA/Music, Stanford University
> 
> 	Hey, it's there -- I saw it with my own two eyes. :-) A whole  
bunch
> of NeXT computers, direct digital synthesis, MIDI synthesizers galore,
> little work stations (computer + synth) for classes, several recording
> studios, some with raised floors for acoustic purposes, etc....  Hell,  
they
> had a dedicated DX7 hooked up as a doorbell!!
> 
> 	Compared to that, some other computer music departments have the
> equivalent of several Stanford doorbells.  If you don't see the  
equipment at
> CCRMA, you don't know how well-off you are!
> 
> 	(PS:  Tell Atau Tanaka I said hi.)
> 
>                                                         Dan
> 
>  

Actually, all the old mainframe stuff is gone now (along with the DX-7  
doorbell).  We do have a lot of equipment by many standards, of course it  
never seems to be enough to satisfy the demand, which has really grown in  
the last few years.  I hate to sound ungrateful, but I am supposed to make  
sure everyone has access to everything and there still ain't enough stuff  
to keep everything going at the same time.  Compared with IRCAM, for  
example, we're pretty small...

Jay

PS.. Atau is at IRCAM this year.
Newsgroups: rec.music.synth
From: seanw@mks.com (Sean Wilson)
Subject: Re: How can you record to a tapedeck from a synth?
Keywords: synth, MIDI, record, tape deck
Organization: Mortice Kern Systems Inc., Waterloo, Ontario, CANADA
Date: Fri, 16 Oct 1992 13:11:10 GMT

In article <1bgocbINN7un@uniwa.uwa.edu.au> rang@tartarus.uwa.edu.au (Robert Yuen Lee Ang) writes:
>
>	How can you record to a tapedeck from a synth?


Hmmmmm......   Hmmmmmm........
Nope, I'm stumped on this one. ;)

I'm a little concerned that this question came from someone at an institute
for higher education.

Sean Wilson      | "It was a small incident one night involving me and 150 
MKS Tech Support |  Mexican cops.  I asked to see some identification.  They
seanw@mks.com    |  said:  'Badges?!  We don't need no stinking badges!!'" 
                                                            - John Caravella
From: cdt@zoo.bt.co.uk (Clive Dennet-Thorpe)
Newsgroups: rec.music.synth
Subject: Re: Yamaha CX5M
Date: 7 Oct 92 16:30:36 GMT
Reply-To: cdt@zoo.bt.co.uk
Organization: BT Laboratories


Hi!
I'm a CX5 Mark II owner and I think it's a great piece of machinery!
I have lots of software and hardware for it and would be happy to elaborate on my 
collection of CX5 ephemera.

To answer your question on a sampler package I know that there was an article in 
Music Technology which made reference to it as "under development" and I think that the 
company involved was "DMS Ltd" who were renowned for a good 16-track MIDI recorder
cartridge which sold well. I am cluless as to whether the sampler ever made it to te market but considering the CX5's tichy memory and the fact that it is an 8-bit machine
then the results could never be that great!

Yamaha produced a strange mixture of packages for this machine. 

Hardware:

The CX5 mark I was capable in its day but the fact that you couldn't drive te tone generator (SFG01) via its MIDI in socket made it unappealing later on.

The CX5 Mark II had an extra cartridge socket,integral Power supply and by and large
had the SFG05 sound module as standard. It also has the FM Voicing cartridge as a 
miniature plug-in card hidden underneat the front-lip of the machine.(to my knowledge
the only attachment ever-produced to fit the socket!!). The MIDI in allows the SFG05 to be driven from any external MIDI keyboard and this makes it a really useful instrument.

In terms of other hardware I possess the external free-Standing 3.5" disk drive and
and its interface cable. The cable plugs dircetly into a cartridge socket(shame!) and
is rather delicate.
I also possess a playcard-reader which is a magnetic-stripe (swipe) card reader designed
to accept Yamaha's pre-programmed music cards which could also be read by the early
Portasound home keyboards.

Other hardware includes a mouse, music pad (needed the accompaniment cartridge)
and oter bits and bobs.

Software
--------
The more useful packages were usually updated to take advantage of the DOS on the
CX5 Mark II.This means that you'll find packages in Mark 1 and Mark2 varieties.
Types of package were:

Voicing to allow you to edit the SFG's internal sounds
Composing to give you 8 track recording and playback
MIDI recorder - obvious
RX11 editor
RX15 editor - voice editors for Yamahas state of the art drum machines in 197?
DX7,DX21 editors
Graphics cartridge
FM Music Macro packages allowed you to insert commands into BASIC programs to allow
you to play SFG sounds e.g. sound effects for your own games
PLaycard cartridge - essential accompaniment for the reader
Chord Master - showed you chords and played them on a mock keyboard
etc etc

If you want to know more I'd be happy to answer more mail just post it!!

Regards,

Clive Dennett-Thorpe
From: scott@bbx.basis.com (Scott Amspoker)
Newsgroups: rec.music.synth
Subject: Re: Wendy Carlos, where are you???
Date: 14 Oct 92 15:08:24 GMT
Organization: BASIS International, Ltd., Albuquerque NM USA

In article <9210140411.AA19215@ucbvax.Berkeley.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
>
>Judging from the last Kwyboard story/interview, if Wendy Carlos is missing
>it is probably because she is trying to get the penis she lost put back on.
>Carlos remains an historc figure in the popularization of synth sounds. 
>Unfortunately, she has decided to take herself much too seriously.  

On the contrary - I look forward to her occasional editorials and
interviews.  I find her extremely high expectations and standards
a refreshing change.  More than once, she's helped keep me on track.

-- 
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
From: doogie@garfield.catt.ncsu.edu (Jeff House)
Subject: FOR SALE: Yamaha DX7 Original
Organization: Computer and Technologies Theme Program, NCSU, Raleigh
Date: Fri, 9 Oct 1992 03:26:16 GMT


This synth is in great shape, and posesses the infamous electric pianos
that Yamaha FM is reputed for. Not sure what it is worth, or what
someone would be willing to pay, but I am willing to negotiate.

Let me know!

Thanks!

Doogie
____________________________________________________________________________
    Jeff House                     "I am nobody telling everybody about
 house@dg-rtp.dg.com                somebody that can save anybody."
 doogie@catt.ncsu.edu 			 wjhouse@eos.ncsu.edu
Newsgroups: rec.music.synth
From: gilstrap@calvin.sbc.com (Brian R. Gilstrap)
Subject: Re: Distancing Tools (was: Re: "Ethinc" Samples vs. Proteus 3)
Organization: Southwestern Bell Technology Resources
Date: Fri, 9 Oct 92 23:15:20 GMT

In article <1992Oct7.160155.29053@sal.wisc.edu>, rej@sal.wisc.edu (Randy Jones) writes:
|> John Rossi writes:
|> >If I had a vote on such things, I would be strongly in favor of incorporating
|> >the term 'distancing tools' into the OFFICIAL LEXICON OF MUSICAL SYNTHESIS.
|> 
|> But you do, good fellow, you do! Make it so.
|> 
|> If there's any Official Lexicon here, it's the one we're busy (implicitly?)
|> constructing. All we need to make it Really Official is someone to compile
|> it... not sure if I can be trusted with such a task, but I'll be happy to
|> submit definitions.
|> 
|> And, oh, can we nix "MUSICAL" from the title? Otherwise we may not be able to
|> include my works, and certainly not Five's. Unless we amend it to OFFICIAL
|> LEXICON OF MUSICAL AND HEAVILY PROCESSED PAIN SYNTHESIS... sigh.


Hey, I'll compile the list of terms (I'm musical, not sensible :-).  Of course,
I will *not* try to moderate the arguments that will ensue as the readers of
this group try to come to agreement on the definitions/terms.

So, send me your musical term and definition and I'll start working on a list.
By the way, I'm almost completely self-taught so feel free to send me
definitions of things which "everyone knows" ('cause I won't :-).

Now, let me see, how much room is there on the hard drive here....

-- 
Brian R. Gilstrap                      Southwestern Bell Technology Resources
gilstrap@calvin.sbc.com                550 Maryville Centre Dr.
Phone: 314-529-7639                    St. Louis, M0 63141          USA
From: erkamp@JANUS.ARC.AB.CA (Bob Erkamp)
Newsgroups: rec.music.synth
Subject: Re: Alternate tunings for synths
Date: 15 Oct 92 23:05:44 GMT
Reply-To: erkamp@JANUS.ARC.AB.CA
Organization: Alberta Research Council

In article <Oct.14.12.49.06.1992.14145@ace.rutgers.edu>, rosensta@ace.rutgers.edu (Michael "Trott" Rosenstark) writes:
>
>I would like to write a piece for a twenty-note to the octave tuning
>system.  Will the Yamahas handle this?  If so, would they respond to
>MIDI in this state?
>
>thanks,
>
>mike
>-- 

Well Mike some of the Yamaha gear will handle this. The TX81-Z/DX21 can be set 
up for alternate tunings. Also the DX7 with E! can do microtunings. I suspect
there are others but certainly not all Yamaha gear has the microtuning 
capabilities. I can't see there being a problem via MIDI.

Bob
From: yon@rugrat.cbm.dec.com (David A. Yon)
Newsgroups: rec.music.synth
Subject: Re: Emu Proteus/2 likes/dislikes
Date: 12 Oct 92 19:16:02 GMT
Reply-To: yon@rugrat.cbm.dec.com (David A. Yon)
Organization: Digital Equipment Corporation

In article <1992Oct8.205549.11207@news.Hawaii.Edu>, rbd@eo.soest.hawaii.edu
(Roger Davis) writes:
|>(1) It's got no piano, a large oversight for a box that's supposed to
|>be designed with instrumental composers in mind. I bought a P/1 shortly
|>after it hit the market (and well before the P/2 was available) that I
|>would gladly get rid of now that I've got the P/2 except for the fact that
|>it's got a piano (if not a great one) and the P/2 has none.
|>
...
|>-- 
|>Roger Davis
|>University of Hawaii/SOEST
|>rbd@soest.hawaii.edu

Roger,

	May I suggest that you check out the Emu Proformance?  It's got
a range of excellent piano sounds (much better than the Proteus/1) for
about $300 street price.  That way you can unload your Proteus/1 if you're
not using it, get some excellent pianos, and make a little money in the deal.

	I've got all three (P/1, P/2, and Proformance) and find them all
to be quite complementary.  I find the P/1 piano to be fine for most
purposes, but bought the Proformance to free up the P/1's 32 voices
to do something else besides piano.

--
David Yon
yon@caboom.enet.dec.com <--- use this address
Newsgroups: rec.music.synth
From: dce@smsc.sony.com (David Elliott)
Subject: Re: Midi song - "Borderline - Madonna"
Organization: Sony Microsystems, San Jose, CA
Date: Sun, 11 Oct 92 06:21:08 GMT


In article <D88-JWA.92Oct10110956@byse.nada.kth.se>, d88-jwa@byse.nada.kth.se (Jon Wtte) writes:
|> > scott@bbx.basis.com (Scott Amspoker) writes:
|> 
|>    >Please define how close "coincidence" is. And how to measure it.
|> 
|>    That's ultimately for a jury to decide.

The job of a jury is pretty well defined.  They are presented with
charges, evidence and testimony, and a set of laws that are supposed to
be relevant, and they decide whether or not the laws have been broken.
It seems to me that in this case, the jury is told how close
"coincidence" is, and are supposed to decide if it has been proven that
there was none.

|> Isn't a prime concept in any judical system that you should
|> have the possibility of being aware that you're comitting a
|> crime when you do it? I.e. no retroactive laws.

This is correct as far as I know.  This is why the jury doesn't just
listen to two songs and decide if they think they are close.  The
jury don't count as "experts".

I would say that it isn't "ultimately for a jury to decide", but
ultimately for a *court* to decide.  (By "court" here, I mean all of
the people involved in the case, including the jury.)

--
...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
Newsgroups: rec.music.synth