HDTenEightyP/NetNews huggingface dataset:
From: dan@korgrd.com (Dan Phillips)
Subject: Jupiter6 & JamBox2 for sale
Organization: Korg Research and Development, Milpitas, CA
Date: Thu, 28 Jan 1993 02:11:34 GMT

Hey-yo!

I'm re-posting this, since something seemed to happen to our news feed
yesterday...

Items for sale:

* Roland Jupiter 6 - $800
     MIDI analog synth
     Six dual-oscillator voices (VCO's, not DCO's)
     Oscillator sync in both directions
     Pulse width modulation from envelope or lfo
     Low pass/high pass resonant multimode filter
     (you haven't truly lived until you've played a resonant high-pass 
     filter sweep)
     2 envelopes, 2 lfo's
     Programmable keyboard splits

A beautiful-sounding, classic analog synth - punchy envelopes, arpeggiator,
lots of sliders, etc.

I have not seen one of these posted in some time, and neither 
have the used equipment dealers 
that I have called, who recommended this price. This particular unit is 
also in *impeccable* condition (many have commented that they haven't seen 
one in this condition for years), and so I believe the price is fair.

* JamBox 2 SMPTE-MIDI converter/MIDI merger - $90
     Stand-alone SMPTE-MIDI converter
     Sends out either DTL (for Performer) or MTC
     Merges 2 MIDI Ins, along with time code, to MIDI out
     Stripes to tape

Note: this is a stand-alone box; unlike its relatives the JamBox 4 and 4+,
it does not require a Macintosh. Also unlike its relatives, this model is
*very* stable; it has served me well for over 4 years, but I just bought
a MIDI Time Piece II, which includes these functions.

please respond directly to dan@korgrd.com

- Dan
-- 
Dan Phillips			KORG Research and Developement
____ "Stupid quote"  "Cheerful Remark" Meta-Sigs Inc. ________
Opinions here are not necessarily those held by my employers.
Or mine, either. Maybe.
Newsgroups: rec.music.makers.synth
From: dpelton@nyx.cs.du.edu (Dennis Pelton)
Subject: Re: E-Mu vintage keys Proteus module
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Sun, 24 Jan 93 21:22:14 GMT

(Michael R. Kesti) writes:
>In article <PEHE.93Jan19143438@galliumx.electrum.kth.se>
>(Peder Hedlund) writes:
>>> (Michael R. Kesti) writes:
>>> The idea is that, if one must have
>>>more polyphony, one can obtain it by purchasing a second module.
>>  The problem for us financially limited dudes is that we'll have to buy an
>>equally expencive duplicate to a synth we already own. In wonderland there
>>would be a module whith say 32 oscillators and a RAM where you just dump
>>your sounds at a price of say 50% of the real synth (These creatures do exist
>>in the world of samplers where you can buy an overflow module to your Akai
>>S-1000, S1100).

[guesses at why manufacturers don't make overflow modules]
>Remember that
>the design of any product, and the extent of its feature set, is a delicate
>balance between manufacturing costs, user needs and desires, and what the
>market will bear in terms of what users will spend for those features.  

And really, it's the manufacturer's guess as to what that balance should
be.  The marketplace only lets you know by buying (DX7 for instance) or
not buying (examples too numerous to mention) your product.

>If
>you "legislate" a minimum feature set, you will likely see no such products
>marketed, rather than the improved products you desire.

And the typical result in the marketplace is fewer instruments, less
diverse, and at higher cost.  This is *almost* always the case when
there is market regulation.  There are sometimes other factors to
make regulation desirable.

Dennis Pelton
dpelton@nyx.cs.du.edu

Xref: sparky rec.music.makers.synth:1884 rec.music.synth:20389 rec.music.industrial:15492 comp.music:6413
From: nordstro@Informatik.TU-Muenchen.DE (Christian Nordstroem)
Subject: trade rx-11 and looking for sounds
Organization: Technische Universitaet Muenchen, Germany
Date: Fri, 22 Jan 1993 17:05:48 GMT

hi y'all...
 
i have here a Yamaha RX-11 digital Drumcomputer. It has individual
outputs for each instrument, 100 patterns, and big midi-features.
It comes with some cables and footswitch. I'd like to trade with 
somebody for a Roland JX-3p or equivalent analog synthesizer. Also
possible is a nice rack-midi-effectprocessor (make me an offer.)

besides that...i am looking for cool and great Basssounds for the
Yamaha DX-7. Especially for Bass sounds used in the Housemusic.
(remember the "house arrest" by Krush? ---cool punchy bass!) Yea,
that's what i am looking for.
I use Cakewalk Professional on Win3.1 with Soundblaster. So a 
Sysex-Dump may also be fine..or better. On which FTP-Site can i 
get Sounds for the DX-7 and Korg M1 ??


 thanx guys.


 Ringo

nordstro@informatik.tu-muenchen.de Ringo@irc Ringo@Nemesis
Christian Nordstroem  4ward Inc. (R) Computer Consulting
                      Ohlstadter Str.21, 8000 Muenchen 70, Germany
                      Tel: 0049-89-7698666, Fax: 0049-89-7698195
Newsgroups: rec.music.makers.synth
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: Help me ID the CAT thing!
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Fri, 22 Jan 93 17:40:39 GMT

In article <71020002@hpfcmgw.FC.HP.COM>, bobm@hpfcmgw.FC.HP.COM (Bob Montgomery) writes:
|> In rec.music.makers.synth, 
|> fsgab@thelastone.acf-lab.alaska.edu (Grant A Beaugard) writes:
|> 
|> <    A friend of mine recently dug an old synth out of her closet when she  
|> <    heard I was interested in e-music.  She said it's called a CAT  
|> <    something-or-other. 
|> 
|> I have a March 1977 issue of "Contemporary Keyboard" that has an ad for
|> the CAT from Octave Electronics, Inc.  (Unfortunately no picture of the
|> box.)
|> 
|> From the ad:
|> 
|>     "...  If you're wondering what we could possibly offer you for
|>     $599.00 list, read on:  37 note keyboard, 2 oscillators (waveforms
|>     on oscillator 1 - sawtooth, triangle, modulated pulse, sub-octave
|>     square, ALL SIMULTANEOUSLY MIXABLE.  (Not available on many more
|>     expensive synthesizers).  Waveforms on oscillator 2 - square,
|>     sawtooth, sub-octave square, ALL SIMULTANEOUSLY MIXABLE.  (Not
|>     available on many more expensive synthesizers).  An ADSR with repeat
|>     plus an AR generator.  An automatic sample and hold whose output can
|>     be patched to VCO 1, VCO 2, or the VCF.  A 24dB/octave
|>     voltage-controlled low pass filter with adjustable Q that can be
|>     used as a sine wave oscillator.  A VCA that can be modulated by the
|>     ADSR, AR or can be bypassed.  An LFO with a rate of .2Hz to 20Hz.
|>     The Cat can also be easily connected in series with a simple stereo
|>     cable.  (Not available on many more expensive synthesizers).  Plus
|>     much, much more.  ...  "
|> 
|> They make a big point about how it competes with any synthesizer "(that's
|> right, we said ANY synthesizer) under $1700.00 list in the store." :-)  And
|> remember, the waveforms are ALL SIMULTANEOUSLY MIXABLE! :-)
|> 
|> It sounds like a cheap Arp Odyssey competitor.  The Odyssey and
|> Mini-Moog were getting a little dated by 1977, but they were probably
|> still up above $1500 list (any other old folks out there?).  I bought a
|> used Odyssey for $700 or so in 1977 or 1978.  I don't remember if I ever
|> saw a CAT.
|> 
|> Bob Montgomery

I have seen both the CAT and its single osc sibling, the KITTEN (how
original !). These and other synths were made by Octave-Plateau
which later became Voyetra and which is current;y doing quite well
in the IBM PC sequencer market.

The CAT came out much after the Mini and Odyssey and is actually
an analog/digital hybrid since there is some computer control in
it. 
Newsgroups: rec.music.makers.synth
From: billy@irvine.com (*** Bouncer **)
Subject: Re: Cheap Multitimbral
Organization: Irvine Compiler Corp., Irvine, California, USA
Date: Wed, 27 Jan 1993 05:13:18 GMT

>I'm looking for an inexpensive multi-timbral keyboard....any
>suggestions/recommendations....appreciate it...... 

Try Roland's Sound Canvas.  It can be had for just about $500, supports all
16 MIDI chan multi-timbrally, has a good MIDI implementation, plus has built-in
drum samples.  It also has effects such as reverb (I believe a few others too).
Besides, lots of sequences are already configured to playback "correctly"
on the Sound Canvas.  Its LCD display is very compact yet informative.
Although it doesn't provide much in sound creation and programming, it is a
great, compact sample player.
-- billy@irvine.com
From: cdodson@beast.cac.stratus.com (R. Craig Dodson)
Newsgroups: rec.music.makers.synth
Subject: MIDI retrofit for Yamaha CP-35
Date: 21 Jan 1993 16:38:41 GMT
Organization: Stratus Computer Inc, Marlboro MA
Reply-To: cdodson@beast.cac.stratus.com
NNTP-Posting-Host: beast.cac.stratus.com

The subject line says it all. Through some amazing stroke of luck I was
able to pick up a mint condition CP-35 for $200 ! Before the flames start,
I know that this isn't technically a synth. It is however, a very versatile
electric piano with a great wieghted 71 note keyboard. As it's an 
eletronic piano (altough it weighs a ton - just like a Rhodes) it would
seem to be an ideal candidate for some kind of midi retrofit.

So...anyone retrofitted one of these (or any other old pre-midi synth/piano)  
for midi controller use ?  Company names and prices would be most appreciated.

Thanks !

Craig Dodson (Stratus Computer)
cdodson@beast.cac.stratus.com
From: stuartm@spider.co.uk (Stuart MacNeill)
Newsgroups: rec.music.makers.synth
Subject: For sale: Roland R-5
Date: 25 Jan 93 09:42:43 GMT
Distribution: uk
Organization: Spider Systems Limited, Edinburgh, UK

FOR SALE................

  ROLAND R-5 DRUM MACHICE

  - 68 16-bit PCM samples
  - all sounds tunable, with editable decay
  - extra space for user edited sounds
  - 16 velocity sensitive pads
  - real and step time recording
  - 100 patterns, 10 songs
  - "humanizer" features
  - excellent condition, home use only

  Price: #200.00 ono (UK pounds). UK only (sorry). I will pay shipping.
Newsgroups: rec.music.makers.synth,rec.music.synth
From: sdavis@laforge.ksc.nasa.gov (Steve Davis)
Subject: Ensoniq list?  (was: Re: [EMAX II] Who's got one & disk format.)
Organization: NASA
Distribution: rec
Date: Tue, 26 Jan 1993 22:04:13 GMT

(Mike Prudence) writes:
> The Ensoniq owners on the net have a friendly mailing list going,
> complete with their own sample exchange and public domain utilities
> for handling Ensoniq disks on PCs.  They even have a couple of Ensoniq
> employees answering the occasional question for them.

  Really?  That's the first I've heard of an Ensoniq list.  Could someone  
please post the details on joining?

Thanks,

Steve
--
+----------------------------------------------------------------+
| Steve Davis                      | sdavis@laforge.ksc.nasa.gov |
| NASA, DL-DSD-32                  | #include <disclaimer.h>     |
| Kennedy Space Center, FL  32899  | HSSC Mail:  RDAVIS          |
| (407)867-7582  fax:(407)867-2173 | HSSC Phone: 633-5799        |
+----------------------------------------------------------------+
Newsgroups: rec.music.makers.synth
From: zman@athena.mit.edu (Lee Zamir)
Subject: Drum patterns for 01W/FD????
Organization: Massachusetts Institute of Technology
Date: Tue, 26 Jan 1993 20:24:09 GMT

I have a Korg 01W/FD. It has pretty good percussion sounds and a great pattern
sequencer. I was wondering if there are any sources for disks containing good drum
patterns for the 01W/FD. (the main reason being, I can't afford a drum machine)

I have found some ftp sites with drum patterns but they don't map to Korg's drum
layout. Does this mean I have to remap all the drums? If so, what should they
be mapped to?

	You can reply by posting or even better would be to email me at:
		zman@athena.mit.edu

	Thanx In Advance
	- Lee
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers.synth
Subject: Analog question
Date: 20 Jan 1993 21:57:49 GMT
Organization: University of California, San Diego
Distribution: world
NNTP-Posting-Host: sdacs.ucsd.edu
Keywords: Analog, SIEL

Hi net.

I've heard a lot about analog lately.  I'm a newbie to this synthesis stuff.
I've an old SIEL DK600 in slight disrepair in the corner.  I managed to
get schematics for it (a challenge right there...thanks Gene Pikus!), but
haven't dove in to fix it yet.

OK, I admit it; I shorted out the power supply, kerbloomph.

Anyway, is what I've got a valuable analog beast?  I got it for a song
or two, have used it live, and used to love to attain altered states
and twiddle with it (er, I mean: *by* twiddling with it, of course).
Reactions to it laying in the corner of my garage range from "Wow!  Analog!"
to "Get yourself a *real* synth, don't even bother to fix that thing".

Is it worth the hassle to fix it up?
Know anybody who's willing to try in San Diego?
(Most shops laugh at the idea of a SIEL)
What is a good book (or three) to start learning to create my own stuff?

Email is fine, since these are newbie questions.

Thanks

Michael Breen
singing and philosophizing
(and analog)
mbreen@ucsd.edu
From: FELSKE@ERICH.TRIUMF.CA (FELSKE, WAYNE W.)
Newsgroups: rec.music.makers.synth
Subject: Re: JV30 problem?
Date: 28 Jan 1993 18:25:42 GMT
Organization: TRI-UNIVERSITY MESON FACILITY
Distribution: world
NNTP-Posting-Host: erich.triumf.ca
X-News-Reader: VMS NEWS 1.24

 In chalmers.se writes:

> Todd Phillips  writes:
> 
> >Whenever I assign an instrument to parts 2-16 via the front panel, the 
> >instrument in part 1 changes to whatever I just assigned the other part to.
>  
> the problem is probably that your sequencer has 
> a "SOFT-THRU" function, that transmits anything it recieves over MIDI to
> a channel of your choise. It would then recieve the Voice Change Sys-ex
> To cure, turn Soft-Thru off.
>                                                                    
> Viktor
> 

	Another possible cure is to turn off timbre changes.
   Rolands will change the timbre on any part in response to a patch change
 of the parts channel.This can usually be turned off,unless you want to change
 the timbre of a part during a song.
	What I do to avoid it alltogether is use channel one for tha main patch
changes and avoid using channel 1 for individual parts (ie don't use part 1).
This gives you one less channel to use but on any system where your JV is the
main synth it shouldn't make a difference.
	Wayne Felske
	felske@erich.triumf.ca

    
                                  *
From: tarabbia@cenatls.cena.dgac.fr (Patrice Tarabbia)
Subject: What is this worth ?
Originator: tarabbia@ixilu
Organization: Centre d'Etudes de la Navigation Aerienne
Date: Tue, 26 Jan 1993 12:27:21 GMT


I have an old ELKA X50 organ lost within my MIDI setup.
It's a drawbars organ (you know, the kind of B3 copy that's 
been popular recently) with the following features:
 - Leslie simulation
 - distorsion
 - four percussions setup + percussion level pot.
 - key click pot.
 - MIDI in/out (not kidding !)
 - built-in flightcase.

Despite its age it is in pretty good condition.

Does anybody know how much I can ask for that gear ? 
Thanks in advance.
Newsgroups: rec.music.makers.synth
From: billy@irvine.com (*** Bouncer **)
Subject: Re: Mirage
Organization: Irvine Compiler Corp., Irvine, California, USA
Date: Thu, 28 Jan 1993 06:30:13 GMT

> Is there anyway I can format my own disks for an Ensoniq Mirage?
>
>   Awaiting help,
>     George

Certainly, just bootup with one of your Mirage sound disks which doesn't have
the MASOS or any other Mirage-type OS on it (probably any old disks that you've
acquired through a trade or whatever).  You'll know you've booted one of these
disks when after maybe 10 secs after turning the unit on, nothing sounds, but
instead, the display shows FD (format disk).  Just eject that disk, insert the
disk you want to format, and press the button SAVE (or was it ENTER).
  The Mirage will begin to whir and about +2.5 mininutes later, it's done,
ready to format more of them.  Unfortunately, you can't format a disk once
you've already booted up with one of the factory disks (the ones that boot
up and then display 21 on the display -- system-tune parameter).  So don't
do any sampling and expect to save your results without first having on hand
a supply of blank disks.

-- billy@irvine.com
Newsgroups: rec.music.makers.synth
From: drice@ponder.csci.unt.edu (D. Keith Rice)
Subject: Re: Make Sampling Legal...
Organization: University of North Texas
Date: Thu, 21 Jan 1993 05:47:13 GMT

In <C16nJ5.A0r@unix.amherst.edu> ljnelson@unix.amherst.edu (LAiRD j. NeLSoN) writes:

>Karen Silkwood's car (jondr@sco.COM) wrote:

>> false.  a company must fight to "protect" its copyright or lose the right to
>> the name.  this is why if you order a coke in a restaurant that serves
>> pepsi, the server is supposed to ask you "is pepsi OK?"

>Flat wrong.  There is an enormous, immensely significant difference between
>a copyright and a trademark.  When you create something--a work of art, a book,
>a piece of music--it is considered copywritten merely by virtue of your having
>created it.  A trademark, on the other hand, is a mark chosen to distinguish
>your particular product/service from all others of its kind.  Trademarks--
>Pepsi, Coke--have nothing to do with copywritten creations.

>If we're going to argue about this, and it is an interesting thread, let's
>not post unless we have a reasonable idea of what we're talking about.

Amen.

--
_____________________________
__-----____--___--__-----____	D. Keith Rice
__--__--___--__--___--__--___	University of North Texas
__--___--__--_--____--___--__	Department of Computer Science
__--___--__----_____--__--___	Denton, Texas, USA
__--___--__--_--____--_--____
__--__--___--__--___--__--___	drice@ponder.csci.unt.edu
__-----____--___--__--___--__	drice@cs.unt.edu
_____________________________
From: chapman@u.washington.edu (Bruce L. Chapman)
Newsgroups: rec.music.makers.synth
Subject: Re: Defending the Slugs (long)
Date: 27 Jan 1993 01:43:00 GMT
Organization: University of Washington
NNTP-Posting-Host: 128.95.35.14

In article <C1HAv1.LD8@unix.amherst.edu> ljnelson@unix.amherst.edu (LAiRD j.  
NeLSoN) writes:

> [lots of good stuff deleted]
>
> no bearing on this issue.  What I *am* against is musicians and their music
> trying to pass themselves off as something that they just plain aren't.  If,
> hypothetically, I were to record with my quintet and then strut around
> (with my mediocre chops) claiming I was the savior of jazz, the be-all and 
> end-all of that segment of music, the new direction in jazz, people would
> laugh me off the stage and out of whatever studio I walked into next.  On the
> other hand, if I record some quickie house track and use a really weird
> garbled sample and play with my keyboards a whole bunch and then try to  
record
> that, then given the musical climate I'd probably get a hell of a lot more
> respect than I deserved.
> 
> Well, I thought I'd start by clearing this up, and now I've dug myself into
> a deeper hole.  Hope this is of use to *somebody* and the thread in general.
> 

Well, *I* enjoyed reading it :)

Yup, I think you put your finger on the Big Issue: false advertising. Heck, I  
*like* what Madonna does, though I wouldn't call her a musician (IMHO! IMHO!  
Though, if I recall some of her interviews correctly, *she* doesn't think of  
herself as a musician, either). What I really object to is someone trying to  
inflate their reputation by posing as a musician when they aren't willing to  
walk the walk.

> LAiRD
> 
> --
> ljnelson@unix.amherst.edu           |
> ljnelson@amh.amherst.edu            |          The Quintet-essential.
> (413) 542-2932                      |

Bruce Chapman
From: mbreen@sdacs.ucsd.edu (Michael Breen)
Newsgroups: rec.music.makers.synth
Subject: Re: Analog question
Keywords: Analog, SIEL
Date: 23 Jan 93 01:13:15 GMT
Organization: University of California, San Diego
NNTP-Posting-Host: sdacs.ucsd.edu

In article <1993Jan22.080827.12162@lmpsbbs.comm.mot.com> peterc@dub-tse.NoSubdomain.NoDomain (Peter Cassidy) writes:
>In article <1jkhstINNcgc@network.ucsd.edu>, mbreen@sdacs.ucsd.edu (Michael Breen) writes:
>
>|> OK, I admit it; I shorted out the power supply, kerbloomph.
>
>Hey, if you shorted out the supply, things can't be too bad ! Probably just a
>voltage regulator chip or transistor gone!!
>
[deleted his sig; uncool, huh?]

Thanks Peter.
In the interest of heading off some replies, here's the full tale:
Friendly drummer breaks fuse holder off back of SIEL DK600 keyboard.
Ignorant bass player (me) with EE degree uses alligator clips & wire
to short across fuse connections (dumb, dumb, dumb).
Same ignorant dweeb (me) shorts power supply while dicking with kbd.
Resulting sound: "kerbloomph"
Resulting sound: "Gee, I didn't know those little cap.s could smoke so much."

I replaced all the blown transistors, rewired a trace that had peeled off
the power supply ("ps") circuit board, and replaced all other blown components.

With no other boards plugged in, the ps seems to provide all the right
voltages to all the right pins.
Plugging the other boards in shorts the ps's fuses.

Latest suggestion: get to a bench with variable voltage supplies which
are protected and which measure current.  Apply to the other boards,
looking for unusually large current draw.
Fix.

Any other suggestions are humbly requested.

Michael Breen
singing and philosophizing
(and fuse-protected!)
Newsgroups: rec.music.makers.synth
From: ron@vicorp.com (Ron Peterson)
Subject: Blowing a transformer
Organization: V. I. Corporation, Northampton, Massachusetts
Date: Wed, 27 Jan 1993 00:46:29 GMT

  Had an interesting experience a few weekends ago that I thought I'd
relate.  Was playing some music late at night through a Morley
volume/wah pedal and after finishing laying down a track was heading
out for another beer when I heard a POP and saw a flash out of the
corner of my eye.  The odor of fried electronics quickly permeated
the room.  I quickly traced it to the power supply I was using to
power the Morley---its transformer had blown.  The power supply
was a simple straightforward transformer-diodes-filter capacitor
design with no voltage regulator.  The plug connecting it to the
Morley is a 1/8 inch miniature phome plug.  The plug had pulled
part way out thus shorting the power supply.  From there it was a
race to see whether the diodes or the transformer would blow first.

Now this raises a question in my mind:
  What about all those small plug-into-the-wall transformers out there?
Are they all just waiting for someone to step on the cord and short the
output and explode into flame?  Or is there some sort of protection
built into them?
ron@vicorp.com or uunet!vicorp!ron
From: cubase@cs.tut.fi (Pekka Martikainen)
Newsgroups: rec.music.makers.synth
Subject: Re: The Newest Emu synth... McAnalog!!!???!!!
Date: 21 Jan 93 11:42:07
Organization: Tampere University of Technology, Finland
Distribution: world
	<1993Jan20.181314.326@mnemosyne.cs.du.edu>
	<CUBASE.93Jan20221416@kaarne.cs.tut.fi> <1612@b1.babss.UUCP>
NNTP-Posting-Host: kaarne.cs.tut.fi
In-reply-to: quantum@mfci.UUCP's message of 20 Jan 93 23:07:51 GMT

> One thing - I have heard the Sound Source Wavestation sound bank for the 
> TG77. I did a side by side comparison and was amazed at how well the 77
> could duplicate the Wavestation. I don't usually like Sound Source patches
> but this collection was very good.

I agree, but TG-77 in not a pure FM synth. It has filters, samples etc.

> >and soon from Oberheim OB-sx. The most classic string pad source is
> >Jupiter 8.

> I have my eyes on an MKS80! I have an ARP Quadra, but it is too big for the 
> studio.

We are talking about the same synth in a different box.

Pekka Martikainen
Newsgroups: rec.music.makers.synth