HDTenEightyP/NetNews huggingface dataset:
From: jkeczmer@sdcc3.ucsd.edu (John Keczmerski)
Newsgroups: rec.music.makers
Subject: wanted: synth - midi - guitar
Date: 5 Nov 92 10:31:55 GMT
Distribution: usa
Organization: University of California, San Diego

I'm looking for a guitar-synth.  Ideas?  suggestions?  Are there any
still on the market?  The Casio and the Roland synths that I was
thinking of are no longer in production.  

#########################################################          
#  John F. Keczmerski.....jkeczmer@sdcc3.ucsd.edu	#        
#########################################################         
Newsgroups: rec.music.makers
From: milo@cbnews.cb.att.com (guy.f.klose)
Subject: Re: President Bill
Organization: AT&T
Distribution: usa
Date: Tue, 10 Nov 1992 16:35:25 GMT
Keywords: Sax, drugs, rock-n-roll

In article <1dmihoINN32i@hpsdlss3.sdd.hp.com>, gompertz@sdd.hp.com (Ron Gompertz) writes:
> Has anyone heard the Gov blow? Could he quit his day job? Would
> you invite him to solo on your demo? If so, what style?

I study in Boston with a guy who plays bass with the "John Payne Music
Center Saxophone Choir".  On a recent Clinton campaign visit to Boston,
the sax choir was hired as entertainment, and was told that Clinton would
play along with them.  He ended up playing two tunes with them, one of
which was "Amazing Grace".

So, the week after the Clinton visit, I asked my teacher, Bob, what he
thought about Clinton's sax playing.

Bob answered, "well, when he solos, he kind of plays the blues scale
without playing any of the blue notes, if you know what I mean."

I figure that's okay, given that Clinton probably practices about once
a decade, and that he was playing on a borrowed sax.  He may very well
be more of an R&B player than a jazz player.

-- 
Guy Klose
milo@mvuxi.att.com
From: mikeg@Think.COM (Mike Geiser)
Newsgroups: rec.music.makers
Subject: Re: How good (production-quality-wise) do demos have to be?
Date: 6 Nov 1992 18:35:41 GMT
Organization: Thinking Machines Corporation, Cambridge MA, USA
Distribution: usa
NNTP-Posting-Host: custard.think.com

In article <1992Nov2.233627.19736@news.media.mit.edu>, ereidell@media.mit.edu (Evan A. Reidell) writes:
|> 
|> I have all these nightmares that a demo has to be radio-quality,
|> infinitely listenable, perfect audio-production quality.  Are there
|> people out there who have made demos for Real Studios?  Did they work?
|> What is required?  I take it that a great sung melody with chords on a
|> piano isn't enough... or is it?
|> 
|> - evan
It really depends on who the demo will be going to. If you are a songwriter and are sending the demo to a publisher, then a basic demo (melody and chords) is probably good enough. A publisher is looking for a good song, that they will in turn try to pitch to a recording artist, who will then do their own production of the song.

If you are an artist who is sending the demo to a Record Label for consideration, then I think it would be a good idea to have the song sound like a full production, because they will be judging it by the standards that are set by records that are on the radio.

-- 

********************************************************
Michael D. Geiser        Senior Education Specialist
<mikeg@think.com>	Thinking Machines Corporation
617-234-4032	       245 First St. Cambridge MA 02142
********************************************************
From: dml@esl.com (Denis Lynch)
Newsgroups: rec.music.makers
Subject: FOR SALE: Roland EP-7 76-key Electronic Piano
Date: 13 Nov 92 23:06:11 GMT
Distribution: ba

Five voices (piano, electric piano, vibes, pipe organ, strings), nice  
velocity-sensitive keyboard, sustain pedal, power supply (12V for the  
curious).

Stereo sound: built-in speakers, two headphone jacks, mono and stereo line.

Built-in recording feature lets you play over a recorded track in the same or  
different voices.

Fully MIDI capable: 24-note polyphonic, in & out connectors, configurable  
channels, LOCAL OFF function disconnects keyboard & sound generators.

Size & shape are great for portability; mostly-metal case seems quite rugged.

Almost brand new -- perfect condition. List $1100. Asking $700.

Denis Lynch
(W) 408.743.6318
(H) 408.246.1947
Newsgroups: rec.music.makers
From: neale@cc1.unt.edu (Eriq Oliver Neale, ACS)
Subject: Re: ASIA Touring?
Organization: Computing Center, UNT
Date: Thu, 5 Nov 1992 13:49:59 GMT

In article <neale.45.720970995@cc1.unt.edu> neale@cc1.unt.edu (Eriq Oliver Neale, ACS) writes:
>Newsgroups: rec.music.makers
>I thought I saw a week or so ago a post about ASIA touring in Europe. 

Ooops. hahahahaha. Shows what happens when one tries to use the "nifty 
features" of one's newsreader instead of relying on the "tried-and-true" 
method of selecting the correct newsgroup to post to. Apologies.

-Q


 Eriq O. Neale                              BITNET : LIPS@UNTVAX
 Lab/Network Manager                      Internet : neale@unt.edu
 Academic Computing Services                   FAX : (817) 565-4060
 University of North Texas                 Ma Bell : (817) 565-2324
"If I got paid for what I say, I'd either be very rich, or very quiet!"
                                              finger @lipsmac.acs.unt.edu
Newsgroups: rec.music.makers
Subject: Ryuichi Sakamoto
From: gvacano@eagle.wesleyan.edu
Date: 12 Nov 92 11:57:34 EST
Organization: Wesleyan University

Hello--

	I'm thinking of buying a Ryuichi Sakamoto CD, but I know very little
about his music. Does anyone have any information about it?

Thanks, G

Newsgroups: rec.music.makers,rec.audio.pro
From: g_house@goes11.enet.dec.com (Greg House)
Subject: Furman PB40 wanted
Reply-To: g_house@goes11.enet.dec.com (Greg House)
Organization: Digital Equipment Corporation, Colorado Springs CO
Date: Thu, 12 Nov 1992 19:35:21 GMT


The title about says it all.  I'm looking for a good used Furman PB-40
patchbay.  If anyone has one, please drop me a line.

Greg 
g_house@goes11.enet.dec.com
Xref: sparky rec.music.makers:10930 rec.music.makers.guitar:92
From: kimple@vax.muskingum.edu
Newsgroups: rec.music.makers,rec.music.makers.guitar
Subject: Re: 10" vs 12" speakers
Date: 12 Nov 92 17:42:26 GMT
Organization: Muskingum College

In article <BxKCIo.Lt5@hfglobe.intel.com>, dcovell@hfglobe.intel.com (David Covell) writes:
> 
> Has anyone done any serious comparison of 10's vs 12's driven by the same
> amp? I'd expect less bass response from the 10's, but is there also a brighter
> tone? I hear a lot of difference between the stock 10's in my Super Reverb
> and the 12" EV in my MKIV and the 12" JBL K120's in my Twin, but I don't
> know how much of this is attributable to the difference in cone size.
> The big voice coils, large magnets and heavier cone paper of the EV and JBL
> may be a big factor. 
> A better comparison would be between stock Fender 10's and stock Fender 12's
> so that the coils, magnets and paper are similar. Has anyone done this?
> I ask because I'd like to get the lively, bright tone of the Super at low
> volume out of the MKIV. If the 10's are responsible for the difference I'll
> buy an old Fender 2x10 cab and put a cut-down plywood back on to approximate theopen-back sound I like.
> 


I'm also interested in this thread, tho for a different reason. I like the 
sound thatI'm getting with 12" Celestions in 2-12 cabs,  but have several
2-10" cabs and am getting a pair of 1-10" cabs, and would like to use these
instead. Would say. 50W Celestions in a closed back cab give me close
to the soulnd I'm  getting now with the 65W 12" Celestions?

jd
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Leslie speaker questions
Date: 11 Nov 92 01:38:49 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <1992Nov6.021732.17019@wisper.com> dowd@wisper.com
(Kevin Dowd) writes:

>My model 122 has 2 sets of motors--two small and two large--for changing
>from the chorale to the tremelo.  The small motors have something of a
>magnetic clutch that pull them into position when turned on.  The large 
>motors are belt driven.  You can change the speed of the upper rotor
>by choosing from among three grooves in the pulley (you couldn't do
>this on the fly, of course).   I guess you could put a motor speed control
>on the large motors.... but why?

(in response to micing the Leslie tone cabinet)

>I quote from the Leslie Organ Speaker "Pipe Voice of the Organ" manual:
>"The microphone should be placed ten to fifteen feet away from the 
>Leslie.  For a smooth tremulant, adjust the microphone height so that it
>is either above or below the speaker louvres in the cabinet."

I won't contradict the Leslie manual... :-)  But  The reasoning is
based on one mic to pich up both the top and bottom rotor as well as
minimise the pick up of motor noise.

I perfer to  mic the tone cabinet, up close (about 1-2') and a seperate mic
on the top and bottom rotors.  Depending on the shape and configuration of
the cabinet you need to watch for wind from the rotors.

I also think that the Lesile tone cabinet should be positioned _near_
but not into a corner.  This alows the sound that is emitted from the
soeaker in it's 360 drgree revolution,  to contribute to the sound as
a whole,  that is unless you are looking only for the doppler effect
that comes from one side of the device.....

Sure you get in close and pick up motor noise but you also get a
louder sound from the speaker.
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I *AM* only human.
Newsgroups: rec.music.makers,rec.music.synth,news.groups,news.admin
From: dave@jato.jpl.nasa.gov (Dave Hayes)
Subject: Re: *BAD* music group reorg will not be honored 
Reply-To: dave@jato.jpl.nasa.gov
Organization: Jet Propulsion Lab - Pasadena, CA
Distribution: usa
Date: Tue, 10 Nov 1992 00:46:34 GMT

pwh@bradley.bradley.edu (Pete Hartman) writes:
>J. Random Cop would say "ignorance of the law is no excuse".  By the
>same token, "ignorance of the guidelines is no excuse".  Deal with it
>already.

Again this elitist attitude. I sure will deal with it...but not like 
you expect. 

>THE NAME CHANGE DOES NOT ROB ANYONE OF ACCESS.  STUBBORN IDIOTS
>WHO CAN'T BE BOTHERED TO PAY ATTENTION TO THE NAME CHANGE ARE
>ROBBING PEOPLE OF ACCESS IF *ANYONE* IS.

The fact of the name change is destroying the group. I didn't have to 
say anything for this to occur. The rumblings and unsubscribings were
happening before *I* got into this. By changing the name you are alienating
users away from the group. This is counter-productive and elitist. 

Does it sink in yet?
-- 
Dave Hayes - Network & Communications Engineering - JPL / NASA - Pasadena CA
dave@elxr.jpl.nasa.gov       dave@jato.jpl.nasa.gov         ...usc!elroy!dxh

From your first day at school you are cut off from life to make theories
Newsgroups: rec.music.makers,rec.music.synth,news.groups,news.admin
From: dave@jato.jpl.nasa.gov (Dave Hayes)
Subject: Re: *BAD* music group reorg will not be honored 
Reply-To: dave@jato.jpl.nasa.gov
Organization: Jet Propulsion Lab - Pasadena, CA
Date: Mon, 9 Nov 1992 08:45:10 GMT

cuz@chaos.cs.brandeis.edu (Cousin It) writes:
>	Yes. It is absolutely good practice. If you can't bother to
>look at CFVs and CFDs posted in a group that you read, tough. It's
>your fault.

I don't buy that for a second. If you'd have looked at the subject line,
being a random r.m.s reader, you'd have thought the subject a crosspost
of no relavence (and it's not like that doesn't happen all the time). 

I refuse to buy the "tough it's your fault" attitude at all. Again,
silence as an implied vote is a good tool for political control by
the few. 

>wants to fully take advantage of it should keep abreast of the
>guidelines of the net. if they can't, thats thier problem, not ours.

"Ours", eh? So there is a distinction between those who make the decisions
and those who do not? A class system on USENET? *Very* interesting...

>	And you're showing your lack of suspect towards simple
>netequitte. If one can't stay involved with all the going ons of news
>group creations, don't, but don't whine to us later.

"Etiquitte" implies a sensitivity towards another human being. Apparently
you are implying "netiquette" is the inverse. 

Again, for the public record, just how sensitive are you to the
ignorant r.m.s reader who had no idea that he or she could change the 
plans of people who do not use the group to change its name and rob him 
or her of access? Could you say "tough it's their fault" again?

>subject line didn't say anything about the renaming of alt.guitar in
>it either. Obviously the people in these groups know about newsgroup
>creation, CFDs and CFVs. 

I would assume that they are either more ignorant, or they are aware
of people out there who will not rmgroup an alt group. 

>found them to be ambigous in any way shape or form. I still don't.

Just because YOU don't doesn't mean others DO or should be expected to.

>Since it seems you are the only one complaining here, I think you
>should just drop it.

I'm not. I am building a list of people opposed to the name change. 
Would you like to see it?

>Unless you want to go into the anals of net
>history with the likes of Kent Paul Dolan and Alok Viajaria. 

Go ahead...make my day. 8-) Anyone with the guts to stand up in the face
of such insane lack of consideration for others is bound to be rewritten
as infamous by the net.historians. I have no proof of the former people's
insurgence other then a consensus opinion.
-- 
Dave Hayes - Network & Communications Engineering - JPL / NASA - Pasadena CA
dave@elxr.jpl.nasa.gov       dave@jato.jpl.nasa.gov         ...usc!elroy!dxh

   Knowledge is something you can use. Belief is something that uses you.
From: aarondo@deeptht.armory.com (Aaron Seeman)
Newsgroups: rec.music.makers
Subject: Mixer, Speaker for sale
Date: 8 Nov 92 21:18:38 GMT
Distribution: ba
Organization: The Armory

Six Channel Traynor Mixer. Mono. $125.

Speaker, four cones, $75.

email to: aarondo@deeptht.armory.com

Call: (408) 426-9514
Xref: sparky rec.music.makers:10769 rec.music.synth:17879 news.groups:20525 news.admin:8330
From: jbuck@forney.berkeley.edu (Joe Buck)
Newsgroups: rec.music.makers,rec.music.synth,news.groups,news.admin
Subject: Re: *BAD* music group reorg will not be honored
Date: 7 Nov 92 04:39:33 GMT
Article-I.D.: agate.1dfha5INN3hq
Distribution: usa
Organization: U. C. Berkeley
NNTP-Posting-Host: forney.berkeley.edu

In article <1992Nov5.133201.25067@resonex.com> michael@resonex.com (Michael Bryan) writes:
>Good for the transition period, but *please* remove the old group completely
>when it's time has come.  That prevents people from posting to the old
>group altogether.  Carrying around all old groups as aliases is far too
>much baggage.

This is really kind of funny, since news.admin is not supposed to exist
anymore (it has been replaced, by official Usenet vote, by
news.admin.misc, news.admin.policy, and news.admin.technical).  Most
sites haven't deleted the old one yet because there is still a lot of
traffic.  Please use the new groups and junk the old ones.





--
Joe Buck	jbuck@ohm.berkeley.edu
Newsgroups: rec.music.makers,rec.music.synth,news.groups
From: igb@fulcrum.co.uk (Ian G Batten)
Subject: Re: r.m.makers reorg -- access problems
Organization: Fulcrum Communications
Date: Thu, 12 Nov 1992 09:44:51 GMT

In article <1dr9b3INNcgn@usenet.INS.CWRU.Edu> fau@po.CWRU.Edu (Francis A. Uy) writes:
> The name change has robbed at least one person
>  of access.  jrossi, who I wrote about in a
>  previous article ("victim of r.m.m needs help"),
>  is not able to switch over to r.m.m.synth
>  because he has been getting r.m.synth sent to
>  him by a daemon.  No one at the sending site
>  knows anything about it + thus can't change it.

By this logic, we can never rename anything.  Ever.  Bring back
mod.sources, I say.

ian
Newsgroups: rec.music.makers
From: ljnelson@unix.amherst.edu (Laird Nelson)
Subject: Re: *BAD* music group reorg will not be honored
Organization: a Fork in the Road
X-Newsreader: TIN [version 1.1 PL6]
Date: Tue, 10 Nov 1992 23:13:41 GMT

Jay Maynard (jmaynard@oac.hsc.uth.tmc.edu) wrote:

> The way for the net to get out of this dilemma is for Dave Hayes to quit
> stirring the pot.

And for us to completely, wholeheartedly and blatantly ignore him.

LAiRD

--
ljnelson@unix.amherst.edu           |
ljnelson@amh.amherst.edu            |          The Quintet-essential.
(413) 542-2932                      |
Newsgroups: rec.music.makers
From: fields@zip.eecs.umich.edu (Matthew Fields)
Subject: Re: Additive synthesis
Organization: University of Michigan EECS Dept., Ann Arbor
Date: Thu, 5 Nov 1992 20:31:08 GMT

Please note that I've taken REC.MUSIC.COMPOSE off of the newsgroup line here.
The synthesis people will probably be better able to help you than I will,
but I offer my humble start anyhow.

In article <1dbmt6INN9i1@agate.berkeley.edu> maverick@fir.CS.Berkeley.EDU (Vance Maverick) writes:
>In article <1992Nov4.210830.9004@seas.gwu.edu>, won@seas.gwu.edu (Won Lee) writes:
>|> What is the difference between metal sound and wood or plastic sound ?
>|> When I implement(Making AIFF file) these souds, do you have any hint?
>
>Unhelpful answer: your shortest path to convincing
>wood and metal sounds will be recording.  Check
>recent Computer Music Journal, ICMC proceedings, etc.
>for advances in imitative synthesis.
>
>Good luck,
>	Vance


Uh, try playing with longer decay time for metal,
stronger tenth partial for wood, and listen to the plastic of your choice.

However, if you are talking about metal, wooden, and plastic flutes, the
intrinsic differences are very subtle, unless the bores are of substantially
different diameters and shapes, in which case you could either assume total
elasticity of the inner surfaces and calculate the effect of different shapes
on resonance, or you'd do better to e.g. get some recordings of Robert
Willoughby demonstrating the various instruments.

If we're talking about the difference between wooden, metal, and
plastic violins, the material itself may be pertainant, although I've
really never seen non-wooden violins.  Plywood violins loose enormous 
amounts of energy at the boundaries between the different layers of
wood.  Fine, professional violins have about 12 different parts that have
been tuned like marimba bars, most prominently featuring parts tuned
to d, e, and a...

If you're seriously interested in studying musical acoustics from an
engineering perspective, you should seriously consider spending time at
the Center for Computer Research in Music and Acoustics at Stanford University
in Palo Alto, California.  The flyer for their summer programs should be
available at the music department of your school.

Matt
From: daveh@Auspex.COM (David Higgen)
Newsgroups: rec.music.makers
Subject: Re: *BAD* music group reorg will not be honored
Date: 9 Nov 92 22:01:26 GMT

In article <7768@lib.tmc.edu>, jmaynard@oac.hsc.uth.tmc.edu (Jay Maynard) writes:
> In article <1992Nov6.183102.22331@jato.jpl.nasa.gov> dave@jato.jpl.nasa.gov writes:
> >You can't prove that this consensus of a small number of people represents 
> >the will of the entire readership of the net. Proof by correct politics 
> >is not a proof at all. 
> 
> There is no other valid assumption. We have no expressed opinion from others.

OK, here's one. I think the whole reorg was entirely pointless.
There wasn't enough traffic on rec.music.makers to justify a split into
several groups. And the .synth namechange seems a classic exercise in fixing 
something that ain't busted.

I like (sigh, liked) the fact that .music.makers itself was NOT split along
instrument lines, it makes for a more interesting mix.

I notice that there's a maximum of 2 messages so far at our site in any of 
the new rec.music.makers.* groups. 
I wouldn't be surprised to see them wither and die on the vine.

I can't say my vote wasn't counted. I voted the straight NO ticket, and I
did appear in the lists. But call for another vote & I'll vote to put things
back as they were.


			Dave Higgen (daveh@auspex.com)
Newsgroups: rec.music.makers,rec.music.synth,news.groups
From: dave@jato.jpl.nasa.gov (Dave Hayes)
Subject: Re: *BAD* music group reorg will not be honored
Reply-To: dave@jato.jpl.nasa.gov
Organization: Jet Propulsion Lab - Pasadena, CA
Date: Mon, 9 Nov 1992 11:04:16 GMT

dave@bradley.bradley.edu (David Vessell) writes:
>Either propose a method of making the process fair, or please just drop
>this fool argument. 

Fair enough. I intend to. Right now, the important thing is to save r.m.s.
I intend (no matter what the outcome) to do what I have to do to get the
Guidelines changed in a number of ways. 

As long as my ideas aren't shot down out of spite or without a replacement,
I'll continue to provide any and all that I can. 

>first time I've seen where a properly executed vote was protested over this

I don't think it was properly announced. But, that criterion is conspicuously
absent from the Guidelines. So, unless you are supporting the letter of the
law and not the spirit, I would argue for a revote. (And I'd better not
do the revote either...lest the flamewars get that much more intense)

>Then why did you bring it up in the first place, if not to claim some sort
>of vote fraud?  

Look, I *knew* that changing the name of r.m.s was a bad idea not supported
by the constituents. I had also seen posts that said "I sent my vote in and
it wasn't counted". I have email from several people saying the same thing. 
What I have since realized was that there is no way to prove that those
votes got to the mailbox and weren't counted (yet another issue I am going
to address in the Guidelines if I can figure out a way).

So I dropped it. 

>And you are saying that this is adequate grounds to completely scrap a
>perfectly valid vote?

Yes. The voter turnout was skewed. 

>I see nothing technical here.  He's asking you to post this e-mail you've
>received to prove that people have e-mailed you about this.

I will if there is sufficient demand.

>1. No Usenet guidelines were violated.

So?

>2. The requests for discussion and the call for votes WERE posted to
>   rec.music.synth.  How clear that was is still open to debate.

That is the point.

>As far as I can see, your only recourse is this:  follow the guidelines and
>have another vote to change the name back. 

A straw man at best. That rmgroup goes out and the damage is done.
-- 
Dave Hayes - Network & Communications Engineering - JPL / NASA - Pasadena CA
dave@elxr.jpl.nasa.gov       dave@jato.jpl.nasa.gov         ...usc!elroy!dxh

Two men came before Nasrudin. The first man said, "This man bit my ear -- I 
demand compensation."  The other said, "He bit it himself."  Nasrudin withdrew 
to his chambers, and spent an hour trying to bite his own ear.  He succeeded
only in falling over and bruising his forehead.  Returning, Nasrudin pronounced, 
"Examine the man whose ear was bitten. If his forehead is bruised, the case is 
Newsgroups: rec.music.makers
From: irmurray@math.uwaterloo.ca (Ian Murray)
Subject: Ibanez Artist series, Gibson Ripper
Organization: University of Waterloo
Distribution: na
Date: Tue, 10 Nov 1992 14:34:51 GMT

Hey...

Anyone care to comment on the Artist series of Ibanez guitars?

I'm also looking for any information on the Gibson Ripper (bass).

Thanks in advance, Ian.

-- 
-------------------------------------------------------------------------------
Ian Murray                    | Overweight gypsies lack
Dept. of Applied Math., U.W.  | colour denomination   
irmurray@math.waterloo.edu    | and goggles.             -- the Tribe of Scribe
Newsgroups: rec.music.makers