HDTenEightyP/NetNews huggingface dataset:
From: stevela@csulb.edu (Steve La)
Subject: Re: FORSALE: MIDI Keyboards, Roland CM-32L, and more
Organization: Cal State Long Beach
Distribution: usa
Date: Fri, 22 Jan 1993 01:22:39 GMT

Music gear for sale:

   * Roland CM-32L sound module..............................$ 350
     - Multi Timbral MT-32 compatible
     - can produce up to 32 voices at the same time
     - 128 different instrument sounds
     - 30 rhythm sounds, 33 sound effects
     - digital reverb
     - MIDI in/out/thru, AC adapter jack
     - compatible to all games that suuport Roland Sound module
     - manual

   * Roland PC-100 MIDI keyboard controller..................$  80
     - 49 keys
     - AC or Battery operated
     - manual & box

   * Roland MPU-103 MIDI converter/filter box................$  40
     - convert/filter any 16 midi channels
     - MIDI in/out/thru, AC adapter jack

   * Casio HT-3000 MIDI Keyboard.............................$ 250
     - 61 keys, features 3 keyboard split point
     - MIDI in/out/thru, Tuning control, Output jacks (L/R),
       Foot volume jack, AC adapter jack, headphone jack,
       sustain jack, tempo/entry dial
     - RAM card slot
     - 2 built-in speaker
     - Pitch bend wheel, Modulation wheel/button
     - lots of built-in sounds (drums too), edit preset sounds,
       or create your own original sounds
     - built-in pattern memory (bass, hythm, chords)
     - manual

   * Casio TB-1 MIDI Thru Box................................$  70
     - 2 MIDI IN
     - 8 MIDI THRU
     - operate under batteries or AC adapter
     - manual

   * Crumar Keyboard Stand...................................$  40

   * Fender Squier-15 Guitar Amp.............................$  75

   All equipment are in perfect condition.  Buyer pays shipping.

   -Steve
From: cs92bbm@brunel.ac.uk (Noaksie)
Newsgroups: comp.music
Subject: Re: Roland TB-303 and MIDI
Date: 22 Jan 93 10:06:19 GMT
Reply-To: cs92bbm@brunel.ac.uk
Organization: Noaksie's Bass Plum Control Factor



     ________________________________________    ____________________________
    /                                        )  /            ____            )
   /  frequency defector   pattern avenger  /  /  /\    )  /(    )  /\   )  /
  /  ------------------------------------  /  /  /  \  /  /  \  /  /  \ /  /
 /  noaksie cs92bbm@brunel.ac.uk hx-pro   /  /  (____)/  (    \/  (    )  /
(                                        (  (____________________________/
 \
  )  You will probably need to get a Midi converter for it - I know
 /   Kenton Electronics in London, England do a good one - basically
(    it completely midi's up the 303 - ie control the vcf and slides
 \   from midi too! (Some may argue this takes away some of the 303's
  )  charm).
 /
(    If you cannot do this (or are prepared to use the internal sequencer,
 \   I am sure there must be some documentation (write to Roland) on
  )  the sync input specification - then get an electronics chap, or
 /   yourself, to wire it appropriately into the midi clock data (I
(    expect this could be a bit complex!).
 \
  )  Ben.
 /
(__________________________________________________________________________/
Newsgroups: comp.music
From: aaron@eecs.nwu.edu (Aaron Feigelson)
Subject: MIDI and Powerbook..Faq?
Organization: EECS Department, Northwestern University, Evanston, Il., USA
Date: Wed, 27 Jan 1993 05:53:12 GMT

I was certain this subject would have gotten a lot of play, seeing
as the nasty relationship between the Mac Powerbooks and MIDI is
fairly well known..
  but.. in a search of all the music and Mac groups on the net, I
can't find anything.  Is there a FAQ that I'm missing?  If not,
can someone fill me in on how to successfully hook my MIDI Keyboard
and interface to PB160 in order to use Trax and Finale?

Thanks in advance,

aaron
Newsgroups: comp.music
From: shiv@bnr.ca (Shiv Naimpally)
Subject: Re: SCSI Drives?
Reply-To: shiv@bnr.ca (Shiv Naimpally)
Organization: Bell-Northern Research Ltd.
Date: Mon, 25 Jan 93 15:18:03 GMT

In article <1993Jan24.090509.3570@ncsu.edu>, doogie@garfield.catt.ncsu.edu (Jeff House) writes:
|> 
|> 
|> I am doing some sampling with my sound card, which has a SCSI interface.
|> 
|> Would it be simple to connect a SCSI drive to the card, and use it for
|> sampling as well as for the rest of my machine?
|> 
|> How does SCSI work?
|> 
|> How much would, say, a 200 MB SCSI drive run?

SCSI stands for Small Computer Systems Interface and is pronounced
'scuzzy'. SCSI is a spec for storage devices. You can daisy chain
up to 8 devices in a SCSI chain. Each end of the chain requires a
SCSI terminator. It is a high speed interface which is why samplers
are now using it instead of MIDI for sampler transfers.

It is fairly simple to hook up a SCSI device. You need the device
and a cable and you may need a SCSI terminator if the device is
not internally terminated. 

Prices for drives keep dropping all the time. 200Mbytes will be
less than $1000, probably $600-700. Check the ads in Computer Shopper,
MacWorld, MacUser, etc. for current prices.
Newsgroups: comp.music
From: barham@medtronic.COM (Bill Barham)
Subject: The Miracle Piano Teaching System
Reply-To: barham@medtronic.COM
Organization: Medtronic, Inc.
Date: Tue, 26 Jan 1993 23:44:08 GMT

I would like to hear comments about the Miracle Piano Teaching System which
attaches to a PC.  You can post or email your replys.

Thanks,
Bill Barham      Medtronic Micro-Rel, CAE/CAD Support  602-921-6439
                 email  barham@urel.medtronic.com


Newsgroups: comp.music
From: tou@gel.ulaval.ca (Jean Toussaint)
Newsgroups: comp.music
Subject: Help wanted installing Winjammer
Keywords: winjammer
Date: 25 Jan 93 16:15:08 GMT
Reply-To: tou@gel.ulaval.ca
Organization: Dept. Genie Electrique, Universite Laval

I want to know if it is possible to install Winjammer on my computer.

I have a 80286 (AT compatible) computer with 640k bytes of memory and a 40M hard disk.
It seems that I cannot install Windows 3.1 on it because I don't have enough memory.
I can extend my memory to 1M (512k of conventionnel memory + 512k of extended memory)
but not more.

Is it enough ?
How much Winjammer needs memory to work ?
Is someone already has this problem ? How do you resolve it ?


						Thank you

						Jean Toussaint
Newsgroups: comp.music
From: etxrene@eua.ericsson.se (Rene Peeren)
Subject: Re: Sampling and Session Musicians (was Re: Ca
Reply-To: etxrene@eua.ericsson.se
Organization: Ellemtel Telecom Systems Labs, Stockholm, Sweden
Date: Wed, 27 Jan 1993 12:43:29 GMT

In article 9301232034@csparc12.scs.leeds.ac.uk, ross-c@scs.leeds.ac.uk () writes:
> One thing that people seem to have missed is that sampling has the potential
> to revolutionise the way some of us think about session musicians. Already
> there are sample CDs available (e.g. Dave Ruffy's Dance etc, Zero-G Funk
> Guitar) which have a large number of performances by the musician ready
> for sampling and inclusion in your own music.
> 
> It looks to me that if this spreads the consequences are important
> 
> (1) Even amateurs will be able to legally include performances by top
> musicians in their recordings. Higher quality recordings 

Just what we want... So we all become session-musicians.

> 
> (2) If studios and other professionals lean towards this, the demand for
> quality studio musicians will drop.
> 

If that would be the case, then my (and many other's) dream has come true:
MUSIC FOR EVERYONE TO MAKE.
There will always be people that are better than others, and they will always
get payed for playing in pubs, on records or whereever.

> (3) It's bad enough that many records have almost the same riffs etc on them
> now. If session musician sample CDs spread, it's going to be more so.
> 

And if this is so, then my dream got sour again. Music is only music when you
use your creativity. We all use the same 24 notes, but boy, the combinations you
can make with them! So now we have so many sounds we can combine. And gone is
the frustration because your recordings never even comes close to
that CD of your favourite band (I'm obviously an amateur).

Beside all this, there are loads of wave-editors, multi-effect processors etc on
the market. With these, you can make a crying baby sound like a low-beating drum,
or vica versa. So I would predict an explosion of new sounds, rather than hearing the
same sounds over and again. Creativity has no limits and cannot be surpressed!

Rene (dedicated musician as a life-style. Just have a look at my beloved 4track and
	12 bit max 0.5 second at 40Khz sampler!).
From: slineham@axion.bt.co.uk (Steve Lineham)
Newsgroups: comp.music
Subject: Re: Weighted keys
Date: 27 Jan 93 12:13:18 GMT
Reply-To: slineham@axion.bt.co.uk (Steve Lineham)
Distribution: comp
Organization: British Telecom Research Labs


In article <SSURHODE.93Jan25113214@sssscsc1.susssys1.rdg.ac.uk>, ssurhode@susssys1.rdg.ac.uk (Paul Rhodes) writes:
|> Okay. After talking with some people, I've found out I was asking the
|> wrong question. I should actually be asking about weighted keyboards
|> and not actually hammered keyboards. 
|> 
|> The only weighted keyboard I've actually seen is the Roland A30, which
|> retails for 500 pounds in the UK. What are the opinions of this beast
|> ? Are there any other keyboards about, around the same price (or
|> cheaper!)
|> 
|> thanks in advance.
|> 
|> Paul Rhodes

My requirements are for a keyboard that feels as much like a piano as
possible. A knowledgeable friend of mine recommended the Fatar Studio 90
keyboard, 88 keys, fully weighted. Its a dummy/motherkeyboard so it has no
sounds, so a seperate sound module is needed. The keyboard cost 499 pounds
before Christmas but now costs 599 pounds. If it had not been for the price
increase I would have had one to play with by now :(.

   -----------------------------------------------------------------------
  | Steve Lineham                       Email: s.lineham@axion.bt.co.uk   |
  | BT Development & Procurement                                          |
  | Software Technology Division, Maintenance Section                     |
  | Room G44, SSTF, BT Labs,                            Fax: (0473) 643019|
  | Martlesham Heath, Ipswich, Suffolk IP5 7RE, UK.     Tel: (0473) 642615|
   -----------------------------------------------------------------------
Newsgroups: comp.music
From: tapas@esri.com (Tapas Das)
Subject: Re: Winter NAMM 1983
Organization: Environmental Systems Research Institute
Date: Thu, 21 Jan 1993 21:34:39 GMT



In article <1jkse9INN4r1@fido.asd.sgi.com>  Gints Klimanis writes:

>
Thanks for the brief review of NAMM gear.  What makes Sony's units the
best in the industry?   I hope you're not simply counting the # of bits
in the processing.  Bit count does not accurately imply quality of
signal processing algorithms.
>

Yes, this is very true.  An 18-bit system with a bad algorithm
will sound worse than a 16-bit system with a carefully programmed
algorithm. 

However an 18-bit system with 32 bit internal processing 
and 40Khz sampling frequency has the *potential* of sounding
smoother and cleaner than a 16-bit system with 24 bit internal
processing and 32Khz sampling rate.

I personally compared the Sony R7 reverb with the 
Lexicon PCM70, Ensoniq DP/4, Yamaha SPX1000, Korg A1, and Roland RSP550.

My budget was $2000, and all these units were well under $2000 (street
prices).

Street prices on the PCM70 is $1700, the most expensive of the lot.
It is 16-bit, mono in, stereo out reverb. A true 
classic by all means.  Has been out for 5 years...long before
the others even hit the market.

However, it did not match up to the Sony R7.  The stereo-in, stereo-out
reverb on the Sony clearly presents a better stereo perspective.
   
The D4/P, SPX1000, A1, and RSP550 are also stereo processors and sound
spectacular, but again their reverbs pale in comparison to the Sony R7.

I have been using the R7 for about 2 months. Keyboard came up 
with a review on multieffects recently and basically confirmed
my findings.

For fairness sake, let me point out that all these units except the R7
are multi effects.  The R7 is a dedicated reverb...does nothing else.

If you take a dry string sample on the O1/W and pass it through
the R7, it will sound sweeter than any of the other units with
reverb turned on *alone*.

However, take the PCM70, add in a little delay with the reverb,
add in a little chorus, and the combined multieffectis chain, will
boot out the R7 reverb only sound.

Then again, pass the dry O1/W string patch through the 
Sony D7 (delay), Sony M7 (chorus) and Sony R7 (reverb), and     
this will boot out all the other multieffects.

Once again, this is an unfair comparison.  The 3 Sonys will
cost you $4000.  You can get the DP/4 for $1000 (street price).

I shouldnt have said the R7 is the *best* in the industry.
I apologize.

If you have the budget I will recommend to audition the 
Lexicon 300 or Lexicon 480.

Hope this helps!

BTW, I asked the Lexicon rep at the NAMM show how the PCM70 compared
to the Sony R7.  He told me he never heard of such a unit.  And the 
Sony booth was just a few feet away!  Wake up you marketting folks.

Cheers!

Tapas
tdas@esri.com
Via: uk.ac.leeds.scs; Sat, 23 Jan 1993 20:22:42 +0000
Distribution: world
X-News-Gateway: NewsGateway@phaze.UUCP (NewsGateway 1.0 by Pierre Rioux)
Date: Sat, 23 Jan 93 20:24:18 GMT
Newsgroups: comp.music
Organization: The University of Leeds, School of Computer Studies
From: ross-c@scs.leeds.ac.uk
To: usenet@phaze.cam.org
Cc: 
Subject: Re: E-mu's Vintage Keys

Somebody wrote (I accidently deleted the name)
>Has anyone heard a demo or have any information on E-mu's new
>sample-playback machine, Vintage Keys?

The free CD with this month's Future Music includes the demo. It's a snappy
little tune, but I am not overwhelmed by what I heard. It can make analogue
style sounds for sure, but I will want to hear the machine before passing
much judgement.

Cheers,

Ross-c
Newsgroups: comp.music
From: dan@research.nj.nec.com (Dan Ruderman)
Subject: Wanted - computer music algorithms
Originator: dan@benway
Organization: NEC Research Institute
Distribution: usa
Date: Tue, 26 Jan 93 00:59:30 GMT


I'm looking for algorithms for music effect boxes.  For instance 
I'd like to imitate a harmonizer and a distortion box.  Is there
a set of general lore on this topic?


Thanks,
Dan Ruderman



Newsgroups: comp.music
From: amd@mail.ast.cam.ac.uk (Andrew Dunn)
Subject: Re: Finale PostScript output -> Unix Postscript
Reply-To: amd@mail.ast.cam.ac.uk
Organization: Institute of Astronomy, Cambridge
Date: Sat, 23 Jan 1993 14:17:31 GMT


I haven't tried this particular combination of software, but printing
Macintosh generated postscript files on a Unix network is quite a
common problem. Have you tried using macps written by Edward Moy? This
adds a copy of Apple's LaserPrep macros to your postscript file before
it gets to the printer. On the Mac, this is normally handled by the
System which down loads a resident copy of LaserPrep to the Laserwriter the
first time you print a file. I imagine that you would still need the 
`include fonts with listing' option in Finale, but not epsf output. 

macps is available from most of the major anonymous ftp sites such as
wuarchive.wustl.edu .

The following is an extract from its readme file.

- - - - - - - - - - - - - - - - - - - -
WHAT IS MACPS?

Macps is a Unix program that takes an uploaded PostScript file created
on a Macintosh (see macps.1 for more details) and includes an
appropriately modified LaserPrep file so that the result can be sent to
a PostScript printer from Unix.  The LaserPrep file contains macros
used by the PostScript generator on the Macintosh.

- - - - - - - - - - - - - - - - - - - -
_________________________________________________________
  _____              ___     |  
/_____ /           /___/\    |  Andrew Dunn
|_   _|/    ___   / __ \ \   |  Institute of Astronomy
  | ||    /___/\ / /|_\ \/   |  Cambridge, U.K.
  | ||   /    \/ | |__| ||   |  CB3 0HA
 _| ||__ | /\ || |  __  ||   |  
/_| |/_/ | \/ |/ | || | ||   |  
|_____|/ \____/  |_|/ |_|/   |  amd@mail.ast.cam.ac.uk
From: au462@cleveland.Freenet.Edu (Robert Drake)
Newsgroups: comp.music
Subject: Re: MIDI/software books
Date: 24 Jan 1993 18:51:50 GMT
Organization: Case Western Reserve University, Cleveland, Ohio (USA)
Distribution: inet
NNTP-Posting-Host: slc4.ins.cwru.edu


>
>
I'm putting together a list of recommended books dealing with MIDI and
microcomputer software (sequencing, notation, all platforms)...
>
>
reach up on the shelf, pull down what's there, &:

as a Mac user, the Music & Sound Bible by Christopher
Yavelow (1992 IDG Books, San Mateo CA) is invaluable, especially
in the area of overviewing various & competeing programs.  flakey
indexing, but really the best platform-specific reference & should
remain relatively up-to-date for at least another 6 months...

The MIDI Manual by David Huber (1991 Sams/Macmillan, Carmel IN) is
a reasonable introduction on a strictly consumer-orienteed level,
what thingies you can buy and how to hook 'em together.

& in a more esoteric vein--

Tuning In: MicroTonality in Electronic Music by Scott Wilkinson
(1988) is an excellent intro to alternative tuning systems, from
just temperment & Indonesian Gamelon to Harry Partch & Wendy
Carlos. Enuf *musical* information to continue to be useful, even
if some of the technical detail is a little dated.

Robert Rowe's Interactive Music Systems is a really interesting
introduction to computer-based compositional systems (1993, MIT
Cambridge MA).  introductions to a variety of systems that "listen"
to MIDI/musical activity & "respond" with other musical output.
issues of artificial intelligence & music explored, and very
readable.  also available is a CD with audio examples of compositions
made by these systems, and software for the Mac--Rowe's own
stand-alone program "Cypher", and many MAX objects & others.
(books-in-print incorrectly lists the CD at $19.95--is really
$29.95)

so that's what's sitting on my shelf (along with lotsa user
manuals & hardware specific things).  i'm sure there are better
general introductions, but these have helped me muddle thru...


more later
luigi
Newsgroups: comp.music
From:  (SJ Messing)
Subject: Re: Casey Kasem wrote and boy is he pissed...
Followup-To: comp.music
Organization: APL
Date: Mon, 25 Jan 1993 19:26:32 GMT

In article <1993Jan22.235017.22363@Princeton.EDU>,
ramirez.Princeton.EDU!penrose (Christopher Penrose) wrote:
 
> Copyright is an anachronism.  Originality, among social beings, is always
> shared.  If you disagree with this sentiment, produce an example of isolated
> originality.

These comments (and the rest of Christopher's posting) provide an example 
of the most ludicrous pseudo-intellectual claptrap I have read in a long
while. 
His argument in essence is that every creative effort is predicated on a
series of 
earlier efforts which are appropriated. Thus, for example, U2 needed to
rely on 
(or appropriate) pre-existing creative products such as the English
language, 
instrumentation, harmony, song structure (these are Christopers examples).
 
The creator, in his view, has simply provided an endpoint in the flow of
history.

The problem is, that no one else wrote Achtung Baby -- only U2 did.  Many
folks 
have a working knowledge of the English language, harmony, instrumentation,

song structure, etc. but they didnt write The Joshua Tree, or whatever
U2s 
previous album was called.

Christophers argument calls to mind a vision of some guy sitting back in
his 
recliner saying I cudda done that!.  I know it sounds awful elitist and
its probably 
not PC, but some people just have more creative talent than others!  U2 was
able to 
synthesize an amazing variety of musical, social, historical, lyrical,
political, etc. 
influences into their music and they deserve the right as artists and
creators to 
say - this is ours!

SJMessing
From: jaysen@bsu-cs.bsu.edu (Jason A. Brotherton)
Newsgroups: comp.music
Subject: Looking for Bill Purvis...can't send him mail
Date: 25 Jan 93 20:15:44 GMT
Distribution: usa
Organization: CS Dept, Ball St U, Muncie, Indiana

I don't know how to handle situations like this, so don't flame
me for wasting bandwidth please...

Bill Purvis...I cannot contact you via mail!
I'm not ignoring your mail, I just can't reply to you.

Jason Brotherton
From: heavy-metal@vnet.ibm.com
Date: Tue, 26 Jan 93 08:39:33 CST
Newsgroups: comp.music
Subject: SCSI Drives

Actually, with the new SCSI-2 interface (68 pin P Cable) allowing fast and
wide transfers, you can have up to 16 devices on a single
SCSI cable. Just in case anybody cares (and most likely they don't . . . )

Bob Crowley
ADSTAR
IBM Rochester

* My opinions do not necessarily represent those of my employer *

Newsgroups: comp.music
From: raywb@ornl.gov (W. Brian Ray)
Subject: E-mu's Vintage Keys
Keywords: E-mu, analog
Organization: Data Systems Research and Development
Date: Thu, 21 Jan 1993 19:28:51 GMT

Has anyone heard a demo or have any information on E-mu's new
sample-playback machine, Vintage Keys?

From the ad in the latest issues of Keyboard and Electronic
Musician, it appears to be based on the Proteus chips and contain
8MB (expandable to 16) of samples of classic keyboards (e.g.,
Rhodes Chroma, ARP 2600, Minimoog, Oberheim OB-Xa, etc.).

The ad also states that it contains "32 of our dynamic analog-
sounding digital filters to give you the kind of expressive control
these instruments are famous for."  But aren't the filters on these
older synths what gave them their distinctive sound?  For example,
would a Minimoog still sound like a Minimoog without Moog filters? 
I guess I'm afraid Vintage Keys may get close, but not quite live
up to my expectations of what a classic analog synth should sound
like.

Brian Ray
raywb@ornl.gov
Oak Ridge, TN
Newsgroups: comp.music
From: joswig@informatik.uni-hamburg.de (Rainer Joswig)
Subject: Korg 01/W FD and standard midi?
Followup-To: comp.music
Organization: University of Hamburg, FRG
Date: Wed, 27 Jan 93 13:25:11 GMT

Hello,

a friend of mine has a Korg 01/W FD. He has problems reading
standard midi files. Are there any known incompatibilities
with stantard midi? Help, hints, comments welcome.
From: ee154fbk@sdcc15.ucsd.edu (MC)
Newsgroups: comp.music
Subject: Re: Roland TB-303 and MIDI
Date: 22 Jan 93 21:47:57 GMT
Organization: University of California, San Diego

In article <1jk6ufINNhp5@shelley.u.washington.edu> piverson@stein.u.washington.edu (Paul Iverson) writes:
>I'm wondering how to sync my Roland TB-303 Bass Line to my Alesis 
>HR-16. Perhaps I could buy some used Roland equipment that uses 
>both MIDI and Roland sync, but I'm not sure if it would 
>simultaneously receive MIDI timing information and sync the TB-303. 
>I'm also planning to buy a MIDI interface for my Mac, so there may 
>be other options. Any suggestions?


Use any MIDI-2-DIN24sync device.  I use a KORG box which work fine.
Can't recall the model number but you should be able to find one
cheap < $50 used.  Thinks it is called KMS10 or something like
that.