HDTenEightyP/NetNews huggingface dataset:
From: ssanders@convex.com (Steve Sanders)
Subject: Re: Cubase 2.0 for the Mac ???
Followup-To: rec.music.synth,comp.music
Keywords: mac cubase sequencer
Organization: CONVEX Computer Corporation, Richardson, Tx., USA
Date: Thu, 15 Oct 1992 19:22:58 GMT
X-Disclaimer: This message was written by a user at CONVEX Computer
              Corp. The opinions expressed are those of the user and
              not necessarily those of CONVEX.

In article <D88-JWA.92Oct14185102@byse.nada.kth.se> d88-jwa@byse.nada.kth.se (Jon Wdtte) writes:
>> oivindi@dhhalden.no (OIVIND IDSO) writes:
>
>   Atari users have been enjoying their 3.0 version for quite a while now, and 
>   IMHO it's definitely time for a Mac upgrade.
>
>The Mac and Atari versions do NOT couple. i.e. there is a lot
>more in Mac 1.8 than there was in Atari 1.x (did it reach 1.8?)

I just spoke briefly with a tech support dude at Steinberg/Jones in
Northridge, CA [(818) 993-4091 Sales (818) 993-4161 Tech Support]
who laughed when I asked about a rumored 2.0 rev of Cubase for the Mac.
He says there *is* a new version coming out (his guess on release date
of this vaporware is Nov. 1), but that it won't be called rev 2.0.
He said the program has been modified so much that they are going to
begin renumbering with 1.0. Don't ask me about the logic of that one.

He said there are about 30-35 new features/fixes in this version and
one of the major ones is the ability to print out the sequences in
score form. I asked if there was going to be a demo made available and
he said it would not be possible because of the new copy protection
it would use (some form of a plastic dongle that inserts into the ADB
port).

I told him about the r.m.s. group and suggested someone might like to
consider monitoring it to note bugs reported in the program and he
didn't seem to know much about the Internet, although he uses Genie.

Just thought I'd pass the info along...

Steve Sanders			Convex Computer Corporation
ssanders@convex.com		San Jose, CA
From: DUNN@SAFFRON.BITNET ((Casey Dunn))
Newsgroups: rec.music.synth
Subject: This is my last message to r.m.s.
Date: 16 Oct 92 19:35:46 GMT
Reply-To: dunn@intellicorp.com
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Comments: To: SYNTH-L@AMERICAN.EDU

You said (Re: This is my last message to r.m.s.)
> Well, it looks like the net is finally rid of my annoyances.  As a result of
> the Wendy Carlos post, and a followup personal email message I wrote to
> someone who chastitized me for writing it, I fear that I will be loosing all
> net privilages later today.  Unfortunately, in that personal e-mail reply
> to the person who was offended contained the f-word.  Now, in the wake of
> Tailgate incident, this matter will probably end up costing me a hell of a
> lot more than my net access.

john, now listen,
 1) your WC post was just stupid. your posts vary from the interesting
    and humorous to the pin headed and obnoxious. I can live with this
    quite easily.
 2) do not get confused; this is not a private & personal medium.
    some of us at .com sites pay for access. others pay for access out
    of our own pocket (I do both).
    you were using my tax dollars to broadcast to the world your idea
    of insightful/humorous commentary about WC's alleged penis envy.
    as a .mil or a .gov site, you do have some slight responsibility.
 3) so get your own account. no big deal, anymore.
 4) sorry about the 'casualty consultation' you had to do. I've done
    this face to face, and it's a difficult task.


and to everyone else, yes this was a simple reply to the list, but I
felt it was time to remind the rest of us about the nature of our
'conversations' we have here...

but I do like the idea of a FAQ personality-alert!

c a s e y
From: macpherson@earvax.waisman.wisc.edu
Newsgroups: rec.music.synth
Subject: RE: 8-bit 16-bit
Date: 17 Oct 92 04:07:40 GMT
Organization: Waisman Center, University of Wisconsin-Madison


 dce@smsc.sony.com (David Elliott) writes ...

>  ... digital noise doesn't exist without signal.  Since this
> noise really exists as harmonic distortion, this is reasonable.

> Now, it is certainly the case that many digital recordings have
> noise during the "silent" parts, but they don't have to.  If the
> sound data were to be fed to a "noise gate" processor, the silent
> parts, even in an 8-bit recording, could be truly silent.  (Obviously,
> a "good" noise gate algorithm must be used, but if you have the
> data in a file, it's reasonably easy to do a good job without having
> to resort to the analog noise gating tricks.)

> This doesn't seem to be true of a cassette.  There's always going to be
> some tape hiss in the silent parts, even with Dolby and dbx.

> Am I off base here?


   Just a couple of points:

   1) How would noise gate differentiate between silence and very^n quiet? Any
      sampled signal will already have some background noise level. If the 
      signal is generated digitally, silence could be defined.
   2) Do you really want the background noise suddenly appearing and
      disappearing? This might be more annoying than a constant level.
   3) The noise in a sampled signal is not necessarily harmonic distortion. By
      dithering the signal before quantization (adding a tiny bit of analog
      noise), the error can be decorrelated with the signal and is reduced to
      just noise. Most analog sources already have enough noise to be
      self-dithering. There is a small increase in noise loudness, but you're
      left with a constant background level, which does not go up and down.
   4) Better yet, by using noise shaping (feeding back the error produced by
      the quantizer through a suitable filter), the spectrum of the noise can
      be shaped so that most of its energy goes into frequency bands where the
      ear is least sensitive.

   My buddy Rob Wannamaker has published a few papers on this in the AES
   Journal recently, but they're not for the faint of heart.

Ewan.


Ewan        | Hearing Development Research Lab    |
Macpherson  | Waisman Center, Rm. 310, UW-Madison | "You can't call me
 ph: (608)- | 1500 Highland Ave.                  |  'Man'! This is 1978!"
    265-2062| Madison, Wisconsin  53705-2280      |  - Robert Smith, The Cure
From: neal@cmptrc.lonestar.org (Neal Howard)
Newsgroups: rec.music.synth
Subject: Re: Opinions on Crumar Roadrunner/2 electric piano?
Keywords: Crumar, Electric Piano
Date: 15 Oct 92 17:38:27 GMT
Organization: CompuTrac Inc., Richardson TX

In article <48579@shamash.cdc.com> ats@udev.cdc.com (alex t stagg x4718) writes:
>what it was. Maybe a Honer something? No a Crumar! Crumar what?
>this isn't that. It says Roadrunner/2 and it has four voice

>five octave keyboard (F to F!). Gee, maybe this thing is historic
>or something. It seems to be built to survive a war so maybe
>it still works.
>
>But, I Like it! Character!
>
>
>So, whatta y'all think of this thing? Anyone ever own or use one?
 
I worked on a few of those around the Wichita Falls, TX. area back in the
early 1980's when I was a tech. They are pretty rugged. A lot of country &
western bands used them and they held up to road abuse. The store I worked for
carried the Crumar line until Sequential, Korg, and Roland products killed
all their sales. You're right about the character, they had plenty. They sounded
pretty cool run thru a Roland Space Echo 201 or Chorus Echo 555. The keyboards 
could handle a lot of beer spills and still work after being dryed out.
-- 
=============================================================================
Neal Howard   '91 XLH-1200      DoD #686      CompuTrac, Inc (Richardson, TX)
=============================================================================
From: eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson)
Newsgroups: rec.music.synth
Subject: Re: Distancing Tools (was: Re: "Ethinc" Samples vs. Proteus 3)
Date: 7 Oct 92 19:33:15 GMT
Article-I.D.: nntpd.1992Oct7.184122.14308
Organization: Digital Equipment Corporation


In article <1992Oct7.160155.29053@sal.wisc.edu>, rej@sal.wisc.edu (Randy Jones) writes...
>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.

Sounds like a winner to me!


Eirikur Hallgrimsson   | It has been said to me that the answer may lie in
eh@ranger.enet.dec.com | mutant radioactive snails, twenty stories high.
PATHWORKS for Macintosh| I do not agree, being inclined inclined to think
-----------------------  that the answer must contain the sound of Wendy O.
Williams, in spike heels and Saran wrap, stepping upon a fashionable pet
piglet.
From: smithj@hpsad.sad.hp.com (Jim Smith)
Newsgroups: rec.music.synth
Subject: Re: anyone familiar with Dick Hyman Moog albums?
Date: 8 Oct 92 02:13:06 GMT
Organization: HP Signal Analysis Division - Rohnert Park, CA

In rec.music.synth, brooksp@hpcc01.corp.hp.com (Peter Brooks) writes:

    I believe there was an earlier one, called simply enough, "Moog".

No, that's "MOOG The Electric Eclectics of Dick Hyman."

    This would date back to circa 1968.  I had borrowed the LP from a
    friend and recorded it on a long-gone tape deck; alas, all connections
    to the album seem to be gone.  

    A couple of track names:

      The Topless Dancers of Corfu.
      Tap-dance through the memory banks.

Let us not forget "The Legend of Johnny Pot!" :->

Dick Hyman (love that name!) is quite an accomplished musician, and considered
a world-class authority on certain early jazz styles.  He did the album in
a few days.  Not too many layers of overdubs, and lots of improvisation.
I'm not sure of the marketing types involved, but it wasn't TOO long after
Switched-On-Bach that this album appeared.  By today's standards, most of
the patches are pretty cliche', but there wasn't much for it to be compared
to back then.  He DID do some stuff with different scales on there.

The Age of Electronicus was a followup, mostly covers of pop songs of the day.
Again, pretty sparse arrangements.

    One of these (Dancers, maybe), used a digeridoo patch (literally a patch
    in this case :-) and some rather interesting riffs.  I had already lost
    my recording when the '74 ELP live tour album came out, but the improvised
    riffs on the "Aquatarkus" section of _Welcome back, my friends..._ sound(ed)
    curiously familar.  Methinks that Keith Emerson was a Dick Hyman fan.

The song is called "The Minotaur."  The original had a repeating bass line, 
drums courtesy of a rhythm box with more than one rhythm button pressed at a 
time, slow high-resonance filter sweeps (probably done by turning the filter
frequency knob), and an improvised lead on a sound that was mostly square wave.
ELP did it with a different bassline and drum track, ribbon controller
controlling filter cutoff frequency, a pretty similar lead sound, and quad 
panning.  Although Emerson has "quoted" just about everyone at ONE time or 
another, :-> he may actually be a Hyman fan, because their interests in jazz 
piano overlap quite a bit.

                       Jim Smith  smithj@hpsad.sad.hp.com
                     Oh Hannu, this is most unbusinesslike.
Newsgroups: rec.music.synth
From: gilstrap@calvin.sbc.com (Brian R. Gilstrap)
Subject: Re: I've just about had it with Performer. How much is Vision?
Organization: Southwestern Bell Technology Resources
Date: Thu, 15 Oct 92 20:13:06 GMT

In article <1992Oct15.140430.13102@ads.com>, pdel@ADS.COM (Peter Delevoryas) writes:
|> 
|> >  is a pain.  It BADLY needs a graphical user interface.  What I'd 
|> >  really really like to see is something like what Vision now has,
|> >  where you can play in some rubato passage, then go back and tell
|> >  it where the beats and bars are, and it will then go in and 
|> >  create a tempo map such that the music all fits.
|> 
|> Yikes, does Vision have that? I didn't see that in the info w/ my
|> update. That would be nice if it's true. I'll take off from work
|> right now to play with it  :^]

I'm curious too.  Can you give specifics on how to accomplish this?  Now I'm
itching to get off work and go home and try this....sigh.

-- 
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: smithj@hpsad.sad.hp.com (Jim Smith)
Date: Wed, 7 Oct 1992 23:31:40 GMT
Subject: Re: RE: 8 bit vs. 16 bit?
Organization: HP Signal Analysis Division - Rohnert Park, CA
Newsgroups: rec.music.synth

In rec.music.synth, Bob.Weigel@bbs.oit.unc.edu (Bob Weigel) writes:


    	Actually, my K1, which is an 8 bit machine has quite a bit of
    volume dynamic range.  The differences between it and a good 16 bit,
    or even 12 bit unit is that the timbral range is limited.  Also the sounds
    have a common noise element.  Since there is a maximum of 256 signal
    levels which can be represented by an 8 bit DAC, many sounds cannot be
    accurately represented.  On the other hand, some can.

Yeah, like square waves! :->

Anyway, I thought I'd mention that, even though the ESQ-1 has only eight-bit
oscillators, it follows these with filters and VCAs, which give it a greater
dynamic range.  (If those oscillators used better phase-interpolation methods,
and if the controller update rate were faster, the sound would be much
cleaner in spite of being only 8 bits.)
Anyway, in a hybrid machine like the ESQ, number of bits doesn't even come
close to telling the whole story.

                       Jim Smith  smithj@hpsad.sad.hp.com
                     Oh Hannu, this is most unbusinesslike.

Xref: sparky rec.music.synth:16325 rec.music.makers:10132 comp.music:4722 alt.emusic:319
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.synth,rec.music.makers,comp.music,alt.emusic
Subject: Re: Copyrights
Date: 9 Oct 1992 17:23:27 -0700
Organization: University of Southern California, Los Angeles, CA
Distribution: inet
NNTP-Posting-Host: calvin.usc.edu
Keywords: HR16, Alesis, Librarian, IBM

In article <1992Oct9.215454.27575@nsisrv.gsfc.nasa.gov> wes@ian.stx.com (John S.) writes:
> [story about ASCAP suing unlicensed club]

>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 way copyright law is written, it is the responsibility of the presenter,
not the performer, to secure performance rights, or whatever other rights
are required. It is the bar owner who is ultimately benefitting from the
use of someone else's music. The bar owner should pay the band for perfor-
ming the music and the composer for using the composition.

>The bar doesn't tell the band what to play.

If the bar owner does not have a blanket license, then it should tell the
band to play only public domain tunes, or arrange performance rights with
the composers on a song-by-song basis. Naturally this is a lot of hassle,
which is why most establishments that use music opt for the blanket license.
A few radio stations keep records of the songs they play and pay on a song
by song basis rather than obtaining a blanket license.

>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. 

The bar owner is obviously benefitting from the music or the band wouldn't
have been hired. People are more likely to go to the bar, buy drinks, buy
food, and have a good time if good music is being played. The bar owner
has paid for the quality drinks or food, for the furnishings, and for
everything else that encourages people to come pay their money, why shouldn't
the owner pay for the compositions?

If a bar owner took your car without your knowledge and used it to haul
supplies for a day then brought it back, you'd probably be pretty mad,
even if you hadn't intended to use the car that day. That's because the
car is your property and by law no one is allowed to use it unless you
say so. Music compositions and other artistic creations are considered
"intellectual property" by law and the same general rules apply. The
bottom line is that the bar owner is receiving a benefit for which the
owner is not paying.

Whether or not the owner or band is aware that the piece is in the public
domain does not matter, and indeed it shouldn't or virtually every music
presenter would claim ignorance. ASCAP, BMI, and the Library of Congress
all have services to find the copyright owner of a piece, and most
recordings list the copyright holder and ASCAP or BMI as the performance
rights agent.

>I'm curious what others here think about this.

Glad to respond.

Bill Alves
From: tony@scotty.dccs.upenn.edu (Anthony Olejnik)
Newsgroups: rec.music.synth
Subject: Lime (Demo v1.1c) doesn`t work on my MacPlus
Date: 13 Oct 92 22:43:55 GMT
Distribution: usa
Organization: University of Pennsylvania


I just FTP`d the Lime Demo v1.1c (and manual).
However, I don`t have the application to read the manual.
The Demo doesn`t work on my MacPlus (and I'm unable to read
the manual to see if it even does or not).   When invoked
(and with the correct fonts installed), Lime appears to start 
just fine.  When I attempt to open a sample file that`s provided,
I get a bomb (system error) indicating that an unimplemented trap
happened.  I`m running v6.0.8 on the MacPLUS.

Q: Does Lime (demo v1.1c) work on a MacPLUS?
   If so, why is an `unimplemented trap' happening?

Thanks in advance.

--toiny
From: barrett@snoopy.cs.umass.edu (Daniel Barrett)
Newsgroups: rec.music.synth
Subject: Re: Schools with Computer Music degree programs
Date: 14 Oct 92 20:07:32 GMT
Reply-To: barrett@snoopy.cs.umass.edu (Daniel Barrett)
Organization: BLAZEMONGER INCORPORATED

In article <MJ7-lJC@engin.umich.edu> davidc@engin.umich.edu (David Cortright) writes:
>I am a senior graduating this may in Engineering.  However, my real love
>is anything and everything happening in the field of computer music and
>music technology.  Does anyone know what schools actually offer a graduate
>degree program?  
>I'm pretty sure that either Keyboard or Electronic Musician
>printed an abrreviated list, but I can't remember when or where.

	It was Keyboard.  Version 1.0 of the Directory of Electronic Music
Schools was done in 1989 and cost about $1-2 (US).  Call Keyboard (the
phone number is in any issue) and ask about it.  I don't know if they
ever did an updated version.

	Beware that this list does not help you choose between the
schools at all -- it's just a list of contact names and addresses.
If you want to study computer music, you should be aware that there is
a difference between:

	o	Computer departments that study musical applications
	o	Music departments that study computer applications

and it's very important to contact the department and learn about its
emphases.  For example, if you go to Stanford's CCRMA, you may see tons and
tons of equipment, some really impressive computer programming, and a
relatively computer-sciencey approach.  On the other hand, at a place like
Peabody Conservatory of Music, you'll see less equipment and more emphasis
on musical performance and composition.  So check out (and preferably
visit) carefully the departments that you are considering.

                                                        Dan

 //////////////////////////////////////\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
| Dan Barrett -- Dept of Computer Science, Lederle Graduate Research Center |
| University of Massachusetts, Amherst, MA  01003  --  barrett@cs.umass.edu |
 \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\/////////////////////////////////////
Newsgroups: rec.music.synth
From: jpaul@locus.com (James Hensley)
Subject: Re: FOR SALE:  BOSS SE-50 Stereo Effects Processor
Organization: Locus Computing Corporation, Los Angeles, California
Distribution: usa
Date: Tue, 13 Oct 1992 19:59:42 GMT

In article <ldlpf9INNh8f@west.west.sun.com> mjm@sun.com writes:
>The one you have seen advertised...
>
>Bought for $529.  Selling for $350!!!

I'm sorry, but you can walk into New World audio here in SD and talk
the dude down to $350 new.  Try again, please.

James
-- 

jpaul@locus.com  | ..ucsd!lccsd!jpaul   :  all views expressed are mine.
Clouds filled with blood rain on the water
While Nightime's fingers clench the light shut...
Xref: sparky rec.music.synth:16447 comp.music:4752
From: ee154fbk@sdcc15.ucsd.edu (MC)
Newsgroups: rec.music.synth,comp.music
Subject: MastertracksPro 4.5.3 - Midi Manager compatible ???
Date: 13 Oct 92 03:47:26 GMT
Followup-To: poster

Anybody out there know if Mastertracks Pro v. 4.5.3 is MIDI manager
supported??? Also is this version of Pro system 7 and 32-bit compatible???
From: tbcarlson@mmm.com (Tim Carlson)
Newsgroups: rec.music.synth
Subject: 88 Key Controller for K2000R
Followup-To: rec.music.synth
Date: 12 Oct 1992 19:16:19 GMT
Organization: California Institute of Technology, Pasadena
Distribution: world
NNTP-Posting-Host: pulsar.ccsf.caltech.edu

I'm fairly new to electronic music, and I'd like some feedback about equipment.

My wife and I are both novice pianists, and were considering purchasing a piano
to play for fun and to continue the piano lessons we had as kids.  BUT, I 
recently got a MIDI card for our '486 and hooked it up to my sister-in-law's
CZ-1000, and NOW I'M HOOKED!!  I want a synth!

We looked at a KORG 01/W ProX and were very impressed, but recently saw the K2000
and were even more impressed with the Kurzweil!  The problem is that we really 
wanted a weighted 88 key keyboard - when we start piano lessons we want to have 
a real piano feel.  So, we are thinking of getting the K2000R, and a weighted 88
key controller.

My questions are:

1.  What would you suggest for a good 88 key weighted controller?

2.  What would you suggest for an amplifier & speakers?  Some kind of rack mount
    amp & studio monitor speakers?  How big an amp for use in our home (no need
    to blow the neighbors away)? (We use our boombox with the CZ-1000, but would
    like something better as long as we're in the spending mood :)

3.  What about aftertouch?  Would we really regret not having it later on, or would
    a continuous controller pedal do the job just as well?

Any advise would be greatly appreciated!


-Tim Carlson    tbcarlson@mmm.com
From: cwaite@uniwa.uwa.edu.au (Christopher Waite)
Newsgroups: rec.music.synth
Subject: Roland W-30 / Mac SCSI hookups
Date: 10 Oct 1992 18:06:02 +0800
Organization: The University of Westrn Australia
NNTP-Posting-Host: uniwa.uwa.edu.au
X-Newsreader: Tin 1.1 PL5

Hello All

Does anyone know of any software that will enable me to manage the
W-30's memory from the Mac - I would like to be able to store sound,
tone and patch data on the mac's hard disc and load the W-30 via SCSI,
or, failing this, midi. Is possible?

Also, is there any software or command set to enable Alchemy to transfer
sound data via midi. Alchemy supports Roland's S 550 format, which the
W-30 is supposed to be compatible with, but the W-30 does not appear to
do data transfers without programming.

If you can help at all, please reply to me direct as I will not have
newsgroup access for some time.

Thanks!

Chris Waite
Perth, Western Australia
Email: cwaite@uniwa.uwa.edu.au
From: archer@elysium.esd.sgi.com (Archer Sully)
Newsgroups: rec.music.synth
Subject: Re: Schools with Computer Music degree programs
Date: 16 Oct 92 17:18:26 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA

In <1992Oct15.215503.29052@leland.Stanford.EDU> jay@cmn19.Stanford.EDU (Jay Kadis) writes:

*In article <1992Oct15.180511.9620@odin.corp.sgi.com>  
*archer@elysium.esd.sgi.com (Archer Sully) writes:

*> Maybe, but compared with every other program in the area you are
*> immensely huge.  Quitcher bitchin'.
*> 
*> -- archer
*
*As soon as we get some SGI machines, I will!!
*
*Jay

Touche'

-- a