HDTenEightyP/NetNews huggingface dataset:
From: dgj2y@kelvin.seas.Virginia.EDU (David Glen Jacobowitz)
Subject: Re: [EMAX II] Who's got one & disk format.
Organization: University of Virginia
Date: Tue, 26 Jan 1993 19:35:23 GMT

In article <26JAN93.17472123@skyfox> grahame@skyfox writes:
>Given a choice between an Emax-II and an ASR-10, I'd choose the Emax anyday.
>You've got 16 phase-coherent stereo voices, as well as wonderfully extensive
>sound manipulation capabilities (including a built-in additive synth module).
>A SCSI port is built-in (costs a few hundred extra on the ASR), and the
>Emax has eight polyphonic outs, which work wonders for mixing.
>        The Ensoniq is also buggy... I crashed one several times while working
>with it (and I wasn't doing anything unreasonable). As for memory and the Emax,
>that is it's one restriction... you're limited to 8MB. The base machine comes
>with 2MB, and you MUST buy an Emu board (about $400) to increase the memory.
>The basic memory expander comes with 2MB, so that brings you to 4MB. However,
>you can upgrade from this to 8MB simply by adding 256Kx4 80 ns. RAM chips.
>A piece of cake (and affordable too).
>
>James Grahame
>
>PS - BTW, I love my Emax-II sound library... & I'm more than willing to
>     with any other Emax II'ers out there.

	I can think of quite a few points in favor of the Ensoniq. As
was mentioned the ASR10 has better memory expansion. The Ensoniq can
also play in 16 voice stereo. The ASR10 has effects. MOreover, they're
good effects and are _very_ flexible. It is possible to re-sample with
effects ( totally in the digital domain ) as well as to route sound
from the input through the effects while you are playing. Another
thing it the keyboard. I don't know about you, but the Emax keyobards
are just BAD. Ensoniq's is not thousands of times better, but it's
better, and it has polyphonic aftertouch, which I'm sure the Emu
doesn't have. 
	Finally, the Ensoniq sampler has a just as large ( if not
larger ) library of very well made samples floating around for it as
the Emax.
	I think that's all I wanted to say. Other niceties: patch
selects, play while load, serious sequencer.

				david jacobowitz
				dgj2y@virginia.edu


Newsgroups: rec.music.makers.synth
From: rieth@namu01.gwdg.de (Martin Rieth 28721486)
Subject: EPS Sample-Editor
Organization: NAM(Numer.& Angew.Math.)/ Universitaet Goettingen/ Germany
Distribution: rec.music.makers.synth
Date: Thu, 21 Jan 1993 23:08:23 GMT

I

Newsgroups: rec.music.makers.synth
From: dan@korgrd.com (Dan Phillips)
Subject: Re: Does anyone have a Tascam TSR-8...
Organization: Korg Research and Development, Milpitas, CA
Date: Sat, 23 Jan 1993 05:35:00 GMT

> I'd just like to hear some opinions of this analog 8-track.  Would anyone
> suggest it over that of a digital 8-track?
>
>							-- Jason Sturges

I have a TSR-8 and like it just fine; the dbx seems basically transparent
to me (although I understand that that is a matter of taste), and makes
the machine *very* quiet (-108 dB s/n ratio, as compared to <-96 dB for
16-bit digital). Used ones can be had fairly commonly for around $2k, 
wheras used ADATs (I've seen only one at $3500) are rare, and will 
probably go for pretty near the new price. Also, TSR-8's are *very*
sturdily built, and (especially if you have a tech check it out before you 
buy) are presently a great deal due to people selling them and buying...
well, you know.

I would definitely not buy a new TSR-8 over the ADAT; the price difference 
is not great enough. Assuming that the choice is between a used TSR-8 and 
a new ADAT, then...

If you have plenty of money, I'd say that spending the extra on the
ADAT or equivalent would probably be better; more expansion possibility
(just buy another ADAT for 16-track), no noise reduction artifacts
(again, I think the TSR-8 sounds great, but some claim to dislike dbx),
and much cheaper tape costs (1/2" tape is around $42 per half hour for 
3M or Ampex's top of the line). Not to mention that it will take up less 
space in your studio, make everyone think you're really cool, and let you put
"DDD" on your CDs.

On the other hand, if money *is* an issue, then I can think of lots of
other ways to spend the extra $1500 or so that the ADAT will cost.
A better mixer, a good condensor mic, effects, good compressor, etc.
If you don't have a condensor mic, for instance, I'd buy that first...no
sense in recording digital vocal tracks using an SM-57 (yes, yes,
I know INXS likes cheap dynamic mics, but in *general*...). 

my wooden nickel,

Dan Phillips
-- 
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.
From: mjp@hplb.hpl.hp.com (Mike Prudence)
Date: Mon, 25 Jan 1993 17:59:36 GMT
Subject: [EMAX II] Who's got one & disk format.
Organization: Hewlett Packard Laboratories, Bristol, UK
Newsgroups: rec.music.makers.synth
Distribution: rec

Hi all,

I've been looking around at samplers recently, and finally narrowed
the choice down to two: the Ensoniq ASR-10 or the Emu Emax II.  I've
played with the ASR10 for a weekend, and found it pretty good.  Next
weekend it's the turn of the Emax II.

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.

So, I'd firstly like to solicit opinions on the Emax II from anyone
out there who owns one.

Secondly, I'd like to know if anyone has ever figured out the floppy
disk format for the machine - perhaps even written a tool or two to
futz around with them.  Are their any Emu employees out there ??

Cheers,

Mike

mjp@hplb.hpl.hp.com                   "Only those who attempt the absurd will 
                                                     achieve the impossible."

Newsgroups: rec.music.makers.synth
From: furio@uiuc.edu (furio ercolessi)
Subject: Re: MusicBox - A new dimension in composition
Reply-To: furio@uiuc.edu (furio ercolessi)
Organization: MRL - UIUC
Date: Thu, 21 Jan 1993 04:44:40 GMT

In article <1993Jan20.152729.1828@fcom.cc.utah.edu>, dks8475@u.cc.utah.edu (David Kenneth
Slack/Music) writes:
|>There is a program out for the IBM called Musicbox that uses a modular
|>aproach to music composition.  Instead of recording tracks, you put
|>together modules.  I was wondering if anyone had tried this out.  I've
|>been experimenting with it, and have come up with some nice results.  I'd
|>like to see some stuff anyone else has done on it.  This program is
|>probably on the net somewhere, but I got it from a local BBS.  I'll upload
|>it if its not around...

Yes, it is in many places. It is a neat intriguing thing.
Unfortunately I couldn't explore it much due to nasty IRQ conflicts
(the program has IRQ2 hardwired into it, which I couldn't use,
and I gave up in messing with the source [assembler 8086] after
a couple of days of vain attempts to change the IRQ#).

it's a very interesting concept and i would love to see some commercial
program based on this idea (with a perhaps more intuitive user 
interface..), and expanding the MIDI input section, so that one
could construct "instruments" that can be used from the keyboard,
in real time.
It wouldn't probably be a big seller but it would find its market
niche, I believe.

furio 
--
furio ercolessi    <furio@uiuc.edu>*    <furio@sissa.it>+
* materials research lab, uni illinois at urbana-champaign
+ intl school for advanced studies, trieste, italy   

"Change nothing and continue with immaculate consistency"
                                      [ Brian Eno, "Oblique Strategies" ]
From: djh4535@zeus.tamu.edu (HARRIS, DUANE J)
Newsgroups: rec.music.makers.synth
Subject: samplers
Date: 26 Jan 1993 04:04 CST
Organization: Texas A&M University, Academic Computing Services
Distribution: world
NNTP-Posting-Host: zeus.tamu.edu
News-Software: VAX/VMS VNEWS 1.41    

i would like to get i dea on the cost of a decent sampler (for a novice)
or sampling keyboard.
or just a good keyboard. (perfer the sampling keyboard)
model/cost if you would be so kind

thanx in advance

		
seth I 
Newsgroups: rec.music.makers.synth
From: gevhixso@essex.ecn.uoknor.edu (George Vaughn Hixson)
Subject: Mirage
Date: Wed, 27 Jan 1993 18:08:33 GMT
Organization: Engineering Computer Network, University of Oklahoma, Norman, OK, USA

 Is there anyway I can format my own disks for an Ensoniq Mirage?

   Awaiting help,
     George

Newsgroups: rec.music.makers.synth
From: jrstone@phoenix.Princeton.EDU (Bob Stone)
Subject: Mac to drum machine?
Originator: news@nimaster
Organization: Princeton University
Date: Sat, 23 Jan 1993 17:29:40 GMT


Does anyone out there know if software exists to turn my Macintosh
in a drum machine?  Or if there's anyway I can do this by sampling
drum beats with my Mac?  Any info anyone can offer would be
appreciated greatly.

-Bob
From: young_dick@macmail2.rtsg.mot.com (Dick Young)
Subject: CZ101 Thanks, Juno-106 Buy, Question
Organization: Motorola, Inc. (Cellular Infrastructure)
Date: Mon, 25 Jan 1993 15:36:35 GMT

Thanks SO much to all the people who graciously provided tips on the nature of 
the CZ-101 which I was looking at a couple of weeks ago.  I might have ended
up picking one up, but in the most recent edition of our "Tradin' Times" 
classified ads, a fellow within 10 miles of me had a Juno-106, with an Anvil
road case listed for $350.00.  I went, I looked, I listened, I bought.  

I had been wanting to own an analog synth for some time now (and mistakenly 
thought the CZ-101 was one, due to the way it was layed out in functional 
blocks: thanks again to all who set me straight on that point...), and since
the Juno-106 seems to be in everyone's top 3 or 4 buys as a starting analog
unit, I had paid particular attention to the ads for them.  I have also wanted
a hardcase for gigs, so this purchase managed to fill 2 needs at once.

Now I'm in question-asking mode again...are there upgrades, add-ons, hacks or
any other fine points I should know about when being the owner of the Juno ? 
Any real "killer patches" anyone has programmed up and would care to clue me
into ?  (E-mail messages are fine if you don't feel like posting.)

Also, the guy I bought the Juno from has a Prophet VS which is in fine working
shape at this time:  We did discuss the difficulty and expense of service for
the VS if ever needed, and I mentioned that I THOUGHT I recalled someone 
posting another address at which some support for Sequential products was
available, BESIDES Wine Country.  (Maybe it was just the source for the Curtis
ICs, which I'd like a repeat on too, even if it might not apply to the VS...
does it ?)  I thought it would be a nice gesture to a fellow musician if I 
could get this info for him, since he does not have Net access.

Thanks for your time.
Dick Young
Motorola, Inc.
(Who doesn't have a thing to do with my opinions: They're all my own fault.)
From: seh003@acad.drake.edu
Newsgroups: rec.music.makers.synth
Subject: Re: E-Mu vintage keys Proteus module
Date: 24 Jan 93 21:31:20 GMT
Article-I.D.: acad.1993Jan24.153120.1
Organization: Drake University, Des Moines, Iowa, USA

While we're on this analog/digital debate, I was wondering if anyone else
noticed something about sounds as I did.  Albums done with mid 80's digital
gear now sound kind of cheezy in comparison to the incredible toys we have now. 
But work done with mid 70's analog gear still sounds top quality.  Examples
that come to mind include the works of Jean-Michel Jarre and Isao Tomita during
that time period.  Anyone agree/disagree?

Stephen

Maybe that's why I sold my K1 and bought a JX-10.  :)

-- 
/-----------------------/      ... Beware, my friends, as you pass by
/    Stephen E. Hale    /          as you are now so once was I
/ SEH003@ACAD.DRAKE.EDU /          as I am now so you will be
/-----------------------/          prepare, my friends, to follow me ...
From: acj@dcs.ed.ac.uk (Andrew Jameson)
Newsgroups: rec.music.makers.synth
Subject: What's this thing worth?
Date: 22 Jan 93 13:16:37 GMT
Organization: Department of Computer Science, University of Edinburgh


	I've got this naf Ensoniq ESQ 1 synth with the latest(!!) software update
to  it , and quite a large (~52000note) sequencer memory to it. Plus about 4 sound
cartridges , each containing roughly 80 sounds , with one of the cartridges writable
to. 
		Anybody give me an idea of what it`s worth?


	Plus what model of Fender Rhodes piano do I need for that Sly Stone 70's
Sound? Similarly would the B3 be the best Funky Hammond to get hold of? 
			
Newsgroups: rec.music.makers.synth
From: beltran@ns.network.com (Tony R. Beltran)
Subject: Re: Defending the Slugs (long)
Organization: Network Systems Corporation
Date: Tue, 26 Jan 93 14:43:58 GMT

In article <1k2qpcINNbl4@usenet.INS.CWRU.Edu> bt979@cleveland.Freenet.Edu (Jeff Preston) writes:
>
>  Would I be correct in assuming that those who are upset about the
>so-called "slugs" are actually upset *only* at the slugs who are
>commercially successful?  This I could see, but for anyone to 
>automatically assume that everyone should share the same goals
>musically and/or stop playing their instrument is, well, one of
>the sillier things I've heard in this lifetime. To berate someone
>who says he hasn't the time to devote to becoming The Ideal Musician
>(whatever that may be), but enjoys playing nonetheless is absurd. 
>I've heard non-musicians remark at what a waste it is for me to
>spend thousands of dollars of musical gear and not try to make music
>which is popular enough to enable me to get a return on my investment;
>they also fail to see the point, but from the opposite end of the
>spectrum. To me it sounds like both camps are trying to say "this
>is the only valid use for music," which again, is absurd. There are
>more reasons for making and listening to music than you can possibly
>name. Agreed?
>

Just to add my (IMHO)...before records, radio, etc. it was quite
common for families to have a piano not just as furniture in the
living room - but to play as the family gathered around and sang.
It was not necessary for anyone to be a professional or to even
have taken lessons.  It seems to me that with affordable technology
making midi equipment available to the masses, we could have a
resurgence of this amateurish musical sharing.  I think it is a
Good Thing (TM).

Tony


Newsgroups: rec.music.makers.synth
From: jl52800@uxa.cso.uiuc.edu (The Incredible Mr.Wong)
Subject: Re: MusicBox - A new dimension in composition
Organization: University of Illinois at Urbana
Date: Thu, 21 Jan 1993 22:34:23 GMT

Could someone please give a FTP site where I can get a hold of this program?
Thanks.

Mr.Wong
From: ken@advtech.uswest.com (Kenny Chaffin)
Newsgroups: rec.music.makers.synth
Subject: Re: Sampling/Copyright, etc.................
Date: 26 Jan 93 18:46:09 GMT
Distribution: aus,world
Organization: U S WEST Advanced Technologies

In article <1616@b1.babss.UUCP> quantum@mfci.UUCP (Quantum Audio Concepts) writes:
>In article <pet.727704482@munagin> pet@mullian.ee.mu.OZ.AU (paul eng-yi tan) writes:
>>
>>2) The person sampling will not ask for permission to use the sample. Instead,
>>he/she will use it regardless. It is the copyright owner's responsibilty to
>>track down the person using the sample. 
>
>
>
>Why should the copyright owner have to track this information down? Such an
>effort would take time and money. I assume the copyright owner is in the
>business of making music, not running a detective agency.
>

	That's the way the current copyright law works. That doesn't mean
it's right, but that is the way it is.

KAC

Opinions? Can anyone actually _have_ opinions or are they no more 
than dust motes floating in the sunlight of collective intellect.

Kenny A. Chaffin                      {...boulder}!uswat!ken
U S WEST Advanced Technologies         ken@dakota.uswest.com
4001 Discovery Drive  Boulder, CO 80303	     (303) 541-6355
 
Newsgroups: rec.music.makers.synth,rec.music.synth
From: plyall@teal.csn.org (Pete Lyall)
Subject: Re: D-50 Sys-EX woes
Organization: Colorado SuperNet, Inc.
Date: Fri, 22 Jan 1993 01:01:50 GMT

To do a ONE WAY BULK DUMP:

	a) Press and HOLD the DATA TRANSFER BUTTON
	b) Select B.DUMP
	c) Observe [BULK DUMP.O] in upper left of window (BULK DUMP, ONE WAY)
	d) Press ENTER to confirm

... and away you go! If you DON'T hold the DATA TRANSFER button,
you initiate a handshake based bulk dump, which does expect dialog from the
computer.

Pete

-- 
Pete Lyall                Video King Systems                     plyall@csn.org
===============================================================================
Updated quote in development... ;^}
From: pehe@electrum.kth.se (Peder Hedlund)
Subject: Re: yamaha and alesis
Organization: Divided Misprinted Dwarf-Nebulas Inc.
Date: Thu, 28 Jan 1993 15:09:24 GMT

In article <1993Jan27.222501.29416@henson.cc.wwu.edu> n9120389@henson.cc.wwu.edu (Eel) writes:

>  I have a (piece of junk??) Yamaha PSS-480 and an Alesis MMT-8.I can't
>   get my portamento function to stick when I switch betweeen midi mode 99
>   and 00. The instruction manual suggests that I should be able to use it on

  Q: What is MIDI Mode 00 & 99 ?
As far as I know there are : OMNI,POLY,MULTI and MONO (but then again I don't
own a PSS-480).

 ---------------------------------------------------------------------
  Peder Hedlund                  | 
  pehe@it.kth.se                 |  "It's a dirty job but someone's
  Royal Institute of Technology  |   got to do it "
  Stockholm                      | -- Faith No More, 'We Care a Lot' --
  Sweden                         |
 --------------------------------------------------------------------
 CLAIMER: Opinions contained herein are my own, my employers, my
          friends and the rest of the worlds. Definitly !
 ---------------------------------------------------------------------
From: grahame@skyfox
Newsgroups: rec.music.makers.synth
Subject: FOR SALE: Emax-II Sampler, 4MB Stereo, SCSI $1700.
Date: 29 JAN 93 02:49:21 GMT
Organization: University of Saskatchewan
NNTP-Posting-Host: sask.usask.ca

Hi all,
        After posting this machine last week I received a considerable
amount of mail asking for more information about it. Here goes...
- 16 phase coherent stereo voices with resonant filters
- 4MB ram (expands to 8MB for about $150US)
- 61 key velocity sensitive kybd
- SCSI port, 8 audio outs, 3 pedal in jacks, trigger in/out, MIDI
- Extensive sample editing (crossfade looping, gain normalization, truncate,
  taper, back/forth looping, sample rate convert, and lots more)
- Additive synthesis software module (with fourier "transform multiplication")
- 16 channel multi-timbral
- gazoodles of splits & layers possible
- about 200MB greytsounds sample library (with Fairlights, Synclavs, Prophets,
  mellotrons, chamberlins, oberheims, guitars, wavestations, drumulators,
  Linn drums, TR-909/808, Simmons SDX, Studio 440, PPG Wave, and lots more)

All is in full working condition and great physical shape (never leaves my
home studio), with manual. If you'd like to find out more or purchase it
drop me a note at

Grahame@Sask.Usask.CA

James Grahame

Newsgroups: rec.music.makers.synth
From: awkerr@zia.aoc.nrao.edu (Alan Kerr)
Subject: PD bulk-dumper for the PC
Organization: National Radio Astronomy Observatory, Socorro NM
Date: Thu, 28 Jan 93 03:50:36 GMT


I've been told of a PD prog called midiex for the PC.  I got a copy
but it doesn't seem to work.  I'm using a laptop (toshiba 1200hb) with
the MIDIator.  Midiex is complaining that it can't find what it's
looking for.  How do I tell it to use the serial port?

Or is there something else out there that will work?

many thanks,

Alan

-- 
Alan W. Kerr                               awkerr@aoc.nrao.edu
National Radio Astronomy Observatory       awkerr@nrao.bitnet
Socorro, NM, USA                           uunet!nrao.edu!awkerr
Newsgroups: rec.music.makers.synth
From: cassiel@cassiel.demon.co.uk (Nick Rothwell)
X-Sender:  (Unverified)
Subject: Re: Winter NAMM 1983
Date: Mon, 25 Jan 1993 18:25:37 +0000

>> Alesis showed off their new Synthesizer and Mixer unit.
>> The synthesizer has 64 note polyphony, an industry first.

Actually, I believe, an industry second. (TG100 is there already.)

I presume the Alesis was a mock-up.

>I would also hate to use a mixer with a lousy noise floor.  Remember the MOTU
>version of this idea?  Here's hoping Fostex has gotten it right (Nick, have
>you posted the "mini review" you hinted at earlier this year?).

Yes. Wanna see it again? I'm very impressed with the Fostex MIDI mixers (I
have two). Onboard noise is quite low, introduced noise is slightly more
serious and requires care to avoid; apart from that, they're very nice.

>> [...] Even a novice with
>> no musical expertize can run their fingers over the pressure
>> sensitive board and make music

Sounds like the QY-10 (You don't need to be talented. You don't even need
to be musical).

AHEM. I have an idea for a musical instrument where you can generate an
hour's superb-sounding music just from a simple interface. You don't need
to be musical. It will spawn a superb third-party industry for sources of
musical material with which it can be configured. I'm going to call it a
"Compact Disc Player."

                     Nick Rothwell  |  "I was 'on the floor' while they
  CASSIEL Contemporary Music/Dance  |   were being shot and I vividly
       cassiel@cassiel.demon.co.uk  |   remember Joan Collins' legs."
       cassiel@cix.compulink.co.uk  |      -- J. B., scriptwriter, Space:1999

Newsgroups: rec.music.makers.synth,rec.music.synth
From: jon@chopin.udel.edu (Jon Deutsch)
Subject: Re: Korg vs. Yamaha flamefest (Re: Need synth recommendations)
Organization: University of Delaware - What state is that in?
Date: Sun, 24 Jan 1993 06:14:55 GMT

In article <PEHE.93Jan22130420@heliumx.electrum.kth.se> pehe@electrum.kth.se (Peder Hedlund) writes:
|>In article <1993Jan20.124450.24005@cs.tcd.ie> phammond@cs.tcd.ie (Paul
|>Hammond) writes:
|>
|>
|>> Well I'd rather make music that a reasonable amount of people could
|>like > rather than some real weird arty far-out stuff that only myself
|>would think > is good.
|>
|>>   Paul
|>
|>    Isn't that a form of prostitution ? To make music you dislike for
|>    the sake
|>of other people ? When yhou make music it should be because you like
|>it
|> yourself. If then other people like it as well then great, but that
|> shouldn't
|>be the purpouse.

	Prostitution?  
	How about charity?
	How about sacrafice?  
	Many people give up some amount of personal enjoyment for 
	the benefit of others.

	Just a vantage point.  Niether prostitution nor charity
	are applicable analogies for writing music for the masses.

       X-------------------+--------------+-----------------------X
       |  |   |\       |>jon@chopin.udel.edu<|  "For my 2 cents,  |
       | \|on |/eutsch |>>-----------------<<|  I'd pay a dollar" |
       X------+--------------------+--------------------+---------X