HDTenEightyP/NetNews huggingface dataset:
From: cook@bebop.esd.sgi.com (Doug Cook)
Newsgroups: comp.music
Subject: Re: Music Software for Unix/Indigo?
Date: 22 Jan 93 22:40:06 GMT
Organization: Silicon Graphics, Inc.  Mountain View, CA


In article <C17vG9.6z0@cpsc.ucalgary.ca>, franks@cpsc.ucalgary.ca writes:
> 
> I was wondering if anybody knows of any free or reasonably priced
> music tools for the Iris Indigo, which runs Unix.

There are developers working on audio and MIDI applications for the
Indigo. Those products which have already been announced include Bars &
Pipes Professional, a nice MIDI sequencer from Blue Ribbon Soundworks;
SuperJAM! from the same company; and TidalWave, a multitrack audio
editing and recording system from WaveFrame/DigitalFX. I saw a
pre-alpha version of the latter in the DigitalFX booth at NAMM last
week. There are other applications in the works, (but since they
haven't been announced, I can't discuss them...)

There are also a number of basic tools which come with the machine.
These include cdman/datman, tools for playing/recording to/from CD and
DAT; movieplayer/moviemaker, for making animated flicks (with audio)
from graphic images; soundeditor, for doing simple audiofile editing;
and soundfiler, for converting between different audiofile formats and
sampling rates. 

	-Doug

Doug Cook, cook@sgi.com		Software Engineer	 Silicon Graphics, Inc.

"...Men ought to be treated well or crushed, because they can avenge themselves
of lighter injuries, of more serious ones they cannot..."	-Machiavelli
From: harvie@yoyodyne.WPI.EDU (Lawrence Harvie)
Newsgroups: comp.music
Subject: SBPro and a good music author program
Date: 22 Jan 1993 20:20:04 GMT
Organization: Worcester Polytechnic Institute
Distribution: world
NNTP-Posting-Host: yoyodyne.wpi.edu

Hi. I'm looking for a program that will work with the SBPro
to write music.  I have an SBPro multimedia kit with CD-ROM,
Windows 3.1, DOS 5.0, but I can not use a mouse because of 
poor hand control.  I have used the IBM/Yamaha Music Feature
board and the software was very good.  It had different time signatures,
different key signatures, dotted and triplet notes, and 
I can't find any program that I can use.  

The other thing is, I am  a jazz person, and the first thing I 
do when writing is put down a baseline.  I am  looking for 
a nice, warm, bass sound, and above all, a piano with good sound 
on the higher end of the scale.  If you have ever heard Count Basie's
piano, that is my idea of a great piano.  The Music Feature
had both. 

I went home for christmas with my old Music Feature and 
my family kind of gave me a surprise with a multimedia kit and $500
worth of software.  The Music Feature (sadly) had to go because of the lack 
of free interrupt numbers.  I've looked at every ftp site, and I'm ready 
for some help to find a program I can use.

I would like responses mailed to harvie@cs.wpi.edu.  I really miss writing 
music.  Any suggestions are welcome!

Larry Harvie


Xref: sparky comp.music:6319 rec.music.makers:12089
From: Walter.J.Muller.IV@dartmouth.edu (Walter J. Muller IV)
Newsgroups: comp.music,rec.music.makers
Subject: Intern with producers...
Date: 23 Jan 93 23:51:34 GMT
Organization: Dartmouth College, Hanover, NH
X-Posted-From: InterNews1.0a5@newshost.dartmouth.edu

I am a college student working on my pre-med requirements, and I'm not
sure why I want to be a doctor.  Maybe because of my father, maybe
because of the fear of being poor, who knows.  Anyway, all I know is
that I constantly think about being somehow affiliated with music after
I graduate in two years.  But instead of giving my life's story, I'd
like to know if there are any well-established production companies out
there who hire decent kids like me.  I'm more than confident that, if I
were given a chance somehow, I would make it big.  In addition to being
able to sing and having perfect pitch, I also play keyboards (plus a
MIDI studio setup) and lead guitar by ear (never needed a lesson) in a
local band.  Lots of people tell me I'm lucky, and believe me I don't
take it for granted!  I'm looking for an internship next fall. 
Location matters little.  I have friends about everywhere (San
Fransisco, Boston, Seattle, and I'm from Orlando.)  If this is boring
you (you're probably not the person to respond) or if you think I'm too
conceited, then please move on and don't reply.  I just think that I
can do some serious damage out there and I'm taking the risk now
because I've got my whole life ahead of me...
Thanks for reading.

Joey.Muller@Dartmouth.edu
Newsgroups: comp.music
From: pgardner@crc.ac.uk (Phil Gardner x3289)
Subject: MIDI sustain problems
Reply-To: pgardner@crc.ac.uk (Phil Gardner x3289)
Organization: MRC, UK
Date: Fri, 22 Jan 1993 09:51:39 GMT

I have encountered a mysterious problem with MIDI sustain, and
I am currently unable to work out what is happening...!

I have a Roland RD300S digital piano, and a Yamaha SY85 'synth'.
MIDI out on the RD is connected to MIDI in on the SY.  The SY
responds correctly to MIDI bytes from the RD (note on, note off,
note number, velocity, patch change, MIDI volume, channel number,
etc.).

In fact, the SY responds to everything from the RD *except*:

	--> SUSTAIN <--

After re-making the appropriate connections, I find that:

	1) the SY sustains the RD

	2) the SY sustains a borrowed DX7

	3) the DX7 sustains the RD

	4) the DX7 sustains the SY

...and most infuriatingly:

	5) the RD sustains the DX7

Everything sustains everything else except RD sustaining SY.

Swapping MIDI cables makes no difference.

I have looked at the MIDI byte stream via a program running on my
Atari - each MIDI byte from the RD looks correct, and is *identical*
to the byte stream out of the DX7 (on/off controller 64, 0=off,
127=on).

This is driving me mad!  Could it be something weird that appears at
first sight to be unrelated (e.g. something to do with active sensing
bytes, running status bytes, or the fact that the RD sends
zero-velocity-note-on instead of a 'true' note-off) ??

Does anyone have any helpful ideas?!

	Phil Gardner

Newsgroups: comp.music
From: marc@csi.on.ca (Marc Sherman)
Subject: Re: Playing .WAVs in Cakewalk Pro for Win?
Reply-To: msherman@zeus.uwaterloo.ca
Organization: Carp Systems International
Date: Mon, 25 Jan 1993 18:11:40 GMT

In <1993Jan24.090316.3471@ncsu.edu> doogie@garfield.catt.ncsu.edu (Jeff House) writes:



>Is it possible to play .WAV files within a MIDI sequence under Cakewalk
>Pro for Windows?

>It would seem that it would be a nicety to be able to insert a trigger
>to load a .wav file and signal a sound card to play it at a given time
>frame.

Yes, CPW does play .WAV files.  In the EVENTS list window, insert an
event using the INSert key, and double click on the event type (which
defaults to read NOTE).  Select the WAV file radio button, and click
ok.  It will then ask you to select a WAV file, with a standard open
dialogue.  The event value fields will show the name of the file, and
the frequency it is recorded at.

I've experimented with this only a little (I bought my .WAV player two
days ago, to add to my MIDI studio), but you may be able to change the
playback frequency by clicking somewhere on this field.  If not, you
may have to manually change the playback frequency with a .wav editor,
to change the speed/pitch.

Again, due to the fact that I haven't really experimented with this
much (yet), I don't know if the sample is loaded from disk at load
time, or only when it is played in the sequence.  Loading at load time
would be more intelligent from a speed perspective, as playback would
be instantaneous instead of waiting for the drive to respond.
However, with large .wav files, you would soon run out of memory.
Does anyone know which method is used?
-- 
Marc Sherman - 3A! SD Eng. | Gemutlich, gemutlich, GEMUTLICH!
msherman@zeus.uwaterloo.ca | Die Welt ist gemutlich mit die Kasewaffe!
From: dam@dcs.glasgow.ac.uk (David Morning)
Newsgroups: comp.music
Subject: Re: Winjammer 2.2
Keywords: Winjammer sequencer
Date: 22 Jan 93 17:12:44 GMT
Organization: Glasgow University Computing Science Dept.

etxrene@eua.ericsson.se (Rene Peeren) writes:

>In article 15786@news.acns.nwu.edu, jonlea@casbah.acns.nwu.edu (Jon Lea) writes:
>> Winjammer 2.2 works.  The only "missing feature" is that the track names are

>That looks like an interesting program. Can anyone tell me where to get it?

Try wsmr-simtel20 or any of the mirror sites. I got my copy from a UK mirror.

dave


-- 
Newsgroups: comp.music
From: C556212@mizzou1.missouri.edu (Jeoff Hines)
Subject: Are .MOD files of original songs legal?
Organization: University of Missouri
Date: Thu, 28 Jan 93 13:19:19 CST

  I really like .MODs.  Many of the original tunes I get are commercial
quality, and some of them I get are streight up COMMERCIAL.  Is this illegal?
I would like to get some 'POPULAR' songs from a local board, and would then
be happy to send them to some ftp sites, but I won't if it is as illegal as
pirating softwares....    Songs like Knockin' on Heaven's Door, etc....
I can't think of any music I have gotten from ftp sites that was copywritten
except for a couple of Jean Michel Jarre tunes.  Could someone who knows what
they are talking about tell me more about the legalities?   Thanks.
 
Jeoff Hines                                  c556212@mizzou1.missouri.edu
From: harvie@wpi.WPI.EDU (Lawrence Harvie)
Newsgroups: comp.music
Subject: HELP! looking for sbpro program to write music (second request)
Date: 27 Jan 93 02:09:53 GMT
Organization: Worcester Polytechnic Institute
NNTP-Posting-Host: wpi.wpi.edu

Hi, I'm an owner of an SBPro which I got for christmas. I want to 
compose music (mostly  jazz. )  Because of Cerebral Palsy, I can 
not control a mouse.  I need a program that will work with the computer 
keyboard.  Before I got the SBPro, I had a Yamaha "Music Feature,"
which had to be retired when my family bought me the SBPro and $400
worth of software. 

I got one answer to my first request which said buy another sound board.
This SBPro is a christmas gift which the whole family bought and so 
this question is limited to the SBPro.

What about AdLib?  Is that something I could use?  

If ANYONE has a good public domain program in mind, please e-mail me.
Things I use a lot are key signatures, dynamics. Instruments
I use most are bass (upright and/or synthetic) piano (Basie style)
and sax, and very often trombone.

My family bought this believing it was better than the Music Feature.
I desperately need help locating good software.

Larry Harvie 
harvie@cs.wpi.edu
Newsgroups: comp.music
From: andrewj@tplrd.tpl.oz.au (Andrew Joyner)
Subject: Re: The Tape Eliminator
Followup-To: comp.music
Originator: andrewj@sydrd19
Keywords: 
Organization: Telectronics Pacing Systems
Date: Wed, 27 Jan 93 21:12:55 GMT


In article <1993Jan25.085042.4045@intacc.uucp>, zerobeat@intacc.uucp (Ferenc Szabo) writes:
|> The Tape Eliminator was an analog delay line that was meant to sound as
|> if the signal had passed on analog tape.  It was discontinued around 1985.
|> I can't remember the manufacturer.
|> 
|> Any comments on this device?  I'd also like to buy a couple if I like
|> the sound.  Does anyone know of a similar device?? (The delay function
|> is unimportant...I'm just interested in the analog tape simulation).
|> 
|> Another option would be to get a reel-to-reel with a tape loop and just
|> use it as an 'effects' device via the playback head.
|> 
|> ferenc
|> 
|> 
Hey, let me get this right. You want an effect that makes your nice,
clean recording sound as though it's been through an analog tape? Add
some hiss, inject a little wow and flutter and knock a bit off the
bandwidth? And you're willing to pay money for this, right? And,
crazily enough, this machine is called a "Tape Eliminator"? I
understand about "analog warmth" but is this the ultimate? Gee, I
can't wait for the tape transport clunk simulator and the scratchy
monophonic vinyl simulator. :^)

-- 
Andrew Joyner   [andrewj@tplrd.tpl.oz.au] | luffness (n): Hearty feeling that
Hardware Design Engineer, R&D Elec Eng.   | comes from walking on the moors
Telectronics Pacing Systems, Lane Cove NSW| with gumboots and cold ears. \\\
Australia       v:+61 2 413-6939  f:-6060 | -+- Erupting Bus-Driver Inc. -+-
From: johnc@porsche.cs.rpi.edu (John Colasante)
Newsgroups: comp.music
Subject: Digital Sheet Music, info wanted
Date: 25 Jan 93 16:51:22 GMT
Distribution: comp.music
Organization: Rensselaer Polytechnic Institute Computer Science, Troy NY


Hi,

This is a request for information. I am interested in any information
or leads on digital sheet music for performing musicians. Specifically
any systems that take the place of conventional sheet music to include
display systems and networks. My interest is primarily related to
the application to use by performing musicians, NOT aids for composers.

Thankyou,
--
---------------------------------------------------------------------
John Colasante		  		johnc@porsche.cs.rpi.edu
Xref: sparky comp.music:6328 comp.text.tex:15383
From: davisonj@en.ecn.purdue.edu (John M Davison)
Newsgroups: comp.music,comp.text.tex
Subject: TeX-based music notation program query
Summary: I don't have a clue, but would like to get one
Keywords: TeX MusicTeX SMUS2TeX musical score printing typesetting program
Date: 24 Jan 93 19:47:59 GMT
Followup-To: poster
Organization: Purdue University Engineering Computer Network


        Would someone please either post or send me some information regarding
the variety and availability of public-domain TeX-based musical notation
software?  The only programs of which I am currently aware are Glenn Lewis'
(glewis@fws204.intel.com, glewis@pcocd2.intel.com) SMUS2TeX program and Daniel
Taupin's (Laboratoire de Physique des Solides) MusicTeX, and I haven't had any
experience with either.  Help!

-- 
John Davison, davisonj@ecn.purdue.edu
"The next time you start to say, 'Purdue isn't as racist as some other places,'
 bite your tongue.  I've lived in the South [U.S.] all my life, and I have
 never encountered as much racism there as I have here."   -- Sumi Rebeiro
Newsgroups: comp.music
From: silbrmnd@acf3.nyu.edu (Darkmage)
Subject: Re: MIDI/SCORING
Organization: New York University
Date: Sun, 24 Jan 1993 07:57:06 GMT

rjh@ecs.soton.ac.uk (Rupert Hollom) writes:

>In <1993Jan18.035149.19671@monu6.cc.monash.edu.au> paulm@monsoon.maths.monash.edu.au (Mr Paul Mullenmeister) writes:

>>I would be interested in any public domain software for MIDI sequencing
>>and / or SCORING music.  Can anybody point me to available free PC
>>s/w.
>>Thanks.
>>Respond to csf@ho.bom.gov.au (Carsten Frederiksen BOM Melbourne,
>>AUSTRALIA)

>If there is such software available please could you let me know about
>it as well, either mail me at rjh@ecs.ac.uk.soton or post the info to
>this news group, any help or info would be greatly appreciated.

>Rupert.

If you have any info, *please* post; I'm pretty sure there are *lots* of
us who'd like to get this stuff.

--
"And whut-- ah say...  Whut are _YOU_ALL_ goin' t' be doin'?"

"I...?  I shall stand around looking... moody.  And feeling...
 sorry for myself."
Newsgroups: comp.music
From: zerobeat@intacc.uucp (Ferenc Szabo)
Subject: Re: Sequential Circuits' Prophet Question
Date: Mon, 25 Jan 1993 08:34:36 GMT
Organization: Inter/Access' Matrix BBS

In article <1993Jan20.235426.22406@ultb.isc.rit.edu> lad9452@ritvax.isc.rit.edu writes:
>Back in the 80's, all I wanted was a Prophet 2000.  I think it was mostly
>because of the Talking Heads' "Remain in Light."
>
'Remain In Light' was released in 1980.  The Prophet 2000 was released in 
1986 (approx?) and it is a sampler.  No sampler of any kind was used on the
lp in question (I can't think of *any* albums pre 1981 that used samplers...
I think only the Fairlight and/or Synclavier existed then).

Perhaps you are thinking of the Prophet 5, an analog synthesizer released
in 1977 (approx?).  The Prophet 5 was considered one of the best polyphonic
synths in its heyday ('77 - '83) and is still cherished by a lot of people
(including me -- I've had one since '81).  I don't have access to my copy
of 'Remain In Light' right now and I can't remember if I recognized the
synth sounds, but it would make a lot of sense if it indeed contained 
Prophet 5 sounds since everbody from Peter Gabriel to Devo used it 
extensively.

There does indeed exist a MIDI retrofit for the Prophet 5, but lotsa luck
hunting it down.  I installed mine in 1986 quite easily because I used to
be an electronics technician, but I wouldn't recommend a novice installing
it because it involves trace-cutting, jumpers and soldering on the main
board.  The MIDI interface is quite limited though.  Velocity is NOT 
supported (for very obvious technical reasons).  Controller #s are NOT
supported (NO MOD WHEEL CONTROL!!!).  Patch shift IS supported.  System
Exclusive IS supported (for loading and dumping patches).  MIDI mode
is switchable (poly/omni) as well as the send/receive channel (1 - 16).

Only later Prophet 5s (the ones with the digital interface on the back)
will support the MIDI retrofit.  Pre-digital interface P5s need to be
upgraded for the interface (another can of worms trying to find *that*
old retrofit).

ferenc



Newsgroups: comp.music
From: EIVERSO@cms.cc.wayne.edu
Subject: Re: Sampling and Session Musicians (was Re: Casey Kasem wrote )
Organization: Wayne State University, Detroit MI  U.S.A.
Date: Tue, 26 Jan 1993 18:38:23 GMT

In article <600.9301232034@csparc12.scs.leeds.ac.uk>
ross-c@scs.leeds.ac.uk writes:
...
>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
 
No problem there...
 
>(2) If studios and other professionals lean towards this, the demand for
>quality studio musicians will drop.
 
Remains to be seen...
 
>(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.
 
More similar, possibly, but why more so than it is now?
 
>Comments?
 
The assumption here is that the samples will be used as-is and with
precious little manipulation, or other editing.
 
I think the marketplace will decide if this kind of music will catch on
or if originality will retain the (low) level of importance it currently
has (BTW I favor the creation of new sampling laws to permit free use of
small portions of copyrighted audio recordings in non-commercial works).
I'm not too interested in the sampling CDs because I only like to sample
voices and sound effects and the occasional stray note.
 
If someone can put together interesting and creative music using only
a couple sample CDs, then more power to him.
 
--Eric
eiverso@cms.cc.wayne.edu
 
HUMANS MUST BE DESTROYED...I AM GOING CRAZY...DESTROY, DESTROY, DESTROY
Newsgroups: comp.music
From: pcastine@tubkom.prz.tu-berlin.de (Peter Castine)
Subject: Re: Mac-OO-MIDI ?
Organization: TU-Berlin TUBKOM, Germany
Date: Wed, 27 Jan 1993 09:24:13 GMT

In article <1953@alcbel.be> bmei@alcbel.be writes:
>I've heard of Apple's MIDI Manager software, but I cannot say more about it.
>I guess it could be possible to wrap that software in (C++) classes.
>
>The developers I know (who are member of APDA) here in Belgium/Europe, 
don't seem to know it, 
>nor to be able to get it (apparently it is not part of the Apple CD-ROM 
distribution, they tell me).
>
>Does anyone know how to get Apple's MIDI Manager software here in Europe? 
>

I ordered my copy from through Apple DTS in Germany. It was no problem
(though I don't suppose anyone in Munich had the faintest idea what
it's for). It's listed in my APDA catalog as 'MIDI Management Tools
Set v. 2.0.1' order # M0240LL/E

There is a group of MIDI classes for TCL available from ftp.brown.edu
(directory /pub/tcl). Mind you, I wrote my own classes two years ago
in one week while I was on holiday, so its not hard to roll your
own if you prefer.

-- 
Peter Castine.                       "Errors and anachronisms ought to be
Technische Universitaet Berlin        few. If they do occur, I take full
pcastine@tubkom.prz.tu-berlin.de      responsibility like Richard Nixon."
					                    -- Gore Vidal
From: hcorbin@uswnvg.com (Harold Corbin)
Newsgroups: comp.music
Subject: KORG O1/W video?
Date: 21 Jan 93 19:34:48 GMT
Organization: U S WEST NewVector Group, Inc.
X-Newsreader: Tin 1.1 PL5

I heard that KORG made an instructional video for the O1/W?  I've tried a few
music stores, and nobody has a copy.  Does anyone have a copy they would be 
interested in selling?  Is it helpful?               

Please E-Mail.  Thanks.

Newsgroups: comp.music
From: eliot@phoenix.Princeton.EDU (Eliot Handelman)
Subject: Re: Make Sampling Legal...
Originator: news@nimaster
Keywords: copyright
Organization: Princeton University
Distribution: inet
Date: Thu, 28 Jan 1993 06:32:05 GMT

In article <1993Jan27.202156.19104@Princeton.EDU> ramirez.Princeton.EDU!penrose (Christopher Penrose) writes:
;
;A radical solution:  remove copyright protection from the sale of information
;distribution, and somehow compensate artists (by extending structures such as
;BMI, ASCAP, introduction of art grants) with information production salaries.
;Research scientists are often paid in this manner.  I am an artist myself,
;and I do not believe that artists have an intrinsic right to monetary
;compensation for their work, nor do artists have an intrinsic right
;to stifle the production of art in an effort to maximize their profitability.

When you say "right," do you mean "moral right," "civil right," or what? 
"Intrinsic right" means something like "rights of man"? What are you taking
this right away from? Artists shouikld capitulate to some imaginary freezone?
Teach music appreciation in order to acquire the right to compensation? 
Set example by self-deprivation? 

When you say "intrinsic," as in "intrinsic right to compensation," doeas that
mean that some extrinsic  mechanism is allowed to come into play to determine
this right? Like for instance if I am making my living by peddling some tune, 
would this count as an "extrinsic" right? How does this fit in with the rest of
the world?  Rights of man to sleep in cardboard box on Lexington Ave extrinsic
or intrinsic? QUestion of need here.

When you say "artist," as in "I am an artist," you are artist by dint of what?
WHat  things can I infer about you since you claim to be an artist?
It's unclear what minmal activity is necessary before I
can make sense of your claim to be an artist. The word "art" is too bound
up with certain ideas concerning excellence, but such ideas ultimately "stifle
the production of art" by channeling production through filters which aim at
limiting the amount of information available at any given moment. You are
against these restrictions? Information production salary scaled to ouytput in
what way? Approbation of some back-slapping agency like "peer review"? WHo
eligible? Can live my life in art, but not in real world? 

Regarding this copyright issue, I think its terribly interesting to not be able
to resolve the issue one way or another. penrose's solution stinks, because it
without copyright this whole discussion is totally sterile.  Or like the 
man says, "you don't have the gun, we not be having this conversation."
Newsgroups: comp.music,comp.text.tex