HDTenEightyP/NetNews huggingface dataset:
From: cfoley@Bonnie.ICS.UCI.EDU (Ciaran Foley)
Subject: SY77 Bulk librarian/editor
Newsgroups: comp.music,rec.music.synth
Date: 18 Aug 92 17:02:36 GMT

Hello there! Does anyone know of any good ones out there for IBM
clones? Also, where can I find ensoniq EPS samples?

Ciaran!

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Newsgroups: comp.music
From: bil@cmn16.Stanford.EDU (Bill Schottstaedt)
Subject: Re: Scope and content of this group (read before posting!)
Organization: DSO, Stanford University
Date: Thu, 13 Aug 92 15:54:16 GMT

Here's an example of proper comp.music discourse:

"I propose to perform psychoacoustical experiments
involving the categorical perception of intervallic
ratios, but my only resource is a Roland synthesizer
I found in my neighbor's garage, and the only tune
I can keep straight is the melody used on "Jeopardy".
I couldn't find the "Jeopardy" tune in 
Musik Gesundheit und Gegenwart. Please help."
Newsgroups: comp.music
From: jbm@sei.cmu.edu (Jason Mahoney)
Subject: Finale for the Mac --- Help!!!
Organization: Software Engineering Institute
Distribution: usa
Date: Wed, 12 Aug 1992 19:09:27 GMT


  To anyone that can help me...

          I just got a copy of Finale for my Mac but the person who gave 
it to me does not have the instruction manual. So, I would REALLY appericate
it if some MIDI musican out there in netland would either let me know where
I can get a copy or would e-mail me some basic function instructions so I
can get some tunes flowing through my keyboard. Thanks in advance!!!

                                         Jason
                                         aka "Chevy Van Halen"

  P.S. Could someone e-mail me the number of the MacWarehouse and how are 
       the on prices and service.  Thanks!
Newsgroups: comp.music
From: htoyryla@ntc01.tele.nokia.fi
Subject: Re: LA Synthesis
Organization: Nokia Telecommunications.
Date: Thu, 13 Aug 1992 14:08:49 GMT

In article <1992Aug07.131853.27872@hplb.hpl.hp.com>, dea@hplb.hpl.hp.com (David Allport) writes:
> 
> I'm trying to find a book or other source of information on Roland's Linear
> Arithmetic Synthesis method, as used in MT32, D50, GR50 etc.  I have written a
> patch editor/librarian for my GR50, and I want to expand it to include timbre
> editing. More importantly, I want to learn enough about the musical
> possibilities of LA Synthesis to be able to use my editor effectively when
> I've written it!
> 
> I know what the various parameters do individually, but what I need is
> some sort of theoretical overview on the use of the 13 different structures for
> partial combination, interactions between LFO and Ring modulation, etc.  The
> "use your ears" approach to understanding what is going on with these
> parameters is about as useful as the "use your eyes" approach to finding a
> needle in a haystack - there are literally millions of combinations of just the
> basic elements, so it's impossible to hear enough examples to form a good
> theory.
> 
> The only book I've seen is for the D50, which is a step-by-step "choose
> patch NN and modify the X parameter" approach to fiddling with the D50's
> presets; pretty unhelpful for any other LA synthesiser, since they have
> different presets. Does anyone know of a good discussion of the musical
> effects of different LA Synthesis algorithms, or can anyone offer any
> practical tips as a result of experimentation?
> 

LA synthesis seems to me to emulate the way the analogue synthesizers
are normally used, except that in addition to the square/saw waveforms
one can also use sampled waveforms. But the TVA, TVF etc. correspond
to the VCA, VCF etc. of an analogue synthesizer. 

The 13 structures therefore correspond to different patchings of modules
one would use in an modular analogue synth. The LFO and ring modulator
are modules you would find in any well equipped analogue synth.

Therefore it may be a good idea to look for a good book on analogue
synthesis. 

As to how well actual LA synths do this emulation, I cannot say.
There are probably shortcomings there. But to me the best way to
approach LA synthesis is to think in terms of analogue synths.

regards
Hannu

(and apologies if this was known and obvious)


---------------------------------------------------------------------
Hannu Toyryla            htoyryla@ntc01.tele.nokia.fi
Nokia Telecommunications (Nokia Cellular Systems, Private Mobile Radio)
P.O.B  77    SF-02610 ESPOO FINLAND
TEL	+ 358 0 5118366      FAX	+ 358 0 5118400
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Xref: sparky comp.music:4145 rec.music.synth:13622 rec.music.industrial:9490 rec.music.misc:21818 alt.music.filk:1844 rec.music.bluenote:6327
From: latta@xcf.Berkeley.EDU (Craig R. Latta)
Newsgroups: ucb.becmug,comp.music,rec.music.synth,rec.music.compose,rec.music.industrial,rec.music.misc,alt.music.filk,rec.music.bluenote
Subject: ... MUSENET '92 update pointer ...
Date: 18 Aug 1992 00:55:16 GMT
Organization: University of California, Berkeley
Distribution: world
Reply-To: Craig Latta <latta@xcf.Berkeley.EDU>
NNTP-Posting-Host: xcf.berkeley.edu
Followups-To: rec.music.makers





	An update for the MUSENET '92 project has been posted to
rec.music.makers, and is also available via ftp from
anonymous@xcf.berkeley.edu:misc/netjam/announcements/MUSENET, and by
emailing musenet-request@xcf.berkeley.edu with the subject "request
for info".

	Please direct (relevant) followups to rec.music.makers, or via
email to me.


	Thanks,

-C


-- 
-----------------------------------------------------------------------------
Craig R. Latta           Experimental Computing Facility                (XCF)
Composer, Software and   ParcPlace Systems, Inc.        (latta@parcplace.com)
    Recording Engineer   NetJam, Berkeley                (netjam-request@xcf)
Newsgroups: comp.music
From: newton@mari.acc-admin.stolaf.edu (newton)
Subject: Re: Scope and content of this group (read before posting!)
Organization: St. Olaf College; Northfield, MN
Date: Thu, 13 Aug 1992 18:57:28 GMT

In article <1992Aug13.155416.4303@leland.Stanford.EDU> bil@cmn16.Stanford.EDU (Bill Schottstaedt) writes:
>Here's an example of proper comp.music discourse:
>
>"I propose to perform psychoacoustical experiments
>involving the categorical perception of intervallic
>ratios, but my only resource is a Roland synthesizer
>I found in my neighbor's garage, and the only tune
>I can keep straight is the melody used on "Jeopardy".
>I couldn't find the "Jeopardy" tune in 
>Musik Gesundheit und Gegenwart. Please help."

Touche' :-).

newton@stolaf.edu
Xref: sparky comp.music:4139 rec.music.makers:9024 rec.music.synth:13587
From: johnd@lloyd.Camex.COM (John Duesenberry)
Subject: Re: Scope and content of this group (read before posting!)
Organization: Camex Inc., Boston MA
Date: Wed, 12 Aug 1992 16:30:48 EDT

Why the *&^!!@!! shouldn't "sound generation techniques,
composition, MIDI,synthesizers..." be discussed here?????
These are all extremely active research areas and of vital
interest to the serious computer music community. I would hate
to discourage anybody from discussing them here. Those who are
among the more sophisticated and knowledgable here should
welcome the opportunity to help newcomers and naive users,
not send out memos encouraging them to go away so that elitists
can carry on their high-minded deliberations among themselves.
A great many of the supposed computer music elite could use
a little exposure to the world of MIDI and commercial synthesizers,
if you ask me... maybe then we would avoid the plague of
composers heard at the last ICMC coming out onstage with pieces
scored for all the worst Proteus unmodified factory presets.
From: icking@gmd.de (Werner Icking)
Newsgroups: comp.music
Subject: Re: Where is TEX, MusicTEX ??
Date: 18 Aug 92 16:38:47 GMT
Organization: GMD, Sankt Augustin, Germany

In <1992Aug18.141444.26434@alf.uib.no> s310@brems.ii.uib.no (Chris Tveit) writes:

>Where can I find the newest version of TEX, MusicTEX, ao. for my PC (MS-DOS) ??

You find both ready for anonymous ftp on:

 ftp.gmd.de:    music/musictex/...
                music/mutex/...

...and don't forget to subscribe to the Mu(sic)TeX-mailing list; send
your request to  mutex-request@stolaf.edu

>Are there any TEX-printer-drivers for my HP DeskJet 500 ?? (where)

EmTeX supports this printer (if memory serves me right): dvidrv dvihplj(7)
has a parameter which tells that the output goes to a DeskJet 500.

Werner
--
Werner Icking           icking@gmd.de            (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
Newsgroups: comp.music
From: xrjdm@twinpeaks.gsfc.nasa.gov (Joseph D. McMahon)
Subject: Re: Scope and content of this group (read before posting!)
Reply-To: xrjdm@calvin.gsfc.nasa.gov 
Organization: NASA/GSFC NCCS
Date: Wed, 12 Aug 1992 16:43:24 GMT

In article <1992Aug11.184256.26270@andersen.co.uk>, music-research-request@prg.oxford.ac.uk (Stephen Page) writes:
> WHAT IF MY SITE DOESN'T RECEIVE THE REC. HIERARCHY?
> 
> There is a mailing list which deals specifically with synthesizers and
> other aspects of electronic music. To join this list, send
> a message containing "SUBSCRIBE EMUSIC-D <your fullname>"
> to LISTSERV@AUVM.BITNET.
> 

If you do not receive the REC. hierarchy, access to rec.music.synth (a more
hardware/software-oriented forum) is available via EMAIL through the SYNTH-L
mailing list, based out of AUVM.AMERICAN.EDU. You may subscribe to this 
mailing list by sending a mail message containing the text "SUB SYNTH-L
<your name>" to listserv@auvm.american.edu. Your name must be at least a first 
and last name.

EMUSIC-L and EMUSIC-D are also available at the AUVM.AMERICAN.EDU site. These
mailing lists are more performance and method-oriented than is SYNTH-L, and
are less focused on specific hardware and software questions. EMUSIC-L is a
real-time mailing list, while EMUSIC-D is a digest of the contents of EMUSIC-L.
Subscription is similar to that for SYNTH-L, except that you use either 
EMUSIC-L or EMUSIC-D instead of SYNTH-L in the "SUB" request.

[This may be more helpful for those who really want rec.music.synth. -JM]
-- 
 --- Joe M.

                            THE AUDIENCE IS NOW DEAF

Newsgroups: comp.music
From: rolfe@fraser.sfu.ca (Christopher John Rolfe)
Subject: Re: QUESTION: How to get frq from MIDI note on/off message
Organization: Simon Fraser University, Burnaby, B.C., Canada
Distribution: comp
Date: Thu, 13 Aug 1992 19:11:25 GMT

risto@tuura.UUCP (Risto Lankinen) writes:

>Hi!

>I have seen, but since forgotten a formula for the frequency of the
>sound produced, given the parameters of MIDI note on/off/aftch, the
>current pitch bender setting and the base frequency.

>Yes, I do know that 'frq = 2^(noteval/12) * K', where K is a constant
>value derived from the base frequency.  It's the bender value that I'm
>having the trouble with, in fitting into the formula.
 
	The 12th root of two formula, of course, assumes
equal-temperament. And don't forget master/global tuning.  K is
8.1757989 for A-440.  
	Pitch bend messages send a value between 0 and 127, where 64
is the centred position.  Pitch bend sensitivity, however, is set 
on the receiving instrument ( such that the 64 values between 0 and 64
could be mapped to a semi-tone below, or an octave below ).  
Additionally instruments may send an additional pitch bend value 
between 0 and 127, increasing the resolution. 

	Solve for actual PbendValue by:
	PbendValue = ( HiByte - 64 ) + ( LowByte / 128 )
and    
	Calculate Pbend then by:
	Pbend = Sensitivity ^ ( PbendValue / 64 )
e.g.,
	If sensitivity is set to one semitone ( 2^(1/12) = 1.0594631 )
		and HiByte = 0
		    LowByte = 0
		then PbendValue is ( 0 - 64 ) + ( 0/128 ) = -64
		then Pbend = 1.0594631 ^( -64/ 64 )
			   = 0.9438743

	Frequency then is:   
	
	freq = ((2^(note#/12) * K) * Pbend ) 

I think...

Chris
rolfe@sfu.ca
Newsgroups: comp.music
From: ramirez.Princeton.EDU!penrose (Christopher Penrose)
Subject: Re: Granular synthesis intruments
Originator: news@nimaster
Keywords: grains
Organization: Princeton University
Date: Thu, 13 Aug 1992 01:20:33 GMT

John Duesenberry writes

> I'd like to see some granular synthesis Csound instruments too, whether
> they use FOF or not. A good Csound hangout is the Berklee BBS, do
> you know it? Although I haven't seen any granular synthesis stuff
> up there.

My csound granular synthesis instruments are very simple:

ramirez> cat lupo.orc
sr=36000
kr=1000
ksmps=36


                        instr 33;       file inst
                aampl   oscil p4, 1/p3, p6; env
                aindx   line 0, p3, sr * p3
                ainc    = aindx * p5
                agrab   tablei ainc, 17
                        out agrab * aampl 
                        endin

                        instr 34;       grain 
                aampl   oscil p4, 1/p3, 2
                asig    oscil aampl, p5, 1
                        out asig
                        endin

                        instr 35;       noise grain 
                aampl   oscil p4, 1/p3, 2
                afsrc   randi   aampl, 150 
                aconv   oscil afsrc, p5, 1
                aflt    reson   aconv, p5, (p5 * .004), 1
                        out aflt
                        endin

ramirez> cat lupo.sco
f1 0 8193 9 1 1 0
f2 0 8193 9 0 .5 90 1 -.5 90;   inverted cosine

This files havn't been touched in a while:

-rw-r--r--  1 penrose      455 Jan 11  1990 lupo.orc
-rw-r--r--  1 penrose       67 Jan 11  1990 lupo.sco

So you are probably on your own.


I don't use late versions of csound because they are buggy on the NeXT.
Until recently, MIT has let outsiders port csound to the NeXT themselves.
Why do I whine?  I don't have access to FOF.  Here is a resonating instrument
(with stereo facilities) that uses reson instead to filter an input soundfile.


ramirez> cat rest.orc
sr=44100
kr=4410
ksmps=10
nchnls=2

                instr 23
        azero = 0.
        afile   soundin p5, p6
        aamp    oscili p4, 1/p3, 2
        kfre1   randi p7, p8/p3
        kfre1 = (kfre1 + 1) * p10
        ares1   reson afile, kfre1, p11, 1
                if (p9 = 1) goto marsh
                outs azero, ares1 * aamp 
                goto finish
        marsh:  outs ares1 * aamp, azero
        finish: endin

ramirez> cat rest.sco
f7 0 32 9 1 1 0

; p4: amplitude multiplier
; p5: file no. 
; p6: file offset
; p7: freq env scalar
; p8: freq env its
; p9: channel out
; p10: resonace freq
; p11: res bandwidth

i23 0 43. 1000 1 0 .007 7 0 100 .5 

-rw-r--r--  1 penrose      308 Oct 20  1991 rest.orc
-rw-r--r--  1 penrose      216 Oct 20  1991 rest.sco

The hacks that csound easily provides.

Incidentally, I think that I can count the number of people that divulge their
synthesis instruments openly on the network with one hand; I'd still have room
for a few dismembered fingers.  You'd think it was a crime.

Christopher Penrose
penrose@silvertone.princeton.edu
Newsgroups: comp.music
From: johnd@lloyd.Camex.COM (John Duesenberry)
Subject: Re: Very Much Re: Scope and content of this group (read before posting!)
Organization: Camex Inc., Boston MA
Date: Fri, 14 Aug 1992 11:26:30 EDT

I don't mind a little overlap between discussion
groups. It's inevitable. Why does it bother you?
I come from the perspective of the "serious"
computer music scene, just like you, but I like
to hear from the "rec" world too, and I welcome
contact with either scene on any forum. In other
words I'm not a SNOB about it. But this is beside
my main point, which was: why should MIDI, sound
generation techniques, synthesizers... etc. be excluded
here. These are all topics worthy of serious discussion.
Jeeziz - if these things are worth including in
COMPUTER MUSIC JOURNAL or at the ICMC, (don't you
ever read CMJ or attend the ICMC?) they ought to be
worth discussing here.
Newsgroups: comp.music,alt.cyberpunk,rec.music.makers,rec.music.cd
From: EIVERSO@cms.cc.wayne.edu
Subject: Proposed newsgroup: alt.music.techno
Organization: Wayne State University, C&IT
Date: Fri, 14 Aug 1992 21:01:34 GMT

There is discussion of a new alt.music.techno newsgroup going on
in alt.config.
 
Please participate if you like.
 
--Eric
Newsgroups: comp.music
From: wb@tornado.kodak.com (wb@tornado.kodak.com)
Subject: ALESIS ADAT RUMOR?!?!? 
Organization: Digital Equipment Corp. (Telstar), Rochester, N.Y. 14653
Date: Thu, 20 Aug 1992 19:48:39 GMT


I have heard a rumor from a reliable source (the rumor may not
be though...) that Alesis has suspended production and sales
of the ADAT, sighting design problems. Was told that dealers
are being told NOT to sell the ADAT anymore...

I was told this by an engineer at a competitor's of Alesis, a 
competitor btw that used to be partners with Keith Barre the owner 
of Alesis when MXR used to exist...

Well? Anybody heard anything?

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Xref: sparky comp.music:4156 rec.music.synth:13706
Newsgroups: comp.music
Subject: sheet music
From: tjohn@elaine.ee.und.ac.za (THIAGARAJ JOHN : THIRD)
Date: 12 Aug 92 16:15:01 +0200
Organization: Electronic Eng., Univ. Natal, Durban, South Africa

Does anyone know how to get hold of sheet music for pop songs and 
television program themes ?

I would appreciate any help in this regard.

TJ
Newsgroups: comp.music
From: wright@aesc.cs.odu.edu (GENTLEMAN)
Subject: Re: Finale for the Mac --- Help!!!
Organization: Old Dominion University, Norfolk, VA, USA
Distribution: usa
Date: Wed, 12 Aug 1992 20:59:55 GMT

In article <1992Aug12.190927.25054@sei.cmu.edu> jbm@sei.cmu.edu (Jason Mahoney) writes:

     To anyone that can help me...

	     I just got a copy of Finale for my Mac but the person who gave 
   it to me does not have the instruction manual. So, I would REALLY appericate
   it if some MIDI musican out there in netland would either let me know where
   I can get a copy or would e-mail me some basic function instructions so I
   can get some tunes flowing through my keyboard. Thanks in advance!!!

					    Jason

*Ahem*  I trust that you _purchased_ this "copy" and that the manuals
have been lost.

CODA MUSIC PHONE # (US only): 1-800-843-2066

Wright
Director, Center for Computer Composition and Research
Governor's School for the Arts
Old Dominion University
Norfolk, VA
rwright@norfolk.vak12ed.edu
wright@cs.odu.edu
music@cs.odu.edu
From: miller@cs.rochester.edu (Brad Miller)
Newsgroups: comp.music
Subject: Very Much Re: Scope and content of this group (read before posting!)
Date: 13 Aug 92 20:40:11 GMT
Article-I.D.: alabaste.MILLER.92Aug13154011
Organization: University of Rochester

In article <1992Aug12.163048.1555@lloyd.Camex.COM> johnd@lloyd.Camex.COM (John Duesenberry) writes:

> Newsgroups: comp.music
> Path: rochester!news.bbn.com!usc!sdd.hp.com!caen!uunet!camex!lloyd!johnd
> From: johnd@lloyd.Camex.COM (John Duesenberry)
> Organization: Camex Inc., Boston MA
> References: <1992Aug11.184256.26270@andersen.co.uk>
> Date: Wed, 12 Aug 1992 16:30:48 EDT
> Lines: 14

> Why the *&^!!@!! shouldn't "sound generation techniques,
> composition, MIDI,synthesizers..." be discussed here?????
> These are all extremely active research areas and of vital
> interest to the serious computer music community. I would hate
> to discourage anybody from discussing them here. Those who are
> among the more sophisticated and knowledgable here should
> welcome the opportunity to help newcomers and naive users,
> not send out memos encouraging them to go away so that elitists
> can carry on their high-minded deliberations among themselves.
> A great many of the supposed computer music elite could use
> a little exposure to the world of MIDI and commercial synthesizers,
> if you ask me... maybe then we would avoid the plague of
> composers heard at the last ICMC coming out onstage with pieces
> scored for all the worst Proteus unmodified factory presets.

For a very simple reason: why overlap with an existing group? 
rec.music.synth covers these topics more than adequately,
and I see no reason to have to sift through the same discussions 
in TWO different newsgroups. If you want to read about these
things, go there. That's why there's a newsgroup hierarchy, after all.

If you want the music elite to be exposed to the world of MIDI, then
you can send them private email suggesting they subscribe to
rec.music.synth and see what's going on in your "real" world.

And arguments like "but what if my site doesn't get rec.music.synth"
don't wash either. You may as well ask why can't you talk about fnords in 
comp.theory since you don't get alt.fnord. If you don't get rec.music.synth, 
talk to your system administrator; don't burden the researchers in this 
group.


--
----
Brad Miller             U. Rochester Comp Sci Dept.
miller@cs.rochester.edu {...allegra!rochester!miller}
-- 
----
Brad Miller             U. Rochester Comp Sci Dept.
miller@cs.rochester.edu {...allegra!rochester!miller}
Newsgroups: comp.music
From: diarmuid@uniwa.uwa.edu.au (Diarmuid Pigott)
Subject: Glob 
Organization: University of Western Australia
Date: Thu, 13 Aug 1992 08:14:18 GMT

Is there a demo of PC-Glob out there in ftp-land?
Newsgroups: comp.music
From: jk87377@cc.tut.fi (Juhana Kouhia)
Subject: Re: Scope and content of this group (read before posting!)
Organization: Tampere University of Technology
Date: Fri, 14 Aug 92 09:59:28 GMT


In article <1992Aug13.152410.1@acad3.alaska.edu> fnsjc@acad3.alaska.edu writes:
>
>I am a little unsure whether such discussions are welcome here
>since I am not concerned with "music research", but neither am I
>concerned with synthesizers or the "recreational" use of computers
>in music.

We should have sci.music or similar for algorithmic, research, etc.
purposes.

Who volunteers to keep the RFD and RFV show?


Juhana Kouhia
Newsgroups: comp.music