HDTenEightyP/NetNews huggingface dataset:
From: aa596@cleveland.Freenet.Edu (Peter Haller)
Subject: Re: Gear Lust
Reply-To: aa596@cleveland.Freenet.Edu (Peter Haller)
Organization: Case Western Reserve University, Cleveland, OH (USA)
Date: Mon, 13 Apr 92 13:09:41 GMT


In a previous article, ercolessi@uimrl7.mrl.uiuc.edu () says:

>
>None of them: it is that these powerful machines have an awful user 
>interface.  Most users are not lazy, but are not willing and/or not 
>have enough time to climb the steep learning curve, because this 
>brings away from music, and keeps busy the wrong side of the
>brain (the same side which is usually busy all the day).
>
>New, creative user interfaces must be given top priority in new
>developments!  
>
Well, I am going to take issue on this thought. The concept of
a bad user interface has been the "reason" that many give for
not programming their synths. I think the real reason is the
lack of a standard interface. Face it if you have four programmable
synths from three different manufactures, you have four new interfaces
to learn. To be truly proficient, you really have to know them, let
alone what it is you are trying to do. 

There are alternatives. Sysex editors. Unfortuanatly, these are pretty
lame themselvs. There is one exception: Opcodes Galaxy line of
editor. Talk about powerfull! To bad they are only available on the
Mac. 

IMHO, The Manufacture should be responsible for giving us these
editors as an extension to the hardware. I'd even be willing
to pay extra! But please, develope for all major platforms...

PCH
-- 
Peter C. Haller				|	'If you do what you 
Imagination Processing Systems		|	have always done,
aa596@cleveland.Freenet.Edu 		|	expect what you have
"Are we having fun yet?"		|	always recieved.'
Xref: sparky rec.music.synth:8025 comp.music:2429 rec.music.makers:5666
From: latta@scam.Berkeley.EDU (Craig R. Latta)
Newsgroups: rec.music.synth,comp.music,rec.music.makers
Subject: Re: ... Let's get USENET Recording '92 rolling ...
Keywords: MUSENET '92!
Date: 15 Apr 92 01:14:52 GMT
	<73979@netnews.upenn.edu>
Followup-To: rec.music.makers
Organization: Experimental Computing Facility, UC Berkeley
NNTP-Posting-Host: xcf.berkeley.edu
In-reply-to: din@grad1.cis.upenn.edu's message of 14 Apr 92 15:08:30 GMT



	Various people write:

> What is the USENET Tape?

	It's a tape of music by USENET users. There have been several
over the years. I'd like to get all the previous masters and get a new
compilation going, with the notable change to a digital transcription
medium.

> What about the overwhelming potential submission volume? 

	What an optomistic statement! There's no problem with a lot of
submissions. I'm up for making as many volumes as it takes, and I
strongly doubt it would be more than three (CDs). The only problem is
the lag between overhead coverings (a few months is my current guess).
But there are a few people who seem willing to kick in a little
capital, and there are previously-untried publicity channels to be
used.

> Should genre be a part of the submission protocol?

	Of course, people can always apply whatever labels they like
to their work. I think it would definitely be cool for people to
provide a bit of commentary for the liner notes, if they like.

> I'm itching to start; what happens NOW?

	People seem pretty hip to getting started now (excellent). I
figure we'll discuss details like submission protocol (though it seems
pretty clear... more later) until 1 May, when we freeze the details
and I'm ready to receive submissions, and people start sending in
stuff.

	In the meantime, keep doing that groovy composing thing...
	

-C


--
-----------------------------------------------------------------------------
Craig R. Latta           Experimental Computing Facility (XCF)
Composer, Software and   ParcPlace Systems, Inc.
    Recording Engineer   NetJam, Berkeley (netjam-request@xcf.Berkeley.EDU)
latta@xcf.Berkeley.EDU   Smallmusic OO music project (smallmusic-request@xcf)
(standard  disclaimer)	 proof NL parsing project (proof-request@xcf)
-----------------------------------------------------------------------------
From: dan@cafws1.eng.uci.edu (Dan Harkless)
Subject: Prophet 5 and Emax II Q's
Newsgroups: rec.music.synth
Organization: University of California, Irvine
Date: 13 Apr 92 20:34:35 GMT

	Hey everybody.  I visited my local Guitar Center this weekend and 
finally got to mess around with the Prophet 5 and the Emax II, two boards I'd
like to get.  Now I see what people are talking about re: the blinking LEDs on
the P5.  Another thing that really annoyed me was the keyboard.  If I let go
of a note very quickly, such as by sliding my finger off the bottom, so the 
key wouldn't be released slowly by riding up with my finger, the key would
spring up and bounce off the top and back down a little, triggering the 
beginning of an extra note.  _Very_ annoying.  Also, it's unfortunate that
they didn't stick on a couple more two-digit LEDs that would show the original
value of the knob you're tweaking, and the new value.  You have to go back to
what it was originally just by ear.  The other thing I hated was that you
couldn't set the filter and amp envelopes to retrigger on every new note on
Unison patches.  Geez, even my little SH-101 can do that.  It sucks to have 
be very sure you never slur any notes.  Some lines have notes always lasting
until a new one is played, and it doesn't sound right to let up the key and
then play another one.  Maybe there's some button combination or weird thing
you can do to set this...?  Damn good sound and sound-shaping features, though.

	My other question relates to the Emax II.  The salesman kept trying
different sample disks and the machine kept not excepting them due to different
software rev.  He finally found one that was different as well, but apparently
not as different as the others, because it loaded.  I played with it (Arco
strings) and had some fun, and then I thought I'd try to do some sample 
processing.  Any time I hit a button (Dyn. effects, sample definition, even
sequencer functions), it tried to load from the floppy and then gave an error
message about the wrong software rev.  Doesn't this machine have ROM's???  Do
you have to keep some kind of system disk in the drive any time you want to
do any processing functions?  That sucks very much, if true.  Maybe I don't
want this thing so much...

------------------------------------------------------------------------------
| Dan Harkless                | "The sore in my soul                         |
| dharkles@bonnie.ics.uci.edu |  The mark in my heart  ->  Front 242,        |
| dan@cafws1.eng.uci.edu      |  Her acid reign..."        Tragedy >For You< |
------------------------------------------------------------------------------


Xref: sparky rec.music.synth:7518 rec.music.makers:5448
From: scrs_ltd@uhura.cc.rochester.edu (Shorts)
Newsgroups: rec.music.synth,rec.music.misc.,rec.music.makers
Subject: ******  Roland D10 for sale ******
Date: 6 Apr 92 04:58:50 GMT
Distribution: na
Organization: University of Rochester (Rochester, NY)

For Sale:
	Roland D10 synthesizer 
	
	Great condition, with instructions etc...

	$300

I am posting this for my next door neighbor, if more information is needed,
please email me at

	scrs_ltd@uhura.cc.rochester.edu
From: ccfac@levels.unisa.edu.au
Newsgroups: rec.music.synth
Subject: Re: SC-155
Date: 13 Apr 92 05:53:11 GMT
Organization: University of South Australia

> This is not true.  The *only* Canvas family member with full MT-32 compati-
> bility is the CM-500.
>
So, how much is the CM-500?  Is it much more than the SC-55?

I bought a SCC-1 card, and loved the sounds, but missed MT-32 compatibility for
my games.

Cheers

Francis Chan
===============================================================================
ccfac@ntx.city.unisa.edu.au
University of South Australia
===============================================================================
Newsgroups: rec.music.synth
From: zerobeat@intacc.uucp (Ferenc Szabo)
Subject: Re: Minimoog:  No PWM???
Date: Wed, 15 Apr 1992 17:13:52 GMT
Organization: Inter/Access Artists' Centre Toronto

In article <9204101830.AA17929@cafws1.eng.uci.edu> dan@cafws1.eng.UCI.EDU writes:
>	Hi everyone.  I was looking at the review of the MIDIMini in Keyboard
>and trying to figure out what all the Minimoog can do.  As far as I can tell,
>there is only manual pulse width modulation?!  This can't be.  Another
>question I have is:  Is the wave select knob continuous or multi-position-
>switch-type?  Also, do the higher end Moogs (Multi, Memory) have the same
>killer filter(s) as the Mini?
>
The Mini Moog has no pulse width modulation capability.  The Waverform
selector is NOT continuous.  There are three variations of the pulse
wave among other waves....that's the only 'pulse width variance' there is.

The Mini's famous 'ladder' filter was particularily effective in the 
Mini Moog because of a design 'flaw' on the PC board that allowed for
a bit of feedback.  In ther words, the actual physical orientation
of the compentsoard traces were par of the soun.  Virtually
all later Moogs had a great filter, but not exactly like the Mini's.

Oberheim's new OB-MG professes to have SEM filters ANDMoog filters.
It doesn't say Mini-Moog filters thoug  These 70's analog designs
were among THE best sounding filters ever.  The ladder filter patent
ran out in 1986, so maybe somebody is trying to cash in on the current
re-re-re-realization that analog synthesis can be amazing---especially
with very high quality components and circu






damn line no9is=e

ferenc



Newsgroups: rec.music.synth
From: tparker@niwot.scd.ucar.edu (Tom Parker)
Subject: Re: Kawai line mixer (8 stero ins????)
Reply-To: tparker@niwot.scd.ucar.edu (Tom Parker)
Organization: Scientific Computing Division/NCAR, Boulder, CO
Date: Wed, 15 Apr 1992 01:37:41 GMT

ln63sdm@sdcc4.ucsd.edu writes:

> Could someone fill me in on the details regarding the Kawai line mixer that
> has 8 stereo ins(I am not sure though...).

Glad to.  I got mine, a model MX-8SR about a year ago for $432.  It
indeed has 8 stereo inputs (making a total of 16), and it fits in a 2U
rack space.  I have been quite pleased with my unit.  It may not be as
fancy as some other higher-priced models, but it suits my needs
perfectly.

Here are some of the specs:

- Each of the 8 stereo channels has a volume fader, 2 echo sends including
  a stereo send, and a balance control.
- Quiet
- Headphone jack with volume control
- Also has XLR outputs

Hope this helps some.  Let me know if you have other questions.

-- Tom
--
+--------------------------------------------------------------------+
| Tom Parker             |  National Center for Atmospheric Research |
| tparker@ncar.ucar.edu  |  (303) 497-1227                           |
+--------------------------------------------------------------------+
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Re: @$#@ing computer flame wars.
Date: 16 Apr 92 18:05:00 GMT


Wrongo Jon.  The discussion of applicability of particular computer platforms
for particular synthesizer control purposes is very much within the charter
of this newsgroup.  For example, had the discussion which I brought up been
hashed out here previously, I would never have made the $4500 mistake I
made.  I believe that people should have access to information from varying
points of view.  Clearly, most Mac users don't agree with my non politically
correct handling of their precious platform, but hey, its my opinion, and
it is based on reality (i.e., not conjecture).  We can discuss bandwidth
in MIDI opoerations until we are blue in the face, but until you come up
against the MIDI bandwidth brick wall, you ain't ever going to understand
what I have been talking about.  It is obvious to me, that after looking
at the various responses from Mac users to my questions and criticisms, that
by an large, they don't send a lot of dense MIDI streams to their interfaces.
Of course, they may have learned not to and just gotten used to not doing
it.  There is nothing inherantly wrong with the Mac as a MIDI platform.  The
problem is that because most Mac users have never experienced systems
capable of more throughput, they don't miss what they never had.  This kind
of problem is quite widespread even to the extent that people who never
experienced an old analog modular synth can't possibly grasp the reason why
anybody would ever want one.

John
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Newsgroups: rec.music.synth
Subject: Ignore long header, please.  Reply to Neil Weinstock
Date: 17 Apr 92 06:03:00 GMT

From:	IN%"MAILER-DAEMON@ucbvax.Berkeley.EDU" 17-APR-1992 01:47:47.38
To:	JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
CC:	
Subj:	Returned mail: Host unknown

Return-path: MAILER-DAEMON@ucbvax.Berkeley.EDU
Received: from ucbvax.Berkeley.EDU by EAGLE.AAMRL.WPAFB.AF.MIL; Fri, 17 Apr 92
 01:47 EDT
Received: from eagle.aamrl.wpafb.af.mil by ucbvax.Berkeley.EDU (5.63/1.43) id
 AA26047; Thu, 16 Apr 92 22:46:17 -0700
Date: Thu, 16 Apr 92 22:46:17 -0700
From: MAILER-DAEMON@ucbvax.Berkeley.EDU
Subject: Returned mail: Host unknown
To: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Message-Id: <9204170546.AA26047@ucbvax.Berkeley.EDU>

   ----- Transcript of session follows -----
550 <rec-music-synth!eddie.mit.edu@ucbvax.berkeley.EDU>... Host unknown

   ----- Unsent message follows -----
Received: from eagle.aamrl.wpafb.af.mil by ucbvax.Berkeley.EDU (5.63/1.43)
	id AA26034; Thu, 16 Apr 92 22:46:17 -0700
Message-Id: <9204170546.AA26034@ucbvax.Berkeley.EDU>
Date: Fri, 17 Apr 92 01:46 EDT
From: JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL
Subject: Re: Minimoog:  No PWM??? (actually a reply to Neil Weinstock)
To: rec-music-synth!eddie.mit.edu@ucbvax.Berkeley.EDU
X-Vms-To: IN%"ucbvax.berkeley.edu!rec-music-synth!eddie.mit.edu"


I feel that there is no real equation of a K2000 and the OB-M?.  The K2000 is
remarkable for being able to digitally do what only very sophisticated analog
PATCHABLE MODULAR synths were able to do before.  The MiniMoog, while a very
noce instrument, was not a member of the modular synth family.  I think,
therefore, the new Oberheim box functions in a different category than the
K2000.  Personally, I plan to acquire a 2 voice Oberheim unit because I have
sadly missed my MiniMoog for some lead line applications.  I also agree very
much with the concept that 2 voices shoulod be enough because I can't imagine
using more than one or two MINI-type voices in anything.  So, it doesn't 
appear to me to be at all odd tha anybody would want both the new Obi and a 
K2000 (speakinhg of the K2000 as a synth, not a sampler).  I hope that I
haven't misslead anybody into thinking that the K2000 is the digital answer
to anybody's dreams.  While it does do analog voices quite well, its main
usefulness is in voice complexity (i.e., numerous modulators and modulation
paths) which give it a feel more reminiscent of a modular synth (with tons of
modules, of course).  I would still contend that a Minimoog, doing Minimoog
type things, is a different beast al together.  There is definately room for
the Obi in a world which has just seen rebirth in the K2000.

John
Newsgroups: rec.music.synth
From: jpeng@menudo.uh.edu (Joseph G. Peng)
Subject: Midiator and Calkwalk with T1000SE
Summary: Ask about perfromance of using Midiator with T1000SE 
Organization: University of Houston
Distribution: usa
Date: Fri, 10 Apr 1992 14:59:18 GMT

	I know T1000SE is a slow machine (8086 with approximately 9 MHz),
but I still wanna know if the performance is acceptable if I hook up a
T1000SE with Midiator and using a basic sequencer software (like Calkwalk).
Or does anyone use T1000SE for MIDI so far?  How's it works like?

	Daniel
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: Kawai line mixer (8 stereo ins????)
Summary: Hsssssssssssss.....
Date: 17 Apr 92 18:05:30 GMT
Organization: Atomic City

In article <5629.9204160943@orsun.dcs.leeds.ac.uk> ross-c@DCS.LEEDS.AC.UK (The Brown Bottle) writes:
>Now I don't claim to know much about mixers, but is the MX8SR really quiet?

In my experience, and those of the two folx I know who own them, yes it is.
Very. If it were only one rack space high instead of two, I'd buy one to 
expand the inputs of my Mackie. As it is, I'll probably get a Rane to save 
space.

>It seems quite noisy to me. When I was recording to DAT from it, I did all
>sorts of tricks to reduce noise (having a U110 didn't help). I always

I find this very strange. The Kawai being noisy, not the U-110, that is. |->

>wished I'd checked to see if the Boss BX-16 or the Fostex in the same
>price range was quieter.

SPPPHHHHBBBBHTT! The Boss BX-16 was about the least impressive-sounding 
mixer I have ever heard in my life. It doesn't just hum, it SINGS!

Fostexes are very much a matter of how much you pay-- the more costly mixers
actually sound quite good and are very well set up. A friend of mine in 
Philly uses one for session work all the time.

--
metlay    | 
@minerva. |                      G*R*A*S*P*!
phyast.   | 
pitt.edu  |
From: five@sys6626.bison.mb.ca (skinny puppy)
Newsgroups: rec.music.synth
Subject: Re: To Maurizio De Cecco
Date: 8 Apr 92 10:38:55 GMT
Organization: system 6626 BBS, Winnipeg MB

eirikur@ranger.enet.dec.com (Eirikur Hallgrimsson) writes:

> 
> In article <XqkmiB22w164w@sys6626.bison.mb.ca>, five@sys6626.bison.mb.ca (ski
> >Hi Eirikur.  The sequencer, basically:
> .....
> >What else would you like to know?
> 
> Who made it, and the model, just out of curiosity.  I'm interested in that
> German MIDI seq with the analog-style U.I., myself.
> 
> >quasi-modular synth, as well as an MS-50 A.Q-M.S.
> >These are linear based machines. T he MS-20 has a keyboard.
> 
> A.Q-M.S.?  
> 
> Eirikur Hallgrimsson   | "Hey, what *is* that thing?  It looks like a telepho
> eh@ranger.enet.dec.com |  switchboard trying to mate with a Hammond organ!"
> PATHWORKS for Macintosh|
 
Korg made the SQ-10 (analog sequencer, that I received) and the MS-20 
(analog quasi-modular synth) and the MS-50 (a.q-m.s.) that I should be 
receiving by May.
And then it's bye bye to my K5m.  :(
 
Five


;--- (skinny puppy) a user of sys6626, running waffle 1.64
;E-mail: five@sys6626.bison.mb.ca
;system 6626: 63 point west drive, winnipeg manitoba canada R3T 5G8
Newsgroups: rec.music.synth
From: steve@etnibsd.uucp (Steve Myers)
Subject: Seq Plus Gold/Cakewalk
Organization: Eaton Semiconductor Equipment Division, Beverly, MA
Date: Mon, 13 Apr 1992 19:23:38 GMT

I'd like to exchange .MID files with a friend who has Sequencer Plus Gold,
but it rejects the .MID files I have created with Cakewalk Pro 4.0 posting
the message "not a .SNG file".  Similarly, I can't open .SNG files he has
generated.  

Since .MID files are a standard, it seems like the answer is to get Plus 
Gold to read and write .MID files.  Is there a configuration option that 
allows this to happen?  When I save a file in Cakewalk it asks if I want 
a .WRK or .MID file whereas Plus Gold seems to assume .SNG.

Also, in Cakewalk, is it possible to read a file into another file that's
already open?  Sometimes a rhythm part from an older piece seems perfect
for the song I'm currently working on but the 'Load' command just overwrites 
the current file.

Thanks,
Steve

-- 
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

Steve Myers -- uunet!etnibsd!steve
From: a9@public.BTR.COM (still no name)
Newsgroups: rec.music.synth
Subject: Proteus/1 sample problems?
Keywords: proteus 1
Date: 8 Apr 92 01:07:28 GMT
Distribution: na
Organization: BTR Public Access UNIX, MtnView CA. Contact: Customer Service cs@BTR.COM

Some of the sampled sounds in Proteus/1 change rather abruptly when 
playing up/down the scale.
For example: Tone 129 (ChamberString?) is the voice I use most often,
and this sounds "non-linear" or abrupt to ears at a few keys (like
C#3 (or C#4?) is louder than the rest  of the adjacent keys.

any commnets?

-ashar
From: bgood@sundagger.lerc.nasa.gov
Newsgroups: rec.music.synth
Subject: Re: Master Tracks Pro and Windows 3.1 - HELP!
Date: 14 Apr 92 17:02:13 GMT
Article-I.D.: eagle.1992Apr14.170213.7744
Organization: NASA Lewis Research Center

In article <9204131730.AA05813@EDDIE.MIT.EDU> JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:
>
>Actually, if they ever figure a way around the idiotic IRQ situation on the
>bus, there is no doubt in my mind that Windows based MIDI applications will
>be the standards of the future. 

You might be right.  Stupider things have happened (though not many spring to mind).
As for me, the *very last* thing I want to see is my music software forced to
run under what is essentially a stopgap patch to an operating system that should
either have been upgraded to real functionality or put to sleep long ago.  Even 
Microsoft doesn't pretend that Windoze is a serious platform for the future.
Trying to establish it as a "standard of the future" when DOS is clearly entering
into senility strikes me as ludicrous (which is not to say that it won't happen).
In two years, I *guarantee* that Microsoft will be telling us that we should all
migrate to whatever Win32 or Windows NT turn into, and will be pushing developers to do
the same;  to buy into Windows now in a big way is to either admit to yourself
that you're going to live with DOS's limitations for a long time, or to have
faith that Microsoft will provide a clean migration path to a real operating
system.  Given the fact that it took them many years even to produce a version of
Windows that anyone would buy, I'm not optimistic.

I think a lot of us that use Next, Atari or Mac will somehow find it in ourselves to
resist the siren song of Windows.  I, for one, am far more interested in seeing
something like a future Vision/Galaxy/MAX combination running under a real
multitasking operating system;  getting into DOS at this time seems like
beating a long-dead horse.

If DOS/Windows does become the defacto standard, I think we'll all be poorer for
it, especially if more innovative and powerful platforms and operating systems
are stillborn because of it.  

brian good
From: wesley@inqmind.bison.mb.ca (Wesley Konrad)
Newsgroups: rec.music.synth
Subject: Re: Synth Family Trees
Date: 9 Apr 92 06:55:55 GMT
Organization: The Inquiring Mind  1 204 488-1607

metlay@minerva.phyast.pitt.edu (metlay) writes:

>              (deleated stuff)                        Kawai is the
> second oldest piano maker in Japan, dating back to the time of the
> Emperor Neiji.

I don't know why, but I was always under the impression that Kawai was a 
Canadian company.  Guess I was mistaken.

wesley

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
WESLEY KONRAD                            "I EAT KIDS YUM YUM!
Inquiring Minds BBS                      I STUFF THEM DOWN MY TUM.
Winnipeg Manitoba Canada                 I ONLY LEAVE THE TEETH AND CLOTHES
+1 204 488 1607                          (I SPECIALLY LIKE THE TOES.)"
wesley@inqmind.bison.mb.ca
___________________________________________________________________________
Newsgroups: rec.music.synth,rec.music.makers,rec.music.bluenote