HDTenEightyP/NetNews huggingface dataset:
From: mike@highlite.uucp (Mike Wiik)
Subject: QY-10 presets
Organization: Gotham Communications Research
Distribution: rec
Date: Sat, 9 Jan 1993 06:33:55 GMT

I just got one of these for Xmas.

I was just wondering if anybody with more time to kill than I have
has gone to the trouble of writing out the drum patterns, bass riffs
etc for the presets or if such might be available from Yamaha...

	-Mike

-- 
   | o==== . : ... :  :  .     |Mail Me Neat Stuff->POB 3703 Arlington VA 22203
 --@-- . o o o ... O -O- o o : |No disclaimers needed: I actually pay for this.
   |           ... :  :        |-----------------------------------------------
mEssAGE fRoM sPAcE ARt stUdiOs |            mike@highlite.gotham.com
Newsgroups: rec.music.makers
Subject: Re: Where Should I Post This?
From: derek@nezsdc.icl.co.nz (Derek Tearne)
Date: Fri, 8 Jan 93 04:20:24 GMT
Organization: Fujitsu New Zealand

In article <1ihb9mINNfo3@faatcrl.Faa.Gov> frankc@tgf.tc.faa.gov (Frank Coffman) writes:
>jeffp@hot100.EBay.Sun.COM (Jeff Pfeiffer) writes:
>
>
>>I'm looking to join a working Band in the South Bay area of San Francisco.
>
>To answer the question of your subject line, you should limit your
>distribution to the bay area.  Why am I reading this in New Jersey?

You think you've got problems!  At least you are on the same continent.
I am trying to start a band but I think San Francisco is a bit of a long 
way to go for practices!

>(Hint - Don't say distribution: world)

Good hint!

-- 
Derek Tearne.   --   derek@nezsdc.icl.co.nz   --    Fujitsu New Zealand   -- 
 _______
 _______} This is a Usenet condom<tm>.  Roll the condom over the .signature 
	  file before posting to protect yourself from .sig retro-virii
Newsgroups: rec.music.makers
From: moskowit@panix.com (Len Moskowitz)
Subject: For Sale -- Ampeg SVT Head (near mint)
Organization: PANIX Public Access Unix, NYC
Date: Tue, 5 Jan 1993 04:57:25 GMT



For Sale:

	Ampeg SVT head, 1973-1974, almost mint condition,
	recently re-tubed, with heavy duty road case (also in 
	almost mint condition), vinyl cover, manuals, 
	schematics

	$550 plus shipping or best offer

	Can be seen in Teaneck, New Jersey, (near Paramus, 10 
	minutes from the George Washington Bridge and 20 minutes 
	from midtown Manhattan, 5 minutes from Hackensack)

Len Moskowitz
201-393-2915 (days)
201-692-0233 (eves)
moskowit@panix.com

-- 
Len Moskowitz
moskowit@panix.com
From: burgess@hri.com (Stephen Burgess)
Newsgroups: rec.music.makers
Subject: Re: What are 303's and 808's?
Date: 6 Jan 93 14:12:15 GMT
Reply-To: burgess@hri.com
Distribution: inet
Organization: Horizon Research, Inc.

In article <robg.726286317@citr.uq.oz.au>, robg@citr.uq.oz.au (Rob Geraghty) writes:
> tsines@magnus.acs.ohio-state.edu (enhanced invisible life [Todd Sines]) writes:
> 
> >hey, the 909 to the best of my knowledge, does not have any SYNC. maybe tape 
> >sync but it doesn;t produce both a MIDI clock out as well as a SYNC clock out, 
> >UNLIKE the 707.
> 
> Strange - the demo I heard in 1983 (pre MIDI) of the 909 had it synced
> to a Roland Micro-composer.  Wonder how they did it?  Still, you may be
> right - I was speaking from memory of that one demo ten years ago.
> 

The 909 does have a SYNC in. I used to sync together 2 microcomposers (MC202),
Bassline (TB303) and TR909. One microcomposer provided the SYNC master to all
others. 

Funny how intersets has resurfaced in these old machines. In fact last
year I sold my 202s, 303, 909 and spare 606 drum machine - it was hard finding
buyers even through the New England "Want Advertiser." Eventually I found buyers
but it took perserverance and I had to accept fairly low prices. Oh well. I kinda
miss that old 303 bass sound.

-------------------------------------------------
Stephen Burgess (burgess@hri.com)
"Hi people, after all we're all people aren't we.
 Yes, good. I heard someone laugh at the back."
 (Rowan Atkinson)
-------------------------------------------------
Newsgroups: rec.music.makers,rec.music.makers.guitar,alt.guitar,rec.music.synth,rec.music.makers.synth
From: timb@sr.hp.com (Tim Bagwell)
Subject: Re: Concrete questions on music reading
Date: Mon, 11 Jan 1993 23:17:27 GMT
Organization: HP Sonoma County (SRSD/MWTD/MID)
X-Newsreader: TIN [version 1.1.9 PL6]

I am in a similar situation to yourself. I have been playing piano by
ear for several years and have had professional training for about the
last 15 months. I do not sight read (yet) but I feel it is an essential
task to master in order to really enjoying your playing instead of
slaving away at every piece. Believe me, I know the agony of having to
scrutinize every note in a piece and then relying on memory to play it
well. It's not terribly satisfying unless you only intend to have a
small repertoire.

I have been taking lessons from a master pianist and I put the question
to him once. His response was not very encouraging. He said that it
really took him about 17 years to get to the point where he was fully
comfortable with sight reading a piece. Of course, he had an early start
being a child prodigy with the keyboard. But the point is that it isn't
just a gift but that it can be learned just as any foriegn language. But
it takes intensive work and practice to accomplish sight-reading in a
reasonable amount of time.

I am not sure that there are any definite answers to your questions. A 
good sight-reader probably can see either absolute notes, relative changes
or whole chords or progressions depending on the situation. One key
element is to be able to read ahead of the part that you are playing.
This means that you need to be able to read much faster than you
actually play. It is like being able to read fast outloud. Your eyes
should be reading somewhere ahead of where your mouth is. This allows
you to anticipate where a piece is moving to so that you can get the
correct hand and finger positions set up properly. So there are really
two parts to sight-reading, 1) instant recognition of the written music
and 2) setting up the best fingering. Consequently, you also need
training in learning how to "read" fingering.

As for getting over the F-A-C-E and E-G-B-D-F hurdle it just takes
practice. I think the best approach may well be going back to basics and
begin playing lots and lots of simple pieces like the Bartok series and
work your way up. Flash cards may help too. Work towards instant
recognition of single notes. Also you might try playing some Jazz pieces
since the note work can be simple. Pick up a copy of "The Real Book" and
learn your 7th chords and the Jazz nomenclature. It may help make all
that practice a little more enjoyable.

If you learn of a faster method please let me know about it.

--

Newsgroups: rec.music.makers
From: soh@gdstech.grumman.com (Scott O'Hare)
Subject: Re: Tascam 424/Basic 4 track tips
Keywords: Tascam, 4 track
Reply-To: soh@gdstech.UUCP (Scott O'Hare)
Organization: Grumman Data Systems-Woodbury
Date: Tue, 12 Jan 1993 14:31:08 GMT

In article <C0pL73.B3B@rice.edu> com@spacsun.rice.edu (Chris Miller) writes:
>Scott, I have a question.  I was under the impression that if you add
>effects during mixdown, then your only option is how much effect you
>want to give each channel.  So if you wanted a delay effect on channel
>1 and flanger on  channel 2 you are stuck.  You'd have to set up what
>ever effect you want and then just decide how much of that one effect
>(or group of effects) you want printed to each channel on the mixdown.  
>Have I missed something?
>

Quite true, but only if you have one effect send on your mixer, or if you
have only one effect unit (which I realize might be precisely your 
situation). In either case you will probably want a nice 
reverb for mixdown, and "print" your other effects, like chorus on guitar
and echo on vocal. 

If you have two effect sends (and two effect 
units), then you can put delay on one and reverb on the other, and control
the amount of each effect for each mixdown track. In this situation you will
not need to "print" as much effects.

It is obviously better to apply an effect at mixdown, because 1) it lets you 
generate a stereo field without using two tape tracks, and 2) you retain more
options. If you must have an effect on a given track, and you either do not
have enough effect units or enough mixer effect sends to apply the effect 
at mixdown, then you record it. 

(The other time you will want to record an effect is when you're doing a 
stereo take on several instruments at once, or a mono take of more than one 
instrument, as in the bass/ rhythm guitar track I suggested in the last 
message. In this latter case, you might want reverb or chorus on the guitar, 
but no effect on bass; if they are on the same track this will be impossible
to do at mixdown time.)
-- 
---------------------------------------------------------------------
- Scott O'Hare (soh@gdstech.grumman.com)                            -
---------------------------------------------------------------------
Newsgroups: rec.music.makers,rec.music.synth,alt.guitar,rec.music.makers.guitar,rec.music.makers.synth
From: james@wrs.com (James Moore)
Subject: Re: Concrete questions on music reading
Keywords: music, reading
Reply-To: james@wrs.com
Organization: Wind River Systems
Date: Tue, 12 Jan 1993 17:20:33 GMT

jonb@Ingres.COM (Jon Berger) writes:

>To this day, unless I concentrate fairly hard,
>when I see, say, a note on the second-from-bottom line of the staff,
>I tend to see "third finger on the D string", not "G".

It's always been one of my unquestioned assumptions that this is way
everyone learns to read music.  I went through learning to play violin
in elementary school, and learned to read in exactly the same way.
Then when I took up pipes I just changed the finger mapping -
C doesn't mean second finger down on the A string any more, it means
three fingers down on the top hand, and first and pinkie down on the 
bottom hand.  I can instantly translate between the finger position and
the note, but I really don't look at printed music and make a direct
connection without moving fingers in my mind.

My question is, why do you think this is a handicap?  After all, finger
position or the equivilent for your instrument is what's actually going
to make the correct notes.  It seems like knowing something is a C is
less useful than knowing what you physically have to do to produce the
note.

-- 
James Moore                            /|\                        james@wrs.com
Wind River Systems                     \|/                  Alameda, California
	 "Half of what he said meant something else, and the other half
			  didn't mean anything at all"
Xref: sparky rec.music.makers:11771 rec.music.makers.synth:1104
From: purelght@deeptht.armory.com (Eric Braun)
Newsgroups: rec.music.makers,rec.music.makers.synth
Subject: MIDI Interface for Laptop??
Date: 8 Jan 93 19:06:04 GMT
Reply-To: purelght@armory.com
Organization: Eric Braun Associates/PureLight Inc.

Hi Gang,

I'd love to find a MIDI interface that perhaps works thru the serial port of a
PC. I run Voyetra Sequencer+ Gold and would like to run it one the road via a
laptop. 

Has anyone out there successfully run sequencing sw via a laptop? What MIDI
I/F did you use?

Thanks In Advance,

eeeeeeeeeeeeeeeeee
-- 
+-------------------------------------+
| Eric Braun	purelght@armory.com   |
+-------------------------------------+
Newsgroups: rec.music.makers
From: till@acid-rain.lucid.com (Don Tillman)
Subject: Re: ==> +30db GAIN Circuit for Your Guitar: $25 <==
Reply-To: till@lucid.com
Organization: Lucid, Inc.
	<TILL.92Dec30234559@acid-rain.lucid.com>
	<1993Jan4.143347.29746@erenj.com>
Date: 4 Jan 93 11:02:20

   From: srfergu@rufus.erenj.com (Scott Ferguson)
   Organization: Exxon Research & Engineering Co.
   Date: Mon, 4 Jan 1993 14:33:47 GMT

   (Don Tillman) writes:
   |> Yep, for this application the single supply is not a big deal.  It's far
   |> more important that you have an amp with low noise, low distortion, and
   |> is stable.  
	
   Let's say you do the 1/2 voltage divider to make an isolated ground and 
   +/- 4.5. What's a good choice of resistors? You don't want to pull too much
   battery current straight down the resistors so obviously a pair of 1-ohm'ers
   would be a bad idea. I did it once with two 100K resistors and it worked 
   OK, but I wondered how high can you go before The circuit won't work 
   anymore?  I guess beyond 100K the DC current gets pretty negligible anyway.

Obviously it depends on the details of the rest of the circuit.  

Tell ya what, instead of boring all these musical folks with bits and
pieces of a questionable preamp design, feel free to send me email with
specific questions and I'll be happy to answer them.

  -- Don

Newsgroups: rec.music.makers
From: dbh@fc.hp.com (Dave Hollenbeck)
Subject: FOR SALE: lots of gear
Date: Tue, 5 Jan 1993 19:01:32 GMT
Organization: Hewlett-Packard Fort Collins Site
X-Newsreader: TIN [version 1.1.4 PL6]


Liquidation Sale!

Tascam       488         8 Track cassette deck              $1100.
Yamaha       SY-77       Synthesizer                         1700.
             FC100       Foot controller                       50.
             YMC10       MIDI <-> FSK (tape) converter         50.
             SM15H       2 way 15" monitors                   190. each
             GQ1031BII   31 band (1/3 octave) graphic EQ      200.
             G10C        Guitar MIDI controller               300.
EV           BK1232      12 channel mixer w/hard case         700.
QSC          1400        Power amp 200w/channel               450.
Sony         CDP491      CD player                            115.
JVC          TD-R441     Stereo cassette deck                 135.
Mesa Boogie  TriAxis     5 tube Midi controlled rack mount
                           righteous guitar preamp           1000.
             50/50       rack mount tube guitar power amp     500.
             Rack        12 space shock mount rack w/wheels   325.
Marshall     1960A       Stereo 4x12 cabinet                  500.
ADA          MC-1        MIDI program change footswitch        60.
Alesis       Quadraverb  Multi effect box                     275.
DBX          163X        Compressor                           100.
Whirlwind    Director    Direct box                            50.
Anatek                   Pocket Pedal                          50.
Ult Support  Deltex      Keyboard stand                        60.

Some prices may be (or become) negotiable.  Discounting considered
for substantial purchase (many items).

303-229-9819
Newsgroups: rec.music.makers
From: termite@leland.Stanford.EDU (David Paik)
Subject: Guitar, amp, pedal, tuning keys for sale
Organization: DSG, Stanford University, CA 94305, USA
Distribution: ba
Date: Tue, 12 Jan 93 03:49:41 GMT

FOR SALE: Guitar, Amp, Pedal, Tuning Keys

Gibson 1991 Les Paul Studio
  - wine red stain
  - exactly same as Standard except has maple neck instead of mahagony
    and no binding
  - Schaller tuners + bone nut
  - with case, strap and Schaller straplocks
  - asking $425

Gibson guitar amp
  - front panel is like Fender Tremolux/Vibrolux
  - two channels (volume/tone/reverb/tremolo)
  - 12" speaker
  - sweet clean tones!!!
  - asking $199

Boss PS-2 digital pitch shifter/delay
  - does octaves or any other interval
  - nice for imitating 12 string
  - 32ms - 2s digital delay time
  - Boss power supply included
  - asking $99

Tuning keys from Gibson Les Paul
  - 3 on a side, classic Gibson look
  - you name a price

Dave
(415) 497-0754
Newsgroups: rec.music.makers
From: manes@magpie.nycenet.edu (Steve Manes)
Subject: Re: Sound "proofing" a room and Bass Traps
Organization: Manes and Associates, NYC
Date: Tue, 12 Jan 1993 04:59:45 GMT
X-Newsreader: TIN [version 1.1 PL8]

Brady Gaughan (bgaughan@F22.ess.harris.com) wrote:
: I'm moving into a new house with an extra room that I plan on converting
: into a temp. rehearsal room/ studio.  We will have a 5 piece set, and 3
: sets of instrument amps/cabs all in one room.  Any suggestions on setup
: of the room, materials for covering walls?
: Being a bass player, I am particularly interested in the design and
: construction of bass traps for single large rooms.  I've been in studios
: that have had moderate success using them.

What do you want to accomplish?  Do you want to isolate noise inside your
studio or alter the reverberation Q of the room?  Both are approached
with entirely different physics.

First off, unless your extra room is 8000+ cubic feet forget bass traps.
A decent bass trap steals at least 6 feet off the room dimension (1/4
bass wave length), and requires some fairly tricky construction.
In the case of smaller room, if the sound is too boomy it's usually
being overdriven by bass amplitude... like trying to catch a tidal
wave in a Dixie cup.  Back off on the volume.  That's the best
option.

An alternative to a bass trap would be a tuned Helmholtz resonator.
A resonator works as its name implies -- it resonates with a certain
frequency, or band of frequencies, converting audio energy to mechanical
energy.  It can be made from anything from panels of thin masonite
supported in a perimeter frame to strips of hardwood fashioned something
like a horizontal marimba.  Tab Books has a title by studio designer
F. Alton Everest that describes how to make one.  Or you can pick up
one Michael Rettinger's books (the god of acoustical design) and try
to translate the equations to physical reality.

But a resonator would also be overkill in your situation, I think.  If
bass is the problem, invest in a good parametric equalizer for your
rig to trim the offending frequencies at the source.


-- 
Stephen Manes					   manes@magpie.nycenet.edu
Manes and Associates/Commontech-NoHo		   New York, NY, USA  =o&>o

Newsgroups: rec.music.makers,rec.music.classical,rec.music.bluenote
From: gds@york.cs.ucla.edu (Greg Skinner)
Subject: Seeking Opinions on Miracle Piano Teacher System (and on piano/keyboard playing in general)
Followup-To: rec.music.synth
Originator: gds@york.cs.ucla.edu
Reply-To: flloyd@l1-a.west.sun.com (Fred Lloyd [Phoenix SE])
Organization: in your face!
Date: Wed, 6 Jan 93 19:47:59 GMT

This article was originally posted to rec.music.synth.  I thought a wider
audience might be of more help to the original poster.

In article <1id50cINNmn@west.West.Sun.COM> flloyd@l1-a.West.Sun.COM (Fred Lloyd [Phoenix SE]) writes:
>In article <1993Jan5.182743.22042@cs.ucla.edu> gds@cs.ucla.edu (Greg Skinner) writes:
>>In article <1993Jan4.222653.19681@nynexst.com> rsilvers@nynexst.com (Robert Silvers) writes:
>>>Maybe you can get keyboards for $100 (are they velocity sensitive,
>>>have MIDI, and 16 note polyphony?)  That and a workbook would NEVER, NEVER,
>>>NEVER, get you anywhere near as far as the Miracle.
>>Note I said a workbook, a $100 keyboard and a weekly lesson should get
>>one at least as far as the Miracle gets one in the same amount of
>>time, provided they are motivated to practice.
>I'm glad you guys are talking about this because I'm considering some
>sort of automated teaching aid myself.  I've been thinking that if I
>buy a Miracle that I might learn how to play on it and then later I can
>buy a tone box and upgrade the Miracle's sounds by using the midi port.

>On the other hand, I saw a program called PianoWorks today which appeared
>to do the same thing as the Miracle (without games).  Can either of you
>(or anyone else) speak for PianoWorks?  Is it any good?

>I've been a guitar player for over 20 years but do not read music
>very well.  I have a piano at home but it's not positioned well for
>extensive practice (my plinking would disturb other household members).
>I've found that I'm fairly adept at figuring out chords on the piano
>and I can play parts of one or two classical tunes which I like a lot.
>One thing for sure is that I can only play songs that I've heard,
>not those which are represented to me only as sheet music.

>I can read some of the sheet music but it's painfully slow, a note at
>a time with no connection to where they are on the keyboard.

>When I told the salesman my predicament he replied "do you want to learn
>to read music or to play the piano?"  I was puzzled....  I still am....

>I think I want to do both.  Are there many keyboardists who do not know
>how to read music?  What should I do?
Newsgroups: rec.music.makers
From: djones@megatest.com (Dave Jones)
Subject: What's a "vocal mike"? (Re: FOR SALE:NEW mics)
Organization: Megatest Corporation
Date: Wed, 6 Jan 1993 04:36:59 GMT

From article <1992Dec31.143449.8679@engage.pko.dec.com), by ttesta@kali.enet.dec.com (Tom Testagrossa):
) 
) 
)      1) Shure SM58 mic, great for vocals -  $115 
) 
) 
)      2) Shure SM57 mic, excellent for instruments - $94


I had an SM57 for my tenor sax, but I didn't like the tight directionality
cone. (I like to move with the music a little sometimes.) So I got a 58 a
couple of years ago and I've like it just fine. Now I find out that it's
"great for vocals" but the 57 is "excellent for instruments". I thought
the idea was to reproduce the sound accurately in either case.

'Splain please.

(I paid $86 for the 58. I guess I got lucky. )
Newsgroups: rec.music.makers,rec.music.synth,alt.guitar,rec.music.makers.guitar,rec.music.makers.synth
From: qb7g6@fel.tno.nl (Maarten Landzaat)
Subject: Re: 808 and 303 sounds, composing on the Sun
Organization: TNO Physics and Electronics Laboratory
Date: Tue, 5 Jan 1993 17:17:20 GMT

eric@nit.pactel.com (Eric Pederson) writes:

>1) What are the recommendations of the readers on generating 303 bass
>   and 808 drum sounds from *available* MIDI-ready equipment.  303's and 808's
>   are pretty much out of circulation these days.

My Roland SC-55 Sound Canvas has a built-in 808 drumkit. And a jazz, a brush,
an orchestra, an electronic, and a power kit. Don't know about the 303 though.

Hope this helps....
-- 
Maarten J. Landzaat (analyst/programmer, bass player, Atari/midi freak)
BSO/Aerospace & Systems			Mail: Spuistraat 97
Email: maarten.landzaat@fel.tno.nl	      1012 SV  Amsterdam
Phone: +31 20 6266098			      The Netherlands
From: latta@con.berkeley.edu (Craig R. Latta)
Newsgroups: rec.music.makers
Subject: Re: Musenet CD-- what happened to it?
Date: 11 Jan 93 00:12:36
Organization: Experimental Computing Facility (XCF)
NNTP-Posting-Host: con.berkeley.edu
In-reply-to: johndu@world.std.com's message of Sun, 10 Jan 1993 19:19:54 GMT



	John F Duesenberry <johndu@world.std.com> writes:

> Does anybody know whatever happened to the MUSENET CD project?

	My apologies-- I went on vacation and didn't send MUSENET
updates to the Net while I was away. I'll post one on the 15th. You
can always get the update anytime via ftp as
anonymous@xcf.berkeley.edu:misc/netjam/doc/announcements/MUSENET/update.

	Basically, we're $489 short, and I'm still getting the CD
masks and liner notes together. I want to get the pressing started
this week. Comments are welcomed as always.


-C



--
-----------------------------------------------------------------------------
Craig R. Latta           Experimental Computing Facility                (XCF)
Composer, Software and   ParcPlace Systems, Inc.        (latta@parcplace.com)
    Recording Engineer   NetJam, Berkeley                (netjam-request@xcf)
latta@xcf.Berkeley.EDU   Smallmusic OO music project (smallmusic-request@xcf)
(standard  disclaimer)   proof NL parsing project         (proof-request@xcf)
-----------------------------------------------------------------------------
Newsgroups: rec.music.makers