HDTenEightyP/NetNews huggingface dataset:
From: ploot@eland.eecs.umich.edu (Larry David)
Subject: power conditioning?
Organization: University of Michigan EECS Dept., Ann Arbor, MI
Date: Tue, 14 Apr 1992 16:53:35 GMT


Greetings to all.  Another querry for the knowers:

I've been thinking of getting a line conditioning plug strip for my home studio  
rack.  What do people use for this kind of thing?  I've seen Furman's line of  
stuff, and the PL-8 and PL-plus seem like they would do what I want (although  
I'm not sure exactly what I want)--are there any other similar products?  Aside  
from basic surge filters and fuses, how important are for example RF filters in  
terms of line noise; i.e. can you hear a difference with and without them on  
the average U.S. residential AC line?  Filters for 60 Hz hum, fluorescent light  
noise, appliance pops and clicks etc...seem like a good idea, but I don't know  
how effective/necessary these would be.  I have a very audible amount of noise  
(through head phones--don't have monitors yet, will probably use home stereo  
spkrs temporarily) listening to the headphone out of my mixers (Kawai MX8-SR  
and Tascam 464) and I don't know how much is due to what; i.e. the mixers  
themselves or the ligths (fluorescent) or RF etc.  Basically I want safe (for  
the equipment), clean (quiet/"noiseless") power for my equipment (synths,  
effects, mixers, mics, patch bay, amp).  BTW, I don't need the lights that the  
PL-8/plus have (nor the line level LED's).  All wisdom is greatly appreciated.

(Please post or e-mail me.  Thanks.)

|-------------------------------------------------------------------------|
|  Larry David                                                            |
|  Graduate Student Research Assistant, E. E. Systems Dept., U of Mich.   |
|  ploot@horowitz.eecs.umich.edu                                          |
|-------------------------------------------------------------------------|
Newsgroups: rec.music.synth
From: kyle@uunet.uu.net (Kyle Jones)
Subject: Re: What a whiner!!!!
Organization: UUNET Technologies, Inc
Date: Tue, 14 Apr 1992 22:19:53 GMT

dce@smsc.sony.com (David Elliott) writes:
 SJEPSON@ERS.BITNET (Sean F. Jepson) writes:
 > > > JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL  writes .....
 > > >   >Welcome to the sad world of Mac-ownership.
 > > >   >Oh why did I buy this Mac.......It gives me nothing but problems.
 > > >   >Hell it was only $3500.
 > >
 > > Is anyone else getting sick of his whining?
 > 
 > Sick?  Not at all.
 > 
 > I find it quite entertaining to see John getting all bent out
 > of shape over this.

Here, here.  There, but for the lack of money, go I. :)
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: Synth Family Trees
Summary: Where Japanese synths come from (birds? bees?)
Date: 7 Apr 92 21:46:16 GMT
Organization: Atomic City

In article <1940@transfer.stratus.com> cdodson@beast.cac.stratus.com writes:
>What we were trying to figure out is, who owns/makes 
>Roland, Korg and Kawai ?  Are they truly separate companies, or are they
>extensions of say Sony and JVC ?

Roland is an independent corporation whose independence is fiercely 
protected by Kakehashi Ikutaro, its founder and CEO. Kawai is the 
second oldest piano maker in Japan, dating back to the time of the
Emperor Meiji. It also is independent as of my latest news, which is
admittedly a year or two old now. Korg was originally the line put
out by Keio Electronic Laboratories, also an indie, but now they are
a partially-owned subsidiary of Nippon Gakki, the same firm that 
owns Yamaha.


--
metlay    | "Oooo... bemahmma fluk moogie flabber nerble fremlap vimmdo
@minerva. |  "LXP-5" seegin waggy furplesmurch mibbur ig crumple bummy 
phyast.   |  "Quadraverb" ... horf, horf, horf."
pitt.edu  |                       --words to live by, from P. Robinson.
From: nick@dcs.ed.ac.uk (Nick Rothwell)
Newsgroups: rec.music.synth
Subject: Re: Macintosh Powerbook & MIDI
Date: 8 Apr 92 11:22:44 GMT
Organization: Friends of the Salter Duck
In-reply-to: sjohn@england.ece.cmu.edu's message of 7 Apr 92 05:59:10 GMT

I can't help you specifically with your problem, but can say that (i)
MIDIscope seems flakey on later machines; it was fine on a Plus and SE
but doesn't work on my SE/30 and I wouldn't hold out hopes for the
PowerBook. (ii) The PB's do have serial port problems at high speeds
which Apple are looking into, although I don't think that's the
problem here. (iii) Old MIDI programs with their own drivers don't
know about the PowerBook Power Manager functionality and this might
cause them problems; you might try with MIDI Manager and/or OMS.

I have a PowerBook 140 (w/o modem) which I'm fitting out and bringing
up to speed right now, and I'll be trying MIDI on it in a day or two.
If anything interesting materialises, I'll let you know.

Nick.
--
Nick Rothwell, LFCS, Edinburgh | Mark X here if article is a gift .. .. .. (X)
             nick@dcs.ed.ac.uk | Il s'agit d'un cadeau
Mentation Consultancy Services | or a sample of merchandise .. .. .. .. .. ( )
   cassiel@cix.compulink.co.uk | d'un enchantillon de marchandises
From: aa596@cleveland.Freenet.Edu (Peter Haller)
Newsgroups: rec.music.synth
Subject: Re: @$#@ing computer flame wars.
Date: 16 Apr 92 16:39:51 GMT
Article-I.D.: usenet.1992Apr16.163951.7205
Reply-To: aa596@cleveland.Freenet.Edu (Peter Haller)
Organization: Case Western Reserve University, Cleveland, OH (USA)


In a previous article, u894825@bruny.cc.utas.edu.au (Jon Elliott) says:

>Guys, guys!
>
>Cut it out, please.  Even I got sucked into the spiral while defending my
>trusty Mac Classic.
>
>In reality, I don't give a toss about what computer is best as long as I'm
>happy with what I've got.  The only things we need to see about computers
>on this group is problems or new developments.  Can the crap, let's talk about
>music - the relative merits of various computer platforms are essentially
>irrelevant here.
>
I agree, and I have been guilty of defeneding my choice. I will
attempt to stick to this subject.

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.'
From: metlay@minerva.phyast.pitt.edu (metlay)
Newsgroups: rec.music.synth
Subject: Re: Kawai Spectra: Appraisal?
Summary: The KC-10 Spectra-- what it is what it ain't
Keywords: Kawai
Date: 13 Apr 92 16:12:45 GMT
Organization: Atomic City

In article <heys.703124716@odin> heys@odin.unomaha.edu (Matthew D. Heys) writes:
>After spending about two years behind a Casio CT-650, I've decided it is time
>I graduate from the home synthesizer market to the entry-level professional
>units. This is not the first time the idea has occured to me; it's just been
>the case that every previous attempt ran into a "price" wall.

There are a bazillion entry-level synths out there now that are probably 
affordable by your standards, if you're willing to buy used gear from a 
reputable dealer. Among the devices that probably weigh in at or near the
Spectra in used price (see the listing that gets posted here every month)
are the Roland baby-D's (D-5, D-10), the Kawai K-1 and K-1II, and probably
a number of others I can't think of right now....

>I've been offered $400 for a new one, which I've been told is quite a steal -
>what do YOU, the professional-synthesizerally educated, think of the Spectra?

I have considered one in the past, and am still considering one in the future,
for one reason and one reason only: it is the smallest, lightest five-octave
velocity-sensitive keyboard ever made. The internal sounds are okay, there
is almost no software support for it, but you can plug in a dmaper pedal and
actually play it and it weighs about ten pounds or so. When you're going to
be limited to seventy pounds of personal baggage, most of which is cold-weather
gear to supplement the shit the Navy gives you and food items to supplement
the shit the Navy feeds you, you can't exactly lug a Polymoog around.

Kawai is no longer supporting the KC-10; that's why dealers are blowing them
out. It was supposed to be their next big hammer on the market after the K1,
but no aftertouch and a relatively primitive editing/display system killed it.
That and the fact that it didn't sound as good as some other machines out 
there. I personally believe you can do better for $400. I also believe that
when Kawai stops resting on their rapidly wilting laurels with the K1 and K4,
their next machine will probably be a SpectraII, with aftertouch, and something
like a QY-10 built in.

>Replies in mail or news rewarded with obnoxious expressions of gratitude,

Don't bother.

--
metlay@minerva.phyast.pitt.edu  ||               "Oh, JOY!"
From: d88-jwa@hemul.nada.kth.se (Jon W{tte)
Newsgroups: rec.music.synth
Subject: Re: MOTU Apparently Now hiring ex Radio Shack Employees for Tech Support
Date: 9 Apr 92 22:18:53 GMT
	<1992Apr9.190720.19009@news.media.mit.edu>
Organization: Royal Institute of Technology, Stockholm, Sweden
Originator: d88-jwa@hemul.nada.kth.se

.media.mit.edu> mbl@media.mit.edu (Marc LoCascio) writes:

   as for your specific question -- i don't think that anyone ever claimed that
   MTP's in "Fast" mode get data at 32 times MIDI speed.  the sad fact is that 
   the Mac UART/MIDI/interrupt structure can only support about 4 times MIDI
   speed on the fastest Macs.  (actually, the MIDI "expert" for one of the
   major electronic music mags did claim in an article that "Fast" mode

FINALLY on my home turf ! :-)

MIDI is about 32kb/s, async. Handled very well by the mac.
LocalTalk is about 240kb/s. Obviously handled by the mac, but
on slow macs, ordinary processing suffers.
Synchronously, the mac serial ports can run at 1 Mbit/s, which
is about... 32 times faster than normal MIDI. What do you
know ? :-)

The faster macs (read IIfx and Quadra 900) actually have
dedicated CPUs for the serial ports, so LocalTalk won't hurt
them much if at all (except for the waiting time, of course,
but background processes continue to run at least)

-- 
h+@nada.kth.se; Jon W{tte, the Diplomat - NOT!
Newsgroups: rec.music.synth
From: swirsky@adobe.com (Robert Swirsky)
Subject: Re: LP Stereo
Organization: R. A. Swirsky 
Date: Wed, 8 Apr 1992 00:14:44 GMT

In article <1992Apr7.040440.17691@sunb10.cs.uiuc.edu> cs318a62@ibmb2.cs.uiuc.edu (Philip M Scopes) writes:

>I believe that the groove on a stereo record has a "left" and "right" half.
>The needle of a stereo record player separates these two signals and you get
>stereo.
>

Actually, L+R information is recorded with horizontal groove motion and
L-R (i.e., the difference between the channels) is recorded with vertical
groove motion. The allowed for forward and backward compatibility between
mono and stereo formats.

Because mono records record the one channel in a horizontal groove motion
a stereo pickup plays it properly. Similarly, a mono pickup, which only
is sensitive to horizontal motion, only sees the L+R information on
a stereo recording.
 
It's simple to get the stereo (2 channel) information back:
Add the L+R and L-R to get:

	L+R
     +  L-R
     ________
      (2)L

and subtract them to get

	L+R
     -  L-R
     ________
        (2)R

ObSynthMusicComment:

You can achieve interesting musical effects by rearranging the wires on
your cartridge  so that you get only the L-R channel!  

------
Robert
swirsky@adobe.com	robert@boy.com
FREE ANSWERS TO (most) UNIX QUESTIONS: email rtfm@boy.com
From: "wayne kelso" <wayne.kelso@canrem.com>
Newsgroups: rec.music.synth
Subject: finale / music prose
Date: 12 Apr 92 01:30:50 EST
Reply-To: "wayne kelso" <wayne.kelso@canrem.com>
Distribution: rec
Organization: Canada Remote Systems

On 04-11-92, DARREN BRAITHWAITE wrote to ALL:

 DB> I was considering buying Finale or Music Prose and I was wondering 
 DB> for an Apple postscript Personal Laserwriter IIs, what type of fonts 
 DB> would one need to print scores/lead sheets?
 
Finale comes with Postscript font files. It also comes with a Postscript 
shape creator. It's a little awkward to use, however.
If I understand the manual correctly {I don't have a Postscript printer}, 
Finale automatically downloads the Petrucci Postscript Font to the Printer 
just before printing. 
You can even compile a Postscript listing of a file, save it, then take 
that file to a commercial Linotronic output service without having to 
bring Finale with you. A downloading program such as Laser Status {a DA} 
will perform the download.This is the only case where you would have to 
manually download the font yourself via Laser Status.
Finale is a chore to learn, but if you are into challenging charts, this 
is the program to use. If you planning on using it just for lead sheets, 
it may be over kill.

Good Luck.

Wayne.Kelso@canrem.com

---
 * Freddie 1.1 * Sticks and Stones may break my bones, so quit it.
--
Canada Remote Systems  - Toronto, Ontario/Detroit, MI
World's Largest PCBOARD System - 416-629-7000/629-7044
From: estasic@engws10.ic.sunysb.edu (Edward Stasic)
Newsgroups: rec.music.synth
Subject: Re: Gear Lust
Date: 13 Apr 92 00:49:12 GMT
Organization: State University of New York at Stony Brook


Looking around at all that could be had, if you don't have any equipment, it
would very easy to become paralyzed by the thought that something better will
be in the market this coming (...fill in the blank...).

As someone who doesn't have anything (yet?), I'm very curious about one thing:
Is it true that a lot of what's out there is never used to its fullest
potential?

Simultaneously, I hear about the amazing abilities of some of the synths on
the market and the inability or unwillingness of the users to go beyond
using the factory presets and create custom sounds.

Is it that these machines are overrated or are most users just plain lazy?
Newsgroups: rec.music.synth
From: ercolessi@uimrl7.mrl.uiuc.edu
Subject: Re: Gear Lust
Reply-To: ercolessi@uimrl7.mrl.uiuc.edu
Organization: Materials Research Lab
Date: Mon, 13 Apr 1992 02:05:32 GMT

In article <1992Apr12.134427.17854@cbnewsj.cb.att.com>,
davet@cbnewsj.cb.att.com (Dave Tutelman) writes:
|> In article <campo.702850218@calspan.com> campo@calspan.com (Jim
|> Campobello) writes:
|>        [...]
|> >    > jalkio@cc.helsinki.fi writes:
|> >   The more I got hooked on drooling over the lastest stuff, the
|> less I
|> >   focused on the music.  I'm tired of it.  I don't want to open
|> another
|> >   new manual and scratch my head for a couple hours. I really have
|> this
|> >   desire to freeze everything and just do the music.
|> 	Bravo!  This needed saying.  Badly.


In article <1992Apr12.174804.19995@usenet.ins.cwru.edu>,
aa596@cleveland.Freenet.Edu (Peter Haller) writes:
|>       [...]
|> To little time is spent on the music aspect, either composition or
|> technical precision. 
|> 
|> In my own experiance I have found that most of my gear is used like
|> humans use their brain - ie 4%.  I have just begun to master my
|> Kurzwiel
|> K1000. This thing is so complex though,    [...]


In article <1992Apr13.004912.4717@sbcs.sunysb.edu>,
estasic@engws10.ic.sunysb.edu (Edward Stasic) writes:
|>     [...]
|> Is it true that a lot of what's out there is never used to its
|> fullest
|> potential?
|> 
|> Simultaneously, I hear about the amazing abilities of some of the
|> synths on
|> the market and the inability or unwillingness of the users to go
|> beyond
|> using the factory presets and create custom sounds.
|> 
|> Is it that these machines are overrated or are most users just plain
|> lazy?

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!  

furio
--
Furio Ercolessi
Materials Research Laboratory           |   Intl School for Advanced Studies
Univ. of Illinois at Urbana-Champaign   |   Trieste, Italy
ercolessi@uimrl7.mrl.uiuc.edu           |   furio@sissa.it
From: shen@niblick.ecn.purdue.edu (Sheng Tsiung Hsu)
Newsgroups: rec.music.synth
Subject: Info needed for Wulitzer EP288 sampled piano
Date: 17 Apr 92 15:22:43 GMT
Distribution: usa
Organization: Purdue University Engineering Computer Network

Hi, everyone:

I saw in a local dealer a sampled piano (electronic piano) made by Wulitzer
model EP288 which has 88 weighted wood keys and very good dynamic response.
Has anyone heard about this model or the company.  How is it compared to 
Korg SG-D1 or Roland EP-7.  It is priced at $1844.  Is the price too high?
Any comments will be greatly appreciated.

Sheng T. Hsu
shen@ecn.purdue.edu
Newsgroups: rec.music.synth,alt.guitar
From: ccecl@nuscc.nus.sg (Chandra Liem)
Subject: Korg Z3/ZD3 Guitar Synthesizer
Organization: National University of Singapore
Date: Mon, 13 Apr 1992 06:46:14 GMT

Hi, I am thinking of buying a Korg Z3/ZD3 Guiter Synthesizer and I would
like some comments (good or bad) on this system.  The price quoted is
S$1400 (about US $850).  Thanks in advance for any comments.

A brief write-up on Korg Z3/ZD3: 

ZD3: driver unit attached directly to the guitar body.  It picks up
performance information from each string and transmits it to the Z3.  It
also provides control over the synth sound, including volume and program
change.  It has gain adjust for individual strings and a 24-pin cable to
connect to Z3 front panel.

Z3: It has 6-voice 128-preset internal sound sources and 4 digital
oscillators per voice.  Calibration can be adjusted in 1Hz steps within
a reference pitch range of 438Hz to 445Hz.  It has control for:

   Sound select: 1-128
   Octave up/down: transpose pitch
   Revert on/off: for revert on synth sound
   Synth on/off: turns synth sound on and off
   Pitch bend on/off: on for bends, off for semitone steps
   Sens hi/low: set to low if needed to prevent mistriggering 

Z3 operates in 2 modes: 

   Mode A: 128 preset sound (6 voice)
   Mode B: programmable mode (128 timbre set patches, 64 program patch
           play, 6 multi-timbre).

Interface to MIDI: POLY mode (sends MIDI data from all 6 strings over a
single MIDI channel) or MONO mode (assigning a different MIDI channel to
each string).

FC6 foot controller (optional): 6 foot switches allows foot control of
Program up/down, hold, synth off etc.  
-- 
Chandra Liem, Computer Centre, National University of Singapore
Bitnet: ccecl@nusvm, Internet: ccecl@nuscc.nus.sg, Phone: +65 772-2527 
Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
Original_To:  BITNET%"synth-l@auvm"
Newsgroups: rec.music.synth
Date:         Wed, 8 Apr 1992 12:58:00 EST
From:         MCINTYRE@MSUPA.BITNET
Subject:      Curved Air & VCS3

>From:         Peter Brooks <brooksp@HPCC01.CORP.HP.COM>

>There was an article on the VCS 3 about a year ago in Keyboard, in the
>"Vintage synths" section.  BTW, it was known as the Putney in the US,
>but as the EMS everywhere else.  We had one in the Electronic Misic
>department in Illinois, and the (now-forgotten?) group Curved Air
>used one in their first two albums.

The well-remembered and much-beloved 8-) Curved Air also used the VCS3
on their third album _Phantasmagoria_.  One song, entitled "Whose
Shoulder Are You Looking Over Anyway?" was just voice processed through
the VCS3.

John McIntyre
Physics - Astronomy Dept
Michigan State University
From: ljnelson@amherst.edu (Starbuck)
Newsgroups: rec.music.synth
Subject: Re: USENET 92 Tape ....
Date: 15 Apr 92 20:33:06 GMT
Organization: The Funky Mustard Quintet

JROSSI@EAGLE.AAMRL.WPAFB.AF.MIL writes:

> I thought I was going to be doing the USENRT92 tape (DISK?).  At any rate,
> it is a little early to be worring about it now.  If I am the person doing

Whatever became of the suggestion to have more than one compilation tape a
year?  Is that feasible anymore?

> it I will be solliciting stuff aroundc July with a finalization date sometime
> in November.  Allowable formats will be DAT, Cassette (no-Dol, Dol-B, Dol-C) 
> (No cassette dbx), VHS-HiFi, BETA HiFi, or 1/2 track 1/4" analog rtr.  All
> final mastering will be done to DAT (by me so that the results will be
> unambiguously blameable on me, alone).  I should hae 2 DATs by Nov so all DAT
> submissions will be DAT-DAT.  In addition, I will supply 1 sided noise 
> reduction (if requested), compression, etc.

As long as you don't deliberately drop submitted tapes in the mud, run them
over with a bulldozer, filter them backwards through a bandpass filter, and
mixdown to an off-speed Radio Shack used cassette deck, I'll be happy.  I
really appreciate DeWayne taking the time to compile the 91 tape, but jeez;
I've never heard some of those submissions sound so mauled.

> The main reason I am doing this is the way mt USENET91 was seriously broken by
> whatever techniques were used to put it on the master tape.  I can assure

See above.  :)

> anyone submiotting that I will makle sure that the best sound possible goes
> out to the printer.  If anybody else is going top make the same claims, please
> feel free to do the tape.  All I really care about is getting the resultant 
> tape to sound as much lile what was submitted as possible.

I suppose that means you won't be using that new Mac of yours to do
direct-to-disk recording then....{sound of Laird getting mauled by a flying
Macintosh and associated peripherals}

LAiRD

-- 
LAiRD j. NeLSoN         |       Kella Woona Hulla,
(413) 542-3374          |       Hey Wood Eskay,
ljnelson@amherst.edu    |       I Minawana Waddis,
  II-7b5  V7  I-        |       A Rek-Chu-Hey (4,5)
Newsgroups: rec.music.synth
From: kyle@uunet.uu.net (Kyle Jones)
Subject: Re: Arsinio and Korg
Organization: UUNET Technologies, Inc
Date: Thu, 9 Apr 1992 22:25:51 GMT

 > Such naivete demands a response :-)    Yeah I'm sure that the members of the
 > Posse can afford Korg gear and make awesome sounds, but believe me, everything
 > you see on that stage is GIVEN to the band to use. Do you have any idea how
 > much it would cost Korg to BUY that much exposure for its products?
 > 
 > Ever notice that on a lot of shows the keyboards and stuff have been 
 > 'black taped' so you can't tell who made them? That's because the manufacturer
 > didn't give the musicians equipment or pay for advertising.

So much for Artistic Integrity and giving the fans an idea what
kind of equipment the Artist really uses.  Athletes do
endorsements too, but at least they use the @#$@#! shoes and
other equipment.  Michael Jordan may lie about his choice of
breakfast cereal but he does play in Nike basketball shoes.  The
comment in KEYBOARD that Parodi would rather use a D-50 for a
controller, but uses an M1 and a D-550 (offstage) because Roland
wouldn't give her a D-50 really turned my stomach.

Comments: Gated by NETNEWS@AUVM.AMERICAN.EDU
X-Vmsmail-To: SMTP%"SYNTH-L@AUVM.AMERICAN.EDU"
Newsgroups: rec.music.synth
Date:         Wed, 15 Apr 1992 19:04:21 -0400
From:         YOUNG_J@SCSUC.CTSTATEU.EDU
Subject:      RE: Info on Kwai PH50
Comments: To: SYNTH-L@AUVM.AMERICAN.EDU

>Goodman Music is selling the Kwai PH50 for $199 (off 600 list price)...
>I've reserved one, but before I go through with the purchase, I want to
>see exactly how good this price is, what it is I'm getting, whether I
>can get a better price new, what I can get for $200 used, if anyone
>is willing to offer me something for that price... I also put a note on
>rec.music.makers...

I may be wrong, but I think I saw it in the Sam Ash catalogue for about
$169.  I played one in a music store about a year ago.  Pretty nice
sounds for a little toy box.
From: pbertsch@hpcupt3.cup.hp.com (Peggy Bertsch)
Date: Mon, 13 Apr 1992 23:14:35 GMT
Subject: Different Drummer & Performer ?
Organization: Hewlett Packard, Cupertino