ics: 2nd Conference on Music and the Hearing-Impaired File archiving (6 messages) Synthesis proposal S950 Documentation (2 messages) MIDI on a Budget (5 messages) Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. Your EMUSIC-L Digest moderator is Joe McMahon . ---------------------------------------------------------------------- Date: Thu, 4 May 89 13:40:00 EST From: "Kevin Cole at Gallaudet U. Washington DC" Subject: 2nd National Summer Conference for Music and the Hearing-Impaired Date sent: 4-MAY-1989 13:24:34 National Summer Conference for Music and the Hearing-Impaired July 30 - August 2 This conference is the second national gathering at Gallaudet University of educators and other professionals who use music in the education of hearing impaired students. Participants will learn specific strategies for teaching music to hearing impaired students. Coordinators for existing programs will share methods for developing and expanding similar music programs. Hearing impaired musicians will provide special music. Professionals from kindergarten through post-secondary levels are invited to exchange their best material resources and ideas in special sessions for professional exchange. Conference attendees will maintain and expand the growing network of music educators for hearing impared students in the United States and other countries. Tuition: 50 (includes application and CEU fees) Additonal cost for participants who desire on-campus housing: 6 For further information contact: Diane Merchant Music Director Gallaudet University P.O. Box 2301 Washington, D.C. 20002-3625 (202) 651- 5641 (Voice or TDD) ------------------------------------------------------------------------------- Kevin Cole | Bitnet: CADS_COLE@GALLUA.BITNET Center for Assessment and | or Demographic Studies (CADS) | KJCOLE@GALLUA.BITNET Gallaudet Research Institute (GRI) | Internet: KJCOLE@GALLUX.GALLAUDET.EDU Washington, D.C. 20002 | UUCP: ...!psuvax!gallua.bitnet!kjcole (202) 651-5575 | CompuServe: 76167,1406 ------------------------------------------------------------------------------- "The problem with opinions is that everyone's entitled to their own" - KJC ------------------------------ Date: Tue, 02 May 89 09:53:57 EDT From: Eric Harnden Subject: arc/zip/etc now we're cooking with gas. i have a program called pkzip, which i will use to pack any ms-dos original files or programs that i send in. i will also post it to the filelist, so that we all can have access to it, and use it instead of pkarc. there's a reason for this. i've got the story this way... there was a company that created a file packing program and marketed it. a well meaning hacker got his hands on it, figured out its structure and algorithm, improved it, and posted the improvement as shareware. the company sued the guy for infringement, he paid up, and the company has a standing threat to take action against anybody that makes his version publicly available again. he has since written a completely new utility, better and faster than both the earlier versions, that also can translate old arc format to his new format, so nobody's left hanging. it's legal, and it's shareware. on the general subject of file distribution compatibility... please send to me a listing of what you have, in terms of format stuff, and for what platforms, or what you know we can get and where. i would like to post what we can, and maintain a file listing where the other stuff can be had. Eric Harnden (Ronin) The American University Physics Dept. (202) 885-2758 ------------------------------ Date: Tue, 2 May 89 14:36:06 EDT From: LEE@UHCCUX Subject: RE: arc/zip/etc I have arc and zoo here on the Unix system I use mostly. The Unix arc handles pkarc format and the code for it is used by permission. I don't know about this zip. If it hasn't been ported to Unix, that could be quite a job. Zoo is very portable, except Rahul Dhesi has put some funny restrictions on its use -- I think it can't be used on Compuserve, or something like that, since he thinks they charge too much for their service. Compuserve(plural), that is. Greg, lee@uhccux -- Greg, lee@uhccux.uhcc.hawaii.edu ------------------------------ Date: Tue, 2 May 89 08:56:37 MDT From: Ed Wilts - CandianOxy Subject: RE: arc/zip/etc >now we're cooking with gas. My personal preference would be to use ZOO instead of Zip, simply because it is available across a wider range of cpu's. I have a version for my Amiga, Unix, MS-DOS, and VMS. I have yet to see a version of Zip for either the Amiga or VMS. I believe that most people prefer to do unpacking on the machine they are using to read this mailing list and then ship them down to there personal computers later. I wouldn't mind if you used Zip IF we can get Zip unpackers for most cpus. .../Ed (EWilts%Janus.MtRoyal.AB.CA@UncaNet.Bitnet) Ed Wilts Sr. Systems Analyst, Canadian Occidental Petroleum Ltd. Calgary, Alberta, Canada (403) 234-1007 ------------------------------ Date: Mon, 1 May 89 22:41:17 EDT From: LEE@UHCCUX Subject: Re: archives Don't bother with glib -- I'm just about done with another release which supports two additional synths, DX7 and CZ1, has improved Amiga support, and other improvements. Just a few more days and I'll have it lint-free. How much room is in the archives? I've been offered 1.5 megabytes of DX7 patches, and right now I don't know where to put them. Greg, lee@uhccux ------------------------------ Date: Tue, 2 May 89 08:00:42 MDT From: Ed Wilts - CandianOxy Subject: Re: archives >Don't bother with glib -- I'm just about done with another release > > Greg, lee@uhccux We have also modified the Amiga version of glib to use the ARP file requestors. If your new version does not have it, I can send you the source mods that were done here. Of course, you will have to either distribute the ARP.LIBRARY or assume that glib users can get it from somewhere. .../Ed (EWilts%Janus.MtRoyal.AB.CA@UncaNet.Bitnet) Ed Wilts Sr. Systems Analyst, Canadian Occidental Petroleum Ltd. Calgary, Alberta, Canada (403) 234-1007 ------------------------------ Date: Wed, 3 May 89 09:26:03 edt From: "David A. Braun" Subject: RE: arc/zip/etc I'll put in a vote for ZOO or something like it. ZOO is available in executable form for a vast number of machines and operating systems. More importantly it is available in SOURCE form. This is invaluable for an environment where machines and operating systems are evolving/mutating as rapidly as they are these days! Attached you'll find the copyright notice for ZOO by Rahul Dhesi (the original author). Essentially it says that you can pass it arround if you don't make money (directly or indirectly) doing so. Yes, there is an additional restriction that you can't make the ZOO SOURCE AND BINARY available for DOWNLOADING if you extort too much for midnight raids. This DOESN'T apply to to ARCHIVES created by ZOO. If you can't get sources/binaries from anywhere else, let me know. I'll send a copy for this distribution list's archives. (How do you do that?) dave braun braun@thumper.bellcore.com ------------------- BEGIN (the end is implied) ----------------- COPYRIGHT The following rules apply only to the zoo archiver itself. Currently, all extract-only programs, and all supporting utili-ties, are fully in the public domain and are expected to remain so for the forseeable future. Copyright Statement for Version 1.71 The distribution restrictions placed on zoo versions 1.71 and ear-lier are now relaxed. Version 1.71 and earlier source and the AmigaDOS and MS-DOS binary files may be distributed for any pur-pose, whether commercial or noncommercial, by anybody, provided (a) the files are distributed unmodified and (b) the recipient is notified in advance of being provided the software that "version 1.71 is an outdated version and version 2.00 and higher versions are now available from other sources". However, creation and dis-tribution of any derivative work is governed by the copyright statement for versions 2.00 and 2.01. Copyright Statement for Versions 2.00 and 2.01 The following conditions apply to the C source code, the MS-DOS support package, and to the MS-DOS executable code. Distribution conditions for J. Brian Waters's AmigaDOS implementation may differ and will be stated in the copyright statement accompanying it. "This program" refers to versions 2.00 and 2.01 and separately to each subsequent version of the Zoo archiver and to all derivative works thereof. "Distribution right" means any copyright, compila-tion copyright, license, or other right to control distribution or copying. "Compiled code" means software that can be executed by a computer system. This program is copyrighted but its distribution for noncommercial purposes is permitted, with the following restrictions. - You are prohibited from distributing this program as part of any package over which you claim a distribution right. This restriction does not apply if any distribution right is claimed only over individual items that you own or for which the distribution right has been explicitly assigned to you, and not over the package as a collection. - You are prohibited from making this program available for downloading via telecommunications if you charge a total of more than .00 per hour at 1200 bps during evening and night hours. - You are prohibited from distributing this program as compiled code unless you also distribute the source code from which the compiled code was obtained. This restriction does not apply if the compiled code was created by me. - You are prohibited from creating, from this program, any derivative work over which you claim a distribution right. - You are prohibited from creating from this program, whether deliberately or through negligence, any derivative work that violates the compatibility goals stated in the user manual for this program. - You may use this program, and any derivative works that you create, internally within your own organization free of charge. You may distribute such derivative works outside your organization provided you adhere to all other conditions of this copyright policy. The above restrictions may be relaxed by special agreement; please contact me for details. -- Rahul Dhesi 1988/08/25 UUCP: iuvax!bsu-cs!dhesi or pur-ee!bsu-cs!dhesi GEnie: DHESI Plink: OLS806 Phone: +1 317 285 8641 daytime EST US mail: 720 W. Centennial Ave #15, Muncie, Indiana 47303 ------------------------------ Date: Wed, 3 May 89 16:05:41 -0400 From: Brian Adamson Subject: Signal Synthesis/Processing technical issues Sorry about that previous garbage--I forgot to save it as text only while in Microsoft Word. Sorry again. This note is in response to Eric's question on what kind of equipment it would require to do "something a little beyond dx7 programming." GOAL. Consider the ability to implement real-time digital audio processing (for experimental and application purposes) on a DSP board with analog I/O capability which plugs into the Mac II NuBus slots or alternatively into PC slots. For example, one could write software (in machine code or 'C') to implement a reverb, flanger, harmonically- true pitch shifter, Midi-synchronized rhythmically varying filters or effects, etc. Also, any type of synthesis or hybrid synthesis/sampling could be programmed. Software could be downloaded to memory resident on the slotted board and then would run independently of the PC, except letting the user perhaps control different effects parameters from the PC's keyboard. Furthermore, given the storage space and sufficiently quick disk access times, this board could also perform direct-to-disk recording. HARDWARE/SOFTWARE REQUIREMENTS. To support an independent DSP development capability, the following hardware requirements would be necessary. 1. PC with parallel interface (PC slots, Mac Nubus, etc). It could be done serially, but this would increase the complexity, form factor, and probably the cost of the proposed hardware. 2. DSP microprocessor board with program and data memory. Multiple DSP's may be desirable, and some audio applications (especially those with long delays) may require a considerable amount of data memory (1 Meg+). The amount of program memory required would probably not be significant for most applications (16K or less). 3. Some type of analog I/O capability (i.e. A/D-D/A converter board, preferably stereo with 16 bits of resolution and a 44.1 kHz sampling rate). 4. Assembly language or high-level language compiler for the DSP processor in question. Some current DSP's are supported by 'C' compilers. High level languages such as 'C' would ease the task of porting audio processing algorithms between developers who have chosen different DSP's. WHY A DIGITAL SIGNAL PROCESSOR? Digital signal processor chips have a distinct advantage over conventional microprocessors for audio processing because these chips are designed to perform rigorous mathematical calculations extremely fast--particularly the type of calculations required in manipulating signals. For example, a real-time digital filter can be implemented in as few as 3 to 5 lines of code on some DSP's. One DSP (made by Zoran) even contains an FFT (Fast Fourier Transform) instruction as part of its set. Although DSP chips may come up a little short in some of the I/O and memory handling capabilities found in general purpose microprocessors such as the 68020 or 80286, they can still adequately handle user I/O functions (e.g. scanning front panel switch settings, accepting user control inputs). One may note that dedicated digital hardware could perform the signal processing functions as quickly as the DSP chips. This is true but dedicated hardware doesn't provide the flexibility that software provides. With DSP's, a developer can experiment with a number of different algorithms with little effort in a reasonably short amount of time. Beyond real-time signal processing, the amount of non-real-time processing that could be done would be virtually limitless. CURRENTLY AVAILABLE DSP PRODUCTS. In hi-fidelity audio processing, dynamic range is certainly a factor, therefore floating point DSP chips are probably the most desirable. Two well-supported 32 bit floating point DSP chips include the Texas Instrument TMS320C30 and the AT&T DSP32C. The 320C30 can perform 33 million floating point operations per second (MFLOPS) and the AT&T processor can perform about 25 MFLOPS. With the faster execution speed and a more sophisticated pipelined architecture with separate data and program memory address and data busses (180-pin grid array (PGA) package) , the TI chip is the most powerful of the two. The AT&T chip is less costly at approximately 50-00 per chip while the C30 currently costs about 200 per chip. C30's to be delivered in August 1989 will cost 00 per chip in quantities of one. TI plans to have the cost down to 00 or less per chip by 1991. AT&T and TI also offer 16 bit fixed point DSP chips. Although these chips do not offer the the dynamic range and ease of programming that the floating point processors do, they are certainly powerful enough to perform all but the most esoteric of audio processing functions. These chips include the AT&T DSP16 and the TI TMS320C25. The C25 is currently priced at approximately 0 in quantity one, and the DSP16 is probably comparably priced. As a compromise between 16 bit fixed point and 32 bit floating point processors, there is the Motorola 56000 DSP. As a 24 bit processor, the 56000 provides a great deal of dynamic range. The Motorola is also an inexpensive processor (less than 0). This also happens to be the DSP that is included as part of the NeXT personal computer. 'C' compilers are available for all of these processors. The fixed point processors probably aren't as adaptable to 'C' as are the floating point processors. For example, in the case of the TI chips, the 'C' compiler was written as an afterthought to help support the C25 whereas the C30 was designed with running 'C' code in mind. TI also states that future, improved and faster versions of the C30 (the C40 for example) will continue to support 'C' in their design and allow for upward portability of code. Southworth Music Systems offers a set of Mac II NuBus boards to do everything described above as the Max Audio (tm) Digital Audio System. These boards have an independent bus by which they can be connected together so they can run without tying up the NuBus. Max Audio includes the following boards: Analog Conversion Card 395 retail Quad 56000 DSP Card 395 retail DSP Card RAM 0.75 MB 99 retail DSP Card RAM 3.0 MB 99 retail SMPTE/EBU Interface 95 retail VITC Reader/Generator 95 retail ANALOG CONVERSION CARD--stereo A/D & D/A conversion card with sampling rates variable up to 192 kHz with varying resolution. Can provide 104dB Signal-to-Noise Ratio (SNR) with a dynamic range of 120dB. QUAD 56000 DSP CARD--card with 4 Motorola 56000 DSP's and memory. The individual DSP's can be programmed to serially process signal data (i.e. 1st DSP does FFT on incoming data from A/D, 2nd & 3rd DSP manipulate data in frequency domain, 4th DSP does inverse FFT and outputs data to D/A converter.) or to parallel process left and right stereo data. The DSP CARD RAM boards provide additional memory for data manipulation and buffering. SMPTE/EBU INTERFACE--enables you to synchronize any signal processing your are doing with SMPTE (or MIDI with a MIDI-to-SMPTE converter box) for real time processing. Contact Southworth Music Systems, 91 Ann Lee Road, Harvard MA 01451, (508) 772-9471 for more information on these boards. Motorola, Texas Instruments, Zoran, and AT&T can be contacted for further information on their products. Another product similar to Southworth's (but I'm not sure it's as flexible) is TurboSynth which uses an AT&T DSP (I've seen it advertised but I'm not sure of the manufacturer). There are also several different analog I/O products available for the Mac II and IBM PC's. CONCLUSION. Although this technology is probably still much more affordable to the lab or university environment, depending on your budget and expertise, the DSP tools described can provide the user with a completely flexible capability for audio synthesis and and signal processing. Exchanging signal processing code could become as hip as exchanging synth patches and sequences in the future. I hope I haven't insulted anyone's intelligence with this 'little' presentation. It sort of got out of control once I started writing it. I have been involved in programming the TI chips for modems and voice processing/analysis and therefore am fairly well informed and documented on them. If anyone out there has information on any other products I haven't mentioned or described very well, please let me know. Good Luck and I hope all this is of use to someone. Brian Adamson. Information Technology Division Naval Research Laboratory ------------------------------ Date: Tue, 2 May 89 12:42:00 EDT From: Brian Klassen MUMC-1C7 x5153 Subject: S950 Documentation I tried to post this last week, but it seems I didn't make the list ... I recently purchased an Akai S950 sampler. It's a great sounding unit, but the manual leaves a lot to be desired. Has anyone seen any third-party documentation on the S950? Any amount of information would be greatly appreciated. Thanks in advance, Brian Klassen Computer Services - Chedoke-McMaster Hospitals Hamilton, Ontario ------------------------------ Date: Tue, 2 May 89 11:38:20 PDT From: "Scott A. McIntyre" Subject: Re: S950 Documentation This has nothing to do with S950 docs, but I didn't know of any other way of posting to the cc list. Anyway... I'm going to England next year and am planning on purchasing a Laptop computer such as the Toshiba 2100 or something along those lines. Does anyone know where I can get a MIDI interface for it? I have a Sonus Thru Box, as well as a Yamaha FB01 and a Casio keyboard that I want to take with me, but will not if the power difference over there will cause damage, or if I can't use my computer with it... thanks, Scott ------------------------------ Date: Thu, 4 May 89 12:54:25 EDT From: Joe McMahon Subject: MIDI on a Budget I'd like some recommendations on cheap MIDI synths, interfaces, and controllers for use with a Mac. Random comments of any flavor appreciated. I will summarize -- please send them only to ME. Thanks. --- Joe M. ------------------------------ Date: Thu, 04 May 89 13:31:59 EDT From: Eric Harnden Subject: Re: MIDI on a Budget if there's no objection, i would actually prefer that replies to the 'cheap midi' query be posted to the list. there may be several people around interested in similar info. Eric Harnden (Ronin) The American University Physics Dept. (202) 885-2758 ------------------------------ Date: Thu, 4 May 89 14:30:00 EDT From: "Dr. DOS" Subject: RE: Re: MIDI on a Budget I can't comment on the Mac aspect of this request, but in terms of cheap gear I'm an expert! My first rule is to buy good, warranteed used gear. You can usually get far more capability for fewer bucks than buying the latest and greatest. In terms of synths with keyboards, consider these: Casio CZ-101/1000 Around 290-500 new, far less used. Multi- timbral to 4 unique monophonic instruments. Pitch bend, but no velocity or modulation controls. Casio CZ-1 Around 850 new, maybe 500 used. Also multi- timbral, but up to 8 monophonic lines. Velocity and after touch sensitivity, with modulation and pitch bend. Yamaha DX-27/100 Velocity sensitive over MIDI, breath controller, sustain pedal, 8 note polyphonic but not multi-timbre. Pitch bend and modulation. New at about 250 since it's just been discontinued. 50 or less used, in my book. Yamaha DX-11 Similar to above, but with velocity sensitive keyboard. Also now multi-timbral, and sounds cleaner. New at around 00, used at around 500 maybe. Personally, I have a CZ-101 and a Yamaha DX-100. Great units in small sizes at bargain prices. In the area of tone generators, try: Yamaha FB-01 A DX without the keyboard. 440 voices built in, and editable with a computer. 8 voices, multi-timbral in any combination up to 8 notes. Stereo outs, with pan control. Velocity sensitive on playback. New at 45 or so, used probably the 150 area. Yamaha TX-81Z Newer version of FB-01. Similar capability, but adds new waveforms, microtunings, editing without a computer and other marginal improvements. About 75 new, 250 used. Roland MT-32 Probably the best of the low end tone modules. Complete drum voice kit built in. Up to 32 note polyphony, but 8-16 is more typical. New at 50, used ?? Personally, I like the FB-01 simply cause it works well with my DX-100 and I can get em new at < 200. I'm considering an MT-32 cause several PC game vendors now support it for hi-fi quality soundtracks and effects! For drum machines, the Alesis HR-16 seems to get the nod for new units. At only about 50 list, it's a heck of a unit. Used, you can pick up older Yamaha and Roland machines for ~ 00. My home setup was well under 000, and can generate up to 13 individual lines when working monophonically. More typically, I use the Yamaha units at full polyphony, with the CZ providing 4 monophonic instruments for things like effects, bass, etc. Hope this is of some help... Dave Goodwin Goodwin@SMCVAX ------------------------------ Date: Thu, 4 May 89 15:18:30 edt From: Michael Bergman Subject: Re: MIDI on a Budget "Dr. DOS" mentioned having an FB01. I have one as well, and am trying to get it to work with the Casio DH100, which is sending aftertouch signals that are being ignored. The FB01 does have an aftertouch parameter, but without the manual (which I have misplaced) I don't know how to set it. I'm not sure that the manual would help me anyway...anyway, is there a way to tell it to be responsive to aftertouch? --mike bergman bergman@m2c.org ------------------------------ Date: Thu, 4 May 89 16:23:35 edt From: Brian Adamson Subject: MIDI on a Budget As far as inexpensive Mac MIDI stuff goes, I am currently using the Alltech asynchronous MIDI interface for the Mac. With 3 MIDI outs, 1 MIDI ine and a 9 advertised price tag as of late, I think it's a good bargain. Mine has worked out quite well. I am also using Southworth's MidiPaint sequencer for the Mac. I paid 10 for it about 4 months ago and am very pleased with it. I believe it to be virtually as powerful as some of the much more expensive sequencers like Performer or KCS that are \ available for the Mac. Its visual MacPaint-like environment has been very intuitive to use. As for the notation end of the house, I have been using Electonic Art's Deluxe Music Construction Set 2.0. At less than 00, I think it is quite a bargain. I have also written a Turbo Pascal program which converts the sequence files from MidiPaint to a format which can be read by Music Construction Set. Music Construction set supports up to 8 staves of music and accepts MIDI input and can play songs via MIDI. Definitely a fun starter package. Also, as far as MIDI interfaces go, if you ftp to UCSD.EDU and check out the midi directory (in the Mac software sub-directory), there is a schematic for a do-it-yourself MIDI interface for the Mac. Good Luck! Brian Adamson adamson@css.itd.nrl.navy.mil P.S. I also highly recommend the MT32 with its 32 dynamically assigned oscillators for 8 polyphonic muli-timbral voices. I paid 50 for mine as a return to Music store and have seen for under 00 new, 00 used. ---------------------- End of EMUSIC-L Digest ********************** mv issue2.txt issue2.txt.old cat >issue2.txt EMUSIC-L Digest Volume 5, Number 2 Today's Topics: D-10 Patches Sharing music files S-550 manual Info on electronic music programs? Expertise Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. Your EMUSIC-L Digest moderator is Joe McMahon . ---------------------------------------------------------------------- Date: Wed, 10 May 89 14:22:24 BST From: "Patrick C.K.Tsang" Subject: Re: Oebele Dijkstra (D10 patches) In reply to your query: I got my D-10 patches mostly from the newsgroup rec.music.synth, I have definitely seen a few D-50 patches passing by, as well as DX-7 patches. I haven't copied those because I don't have the synth to play them. However I will definitely look for them and get them for you from now on. Happy playing in the mean time. Patrick. ------------------------------ Date: Wed, 10 May 89 13:52:00 EDT From: Brian Klassen MUMC-1C7 x5153 Subject: RE: Re: Oebele Dijkstra (D10 Patches) D-50 and DX-7 patches over the network?! What a great concept. Can somebody tell me how I would go about obtaining some? I'm guessing I would also need some software on my PC to dump the data down to my synths. Is there a good package out there that will do this (hopefully shareware)? I have an IBM clone and the Roland MIDI interface ... Brian Klassen ------------------------------ Date: Wed, 10 May 89 16:42:24 edt From: Michael Bergman Subject: Interchangeable music formats Several of my friends and I have Macintoshes with Concertware+ MIDI, and enjoy sending stuff back and forth. A couple of my friends have IBM klones (the fools!) and the question is: do any of the IBM music packages, MIDI or not, support a format compatible with Concertware's? Later I'll get around to asking the makers of Concertware, but for the moment, y'all are more convenient... --mike bergman (w) 75 North Drive, Westborough, MA 01581, USA +1 (508) 870-0312 UUCP: harvard!m2c!bergman INTERNET: bergman@m2c.org ------------------------------ Date: Sat, 13 May 89 20:42:37 BST From: "Patrick C.K.Tsang" Subject: S-550 Manual Quite a few people have complained about the S-550 and documentation, I can understand why. I actually own a S-330 (because of price), but I know the S-550 just as well. If anyone need any help with the S-samplers at all, I am very willing to help. All I can say about them is I have enjoyed using them and, like the Mac, it's part of my life. I hope that everyone get to enjoy it as much as I do. Patrick. ------------------------------ Date: Sat, 13 May 89 21:08:33 BST From: "Patrick C.K.Tsang" Subject: Need Information on Emusic courses. To anyone who can help me, I would like to know about places that are good for Emusic studies. I am currently doing a degree in Computer Science, but it is more likely that I play with music of some sort afterwards. I know Berkelee does some interesting stuff, but it seems that you have to be very proficient as a player before they even look at your application. Really I am looking for a place that goes into the development of the toys, rather than a music school. Would Eric and Cecilia (Tan) please tell me something about your places ? Many thanks. Patrick. ------------------------------ Date: Sat, 13 May 89 22:39:59 BST From: "Patrick C.K.Tsang" Subject: 'Resume' type thing Okey, this is me: An UKC student not doing what he is supposed to do and playing with toys instead. Since no Emusic is taught here on campus, so it's all my own gear. Into: Colorful, feel-orientated music, i.e. Jazz, Soul/Funk and Russian classical. Hates: Repetitive rhythms and Drum machines. Plays: Keyboards, Bass and Drums, all badly. Sometimes gigs and produces Radio jingles. Software: Performer (What else ?) Hardware: Macintosh (Who else ?), Roland D-10, U-110, S-330, MKS-70 (Super-JX), Oberheim Matrix-6R, Simmons Portakit and SDS-5 Drums. To offer: Lots of D-10 Patches and quality S-330 samples (off Radio DJs) for free ! All the above gear, (serious) but not for free. Interesting Tritonal Compositions, and a big mouth. Patrick. ---------------------- End of EMUSIC-L Digest ********************** mv issue3.txt issue3.txt.old cat >issue3.txt EMUSIC-L Digest Volume 5, Number 3 Today's Topics: Mac MIDI Interface Archives at AU (4 messages) MIDI on a Budget Found music IBM PS/2 Model 50 MIDI interfacing (2 messages) Discussion on electronic music studios Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. Your EMUSIC-L Digest moderator is Joe McMahon . ---------------------------------------------------------------------- Date: Mon, 15 May 89 08:41:00 EST From: Chris Iverson Subject: Altech midi interface According to the advertisement in MacUser (June '89), MacWarehouse has the Altech Midi interface for 9. Their number is (800) 255-6227. Chris Iverson Chris@FandM ------------------------------ Date: Mon, 15 May 89 15:21:37 EDT From: Eric Harnden Subject: archives to date ok, let's see.. we got GLIB out there. it's GETable as a package. and i've finally written up something on the Sample Dump Standard. also, i've just been given a staggering amount of storage space by my sysop, so we can go ahead and start up an archive of dumps for various synths. i'd also like to have more textual/refernce material, particularly tech and composition articles, so if you've got anything interesting, send it in/let me know. and don't forget to get those resume forms and send them in. info on how to do these things can be obtained be sending GET EMUSIC INFO to LISTSERV@AUVM. happy trails. Eric Harnden (Ronin) The American University Physics Dept. (202) 885-2758 ------------------------------ Date: Tue, 16 May 89 12:04:00 CDT From: GALANTER@NUACC Subject: RE: archives to date Is there any reason that GLIB is preferred over SYSEX? (SYSEX simply sends/receives/saves/restores any system exclusive as is...i.e. without headers or compacting). Is GLIB available for Atari's as well as Macs, and MS-DOS systems? Phil || Philip Galanter, Mgr. \ 627 Dartmouth Place // AppleLink: A42 \ || ACNS Development Group \ Evanston IL 60208 // Compuserve: 76474,154 \ || Northwestern University \ (312)-491-4050 // galanter@nuacc.acns.nwu.edu \ ------------------------------ Date: Tue, 16 May 89 10:00:00 LCL From: Greg Lee Subject: RE: archives to date I should have added concerning glib and the upload/download business that the facility I mentioned is implemented now only for the Unix version of glib. But it shouldn't be hard for a C programmer to extend it to a pc version. If there are other things -- complaints, suggestions, ... -- that come up concerning glib, I won't be able to respond for a couple of weeks, since I'll be away. Unless, well, I could maybe if someone had an account I could use in the Boston area ... -- Greg, lee@uhccux.uhcc.hawaii.edu (lee@uhccux on Bitnet) ------------------------------ Date: Tue, 16 May 89 10:00:00 LCL From: Greg Lee Subject: RE: archives to date +---------------- +Is there any reason that GLIB is preferred over SYSEX? (SYSEX simply +sends/receives/saves/restores any system exclusive as is...i.e. without +headers or compacting). Judging from your description of SYSEX, glib provides two additional capabilites. It's a librarian: you can move individual voices out of one patch dump file and into another. And it's an editor: you can modify voices or create new ones by changing the individual parameters of a voice. The current version of glib may be usable in cooperation with SYSEX, depending on how the patch files were set up by the person who did the implementation for the synth you use. There are 'U' and 'D' commands which write to or read from a file just as though the file were a synth. So if you had previously dumped stuff from your synth into a file, then you could "download" the contents of that file into glib for examination or editing. If it happened that glib could not be used to upload a dump to the synth directly (perhaps because there was no midi implementation for your micro yet, say, or it didn't work right), then you could "upload" the patch data from glib to a dump file, then get it into your synth using SYSEX. However, as I mentioned, whether this actually works depends on some implementation details. For instance, for the Kawai K1, I chose to put the multi voices and single voices in separate files. If your SYSEX utility puts them together in one big dump file, you'd have to concatenate or split files to get the two utilities to cooperate. +Is GLIB available for Atari's as well as Macs, +and MS-DOS systems? There is some out-of-date support for the Atari ST included in the distribution. It worked, presumably, for some previous version of glib, but will surely require some hacking to get working for this version. Greg, lee@uhccux.uhcc.hawaii.edu ------------------------------ Date: Mon, 15 May 89 16:03 EST From: "Richard S. Holmes" Subject: RE: MIDI on a Budget Thanks, Dr DOS and others, for the recent (well, two weeks ago?) recommendations on "MIDI on a budget" equipment. Just one question: >> My first rule is to buy good, warranteed used gear... Where does one buy good, warranteed used gear? Rich Holmes ========================================================== Richard S. Holmes Phone: (315)443-3891 or Physics Department -2701 Syracuse University BITNET: Rich@SUHEP Syracuse, NY 13244 =============================================================== ------------------------------ Date: Wed, 17 May 89 16:51:27 BST From: Nick Rothwell Subject: found music >investigate and collect those forms that have been assimilated: the >sounds of traffic have found their way into jazz; train sounds have been a >staple tonal effect for a long time; the roar of motorcycles is a distinct >source for the origins of heavy metal; and so on. collect these things, Some of these ideas are central to the sort of music I want to make... I'm interested in predominantly instrumental synthesiser music, but with a sprinkling of natural sounds. A couple of examples come to mind, but are probably rather obscure - Synthasy from Klaus Schulze's "Dig It" album has an up-tempo rhythmic section, plus snatches of vocals; nothing more than the sibilant sounds, in fact, but enough to add a lot of life to the piece. Michael Hoenig's "Departure from the Northern Wasteland" has the sound of a train running along its tracks, together with an atmospheric "double-guitar" sequence for the whistle. Schulze's Stardancer track has a thunderstorm, plus a drummer, playing into a stereo ping-pong echo. Rather dated now, of course, but still pretty impressive. Kate Bush's Hounds of Love has sampled and pitch- shifted vocals, plus the "underwater" sequences with the submarine sonar (curse 'er, I was thinking of using that sound...) And there's the Eurythmics' track with the subway trains... There are dozens of synth albums with bits of voices, as well as synthesised rain, thunder, sea, water, etc. (pretty easy to do with any self-respecting synth/chorus). The most beautiful examples of mixed natural and musical sound seem to be accidental - has anybody seen "Testimony", the film about Shostakovitch? There's a sequence towards the end, with the opening of a largo from one of the symphonies (I think), and a little girl's voice talking over the top. Somehow the two elements fitted together perfectly. Now, if I could take that kind of magic, and bottle and sell it, I'd make a fortune... Nick. -- Nick Rothwell, Laboratory for Foundations of Computer Science, Edinburgh. nick@lfcs.ed.ac.uk !mcvax!ukc!lfcs!nick ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ ^^ Fais que ton reve soit plus long que la nuit. ------------------------------ Date: Thu, 18 May 89 09:21:00 EST From: Chaos Incarnate Subject: Model 50 PS/2 IBM PS/2 Model 50 users - don't despair! Out of curiosity I gave Key Electronic Enterprises a call (1-800-KEE-MIDI) to find out if anything were available for my Model 50, and they happily informed me that they do have a compatible Midi interface (don't ask me how) which retails, with software, for about 29. They are more than happy to send information out on this. Investigation might bring some interesting results..... Key Electronic Enterprises 9112 Hwy 80 W, Suite 221-E Fort Worth, Texas 76 1-800-KEE-MIDI Dan Kraus DKRAUS@FORDMURH ------------------------------ Date: Thu, 18 May 89 15:35:00 EDT From: "Dr. DOS" Subject: RE: Model 50 PS/2 Dan Kraus wrote recently concerning a PS/2 compatible interface for MIDI, and indicated he didn't know how they did it. I thought I'd fill in some of the details. The KEE Midiator interface is a serial, RS-232 style interface for use with the PS/2 serial port. It is emphatically NOT an MPU-401 compatible unit. What this means is that most available MIDI software for the PC will not run with the KEE interface. KEE has a simple 16-track sequencer available, along with some MIDI utilities, but that's all there is. Sequencer Plus, Cakewalk, Dr. T., Forte, etc. are totally incompatible. That situaution may change as KEE sells more units, but it's very much a Catch-22 situation. Manufacturers don't want to update their software until enough interfaces have been sold, but users are hesitant to buy until software support exists. Much the same situation applies to the IBM Music Feature and the Yamaha C1 Music laptop. You don't see much for them at this point, and you may never see it! If your needs are simple, the KEE board might do it, but we all know how addicting the MIDI bug can get! Just know what you're buying into... Dave Goodwin GOODWIN@SMCVAX ------------------------------ Date: Sun, 21 May 89 22:52:05 CDT From: "David M. Stowell (312) 930-1942" Subject: Errant note (discussion on Emusic studios) I received the following message (condensed from 6 NOTEs) last week. Due to addressing problems, I cannot reply to him directly. However, it seems that he follow this list, so he will most likely be able to receive it here. Furthermore, if anyone can help him find the resources he is searching for---in particular, Jeff Beer might have some good ideas. By the way, Jeff, you're up here in Chicago, right? Are you currently gigging? If so, could you let me know when your next few gigs are? I'd like to hear your stuff sometime. Thank you. ------------------------------ >Date: Fri, 19 May 89 10:23:45 EDT >From: Bill Lennox >Subject: e-mail addresses of EMusic studios Do you have addresses of NorthWestern and UIUC studios? Do you have addresses for EM studios in Illinois? Do you have e-mail addresses for studios at NorthWestern & Champaign. Do you have e-mail address dir studios in Ill? Do you have e-mail for studios in UI & NorthWestern? With your interest in Electronic Music, I wonder if you have addresses for studios such as that at NorthWestern - Gary Kendall and at Champaign: - Jim Beauchamp? I am working in Miami on some new compositions (visiting from Europe) and should be working in a number of studios over the next 2-3 years. >Date: 21 May 1989 22:31:43 CDT >From: "David M. Stowell (312) 930-1942" >Subject: Studios in Illinois Given your apparent urgency in contacting me (5 NOTEs in one account and one NOTE in the other), I do not relish the thought of disappointing you. However, I do not have any access to or knowledge of the facilities you have listed. While I am trained in electronic music from high school, I have been most interested in applying those techniques in a progressive rock context. Thus, most of my recording experience has been in jerry-rigged school facilities, as well as some traditional commercial studios. I regret that I cannot be of help to you. |~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~| | David M. Stowell \|/ | | University of Illinois at Chicago \ / | | BITNET: U17227@UICVM.BITNET = = | | Internet: U17227@UICVM.UIC.EDU /|\ | | <=> | | \ = / | | The optimist laughed \ = / | | And the pessimist cried in his wine = | | And the madman said "Son, = | | Take a word--they'll all wake, given time" = | | | ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ---------------------- End of EMUSIC-L Digest ********************** mv issue4.txt issue4.txt.old cat >issue4.txt EMUSIC-L Digest Volume 5, Number 4 Today's Topics: Electronic music around Chicago (3 messages) DMCS 2.0 Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. Your EMUSIC-L Digest moderator is Joe McMahon . ---------------------------------------------------------------------- Date: Mon, 22 May 89 08:40:00 CDT From: UUCJEFF@ECNCDC Subject: Re: Chicago scene I had gigs the 1st two saturdays this May with BAHIA at Sherlock's Home, which is around Clark and Touhy. We have no more gigs planned but I am sure there will be some more this summer. Will certainly post or let you know when something new comes up. I have a sabatical coming up, so hopefully I will get some of my computer music performances ready to go. BTW, what dept are you in at UIC? I am a EECS student, and am done with my classes and working on my M.S. thesis, the topic being an Expert System for the Jazz Harmonization of a Melody. I still have a UIC account, but hardly ever use it. I work at a school called NorthEastern (Illinois University) and we do have a small MIDI studio with about 4 Macs and a variety of MIDI hardware, and the standard software. To email the one in charge, try ULUCAS@ECNCDC I know that NU and UICU (the ones you mention up here) have big electronic music studios, but I do not have the email address for those you mention. Try calling them on the phone, you should be able to get Beauchamp at School of Music . ------------------------------ Date: Mon, 22 May 89 09:43:48 CDT From: "David M. Stowell (312) 996-7990" Subject: University of Illinois E-Music Studio. I just checked U of I-Downstate's on-line phonebook. This may be of use to Mr. Lennox: Jim Beauchamp (Asst. Prof of Music, I believe) 5004 Music Bldg. (M/C 056) 1002 E. Eliot Drive Urbana, IL 61801 Phone: (217) 244-1207 E-MAIL: beaucham@uxc.cso.uiuc.edu |~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~| | David M. Stowell \|/ | | University of Illinois at Chicago \ / | | BITNET: U17227@UICVM.BITNET = = | | Internet: U17227@UICVM.UIC.EDU /|\ | | <=> | | \ = / | | The optimist laughed \ = / | | And the pessimist cried in his wine = | | And the madman said "Son, = | | Take a word--they'll all wake, given time" = | | | ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Date: Mon, 22 May 89 12:40:00 CDT From: GALANTER@NUACC Subject: RE: E-mail address for e-music studios > > Do you have addresses of NorthWestern and UIUC studios? For Gary Kendal (Director of NU's computer music studio) you should try GARY@MUSIC.NWU.EDU... || Philip Galanter, Mgr. \ 627 Dartmouth Place // AppleLink: A42 \ || ACNS Development Group \ Evanston IL 60208 // Compuserve: 76474,154 \ || Northwestern University \ (312)-491-4050 // galanter@nuacc.acns.nwu.edu \ ------------------------------ Date: Tue, 23 May 89 12:21:11 EST From: dj wood Subject: DMCS 2.0 DEAR MUSICIANS, I AM HAVING A BIT OF A PROBLEM RUNNING Deluxe Muisc Constrction Set 2.0 on my mac ][. I have installed a copy on my HD-20 that is connected to a mac + and it works fine. But when I try to run my master disk on a SE or a ][ it tells me that my disk is unauthorized. P L E A S E H E L P Thanx DJ WOOD ---------------------- End of EMUSIC-L Digest ********************** EENNDDFFIILLEE mv issue2.txt issue2.txt.old cat >issue2.txt <. You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. Your EMUSIC-D Moderator is Joe McMahon. ---------------------------------------------------------------------- Date: Wed, 10 May 89 14:22:24 BST From: "Patrick C.K.Tsang" Subject: Re: Oebele Dijkstra (D10 patches) In reply to your query: I got my D-10 patches mostly from the newsgroup rec.music.synth, I have definitely seen a few D-50 patches passing by, as well as DX-7 patches. I haven't copied those because I don't have the synth to play them. However I will definitely look for them and get them for you from now on. Happy playing in the mean time. Patrick. ------------------------------ Date: Wed, 10 May 89 13:52:00 EDT From: Brian Klassen MUMC-1C7 x5153 Subject: RE: Re: Oebele Dijkstra (D10 Patches) D-50 and DX-7 patches over the network?! What a great concept. Can somebody tell me how I would go about obtaining some? I'm guessing I would also need some software on my PC to dump the data down to my synths. Is there a good package out there that will do this (hopefully shareware)? I have an IBM clone and the Roland MIDI interface ... Brian Klassen ------------------------------ Date: Wed, 10 May 89 16:42:24 edt From: Michael Bergman Subject: Interchangeable music formats Several of my friends and I have Macintoshes with Concertware+ MIDI, and enjoy sending stuff back and forth. A couple of my friends have IBM klones (the fools!) and the question is: do any of the IBM music packages, MIDI or not, support a format compatible with Concertware's? Later I'll get around to asking the makers of Concertware, but for the moment, y'all are more convenient... --mike bergman (w) 75 North Drive, Westborough, MA 01581, USA +1 (508) 870-0312 UUCP: harvard!m2c!bergman INTERNET: bergman@m2c.org ------------------------------ Date: Sat, 13 May 89 20:42:37 BST From: "Patrick C.K.Tsang" Subject: S-550 Manual Quite a few people have complained about the S-550 and documentation, I can understand why. I actually own a S-330 (because of price), but I know the S-550 just as well. If anyone need any help with the S-samplers at all, I am very willing to help. All I can say about them is I have enjoyed using them and, like the Mac, it's part of my life. I hope that everyone get to enjoy it as much as I do. Patrick. ------------------------------ Date: Sat, 13 May 89 21:08:33 BST From: "Patrick C.K.Tsang" Subject: Need Information on Emusic courses. To anyone who can help me, I would like to know about places that are good for Emusic studies. I am currently doing a degree in Computer Science, but it is more likely that I play with music of some sort afterwards. I know Berkelee does some interesting stuff, but it seems that you have to be very proficient as a player before they even look at your application. Really I am looking for a place that goes into the development of the toys, rather than a music school. Would Eric and Cecilia (Tan) please tell me something about your places ? Many thanks. Patrick. ------------------------------ Date: Sat, 13 May 89 22:39:59 BST From: "Patrick C.K.Tsang" Subject: 'Resume' type thing Okey, this is me: An UKC student not doing what he is supposed to do and playing with toys instead. Since no Emusic is taught here on campus, so it's all my own gear. Into: Colorful, feel-orientated music, i.e. Jazz, Soul/Funk and Russian classical. Hates: Repetitive rhythms and Drum machines. Plays: Keyboards, Bass and Drums, all badly. Sometimes gigs and produces Radio jingles. Software: Performer (What else ?) Hardware: Macintosh (Who else ?), Roland D-10, U-110, S-330, MKS-70 (Super-JX), Oberheim Matrix-6R, Simmons Portakit and SDS-5 Drums. To offer: Lots of D-10 Patches and quality S-330 samples (off Radio DJs) for free ! All the above gear, (serious) but not for free. Interesting Tritonal Compositions, and a big mouth. Patrick. ---------------------- End of EMUSIC-L Digest **********************