EMUSIC-L Digest Volume 13, Number 1 Today's Topics: Musician's dependencies 4-track recommendation DSP card programming (3 messages) Oberheim Matrix-6 sys-ex specification questions (2 messages) Call for papers on microtonality Playing live (2 messages) Korg WS & the Prophet VS (9 messages) Human Rhythm Composer .. Mac MIDI programming (2 messages) Humming heads on a Fostex deck (2 messages) Alesis HR-16 (2 messages) References on Digital Synthesis Algorithms (4 messages) Theremin query State of Yamaha Kord DSS (2 messages) Music Trades magazine query Algorithmic composition 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. ---------------------------------------------------------------------- Date: Wed, 31 Jan 90 09:14:03 EST From: MTG@CSI.COMPUSERVE.COM Subject: Dependency on everything... > Then you'd be dependent on other band members. At least you can turn > electricity on and off, most of the time. Ah, the key word -- *most* of the time! The choice becomes more of the electric company's rather than mine or the band members'. Actually, after how my [ex-]road crew's actions, I wish I could have an electric road crew. My road crew has become less reliable than, say, electricity in San Francisco after a major earthquake. > I'm reminded of our English sword dance group. When we dance out, we have a > fiddler or pennywhistle player to play for us, but for 90% of our practices, we > use a Commodore 64 playing thru a Radio Shack amp and speaker! It only knows > one tune, which we're sick of, but it keeps a steady beat and shuts up when you > tell it to :-) Key selling point, wasn't that? :) - Mark G. ------------------------------ Date: Thu, 1 Feb 90 13:12:30 EST From: Tapio Subject: 4-tracks Hi! I can recommend a Yamaha MTX-2 (I think?), which I got with $390 two years ago. The real nice thing about is that it has 6 inputs. It also has the standerd goodies (2 speeds, fine tuning, DBX etc.). Admittedly, the EQ system is simple (just bass and treble), and it has an irritatingly unclear LED level display, but the sound is very good and it has worked wihtout a hitch! -Tapioca ------------------------------ Date: Fri, 2 Feb 90 14:37:23 SST From: Gan Seum-Lim Subject: PROGRAMMING THE SOUND ACCELERATOR (DSP-56001 Hi, does anyone know how to program the Motorola 56001-based DSP accelerator card for the Macintosh II directly with THINK C ? ------------------------------ Date: Mon, 5 Feb 90 22:46:01 EST From: barrett@CRABCAKE.CS.JHU.EDU Subject: Hello, and "Sound Accelerator"-type card for Commodore Amiga Hi folks -- I'm new to the list! (Thank you, Mike Metlay, for letting me know about it!) I'm a computer science teacher and UNIX systems administrator at Johns Hopkins, with 10 years of electronic/computer music experience. I play music on my Oberheim Matrix-12, and sequence with Music-X on my Commodore Amiga. I also work with the Peabody Conservatory of Music computer music studio. Anybody with similar interests, give a yell! Blah, blah, blah.... Anyway, let's have some news...! :-) In case there are any other Amiga users on this list, a company has announced a DSP card for the Amiga based around the Motorola 56001 chip (same as in Digidesign's board for the Mac). It's about time! Here's the pertinent info for you to peruse. I have affiliation with this company at all. From: jlg3@uafhcx.uucp (Jennifer L. Garner) Subject: Re: DSP 56001 cards Date: 4 Feb 90 04:09:11 GMT Organization: College of Engineering, University of Arkansas, Fayetteville We are announcing the development of a series of audio cards for the Amiga. They will be designed for professional quality at all of the three system levels we will offer. We are also asking you on the net for suggestions on how we might improve our current products or later products. Level I: Simple A/D and D/A This Amiga Zorro II card will allow 16 bit audio sampling using stereo A/D's and D/A's controlled by the Amiga's 68000. Sample rates will be determined by the controlling software, though optimum sample rates must be established for the design of the antialiasing filters. This is intended as our low-cost option. Level II: Audio DSP DSP is suddenly a computer and audio industry buzzword. We have designed a board using the Motorola DSP 56001 processor, one of the standard DSP processors being used by many audio designers for their systems, including Waveframe, NeXT, and digidesign. At this level, our system will support digital filters, FFT's, and other real-time audio applications, including recording to hard disk. We are currently developing our own Motorola compatible assembler for the 56001, since Motorola is asking $25,000 to buy the rights to port their official assembler to the Amiga. Level III: DSP + Sampling We are adding a feature unique to our Amiga DSP cards- optional on-board memory. We will add to our basic DSP card 2 meg of memory on the card directly addressable by the DSP processor. This will allow faster access of memory, minimizing host bus speed limitations. Initially, the system software will not support pitch shifting, but hopefully we will be able to move into the MIDI expansion box realm. DSP processor speed will limit simultaneous dynamic pitch-shifting and filtering, though an optional add-on DSP daughterboard may make this application more realistic. The initial proposed application for this configuration is a drum machine. People we've talked to have discussed applications ranging from CD quality audio editing to industrial noise cancelling. Our goals from the beginning have been to create a SYSTEM, not just a series of hardware products. We feel that these applications represent the tip of the iceburg as far as what will be developed down the line. We are intending to extend the audio system into a low-cost (in professional terms) audio workstation that will sync into our proposed audio/video editing and animation suite based on the Amiga. Don Kennedy Greg Garner Jennifer Garner Vision Quest 2925 Sunny Lane Fayetteville, AR 72703 (501) 521-0420 email: jlg3@uafhcx.uark.edu gmg@uafhcx.uark.edu Dan //////////////////////////////////////\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ | Dan Barrett - Systems Administrator, Computer Science Department | | The Johns Hopkins University, 34th and Charles Sts., Baltimore, MD 21218 | | INTERNET: barrett@cs.jhu.edu | | | COMPUSERVE: >internet:barrett@cs.jhu.edu | UUCP: barrett@jhunix.UUCP | \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\///////////////////////////////////// ------------------------------ Date: Fri, 2 Feb 90 08:44:02 EST From: Eric Harnden Subject: ob6 spec/file format request 1) re: the matrix 6 sysex spec: it's rather long... what part of it do you need ? do you know that it is printed in its entirety in Steve de Furia's System Exclusive Book ? 2) does anybody know/have the Gross/IRCAM soundfile spec? Eric Harnden (Ronin) The American University Physics Dept. (202) 885-2758 ------------------------------ Date: Mon, 5 Feb 90 10:47:49 GMT From: Nick Rothwell Subject: ob6 spec/file format request 2 Feb 90 08:44:02 EST <5171.9002022224@lfcs.ed.ac.uk >1) re: the matrix 6 sysex spec: it's rather long... what part of it do you > need ? do you know that it is printed in its entirety in Steve de Furia's > System Exclusive Book ? I don't need to know the parameter numbers and value ranges; I have all that information already. What I need to know is o how to change a single (current edit) patch parameter to a new value; o how to load an entire patch into the edit buffer. Other information would be useful (like about the split memories and so on), but that's not essential at the moment. The de Furia book is (a) rather expensive here ($35 or so) and (b) hard to find, but I might end up getting a copy, mainly for the matrix-6 spec. That's approaching 10% of what I paid for the Matrix-6 itself! Does anybody know whether there's a recent revision to this book? There must be a lot of gear around now that isn't covered. Nick. ------------------------------ Date: Fri, 2 Feb 90 09:46:00 EST From: Douglas Keislar Subject: Call for papers on microtonality Forwarded from EMUSIC-D... The international journal PERSPECTIVES OF NEW MUSIC is seeking a few GOOD articles for a feature on microtonality (and other tuning alternatives to 12-tone equal temperament), in music of the recent past, the present, and the future. Preference will be given to articles dealing with the significant work of one or more composers (either by the composers themselves, or by other expert analysts), or dealing with theoretical systems, whether presently realized in music or not. In general, articles should not be longer than 30 typescript (double-spaced) pages, and should be received by 30 March 1990. Typescripts must be double-spaced. No dot-matrix prints, please. Address submissions either by email to: pnm@milton.u.washington.edu or by post to: Microtonal Feature Perspectives of New Music School of Music DN-10 University of Washington Seattle, WA 98195 USA --Richard Karpen, Douglas Keislar, and Jerome Kohl ------------------------------ Date: Fri, 2 Feb 90 16:49:46 MDT From: Rich Kulawiec Subject: Re: Playing live ... >From: METLAY%PITTVMS.BITNET@PSUVM.PSU.EDU > >I wouldn't call that a "silly" question, but I think you may have a different >idea of what "live" playing can be. When I do a concert, it's one of two >things: (a) me and Team Metlay, in which case there are four to seven people >on stage and no need for sequencers, or (b) me and my entire setup, with >only two hands to play a whole bunch of things, which necessitates a >sequencer. My alternatives are playing to prerecorded tapes (ugh!) or doing >a solo piano gig with a synthesizer stack (which gets kinda old). Ah! I get it now. You're right about my having a different idea of "live" playing, but I think that's because of the music I tend to play. I'm using synths simply because B-3's are heavy and expensive; ditto for a good Fender-Rhodes, and, oh, a Clavinova. About 90% of the sounds that I make fall into three categories: B-3, electric piano, acoustic piano; the rest are (roughly): horn section, string section, clavinet, and the occasional sampled sax. But that's 'cause I'm a Chicago-style R&B player, which is kinda different from Le Team de Metlay. :-) I'm not sure that I could use a sequencer live, even I wanted to, 'cause nearly everything we play is full of stops and shuffle grooves and other weirdness that today's technology just can't cope with. Cheers, Rich ------------------------------ Date: Mon, 5 Feb 90 10:17:09 GMT From: Nick Rothwell Subject: RE. Playing Live 29 Jan 90 09:30:00 CST <6981.9002030646@lfcs.ed.ac.uk >I know some people are happy with the Alesis sequencer. Also, have >you heard of the gear in which it always you to record and play real-time >MIDI data on a cassette. That should make things simple if all of your >pieces are planned in advance. Be wary of the MIDI<->cassette machines; although they theoretically have enough bandwidth to carry a fair amount of MIDI data, the effective baud-rate is apparently low enough to cause serious flamming on big chords and so on. I don't know how they handle large SysEx dumps, for the same reason. Nick. ------------------------------ Date: Fri, 2 Feb 90 12:03:02 MST From: schabtac@SPOT.COLORADO.EDU Subject: Prophet VS reincarnated I thought Metlay and others would like some independent confirmation of his rumors about a new Korg keyboard incorporating vector synthesis: According to a well-informed friend with contacts within Korg (ah, the infamous "friend" :-), there is indeed a new synth in the works, designed by Dave Smith (aka Mr. Prophet), that will incorporate vector synthesis. It should be out sometime this summer. That's all he can say. So, campers, are we gonna fork the $2K for the Waldorf kitchen appliance, or hold off and see what Korg can come up with? The wavetable synthesis market heats up... --Adam ------------------------------ Date: Fri, 2 Feb 90 18:44:00 EST From: METLAY@PITTVMS.BITNET Subject: Re: Prophet VS reincarnated I would also like to confrim this rumor, via a reliable source. The instrument's working name is the Korg WS, for WaveStation. It will incorporate not only vector synthesis but also vector sequencing, which is Korgese for "a primitive but really neato form of granular synthesis." Yummy yum yum! metlay ------------------------------ Date: Fri, 2 Feb 90 19:14:12 EST From: Dan Bornstein Subject: Re: Prophet VS reincarnated >From: METLAY@PITTVMS.BITNET >I would also like to confrim this rumor, via a reliable source. The >instrument's working name is the Korg WS, for WaveStation. It will >incorporate not only vector synthesis but also vector sequencing, >which is Korgese for "a primitive but really neato form of granular >synthesis." Yummy yum yum! For those of us not in the know, what is vector synthesis (just the basic idea)? Thankx in advance. -dan ------------------------------ Date: Fri, 2 Feb 90 20:01:00 EST From: METLAY@PITTVMS.BITNET Subject: Re: Prophet VS reincarnated "Vector synthesis", Dan, is not really a form of synthesis per se; it's a combination of synthesis architecture and user interface that was pioneered on the Sequential Prophet VS in 1986, and imitated poorly by a zillion other firms since then. Quite simply, it's a combination of a (for 1986, remember) new , powerful and innovative form of synthesis (wavetable) with a new, pwerful and innovative user interface (vector control). The idea is so simple, it's frightening; a synthesizer whose parameters and how they change in realtime can be represented by the motion of a vector in two-space. Let's say you have an idea for a sound that starts off as a sawtooth wave, turns trianglish, hiccups back to sawtooth two or three times, then smoothly turns into a square wave with a bit of noise mixed in. On most of the wavetable synths that are out there, creating a sound like this takes careful crossfades and a bunch of carefully adjusted envelopes; it's not impossible, but it's not easy, either. On the VS, though, all you do is call up the sawtooth, triangle, square, and noise wavves, and assign them to the four corners of a diamond. You then tell an envelope generator, "Okay, watch this," and then you move a joystick around inside the diamond, mixing the waves in real time. Wiggle, waggle, punch; you're done. A half hour's work done better in fifteen seconds. And that's only part of it. The VS was the first American synth with looping envelope segments, or modulation of pan position in real time (even the Xpander can't do that, alas). You could download your own wavesamples, even do additive synthesis of a sort by adding up sine waves. (okay, what you're really doing is creating a static wavetable from FOurier components... yeah, yeah) Anyway, it was a wonderful machine, and the staff at Keyboard, upon reviewing it, called it a "revolutionary achievement" in synthesis. Whcih they didn't USED to say that often...grump.... And now theyre gone, rare as hen's teeth and very costly, and I still want one. BADLY. Of all the synthesizers I've tried since 1980, only four ever made me walk away grinning like an idiot after one try: the ARP Quadra, the Polymoog, the Oberheim Xpander, and the Prophet VS. I can't afford to keep a Polymoog running, I haven't got anyplace to put a Quadra, and Prophets are nowhere to be found. So I keep buying Xpanders. |-< metlay ------------------------------ Date: Mon, 5 Feb 90 10:13:59 GMT From: Nick Rothwell Subject: Prophet VS reincarnated 2 Feb 90 12:03:02 MST <6182.9002030250@lfcs.ed.ac.uk >So, campers, are we gonna fork the $2K for the Waldorf kitchen appliance, >or hold off and see what Korg can come up with? The wavetable synthesis >market heats up... This could be interesting. I don't think the Waldorf is going to take off in the US because it's too expensive there; this new Korg might not take off here because the UK prices for Jap gear are quite a bit higher than the US prices. So... Btw, who the hell buys synthesisers because of how programmable they are, anyway? I know all the advertising hype goes into how intuitive the architecture is, how much realtime control it has, and all that, but I can't help feeling that the average punter just wants a machine with nice (preset/buyable) sounds (which go CHIFF). Anybody know how many people buy machines that they want to program? Does the marketing reflect this? Just curious. Does anybody know enough about the VS to say whether it's really comparable with the the PPG/Waldorf? Presumably the wave mixing has the effect that sweeping through a PPG wavetable does. I wonder if it's more flexible? I seem to remember that the VS let you set parts of the envelope to loop, and things like this. The Waldorf does as well. Being Korg (=> Yahaha), the new machine will presumably be microtunable. The Waldorf is as well. The VS could accept new samples (it supported sample-dump messages for 128-word waves); the Waldorf has MIDI-loadable wavetables... I think these machines might well be (as Anne of Green Gables would say) kindred spirits. Nick. ------------------------------ Date: Mon, 5 Feb 90 12:09:00 EST From: METLAY@PITTVMS.BITNET Subject: Re: Prophet VS reincarnated I'm inclined to believe that the Waldorf is going to fall flat on its face in every market outside Germany; nobody who (a) speaks English and (b) isn't enough of a gearhead to recognize Wolfgang Palm's mark of genius is going to buy it. So it sounds great; big deal. A lot of other synths do, to most ears, and THYEY have (a) cool looking black cases and (b) REAL names, like ZXQ511. Pfui. As for the Korg WaveStation, I think it will follow similar ideas to the Dorf's (shoot, even I'M making fun of it), but that sweeping through a wavetable should produce different timbres than mixing wavetables en masse. Anyone want to correct my ignorance? Is there any difference between interpolating wavetables and generating mixes of them in the digital domain? metlay PS. I am not a "NO FACTORY PATCHES" fanatic, but I love to program. Might I point out that this is a biased sample of folx to ask? |-> ------------------------------ Date: Mon, 5 Feb 90 11:59:03 CST From: Galanter Galanter Subject: Re: Prophet VS reincarnated Lets move this past the rumor stage...the Korg WS is a real product and is covered in the recent "Music Trades", a magazine targeted to music retailers. Phil || Philip Galanter, Manager \\ 627 Dartmouth Place // AppleLink: A42 \\ || Advanced Technology Group \\ Evanston IL 60208 // Compuserve: 76474,154 \\ || Northwestern Univ. - ACNS \\ (708)-491-4050 // galanter@acns.nwu.edu \\ ------------------------------ Date: Mon, 5 Feb 90 18:07:04 MST From: schabtac@SPOT.COLORADO.EDU Subject: Do tell... >Lets move this past the rumor stage...the Korg WS is a real product and is >covered in the recent "Music Trades", a magazine targeted to music retailers. Yes, lets! I have never seen this magazine (then again, I'm not a retailer, thank God :-) -- would you be so kind as to type up a summary of what it says about the WS? I know at least three people out here are interested. --Adam ------------------------------ Date: Tue, 6 Feb 90 10:04:29 GMT From: Nick Rothwell Subject: Prophet VS reincarnated 5 Feb 90 12:09:00 EST <25149.9002051747@lfcs.ed.ac.uk >I'm inclined to believe that the Waldorf is going to fall flat on >its face in every market outside Germany; nobody who (a) speaks >English and (b) isn't enough of a gearhead to recognize Wolfgang >Palm's mark of genius is going to buy it. (...brief silence as Nick tries to work out the double negatives...) Yes, quite possibly, after all, the marketplace is very different now to how it was in 1980 or whenever the PPG arrived. Now there are lots of nice sounding machines around, which must make it more difficult for a new machine to break in, especially if it's unconventional ("is it as hard to program as a DX7?"). If it's not going to be a sellout in the US, that's an even bigger reason for me to buy one, since it will be all-the-more unique. The downside is perhaps the technical/service support... But when the Japanese obselete their own gear every two years anyway, I don't think it's going to be too bad, comparatively... >As for the Korg WaveStation, I think it will follow similar ideas >to the Dorf's (shoot, even I'M making fun of it), but that sweeping >through a wavetable should produce different timbres than mixing >wavetables en masse. Anyone want to correct my ignorance? Is there >any difference between interpolating wavetables and generating >mixes of them in the digital domain? The reviews said that the 'dorf would sweep through the tables and "interpolate" the harmonic differences; I'm not sure what this means. The Waldorf also has analogue filters which hopefully count for something [ :-) ]; this is probably why it's only an 8-voice machine (with dynamic multitimbral voice allocation, yet, which must be fun when it comes to instantaneously switching filter settings). >Might I point out that this is a biased sample of folx to ask? |-> True, so I'm going to try and get some comments from my local dealer (they're getting five for Edinburgh alone, so I'll ask them how fast they go compared to the usual Japanese Chiff-generators). Nick. ------------------------------ Date: Mon, 5 Feb 90 10:25:18 GMT From: Tony Jewell Subject: Human Rhythm Composer .. > Does anyone have info re/ the Roland Human Rhythm Composer? It's relatively > new. It is selling for about $800 around here. I was planning to buy an > Alesis HR-16 drum machine ( for $400) and was wondering if the Roland was > worth the extra $ (I am a guitar player, not too sell versed in MIDI, etc.. > I want the percussion machine for demos, etc., mostly "normal" music, but > sometimes pretty far out there........). I'd appreciate any help. Well, I'm sure I'm not the first person to reply, but here are my impressions of the beast. Firstly, it comes in two varieties, the R5 and the R8, the R5 being the cheaper of the two, about 349 pounds in this country, and the one that I own. The difference between the two being that the R8 has more internal memory, and RAM & ROM slots for extra memory and drums sounds (there is only one extra sound card at the moment as far as I know). The R8 also has a far higher quantize level than the R5, which only goes to 1/96. The R5, however, to make up for its inablilty to take extra sounds has far more built in sounds (about 60 sounds in total). Well, what is it like ?? I.M.H.O. I think its incredible .. if you get a chance just play its demo ... I heard it, 30 seconds later I owned it !!! The sounds are superb, just for the choice they give you .. for instance you could have a dry/reverb/fat/rim/jazz/electric/brush/ouch!/tight snare in your latest pattern. All sounds are fully tunable, within the pattern, as is the panning, duration, nuance(!) and velocity. So within a single pattern, you could have sounds leaping around the speakers, wildly changing pitch etc ( I often do !) Well, what makes this a HUMAN rythmn composer as opposed to a drum machine ?? Basically, because of two things, nuance and feel. All sounds have nuance parameters, depending on the sound. For instance a tom's pitch increases slightly if you hit it harder, a cymbals decay gets longer, a snares decay might get shorter. This all adds to the realism of the sound. Next we have feel patches: These are a template which you can apply to a number of paterns to give them the same feel, for instance for an eight beat rock pattern, you can set the accent to be harder on beats 1 & 4, the pitch of the off beat hi- hats to be higher to simulate a r/l feel. You could also set the duration of, say, the 3 & 7 beats to a bit shorter as well. Careful programming of this means that you could give all patterns a reggae feel or a latin feel ! You could also put random nuances and accents on various sounds to make them sound more natural if you require !! What else ?? I've only scratched the surface (I'm working from memory). I could mention the build in bass sounds, which allow you to put your bass lines in the drum machine, triggering over Midi so you can use your sampler with it, 6 seperate outs, swing time, 100 pattern memory (on the R5), you name it, it does it !! Any gripes ?? Well, the memory IS a problem on the R5 .. it takes only a few complex 4-bar patterns for the pattern memory to start running out .. I had to delete the preset patterns and the demo song to leave enough memory for my own stuff. The touch sensitive pads are a little bit too sensitive for me .. I have wild variations in velocity if I enter patterns in real time. Also, the sounds can be a little bit too nice at times .. as I write electronic dance music, I would prefer some more electronic sounds, although some wild editing and pitch changes can create some strange sounds. The Human side of it does take some programming (not very Human then is it!), but it is worth it in my opinion !! Any other questions, let me know .... I'd certainly recommend it above the HR16, or any other sub 1000 pound drum machine for that matter. -- ----------------------------------------------------------------------------- Tony J Jewell Systems Officer City Of London Polytechnic ___ . ___ JANET: tonyj@uk.ac.clp.unixa / \ / / \ EARN/BitNet: tonyj@unixa.clp.ac.uk / / /___ / EAN: tonyj%clp.unixa@ean-relay.ac.uk <____/ <___ / ----------------------------------------------------------------------------- Date: Sat, 3 Feb 90 15:44:00 EST From: FNELSON@OBERLIN.BITNET Subject: NEW MEMBER Just joined emusic-l. Looks like a great idea. I am interested in a wide range of MIDI and synth things. At the moment I am writing some algorithmic composition software for the MAC in C and APL. All of my programs communicate with commercial software via midi files (version 0.06, type 0). I can send files to Finale and most of the sequencers. I am finishing a program called MidiPlay that takes as input a text file where each line is a midi event with channel, action time, duration, and any oth er appropriate values (like key # and velocity). The output is a standard MIDI file. The idea is to allow composers to work in any language they like and to provide a simple way of making a Midi file from the results. I am also working on a desk accessory that will play midi files without leaving another application. I regularly run algorithms in APL.68000 to create midi files then open the DA to play them. I have a simple version of the DA working but I'm having difficulty getting a DA to put up a dialog window and leave it there. What I want is something like a calculator than looks like a tape transport with function buttons and boxes or sliders for tempo and transposition intervals, etc. If anybody is working on similar things in Think-C please contact me. ------------------------------ Date: Mon, 5 Feb 90 10:25:02 GMT From: Nick Rothwell Subject: NEW MEMBER 3 Feb 90 15:44:00 EST <11228.9002040403@lfcs.ed.ac.uk >I have a simple version >of the DA working but I'm having difficulty getting a DA to put up a >dialog window and leave it there. What I want is something like a >calculator than looks like a tape transport with function buttons and >boxes or sliders for tempo and transposition intervals, etc. If anybody >is working on similar things in Think-C please contact me. I don't see why you can't get this to work (I admit I haven't written any DA's, just applications). It should be pretty easy with the THINK C class library, anyhows. What exactly is the problem? You *are* using the MIDI Manager to send/receive the MIDI data, aren't you? Good. :-) Nick. ------------------------------ Date: Mon, 5 Feb 90 10:32:15 -0500 From: Brian Adamson Subject: Humming heads on a Fostex 1/4" 8 track Here's a question of a different sort, I've developed a weird problem as of late. My Fostex A-8 1/4" 8 track recorder has developed what sounds like a 60 Hz hum when monitoring the tape head of tracks 4 & 6. It sounds like a feedback loop of some sort. . . Demagnetizing doesn't help. Track 6 has been doing this intermittently for a little while. But as soon as I would record something to track 6, the machine would quit the himming until it was turned off and turned back on (on an intermittent basis, of course) However, track 4 started doing the same thing out of the blue last night and the same "fix" doesn't help any. Anyone ever heard of this problem before or have any ideas what I could do about it. I am sort of guessing possible failing capacitor or something in a pre-amp circuit that's giving me this feedback coupling or whatever it is.?????? help, Brian Adamson adamson@css.itd.nrl.navy.mil ------------------------------ Date: Mon, 5 Feb 90 15:13:50 EST From: Jeffrey R Kell Subject: Re: Humming heads on a Fostex 1/4" 8 track 5 Feb 90 10:32:15 -0500 from On Mon, 5 Feb 90 10:32:15 -0500 Brian Adamson said: >Here's a question of a different sort, > I've developed a weird problem as of late. My Fostex A-8 1/4" >8 track recorder has developed what sounds like a 60 Hz hum when >monitoring the tape head of tracks 4 & 6. It sounds like a feedback >loop of some sort. . . Demagnetizing doesn't help. Hmmm... (pun intentional)... do you have dBX on that deck by chance? (Just a stab in the dark...) Sounds like a problem I had with an old TEAC 3440 w/dBx add-on unit. The EQ chips are notorious for that, and the damn things are proprietary ICs (or at least were) for which you must custom-order at a premium price. /Jeff/ ------------------------------ Date: Mon, 5 Feb 90 14:51:45 GMT From: "Patrick C.K.Tsang" Subject: Drum machine Has anyone out there own/heard the new Alesis Drum Box ? (The new HR-16 with a black plastic casing) I have always used a Sequencer/Sampler combination, until I finally realised they are too much to cart around for live gigs. So now I am forced to go back to the Pattern/Song programming :-< Patrick. ------------------------------ Date: Mon, 5 Feb 90 17:36:00 CST From: jeff beer Subject: HR-16 I own an HR-16, but not the HR-16B, which is in the black plastic casing. Jeff ------------------------------ Date: Tue, 6 Feb 90 11:27:02 GMT From: White Rabbit Subject: Know of any good books? I just hope I've got this sussed... fingers crossed (hard work typing tho') Hokay, as a recent subscriber Ive noticed that a lot of this stuff seems to feature on comparing various marques of synths old and new. Well, one topic that doesn't seem to feature much, except in descriptions of synths is actual synthesis techniques - by which I mean algorithms etc. I know this might be boring - but i'm wanting to put together a computer based system that will probably be initially delayed-playback, but that will have all the flexiblity of a modular synth but with all the techniques present in modern synths available as well... a tall order probably, but I am a programmer which helps. What i'd like is some info on good books containing descriptions of algorithms and techniques of everything from simple DCO's to reverb, harmonisers and vocoders... Ive already got Hal Chamberlains book, but it doesn't cover things like granular synthesis, Karplus-Strong etc. Any suggestions? Thanks... ******************************************************************************* White Rabbit : found in these burrows * * JANET : sxa@uk.ac.dl.cxa * Internet : sxa%cxa.dl.ac.uk * ...and the dormouse said EARN/Bitnet: sxa%cxa.dl.ac.uk@UKACRL * UUCP : sxa%cxa.dl.ac.uk@ukc.uucp * feed your head. Ean : sxa%cxa.dl.ac.uk@ean-relay.ac.uk * ******************************************************************************** ------------------------------ Date: Tue, 6 Feb 90 09:07:41 EST From: Eric Harnden Subject: Re: Know of any good books? 6 Feb 90 11:27:02 GMT from yes indeedy-do... step right out and purchase 'Foundations of Computer Music' and 'The Musical Machine'. they are both edited by Curtis Roads (the first one also by John Strawn), and are collections of interesting and important articles from The Computer Music Journal, which is *the* source for the kind of info you're looking for. included are seminal and extension articles on FM, K/S plucked string, granular, VOSIM, reverb, and a host of other synthesis thingies. the books are avialable from the MIT Press or any decent full service bookstore. ISBNs are Foundations: 0-262-181142 (hardback), 0-262-68051-3 (paper) Machine: 0-262-18131-2 let me know when you've got them (or hey, if any of you out there do now !) 'cause i'm following that same track right now and would like to discuss some details. Eric Harnden (Ronin) Mailing From: Physics Dept./Audio Tech. Transmedia Music The American University (202) 347-8050 Wash., D.C ------------------------------ Date: Tue, 6 Feb 90 18:41:00 EST From: FNELSON@OBERLIN.BITNET Subject: Good books I was just looking up the Roads and Strawn books but I see you already have t Have a look also at Dodge and Jerse 0-02-873100-x and the classic "Technology of Computer Music" by Max Mathews ("the father of us all"). The Dodge book is called "Computer Music: ...." and comes from Schirmer. Mathews comes from MIT Press. A tour of the back issues of the Computer Music Journal should be part of the initiation rites of our clan!!! ------------------------------ Date: Tue, 6 Feb 90 13:23:00 EST From: MCINTYRE@MSUPA.BITNET Subject: synthesis algorithm reference >From: White Rabbit > What i'd like is some info on good books containing descriptions of > algorithms and techniques of everything from simple DCO's to reverb, > harmonisers and vocoders... Ive already got Hal Chamberlains book, but > it doesn't cover things like granular synthesis, Karplus-Strong etc. > Any suggestions? Check back issues of Keyboard magazine. Bob Moog did a series of columns on algorithms, including granular synthesis and Karplus-Strong. They should at least get you started. John McIntyre Physics - Astronomy Dept Michigan State University ------------------------------ Date: Tue, 6 Feb 90 17:51:00 CST From: JCE8080@TAMVENUS.BITNET Subject: Theremin query After the MMI article renewed my interest in the Theremin, I decided to unleash the soldering iron and wonk one out...found lots of helpful articles, schematics, technique tips, etc. Before I commit to/create a design I'd like to contact the Theremin Society since they'd doubtlessly have a wealth of helpful information about designs, modifications and so on (such as the switch-selectable sounds Moog put on some of his). None of the articles made any reference to the group, leaving me stuck in the muddle of my mind, so... Does anyone have their address or know where to find it? -Jonah- ------------------------------ Date: Tue, 6 Feb 90 19:31:00 CST From: jeff beer Subject: RE: Yamaha They are really in a depressed state. I think the TX802 is also discontinued and they seem to be pushing cheaper models. They had a users magazine which they turned over to someone else. I have the TX802 and it sounds good, and is very flexible for someone who is self producing, and has a lot of good features that may interest people who arent going to be producing pop, such as microtones. I dont know what their highest end synthesizer is now. Jeff Beer ------------------------------ Date: Tue, 6 Feb 90 11:35:18 EST From: MTG@CSI.COMPUSERVE.COM Subject: A DSS question. Wow, that Amiga sampling equipment sounds great! Hope to be seeing that sometime soon... A question for everyone: I have a DSS-1 (amongst other fun toys), and have always wondered if anyone's seen any other samples available for it besides those given with it at purchase (For free, just for me?? Gosh!)? I'll admit I've never really made a hardcore search, since the factory disks are pretty complete and I don't mind sampling things myself. However, I've never seen an advertiser, glancing through Electronic Musician, that actually admits they sell any sample disks. Any suggestions? _Is___________________________________________ ________________________there_ | ___ | | | Mark G., of... The | volution | "I -- am the WORLD!" | | |--__ | | | |_/_ \ ontrol | - Mr. World... | | "Controlled | __ | [ That's not the muscular | | breeding out \_// \ ommittee | Mr. World; but rather, a | | of control? Call..." | | children's globe with the | | \__/ | same name. ] | |_any__________________________________________|______________________escape?_| ------------------------------ Date: Wed, 7 Feb 90 14:27:40 CST From: Jason Keeler Subject: Re: A DSS question. 6 Feb 90 11:35:18 EST from Give a call (or write) to: WALT WHITNEY, BOX 2411, OVERLAND, MO 63114. (314)429-2858. They offer a free catalog. I'm not too sure about demo cassettes though; P.S. If you get any, let me know what they sound like.... Jason ------------------------------ Date: Wed, 7 Feb 90 16:29:00 EDT From: CHRIS@FANDMA.BITNET Subject: Music Trades magazine? I had not heard of this magazine. How might one subscribe, or obtain a copy? -chris ------------------------------ Date: Wed, 7 Feb 90 13:47:00 EST From: FNELSON@OBERLIN.BITNET Subject: algorithmic composition I would like to hear from anyone working in this area. In my own work I use Think C and APL.68000. In C I use MOXC, an interactive performance environment from the Center for Art and Technology at Carnegie-Mellon. Gary Lee Nelson, Professor Electronic and Computer Music Oberlin College End of EMUSIC-L Digest ***********************