EMUSIC-L Digest Volume 15, Number 3 Black box synth (without the box) Bose speakers- Bulletin Board Systems. CMT package & multi-track recorders (2 messages) Getting under way... Klaus Schulze (7 messages) Mellotron (12 messages) MIDI song books Moog Prodigy (3 messages) Peavey DPM-3 (5 messages) CMT package & multi-track recorders (2 messages) SEAMUS Call for Scores and Papers Tascam 644 MIDIstudio Texture v3.5 mini review The way forward? Or just nostalgia? Triggered Filter stomp-box by Electoharmonix Wanted: Atari ST sequencer... 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: Fri, 20 Apr 90 12:43:00 EDT From: CHRIS@FANDMA.BITNET Subject: Black box synth (without the box) The rumours of an Emu Proteus board for the Mac II are true. I heard one at the MacWorld Expo in San Francisco last week. DigiDesign was using one to demo their new four-track recording system for the Mac II. The Proteus is, for the most part, exactly like the rack-mount version, minus an interface panel and any slots the rack-mount has. Unfortunately, I couldn't get a look at the back side of the Mac II, so I don't know what kind of connections are available on the card (the folks in the booth were not interested in showing of someone else's product - they were busy enough keeping up with the crowd clamoring for info on their own stuff). Apparently Emu has a software interface for the card on the Mac II, and you can play it either from the Mac screen/keyboard, or via MIDI from a synth keyboard. In any case, it sounded pretty nice, and is priced slightly less than the rack-mount version ($895, if my memory is correct). The DigiDesign stuff is really great. They now have a low-cost product called "Deck" which is a software-based four-track mixer for the Mac, to interface with their hard disk recording system. The mixer and the A/D interface board added up to about $1350 total, which puts direct-to-hard disk recording a little bit closer to reality for 'the rest of us'. Of course, we still have to buy the Mac II and the hard disk space (10Mb/minute of audio storage), so that 'little bit closer' still puts it out of most people's reach. It is encouraging to see prices coming down on that sort of thing. Now if they would build a SCSI interface for their A/D hardware so it could be plugged into a Mac Plus, I just might be able to put a third mortgage on my house.... I'll see if I can find the product brochures amongst the mess I brought home from the show so I can get more specific (if anyone is interested) later. Yup, yup, yup... -chris ------------------------------ Date: Fri, 20 Apr 90 22:28:00 EDT From: Andy Silverman Subject: Bose speakers- I know this is an Emusic list, but since listening is an integral part of music let me toss this question at you: Anyone have any experience with Bose Acoustimass AM-5's? I'm interested to hear anything people have to say about them, I'm considering buying a set. Same goes for Sony STRAV9?0 receivers... +-----------------------+-----------------------------------------+ | Andy Silverman | Internet: asilver@grad1.cis.upenn.edu | | "Grrr." | Compu$erve: 72261,531 Prodigy: JCSB27A | +-----------------------+-----------------------------------------+ ------------------------------ Date: Wed, 18 Apr 90 18:09:00 EST From: The Silicon Junkie Subject: Bulletin Board Systems. Is anyone familiar with the BBS P.A.N. MIDI-BBS? I saw mention of it in an advertisement (free subscription included w/ MPU) and wondered if anyone out there uses it. -- Tim, the phantom Emusic'er ------------------------------ Date: Mon, 16 Apr 90 22:41:50 PDT From: Computer Addict! Subject: CMT package & multi-track recorders Has anyone got the CMT MIDI package to work on an IBM-PC under TurboC? I'm having trouble converting the MAKEFILE from Lattice C to TurboC. How about any code written to deal with MIDI data and/or the Roland MPU interface on the PC (I prefer Pascal but C, ASM, BASIC... are fine). While I'm typing... I'm looking for a multi-track tape recorder (6-8+ tracks < $2000 U.S.) that is MIDI controllable, that is, if I want my sequencer to play two parts at two seperate times, the tape has to sync somehow on the first take when I record the second one. Obviously I don't know how this is done. My MPU-IPC-T (IBM-AT MIDI interface) has tape in/out connections but is that enough to do the job? Thanks, Ralph Zazula |----------------------------------------------------------------------| | Ralph Zazula "Computer Addict!" | | Northern Illinois University --- Department of Physics | | NIUHEP::ZAZULA (HEPNet) | | ZAZULA%NIUHEP.DECNET@LBL.GOV (Internet/BitNet) | |----------------------------------------------------------------------| | Fermi National Accelerator Laboratory --- Experiment E-740 (D0) | | ZAZULA@FNAL (BitNet) | |----------------------------------------------------------------------| | "You can twist perceptions, reality won't budge." - Neil Peart | |----------------------------------------------------------------------| ------------------------------ Date: Tue, 17 Apr 90 16:32:00 BST From: Nick Rothwell Subject: CMT package & multi-track recorders >While I'm typing... I'm looking for a >multi-track tape recorder (6-8+ tracks < $2000 U.S.) that is MIDI >controllable, that is, if I want my sequencer to play two parts >at two seperate times, the tape has to sync somehow on the first >take when I record the second one. Obviously I don't know how >this is done. My MPU-IPC-T (IBM-AT MIDI interface) has tape >in/out connections but is that enough to do the job? I haven't the foggiest idea what an IBM MIDI interface is doing with tape in/out connections. Regarding sync: you have it the wrong way round. Rather than have the tape somehow follow the MIDI sequencing, the way it's done is that the tape is striped before you start recording with a timecode signal which allows a timecode reader to know where it is anywhere on the tape. Then, it's up to the sequencer to jump to the correct position and stay in sync with the timecode messages coming from the tape. The protocol used by the reader to lock the sequencer is what MIDI Time Code (MTC) was designed for, although I don't know how many packages use it. I've no idea how you'd do this with an IBM MPU, or even if it's possible. My Mac sequencer and MIDI Time Piece can write SMPTE timecode and lock to it on playback, although it uses a semi-proprietary MIDI protocol extension called DTLe rather than standard MTC (claiming it's better, although I don't see how). Nick. ------------------------------ Date: Wed, 18 Apr 90 09:28:08 EDT From: "Richard S. Holmes" Subject: Getting under way... From the digesters... ----------------------------------------------------------------------- Are there any books, magazines, etc out there that would be of help in narrowing down the choices facing a first-time synth buyer? Hard to encapsulate what I'm looking for... a keyboard mainly for my own edification and amusement, hence relatively low-priced (certainly <$1000). My musical interests are fairly eclectic: classical, folk, alternative rock, bits of jazz, avant-garde unclassifiable stuff. Definitely need MIDI; definitely want a good interface -- e.g. I want "full-size" (whatever that may be defined to be) keys, at least 61 of 'em. Would like to be able to mess around with all sorts of natural, unnatural, and user-invented sounds. Just to make it harder, I'd like (but do not require) to be able to mess with microtones and/or alternative temperaments. I've been scanning Keyboard and Electronic Musician regularly of late. Seems as if they average about one keyboard review per month, and that usually in the >$2000 class. EM had a buyers' guide to home keyboards a few months back; what I'd really like to see is a similar overview of some of the (slightly) more sophisticated gear. And if I can't have that, can someone tell me their unbiased :-) view as to what I should be investigating? Rich Holmes ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Richard S. Holmes Phone: (315)443-3891 or Physics Department -2701 Syracuse University Bitnet: rich@suhep Syracuse, NY 13244 Internet: rich@suhep.phy.syr.edu ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ DISCLAIMER: I have no opinions. ------------------------------ Date: Thu, 19 Apr 90 13:21:41 EDT From: "Kurt A. Geisel" Subject: Klaus Schulze Run, don't walk, to your nearest exotic record store and shell out the large amount ($18 < x < $25 ??) of cash and git yersef the _Timewind_ CD. Considered an "official" classic recording by the French Conservetory or something like that and voted by Audion Magazine as "best electronic music album of all time." I won't say I completely agree (or would ever vote anything "best of all time") but it certainly deserves to be on the ballot. Certainly, one of the best things that ever came out of the "Berlin School." P.S. I must also add that if you get one with the original cover art, I WOULD consider it the best cover painting of all time!! After Timewind, my personal ranking is: Moondawn X Mirage Body Love EN=TRANCE Moondawn and X keep promising to be out on CD and keep getting delayed. They might be out now, but I am not positive. Yes, EN=TRANCE is one of the new ones ('88) but I really like it. Of his 21 solo albums, Miditerranean Pads is his latest which I have not heard but have heard good reports on (like best thing he has done in recent years). Others I like more or less on the same level. Really early stuff like Irrlicht, Cyborg, and Dune are not quite exactly similar to early TD. He tends to be more "spacey" I think. He used a lot of heavily processed acoustic instruments (mostly strings) and little chamber orchestra bits too. Anyway, ask for other opinions, but I think you'll find Timewind at the top to be unanimous. (I just got Inter*face, a newer one, for completeness. Suppose to be one of his all time worst. We'll see...) - Kurt Kurt Geisel SNAIL : Carnegie Mellon University 65 Lambeth Dr. ARPA : kg19+@andrew.cmu.edu Pittsburgh, PA 15241 UUCP : uunet!nfsun!kgeisel "We just need to short-circuit the continuum on a BIX : kgeisel 5 or 6 parsec level." - Forbidden Planet ------------------------------ Date: Fri, 20 Apr 90 16:13:35 BST From: Nick Rothwell Subject: Klaus Schulze (Re: Mellotron samples) I've got Timewind somewhere (and Blackdance), but haven't listened to them for ages, mainly because my home studio/hi-fi isn't geared up for playing vinyl, and requires surgery to do so. Schulze recommendations: "X" (sechs musicalische Biographien) is *magnificent*, two hours of music, some of it energetic and driving, some of it grand and classical in Wagnerian vein, and some of it sleek, ethereal and futuristic. I have seen this album in the record stores exactly *once*, summer 1979, and I bought that copy. I've never ever seen it elsewhere, which is a shame since it is so magnificent, and was an attempt by Brain to give Schulze a higher profile (hence, double-album, 16-page booklet, ...). Mirage: perhaps suffers from a mite too much spacewind (Moog), but wonderfully ethereal and evocative nonetheless. Side one has a lovely transition from the spacewind storm to an atmospheric section of chords and echoed voice fragments. Side two has some very nice sequencer patterns. Dune: wonderful side one, a classical piece, almost, with soaring cello sequences and an almost claustrophobic atmosphere. Side two is, well, embarrasing. Body Love I and II: Nice moog work, but BL I/II are essentially keyboard albums (with very spacey atmospherics nonetheless). BL II has a lovely echoed-piano-and-moog final track. Moonwind: Avoid. "X" is my personal favourite, followed closely by Mirage, and side one of Dune. The CD of Dune is missing a minute or two of track one, compared with the LP. Scumbags. Nick. ------------------------------ Date: Fri, 20 Apr 90 09:57:43 MDT From: schabtac@SPOT.COLORADO.EDU Subject: Klaus Schulze CDs on domestic label Taking Kurt's advice (thanks Kurt!) I ran down to the local purveyor of obscure CDs and inquired about Schulze's _Timewind_. I found out that "all" Klaus Schulze's works are coming out on a domestic label "soon". This means they'll be more readily available, for the usual domestic disc price (~$14 around here). What "all" and "soon" mean remain to be seen, of course. "Soon" means soon enough that the store I deal with has already placed a pre-order for one of everything (and they've got my name down for _Timewind_). Those of you who forked out big bucks for the imports shouldn't despair -- now you have some collector's items! --Adam ------------------------------ Date: Sat, 21 Apr 90 18:30:35 EDT From: "Kurt A. Geisel" Subject: Re: Klaus Schulze CDs on domestic label This may be the Gramavision deal that the aforementioned interview alluded to. If it is, Schulze definitely did not sound optimistic. They had supposedly released only 5 LPs (no CDs) and no one new exactly what they were doing. He has seen zero royalties from them and he said that the "situation was unclear." Well, certainly let us know if you get anything! - Kurt ------------------------------ Date: Sat, 21 Apr 90 18:33:43 EDT From: "Kurt A. Geisel" Subject: Re: Klaus Schulze (Re: Mellotron samples) Oops. Nick reminded me about Moondawn (he said Moondwind, I assume he meant Moondawn). Wherever I said "Moondawn" I meant "Mirage." It's been a while and I got my Ms mixed up. Indeed, Moondawn should be near the bottom of my Schulze rankings, and Mirage belonged after Timewind. From an interview with Schulze in Eurock (an American zine), he said that he was having lots of trouble with Metronome getting X released on CD. The president finally told him March 1990 for sure, but I haven't seen hide nor hair of it. You must also keep in mind that they have been leading us on about this since January 1989. In fact, Schulze wasn't speaking very highly of Metronome at all. He made some comment about only staying with them because he had to eat, and they were the only ones who would give him any money after the IC and In-team fiascoes. - Kurt ------------------------------ Date: Sat, 21 Apr 90 10:15:02 EDT From: Cecilia Tan Subject: Multitrack MIDI cheap For the person who asked about 6 to 8 track plus MIDI things for under $2000.00, the new Sam Ash catalog just arrived and they are selling that TASCAM 644 MIDI Studio for $1195.95. It has 16 inputs, dbx, dual tape speed, dual effects sends, 4 effects returns and "built in MIDI tape synchronizer." (This all from the catalog.) Is this what you're looking for? -ctan ------------------------------ Date: Thu, 19 Apr 90 10:30:03 MDT From: schabtac@SPOT.COLORADO.EDU Subject: Re: Mellotron samples Thanks to everyone who's recommended good Mellotron recordings. Many of them I have at least some familiarity with (early Genesis, TD, and even Elton John), so I'll have to listen to them again with the Mellotron in mind. Now, the next rather nebulous listening question: I want to get into Klaus Schulze's solo works. He has an awful lot of records, spanning a long time period -- I'm wondering if there are any that are considered either 1) a good representation of his work in general, i.e. a "classic Schulze record", or 2) exceptionally good, i.e. "must have". Biased, un-humble opinions will be gladly accepted. I get the impression from an interview in an old issue of Electronic Musician that his newer stuff is frowned upon by fans of his older stuff (somewhat like Tangerine Dream -- egad! self-similarity in German-school synthesist growth! :-) ). Thanks, --Adam ------------------------------ Date: Tue, 17 Apr 90 16:25:36 MDT From: schabtac@SPOT.COLORADO.EDU Subject: Mellotron Nick writes: >On a side note: does anybody else ever wonder why there seem to be NO >library samples or synth patches around for the sound of a mellotron? Yes, I have wondered that. I've also wondered what a Mellotron really sounds like -- could you point me to some works that incorporate 'classic' Mellotron material? Perhaps everyone thinks that since all the string/choir samples are so much "better" than old grungy, noisy Mellotron sounds, there's no need to sample a Mellotron. I happen to like a lot of old grungy noisy sounds (I just picked up an ancient MXR Flanger today!). --Adam ------------------------------ Date: Thu, 19 Apr 90 09:52:54 BST From: Nick Rothwell Subject: Mellotron samples >I think >it was Nick who told me that the chord changes were based on which >notes sounded best on Banks' Mellotron. Nope, wasn't me. Though I do the same sort of thing meself (choose chord inversions so that they fit into the EQ properly and so on). Nick. ------------------------------ Date: Thu, 19 Apr 90 10:10:00 EDT From: CHRIS@FANDMA.BITNET Subject: Re: Mellotron samples Didn't King Crimson make heavy use of Mellotrons in their earlier days? -chris ------------------------------ Date: Thu, 19 Apr 90 11:31:00 EDT From: "b.klassen" Subject: Re: Mellotron samples Even Elton John used a Mellotron occasionally. I believe the flute-like solo in "Daniel" was a Mellotron. And speaking of Elton, does anyone know what the synth in "Funeral for a Friend" (Goodbye Yellow Brick Road) was? I think it was an ARP of some description, play by David Henschel (? his producer at the time?) ... brian ------------------------------ Date: Tue, 17 Apr 90 19:48:00 EST From: RRBERRY@UNC.BITNET Subject: Mellotron I'm not really sure what "the" sound of a Mellotron would be, but . . . When I think of the mellotron I think of two things: the Moody Blues' extensive use of the string sounds on Days of Future Passed, and the Beatles' use of the flute sound on the Magical Mystery Tour album. "Strawberry Fields Forever" and "Fool on the Hill" particularly. It does seem a bit silly, though, to make a digital sample of a noisy analog recording, doesn't it? Ironic, since the Mellotron was really an attempt to do a digital sampling keyboard before the technology existed to really do it. ------------------------------ Date: Tue, 17 Apr 90 13:06:30 CDT From: "David M. Stowell (312) 509-9374" Subject: Concerning Tony Banks... His keyboard setup at the time consisted of a Mellotron (of course), a Hammond T model (modified), a PolyMoog, and an ARP 2600, which he played the solo on "Follow You, Follow Me" on (and which I trained on, incidentally). The later 2600's keyboards had a quasi-duophonic feature which allowed the player to patch a second keyboard CV into a second oscillator (or any other legal CV input, for that matter). There was also the capability to latch an interval that had been played on the keyboard. What Banks did in the solo is that he started playing a mono line (and the two oscillators were in unison), then at some point he hit a fifth on the keyboard at the same time as he hit the latch switch, then continued playing monophonically. The altered tuning created the illusion of multiple notes. Fun axe, that 2600. Wish I still had one :) ------------------------------ Date: Wed, 18 Apr 90 10:32:55 BST From: Nick Rothwell Subject: Mellotron samples Check out the early Genesis stuff for the classic Mellotron strings. Or, Froese's Macula Transfer album for Mellotron flutes. I'm building up a steady list of sounds-I-want-to-synthesise. The Mellotron sounds are on it, as is that wonderful sampled choir sound from the soundtrack to Wings of Desire. Nick. ------------------------------ Date: Wed, 18 Apr 90 10:34:24 BST From: Nick Rothwell Subject: Mellotron >It does seem a bit silly, though, to make a digital sample of a noisy >analog recording, doesn't it? Nope, not if the sound is nice (which it is), and unique. There's too much squeaky-clean digital music around at the moment. Nick. ------------------------------ Date: Wed, 18 Apr 90 09:03:02 EDT From: Patrick Robinson Subject: Mellotron Now, when I think about Mellotrons, I think about Wakeman. Then I think about Minimoogs, and I get REALLY sad. Ah well ... -Patrick ------------------------------ Date: Wed, 18 Apr 90 09:40:59 EDT From: Joe McMahon Subject: Re: Mellotron samples "Watcher of the Skies" on one of my ooooold Genesis albums -- I think it was Nick who told me that the chord changes were based on which notes sounded best on Banks' Mellotron. --- Joe M. ------------------------------ Date: Wed, 18 Apr 90 19:50:39 EDT From: "Kurt A. Geisel" Subject: Re: Mellotron samples >Where is classic Mellotron Most of the early Tangerine Dream, especially the Edgar Froese solo albums, especially Ypsilon in Malaysion Pale; early Vangelis, especially Ignacio; Tomita's classic works. There are MANY examples. You have undoubtedly heard it without knowing it. I seem to remember it being used in some pop songs including some Beatles stuff. - Kurt Kurt Geisel SNAIL : Carnegie Mellon University 65 Lambeth Dr. ARPA : kg19+@andrew.cmu.edu Pittsburgh, PA 15241 UUCP : uunet!nfsun!kgeisel "We just need to short-circuit the continuum on a BIX : kgeisel 5 or 6 parsec level." - Forbidden Planet ------------------------------ Date: Wed, 18 Apr 90 09:06:51 EDT From: Jeffrey R Kell Subject: Mellotron samples Classic mellotron stuff? Most any early Wakeman, esp. with Yes such as "Heart of the Sunrise", "Close to the Edge" (not counting the pipe organ part, which was legit), "And You and I", most of the "Tales from Topographic Oceans" albumn (although he started various poly's about that time). Speaking of Wakeman, and the earlier post about 2-note lead on a Prodigy; if you have seen "YesSongs" (the movie) Wakeman uses *two* MiniMoogs side by side and does "duophonic" solos playing one voice on each. Pretty damn impressive (trying to improvise anything more than menial in nontrivial harmonies with two hands simultaneously drives me nuts). Even more impressive is some of Keith Emerson's acoustic piano stuff... the guy must have a sequencer in his left hand :-) But I digress... ****************************** * There are more horses' asses in this world than there are horses. ****************************** ------------------------------ Date: Sun, 15 Apr 90 11:49:00 EDT From: FNELSON@OBERLIN.BITNET Subject: MIDI song books Some time ago a posted a request for information on music that is available as midi files or music that is in other formats (DMCS, ConcertWare, etc.) that can be translated to midi. Recently I found a mac disk full of "songs" at media-lab.media.mit.edu. They were in .arc format so I downloaded macarc from sumex and decoded one of the mit song files. It was indeed a collection of songs that I could play with performer 3.3 and notate with finale. A day or so later I saw some of the same songs at ucsd.edu in cakewalk .wrk format. I hex dumped one of the smaller pieces from both sites and found that the cakewalk format is very close to midi. May questions are: Does anyone have the cakewalk format spec? Does anyone know who translated the files I found at MIT? Gary Lee Nelson Oberlin College PS. If you have written a translator for cakewalk or any of the others, can you send me some code? ------------------------------ Date: Mon, 16 Apr 90 10:48:52 BST From: Nick Rothwell Subject: Moog Prodigy I've got one but don't make much use of it (no MIDI, of course!). You can make a reasonable guess at what it's capable of by a cursory inspection of the front panel. Nick. ------------------------------ Date: Tue, 17 Apr 90 08:51:14 CST From: Jayson Tipp Subject: Re: The way forward? Or just nostalgia? All this discussion of the Prodigy strikes me. I've been reading it while listening to Genesis' "Follow You, Follow Me" on the radio. The Prodigy could replicate many of the synth work in that tune, especially the solo line near the end which splits into two notes. Anybody know Banks' setup at the time? - Buzz..... ------------------------------ Date: Tue, 17 Apr 90 16:57:10 BST From: Nick Rothwell Subject: The way forward? Or just nostalgia? >I've been reading it while >listening to Genesis' "Follow You, Follow Me" on the radio. The Prodigy >could replicate many of the synth work in that tune, especially the solo >line near the end which splits into two notes. Except that prodigies are monophonic...! Sure, you can split the oscillators, but I wouldn't want to bet that the result would be tuneful without mucho tweaking. On a side note: does anybody else ever wonder why there seem to be NO library samples or synth patches around for the sound of a mellotron? I must try to knock one up sometime. Nick. ------------------------------ Date: Mon, 16 Apr 90 16:17:02 EDT From: "George Buckner" Subject: Peavey DPM-3 A posting from digestland... I'll add my $0.02 now, while I have the chance (see below). ---------------------------Original message---------------------------- I'd like to upgrade my meager midi studio -currently a Sequential Circuits Multi-Trak (like I said...meager) connected to an IBM PC running Texture. I'm looking for a mid-range synth to add to this setup and the Peavey DPM 3 has caught my interest -mainly because of its claims to be a software based "workstation" (I have limited room and hate working in a space cluttered with black boxes, special-purpose modules and cables). Aside from Craig Andertons review in a recent EM, I have seen very little comment on this unit. Does anybody out there have any observations about this product? ----------------------------------------------------------------------- The DPM3 left me less than excited. It was okay, but nothing to fall down and foam about. I liked the VFX (and the D-50, and the K-4, and the T3... well, you get the idea) better. It just didn't do much for me at all. ------------------------------ Date: Tue, 17 Apr 90 12:04:56 BST From: Nick Rothwell Subject: EMUSIC-L LOG9004A >I'm looking for a mid-range synth to add to this >setup and the Peavey DPM 3 has caught my interest -mainly because of >its claims to be a software based "workstation" Don't believe this marketing hype. Nick. ------------------------------ Date: Tue, 17 Apr 90 17:20:37 BST From: Nick Rothwell Subject: EMUSIC-L LOG9004A >I think the VFXsd is a much better deal for that kind of box, but >it's piano sample is a little on the wimpy side. True, but I don't know how important this is when you're creating sounds. The MKS-70's piano sample is a little on the wimpy side as well (it's a sawtooth), but the MKS-70 still does pretty decent synthesised pianos. I was a little surprised that some of the VFX multisamples have pretty obvious split points, but this may not be too important. Nick. ------------------------------ Date: Tue, 17 Apr 90 10:45:59 EDT From: Dean Swan Subject: Re: EMUSIC-L LOG9004A The Peavey DPM-3 sounds good, but it's user interface, and physical construction leave a bit to be desired. It just "feels" flimsy. I think the VFXsd is a much better deal for that kind of box, but it's piano sample is a little on the wimpy side. -Dean ------------------------------ Date: Tue, 17 Apr 90 11:03:05 EDT From: Jeffrey R Kell Subject: Re: EMUSIC-L LOG9004A On Tue, 17 Apr 90 12:04:56 BST Nick Rothwell said: >>I'm looking for a mid-range synth to add to this >>setup and the Peavey DPM 3 has caught my interest -mainly because of >>its claims to be a software based "workstation" > >Don't believe this marketing hype. > Nick. Hear, hear! Bear in mind that a greasy sink is a dishwasher's "workstation". That's just the current marketing buzzword for almost anything and everything. Also beware of "new" entrances into the synth marketplace, you can tell the pioneers by the arrows in their backs. ****************************** * A scuzzy bum ambled into a plush bar and sat drinking among the * regular patrons. One leaned over and said, "Cleanliness is next * to Godliness. -John Donne." * The bum replied, "Screw you. -Tennesee Williams." ****************************** ------------------------------ Date: Fri, 20 Apr 90 14:43:52 BST From: "Patrick C.K.Tsang" Subject: 4-track sync >While I'm typing... I'm looking for a >multi-track tape recorder (6-8+ tracks < $2000 U.S.) that is MIDI >controllable, that is, if I want my sequencer to play two parts >at two seperate times, the tape has to sync somehow on the first >take when I record the second one. Obviously I don't know how >this is done. My MPU-IPC-T (IBM-AT MIDI interface) has tape >in/out connections but is that enough to do the job? Tascam has just come out with a 'MIDIStudio' 8-track cassette machine that has dedicated MIDI in/out sockets to plug a sequencer into for Midi Time Code sync. It is NOT cheap ! Anyway I remember sometime ago I have posted articles on how to sync sequencers to tape using SMPTE which (I hope) has been archived by Emusic, have a look in the file list. Patrick. ------------------------------ Date: Tue, 17 Apr 90 12:55:48 EDT From: "ISA-HRDD Robert N. Muth" Subject: Re: CMT package & multi-track recorders >>this is done. My MPU-IPC-T (IBM-AT MIDI interface) has tape >>in/out connections but is that enough to do the job? What brand of interface? Is it a Roland or compatable? >I've no idea how you'd do this with an IBM MPU, or even if it's >possible. . . . can write SMPTE This is possible. A New York based company call Voyetra makes Roland MPU-401 compatable MIDI interfaces for the IBM PC/XT/AT. They use SMPTE on at least one of their models. |=============================================================================| | Robert N. Muth | INTERNET: rmuth@cor1.pica.army.mil | | Engineering Coop Student | u91_rmuth@vaxc.stevens-tech.edu | | Stevens Tech/Picatinny Arsenal | BITNET: u91_rmuth@sitvxc | | | | "If money is the root of all evil, then I should be the Pope!" | |=============================================================================| ------------------------------ Date: Tue, 17 Apr 90 11:16:00 CDT From: Stephen David Beck Subject: SEAMUS Call for Scores and Papers The Society for Electro-Acoustic Music in the United States (SEAMUS) announces a call for scores and tape for its 1990 National Conference to be held at Louisiana State University in Baton Rouge, LA, October 11-14, 1990. SEAMUS is a national organization whos purpose is to promote, archive, teach, and perform electro-acoustic music in the U.S. Its national conference serves as the annual focal point for its activities. Members include composers, performers, educators and enthusiasts from all across the country. SEAMUS is the national representative to the International Confederation for Electro- Acoustic Music (ICEM) and is closely tied to the the American Music Center. SEAMUS publishes a newsletter and the Journal SEAMUS for its membership. Scores: Music of any genre may be submitted for performance consideration in the following media; (1) tape alone, (2) instruments and tape, (3) live electronics, or (4) video. All works must be submitted with scores (if appli- cable) and cassette tape (dolby B NR) or VHS video (if applicable). Papers: Abstracts may be submitted on any topic regarding electro-acoustic music. Topics of particular interest are in the areas of pedagogy, aesthetics, new technologies, new applications and performance. All submissions must be RECEIVED by April 30, 1990 at the following address: Stephen David Beck SEAMUS '90 School of Music Louisiana State University Baton Rouge, LA 70803-2504 (504) 388-3261 Submissions are limited to any U.S. citizen or current resident. Materials will not be returned unless a self-addressed stamped envelope is included. E-mail submissions for papers cannot be accepted. Submittors need not be members of SEAMUS but are encouraged to join. ------------------------------ Date: Tue, 17 Apr 90 22:35:24 EDT From: PRESTON@MOREKYPR.BITNET Subject: Tascam 644 MIDIstudio Hiya, folks! Would any of you kind people know anything about the Tascam 644 MIDIstudio? I know that it's a 4-track cassette machine, and that it has MIDI control of the board settings, and a serial port, etc., but has anyone out there used this little beasty? If so, what's it like? I am especially interested in hearing about uses of the serial port... i.e.: software packages that use the serial port to address the recorder. If anyone would like to volunteer any information about this, please send it to me (PRESTON@MOREKYPR), as I am not subscribed to this list. Thanks! Jeff Preston (a.k.a. "n.n.") ------------------------------ Date: Tue, 17 Apr 90 09:51:00 EST From: "b.klassen" Subject: Texture v3.5 mini review I just received my update for Texture (v3.5) and the support tools package which includes Live! Briefly, the new version now supports 32 MIDI channels, SMPTE, MIDI song files (formats 0 and 1), among other things. The new version took my v2.5 song files with no complaints whatever, which really made my day. The Live! program allows you to form sets of songs to play back in a given order. While the current song is playing, the next song is loaded into RAM (providing you have enough free). Various parameters can be varied during playback, such as tempo, loop points, etc. All tolled, it took less than 15 minutes to load the new software, determine that it worked, and set up my first performance set. A very intuitve package, especially if you're already used to Texture. If anyone cares for anymore info, let me know. Oh, and the only hitch ... if you want 32 channels and SMPTE you have to upgrade your Roland MPU-401 MIDI board to one of those new "third party" units (I think it's the MPX-32 from someone like Music Quest ... I don't have the manual handy to look it up). I'm not planning to in the near future, as I'm managing quite well with 16 channels ... so far. brian ------------------------------ Date: Mon, 16 Apr 90 11:19:57 BST From: Nick Rothwell Subject: The way forward? Or just nostalgia? >True, Nick, *real* music does require talent and perseverance, but that's >not what I'm talking about. There are studio synthesists in L.A. (and >New York, i imagine) that are great players, and sound programmers, but >they are music *machines*. They crank out stuff very methodically, usually >written by someone else, for someone else's record. Here in the UK we have Stock/Aitken/Waterman who are a whizz-bang production machine for a variety of "talent", most recently Kylie Minogue and Jason Donovan. They turn out superb (I admit) productions of disco/dance material fronted by some teenage idol-of-the-moment. There's even a best-of S/A/W album called "The Hit Factory". Feel free to insert an extra letter to the front of the word "hit". Recently it was suggested that all S/A/W records are in fact the same recording, played at different speeds. Sure enough, if you play a Jason Donovan track at the wrong speed, it sounds indistinguishable from Kylie Minogue. Nick. ------------------------------ Date: Tue, 17 Apr 90 14:23:00 EDT From: "b.klassen" Subject: Triggered Filter stomp-box by Electoharmonix So I was cleaning up my studio-space and I happened on an issue of "Contemporary Keyboard" with Greg Allman (sp?) on the cover (vintage 1976). Inside I found an add for this Triggered Filter device, which was supposed to make your guitar or whatever sound like a synthesizer. Anyone used this particular unit, or understand what it did? Oh, and you gotta like the vintage Oberheim, ARP ads too ... brian ------------------------------ Date: Tue, 17 Apr 90 15:16:00 EST From: The Silicon Junkie Subject: Wanted: Atari ST sequencer... Big favor... I'm looking for a site with a PD MIDI sequencer program for the Atari ST. This is a favor for a friend who has no network access. The sequencer should be relatively flexible, 'cause I don't know what synth he has. What I would need is: . Some PD communication program to download the files from my VAX account. . Any required deARC-deZIP-whatever programs. . The location of an ST sequencer. Anyone feel generous enough to lend me a hand? Like I said, big favor. If possible, please respond to me directly. (BITNET ONLY) -- Tim Joslyn --> JOSLYNT@NORWICH.BITNET <-- Quite appreciative.... ------------------------------ End of EMUSIC-L digest ******************************