EMUSIC-L Digest Volume 31, Number 2 This issue's topics: MAG FILNGS IN THE MAIL! Electric Symphony MIDI lightning control (2 messages) recording technology ques (2 messages) Recording "auditory spaces" (19 messages) cd --> cassette ... (3 messages) Q-80/Linn 9000 (2 messages) Max mailing list? 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, 9 Aug 1991 04:00:22 GMT From: Cecilia M Tan Subject: MAG FILNGS IN THE MAIL! At last! All the tapes are in the mail, including the Volume I orders. No more orders, please! Let's see if there's more demand, maybe I'll dupe another batch. But for now, everyone who ordered--it should be in your mailbox very soon. [Cecelia is not planning to make any more dups of Mag Filings tapes at this time. Possibly next year, if she does Mag Filings III - JM] (Let me apologize again for the hiss--all the noise redux in the world still can't help generation loss) -ctan -- "I live for the burn, and the sting of pleasure, I live for the sword... You're innocent and pure, and with no shame, the spirit is willing, and the flesh is craved, you tease and you taunt, with the pleasure of pain." --The Mission UK, "Wasteland" ctan@world.std.com Special Edition Goth.sig! ------------------------------ Date: Fri, 9 Aug 1991 09:17:39 ADT From: Alan Edwards Subject: Electric Symphony I recently attended a concert in Camden Maine that I thought others on the list might like hearing about. The group calls themselves Electric Symphony Synthesizer Ensemble, and is comprised of six professional musicians. Three play synths, one violin, one bass (acoustic) and one sings. They played an interesting selection of music, from Bach and Mozart to Jazz improvisations to compositions by one of the players. They played in the Opera House, which is a great setting for such a show, but the turnout was small, although very enthousiastic. The equipment...The two primary keyboardists each had a Roland RD300 as a master controller, and sometimes even used the piano sounds. These were MIDIed to several Casio instruments (VZ10 and something 8) I am not familiar with this line, since I have never seen them here in Canada. The sounds were nice. They avoided any imitative sounds (let the real instruments do that). I had a chance to talk to them afterwards, and they are a very nice group of people, who are having fun doing what they want. This is the second summer of performances there, and they say that numbers are slowly increasing. They are all from the Boston area. The last concert of this season is Wed. Aug 14 at 8:15, and I would suggest that anyone in the neighborhood try to attend. For more information... Alan Edwards ------------------------------ Date: Fri, 9 Aug 1991 19:15:34 BRA From: Flavio <87141167@BRUFSC.BITNET> Subject: MIDI lightning control Hello, Someone could help me with info about MIDI lightning devices? I'd like to know the characteristcs of the equipment, like number of lamps controlled, between others. If you can, a list of manufacturers and pri ces is nice too. Any info is valid. Thanks a lot, Flavio _-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_- Flavio Bressan | ISSUES: MIDI,Music,Hard/Software,HP28S,Women,AMIGA, 87141167@BRUFSC | ATARIST,APPLEII,PC,Elec. Eng.,and much more... Grad in Electri |------------------------------------------------------- cal Engineering | -_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_ ------------------------------ Date: Mon, 12 Aug 1991 17:57:10 BRA From: Flavio <87141167@BRUFSC.BITNET> Subject: MIDI LIGHTING CONTROL Hello, I have a schematic of a computer LIGHTING (word right now) control that controls 128 lamps (16 cards x 8 lamps/card). It's a dumb device, that must be pluged in a slot of any computer, with the necessary alteration in the connector. The power is 200W/lamp. I intends become it a INTEL 8051 MIDI device, running in 12Mhz, sequencer drived, with 1000W/lamp. The 'inumerous' configurations of # if channels and # of lamps are: 1 x 128 - I think will be problematic to find a sequencer with 128 notes of polyphony is a single track. :-) 8 x 16 - It's nice, but need a 16-bit logic. I haven't anything against! With a single MIDI OUT, you still have 8 channels to drive your gear. 16 x 8 - This is the configuration of the eschematic I have. Each card will be a MIDI channel, with 8 lamps polyphony. This can be made with any 8-bit processor. The inconvenient is that you will need, al least, two MIDI OUT ports. Analizing the needs of a show, the basic functions are: 1- ON/OFF lamps: This is implemented with MIDI NOTE ON/OFF messages. Piece o'cake. My only doubt is if, to big data strings, the delay will be see. 2- Light intensity: Here we have the start level of the intensity, that can be implemented with the 2nd data byte of a MIDI NOTE ON/OFF, and the variation of this level. Is this better implemented with the MIDI VOLUME (controller #7), with the POLY AFTERTOUCH, or with the CHANNEL AFTERTOUCH? I think that the POLY AFTERTOUCH must be implemented to control individual variation, and the CHANNEL AFTERTOUCH must be used to grupal variation. The MIDI VOLUME can be used to set the global level of the system. 3- Spots movements: This is much more complicated to implement, in a low-cost device. Like we talks here, 'it's to much for my balls'. :-) 4- Synchronization: A device like this needs a separate computer to drive it. It's necessary the implementation of the MIDI TIME CODE or the old MIDI timing message to keep the lights synchronized with the music. I believe that a system like this, here in Brazil, will cost under $1000. I know that there is a manufacturer in U.K., but I don't know the product. Are 128 lamps to much? to few? need SMPTE? Give us (to the net) your opinions. Flavio _-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_- Flavio Bressan | ISSUES: MIDI,Music,Hard/Software,HP28S,Women,AMIGA, 87141167@BRUFSC | ATARIST,APPLEII,PC,Elec. Eng.,and much more... Grad in Electri |------------------------------------------------------- cal Engineering | -_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_ ------------------------------ Date: Mon, 12 Aug 1991 17:21:26 PDT From: Yon Spigot of Destiny awaits! Subject: recording technology ques Folks- I'm interested in experimenting with more auditory space than sterio. Being a home recording type, and not affiliated with any university nor having stacks of amplifiers around most 'traditional' solutions are beyond my means...(multiple tracks & amps etc...) but I'm wondering about things like Dolby Pro-logic, surround sound; the audio formats available to video. what does it take to encode my lowly multi-track stuff into these formats? Anyone have experiance with this? is there some gnarly little mixer-ette that has Left-Right-Fore-Aft panpots? Then I could, I'm assuming, record onto my HiFi VCR, in Pro-Logic format? sweep square waves over and around my listener? (they've gotta have the correct setup, natch) or am I dreaming? casey ------- ------------------------------ Date: Tue, 13 Aug 1991 08:13:00 EDT From: wbf@CBEMA.ATT.COM Subject: recording technology ques > I'm interested in experimenting with more auditory space than > stereo. > casey Roland just put out a ($45,000.00!!!!) unit that encodes three dimensional sound location onto two channel stereo that requires NO DECODING DEVICE. Yes, I know it's beyond your pocketbook's reach, Casey, but I thought that you'd like to know about it anyway. No on to more practical (affordable) possibilities. There are cheap ($50.00) stereo enhancers (DAK catalog or Radio Shack) that supposedly widen the stereo sound stage. Some boom boxes have this feature, possibly due to close speakers being used outdoors being the intended use. I don't know how well they work. Electronically, you could probably throw some op amps together and experiment with adding opposite polarity left channel to the right speaker and opposite polarity right channel to the left speaker. Bill Fox ------------------------------ Date: Tue, 13 Aug 1991 11:01:12 EDT From: "D. Yuen" Subject: auditory spaces I got one of those stereo enhancers years ago from PPG electronics. It cost about $20.00 dollars and used a TLO8c quad op amp. No power supply came with it, and I used to use it on my stereo w/ a couple of 9v batteries. As Bill Fox writes-it throws some of the left channel into the right channel. It was nice. Not noticably noisy, and it heated up the signal level some to boot. As far a perception of the enhancement goes, it had a depth adjustment and added a kind of left to right thickening. Hard to discribe. It could be taped, and would reproduce without the device. To sum it up it made my stereo sound "different". As I said it was nice, but not a radical change in sound quality. It didn't sound like space ships in my head and such... I've heard using quad mixers/paners w/ quadrature oscillators (doing the panning?) creates some truly wierd audio spaces. I could probably look that reference up if any one cares. Isn't there a special audio theater in San Francisco that uses something like that? A round planetarium like archetecture w/ an odd seating arrangement and a special speaker arrangement? I read about it in EM some time ago... Another option would be the Kansatph (???) or something Binaural mike system. A special microphone shaped like a head w/ the microphones at the ear apperatures. I've never gotten to hear it but it's supposed to reproduce best when the listener of the recording made with the thing wears earphones. While on the subject, anyone ever fool around with using multiple stereo amps and speakers for sound reinforcement? Joe Mcmahon mentioned this-kind of-during the discussion of using taped and sequenced material. Dan Yuen ------------------------------ Date: Tue, 13 Aug 1991 11:28:13 EDT From: Daniel Dion In-Reply-To: Message of Tue, 13 Aug 1991 08:13:00 EDT from You could always try Brian Eno's trick connect a speaker to the 2 positive wires of the Left and right speaker. I too tought it was funny but it works. You can 'pot' the sound with a L pad 8 ohm. It is no danger to most amps. Let me know =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Daniel Dion University of Ottawa / Universite d'Ottawa (613) 564-5903 DXD0N@ACADVM1.UOTTAWA.CA =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ------------------------------ Date: Tue, 13 Aug 1991 12:56:25 EDT From: "D. Yuen" Subject: Eno Trick Hey Daniel can you be more specific about the speaker trick? Is this now a 3 speaker system? Left--pos--Eno----pos---Right or .... Speakers A Left Right : ......B Left....... : Speakers B : : .........B Right......... Hmmm bad drawings. Please Clarify??!! Other ideas...A four out put synth (or stack) into two independent stereo amps & speakers. Use MIDI volume to pan across the stereo fields in a sequence, or w/ a real time fader unit. Amp and speaker set A reproduce all real time signals, Amp and Speakers B are fed the same input but passed through a full wet delay device set as long a delay time as possible, and reverse Left Right inputs...a vaguely confused Frippertronics ambience, even better if you have chorusing or auto pan available as well. Hmm or Leslie and a sequenced or real time control. Dan Yuen ------------------------------ Date: Tue, 13 Aug 1991 13:02:33 EDT From: Joe McMahon Subject: Re: Eno Trick The ultimate cheapo but really neat ambiance effect: signal in ------+ +--------------------------------------+ \ / | \ / | \ / +----------------+ | \ / | | | + | | | | | | | | | | | | | | | | | | | | | | | L rec in R rec in L monitor out R monitor out This requires a (dare I say it?) reel-to-reel recorder with separate record and playback heads, and very carefully adjusted levels. The Y-cable does non-linear mixing of the monitored and delayed signal with the incoming signal, further complicating things. To lengthen the delay, pull a loop of the tape out between the record and playback heads. You can vary the size of the loop in real-time for pitch and delay-length changes. This results in a very dense stereo field. --- Joe M. ------------------------------ Date: Tue, 13 Aug 1991 10:12:24 PDT From: Yon Spigot of Destiny awaits! Subject: re:Eno Trick et al Dan- you take the hot from one speaker(ie:Left) and the gnd from the other speaker (ei: Right) it's on the back of ...oh jeez now I ferget. the 'orchestral' eno one originally released with the black cover and the video blur 'window'. or is it... However y'all note that what I was originally looking for is a way of recording within this 'space'. Did some work, years past, with multi-amped setups; fun but tough to distribute to your cronies! the place in SF is the Audium, methinks. also D, take a look at the Serge catalog...there is a 4-way VC panning mixer in there. Our old band 'post-maoists/post-taoists' had a Serge with one of these in it...again, fun! casey ------- ------------------------------ Date: Tue, 13 Aug 1991 13:36:58 -0500 From: Randy Jones Subject: 3-d sound > I'm interested in experimenting with more auditory space than > stereo. > casey [helpful ideas from Bill Fox] Yes, the Roland device is exciting, if not affordable, but it's only a matter of time, a couple of years at the most IMO. What Roland is selling is the software algorithms, not the hardware; since they're first to market, they have the luxury of aiming at pro studios, for whom I suspect it will soon become a "must-have". I am assuming that this device creates pinna cues based on source material. Pinna cues are high frequency reflections in the ear from which we glean sound position information. (corrections/elaborations welcomed) Which brings us back to the original question: I have found that "3-d effects" can be created without fancy boxes, albeit in a trial-and-error fashion, by creating and fiddling with high-frequency information that relates to the source material. A box like the Aphex Aural Exciter would be good for this, or perhaps a resonant analog filter. I have used digital filters to create high formants, then played with eq in ways that made sense (handwaving alert) to create interesting effects. In combination with more standard "spatial" treatments like panned delays and reverbs, you can do some interesting (and often very annoying) things. -Randy Jones ------------------------------ Date: Tue, 13 Aug 1991 14:18:41 -0500 From: UUCJEFF@BOGECNVE.BITNET Subject: Reply to Eno Trick I first heard of that trick from an ESP album, which was an off-beat record company in the 60s featuring the likes of Albert Ayler, Sun Ra, and the Fugs. But they had a message, saying, if you wanted to convert your stereo to quad, to hook a speaker up on the + terminals of you remote speaker selection. (Speaker set A stays stereo, Speaker set B uses the + terminals) I used it for a while, and found it made some nice acoustics. I am not sure what it did to my amp, it was on its way out, but was totally fubar in a few years. Who knows any contributory causes. But what it is giving you is the difference between L+R, a L-R. Thus any information NOT in both channels is broadcast, thus you would get a lot of the reverberated information, the distancing information in the stereo signal. A real trip. jeff ------------------------------ Date: Tue, 13 Aug 1991 17:51:03 -0400 From: Thomas Arnold Subject: Re: Eno Trick Dynaco suggested a 4 speaker hookup that used 2 normally attached speakers, 1 speaker attached between the positive output leads, and another speaker connected somewhere else ( that sounds good and vague ). If you kinda can find the manual for a Dynaco Stereo 120 they show the hookup, if not I will make the attempt to remember to bring the diagram with me tomorrow. Tom Arnold ------------------------------ Date: Tue, 13 Aug 1991 18:19:59 GMT From: Alden Hackmann Subject: Re: auditory spaces yuen@NADC.NADC.NAVY.MIL (D. Yuen) writes: >While on the subject, anyone ever fool around with using multiple >stereo amps and speakers for sound reinforcement? Joe Mcmahon >mentioned this-kind of-during the discussion of using taped and >sequenced material. I would venture to guess that Dan Healy does - ask over on rec.music.gdead. A "gone are the days we stopped to decide..." ------------------------------ Date: Tue, 13 Aug 1991 18:33:16 GMT From: Alden Hackmann Subject: Re: Eno Trick yuen@NADC.NADC.NAVY.MIL (D. Yuen) writes: >Hey Daniel can you be more specific about the speaker trick? >Is this now a 3 speaker system? >Left--pos--Eno----pos---Right >or .... >Speakers A Left Right > : ......B Left....... : >Speakers B : : > .........B Right......... >Hmmm bad drawings. Please Clarify??!! My recollection of the Brian Eno speaker trick looks like this: ------------------------------------------------------ | Speaker - + Right + - Left | Amplifier | Outputs O O O O | ------------|---|--------------|---|------------------ | | | | | | --------- | | | +-----O O----+ | | | | + - | | | | | --------- | | | | Extra | | Speakers --|---|-- --|---|-- | O O | | O O | | - + | | + - | --------- --------- Right Left I don't remember where the extra speaker goes - in the back of the room? Alden "if you get confused listen to the music play..." ------------------------------ Date: Tue, 13 Aug 1991 22:39:35 EDT From: Daniel Dion Subject: Re: Eno Trick You have speaker right + and - You have speaker left + and - (+ and minus as in polarity) connect a third speaker. It's feed comes from the two + of the speakers. Try that and let me know. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Daniel Dion University of Ottawa / Universite d'Ottawa (613) 564-5903 DXD0N@ACADVM1.UOTTAWA.CA =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ------------------------------ Date: Tue, 13 Aug 1991 15:23:33 EDT From: "D. Yuen" Subject: re:Eno Trick et al I recall an album called "Old and In the Way" that was recorded in "mono" and relied strictly on miking tecniques to recreate the acoustic space of the players (obviously recorded live). Casey- Using say 5 or 6 mikes and a good mixer does not recreate the space? Say "Yes-to some degree", or else I must go home and shoot some ideas I had. Dan ------------------------------ Date: Wed, 14 Aug 1991 08:36:37 ADT From: Alan Edwards Subject: auditory spaces > While on the subject, anyone ever fool around with using multiple > stereo amps and speakers for sound reinforcement? Joe Mcmahon > mentioned this-kind of-during the discussion of using taped and > sequenced material. > > Dan Yuen I use 4 amps/speakers regularly in the studio. I find that it helps to spatially separate sounds initially, but I usually go to stereo to record. I had 4 speaker stacks at my last concert, though... EM had a good article a few months ago on how to do spatial imaging using lots of digital delays...I could look up the issue.It would be cheaper than the Roland system. What I would like to know is if anyone has seen encoders for surround sound processors. This is what newer movies are encoded with to give the effect of 4 channel sound, but it is recorded (I think) in stereo. The decoders are built into many hi-fi amps now, so the technology can not be too expensive. I would like to be able to record through an encoder, so that people with decoders will get the correct imaging. Alan ------------------------------ Date: Wed, 14 Aug 1991 13:46:21 GMT From: jalkio@CC.HELSINKI.FI Subject: Re: Eno Trick In article <9108131656.AA03873@NADC.NADC.NAVY.MIL>, yuen@NADC.NADC.NAVY.MIL (D. Yuen) writes: > > Other ideas...A four out put synth (or stack) into two independent > stereo amps & speakers. Use MIDI volume to pan across the stereo fields > in a sequence, or w/ a real time fader unit. I was thinking about doing something like this with the Wavestation. Just output each of the four oscillators to separate outputs and move the vector stick... Jouni ------------------------------ Date: Wed, 14 Aug 1991 11:19:43 EDT From: ronin Subject: Re: re:Eno Trick et al On Tue, 13 Aug 1991 15:23:33 EDT D. Yuen said: >Using say 5 or 6 mikes and a good mixer does not recreate the space? > *the* 'space' is a construct between your ears. you can create *a* space by any number of techniques, in any number of combinations. some of these will be more or less 'realistic' or at least 'spacious' depending on how slapdash one is in their design. people don't generally give enough attention to phase, for instance, when thinking about multiple mike setups. since *the* space is a binaural synthesis, there is a school of thought (to which i tend to adhere) that says that its recreation ought to be binaural, as well. a really well balanced stereo pair, aligned in proper fashion with regard to listening position, can produce a recording of the space inside your head very well. you don't neccessarily need all those doop-dahs. --------------------------< Eschew Obfuscation >------------------------- Eric Harnden (Ronin) The American University Physics Dept. Washington, D.C ------------------------------ Date: Wed, 14 Aug 1991 12:54:27 EDT From: "D. Yuen" Subject: Re: auditory spaces I could be wrong, but don't certain VCR's encode and decode surround sound? BTW I've heard recoding audio on VHS HiFi adds some undesirable "crunch" to program material. Anyone got the scoop? DY ------------------------------ Date: Wed, 14 Aug 1991 13:11:10 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "D. Yuen" Subject: Re: Recording Acoustic Space Eric- My idea was not to mike a stereo field, but to create a new "space" on tape by mike placement or masking (like a trashcan or a cardboard box). If a binaural mike was used is it best to encircle it with loudspeakers or move it around the "natural" environment and find the best location? DY cut short by the boss! ------------------------------ Date: Wed, 14 Aug 1991 16:37:40 GMT From: Erik Olson Subject: Re: Reply to Eno Trick UUCJEFF@BOGECNVE.BITNET writes: [stuff on 3rd speaker setup deleted...] >But what it is giving you is the difference between L+R, a L-R. Thus >any information NOT in both channels is broadcast, thus you would get a >lot of the reverberated information, the distancing information in the >stereo signal. A real trip. Interesting. Basically a cheap Dolby Surround decoder! >From what I understand, this is the exact scheme they use for encoding rear signals... L-R stuff. So I guess if you have a little more budget (or don't want to fry your amp), you could buy a decoder and get the same (or actually a little better separation) effect. Erik -- Erik D. Olson donley@milton.u.washington.edu Quoth the raven... "Eat my shorts!" "BART!!!" ------------------------------ Date: Wed, 14 Aug 1991 13:53:14 EDT From: "D. Yuen" Subject: Re: re:Eno Trick et al Eric (again) In the binaural world what would be considered aligning a stereo pair in proper fasion with regard to listening position? How does a binaural "space" compare to an artifical space? Is binaural to be considered the next best thing to being there (ie natural space), as opposed to a created space like surround sound, or recording in your bath room with one mike in the sink, one in a trash can and singing with a box over your head? (which I've done. Well, no box over my head actually. Which might have been a good idea looking back.) Admittitedly all recorded sound fields are artificial. The binaural process is interesting to me, but I've never really considered how it could be done before. For example the ZBS "radio dramas" that used Fritz the binaural head-environments like a stream with a water fall, the recording position is a matter of find an optimal position-but when recording the sound effects somekind of loudspeaker would be used. There are no naturally occuring loudspeakers so the environment around the speaker, and the distance between the mike and the speaker comes into play. Suddenly confused about stereo fields, Dan Yuen ------------------------------ Date: Wed, 14 Aug 1991 14:24:51 EDT From: "D. Yuen" Subject: Re: Surround Sound AAIIIEEE! Sorry guess I've been sleeping since the advent of surround sound. A typical S.S. system would look like this? frontleft frontright rearleft rearright or frontleft frontright rearspeaker Dan Yuen ------------------------------ Date: Wed, 14 Aug 1991 20:42:07 GMT From: Erik Olson Subject: Re: Surround Sound AAIIIEEE! yuen@NADC.NADC.NAVY.MIL (D. Yuen) writes: >Sorry guess I've been sleeping since the advent of surround sound. >A typical S.S. system would look like this? Looks like this: Center (L=R) Left Right Rear---------------------------Rear (L=-R) The difference between the old-style quad and surround is that there is only ONE back channel (simplemindedly the "L-R" channel), routed to two identical speakers ususally, and on pro-systems there is a "center" speaker which gets all the stuff in the middle of the stereo field. Erik -- Erik D. Olson donley@milton.u.washington.edu Quoth the raven... "Eat my shorts!" "BART!!!" ------------------------------ Date: Wed, 14 Aug 1991 13:00:00 EST From: CALANA95@SNYBUFVA.BITNET Subject: cd --> cassette ... I was wondering if someone can answer me this : I recently bought a c.d. player and want to make copies onto cassette, but am not exactly sure of what type/brand cassette to use. I'm looking for a high-quality, preferably 90-100 min. cassette, with very low (as low as possible) hiss. Cost is really not a problem, but I don't want to go overboard. Should I be looking into professional quality blanks? What material/s should I be looking into (chrome, metal, etc..)?, etc... Thanx in advance. ------------------------------------------------------------------------------- Michael C. Calanan -- SUNY College at Buffalo, N.Y. Computer Information Systems BITNET ID : CALANA95@SNYBUFVA ------------------------------------------------------------------------------- ------------------------------ Date: Wed, 14 Aug 1991 11:28:42 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jason Keeler Subject: Re: cd --> cassette ... In-Reply-To: Message of Wed, 14 Aug 1991 13:00:00 EST from Hello Michael; You might want to try either the chrome or metal tapes made by a company called THAT'S. They are made in Sweden if I recall correctly and are absolutely fantastic. They are more expensive however than brands like Maxell, TDK etc. although I feel they are worth the extra money. You should be able to find them at any stereo shop. ...Jason ------------------------------ Date: Wed, 14 Aug 1991 13:54:00 EST From: CALANA95@SNYBUFVA.BITNET Subject: Re: cd --> cassette ... >Hello Michael; >You might want to try either the chrome or metal tapes made by a company called >THAT'S. They are made in Sweden if I recall correctly and are absolutely >fantastic. They are more expensive however than brands like Maxell, TDK etc. >although I feel they are worth the extra money. You should be able to find >them at any stereo shop. >...Jason Thanx for yer help, Jason. I've heard of THAT'S, and that they're good for recording off of cd, but I'll have to look into them. Thanx again. mcc ------------------------------------------------------------------------------- Michael C. Calanan -- SUNY College at Buffalo, N.Y. Computer Information Systems BITNET ID : CALANA95@SNYBUFVA ------------------------------------------------------------------------------- ------------------------------ Date: Wed, 14 Aug 1991 11:39:29 CST From: Jason Keeler Subject: Q-80/Linn 9000 Hello; I was wondering if anyone here has had any experience with a Linn 9000. Some guy here in Regina wants to get rid of his for about $125CDN. Can anyone tell me anything about this? Second, I have a chance to rent either an MMT8 or Q-80. I know what the MMT8 does, however I know nothing of the Q-80 except it has 16 tracks and a 3.5" drive. So the question becomes whether it is worth renting a Q-80 (or maybe MMT8) or just outright buying the Linn. I only need a sequencer for 4 months. ...Jason ------------------------------ Date: Wed, 14 Aug 1991 12:32:51 MDT From: Adam Schabtach Subject: Re: Q-80/Linn 9000 Please contact me via e-mail at schabtac@stout.atd.ucar.edu regarding the Linn 9000. I can dig up some info for you; I don't have it at hand right now. If you don't want the 9000, I do! --Adam ------------------------------ Date: Sun, 11 Aug 1991 11:02:55 MDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Adam Schabtach Subject: Max mailing list? Has anyone set up a mailing list devoted to Opcode's Max? I've corresponded briefly with a few other Max programmers, and it would be nice to have an organized way of sharing patches, ideas, etc. If there isn't such a mailing list already, would someone be willing to set one up? I'd do it myself, but I have no idea how to do it. Thanks, --Adam schabtac@stout.atd.ucar.edu ------------------------------ End of the EMUSIC-L Digest ******************************