EMUSIC-L Digest Volume 48, Issue 01 This issue's topics: Getting to hear each other's music EMUSIC TAPE COMPILATION (29 messages) Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. ------------------------------------------------------------------------ Date: Fri, 22 Jan 1993 09:55:09 GMT From: JOEL STERN Subject: THINGS FOR THE EARS Not being an extremely long-time user of this net I don't know if this has been done before, but I would be interested in exchanging cassette tapes with others to hear what else is REALLY going on out there. It would certainly be worth the small trouble and expense to post the things. Would people be worried about copyright problems? (I'm not, particularly.) Joel Stern Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Fri, 22 Jan 1993 13:00:13 GMT From: JOEL STERN Subject: CLARIFICATION ON TAPES To clear up the apparent ambiguity in my message about tape exchanges, I was refering to tapes of original music (mine, yours...you know) and wasn't suggesting exchanges of pirated music. The reason I mentioned copyright is that it occurs to paranoid minds like mine that someone might want to take someone else's tape and claim it as their own. This might particularly worry people who are producing music professionally or who have recording contracts. At this point, I have no such encumbrances (i.e., no such luck) and would be glad to send out my music for audition, comment, criticism, to other individuals and would enjoy doing the same for them. Hope this clears things up. Joel Stern Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Fri, 22 Jan 1993 20:02:20 GMT From: JOEL STERN Subject: EAR AIDS : SUGGESTIONS Brian Good writes: >Do we >(1) Post a list of interested people, along with their musical s >influences, and do one-to-one exchanges of tapes, or >(2) Con some poor fool into compiling a tape of contributions an >copies, like a limited-distribution version of the Usenet tape/C >(3) Set up a "chain cassette" that gets sent sequentially to int >but *only* those who have something 100% *completed*). (1) sounds most like my original intent. (2) would, as you say, require some poor fool (I'm poor, but not fool enough to volunteer). (3) is intriguing but the people near the beginning of the chain won't hear the music of those at towards the end...unless the final compilation is then disseminated. How about this: a list of contributors with sublistings under the persons name (and contact address) of specific tapes they have prepared with, perhaps, the date of recording, title of the tape and short description of contents, and where appropriate, terms of availability (for those who need to charge money, etc.) Question to Joe: is this appropriate for this list (aasuming the scope is limited to e-music), and can it be done in a fashion similar to EMUSIC RSRCS or even incorporated into same? Joel Stern Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Fri, 22 Jan 1993 20:02:20 GMT From: JOEL STERN Subject: RE: DEADHEADS Jerome Pier writes that deadheads: >excell in this area and they have what is called a 'tape tree' w >is designated as a root, trunk, branch and leaf. Root is the coo Interesting, but sounds like it requires a high degree of organization and commitment, even fanaticism. I'm for a more modest and decentralized approach. Joel Stern Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Fri, 22 Jan 1993 15:51:17 CST From: J The Gnome Subject: I too like the idea of an amature cassette exchange, as suggested. Dead-Heads excell in this area and they have what is called a 'tape tree' where someone is designated as a root, trunk, branch and leaf. Root is the coordinator, trunk does the original tape masters and passes 5 masters to branches who have excellent dubbing capabilities (*not high speed dubbing decks*) and the branches send copies out to leaves. Tres organique! Sort of like an audio chain letter. No money is exchanged and typically leaves return blanks tapes to branches and branches exchange copies of tapes. I can send you a copy of how the 'Heads do it if you are interested. I guess I would be stuck as a leaf since I have limited dubbing capability... Sincerely, <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<+>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> | Jerome 'The Gnome' Pier | -------------------------_ | 234 LW Chase Hall | | M M SSSS EEEE A \ | Dept. Bio. Sys. Eng. | | M\ /M S E A A \_ | Univ. of Nebraska-Lincoln | | M \/ M SSSS EEEE AAAAA \ | Lincoln NE 68583-0726 | | M M S E A A \ | (402)472-9556 | | M M SSSS EEEE A A | bsen027@unlvm.unl.edu | -------- | | | Nebraska | Waste is a terrible thing to mind | ----------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<+>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> ------------------------------ Date: Mon, 25 Jan 1993 11:10:57 EST From: wbf@ALUX1.ATT.COM Subject: Re: EAR AIDS and collaborators Joel has opened an interesting topic. I haven't done what I consider emusic since I was at Ohio State in the 70's. Since then, I've concentrated on rock and pop styles. Occasionally, I've attended emusic events at a few universities since then. I'm very curious as to what people on this list are producing and what they consider emusic to be. Believe it or not, I find most people consider "NEW MUSIC" to be the latest releases on Top-40 radio and "ELECTRONIC MUSIC" to be ANY music that employs electric guitars and synthesizers, etc. Obviously, this is NOT what I'm expecting from EMUSIC-L's membership. But I'm not 100% sure. Nick does music for modern dancers and that's about all I know about who is doing what. Team Metlay can't be TOO different from that, but I may be wrong. Therefore, I would like to encourage an EMUSIC-L compilation tape to find out. Bill Fox 215-439-7217 | AT&T Bell Labs | Glub-blug dip woot-boof wammie, 555 Union Blvd. Rm. 1B-107 | hofr, horf, horf. Allentown, PA 18103 (USA) | Dr. Mike Metlay wbf@alux1.att.com | ------------------------------ Date: Mon, 25 Jan 1993 08:30:06 PST From: metlay Subject: Re: your mail >. Nick does music for modern dancers and that's about all I know >about who is doing what. Team Metlay can't be TOO different from that, >but I may be wrong. Therefore, I would like to encourage an EMUSIC-L >compilation tape to find out. Nick represents one extreme of the Team's spectrum-- very classical, in a way, with traditional orchestrations of nontraditional sounds. The Team stuff ranges from that to dance-noise with several stops in between for jazz, soundtrack music, etc. BANDWIDTH is remarkable in the relative lack of stylistic spread it encompasses, but BETA TEST/SATURNALIA is all over the freaking map. >Bill Fox 215-439-7217 | >AT&T Bell Labs | Glub-blug dip woot-boof wammie, >555 Union Blvd. Rm. 1B-107 | hofr, horf, horf. >Allentown, PA 18103 (USA) | Dr. Mike Metlay >wbf@alux1.att.com | Sorry, Bill, but I didn't say this. I was quoting Patrick Robinson. -- mike metlay | atomic city | "Just remember to rip out all the RAM chips p. o. box 81175 | and replace them with multistate core, pittsburgh pa 15217-0675 | for a more analog sound." metlay@netcom.com | (d. elliott) ------------------------------ Date: Mon, 25 Jan 1993 15:55:12 -0500 From: bgood@SUNDAGGER.LERC.NASA.GOV Subject: Joel Stern writes: >How about this: a list of contributors with sublistings under the >persons name (and contact address) of specific tapes they have >prepared with, perhaps, the date of recording, title of the tape >and short description of contents, and where appropriate, terms >of availability (for those who need to charge money, etc.) Sounds like a good way to get started. Here's a suggestion for the information we may want to collect: First, some general information about the contributor-- Name & Contact Address Instruments Played (we're not *all* keyboard players) Musical Interests and Influences (The intent is not to put everybody's music in boxes, just to give a rough indication of what to expect.) Terms of Availability (e.g. Willing to copy on your blank media; media supported; $ Required) Next, information about each available piece-- Song Title,Composer(s) (if other than above), Duration, Date of Recording Instrumentation (What boxes did you use?) Brief Description (What's it sound like?) Recording Details (Anything unusual?) Comments and additions, anyone? (Why do I have the feeling that Mike Metlay as smiling sagely as he watches us reinvent the wheel?) Brian Good bgood@sundagger.lerc.nasa.gov ------------------------------ Date: Mon, 25 Jan 1993 14:25:47 PST From: metlay Subject: Re: your mail > >Comments and additions, anyone? (Why do I have the feeling that Mike Metlay >as smiling sagely as he watches us reinvent the wheel?) Not at all. This is a very different project than whaT I do, and has different requirements. You're off to a good start. Hell, I might even volunteer a piece from my personal vaults for this.... -- mike metlay | atomic city | "Don't whizz on the electric fence!" p. o. box 81175 | pittsburgh pa 15217-0675 | (j. kricfalusi) metlay@netcom.com | ------------------------------ Date: Tue, 26 Jan 1993 18:04:07 +0000 From: Nick Rothwell Subject: Re: EAR AIDS and collaborators >Nick does music for modern dancers and that's about all I know >about who is doing what. Actually, I don't think there is much correspondence between contemporary dance and contemporary music in this context; I've seen good contemporary dance performed to anything from Madonna to a superb live soundtrack played on walkie-talkie sets (in pairs, using interference/feedback to pick up different pitches). This is part of the appeal of the medium: flexibility. >Team Metlay can't be TOO different from that, >but I may be wrong. I don't know if Team Metlay is much different; it's hard to be objective when (i) so closely involved and (ii) so wacked-out when a session's over. The difference is that in solo work I work alone but with a rig I know well. In TM we work with other people, throwing ideas around, but with an unfamiliar rig, beer, food etc. >Therefore, I would like to encourage an EMUSIC-L >compilation tape to find out. Hopefully Craig Latta will have the MUSEnet CD out reasonably soon; I have a track on that, as do (I presume) some other folks here. Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Tue, 26 Jan 1993 13:33:02 CST From: crispen Subject: Re: EAR AIDS and collaborators Nick Rothwell sez: > Hopefully Craig Latta will have the MUSEnet CD out reasonably soon; I have > a track on that, as do (I presume) some other folks here. I've got one too, but I'll believe it when I see it. And, while we're on the subject, what the heck happened to the rec.music.industrial CDs? Actually, folks involved in projects like these should definitely broadcast progress reports (or even lack-of-progress reports) so we can tell the difference between delays and "thanks for the money, chumps." In the meantime, if someone is getting up an EMUSIC-L tape, put me down for a copy and let me know where to send the money. Translation of the above two thoughts: I'm a sucker for music. Now, don't everyone write in at once and try to rip me off. OMC (sort of): Does anyone know of a good, cheap audio spectrum analyzer? I saw such a thing once as a plug-in for the Radio Shack Color Computer. I had a CoCo (still have it, but I haven't fired it up in 4-5 years) but I thought (based on no evidence) that the spectrum analyzer was a toy, so I didn't buy it. Any other sources? I would prefer semi-real-time operation (at least 5 Hz sampling and display rate), and freeze would be nice, too. Thanks. +-------------------------------+--------------------------------------+ | Rev. Bob "Bob" Crispen | If metal is responsible for violence | | crispen@foxy.boeing.com | then C&W is responsible for incest | +-------------------------------+--------------------------------------+ ------------------------------ Date: Wed, 27 Jan 1993 10:07:10 GMT From: JOEL STERN Subject: GETTING THE TAPES OUT Sean: Are you really willing to be the compilation manager? Saints be praised. I still like the idea of having an updateable file available via the list (see my message of Jan. 23), especially since it removes the duplication burden from any one individual. However, if that individual wants to and can pull it off I will more than gladly participate. Where do we go from here? Joel Stern Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Wed, 27 Jan 1993 11:08:11 GMT From: JOEL STERN Subject: PROGRESS (TAPES) Joe M. writes: >If a volunteer (Sean?)decides to be the central clearing-house f >stuff, I will see if I can set up a drop-folder on the castroval >server to give the participants a place to drop off the informat >on their submissions./ This sounds great. (Ahem)...what's the castrovalva ftp server? I've seen it referred to before, but don't know the address or contents. Joel Stern Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Wed, 27 Jan 1993 07:32:03 EST From: "Sean F. Jepson" Subject: EMUSIC TAPE COMPILATION Hi All, Sounds like a good idea. I would be willing to do the project if it would follow the steps below: 1) A tape with a contribution song would be sent to me along with Information on one sheet of paper explaining the subjects you have outlined below. 2) A fee eqaul to the mailed postage plus a 75 cents would be included to cover the return mailing . 3) I will add to the contribution tape all the other people's work and zerox copies of all the song information sent out with each song. 4) It will then be mailed back to the contributor with all the new songs and info. Everyone must under stand that the tapes they receive will not be the best quality but they will have the composer's info so they may be able to purchase a product directly from them (CD or tape). If everyone thinks it is a good idea I will post an address where the tapes can be sent. Sean. >> Here's a suggestion for the information >> we may want to collect: >>First, some general information about the contributor-- >>Name & Contact Address >>Instruments Played >>(we're not *all* keyboard players) >>Musical Interests and Influences >>(The intent is not to put everybody's music in boxes, just to give a rough >>indication of what to expect.) >>Terms of Availability >>(e.g. Willing to copy on your blank media; media supported; $ Required) >>Next, information about each available piece-- >>Song Title,Composer(s) (if other than above), Duration, Date of Recording >>Instrumentation (What boxes did you use?) >>Brief Description (What's it sound like?) >>Recording Details (Anything unusual?) >>Comments and additions, anyone? (Why do I have the feeling that Mike Metlay >>as smiling sagely as he watches us reinvent the wheel?) >>Brian Good >>bgood@sundagger.lerc.nasa.gov ---------------------------------------------------------------------- Sean Jepson ---------------------------------------------------------- USDA, Economic Research Service ------------------------------------ SJEPSON@ERS.BITNET --------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ------------------------------ Date: Wed, 27 Jan 1993 14:20:14 GMT From: JOEL STERN Subject: TAPE PLAN Sean and other interested parties: I'm reiterating Joe M's message of this morning in case anybody missed it: >If a volunteer (Sean?)decides to be the central clearing-house f >stuff, I will see if I can set up a drop-folder on the castroval >server to give the participants a place to drop off the informat >on their submissions. > >I have to have a specific person as coordinator,so I can give th >access to the directory. > > --- Joe M. This is starting to shape up into a good arrangement. I would hope that the ftp files could save Sean, or whoever else does tape compilation, the trouble of having to do all the clerical work too. If people can just ftp for the details and descriptions of the tape or composer they're interested in that will eliminate most or all xeroxing. Here's how I see it happening--the composer submits the details about the tape by email to the list to be loaded into an ftp-able data base. They would include the names of the personel, title of the tape, program length, date of release, number and names of the cuts, the style of music, the instruments-equipment used, maybe some limited free text for further comment-description. As close to simultaneously as possible they would also send off their tape to the recording archivist, who would take responsibility for duplication, labelling and mailing the tape to requestors. The archivist (excuse the library terminology--comes with the turf here) would be responsible for setting realistic conditions and prices for the services involved and for seeing that they get posted and updated on the ftp file. If the archivist had to go on to a better reward, that person would advertise for a replacement. One problem that occurs to me: how do people who don't have ftp capability find out what's available? Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Wed, 27 Jan 1993 14:38:14 GMT From: JOEL STERN Subject: TAPE CLARIFICATION? Bill Fox has some very good suggestions about the taping idea. Definitely noise reduction should be added to the tape info. It seems like we're talking about slightly different concepts though. I was thinking that this would be an on going project for people to post their music to and from, and not just a one shot or annual compilation. For example, I send Sean a tape of mine and post info about it to the list. Sean archives the tape, with some kind of handy retrieval code. A month later someone reads about my tape in the list data base and decides they want to hear it. They send Sean the agreed amount of money (and-or a blank tape or whatever) and Sean runs off a copy and sends the goods out. But I also favor the idea of a compilation in addition to the normal business. Joel Stern Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Wed, 27 Jan 1993 10:26:26 EST From: "Sean F. Jepson" Subject: EMUSIC Tape Compilation Joel: Yes, I am willing to start such an adventure. I think it could be a lot of fun. I did not read your past message but it sounds like a good idea. Maybe we could have a index listing of what has been submitted to me so that people could request what they want on their tapes. This would take a lot longer to compile each tape but maybe they can be arranged in volumes. I would say to start sending tapes today but I am not sure what information should be sumitted with the the tapes and how much the zeroxing and return postage would be. I'm guessing it would be different for each submission depending on how much the postage cost. If every body would agree to send the cost of postage + say 50 cents to a dollar to pay for zeroxing and the extra added weight. I think that could work.. Don't you? Please send suggestions on what the submission information should include. Once that is settled then I will post the information and where to send the tapes. I looking forward to starting and hearing what everybody's been working on. Hope to hear from you all.... Sean ---------------------------------------------------------------------- Sean Jepson ---------------------------------------------------------- USDA, Economic Research Service ------------------------------------ SJEPSON@ERS.BITNET --------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ------------------------------ Date: Wed, 27 Jan 1993 10:32:47 -0500 From: "Joseph D. McMahon" Subject: Re: GETTING THE TAPES OUT If a volunteer (Sean?) decides to be the central clearing-house for this stuff, I will see if I can set up a drop-folder on the castrovalva ftp server to give the participants a place to drop off the information on their submissions. I have to have a specific person as coordinator, so I can give them read access to the directory. --- Joe M. ------------------------------ Date: Wed, 27 Jan 1993 09:04:49 PST From: metlay Subject: Re: EAR AIDS and collaborators >>Team Metlay can't be TOO different from that, >>but I may be wrong. > >I don't know if Team Metlay is much different; it's hard to be objective >when (i) so closely involved and (ii) so wacked-out when a session's over. >The difference is that in solo work I work alone but with a rig I know >well. In TM we work with other people, throwing ideas around, but with an >unfamiliar rig, beer, food etc. The unfamiliar rig is tough to deal with, true. But the unfamiliar beer and food is what can really sneak up on you. |-> -- mike metlay | "He must be listening to bagpipes, atomic city | because he looks like plaid." p. o. box 81175 | pittsburgh pa 15217-0675 | (b. jonell) metlay@netcom.com | ------------------------------ Date: Wed, 27 Jan 1993 18:01:27 +0000 From: Nick Rothwell Subject: Re: EAR AIDS and collaborators >Actually, folks involved in projects like these should definitely >broadcast progress reports (or even lack-of-progress reports) so we >can tell the difference between delays and "thanks for the money, >chumps." To be fair, Craig has been putting out monthly progress reports ever since the start of the project. I haven't seen anything recently, so I'll check up with him. I should say though that anyone involved in this kind of venture should not hold their breath; I don't know for sure whether the MUSEnet CD will make it out (for reasons of funding apart from anything else); if it does, that'll be great. If not, that'll be a shame. Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Wed, 27 Jan 1993 13:42:53 EST From: wbf@ALUX1.ATT.COM Subject: EMUSIC-L Compilation Tape If I were to put in my two cents worth, I'd say something like the following. Use what makes sense to you and discard the rest. 1. One composition submitted per willing contributor. If the tape you send has more than one composition on it, then cue up the one you wish to appear on the compilation tape. Don't make the compiler guess. Same goes for noise reduction - clearly specify what, if any, you used. What tape formats can the compiler handle? Cassette and DAT; master to DAT then copy in real time from the master DAT compilation? 2. Email your liner notes to the compiler. (S)he will concatenate them all together and post them on the list. A copy for the archives would be nice. Equipment and/or techniques used, lyrics, inspiration, musicians, etc.; whatever you want your liner notes to say! 3. Contributors should send a 90 minute blank cassette (or DAT for a direct digital copy) along with their contribution if a copy of the compilation is desired. Self addressed, stamped envelope required so the compiler doesn't have to fork out the cash for postage. Otherwise, you may not get your contribution tape back. Don't send in your master; send a safety copy or a digitally copied DAT. 4. Limit contributions to under 6 minutes to allow a variety on the 90 minute compilation tape. 5. Contact a contributor for your copy if you didn't contribute but want a copy. This is to reduce the work load on the compiler. Alternately, somebody can look into a tape duplicating house and sell copies to whoever wants one. Cheers! Bill Fox 215-439-7217 | AT&T Bell Labs | Glub-blug dip woot-boof wammie, 555 Union Blvd. Rm. 1B-107 | hofr, horf, horf. Allentown, PA 18103 (USA) | Patrick Robinson wbf@alux1.att.com | ------------------------------ Date: Wed, 27 Jan 1993 12:57:32 CST From: crispen Subject: Re: EAR AIDS and collaborators Nick Rothwell sez: > To be fair, Craig has been putting out monthly progress reports ever since > the start of the project. I haven't seen anything recently, so I'll check > up with him. I should say though that anyone involved in this kind of > venture should not hold their breath; I don't know for sure whether the > MUSEnet CD will make it out (for reasons of funding apart from anything > else); if it does, that'll be great. If not, that'll be a shame. OK, sure. I've been going on the assumption that this year's CD will be like last year's tapes: contributors get one free (I believe Craig said this some time back). Well, if he's having money problems producing the CD, I for one would be tickled to death to pay for mine, pay more, etc. The point is, we need to be kept up to date. We know that making CDs is expensive and I think most of us wouldn't mind contributing financially. Anyway, if you or anyone on the list happens to know Craig's email address (I've been too dilligent in purging my mail archives), please email me and I'll take it up with him. Sorry for the side topic. I definitely support anyone who's trying to make an EMUSIC-L tape. Just tell me where to send the money. Bob crispen@foxy.boeing.com ------------------------------ Date: Wed, 27 Jan 1993 14:06:26 -0500 From: bgood@SUNDAGGER.LERC.NASA.GOV Subject: Sean Jepson writes: > Yes, I am willing to start such an adventure. I think it could be > a lot of fun. Quick, before he changes his mind!!! > Maybe we could have a index listing of what has been > submitted to me so that people could request what they want on their > tapes. This would take a lot longer to compile each tape but maybe > they can be arranged in volumes. Don't make more work for yourself--allow people to request whole volumes but not custom compilations (which would be pretty time-consuming). In fact, it might be a good idea to archive the volumes as they're compiled, preferably to DAT. I'd be willing to do that if you don't have a DAT available, and to make any DAT-to-DAT distribution copies people may want. > I would say to start sending tapes > today but I am not sure what information should be sumitted with the > the tapes I posted some starter suggestions a couple days ago; I can email if you don't have them. > ...and how much the zeroxing and return postage would be. > I'm guessing it would be different for each submission depending on > how much the postage cost. If every body would agree to send the > cost of postage + say 50 cents to a dollar to pay for zeroxing and > the extra added weight. I think that could work.. Don't you? Is it necessary to send hard copies of the contributor information? By definition anyone getting EMUSIC-L has net access--wouldn't email suffice? > Please send suggestions on what the submission information should > include. Once that is settled then I will post the information and > where to send the tapes. I looking forward to starting and hearing > what everybody's been working on. > Hope to hear from you all.... Sean What tape formats can you handle? brian good bgood@sundagger.lerc.nasa.gov ------------------------------ Date: Wed, 27 Jan 1993 16:28:11 EST From: "Sean F. Jepson" Subject: Emusic tape update! >> BILL FOX HAS SOME VERY GOOD SUGGESTIONS ABOUT THE TAPING IDea. >> DEFINITELY NOISE REDUCTION SHOULD BE ADDED TO THE TAPE INFO. It >> SEEMS LIKE WE'RE TALKING ABOUT SLIGHTLY DIFFERENT CONCEpts >> THOUGH. I WAS THINKING THAT THIS WOULD BE AN ON GOING PROJECT for >> PEOPLE TO POST THEIR MUSIC TO AND FROM, AND NOT JUST A ONE Shot >> OR ANNUAL COMPILATION. FOR EXAMPLE, I SEND SEAN A TAPE OF Mine >> AND POST INFO ABOUT IT TO THE LIST. SEAN ARCHIVES THE TAPE, With >> SOME KIND OF HANDY RETRIEVAL CODE. A MONTH LATER SOMEONE REads >> ABOUT MY TAPE IN THE LIST DATA BASE AND DECIDES THEY WANT TO Hear >> IT. THEY SEND SEAN THE AGREED AMOUNT OF MONEY (AND-OR A BLank >> TAPE OR WHATEVER) AND SEAN RUNS OFF A COPY AND SENDS THE GOods >> OUT. BUT I ALSO FAVOR THE IDEA OF A COMPILATION IN ADDITION to >> THE NORMAL BUSINESS. >> JOEL STERN >> LIBRARY OF CONGRESS >> STERN@MAIL.LOC.GOV >> TEL:301-588-8061 FAX:301-585-7642 I THINK JOEL HAS IN MIND WHAT I AM LOOKING TO DO. I WOULD LIKE TO KEEP IT AN ONGOING PROJECT WHERE PEOPLE SUBMIT TAPES TO ME THEN I WILL ARCHIVE THEM IN SOME WAY FOR LATER RETREIVAL. UNFORTUNATELY I DO NOT HAVE A DAT DECK. IF PEOPLE WOULD LIKE TO SEND THEM TO ME TO BE ARCHIVED ALONG WITH THERE REGULAR CASSETTE TAPE THATS GREAT. THEN AT SOME POINT WHEN PEOPLE WOULD LIKE TO REQUEST A COMPILATION CD BE MADE I WILL HAVE IT READY TO PULL OUT. I DO KNOW OF A DUPLICATING AND PACKAGING BUISNESS RIGHT DOWN THE STREET FROM MY HOUSE. I THINK IT WOULD BE A GREAT SERVICE TO EVERYONE ON THE NET. I KNOW I'D LIKE TO HEAR SOME STUFF EVERYONE ELSE HAS WRITTEN. THE COMPILATION CD'S ARE A GREAT IDEA IT JUST SEEMS THERE IS NEVER ENOUGH MONEY OR SOMETHING TO GET THEM ROLLING. I THINK SINCE THIS WILL REQUIRE LITTLE MONEY, JUST A LITTLE EFFORT, IT MIGHT BE MORE BENEFICIAL TO EVERYONE. I WILL GO HOME TONIGHT AND OUTLINE WHAT THE SUBMISSION REQUIREMENTS WILL BE. SOON MAYBE WE ALL CAN GET A BETTER IDEA OF WHAT EACH OF US ARE DOING MUSICALLY. THANKS FOR ALL THE SUGGESTIONS. SEAN ---------------------------------------------------------------------- Sean Jepson ---------------------------------------------------------- USDA, Economic Research Service ------------------------------------ SJEPSON@ERS.BITNET --------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ------------------------------ Date: Wed, 27 Jan 1993 16:56:15 -0500 From: WSCOTT@ACS.WOOSTER.EDU Subject: Re: EAR AIDS and collaborators Again, as Nick said. Regular updates have been posted to xcf.berkely.edu. I think Craig Latta has been quite clear about the progress of the musenet CD in these. You may not have noticed because the updates are simply edited changes in the original document. Bill Scott ------------------------------ Date: Thu, 28 Jan 1993 17:51:17 GMT From: JOEL STERN Subject: GOOD WORK Sean: I admire your decisiveness. Thanks for getting the ball rolling. I'm now looking forward to establishment of the archive address. Joel Stern Library Of Congress stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Thu, 28 Jan 1993 14:35:13 EST From: "Sean F. Jepson" Subject: EMUSIC ARCHIVE FORM! O.K. lets get started! A list of submitted material will be compiled as soon as they are received. DATE : 1/28/93 EMUSIC COMPOSITION ARCHIVE SUBMISSION AND REQUEST INSTRUCTIONS SUBMISSION: 1) Please send 90 minute Metal or CrO2 cassette with the submission on it. If you would like to send a DAT tape for a possible future requested compilation CD'that's fine too, but please send a standard cassette tape for reproduction requests from the network. CD's will also be accepted and requests filled if the artist wants to submit them. 2) Make sure that you enclose the proper information requested below (see attached form) with the cassette. Also e-mail sjepson@ers.bitnet a completed form so he will expect the cassette and can update the electronic archive. (Archive address to be disclosed later.) 3) Mail to the following address. Sean Jepson 3103 Ellenwood Dr. Fairfax, VA 22031 4) If you are requesting a compilation along with your submission please include the following outlined in the REQUESTS section. 5) As many submissions as the artist wants to submit will be accepted. Make sure there is a seperate submission form for each 90 minute tape submitted. REQUESTS: 1) To receive a compilation please send a request form along with blank tape, self addressed STAMPED envelope, and $1.00 handling for each 90 minute tape sent. No more than two requested compilations will be placed on one blank tape. (This is to save time.) ****If one the above is missing the request will not be filled.**** 2) On the request form just fill out the lines with asterisks. 3) Mail to the following address. Sean Jepson 3103 Ellenwood Dr. Fairfax, VA 22031 4) PLEASE, NO requests through E-MAIL!!!!!!!!! Only submissions. RULES OF AGREEMENT: The Archivist will not be responsible for other peoples misuse and abuse of submitted/requested songs. If you are worried because your composition has not been copyrighted please don't send it. *** Please e-mail the following form to sjepson@ERS.BITNET as well as including the same information with cassette. The asterisk information must be filled out or the submission/request will be void. ----------------------------------CUT HERE------------------------------------ EMUSIC COMPOSITION ARCHIVE SUBMISSION/REQUEST FORM REQUEST,SUBMISSION: ____________________ * Artist's/Band's Name: __________________ * Title of Composition: __________________ * Program Length: ________________________ * Song Titles: SIDE 1 SIDE2 * ____________________________ ____________________________ Date of Submission: ____________________ * E-Mail address: ________________________ * Contact Address: _______________________ _______________________ Music Style: ____________________________ Instrument & Performer List: ____________________________ ____________________________ ____________________________ ____________________________ Recording Details/Tricks: ____________________________ ____________________________ ____________________________ ____________________________ Other Titles: ____________________________ ____________________________ ____________________________ ---------------------------------------------------------------------- Sean Jepson ---------------------------------------------------------- USDA, Economic Research Service ------------------------------------ SJEPSON@ERS.BITNET --------------------------------------------------- ---------------------------------------------------------------------- ---------------------------------------------------------------------- ------------------------------ Date: Thu, 28 Jan 1993 18:42:56 -0500 From: "Joseph D. McMahon" Subject: Re: GOOD WORK JOEL STERN writes: > I'm now looking forward to establishment of the archive address. It's done. Sean has access to a folder named "music-archive" on castrovalva.gsfc.nasa.gov (128.183.33.197). He will be putting the stuff he gets there, and announcing it here. I'll throw this open to the readership: does anyone have problems with allowing contributors to include information on whether or not they have an actual purchaseable album of their music available? Note that this is *not* on the list, but in the material being contributed to Sean's archive. The person reading the information would have the option of contacting the composer/performer _off the list_ to purchase said album if they wished after hearing a sample from Sean's compilations. This could be a nice way of letting people get (admittedly limited) distribution of their albums, if they wanted to do this. Still no ads on the list, though. :-) Sean, I'd suggest that you build volumes of contributions and allow people to select a compilation, rather than custom-building them. Otherwise you will lose your mind, quick. A word about the archive: it contains a bunch of stuff more or less related to EMUSIC-L, EMUSIC-D, and SYNTH-L. This includes: - back issues of the EMUSIC-L digest - contributed software - FAQ's (we need more - anyone feel like writing any?) - Lime (a Mac notation program, including MIDI Manager 2.0) - MIDI spec documentation - the rules of conduct for EMUSIC-L - schematics for a small analog synth - Sean's music archive directory --- Joe M. ------------------------------ Date: Fri, 29 Jan 1993 09:51:09 GMT From: JOEL STERN Subject: RE: GOOD WORK JOEL STERN writes: > I'm now looking forward to establishment of the archive address. It's done. Sean has access to a folder named "music-archive" on castrovalva.gsfc.nasa.gov (128.183.33.197). He will be putting the stuff he gets there, and announcing it here. I'll throw this open to the readership: does anyone have problems with allowing contributors to include information on whether or not they have an actual purchaseable album of their music available? Note that this is *not* on the list, but in the material being contributed to Sean's archive. The person reading the information would have the option of contacting the composer/performer _off the list_ to purchase said album if they wished after hearing a sample from Sean's compilations. This could be a nice way of letting people get (admittedly limited) distribution of their albums, if they wanted to do this. Still no ads on the list, though. :-) Sean, I'd suggest that you build volumes of contributions and allow people to select a compilation, rather than custom-building them. Otherwise you will lose your mind, quick. A word about the archive: it contains a bunch of stuff more or less related to EMUSIC-L, EMUSIC-D, and SYNTH-L. This includes: - back issues of the EMUSIC-L digest - contributed software - FAQ's (we need more - anyone feel like writing any?) - Lime (a Mac notation program, including MIDI Manager 2.0) - MIDI spec documentation - the rules of conduct for EMUSIC-L - schematics for a small analog synth - Sean's music archive directory --- Joe M. ------------------------------------------ THIS IS A REPLY TO THE ABOVE MESSAGE SUBJECT OF THE REPLY: REPLY ------------------------------------------ Joe writes: >I'll throw this open to the readership: does anyone have problem >allowing contributors to include information on whether they hav >an actual purchaseable album of their music available?Note that >*not* on the list, but in the material being contributed to Sean This is OK with me. Joel ------------------------------ End of the EMUSIC-L Digest ******************************