EMUSIC-L Digest Volume 52, Issue 05 This issue's topics: Announcement Another concert announcement, and some workstation/academic music thoughts (2 messages) Arplay/Demos/Techno/Radio/Sydney/Australia ARS ELECTRONICA public VRSOUND-DATA-BASE ESQ1-2,000 patches uploaded! Let's play a little Gesang game.... MIDI Software Available New items on castrovalva.gsfc.nasa.gov Oberlin workshops Team Metlay's BANDWIDTH is now shipping! (6 messages) Tuning Suite for SY77/99 TG99, DX11, TZ? Posted at ucsd.edu Your EMUSIC-L Digest moderator is Joe McMahon . You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. ------------------------------------------------------------------------ Date: Wed, 26 May 1993 20:39:00 CST From: Sally Reid Subject: Re: Announcement -Bill Walker walker@cs.uiuc.edu ---------------------------------------------------------------------- 1993 Summer Workshops by the University of Illinois CERL Sound Group Spend one to two weeks this summer completely immersed in learning the theory and applications of sound computation. Learn the details of the Kyma System, Lemur, Lime, and ImprovisationBuilder from the people who wrote the programs and designed the hardware. Enjoy unlimited access to your own Kyma workstation. Escape from ordinary day-to-day distractions by living in a dormitory and eating your meals with the CERL Sound Group staff and your fellow workshop participants. You'll learn more in a shorter time than you had ever thought possible. * Intensive Workshop in Sound Computation, July 11-18 Prerequisites: Background in music and/or computer science Fees: $750 covers tuition, full room & board, banquet * Personal Consulting in Sound Computation, July 18-23 Prerequisites: Approval of a written proposal for a project requiring extensive use of Kyma, Lime, Lemur, 56000 assembler, and/or ImprovisationBuilder Fees: $550 covers consulting, full room & board, banquet * Both Workshop and Personal Consulting, July 11-23 Fees: $1000 covers tuition, consulting, full room & board, banquet Preference will be given to applications received by 15 April 1993, but we will continue to accept applications until all slots are filled. For detailed information and an application for the CERL Sound Group Workshops, call 217-333-6210 or 217-333-0766 (voice) or 217-244-0793 (fax), or send e-mail to sound@cerl.uiuc.edu. CERL Sound Group Unversity of Illinois 252 Engineering Research Laboratory 103 S. Mathews Urbana, IL 61801-2977 ------------------------------ Date: Mon, 10 May 1993 20:46:17 EDT From: Paul Lansky Subject: Another concert announcement, and some workstation/academic music thoughts I'd like to announce another concert of new computer music from Princeton University. Friday, May 14th, Taplin Auditorium, 8 pm, admission free. It will be a varied and interesting concert, and should have something to please (and annoy) everybody. ---------------------------- I'd also like to add my 2 cents to the workstation/academic music discussion which has been going on (4 cents, actually). 1) I've been working with computers and music since the late '60s and in that time I have seen the cost of the resources required go from a few million dollars, to the price of an expensive house in the wealthy part of town, to the price of a modest house, to the price of a fancy car, to the price of a used '86 Camry (I don't think it will go as far as a used Chevy). And, I've seen the cpu-time/music-time ratio go in the opposite (same?) direction. I've probably seen an increase of 100 times speed-up. My sense is that the cpu-time/music ratio will continue to decrease, but that the cost for a basic useable system will hover around the price of a good used car. (If I were a violinist, or even a flutist, I would certainly expect to spend a lot more than that on my instrument-- a lot more!) It is certainly true that access to this equipment has been limited for a long time to people who are attached to universities and research centers, and those people have had the good fortune to be able to tune their skills and abilities over a long period of time. Now, however, these resources are increasingly within the reach of individuals, rather than institutions, and this is a good thing. 2) Learning to "play" the computer, in my view, should be thought of as analogous to learning to play any other instrument. You struggle for a long time until you start to get feedback. I honestly don't think that there will ever be any shortcuts. Now, whether you learn what you need to know in a university or elsewhere is an interesting question. I think the most important thing is to develop an imaginative and lively understanding of how music goes. You might also need to learn some programming and math, but I see no reason why any of these subjects are necessarily the provenance of an academic environment. There are some academic environments which will be helpful in this regard, while there are others which will kill any spark of liveliness you might have. Just like anything else in life. I don't want to go near the issue of life-experience vs musical imagination, except to observe that -we all have our own inner turmoil -Kant never ventured more than 40 miles from Konigsberg, -and that the Red Guards put a stop to all music. 3) I was recently in Denmark, where there is a different system with respect to academic/research and professional application. In fact this is quite similar to the system in the old Soviet Union, where things like electronic/computer music are put into the domain of radio stations, and professional institutes, while "academic" research specifically precludes creative work. My friends and acquaintances in both places feel that this system works to the detriment of progress in computer musical applications. Notice that what John Chowning discovered about frequency modulation, was actually well-known in the 1940's. He actually used a chart in his famous article which is taken from an article written about 1943 or so. But, it took the imagination of a composer who had his feet in music and research to see the potential for musical applications. It took Yamaha to package and sell it, but it took an academic musician to imagine it. 4) Computer-music will become increasingly blurry as a category in the future. Witness the recent convergence of computing and audio technologies. I don't know whether the demands of mass marketing will slow this down or not. They have certainly accelerated it with the CD revolution, but slowed it down with the introduction of DAT technology. What will be very interesting to watch is if the commercial music industry will permit the development of a very powerful new approach. With the radical increase in computing power coming about it will very shortly be possible to do what most commercial synthesizers do, entirely in software. So the potential is there to move towards the Nintendo approach: you buy a basic box once, and then buy different software to run it. This is already the trend in computing as the number of hardware companies decreases and the emphasis is on software. You wouldn't have to throw out your latest model XZ/92 when it becomes obsolete and buy the next step up. All you would need is new software. My fear is that this will be resisted strongly by Yamaha, Korg, et alia. They are hardware companies. We shall see. 5)Finally, (to make it an even nickel) the music you make is, in a way, your reaction to your environment (& vice versa). "Bad academic music" is a reaction to a "bad academic environment". Show me a good, lively, exciting "academic" music shop, and I'll show you some good music. (And I think that Revolution #9 is the worst thing the Beatles ever did. Rocky Racoon has 10 times the cutting-edge of Revolution #9.) Anyway, just my 5 cents. Paul Lansky ------------------------------ Date: Tue, 11 May 1993 10:25:49 -0400 From: Joe McMahon Subject: Re: Another concert announcement, and some workstation/academic music thoughts >I'd like to announce another concert of new computer >music from Princeton University. Friday, May 14th, >Taplin Auditorium, 8 pm, admission free. It will >be a varied and interesting concert, and should have >something to please (and annoy) everybody. > Sigh. "Uh, I have to go out this evening." "Where?" "Jersey...?" :-) >Now, however, these resources are increasingly within the reach >of individuals, rather than institutions, and this is a good thing. Yes. I have to admit I'm actually arguing in part from a false position, as I could no doubt install csound on one of the Indigoes downstairs in the visualization lab and play with it there. Another few years may put this technology in easy reach of the amateur. I'm just impatient! >Now, whether you learn what you >need to know in a university or elsewhere is an interesting >question. I think the most important thing is to develop an >imaginative and lively understanding of how music goes. >You might also need to learn some programming and math, but >I see no reason why any of these subjects are necessarily >the provenance of an academic environment. There are some >academic environments which will be helpful in this regard, >while there are others which will kill any spark of liveliness >you might have. Just like anything else in life. Thank you. This is one of the most refreshing things that has been contributed to the discussion so far, and is a good reminder. >3) I was recently in Denmark, where there is a different system >with respect to academic/research and professional application. >In fact this is quite similar to the system in the old Soviet >Union, where things like electronic/computer music are put into >the domain of radio stations, and professional institutes, while >"academic" research specifically precludes creative work. I think this is still the case in many computer science departments. Certainly this was true when I was an undergraduate. Music software was strictly the balliwick of the music department; the CS department was Not Interested. "You're not here to have fun, you're here to do numerical analysis and write bubble sorts in Pascal." >What will be very >interesting to watch is if the commercial music industry will >permit the development of a very powerful new approach. With >the radical increase in computing power coming about it will >very shortly be possible to do what most commercial synthesizers >do, entirely in software... >My fear is that this will be resisted strongly by Yamaha, >Korg, et alia. They are hardware companies. We shall see. Yes, especially since current corporate strategies seem to be based on repackaging a few limited technologies and spending lots of money of advertising calculated to make the consumer feel as if their two-year old keyboard is as applicable to "today's music" (whatever that is) as a sackbut. >(And I think that Revolution #9 is the worst thing the Beatles >ever did. Rocky Racoon has 10 times the cutting-edge of >Revolution #9.) No question. Just scrounging for examples. :-) --- Joe M. ------------------------------ Date: Tue, 4 May 1993 06:37:44 GMT From: Michael Dagn Subject: Arplay/Demos/Techno/Radio/Sydney/Australia ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Anyone with DEMO tapes/pressings that would like airplay in AUSTRALIA ... (Especially TECHNO, Rave, House, Industrial, EBM, etc...) I do a Radio programme here in Sydney Australia and also play at some Raves/Clubs/etc. I am also interested in any information, Magazines, playlists, DJ charts, etc... e-mail: au535@cleveland.Freenet.Edu or mdagn@pos.apana.org.au or call me on ++61-2-3993554 ------------------------------------------------------------ email: au535@cleveland.freenet.edu // mdagn@pos.apana.org.au DJ MD (Michael Dagn) of.... Michael Dagn @ 3:712/634 M D A SYDNEY, Australia Music Dance Aesthetic Saturday Nights 10pm-2am 2RSR 88.9MHz ------------------------------------------------------------ ------------------------------ Date: Wed, 19 May 1993 08:51:40 GMT From: kr+cf@OBELIX.KHM.UNI-KOELN.DE Subject: ARS ELECTRONICA public VRSOUND-DATA-BASE ARS ELECTRONICA public VR-SOUND-DATABASE Uploading and Downloading of sounds for the Simulation Room-Mosaic of Mobile Sound Data, knowbotic research (Winner of Golden Nica for interactive art 1993) The VR-installation, 14-18.6.93, housed in the parking house of the festival-building, has three main areas. Section one is a sophisticated, walk-in data-base utilising a collection of sound samples from around the world, which will be used to produce a virtual 'sound room'. The sound data will correspond to the second section, a physical room, where visitors will be able to navigate through the space with the aid of a mobile ultrasonic sensor and an artificial eye display and activate the data to a realtime-concert. The action of the visitors, within this 'virtual organism,' will be displayed on a video screen shown in a control room area (the third area). We welcome your participation for the international sound-data-base: To participate we need from you a 6 second long sound sample, a cultural statement, reflecting your personal attitude towards the "world". Please send this via email or ftp (aiff, aif.Z, wave, next formats). All submitted sounds are available by ftp obelix@khm.uni-koeln.de . All participants and institutions will be credited in a publicly displayed database during the exhibition at Ars Electronica. How to send sound files to KR+cF: What we need is musical material, verbal sound or noise, which can be collected in and help to create our virtual space. Your sound sample should be in mono and about 6 seconds. It might be a good idea to use your name and country as a file name, e.g. mike_mueller_germany.aiff. Let us know if anything is not clear. Specific information on how to send us your details: Time: Send it now or live during the exhibition, 14.-18.6.93 Parameters: length: max. 6 seconds resolution: 8 or 16 bit sample rate: 22 to 48 kHz sound type: mono Sending your file (e.g. mike_mueller_germany.aiff): via anonymous ftp type the following at the UNIX prompt: ftp obelix.khm.uni-koeln.de anonymous /* enter anonymous as login name */ your_name /* enter your name as password */ cd ARS_input /* download: cd ARS_output */ bin /* switch to binary transfer mode */ send mike_mueller_germany.aiff via UNIX mail (INTERNET) type the following at the UNIX prompt: uuencode mike_mueller_germany.aiff mike_mueller_germany.aiff | \ mail krcf_snd@khm.uni-koeln.de If you send us a standard audio tape or dat, please post it to: Ars Electronica c/o knowbotic research Untere Donaulaende 7, A-4010 Linz, Austria Thank you for your support. Christian Huebler ARS ELECTRONICA public SOUNDDATABASE Uploading and Downloading of sounds for the Simulation Room-Mosaic of Mobile Sound Data, knowbotic research (Winner of Golden Nica for interactive art 1993) The VR-installation, 14-18.6.93, housed in the parking house of the festival-building, has three main areas. Section one is a sophisticated, walk-in data-base utilising a collection of sound samples from around the world, which will be used to produce a virtual 'sound room'. The sound data will correspond to the second section, a physical room, where visitors will be able to navigate through the space with the aid of a mobile ultrasonic sensor and an artificial eye display and activate the data to a realtime-concert. The action of the visitors, within this 'virtual organism,' will be displayed on a video screen shown in a control room area (the third area). We welcome your participation for the international sound-data-base: To participate we need from you a 6 second long sound sample, a cultural statement, reflecting your personal attitude towards the "world". Please send this via email or ftp (aiff, aif.Z, wave, next formats). All submitted sounds are available by ftp obelix@khm.uni-koeln.de . All participants and institutions will be credited in a publicly displayed database during the exhibition at Ars Electronica. How to send sound files to KR+cF: What we need is musical material, verbal sound or noise, which can be collected in and help to create our virtual space. Your sound sample should be in mono and about 6 seconds. It might be a good idea to use your name and country as a file name, e.g. mike_mueller_germany.aiff. Let us know if anything is not clear. Specific information on how to send us your details: Time: Send it now or live during the exhibition, 14.-18.6.93 Parameters: length: max. 6 seconds resolution: 8 or 16 bit sample rate: 22 to 48 kHz sound type: mono Sending your file (e.g. mike_mueller_germany.aiff): via anonymous ftp type the following at the UNIX prompt: ftp obelix.khm.uni-koeln.de anonymous /* enter anonymous as login name */ your_name /* enter your name as password */ cd ARS_input /* download: cd ARS_output */ bin /* switch to binary transfer mode */ send mike_mueller_germany.aiff via UNIX mail (INTERNET) type the following at the UNIX prompt: uuencode mike_mueller_germany.aiff mike_mueller_germany.aiff | \ mail krcf_snd@khm.uni-koeln.de If you send us a standard audio tape or dat, please post it to: Ars Electronica c/o knowbotic research Untere Donaulaende 7, A-4010 Linz, Austria Thank you for your support. Christian Huebler ------------------------------ Date: Tue, 4 May 1993 20:56:21 GMT From: Art Lowery Subject: ESQ1-2,000 patches uploaded! I just uploaded 2000 patches for the ESQ1 to ucsd.edu /midi/patches/ESQ1/2kesqmdx.zip (also to my pub dir at:netcom.com /pub/artlow) This zip file also contains some pc based librarian utilities, to convert, identify, load and save midiex files. The patches are true midex format dumps from the sequencer so other librarians running on other computers should be able to load them with a librarian loader. Also included are some patch banks to make the esq mapped compatable with mt32. If you find some more please send em my way. I found a few more, but I need to convert them to midiex, from a non standard format. Art artlow@netcom.com ------------------------------ Date: Fri, 28 May 1993 09:22:14 CDT From: Gregory Taylor Subject: Let's play a little Gesang game.... Joe McMahon says a couple of nice things, and then adds this: >you're absolutely right about _Gesang_, Greg, which I really wish I >could get on CD; and I've forgotten my third point now. But you *can*, pal. My problem is that it's just been a pain in the tail to *get* the darned thing, and I've not gotten round to it. Stockhausen is in the process of releasing his complete work on CD, but the CDs can only be obtained by mail order from Stockhausen-Verlag Kettenberg 15 5067 Kuerten, Germany. The disc you're looking for is catalog number CD3. Its contents include: Etude - Studie I - Studie II - Gesang der Juenglinge - Kontakte The disc will run you 26 Deutschemarks. I've not check'd this enough to discover whether or not it covers postage and handling. Perhaps a card to the address above might be in order. I expect that they might like a Giro, but who knows - perhaps they take plastic.... With regards, Gregory ------------------------------ Date: Sat, 15 May 1993 16:07:51 EST From: ACPS7221@RYEVM.RYERSON.CA Subject: MIDI Software Available Hello Linux/Unix MIDI Musicians: Mike Durian's rather excellent MIDI package is now available. It is a extension of tcl, and is called tclm. There is also a drum sequencer package that works with tclm available as an example of what you can do with tclm. Xdrum is a fabulous drum sequencer that can allow you to create your own drum patterns, and save them in **STANDARD MIDI FILE** format. Xdrum has a graphical interface and uses X. It is very easy to use, and has a lot of useful features Also there are sample programs that allow you to dissasemble and reassemble SMF's (standard midi files), a simple but powerful sequencing language that will allow you to merge midi sequences and a program to convert type 1 SMF's to type 0. There is at present no direct support for the MPU-401 under Linux, but that is currently in the works. (Any one want to get involved?). But the tclm and xdrum packages compile and run fine on my humble linux box. Get tk/tcl compiled, and then get the package tclm and xdrum from ftp.sterling.com (192.124.9.1) /usenet/comp.sources.misc/packages/tclm /usenet/comp.sources.misc/packages/xdrum/ The author (Mike Durian) is extremely knowledgeable about MIDI, and can help you if you have any questions regarding tclm. Michael Caro. ------------------------------ Date: Mon, 17 May 1993 14:38:33 -0400 From: Joe McMahon Subject: New items on castrovalva.gsfc.nasa.gov A version of Music V for the Mac and Tom Erbe's SoundHack program are now both available on castrovalva.gsfc.nasa.gov. I have not gotten to try M5Mac, so I don't know how good it is. --- Joe M. ------------------------------ Date: Wed, 12 May 1993 15:56:28 -0500 From: FNELSON@OCVAXA.CC.OBERLIN.EDU Subject: Oberlin workshops This is a repeat posting. The earlier one contained an email return address that became temporarily invalid when Oberlin dropped out of BITNET. The old address now works again but some responses to my earlier posting bounced. The announcement now contains the full Internet path to me. =============================================== Two Workshops in Electronic and Computer Music TIMARA Program Conservatory of Music Oberlin College July 18-25 & July 26-31 Gary Lee Nelson, Director The Conservatory of Music at Oberlin College invites you to participate in the 1993 workshops in electronic and computer music. We started these workshops in 1986 so this will be our eighth year. Most of our students have been of high school age, but we welcome people from other colleges. We also invite teachers and other professionals. These workshops are for anyone who wants to enrich their understanding of new music media. Daily lectures and demonstrations will introduce you to each topic. Supervised laboratories will guide you through hands-on experience with new technology. Listening and discussion sessions will expand your familiarity with the literature of electronic music. We will give special attention to the esthetic issues raised by this new way of making music. The workshops are progressive and focused on original composition. The program provides continuity with minimal overlap or repetition in the two weeks. Former students have benefited most by attending both weeks. If you enroll for only one week it must be the first week. In the second workshop we build on the skills you acquire in the first. The workshops are Macintosh based and the topics we cover include: sequencing (Performer, Vision) music printing (Finale) synthesizer programming (Galaxy) sampling (AudioMedia, Alchemy, SoftSynth, TurboSynth) alternate MIDI controllers algorithmic composition (M, MAX) If you want a more detailed description via email, send a message to: fnelson@ocvaxa.cc.oberlin.edu If you want a brochure and registration forms, include your snail mail address or write directly to the address below. Office of Outreach Programs Conservatory of Music Oberlin College Oberlin, OH 44074 (216) 775-8044 ------------------------------ Date: Mon, 24 May 1993 10:23:46 PDT From: metlay Subject: Team Metlay's BANDWIDTH is now shipping! Hi, gang. I am pleased to announce that Team Metlay's BANDWIDTH is now out on CD and ready to ship immediately! This album is both a remarkable historical document and a fairly eclectic group of electronic music compositions; for those of you who are too young, or too new to the Net, to remember, Team Metlay was a group of musicians from EMUSIC-L and the now-defunct rec.music.synth USEnet newsgroup who gathered in Pittsburgh at my request for a two-week period in December of 1990 and recorded an album of emusic in that time period. The release of the album was delayed for over two years by personal, financial, and technical glitches, but is now pressed on CD and ready to ship. I'm rather pleased with the results, and hope that people who have waited for it all this time will feel it was worth the wait. In 1990, Team Metlay consisted of Dan Barrett, Carl Brenner, Kurt Geisel, myself, John Rossi III, Nick Rothwell, Adam Schabtach (virtually), and Dean Swan. Since then, we have added other people and recorded other music, little or none of which is in releasable form as of now. But at the moment we're just very happy to finally have this, our first album, ready to ship, and to be able to discuss it with anyone who has questions or comments. Ads for the CD will start to appear in magazines over the next few months, but in the meantime, I'm selling directly to folx on the Net who'd like copies. As an introductory offer, we are selling the CD for $10 per copy, shipping included, for domestic orders; foreign orders please add $2 for shipping and pay by check in US funds. Quantities of more than two CDs, email me for prices. Please allow six weeks for shipping. Make checks payable to Michael Metlay and send orders to: Michael Metlay Atomic City P.O.Box 81175 Pittsburgh, PA 15217-0675 USA I hope you enjoy this project as much as I do (now that the agony is over; I'm thinking of writing a series of articles on how I put it out, so other folx don't make my mistakes). Thanks to everyone out there for their patience and support over the years! For Team Metlay and everyone at Atomic City, -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * metlay@netcom.com --------------------------------------------------------------------------- If this is a Global Village, then I must be the Global Village Idiot....... ------------------------------ Date: Mon, 24 May 1993 14:13:42 -0700 From: "Michael S. Williams" Subject: Re: Team Metlay's BANDWIDTH is now shipping! metlay writes: >[...] >I hope you enjoy this project as much as I do (now that the agony is >over; I'm thinking of writing a series of articles on how I put it out, >so other folx don't make my mistakes). >[...] Please do! This would be a much appreciated first-hand account of many of the in's-n-out's and do's-n-don't's, from which I'm sure many would benefit. -michael <><-><--><---><----><-----><------><======><------><-----><----><---><--><-><> Michael Williams, michael@nsma.arizona.edu University of Arizona's Division of Neural Systems, Memory & Aging 344 Life Sciences Bldg, North Tucson, AZ 85724 (602)626-2611 <><-><--><---><----><-----><------><======><------><-----><----><---><--><-><> ------------------------------ Date: Mon, 24 May 1993 14:31:45 -0400 From: Joe McMahon Subject: Re: Team Metlay's BANDWIDTH is now shipping! Jeez, Mike, I thought you'd be the last person I'd have to remind about ads... --- Joe M. ------------------------------ Date: Mon, 24 May 1993 16:24:35 PDT From: metlay Subject: Re: Team Metlay's BANDWIDTH is now shipping! >Jeez, Mike, I thought you'd be the last person I'd have to remind about ads... YAGH! My apologies! I was just so stunned by the fact that I actually FINISHED the damn thing that I forgot that EMUSIC-L was supposed to get the "I can't advertise here, so email me for details" post rather than the "Here's how to order" post. Oops. Anyone who's mad at me is free to purchase and burn as many copies of BANDWIDTH as he can afford. |-> -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * metlay@netcom.com --------------------------------------------------------------------------- Team Metlay's BANDWIDTH is now out on Compact Disc! Email me for details... ------------------------------ Date: Mon, 24 May 1993 17:07:38 PDT From: metlay Subject: Re: Team Metlay's BANDWIDTH is now shipping! >metlay writes: >>[...] >>I hope you enjoy this project as much as I do (now that the agony is >>over; I'm thinking of writing a series of articles on how I put it out, >>so other folx don't make my mistakes). >>[...] > >Please do! This would be a much appreciated first-hand account of many of the >in's-n-out's and do's-n-don't's, from which I'm sure many would benefit. Well, the long post is a future project for me, but in a nutshell: Have the cash to do the job completely yourself ON HAND before you start. Have the legal framework in place to handle sales, taxes, royalties and copyrights ON HAND before you start. Find a reputable pressing plant and stick with them forever. (I'll be glad to name the one I used in private email). Find a reputable artist and photographer and stick with them forever, but only after you're DEAD sure they know CD production. If anyone tells you not to worry, WORRY. They're hiding something. Nothing ever comes in under budget. Have an extra $1-2 per unit of final run built into your cash pile. Don't panic, no matter how bad things get. -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * metlay@netcom.com --------------------------------------------------------------------------- Team Metlay's BANDWIDTH is now out on Compact Disc! Email me for details... ------------------------------ Date: Tue, 25 May 1993 15:56:04 EST From: Mark Bower Subject: Re: Team Metlay's BANDWIDTH is now shipping! |> I hope you enjoy this project as much as I do (now that the agony is |> over; I'm thinking of writing a series of articles on how I put it out, |> so other folx don't make my mistakes). Thanks to everyone out there |> for their patience and support over the years! This would be valuable info, please post! What style/type of music (other than generic e-music) is "Team-Metlay" all about ? Cheers, Mark ------------------------------ Date: Sat, 1 May 1993 08:54:07 -0400 From: idealord Subject: Tuning Suite for SY77/99 TG99, DX11, TZ? Posted at ucsd.edu Subject: SY77/99 and TG77 Tuning Set Available at UCSD.EDU Newsgroups: comp.music Summary: Keywords: I've uploaded a set of 113 microtuning sysex files to ucsd.edu in the directory /midi/patches/SY77. The bulk of the tunings are from an archive I found at ftp.ircam.fr for the DX7 and converted to SY77/99 or TG77 sysex format. The original creator of this wealth of tuning information is Tim Perkis with some assistance by Benjamin Denckla. If you have any questions about their work you can write to bdenckla@husc.harvard.edu. Many thanks to the both of them for their efforts in this regard. File name -> tunings.zip. Native tunings, exotic artificial tunings, Lou Harrison tunings, Gamelan tunings, Greek and Portugese and Scottish Bagpipe tunings ;-) there's a little bit of everything here. Just unzip the file and sysex dump the tuning file. Don't worry about the "CHECKSUM MISMATCH" message - it will accept it regardless. Also, make sure the MIDI setting LOCAL PROTECT MODE is set to OFF so it will accept the sysex file. I've been told that these sysex files will also work on the TX and DX11 series of synthesizers - but I have no means to verify this... Enjoy! Jeff Harrington idealord@dorsai.dorsai.org ------------------------------ Date: Mon, 17 May 1993 16:58:01 -0400 From: Joe McMahon Subject: Volume 49 now available Volume 49 of the EMUSIC-L digest is now available for anonymous ftp from castrovalva.gsfc.nasa.gov. There were problems earlier, most likely caused by heavy FTP load. --- Joe M. ------------------------------ End of the EMUSIC-L Digest ******************************