EMUSIC-L Digest Volume 57, Issue 05 This issue's topics: Address of Dr. T's (2 messages) Attention MAX users! Calendars of Music Festivals? (3 messages) Compositional aids, help! (2 messages) copyright Early electronic music: philosophical differences (5 messages) Electronic Arts Programs Electronic Music Concert in Boston electronic music on CBC (2 messages) Finale 2.0 upgrade Future Music Music education programs new exp. music mailing list: WATCHTOWER ! Q: Pointers to software reviews online? 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: Thu, 7 Oct 1993 13:28:02 -0400 From: idealord Subject: Address of Dr. T's Sorry, lost the address of the gent who wanted this: Dr. T's 124 Crescent Road Needham, MA 02194 Jeff Harrington idealord@dorsai.dorsai.org ------------------------------ Date: Mon, 11 Oct 1993 11:57:45 -0700 From: John Krikawa Subject: Re: Address of Dr. T's ..........speaking of addresses, Jeff do you or anyone else know an e-mail address for Blue Ribbon Soundworks? I have Bars&pipes Pro version 1.0c and am looking for any upgrades or accessories. They have not yet responded to two letters I have written. _ -john ___ __/ | ___ | | JKrikawa@CCIT.Arizona.Edu | |___ ________ \______/ \__________ Tucson, AZ ___../\./\/ \____/ \____ ------------------------------ Date: Sun, 10 Oct 1993 09:48:17 EDT From: JASON VANTOMME Subject: Attention MAX users! Dear list-subscribers: Two colleagues of mine and I are in the process of surveying the practices of MAX users (composers and performers) in an effort to find commonalities between practices. If you use MAX as either a compositional tool, performance tool or both, we would appreciate your thoughts and comments on the following questions: (1) Can you maintain the integrity of your initial musical ideas during the MAX implementation process? For example, does coding an idea in MAX *involuntarily* change that idea from its original intent? (2) Are there any differences in your compositional methodology for composing a work that involves a computer interactively (MAX, in particular) and composing a work that does not? If so, what are these differences? (3) When composing a work involving MAX, what priorities do you follow? Do the strengths/weaknesses of MAX affect your method while you compose or do they play no role until actual MAX implementation? (e.g.. "I can't do this in MAX, so I won't write it." vs. "I'll write this now and worry later about whether or not it will work in MAX.") (4) Do you use a standard MAX patch as a basis for all of your compositions? Some of your compositions? If so, what is the structure of this patch (or patches)? Feel free to add any comments about how you work and perform with MAX. You can even mail us patches or objects that are integral to your work if you wish! When we have compiled all of the information received, we will compile and post a short review to describe our findings. All respondents will be given due credit. Jason Vantomme. =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= Jason D. Vantomme Faculty of Music, McGill University Montreal, PQ CANADA email: vantomme@music.mcgill.ca =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= ------------------------------ Date: Mon, 18 Oct 1993 09:50:28 -0400 From: Jon Crystal Subject: Calendars of Music Festivals? Is anyone aware of a reasonable source of calendar information for experimental and electronic music gatherings, both US and European? It seems Computer Music Journal, which used to have some helpful information, has really stopped attempting this. In particular, any interesting festivals now scheduled in Europe next summer (yes, early vacation plans)? Also, can anyone tell me how to contact Ron Pelligrino (sp?), a multimedia artist who used to have some connection to Oberlin? Thanks, Jon Crystal University of Vermont 357 Waterman Burlington, VT 05405 email: jcrystal@moose.uvm.edu ------------------------------ Date: Mon, 18 Oct 1993 12:14:56 PDT From: metlay Subject: Re: Calendars of Music Festivals? >Also, can anyone tell me how to contact Ron Pelligrino (sp?), a multimedia >artist who used to have some connection to Oberlin? When was this? He wasn't a recognizable name when I was there.... -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * metlay@netcom.com --------------------------------------------------------------------------- "Four styles, four variants, no brains...it's everything you need!" "I've worked with dancers like that." (e. hallgrimsson and n. rothwell) ------------------------------ Date: Tue, 19 Oct 1993 11:49:09 CST From: PAPEL@COLUMBIA.DSU.EDU Subject: Re: Calendars of Music Festivals? Ron Pellegrino is at Electronic Arts Productions, 1615 Eastman Lane, Petaluma, CA 94952 707-762-5981. I received a folder about his multimedia company at CMS-ATMI in Minneapolis last weekend. ------------------------------ Date: Sun, 10 Oct 1993 09:54:00 EST From: Song-Muh Jong Subject: Compositional aids, help! Dear netters, I would appreciate any guide to the availability of compositional aids for computers (PC or MAC). If this question has been asked before, please tell me where to find the answers, either through this newsgroup or by direct e-mail to me. I will summerize the direct mails for those interested. TIA Song-Muh Jong sjj@icbr.ifas.ufl.edu ------------------------------ Date: Sun, 10 Oct 1993 12:47:40 -0500 From: "Dr. Kirk Corey" Subject: Re: Compositional aids, help! There is someone who maintains a list of tools for algorithmic composition and posts it regularly in Usenet comp.music. He is Leonidas Hepis On Sun, 10 Oct 1993, Song-Muh Jong wrote: > Dear netters, > I would appreciate any guide to the availability of compositional aids > for computers (PC or MAC). If this question has been asked before, > please tell me where to find the answers, either through this newsgroup > or by direct e-mail to me. I will summerize the direct mails for those > interested. > > TIA > Song-Muh Jong > sjj@icbr.ifas.ufl.edu ------------------------------ Date: Wed, 20 Oct 1993 18:14:15 BST From: "Steven D. Bramson" Subject: copyright I picked this up from comp.sys.ibm.pc.soundcard If I read a recent edition of a piece of 100 year old music and sequence it, do I violate the composer's or the publishers copyright if I a) publish it on internet b) sell it to a MIDI file publisher who sell it on (Do they pay royalties?) If I sequence a piece of 100 year old music from by ear from memory (something I have done) what is the position then? Any thoughts? Steven Bramson sdb@jet.uk -------------------------- [Original Message] ------------------------- >Path: jet!uknet!pipex!howland.reston.ans.net!spool.mu.edu!umn.edu!news.d.umn.edu!ua.d .umn.edu!not-for-mail >From: dcole@ua.d.umn.edu (david cole) >Newsgroups: comp.sys.ibm.pc.soundcard >Subject: Re: Midi Copyright Armchair Lawyer Mode(Was Re: MIDI FTP site wanted.) >Date: 19 Oct 1993 07:09:24 -0500 >Organization: University of Minnesota, Duluth >Lines: 52 >Message-ID: <2a0ldkINN51i@ua.d.umn.edu> >References: <1993Oct14.194941.17113@smos.bc.ca> <1993Oct15.170343.17675@comp.lancs.ac.uk> >NNTP-Posting-Host: ua.d.umn.edu In article dmcintyr@ruacad.ac.runet.edu (David Michael Mcintyre) writes: >Another consideration on this copyright violation issue is public >distribution versus private use. If I buy the sheet music to a song and >sequence that song for the GUS for my own use, then I don't see anything >at all wrong with that legally. The only problem is if I distribute it to >the masses so that it will get to people who didn't buy the sheet music. > Yep, from this armchair that seems exactly right. In general, copyright has been interpreted as letting you do about anything you want in a private home (except certain sexual acts) with copyrighted stuff, including copy tapes, etc. But you cross the line as soon as you make the stuff public. Fine line though, if I have an open party and play copyrighted material to people I dont invite, etc.... >However, realistically, what are the chances of the FBI or whatever >international law enforcement organization getting motivated enough about >this to prosecute people? FTP sites might be closes down, perhaps, but I > Right again, it is too minor to warrant enforcement (so far!) More like parking violations. >It's all a very fine line sort of thing. Like a band playing covers in a >bar for example. They're certainly violating some sort of copyright by >performing another artist's song for money, but it's been going on for >decades. The only time there's a real problem is if they try to sell a >recording of themselves playing the song. >--Michael-- Well, I think bar owners are required to pay copyright licenses for material played on their premises. In fact, I believe it is because of the failure to pay by tavern, nightclub, etc owners that ASCAP was formed around the turn of the century. ASCAP (something like American Society of Composers and Performers) is a rights enforcement organiation that collects copyright roylaties for its members (the other big one is BMI). If you look at any recording, you will see the name of the org, usually next to the composers name. Radio Stations, TV stations, Juke boxes -- all pay royalty, as do recording artists who do covers. It all makes pretty good sense, with the usual problems posed by fine lines. Incidentally there was an article in Keyboard magazine this Spring (April or May issye) on how people are violating copyright by making MIDI sequences. It was written from the composers point of view, and was quite clear that midi sequence writers owe royalties (same would surely be true of mods, but they were not explicitly discussed, as I remember.) Dave dcole@ua.d.umn.edu ------------------------------ Date: Fri, 22 Oct 1993 12:43:22 -0400 From: ENG 313 Student Subject: Early electronic music: philosophical differences Hello anybody. I would like to hear a response on Musique Concrete vs. Electronische Music. I am currently enrolled in an electronic music class and have a major paper dueon the similar and contrasting styles of these forms of music. My personal opinion is that the German's seemed to have a better handle on the technology but missed the boat in terms of application. However, the French didn't do much better because they had to deal with their applications in such a time consuming manner. If anyone has any opinions on this matter I would like to hear them so that I can have more information for my paper. Thank you. --hacker ------------------------------ Date: Fri, 22 Oct 1993 16:00:51 -0400 From: Joe McMahon Subject: Early electronic music: philosophical differences >...My personal opinion is that the German's seemed to >have a better handle on the technology but missed the boat in terms of >application. However, the French didn't do much better because they had >to deal with their applications in such a time consuming manner. I assume we're speaking about a fairly early period, with things like "Variations for a Door and a Sigh" and Stockhausen's "Kontakte" and "Song of the Youth". I don't think that there was necessarily much of a difference in the technique - both the German and French composers were using similar equipment, with tape manipulation being the primary means of composition. Rather, the French sought interest in the use of natural sounds in an "unnatural" manner, allowing the character of the sound to be determined solely by choice of source material. The Genman composers, on the other hand, created their source material on electronic equipment and then manipulated the sound. As a metaphor, the French went out and found pictures, cut them up, and made collages out of them. The Germans painted the pictures they wanted to cut up, and then made collages out of those. In what sense did the Germans "miss the boat"? --- Joe M. ------------------------------ Date: Fri, 22 Oct 1993 19:11:34 -0700 From: Thomas Polz Subject: Re: Early electronic music: philosophical differences On Fri, 22 Oct 1993, Joe McMahon wrote: > > I assume we're speaking about a fairly early period, with things like > "Variations for a Door and a Sigh" and Stockhausen's "Kontakte" and "Song > of the Youth". > > I don't think that there was necessarily much of a difference in the > technique - both the German and French composers were using similar > equipment, with tape manipulation being the primary means of composition. > > Rather, the French sought interest in the use of natural sounds in an > "unnatural" manner, allowing the character of the sound to be determined > solely by choice of source material. The Genman composers, on the other > hand, created their source material on electronic equipment and then > manipulated the sound. As a metaphor, the French went out and found > pictures, cut them up, and made collages out of them. The Germans painted > the pictures they wanted to cut up, and then made collages out of those. > > In what sense did the Germans "miss the boat"? > Ja, welches Boot haben wir verpasst? ;) Don't forget Oskar Sala and his Trautonium. Very nice stuff! If you're interested in his work, check out Hitchcock's THe Birds, he contributed to the soundtrack for that one. -- ms20 ------------------------------ Date: Tue, 26 Oct 1993 09:08:36 PDT From: metlay Subject: Re: Early electronic music: philosophical differences >On Fri, 22 Oct 1993, Joe McMahon wrote: > >> >> I assume we're speaking about a fairly early period, with things like >> "Variations for a Door and a Sigh" and Stockhausen's "Kontakte" and "Song >> of the Youth". Hey, dat's "Swong o' da Yuts," ya joik. :) >> I don't think that there was necessarily much of a difference in the >> technique - both the German and French composers were using similar >> equipment, with tape manipulation being the primary means of composition. Yes, but.... >> Rather, the French sought interest in the use of natural sounds in an >> "unnatural" manner, allowing the character of the sound to be determined >> solely by choice of source material. The Genman composers, on the other >> hand, created their source material on electronic equipment and then >> manipulated the sound. As a metaphor, the French went out and found >> pictures, cut them up, and made collages out of them. The Germans painted >> the pictures they wanted to cut up, and then made collages out of those. I beg to differ. The ordering here is everything; the fact that the Germans started with electronic sounds made the extent of their tape manipulations, in my experience, much less exacting and microscopic than what was common to the French. Compare two of your examples above to hear the difference: "Variations" has a great deal more granularity than "Gesang des Junglinge" in terms of the tape hacks; the German piece uses electronic washes as glue for large chunks of sound that are not manipulated anywhere near as much as the three basic tones in the French work. >Don't forget Oskar Sala and his Trautonium. Very nice stuff! If you're >interested in his work, check out Hitchcock's THe Birds, he contributed to >the soundtrack for that one. A CD of this is now available; assuming I got it back from my little brother the hiphop producer before I moved to Florida, I'll say a bit more about it when I look at it tonight. -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * metlay@netcom.com --------------------------------------------------------------------------- "Four styles, four variants, no brains...it's everything you need!" "I've worked with dancers like that." (e. hallgrimsson and n. rothwell) ------------------------------ Date: Wed, 27 Oct 1993 18:28:50 -0400 From: Joe McMahon Subject: Re: Early electronic music: philosophical differences >I beg to differ. The ordering here is everything; the fact that the >Germans started with electronic sounds made the extent of their tape >manipulations, in my experience, much less exacting and microscopic >than what was common to the French. Exactly. The manipulations were performed, if you will, prior to the use of the material, requiring less work at the editing level, since the effort was expended at the time of the creation of the sound. >Compare two of your examples >above to hear the difference: "Variations" has a great deal more >granularity than "Gesang des Junglinge" in terms of the tape hacks; >the German piece uses electronic washes as glue for large chunks of >sound that are not manipulated anywhere near as much as the three >basic tones in the French work. Hmm, well, perhaps. I always thought that some of the sounds, such as the liquid swoosh that begins "Gesang", was a single event pitch-shifted and spliced together. I don't *think* it was generated as-is. I'd argue for the editing as editing being of approximately equal from the standpoint of the creation of complex textures from the source material. Now, as far as the achievement of effect from the editing alone, "Variations" has it all over "Gesang" - three heavily-processed and edited sounds vs. a studio-full of oscillators, filters, and whatnot. I'm quite sure that there are more than three synthesized timbres in "Gesang". Am I arguing against myself yet? :-) Free-associating wildly, I wonder if there have been any techno or rap artists who were influenced heavily by the early concrete work, as in "how much can I get out of this one sample" (not in the sense of repeating it on track after track until it becomes a cliche or the listener goes numb from the repetition during a single track)? Neither genre is well-represented in my collection. --- Joe M. ------------------------------ Date: Wed, 6 Oct 1993 15:40:35 -0700 From: Joe Ortiz Subject: Electronic Arts Programs I'm interested in receiving information about Electronic Arts programs being offered at community colleges, universities, and proprietary schools. I have faculty in my division who represent the areas of Music, Art, Theatre, and Motion Picture/TV, and they are in early discussions about instituting such a curriculum here. Our conversations have been, to this point, nebulous as there are a lot of ways to think about electronic arts. Since my background is in speech communication, I bring a naive perspective to the whole conversation. What we do seem to agree upon is that MIDI and digital technologies can serve as the core to integrate technologies used in film, music, graphic arts, and technical theatre. What we don't presently know is what it is institutions are doing under the rubric of "Electronic Arts" or "Media Arts." The would like to receive brochures which describe established electronic arts programs or degree emphasis. Please advise. Joe Ortiz Fine Arts Division Chair Scottsdale Community College Scottsdale, AZ 85250 (602) 423-6330 FAX: (602) 423-6200 e-mail: Ortiz@scc.bitnet ------------------------------ Date: Tue, 26 Oct 1993 15:17:09 -0400 From: Thom Cox Subject: Electronic Music Concert in Boston To all interested: the New England Conservatory of Music will present Electric Wednesday, a concert featuring six New England area electronic music composers tomorrow night at 8:00 pm in Brown Hall. These concerts tend to be quite good. This year's program is equally divided between electro-acoustic and tape pieces. Electric Wednesday Wednesday, October 27, 1993 8:00 pm Brown Hall New England Conservatory 290 Huntington Ave Boston, MA 02115 ------------------------------ Date: Sun, 31 Oct 1993 01:45:20 GMT From: "Patrick C. Dawson" Subject: electronic music on CBC In article <2auh89$i3c@gap.cco.caltech.edu> addam@cco.caltech.edu (Adam Neil Villani) writes: >In article <2aub3a$21e@bigboote.WPI.EDU>, >Robert Paul Martino Jr wrote: >>Hello, >> >> >> >>Do any of you guys on a.m.progressive listen to any of this stuff, or >>even modern computer and electronic music coming from universities like >>Stanford or University of Illinois? I find that most of it makes King >>Crimson and Magma sound like top 40 music in comparison! :) >Hear, Hear! You're not exaggerating about how nonm-top-40 this stuff is. I >discovered 50's and 60's electronic music in the library here at Caltech; >they had a small section with a little Stockhausen, Xenakis, Ussachevsky, etc. >Truly bizarre. Intriguing, though, and some of it is actually pleasing to the >ear (e.g. Gesang der Junglinge). My guess is that the best place to find this >would be on LP at libraries, but that's just a guess. > If any Canadian readers are interested in new experimental music, including electronic and electroacoustic music, I'd strongly recommend checking out The program "Two New Hours" on CBC Stereo sunday nights at 9, if you don't know about it already. There is a large focus on canadian music, but also from schools and festivals all over the world. We had no 24 hour led zepplin stations where I grew up, so in my teens I really latched on to this show at about the same time I was getting into prog-rock. While much is rather "serious" and academic, there are sometimes familiar names, like John Oswald, Diamanda Galas (I have a chilling performance of her's from a new music festival in the early or mid eighties taped off this show; this was before she lost her mind in her bitterness over the aids business; it was incredible what she was doing with her voice, shrieking like a banshee and processing the sounds to make them even worse. I think one of the titles was something like "for the blood of those murdered"(?) but I haven't heard it for a long time and don't know where the tape is currently), Steve Reich, Gavin Bryars, John Cage, Morton Subotnick, John Adams, even Terry Riley. Always have your tape machine ready because most of these performances are not commercially available. Just this past week they had an interesting concert by the Glass Orchestra; an ensemble that improvises on instruments made of glass, including the glass harmonica (I've heard of these before but would love to see one some day) and even glass flutes and "trombones" of a sort. Some of this is actually very "musical" in the traditional sense, but others can be appreciated at different levels, for the sounds themselves in the absence of "melody". If you've watched any appreciable number of NFB films over the years, you've probably heard music by many of the Canadian composers and performers sometimes featured. Some of the more "commercial" or accessable are younger ones like Jean Piche (He has a great electronic record "Heliograms" from 82; something Eno or K.Schulze fans MIGHT like) and Alain Thibeault (don't know if he has anything on disc?). Ann Southam also has some relatively accessable music, electronic and accoustic both. (I have her The Reprieve/The Emerging Ground on LP). Also some of Barry Truax, John Celona, and others I think are still available on some format. One of my favorite records period is Michel Longtin's "La Trilogie de la Montagne". This is fascinating electroacoustic music and made a big impression on me when I bought this in my teens; I still listen to this regularly. This is just a sample of what they have on that show. Some of what they play is available from Wayside (check out the New Albion label : Stuart Dempster, Lou Harrison, Pauline Oliveros, Morton Subotnick, etc....) Its definitely worth your effort, and what else is there to do on a sunday evening when its minus 40 outside with a windchill of -80 blowing straight down your throat freezing your lungs if you take too deep a breath, etc... They are predicting our first snow here tomorrow, so it won't be long before all that is back again. ------------------------------ Date: Sun, 31 Oct 1993 11:28:29 GMT-0400 From: JASON VANTOMME Subject: Re: electronic music on CBC Yes, Thibault does have a disc out, though I can't remember the name. There is a very successful company here in Montreal (this is not an ad - I just think they are one of the only *real* sources of new music recordings in Canada.) called 'diffusion I Media' (I think that's it) run by a guy named Jean-Francois Denis. They have CDs out now of many Canadian composer and a few Brits/Europeans (Denis Smalley is one). Included in their output are CDs by Montrealers Thibault, Robert Normandeau, Francis Dhomont, and others, as well as Anglo-Canadians such as Daniel Scheidt (*really* great stuff!) and a nifty disc with about 20 or 30 'electroclips' produced by some of Canada's most important e-a practitioners. I don't think people like Truax are on J-F Denis' label. Truax was one of the first composer to use granular synthesis with any effect and success (he does 8 tracks of FM granular in real-time; very elegant system! - maybe even more now!) - his albums are available on a Vancouver label called Cambridge Street Records. Also worth mentioning are albums put out by the CMC (Canadian Music Centre) - an album recorded by Percussionist Beverley Johnston includes work by Montrealer Jean Piche ("Steal the Thunder" - one of my favorites), Serge Arcuri and Alexina Louie. There is a TON of great Canadian Music out there!!! Our university music faculty has made it a point to have their own record label concentrate on Canadian talen - specifically McGill composers. Albums are out with works by Bruce Mather, Brian Cherney, alcides lanza and an album of e-a works by Laurie Radford, Bruce Pennycook, John Oliver, etc. Check them out !!! (McGill University Records) Jason. ------------------------------ Date: Wed, 6 Oct 1993 00:33:28 MET From: Vincenzo Palleschi Subject: Finale 2.0 upgrade Does anybody know where to find the Finale 2.0 (for Windows) upgrade to 2.0.1? I have found the patch from 2.0.1 to 2.2 but it does not work, obviously, with the 2.0 version. Thanks in advance Vincenzo ------------------------------ Date: Mon, 18 Oct 1993 18:28:20 BST From: "Steven D. Bramson" Subject: Future Music Here are the details for Future Music Future Music Future Publishing FREEPOST (UK only I guess) Somerton Somerset TA11 7BR UK UK telephone 0458 732 79 UK price 39.00 pounds (This has just gone up from 27.00 since all issues now have a cover CD on them) EC price 67.80 pounds Rest of the world 96.85 pounds, which makes 100 dollars seem cheap My opinion of the magazine? Well it has good kit reviews and always suggests alternative kit in the same class. There are software reviews as well. They also review gizmos and there is a retrospective review section for analogue stuff. There are a good selection of (UK) adverts and a buyers guide at the back with big lists of kit and software. There are usually a couple of band reviews listing what kit they use and how they use it. They concentrate too much on electronic and techno bands for my liking. I was cunning and extended me subscription for a year just before the price went up (smug git!) Steven D Bramson Data Management Group JET Joint Undertaking Abingdon Oxfordshire OX14 3EA United Kingdom E-mail sdb@jet.uk Voice 0235 465 013 Fax 0235 465 399 ------------------------------------------------------------------ JET is Europe's fusion research project Disclaimer: Any views expressed are mine and do not represent those of JET ------------------------------ Date: Sun, 10 Oct 1993 14:39:48 -0500 From: Benjamin Mumphrey Subject: Music education programs I am looking for share/free-ware PC programs that drill users on sight-reading skills, under a setup using a MIDI keyboard. Are there any programs like this out there? Does anyone know of similar programs that drill users on various aspects of music theory such as key signatures, etc. I found one program called "By Ear" that drills on intervals and ear training. Do an FTP search on "byear" and you'll find it out there. So if you know of any other music education programs out there, (for DOS or WIndows,) pease let me know. Thanks! Ben anchoy@convex1.tcs.tulane.edu ------------------------------ Date: Fri, 22 Oct 1993 16:21:29 GMT From: Buebl Felix Subject: new exp. music mailing list: WATCHTOWER ! Organization: University of Ulm, Germany This is an advertisement for the new mailing list Watchtower! It's purpose is to scan the german progressive/experimental music scene. Therefore the standart language is german. Of course we understand english questions. Watchtower is a meeting place for those interested in progressive/innovative/experimentell music. There are no restrictions to the style - if you want you can chat about Free Jazz, Progressive Metal, 12-ton-musik, techno, Grindcore....or whatever you think fits to the theme. Just to get your attention I deciceded to include our current list of german mail-order shops here - perhaps some of you are interested. There is more to read about watchtower after this list (in english). VERSAND-LISTE Bemerkungen: * Bei manchen Versaenden hab' ich "nur" die alte Postleitzahl. Bitte korrigiert mich, wenn ihr's besser wisst. * Manche Adressen hab' ich aus einem Gruftie-magazin. Da kenne ich mich nicht _so_ gut aus, deswegen hab' ich da als kommentar immer nur /* grufties */ hingeschrieben - da kann sich z.b. /* wave, gothic, techno, industrial, ambiente, ritual, e.b.m., apocalypse etc. */ dahinter verstecken. Folgende Versaende sind bis jetzt bekannt: 2001 /* buecher, CD's, alles moegliche */ Postfach 610 637 6000 Frankfurt am Main 60 Tel. 069 / 420 8000 Fax 069 / 415 003 oder 415 004 Artware Mail Order /* grufties */ Donna Klemm Taunusstr. 63b 65183 Wiesbaden Tel. 0611/ 524133 Fax 0611 / 59654 Celtic Circle /* gruftie label */ c/o Alfred Kaenders Grunewaldstr. 38 47608 Geldern Tel./Fax 02831/87264 Collectors Network /* viele raries, 70er, rock, unzuverlaessig */ 1st Floor 4 High Street Southam, Warwickshire CV33 0HF Gross Britannien Tel. (GB= 44?) 926 / 815814 Fax. (GB) 926 / 815284 Discordia /* grufties */ Cornelius-Str 105 40215 Duesseldorf Tel. 0211 / 314012 Fax 0211 / 344094 Folkshop /* laut katalog 10000 LP's */ Burgstr. 9 4405 Nottuln Tel. 02502 -6151 Glasnost /* Dark Wave, Gothic, E.B.M.... Grufties*/ Eddelsener Weg 17 21224 Rosengarten Tel. + Fax 0410 / 576510 Groovers Paradise /* Querbeet - auch Disketten, videos etc..*/ Postfach 23 3104 Unterluess Fax 05827 / 7724 Harlekin Records /* country, folk, blues, liedermacher */ Juergen Feuss POstfach 110142 2800 Bremen 11 Tel. 0421 / 74910 Fax. 0421 / 700051 Hot Stuff Records /* rock raries*/ Georg Kathe Krnazbergstr. 7a 8904 Friedberg Tel. 0821 / 781990 Fax 0821 / 783637 InsideOut MailOrder /* (neo) progressive rock (metal) */ Im Taelchen 10 67700 Niederkirchen Tel. 06363/5717 Fax 02821/26920 Jumbo's Place /* prog. rock */ Juergen Foerster Krefelder Str. 14 5000 Koeln 1 KM-Musik /* grufties */ Postfach 2114 33251 Guetersloh Tel. 05241 / 36404 Fax 05241 / 36619 Knitting Factory Euro Office /* Free Jazz at it's best! */ Bloemgrach 20 II 1015 TJ Amsterdam Holland Tel. (Holland) 31.20 / 420.3658 Fax. (Holland) 31.20 / 639.2245 KK-Musikshop /* progressive */ Marienstr. 3 35606 Solms Tel. 06442 / 7467 Kugelblitz /* Grufties */ Schlesierstr. 5 46342 Velen Machinery /* techno label */ Kurfuerstenstr. 23 1000 Berlin 30 Tel. 030 / 261 90 85 Fax 030 / 262 44 48 Malibu /* vielseitig, guenstig, ausfuehrlicher katalog */ Basedowstr. 2 20531 Hamburg Tel. 040 / 25 34 44 Fax 040 / 25 35 31 Mauro Moroni Records /* italienischer prog. rock */ Via F.lli Asquasciati, 68 18038 Sanremo (IM) ITALIEN Tel. (It.) 184 / 50 89 00 Fax (it.) 184 / 35.18.25 Nuclear Blast /* Death Metal, Grindcore, prog metal, punk. Gross! */ Mittelmuehlengasse 1 73072 Donzdorf Ohrwaschl Records /* hochspezialisierte Progressive/psychedelix laden*/ Pappenheimstr. 11 8000 Muenchen 2 Tel. 089 / 55 31 55 Fax. 089 / 523 17 12 Scheibenhonig /* nur CD's, querbeet, einige bootlegs */ Wilhelm-Heidsiek-Str. 40 2190 Cuxhaven Stockhausen Verlag /* Verlag des Meisters der 12-ton-musik */ Kettenberg 15 51515 Kuerten Swingin' Pig /* Bootleg-label, sehr gute qualitaet */ Perfect Beat Postfach 13 40 3492 Brakel Fax 5272 / 5601 Taxim /* Folk/Blues - 4-farb katalog, nobel */ Postfach 101143 28011 Bremen T.N.T. Enterprises GmbH /* 1000++ bootlegs! */ Habsburgeralle 26 60385 Frankfurt / Main Tel. 069 / 43 93 30 Fax. 069 / 43 98 26 -----end of list Watchtower services are (in short): * Telling other subscriber which interesting band is where and when on tour in germany! * collecting Adresses of german mail-order-shops/labels etc. * chatting, asking, informing each other - e.g. album reviews etc. If you want to get a member of this mailing list (and if you understand german) mail to watchtower-request@dontpanic.rz.uni-ulm.de and put the word SUBSCRIBE somewhere in the message. if you want to post a letter to every subscriber, send it to watchtower@dontpanic.rz.uni-ulm.de Currently I have to insert every new subscriber by hand, so it may take some days until you get member - you'll be one as soon as you recieve your "welcome" mail. So lang, Felix ------------------------------ Date: Wed, 20 Oct 1993 11:35:46 GMT From: Jeff Preston Subject: Q: Pointers to software reviews online? It's me again, back for my semi-annual plea for help with your favorite topic! :) Does anyone know of an FTP site that might have some good reviews of sequencer software packages? I've tried Archie and have come up dry at the sites which looked most promising (xcf.berkeley.edu, etc). Any pointers mucho appreciated! Jeff -- Jeff Preston =*= Moderator of the Allan Holdsworth discussion forum =*=*=*=*=*=*=*=*= atavachron-request@msuacad.morehead-st.edu =*=*=*= ------------------------------ End of the EMUSIC-L Digest ******************************