EMUSIC-L Digest Volume 61, Issue 24 This issue's topics: (untitled) Being Born With It (Re: keyboard teacher) (2 messages) Charles Dodge email Free Info HELP In Film: what is ADR? (3 messages) Looking for Matta MUSIC OF ROBERT CEELY (2 messages) Opcode's email address... random questions (2 messages) Random Questions : R E S P O N S E Roland Phone Number Some CD-related questions Sorry to ask, but . . . (2 messages) Syllabus for elec. music class (3 messages) THE UNIVERSE (3 messages) Tim Souster, Charles Dodge used band instruments WARP (record label) address wanted (3 messages) Yamaha FM-synths out of production? (2 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: Thu, 10 Feb 1994 10:12:17 +0000 From: Nick Rothwell Subject: FNELSON@ocvaxa.cc.oberlin.edu writes: >Tk9USUNFIE9GIEZBQ1VMVFkgVkFDQU5DWQ0KSU4gRUxFQ1RST05JQyBBTkQgQ09N >UFVURVIgTVVTSUMNCg0KVGhlIENvbnNlcnZhdG9yeSBvZiBNdXNpYyBhdCBPYmVy >bGluIENvbGxlZ2UgaW52aXRlcyANCmFwcGxpY2F0aW9ucyBmb3IgYSBub24tY29u >... Hmm, obviously an algorithmic composition of some kind, but it's come out in ASCII rather than audio. Never mind, I can upload it anyway ... ["...KlangKlangKlang..."] I love the melancholy resolution of the second melody in the reprise. Really touching. Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Thu, 3 Feb 1994 11:42:46 +0000 From: Nick Rothwell Subject: Re: Being Born With It (Re: keyboard teacher) >What it comes down to is it's easier for people to call hard work and >determination "talent" and that gives them a way out. "Oh, I can't do that, >I don't have that kind of talent." What they don't have is that kind of >determination and focus. I'll go along with that. One could argue, though, that the "focus" (and/or vision, whatever) requires a certain something... Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Fri, 4 Feb 1994 17:59:33 +0100 From: "K.9 Kai Niggemann" Subject: Re: Being Born With It (Re: keyboard teacher) >>What it comes down to is it's easier for people to call hard work and >>determination "talent" and that gives them a way out. "Oh, I can't do tha= t, >>I don't have that kind of talent." What they don't have is that kind of >>determination and focus. > >I'll go along with that. > >One could argue, though, that the "focus" (and/or vision, whatever) >requires a certain something... How about money and time? Greetings, Canine. -- "On the net, no-one can tell you're a dog..." Canine aka Kai Niggemann | talk Administrator of INTERZONE -the smart BBS (+49-234-58 29 56)| - action Part of MacNet(c), FirstClass=81 Network in Germany | _________ 0 ------------------------------ Date: Fri, 11 Feb 1994 00:21:00 GMT-0500 From: JASON VANTOMME Subject: Charles Dodge email I think Charles Dodge is on a one year stint at Dartmouth College in New Hampshire. I did a 'finger' and turned up: Charles.Dodge@dartmouth.edu so it seems as though he is in fact there. ----------- Jason D. Vantomme Music Technology Area, Faculty of Music McGill University, Montreal, PQ CANADA email: vantomme@music.mcgill.ca ------------------------------ Date: Mon, 14 Feb 1994 19:24:34 -0500 From: "Alan S. Feinstein" Subject: Free Info U.S. & Canadian members are welcomed to write to me for a free copy of my newsletter. Write: ASF, 37 Alhambra Cir., Dept. Emu, Cranston, RI 02905 ------------------------------ Date: Fri, 25 Feb 1994 05:22:21 LCL From: Doug Ramsay Subject: HELP A friend has lent me this MIDI synchronizer - but w/o the manual. I've never used one before. Would someone who's familiar with it be so kind as to e-mail me with some general operating instructions? I'll be using it with a Tascam 424. Thanks in advance! Peace. Doug ------------------------------ Date: Tue, 22 Feb 1994 16:31:24 PST From: Peter Uchytil Subject: In Film: what is ADR? This isn't quite the appropriate place to ask this question, but I bet someone knows. In the credits of a film there are several "ADR" people. They are usually listed right around the Foleys, so I assume ADR has something to do with the sound recording of the film, but I really have no idea. Anyone got a definition? Thanks. Pete -- Peter Uchytil * peter@kentrox.com * ADC Kentrox - Portland,OR ---------------------------------------------------------------------------- "Every truly great accomplishment is at first impossible" - fortune cookie ------------------------------ Date: Tue, 22 Feb 1994 22:34:56 -0500 From: Ronald Beal Subject: Re: In Film: what is ADR? ADR, at least according to the gospel of the recording industry prof.s at MTSU is automatic dialouge recording. it is basicly the process of rerecording dialouge. most common uses are to replace bad audio, or to add and change lines when an actor isn't facing the camera (so you can't see that his/her lips aren't in synch. Narrative type recording is also usually done at this stage. Atilla ------------------------------ Date: Thu, 24 Feb 1994 00:48:13 GMT From: Jason S Hoffman Subject: Re: In Film: what is ADR? In <01H97APPM5TUBOTMX3@ACAD1.MTSU.EDU> Ronald Beal writes: >ADR, at least according to the gospel of the recording industry prof.s at >MTSU is automatic dialouge recording. it is basicly the process of >rerecording dialouge. most common uses are to replace bad audio, or to add >and change lines when an actor isn't facing the camera (so you can't see that >his/her lips aren't in synch. Narrative type recording is also usually done >at this stage. > Atilla No biggy. I had always been told it was Automatic Dialogue REPLACEMENT, but that's neither here nor there. This is also referred to as looping (in tv/ film) and in some drastically stretched cases, Foley (which usually is a sound effects recording). -/\/\< /\/\/-\>< | MC MAX 1 -- Jason S Hoffman hirez@iastate.edu ------------------------------ Date: Fri, 11 Feb 1994 14:04:10 +0000 From: Paul Kriwaczek Subject: Looking for Matta Does anybody know an artist/musician by the name of Matta? The son of the famous surrealist painter Roberto Sebastian Echauren Matta? I met Matta senior in 1989, when he showed some videotape works which were accompanied by music created by his son. I am very keen to get in touch with the father - if he is still alive. Matta junior would be able to help, if I could find a contact number for him. Thanks. -- Paul Kriwaczek at Earth Images Associates ------------------------------ Date: Mon, 14 Feb 1994 12:27:03 -0500 From: Bob Ceely Subject: MUSIC OF ROBERT CEELY WHAT DO YOU THINK OF THIS MUSIC?I THINK ITS MASTERFUL! ------------------------------ Date: Wed, 16 Feb 1994 08:09:06 -0800 From: metlay Subject: Re: MUSIC OF ROBERT CEELY Bob Ceely writes of the music of Robert Ceely: >WHAT DO YOU THINK OF THIS MUSIC?I THINK ITS MASTERFUL! I THINK TEAM METLAY IS BETTER,AND WE TAKE THE CAPS LOCK OFF. :) :) -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * metlay@netcom.com --------------------------------------------------------------------------- "Connellion to the nutput jaek." (o.c.r. attempting to grok xpander manual) ------------------------------ Date: Fri, 18 Feb 1994 13:45:31 -0600 From: Arne Claassen ISE Subject: Opcode's email address... I misplaced the email address for opcode. opcode@something.other... anyone know? Thanks... (dreaming about a PowerPC for HD recording) -- Arne F. Claassen |"In cows we trust | EPS Classic * D4 | E pluribus Moo" | Juno 106 | MTV for eMpty minds | Mac Centris 650 ------------------------------ Date: Tue, 15 Feb 1994 19:10:08 GMT From: Patrick T Baker Subject: random questions I'm taking a class and need to answer a few questions about music, and particularly electronic music. I was hoping that someone could email me some answers to these questions. Here are a few questions about MIDI. What is MIDI? Who invented it? It has a funny bitrate, doesn't it? (Why?!) How many different species of music synthesizers are there? How many synthesizers were sold worldwide last year? What is the cheapest MIDI synthesizer? What synthesizer did Ferris Bueller use on his day off? What was its sampling rate? What is SMPTE? Patrick Baker pbaker@athena.mit.edu ------------------------------ Date: Tue, 15 Feb 1994 23:18:26 PST From: Mike Friesen Subject: Re: random questions Patrick T Baker asked : >What is MIDI? Who invented it? It has a funny bitrate, doesn't it? (Why?!) >How many different species of music synthesizers are there? >How many synthesizers were sold worldwide last year? >What is the cheapest MIDI synthesizer? >What synthesizer did Ferris Bueller use on his day off? >What was its sampling rate? >What is SMPTE? I'll allow the more technically savvy netsurfers to answer the electron-based questions. I'm pretty sure that Ferris Bueller was using an E-mu Emulator II sampler. If memory serves correctly (I may be wrong here) it topped out at 32kHz for a sampling rate. I believe, also, that the thing stored data in an 8-bit compressed format. It stored data on 5.25" disks which were, at the time of the instrument's creation, limited to 360kbytes. One might, if one were truly cynical, contemplate the possibility that the sounds which Matthew Broderick 'triggered' from the keyboard were, in fact, not from the instrument itself -- but rather flown in by the sound effects person using something like a Synclavier. Or maybe it was Memorex... Michael Friesen North Peace Secondary School Fort St. John, British Columbia, Canada "To strive, to seek, to find, and not to yeild."-Tennyson ********************************************************* ------------------------------ Date: Fri, 4 Jan 1980 18:37:50 CST From: "Steven T. Awiszus" Subject: Random Questions : R E S P O N S E To Pat Baker: I can try to answer some of your questions. 1) What's MIDI? MIDI stands for Musical Instrument Digital Interface. It was created(mo stly) by Sequential Circuits in the late 70's and was adopted by the International MIDI Association and ratified in 1983. Since then it has become one of the most important aspects of electronic music allowing users to interface(connect) and control their musical equipment. The recording/song writing industry has been radically changed by MIDI(some say for the worse) I say for the better as far as audio quality and production speed is concerned. MIDI has a somewhat strange and in conputer terms somewhat slow bit rate of 31,250 bits/second. This rate was derived from a convienient break down of an 8MHz CPU clock rate. Some say this rate is too slow, I say it's not. I've been using MIDI quite extensively now for about 8 years. I am an Electrical/Computer Engineer and I have designed and built MIDI devices. For those who say MIDI is too slow I say thin out your controller information and if that does'nt do it DEMULTIPLEX you data lines! MARK OF THE UNICORN has made a few excellent DEMULTIPLEXERS. I believe they call these the 'TIME PIECES' or something like that. MIDI has 16 channels built into its architecture (actually MIDI is an 8-bit language) and the 'TIME PIECE' modules extend MIDI's channel capacity up to 512 or more discreet channels. If you need more info on MIDI I have written and delivered a presentation at my university on this subject, maybe I could give it to you. 2) What is SMPTE? SMPTE is the acronym for Society of Motion Picture and Television Engineers. It is a discteet digital time code used in the television and motion picture industry to synchronize film/tape and audio. SMPTE is also used to drive MIDI sequencers connected to networks of synths and effects processors while mixing and writing soundtracks and the like. SMPTE has a format something like: HOURS/MINUTES/SECONDS/FRAMES/SUB-FRAMES This may not be exact so check your resources first! That's all I have. Good luck! Steve Awiszus Electrical/Recording Engineer ------------------------------ Date: Thu, 17 Feb 1994 18:51:46 CST From: awiszus@SOLAR.EE.STCLOUD.MSUS.EDU Subject: Roland Phone Number Kyle, Rolands U.S. telephone number is: (213) 685-5141 Ask for an owners manual and they will switch you to the proper line. Have a good one! Steve Awiszus Electrical/Recording Engineer System X Productions ------------------------------ Date: Tue, 15 Feb 1994 18:57:59 GMT From: Herschel A Gelman Subject: Some CD-related questions I just (finally?) got myself a CD player. Two questions springing from this: (1) The specifications list the wow and flutter as being less than the measurable limit. Is this just to make it sound more impressive? I would think that a CD wouldn't be able to have *any* wow and flutter, by the very nature of digital playback; the only possible wow and flutter on a CD would seem to be that introduced from the original master recording if it was analog. It would seem that a CD player would therefore have to have zero wow/flutter, not just something "below measurable limits." (Actually, I suppose that the company would have to go out of their way to get wow and flutter from a CD -- introduce specialized pitch-shifting circuitry and stuff.... (-: ) (d) I've found that the BMG music club has a couple of CDs I'd be interested in getting. Yet there's this persistant net.rumor that CD clubs sell inferior- quality CDs. Can anyone on here enlighten me about this? I managed to get a copy of a BMG CD which was also available in the library (as a non-club disc) and couldn't hear any difference (though both had surprisingly large amounts of hiss in sections...) Is this alleged inferiority a physical problem with the disc, then? Or is there no basis for this whatsoever? (XIII) Oops, three questions. The CD player came with a cable to hook it up to a receiver/tape deck of the same brand. Which happens to be a very useful cable, having a mini-headphone jack on both ends. So I hooked my box up to the mic input of my Mac to do direct sampling. Which led to problems. I'm assuming that the levels from a headphone-out are much higher than the Mac is expecting on a mic input, right? Is there any (easy) way around this? So that I can, say, re-sample my startup sound at a better quality? I need my "Duh, hello superior creature" when I turn on the computer... :) -- ---------------- Herschel Gelman ----------- hagst3+@pitt.edu ----------------- ------------------------------ Date: Tue, 1 Feb 1994 03:09:29 -0400 From: "Nicholas P. Traenkner" Subject: Re: Sorry to ask, but . . . >If you are really interested you should read up on fractals... I have heard of something called 'fractal music', but have no idea what it is, nor what it sounds like. Help on this? Nick Traenkner engxt343@ksuvxa.kent.edu ------------------------------ Date: Tue, 1 Feb 1994 07:34:48 +0000 From: Nick Rothwell Subject: Re: Sorry to ask, but . . . >If you are really interested you should read up on fractals, and infinite >number theory. Yes there is more then one infinite number. An infinite number of them, in fact. The question is: *which* infinite number? Nick Rothwell | cassiel@cassiel.demon.co.uk CASSIEL Contemporary Music/Dance | cassiel@cix.compulink.co.uk ------------------------------ Date: Fri, 4 Feb 1994 12:50:05 U From: Paul Abel Subject: syllabus for elec.music cla Subject: Time:11:39 AM OFFICE MEMO syllabus for elec.music class Date:2/4/94 I am currently teaching a class on general electronic music here at Hillsdale College, and I have been asked by the music dept to see if I can make this class two semesters long. What I am requesting is some input into what you (All the gurus out there) think is important. My current syllabus covers the usage of midi, digital recording, miking techniques, the functions of all the machines etc. just general stuff. I have quite a bit to work with, including 4 midi boards (1 is a sampler), a midi time piece as a controller, mark of the unicorns digital performer with a gig drive for storage, a yamaha dat deck, a 24 channel board, and basically two racks worth of patch bays and proccessors, all of which is in a control room seperate from the recording room. I do have a syllabus roughed out for the second semester, but I thought it would be interesting to get input from other sources. Enclosed is the syllabus from my first semester. I am looking for ideas that will get more detailed and fun then that which I am sending. <<<<<< Attached TEXT file follows >>>>>> Electronic Music Production Music 393C 1-25: Handout, discuss goals, grading etc., Discuss The History of Recording 2-1: The components (hardware); Wiring all the components; interaction between components 2-8: The components (hardware); Wiring all the components; interaction between components cont. 2-15: Miking techniques.. Placement, and different types of mics for different situations. 2-22: The analog process; how things get recorded onto tape, what kinds of tape, how to avoid distortion, and general engineering. 3-1: Practice recording techniques. 3-8: Quiz: Identify equipment, hook up the system properly, and maybe explain part of the process of recording. Remainder of the period discu ss the keyboards and how the synthesizers work. 3-15: MIDI (function & form) How does midi differ from analog and digital recording, how do the components work together, and how do we control it. 3-22: MIDI cont. what role does the computer take in the process, SMPTE's role in the film and video industry, and different midi formats. 3-29: MIDI cont. Recording with midi, how to manipulate files, how to convert files to manuscript, and how to edit in a post record mode. 4-12: Quiz over midi. The digital process; how things get recorded, edited and manipulated. How to avoid distortion etc. 4-19: The digital process cont. 4-26: The digital process cont. advice on final project. 5-3: Students present their final project. ------------------------------ Date: Mon, 7 Feb 1994 21:29:09 GMT From: Herschel A Gelman Subject: Re: syllabus for elec.music cla In article <199402041748.MAA22574@merit.edu> paul.abel@AC.HILLSDALE.EDU (Paul Abel) writes: >I am currently teaching a class on general electronic music here at Hillsdale >College, and I have been asked by the music dept to see if I can make this >class two semesters long. What I am requesting is some input into what you >(All the gurus out there) think is important. [syllabus deleted...] >From your description, sounds like you're covering a whole lot as it is. I took "MUSIC 1441" here at Pitt, which is the introductory emusic course. We didn't do nearly as much in a semester as you seem to have planned. (Of course, one big reason was that we didn't have a setup of that magnitude). However, one of the things that made the class worthwhile was the fact that the recitation involved each student getting 2 hours by themselves in the studio. Then the class would often involve people playing whatever they had done last time, with comments and criticism from the prof and the class. That kind of freedom to just mess around was one of the best parts of the class. I also notice that you spend time covering recording techniques, which is interesting, since for us it was basically up to the students to experiment by ourselves and figure everything out. (The prof never even mentioned what any of those funky, cryptic buttons on the mixing board did--took me a while to get the effects processor output to be sent to the tape, instead of just to the speakers...) -- ---------------- Herschel Gelman ----------- hagst3+@pitt.edu ----------------- ------------------------------ Date: Sat, 12 Feb 1994 18:10:53 -0400 From: William Eldridge Subject: Re: Syllabus for elec. music class Paul Abel wrote: >I am currently teaching a class on general electronic music here at >Hillsdale College, and I have been asked by the music dept to see if >I can make this class two semesters long. What I am requesting is >some input into what you (All the gurus out there) think is >important. I'm a little puzzled about your class. Is this Hillsdale's only course offering in electronic music? For whom is it intended? The title "Electronic Music Production" and the contents of your proposed syllabus seem to point toward a course for budding audio engineers who will be helping music creators realize projects. If so, I have no suggestions for you. If, on the other hand, the course could be titled "Introduction to Electronic Music" or "Composition in the Digital Medium," and especially if it's the only course offering in the subject area, I would urge you to include history, aesthetics and analysis. Electronic and computer music has a (relatively) long and fascinating history. I think you should impress upon your young students that the lovely toys in your studio did not spring fully formed from the forehead of Zeus but are the result of decades of collaboration between composers and engineers in pursuit of a vision of the future first glimpsed by Busoni and Varese. Even if your students wish only to learn the skills to mimic the latest commercial music trends, they should realize that the evolution of the technology they'll be employing was, at least originally, driven by the needs and dreams of composers of art music. And those composers have produced a large corpus of work which your students should confront and come to know, if not to love. Some of those works are "better" than others. What makes them so? This is an aesthetic question. Wrestling with it can give young composers a frame of reference in which to evaluate their own work. Making that work will require more than knowledge of the equipment -- when they face that blank page (or blank disk space), it helps if they don't have blank minds. Intimate acquaintance with the content and form of any of a number of interesting, well-structured works from the canon will give them something to imitate, be inspired by or react against. Have them each pick a work from a short list and write an "analysis" paper. Depending on their background, this might be merely a simple blow-by-blow prose description of what happens in the piece, but the close listening will be invaluable. Have them invent a way to graph the piece against a time-grid. What can they say about the form? What is the overall shape of the work? Does it seem to fall into sections? If so, how do they differ? How do they relate to each other? What are the important elements (sounds, rhythms, gestures, etc.)? Are these developed in an organic way, or does the piece proceed with different premises? How do all these questions relate to the most salient aspect of any piece of music: the flow of psychological state or affect it engenders? Good luck. I hope your students learn a lot and produce some good music. William Eldridge katzja@hugse1.harvard.edu ------------------------------ Date: Thu, 24 Feb 1994 13:39:13 GMT From: JOEL STERN Subject: THE UNIVERSE Bill Fox said: >Please let me reccommend a TV show! "How the Universe >Changed; a Personal View by James Burke"... Please let me second that recommendation. A great program. On a par with Jacob Bronowski's 1970's series, "The Ascent of Man", but more savvy about social evolution. Very humorous too. Joel Stern stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Thu, 24 Feb 1994 14:12:24 -0600 From: David Arthur Subject: Re: THE UNIVERSE Mail*Link(r) SMTP RE>THE UNIVERSE I live in maryland and I need to know what network, what time, and what day. D.C.A. in Annapolis -------------------------------------- Date: 2/24/94 2:04 PM To: David Arthur From: Electronic Music Discussion Li Bill Fox said: >Please let me reccommend a TV show! "How the Universe >Changed; a Personal View by James Burke"... Please let me second that recommendation. A great program. On a par with Jacob Bronowski's 1970's series, "The Ascent of Man", but more savvy about social evolution. Very humorous too. Joel Stern stern@mail.loc.gov tel:301-588-8061 fax:301-585-7642 ------------------------------ Date: Thu, 24 Feb 1994 17:05:09 -0500 From: Joe McMahon Subject: Re: THE UNIVERSE > >Please let me reccommend a TV show! "How the Universe > >Changed; a Personal View by James Burke"... For those who have asked, it usually gets rebroadcast around pledge time, but I believe you should be able to find it at your local (large) video store. --- Joe M. ------------------------------ Date: Thu, 10 Feb 1994 13:39:04 +0100 From: Peer Sitter Subject: Tim Souster, Charles Dodge Does somebody know the address of the composers Tim Souster and Charles Dodge? Where they are located now, telephone-number, e-mail?? Thank you Peer Universitaet zu Koeln Musikwissenschaftliches Institut e-mail: alm05@rs1.rrz.uni-koeln.de . -- ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Peer Sitter Tel: (0)221-4703802 Universitaet zu Koeln (Cologne) Fax: (0)221-4704964 Musikwissenschaftliches Institut e-mail: alm05@rs1.rrz.uni-koeln.de Albertus Magnus Platz D- 50923 Koeln Germany ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ------------------------------ Date: Thu, 3 Feb 1994 13:47:21 GMT From: Ernie Reece Subject: used band instruments i'm interested in a list of places to buy used band instruments for high school bands and individuals looking for professional quality equipment. email or send list to aberdeen high school band,po drawer 607, aberdeen,ms. 39730 or fax 601-369-0987--thanks ------------------------------ Date: Wed, 23 Feb 1994 10:38:02 +0100 From: Sjoerd Bijleveld Subject: WARP-label address wanted Hi, Does anyone know the address of the (ambient, detroit techno, electronic) musiclabel WARP. I only know it's sited in the UK. They seem the have an interesting serie of electronic music records out called Artificial Intelligence. Thanks Sjoerd Bijleveld ------------------------------ Date: Wed, 23 Feb 1994 13:56:54 +0100 From: Sjoerd Bijleveld Subject: WARP (recordlabel) address wanted Hi, Does anyone know the address of the (ambient, detroit techno, electronic) recordlabel WARP. I only know the company is sited in the UK. They seem the have an interesting serie of electronic music records out called Artificial Intelligence. Thanks, Sjoerd Bijleveld ------------------------------ Date: Wed, 23 Feb 1994 23:46:54 -0800 From: David Chandler Subject: Re: WARP-label address wanted On Wed, 23 Feb 1994, Sjoerd Bijleveld wrote: > Hi, > Does anyone know the address of the (ambient, detroit techno, electronic) > musiclabel WARP. I only know it's sited in the UK. They seem the have an > interesting serie of electronic music records out called Artificial > Intelligence. > > Thanks > > Sjoerd Bijleveld I seem to recall an e-mail address on one of the earlier 12", I'll look for it. That series is very significant, and I expect will eventually be seen as representitive of the "analog-pride" attitude to come out of the early 90's electronic ambient music scene (3rd generation? perhaps 2nd *ambient*?) I've got them all on original vinyl except the first compilation. The music that makes me feel really positive about programming computers and being in the whole environment... Black Dog Productions has a bbs... David Chandler - chandler@nethost.multnomah.lib.or.us (503)241-2949 ------------------------------ Date: Fri, 18 Feb 1994 17:30:13 GMT From: Olav-andreas Marschall Subject: Yamaha FM-synths out of production? I understood that yamaha produces only one synth with "oldie-fm", unfortunately I prefer fm to a lot of sample-based synths (not only because I play wx), why does yamaha do only put fm into its most expensive synth. Does FM disappear completeley ? and is replaced by some newer synthesizing technique, I read about some new modelling-based yamahas? Anybody who knows about yamahas future intentions ? ------------------------------ Date: Mon, 21 Feb 1994 13:50:04 GMT From: David J Greaves Subject: Yamaha FM-synths out of production? I have the Yamaha chip catalog and it contains a new synth chip which can do both FM and PCM from an external ROM at the same time David /* ------------------------------ End of the EMUSIC-L Digest ******************************