EMUSIC-L Digest Volume 66, Issue 10 This issue's topics: FAQ i need the human freq response FAQ Lost SAW at Leigh's / Thank you guys! (2 messages) MIDI in the elementary school MIDI Setup (2 messages) NAMM Summer Session (first look) NIN Non-Drum Rhythms (3 messages) Our friends in NYC Our friends in NYC - part II spatial placement of sound (2 messages) where to place an ad (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, 21 Jul 1994 20:48:09 -800 From: Mark Hartshorn Subject: FAQ Sorry guys/gals, How do I get the FAQ for this list? I'm checking for a friend. Mark H hartshrn@coyote.csusm.edu ------------------------------ Date: Sat, 23 Jul 1994 05:50:18 -0400 From: binary sound Subject: i need the human freq response FAQ hey there-- think anyone could send me that FAQ on human's hearing freq response? i seemed to have misplaced mine and someone needs it. thanks a bunch! john ---- j.sweeney jds@access.digex.net binary(sound) 01011011 ( i m p r i n t s ) ------------------------------ Date: Wed, 27 Jul 1994 22:31:32 -0300 From: Vicente Rubino Subject: Lost SAW at Leigh's / Thank you guys! I just received the info I needed from my problem stated in the list some days ago concerning the lost SAW at Leigh's Computer NYC. This is an example of the utility and power of "net", and our list! I wish to thank you all for supporting and... PLEASE STOP PHONING TO LEIGH'S !!! He was tottaly full of phone calls from "my friends of NYC", and needs a rest! Thanks again, and It's a small world, isn't it???? Vicente Rubino Brazil ------------------------------ Date: Thu, 28 Jul 1994 08:35:54 CDT From: "Kevan L. Moore" Subject: Re: Lost SAW at Leigh's / Thank you guys! > Vicente Rubino > Brazil > Hello Vincente. Noticed you're a Brazil guy. I have some friends in Sao Paulo. Where are you? Kevan L. Moore Huntsville, AL USA ------------------------------ Date: Tue, 12 Jul 1994 08:20:39 MST From: Sue Thomas Subject: MIDI in the elementary school I work in a K-5 elementary school ... we have 4 MIDI keyboards connected to Mac520 machines. The software we currently have is Band in a Box, Ballade, and Finale. We are trying to develop a curriculum to incorporate music and technology ... does anyone out there have experience in this area? Any help or ideas would be most welcome. THANKS! Sue Thomas Technology Specialist Parley's Park Elementary School Park City, Utah USA thomas@712admn.nebo.edu ------------------------------ Date: Wed, 20 Jul 1994 13:00:41 -0400 From: Dustin Edge Subject: MIDI Setup I am wanting to set up a MIDI studio. What do I need to accomplish this? I'm considering using either a Quadra 840AV, powermac 6100, or a powerbook. Are these logical choices for MIDI Setups? What software do you recommend for MIDI? I'm considering using Pro-5 as a studio recorder. What other software is there? Thanks a bundle. ------------------------------ Date: Wed, 20 Jul 1994 17:32:27 -0600 From: PoserPC - just say NO! Subject: Re: MIDI Setup Dustin Edge wrote: >I am wanting to set up a MIDI studio. What do I need to accomplish >this? Hoo boy, do you really know what a can of worms that question is? What exactly do you want to do with this "studio"? Do you have synths that you want to control? Do you want to do hard disk recording or do you want to use analog or digital tape? Is this just for home use? Do you want to be able to take it to gigs? Do you want to use the computer for other purposes? Do you want to collaborate with other people, and if so, what kind of software and hardware are they using? Do you want to use prepackaged stuff, or develop your own software? Do you hang around with the academic types, or do you hang with the commercial/ business types? For me, I use a Compaq Concerto pen-based computer with Cakewalk Pro for Windows and Encore. I don't do hard disk recording, and I need a portable system to take to gigs. I control synths, drum machines, etc, and use a Peavey MIDIBase as my primary controller. When I want to do composition stuff, I just use the pen to enter notes and have my soundcard play a "preview" before I orchestrate everything through my Rack O' Synths... The Concerto is based on a 486 33MHz chip, so I can run DOS/Windows/NT/OS/2/Linux/FreeBSD/Solaris/etc. It costs about $1400 and includes a 250MB hard disk and 4MB RAM. Try and beat that with a Powerbook. And have you tried that new "trackpad"? Yuck. I want the old trackball back. At work I have a Powerbook 140 and a 520. The 520 blazes, but that trackpad dojigger sucks! Maybe I can figure how to extract the trackball from the 140 and put in in the 520... Probably the MOST IMPORTANT thing for you to do is choose your software first. Then and only then decide what platform you're going to use. Don't be fooled by any of us who say Intel is better than Mac, or Mac is better than Intel, or whatever. The best computer is the one that runs the software that you want. And you should consider what is available NOW, not what is promised, although you should allow some leeway for the future. (Tough line to balance on...) With that said, for general multimedia work, I think you should probably stick to Intel, as there is a huge market there, which means that there are lots of developers and development tools for you to use as well. (If you want to get started with programming, check out Visual Basic for example...) For more specific work, you will find that the field equals out. If you want to do hard disk recording, the Mac might be better, but make sure to compare the Turtle Beach stuff. There are actually quite a few soundcards on the market that will do "CD quality" sound recording, and they can be had for something like $100-150... I don't believe that any of the hard disk recording stuff works with the PoserPC (gee, I mean PoWerPC... heehee!) based Mac yet, but I'm sure I'll be corrected if I'm wrong! ;-) As well, I don't believe that you can effectively use a laptop for hard disk recording either. If you want to do lots of mod file kind of things, you're probably better off with an Amiga, and if you want to do computer based sound generation and manipulation, you should consider a (used) NeXT. Again, ANY computer can be appropriate, depending on what you hope to accomplish. So, for specialized stuff, look for the software first, then at the computer. And I'm sure that if you give us more details of what you hope to accomplish, you'll be overwhelmed with all the different opinions that you get! ;-) -Doug NOTE: This was originally posted to EMUSIC-L. Since this is getting into hardware/software in a big way, we should take any followups to the SYNTH-L discussion list. (I have already cc'd this over there as well.) ------------------------------ Date: Sun, 31 Jul 1994 20:45:40 -0500 From: Arne Claassen ISE Subject: NAMM Summer Session (first look) Ah, just got back from NAMM in Nashville, and while the whole thing was kind of country and guitar oriented, there was still a lot of gear lusting to be done. First off, my onw little complaint. The Peavey SP+ (announced Winter NAMM) won't come out until next January. I got to their bootha and spotted an SP+ in their rack and was hoping for a nice at the show aquisition, but nope. After finding out the release date, i thought, i'd ask about the "reonsant filters" it's supposed to have to be told "it's supposed to have those. Honestly, the SP+ you see is just an SP with an SP+ face plate" NOT even a proprotype. Waaah! Now to the pleasure of the automation: Forget the Mackie 1604 with OTTOmation. For about the same price you can have the ProMix 01. Let's see the features: - 8 XLR channels - 8 1/4" channels - 1 stereo in - 2 built in effects a la SPX90 II - 3 assignable comperssors/gates - 2 additional sends - 3 band parametric EQ for each channel - all processing in digital domain (the external loops are converted back to analog) - motorized faders (and they do move as fast as you can) - full MIDI control of every parameter - analog and S/PDIF output - 18-bit 48kHz input converters - 20-bit processing - 36-bit EQ processing Nice stats. I played with it for about half an hour and it was beautiful. Incredibly clean, easy to operate. I wish i could buy one right now, but money does not permit.. Still, for $1995 list, it's too good to be true. -- Arne F. Claassen ----------------------------------------------------------------------------- Nine Inch Nails on MTV Unplugged - "The whole band is onstage. Chris is behind the drums and a tape deck not plugged in, no sound. Everybody's waiting to play. He hits it again. Nothing. I yell at him. He hits it again. Nothing. Then we smash our gear and walk offstage!" ------------------------------ Date: Wed, 13 Jul 1994 09:15:00 . From: Amy Christensen Subject: NIN Liked your little anecdote re: NIN on MTV. Typical Trent. From what I've read and heard, I doubt a show goes by when he doesn't abuse something on stage -- a mic stand, keyboard, stage hand, musician... (His perspective: Something goes wrong on stage and you want a stage hand's attention -- throw something at 'em.) This month's "Option" magazine did a cover story on Nine Inch Nails that gives his fans a brand new perspective on the man (as did this month's Village Noize, which also did a cover). In the past he's always been painted as a really nice, quiet, misunderstood guy -- a picture I myself appreciated. This article makes him look like a hostile, childish prima donna. Guess touring life is getting to him... I manage a musician who functions just like NIN -- a one man show in writing and production, and a 4 man show live. Pulling this kind of music off on stage, when 70% is sampled or altered via computer, is extremely difficult. Temper tantrums and obnoxious profanity seem to logically follow. Makes life exciting, eh? *** END OF NOTE *** TO: EMUSIC-L TCPMAIL Internet Mail ------------------------------ Date: Wed, 6 Jul 1994 23:33:05 +0100 From: Nick Rothwell Subject: Re: Non-Drum Rhythms Mail catch-up time. >Back around 18-Nov-93, Could you be more specific? >I asked about alternatives to using drums: Wavestation stuff for me, partly because those are the machines I know well. But there's drums and there's drums. I don't have a way of capturing percussion in any organic sense, to give that Vangelis-y krakaboom sort of energy. That's the next challenge. >Q#1) Nick, have you written the required MAX tools? I have MIDI-clocked sequence generators which give me the basics, although there's quite a lot of patching to do by hand. >It would be nice to >be able to include spatial interest by controlling the pan position of >each segment. Can this be done by running two or more wave sequences >simultaneously? Some polyrhythmic possibilities here! Yes it can; I often start with two copies of the same wave sequence, and then mute out steps until the result is animated and sparse. >Is this relatedto the >hocketing concept as discussed on "The Secrets of Synthesis" CD by Wendy >Carlos? I don't have the CD, so I may not know what hocketing means exactly, but I have a feeling that this is right. (I don't *want* to know what hocketing means, since I have a vague abstract idea about it which is proving useful to me.) Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com ------------------------------ Date: Thu, 7 Jul 1994 09:00:28 EDT From: "william.b.fox" Subject: Re: Non-Drum Rhythms Nick Rothwell jokes around: > >Back around 18-Nov-93, > > Could you be more specific? Well... yes. The first response to my original post was time stamped thusly: Thu, 18 Nov 1993 16:06:06 EST. Obviously, my post predates that by Brian Good's (the responder) and the network's response time. ;-} You asked! > Yes it can; I often start with two copies of the same wave sequence, and > then mute out steps until the result is animated and sparse. If you pan wave sequence 1 hard left and ws2 hard right, I suppose that you can "pan" a step by playing with the relative volumes instead of just muting one ws step or the other. Please let me know if this works. > >Is this related to the > >hocketing concept as discussed on "The Secrets of Synthesis" CD by Wendy > >Carlos? > > I don't have the CD, so I may not know what hocketing means exactly, but I > have a feeling that this is right. > (I don't *want* to know what hocketing means, since I have a vague abstract > idea about it which is proving useful to me.) ** Quick, Nick. Delete the rest of this! ** The above panning example fits my concept of hocketing well enough. Maybe somebody out there who is more educated about classical literature can come up with a composer and/or title, but I've heard about a piece where a melody line was divided up between the first and second violin sections. And unlike what is customary today, the composer's orchestra seated the first violins on the left and the seconds ON THE RIGHT, making the melody bounce left and right. Now imagine a wavestation being panned in 3-D by Roland's new delay and reverb units... Works for me! Bill Fox wbf@aloft.att.com ------------------------------ Date: Sun, 10 Jul 1994 20:58:46 +0100 From: Nick Rothwell Subject: Re: Non-Drum Rhythms >If you pan wave sequence 1 hard left and ws2 hard right, I suppose that >you can "pan" a step by playing with the relative volumes instead of >just muting one ws step or the other. Please let me know if this works. Unlikely; synths generally respond slowly to volume controller. Besides, rather than pan one side I might simply step it back half a beat, or replace it with a different sample, or detune it. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com ------------------------------ Date: Mon, 25 Jul 1994 23:43:02 -0300 From: Vicente Rubino Subject: Our friends in NYC This is a message for anybody living near the Big Apple. I've bought from Leight's Computer, NYC, the Software Audio Workshop - SAW, but this was a month ago, and up to now I did not received it :( The worse is I already received the bill from AmericanExpress, and already payed it. The company in chargefor the transport was the UPS (beware this company boys...). What I need is the number of the air way bill from UPS, that's is with the good Mr. Leigh. Could you please call Leigh's, tell them you are my friend and I amat in trouble with UPS, and ask the air way bill number from UPS? My name's Vicente Luis de Campos Rubino address: Rua General Vitorino 77 sala 904 90020-171 Porto Alegre / RS - BRAZIL and the approx. day of my request was 22 of June 94. After I get the number, just send to e-mail: pimenta@vortex.ufrgs.br Thksalot Vicente Rubino - it's a small world, isn't it??? - ------------------------------ Date: Mon, 25 Jul 1994 23:48:40 -0300 From: Vicente Rubino Subject: Our friends in NYC - part II I'm really sorry guys, but only after I sent the previous message I saw that I forgot to include the phone number of our friend Leigh that's it: 215-658-2323 or fax: 215-896-4414 Bye, and good luck (at least for me. I want my SAW back......) :( ------------------------------ Date: Wed, 20 Jul 1994 12:53:25 EDT From: Jeff Faustman Subject: spatial placement of sound I'm looking for any documentation that may exist concerning the placement of sound in a 3 dimentional field. I'm only interested in high-end research such as that being done at Northwestern and other similar facilities. I am not interested in reverb, pan, or delay effects. Thanks! ------------------------------ Date: Thu, 21 Jul 1994 09:09:25 -0500 From: Jason Vantomme Subject: Re: spatial placement of sound Jeff Faustman writes: >Subject: spatial placement of sound > >I'm looking for any documentation that may exist concerning the placement of >sound in a 3 dimentional field. I'm only interested in high-end research such >as that being done at Northwestern and other similar facilities. I am not >interested in reverb, pan, or delay effects. >Thanks! You might want to start with John Chowning's excellent article about spatialization. I'm sorry I don't have the exact reference (anyone out there have it?) because the article is buried somewhere in my moving boxes, but it was either from the Journal of the Audio Engineering Society (AES) or from the Journal of the Acoustical Society of America (ASA). Look at dates from the late, late 70's to the early-to-mid 80's. I know this is vague, but it's worth finding the article - it's one of the "classics". Jason _________________________________________________________________________ Jason D. Vantomme, Programmer/Analyst Institute for the Learning Sciences, Northwestern University 1890 Maple Avenue, Evanston, IL 60201 Ph. (708) 467-2129 _________________________________________________________________________ ------------------------------ Date: Thu, 7 Jul 1994 08:08:14 CDT From: "Kevan L. Moore" Subject: where to place an ad Hello. I've been off the internet for 7 months and wish to rejoin this list, having forgotten how. I've got an old Yamaha SK-30 (drawbar-organ, analog strings, monophonic solo) I'll be glad to get rid of for $50. You can split the keyboard between organ and strings with either on either side. 7-note polyphonic for each section (14 notes total). Built-in chorus; organ has percussive 2,3,5ths. Also, anybody out there wanting to part with a TG-100 or other low-end general midi box with built-in computer interface? thanks. klm ------------------------------ Date: Thu, 7 Jul 1994 11:09:14 -0500 From: Joe McMahon Subject: Re: where to place an ad >Hello. >I've been off the internet for 7 months and wish to rejoin >this list, having forgotten how. You are back on. >I've got an old Yamaha SK-30 (drawbar-organ, analog strings, monophonic >solo)... And you've forgotten that ads should go to SYNTH-L, I think. :-) --- Joe M. -- "Will somebody get the cat off the fender Rhodes?" (MST3K) ------------------------------ End of the EMUSIC-L Digest ******************************