EMUSIC-L Digest Volume 68, Issue 20 This issue's topics: Shepard tones and Pink Floyd B/A/C/H SORRY FOLKS (3 messages) SYNTH-MAKERZ! (2 messages) SDS DOS/Windows program Implied Tonality (or lack thereof...) (2 messages) Price of PCM-80 Grab bag 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: Mon, 5 Sep 1994 11:42:50 WETDST From: Gianni Ghigo Subject: Shepard tones and Pink Floyd Hi I think no one mentioned this before: An example of a Shepard tone (in this case it's an increasing freq.) could be found at the very end of the Pink Floyd's album Meddle (sp?) (at least I think it's a Shepard tone) Sorry I don't know the name of the track (echoes???) because I have only a cassette a friend recorded for me ages ago without writing the name of the tracks on the label of the cassette. Ciao Gianni ------------------------------ Date: Mon, 12 Sep 1994 07:20:22 +0000 From: Jan Magnus Barber Subject: Re: B/A/C/H Just a short note. Yes, B/A/C/H IS Bb A C B - but it isn't a reversal: in German, Norwegian etc. B = Bb (and H = B) - not the other way round! ------------------------------ Date: Wed, 14 Sep 1994 09:45:35 -0500 From: Joe McMahon Subject: Re: SORRY FOLKS >Sorry people, I didnt mean to cause trouble. You wont hear any more from me. >I thought this was a Music Discussion List? ah well, no matter. >I didnt know I was bothering you, so again I apoligize. >Dan Dan, Marc, et al: Yes, it is a music discussion list. It is *not* a "your opinions suck" discussion list, nor is it a music *fandom* discussion list. Had we been discussing musical technique being used by Roxette or whoever, no one would have any objection. But we were just whingeing away about whether or not they were any good. NOBODY ELSE ON THIS LIST CARES. Take it to allmusic@auvm.american.edu. You can discuss anything you feel like there. Now as listowner, I am specifically telling you all to LAY OFF or be removed from the list. There's such a thing as private e-mail if you want to argue with someone about something, and especially if it's about their taste or your preceptions of their viewpoint. Capiche? --- Joe "Vito" M. (EMUSIC-L listowner and arbitrary dictator) -- "This trumpet is flatlining!" (MST3K, "Mr. B. Natural") ------------------------------ Date: Wed, 14 Sep 1994 11:00:37 EDT From: Alper Kerman Subject: Re: SORRY FOLKS > Capiche? > > --- Joe "Vito" M. (EMUSIC-L listowner and arbitrary dictator) ^^^^ Hey Joe, Are you the "Vito" of "Carleone"s? Cuz, if you are, I wouldn't wanna be in "that Marc"s shoes right about now! I couldn't imagine just waking up one morning and finding a decapitated head of a horse at my feet!...Weeeuuuuhh!...Frightening stuff!.... ;^) - The Young Turk ;^) ------------------------------ Date: Wed, 14 Sep 1994 11:17:04 -0500 From: Joe McMahon Subject: Re: SORRY FOLKS >Are you the "Vito" of "Carleone"s? Cuz, if you are, I wouldn't wanna >be in "that Marc"s shoes right about now! I couldn't imagine just >waking up one morning and finding a decapitated head of a horse at my >feet!...Weeeuuuuhh!...Frightening stuff!.... ;^) No, no, this is an emusic list. It's a Theremin with the antennae cut off. :) --- Joe M. -- "This trumpet is flatlining!" (MST3K, "Mr. B. Natural") ------------------------------ Date: Fri, 16 Sep 1994 14:38:50 +1000 From: DAVID O'DONOGHUE Subject: SYNTH-MAKERZ! >Regretfully, the factory presets are nowhere to be found in the ROM. You can >call Korg TECH support and find out how to get a copy of the factory load on >card at (516)333-USER. Really, isn't it time for the synth-makers to start supporting their userbase properly? When are they going to start up-loading this sort of stuff to a FTP site somewhere? When are they going to put product info up on WWW? Or even a Mail server........ Most of us would know about the MIDI vendor forums on COMPUSERVE, but of course those forums are expensive to access. (I Dont know about elsewhere, but COMPUSERVE is extremely expensive in Australia....I guess we can thank Fujitsu for a good portion of that!) Any company serfs from Roland/Ensoniq/Korg/Kurzweil/Emu/Kawai/Yamaha/Alesis (forgive me if I've missed any) listening? Regards David O'Donoghoe DODON@OZEMAIL.COM.AU PH: 61 07 849 7088 (bh) 61 07 806 0276 (ah) P.O.Box 3442 Loganholme Q4129 Australia ------------------------------ Date: Fri, 16 Sep 1994 10:02:15 -0400 From: "Keith C. Perry" Subject: Re: SYNTH-MAKERZ! >>Regretfully, the factory presets are nowhere to be found in the ROM. You can >>call Korg TECH support and find out how to get a copy of the factory load on >>card at (516)333-USER. > >Really, isn't it time for the synth-makers to start supporting their userbase >properly? I have to agree with that. In this day in age where you have literally transport midi data over WAN (such as the internet) you would think that the sys ex dump for various machine would be availible on the net. If all you need is the factory presets maybe some on here can sys exe the data for you and then convert it to a standard midi file and email it to you. I would do it but alas as I have said before I don't use Korg equipment that much so I don't have any in my possesion. Good Luck ! ===+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=== Keith C. Perry 800-836-4599 /\ "To be or not to be... Floor Supervisor / Senior Consultant \/ THAT AIN'T A QUESTION" Drexel University Office of Computing Services--||||||||||||||||||||||||||||| ... ------------------------------ Date: Sat, 17 Sep 1994 13:43:12 CDT From: HARRY HAECKER Subject: SDS DOS/Windows program I'm looking for a program that will allow me to dump a sample from my K2000RS to my computer in sample dump standard form, and then save it as a wave file, where I can then edit it and dump it back to the sampler, using Mike Wood's MDump (thanks, Mike...a useful program you have there! Does such a beast exist at an FTP site somewhere? I'd appreciate any help y'all could give! Harry Haecker ------------------------------ Date: Mon, 19 Sep 1994 10:46:43 CST From: Darwin Grosse Subject: Implied Tonality (or lack thereof...) Uhhh, I need some help - and don't know where to look for myself... While in college, I participated in several performance groups. While not a blazing member of any individual group, I did listen closely to the end result, and made some notes on some of the performances. Recently, I ran across some of those notes, and they have piqued my interest in subjects that I'd wanted to pursue at the time (12 long years ago). The most curious - for me - was perceived tonality. I noticed that in several performances, the tonal center of the work would become blurred or even misleading (to me as a soloist). This would most often occur with "odd-ball" instrumentation (as a guitar-synth soloist, it was inevitable that I'd end up categorized in this way), and would even occur with well-known or straight- ahead scores. Some examples (of course, examples where I choked during rehearsals): o A "guitar big band", 15 guitars split in three sections, each reading a trumpet, trombone or sax score. Mostly good players, very little unintentional "klangwerks". All electric guitars at a reasonable volume, no effects except a slight reverb applied to each section. o A "monsters of percussion" group. A number of tuned percussionists (that is, percussionists using tuned instruments), with traps, bass and that goofy guitar-synth. Most perc instruments were of the vibes/marimba group, with only a few "carefully selected hubcap" players. The score was extremely cleanly written, of reasonable tempo, and featured constant but non-random chord changes. o A "band for dogs and whales". Only very high and very low pitched acoustic and electronic instruments. Reading slow tempo, lushly written scores. This one especially tweaked me, since the score (on first reading) seemed a breeze, sounded beautiful when listening to the tape, but the tonal center turned wicked in the playing... The commonality here is strange timbres on tonal music. In these three cases, the instumentation was non-stock, consisting of instruments with high harmonic content, and often at extremes of pitch range. In none of these cases was the tonal center meant to be obscured. Also, my physical position in the various groups seemed irrelivant, since other soloist (in different physical locations) seemed to have the same problem in the same sections of a given score. My question: Is there any body of work that addresses the effect on timbre on the perception of pitch (somewhat) and tonal center? I'm sure there is, but I never ran across anything that I found insightful, nor anything that touched on a player's perception (as opposed to the uninvolved listener's). This is an area that I would like to explore in my own compositions ... as well as being aware of it when writing for other musicians. Any information that is available would be appreciated. Well, this is the first time I blushingly beg for help without having done any front-end legwork... :-< I'm just a little shy of local resources, and don't know where to get a good start. Let me start with a few caveats: 1. I do not live near any source of "serious" compositional or emusic information; hence, information that might be easy to find in "any university library" may not be easy for me to get. 2. While I studied Composition and Performance in college, it's been a (very?) long time. My primary study area was also in Jazz Studies - a group that doesn't put much truck in blinking LED's. 3. I'm searching more for theoretical discussion than for actual scores or recorded examples. Thanks in advance for any help you can provide, and I hope that you find interest. While not strictly "E"music, I think that emusic works would present more opportunity for this type of excitement. [ddg] .............................................................................. Darwin Grosse . (414) 377-2946(h)/359-9800(w) . ddg@devlac.ems.com .............................................................................. ------------------------------ Date: Mon, 19 Sep 1994 14:26:36 -0400 From: Mark G Simon Subject: Re: Implied Tonality (or lack thereof...) > > Recently, I ran across some of those notes, and they have piqued my interest > in subjects that I'd wanted to pursue at the time (12 long years ago). The > most curious - for me - was perceived tonality. I noticed that in several > performances, the tonal center of the work would become blurred or even > misleading (to me as a soloist). This would most often occur with "odd-ball" > instrumentation (as a guitar-synth soloist, it was inevitable that I'd end > up categorized in this way), and would even occur with well-known or straight- > ahead scores. Some examples (of course, examples where I choked during > rehearsals): > > o A "guitar big band", 15 guitars split in three sections, each reading a > > o A "monsters of percussion" group. A number of tuned percussionists (that > > o A "band for dogs and whales". Only very high and very low pitched acoustic My own wild and ill-informed guess is that you might be hearing difference tones. I hear difference tones when 2 woodwind instruments play in a high register, but I'm a woodwind player. It's possible that your band for dogs and whales produced some difference tones also that confused your ear. Difference tones are (and this is going to be an exceptionally crude explanation) when the overtones of two sounding notes rub against each other and reinforce each other and produce a third pitch which kind of buzzes in your ear or just behind your ear. You can even calculate which difference tones are going to sound between two instruments. I have something written about this at home somewhere, but will I ever find it? Mark Simon mgs2@cornell.edu ------------------------------ Date: Mon, 26 Sep 1994 08:46:06 LCL From: Michael Carnes Subject: Price of PCM-80 ---------- X-Sun-Data-Type: text X-Sun-Data-Description: text X-Sun-Data-Name: text X-Sun-Content-Lines: 3 X-Sun-Content-Length: 156 I don't want to do a blurb on the PCM-80 here. Let it suffice to say that the list price is in the neighborhood of $2500 U.S. and that it is shipping now. ------------------------------ Date: Wed, 28 Sep 1994 12:14:52 -0500 From: Macalester College Music Department Subject: Re: Grab bag to the list: today there was a posting of the cubase address in England. When I tried it I got an incorrect address prompt. I checked again and am sure I used what was posted. Has anyone else had the same result, did I make an error which escaped my second look, and could someone post that address again, please. Thanks in advance +-----------------------------------------------------------------------+ + Ed Forner Macalester College Music Department + + in%"forner@macalstr.edu" voice (612) 696-6189 + +-----------------------------------------------------------------------+ ------------------------------ End of the EMUSIC-L Digest ******************************