EMUSIC-L Digest Volume 70, Issue 17 This issue's topics: Leftovers Hello Out There! (4 messages) URGENT: Need "Spatial Hearing" book signal to noise (3 messages) Yamaha MIE educ.techn.request guitar making (2 messages) BPM's from samples (5 messages) That demmed elusive mail-address... (2 messages) Quick help! (4 messages) Sheet-Music Air Traffic (2 messages) SEAMUS Your EMUSIC-L Digest moderator is Joe McMahon . Please send articles to emusic-l@american.edu. Administrative mail should be directed to the editor at the address above. You may subscribe to EMUSIC-L by sending mail to listserv@american.edu with the line "SUB EMUSIC-L your name" as the text. The EMUSIC-L archive is a service of SunSite (sunsite.unc.edu) at the University of North Carolina. ------------------------------------------------------------------------ Date: Wed, 2 Nov 1994 10:52:18 +0100 From: Christian Baum Subject: Hello Out There! Hello out there in E-Music-Land, I'm new on the list and I really enjoy it (up to 96 messages per week cost time but never mind..). Here's my first question (I hope someone can help me out and I hope this list is the right medium for questions like these...): My equipment is a bit old (Roland D-10, S-550, Yamaha TX-81Z) but nevertheless I can work with it (it makes music and that's it!)... What I really need are good patches for the two synths and I ask you: Is there something like a "Public-Domain Sound-Server" in Internet or in the "analog world" which supports also these machines? And how can I get these patches? I would be very happy about an answer... You can also mail directly to baum@mibm.ruf.uni-freiburg.de if you want. Another question to the readers of German magazine "Keyboards": I'm also new in Internet itself, so I don't know very much about the usage of "mailboxes". It is written in "Keyboards" that they put their informations and Example-MIDI-files in their mailbox (Area Nr. ...) and that the readers can get these things from there... Is that an Internet-Mailbox? How can I get in it? Which address does it have and what about these "Areas"? Can I switch between them or something like that? I would be glad about an answer, too... Thanks, Christian Baum ------------------------------ Date: Wed, 2 Nov 1994 09:21:37 -0800 From: atomic city Subject: Re: Hello Out There! Christian Baum writes-- > >My equipment is a bit old (Roland D-10, S-550, Yamaha TX-81Z) but >nevertheless I can work with it (it makes music and that's it!). Heretic! STONE HIM!! :) :) :) more more more newer newer newer gimme gimme gimme, mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "ah, art. i've heard of that. nah, just kidding...." (j. drukman) ------------------------------ Date: Thu, 3 Nov 1994 15:58:14 +1000 From: David Rodger Subject: Re: Hello Out There! Hi Christian, glad to have you aboard. My equipment is a bit old (Roland D-10, S-550, Yamaha TX-81Z) but >nevertheless I can work with it (it makes music and that's it!) Gee, Christian, I thought _you_ would be making the music! What are your interests? You might spark off a fascinating discussion here. Regards, David. ------------------------------ Date: Thu, 3 Nov 1994 23:20:03 +0000 From: Nick Rothwell Subject: Re: Hello Out There! >more more more newer newer newer gimme gimme gimme, pricy pricy pricy pricy fukkd fukkd fukkd fukkd. Nick Rothwell CASSIEL Contemporary Music/Dance nick@cassiel.com ------------------------------ Date: Mon, 7 Nov 1994 16:52:21 WET-DST From: psyched / Megawatts Subject: URGENT: Need "Spatial Hearing" book help! I need the book "Spatial Hearing" from Jens Blauert at the MIT Press (2nd edition or +) for my future diploma work. Anyone could sell it to me (3 days ago, the book-store told me it wasn't available anymore :-(((( Thank you! alexander ---- molari@eig.unige.ch ------------------------------ Date: Tue, 8 Nov 1994 18:28:24 -0500 From: Phil Skiba Subject: signal to noise If someone says a tape deck has a s/n of 95 db, what does that mean? That I can run a 95 db signal and get 1 db of noise? thnaks phil sps5251@siena.bitnet ------------------------------ Date: Wed, 9 Nov 1994 10:19:12 LCL From: Michael Carnes Subject: Re: signal to noise (a slightly simpler explanation) Try this one for size: All audio devices generate some sort of noise. A mixer generates some hiss from its op amps (and maybe some hum, too). An analog-to-digital converter generates noise as its least-significant-bit is right half the time and wrong the other half. An analog tape machine generates hiss as the result of the random alignment of oxide particles on tape. Signal-to-noise is a measure of the amount of useful audio coming out of the device compared to the noise byproducts. The greater the signal- to-noise ratio, the better. I left out a whole lot, but maybe this will suffice as a simple explanation. ------------------------------ Date: Wed, 9 Nov 1994 12:09:13 -0500 From: Joe McMahon Subject: Re: signal to noise I believe what we were getting at here was that the reference level was 0dB. The signal to noise ratio means that the signal at a level of 0dB (the reference level) has a "noise floor" which is 95 dB quieter. If the signal is at a lower level, the noise will be proportionally louder as compared to the signal. This is important because a lower-level signal being fed into an amplifier will have both the signal and the noise amplified. If the S/N ratio is smaller, the signal is noisier and the amplifier output is noisier. This is why it's important to record on analog tape at as close to 0 dB as possible to ensure the maximum signal-to-noise ratio without distortion. --- Joe M. -- "It's a triple feature: a garage punk band, [John Zorn's] "Cobra," then another garage punk band. We're gonna get lynched." - metlay ------------------------------ Date: Sat, 19 Nov 1994 21:36:45 -0700 From: Karen Anne Martin <45650@EF.GC.MARICOPA.EDU> Subject: Yamaha MIE educ.techn.request The school district where I teach is purchasing the Yamaha Music in Education (MIE) technology labs. If you have any experiences with this setup, please e-mail me and let me know what we might expect. Thanks in advance. ------------------------------ Date: Mon, 21 Nov 1994 14:26:36 +0000 From: J-LONG@WPG.UWE.AC.UK Subject: guitar making Lasse Hein-Magnussen writes: >Can anyone here please help me finding lists/groups about >guitar- making. I, too, would be pleased to know the answer to this. Jackie Long (J-Long@csd.uwe.ac.uk) ------------------------------ Date: Mon, 21 Nov 1994 17:27:00 +0100 From: Jose Manuel Adan Subject: guitar making >Comments: To: emusic-l@american.edu Lasse Hein-Magnussen writes: >Can anyone here please help me finding lists/groups about >guitar- making. I, too, would be pleased to know the answer to this. Jackie Long (J-Long@csd.uwe.ac.uk) ================== there is a newsgroup of Usenet in rec.music.makers.guitar ------------------------------ Date: Tue, 22 Nov 1994 03:32:25 -0500 From: Undetermined origin c/o Postmaster Subject: BPM's from samples I recently purchased a sampler and am playing with sampled beats (in 4/4). My question is.....how does one figure out the BPM of a measure for each note. For example, the original sample is about 97 bpm and I have it a C4. When I play C#4, the bpm is 104 bpm. If I transpose it up 10 steps the bpm is 171. All these were achieved experimentally. Is there some formula to predict what the bpm will be? thanks john ------ john__sweeney . . . __ __ _*' '*_ _*' '*_ _*' '*_ +~'( b i n '~_a r y _~'s o u n '~_d ) _~' '~+ '*__*' '*__*' jds@access.digex.net ------------------------------ Date: Wed, 23 Nov 1994 08:12:06 +0100 From: Peter Van Rees Subject: Re: tempo-to-transpose > I recently purchased a sampler and am playing with sampled beats (in > 4/4). My question is.....how does one figure out the BPM of a measure > for each note. For example, the original sample is about 97 bpm and I > have it a C4. When I play C#4, the bpm is 104 bpm. If I transpose it up > 10 steps the bpm is 171. All these were achieved experimentally. Is > there some formula to predict what the bpm will be? > thanks > john > > ------ > john__sweeney . . . __ __ > _*' '*_ _*' '*_ _*' '*_ > +~'( b i n '~_a r y _~'s o u n '~_d ) _~' '~+ > '*__*' '*__*' > jds@access.digex.net What you need is a tempo-to-transpose table. It should be in the manual of your sampler, or else you should get a book on sampling (usually they contain tables like these). Maybe these tables or somewhere on the net. Peter van Rees ------------------------------ Date: Wed, 23 Nov 1994 09:24:21 -0800 From: Peter Elsea Subject: BPM formula John Shaft writes >.how does one figure out the BPM of a measure >for each note. For example, the original sample is about 97 bpm and I >have it a C4. When I play C#4, the bpm is 104 bpm. If I transpose it up >10 steps the bpm is 171. All these were achieved experimentally. Is >there some formula to predict what the bpm will be? The formula for figuring out BPM is the same as figuring out frequencies, double it for an octave, multiply by the twelfh root of two for each half step. The quickest way to do this math is to use a frequency table and calculator: divide the BPM of your origin note by its frequency and then multiply that by the frequency of the target note. In your example: 97/ 523 (that's listed in tables as the frequency for C5, which is MIDI C4) * 932 (Bb5) = 172 Peter Elsea UCSC ------------------------------ Date: Wed, 23 Nov 1994 14:12:32 -0500 From: "Leo T. Nutley" Subject: Re: tempo-to-transpose > I recently purchased a sampler and am playing with sampled beats (in > 4/4). My question is.....how does one figure out the BPM of a measure > for each note. For example, the original sample is about 97 bpm and I > have it a C4. When I play C#4, the bpm is 104 bpm. If I transpose it up > 10 steps the bpm is 171. All these were achieved experimentally. Is > there some formula to predict what the bpm will be? > thanks > john > > ------ > john__sweeney i suppose if we can count on the doubling of the octave then C5 would be 97 * 2, = 194. C6 = ((97 * 2) * 2) = 388. F#4 would be 97 + 1/2 the octave ( * 1.5) = 145.5 Eb4 = ( * 1.25) = 121.25 A4 = ( * 1.75) = 169.75 the difference between the origional and the octave is the value of the origional (( 97 * 2 ) - 97 ) = 97. divided into half steps ... 97 / 12 = 8.0833. C#4 would be 97 + 8.0833 = 105.0833, not exactly the 104 bpm you mentioned. ten steps up would be 177.833. There's a possible conflict with the formulae. C#5 would be (97 * 2) + (1 * (97 * 2 / 12)) = 210.166 D5 (97 * 2) + (2 * (97 * 2 / 12)) = 266.333 me? i just record pitch bend info and tweez the sucker. leo if i'm addicted to my mantra does that mean i'm hooked on phonics? ------------------------------ Date: Mon, 28 Nov 1994 10:26:42 EST From: "Eric Harnden (Ronin)" Subject: pitch/bpm well, one person got it right, and another one got it wrong, so i thought i should lend the weight of my authority (ho, ho) and make the correct answer as clear as possible. the frequency ratio between two adjacent (western, non-stretch-or-other odd tuned) notes is the twelfth root of two, or pretty darn (did i just say that?) close to 1.06. the frequency ratio between two non-adjacent notes is some power of the twelfth root of two, so that notes an octave apart, which is twelve notes, have a frequency ratio of (twelfth root of two) raised to the twelfth power = 2 (double the pitch, got it?). in a conventional sampler, all information is speeded up or slowed down as a result of shifting the pitch of the sample (either by re-clocking or sample-skipping), so rhythmic information will follow the same rules. example: a 120 bpm riff sampled at any root (say, c3) will play back at 120 * 1.06 = 127.2 bpm when the next adjacent key (c#3 in this case) is triggered. given this information, it should be a three-minute task for you to build a little spreadsheet which will calculate and printout any set of bpm specs (based on some root) you might need. <--- Entropy Always Wins, And I Like To Be On The Winning Side ---> Eric Harnden (Ronin) harnden@physics.american.edu (202)885-2746 ------------------------------ Date: Mon, 28 Nov 1994 17:40:13 -0500 From: Joe McMahon Subject: That demmed elusive mail-address... This is just an administrative message, which I'm sending out to both lists to try to trace down that very, very irritating mail-bounce from a mailer at the Lotus Corporation. It appears as if this is caused by someone who has had their mail forwarded, possibly multiple times - there's been a communications breakdown somewhere among the forwardings. Metlay and I both hope we can find the dang thing and fix it. Soon. The postmaster at that site apparently Just Doesn't Care, as our appeals for assistance have been ignored. --- Joe M. -- csound - anything you can imagine... in about an hour. ------------------------------ Date: Wed, 30 Nov 1994 07:24:47 -0800 From: atomic city Subject: Re: That demmed elusive mail-address... At last, a movie reference from Joe that ISN'T MST3K! :) "They seek it here, they seek it there, Those Owners seek it everywhere, Where is it hiding? It causes them stress, That demmed elusive mail-address." (--with apologies to 'The Scarlet Pimpernel', a lovely film) Joe McMahon writes-- > >This is just an administrative message, which I'm sending out to both lists >to try to trace down that very, very irritating mail-bounce from a mailer >at the Lotus Corporation. It appears as if this is caused by someone who >has had their mail forwarded, possibly multiple times - there's been a >communications breakdown somewhere among the forwardings. Metlay and I both >hope we can find the dang thing and fix it. Soon. The postmaster at that >site apparently Just Doesn't Care, as our appeals for assistance have been >ignored. For everyone's information, the problem has been found and eliminated. All credit for this goes to Joe, as he did the grunt work this time out. mike -- mike metlay | atomic city | Nick Rothwell on the Alesis Quadrasynth: p.o.box 81175 | pgh pa 15217-0675 | "Goomba... Alesis drags synthesis technology atomic@netcom.com | kicking and screaming into the 1960's. Film at 11." ------------------------------ Date: Tue, 29 Nov 1994 13:41:43 +1000 From: David Rodger Subject: Quick help! Hello all, sorry to waste bandwidth on this, but no one around here has been able to tell me the answer. I've worked out most abbreviations, except IHMO. What does it mean? Regards, David ------------------------------ Date: Mon, 28 Nov 1994 22:00:54 -0500 From: Joe McMahon Subject: Re: Quick help! > > Hello all, > sorry to waste bandwidth on this, but no one around here has been able to tell > me the answer. I've worked out most abbreviations, except IHMO. What does it > mean? > > Regards, David > In My Humble Opinion. Depending on context, may actually mean "hey, I know i *far* more than you do, peon.". Sometimes seen as IMNSHO (In My Not-So-Humble Opinion). --- Joe M. ------------------------------ Date: Wed, 30 Nov 1994 07:28:04 -0800 From: atomic city Subject: Re: Quick help! Joe McMahon writes-- > >> . I've worked out most abbreviations, except IHMO. What does it >> mean? >> >In My Humble Opinion. Depending on context, may actually mean "hey, I know i >*far* more than you do, peon.". Sometimes seen as IMNSHO (In My Not-So-Humble >Opinion). Or simply IMO (In My Opinion). I prefer this, because I know damn well I've never had a humble opinion in my life, except maybe (insert a clever, cute and self-effacing little anecdote here). ;) These little touches of etiquette, along with smileys and basic rules of conduct, make everyone's lives a little less stressful. As someone who occasionaly forgets common courtesy and sees the results when I do, I value it highly. mike -- mike metlay | atomic city | Nick Rothwell on the Alesis Quadrasynth: p.o.box 81175 | pgh pa 15217-0675 | "Goomba... Alesis drags synthesis technology atomic@netcom.com | kicking and screaming into the 1960's. Film at 11." ------------------------------ Date: Thu, 1 Dec 1994 12:55:41 +1000 From: David Rodger Subject: Re: Quick help! Hi everyone, thanks for the help on the acronyms. I don't need any more messages, because Greg Dorter sent me a document about this. It's very comprehensive. BTW (see, I'm learning), well done Joe in tracking down and shooting Lotus! Regards, David ------------------------------ Date: Wed, 30 Nov 1994 07:39:34 -0500 From: "Mark D. Hanson" Subject: Sheet-Music Air Traffic Mr Kerman had written >Greetings folks, >Does anyone know of a web, gopher or ftp Sheet-Music >site for piano and guitar? I don't even know if it >exists or not, but if it does exist, I sure would like >to know where it is! Thanks in advance!... >ps. Please respond to my address directly!... Would appreciate a reply post to this...am also a member of a Worship list and have been discussing how to transfer sheet music amongst members...please reply w/verbose mode on if you would be so kind...some of us are pretty dumb in this area... Thanks So Much Mark D. Hanson HansonMD@aol.com ------------------------------ Date: Wed, 30 Nov 1994 10:34:31 EST From: Alper Kerman Subject: Re: Sheet-Music Air Traffic > Mr Kerman had written > > >Greetings folks, > > >Does anyone know of a web, gopher or ftp Sheet-Music > >site for piano and guitar? I don't even know if it > >exists or not, but if it does exist, I sure would like > >to know where it is! Thanks in advance!... > > >ps. Please respond to my address directly!... > > Would appreciate a reply post to this...am also a member of a Worship list > and have been discussing how to transfer sheet music amongst members...please > reply w/verbose mode on if you would be so kind...some of us are pretty dumb > in this area... > > Thanks So Much > > Mark D. Hanson > HansonMD@aol.com > Mark, If I get any direct responses, I will re-post them to the EMUSIC-L, and I've gotten no replies so far!...I just wonder if anyone has addressed this issue yet. Its too obvious of a problem not to be addressed, and I'm sure that someone has already figured out a way. Thus, there must be some sheet music sites on the net! Anyway, if no one has attacked this problem as of yet, to come up with "A Solution" IMHO should not be that difficult. One easy way to do it (may be!) is to image scan the music sheet into a binary form, (e.g., gif, jpeg, etc...) Then, use an image displayer of your choice (depending on your OS platform; e.g., LView for msdos, xv for Unix, etc...) to view or print out the binary form as the original sheet music. This is probably the easiest but the worst way to tackle this problem. Its easy, because all the technology and software is already out there in place, all you have to do is -- USE IT! Its the worst way, because the image quality may suffer, plus the binary form may only be usefull for viewing and printing it out, and not be useful for feeding it into some commercially available music software. And also, there is of course the copyright laws! I have not put much thought into this yet. First, I'm interested in finding out whats already been done for it (if anything at all!) out there on the net land!.... Take care, - The Young Turk ;^) ps. Joe, if you deem this to be an unrelated thread for EMUSIC-L let us know, we'll go private, thanks!... ------------------------------ Date: Wed, 30 Nov 1994 07:45:54 -0500 From: Jim Gable Subject: SEAMUS Is there anyone online that is involved in the Society of Electronic Music in the United States? I've searched the net and haven't found any mention. Please write me (Jim Gable) at: Ginobook@AOL.com ------------------------------ End of the EMUSIC-L Digest ******************************