========================================================================= Date: Thu, 8 Dec 1994 07:20:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Shaw Subject: more 12 tone theory Another good text is "Basic Atonal Theory by John Rahn. This includes general tone-row theory and is more useful for applying these techniques than some more analysis-oriented texts. It includes many excercises and examples from throughout the literature. It can get a little meaty so polish off your calculator (computer). :-) B Shaw ========================================================================= Date: Thu, 8 Dec 1994 07:23:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Shaw Subject: Re: Music on Power-PC #3 The conversion from various formats to QuickTime is a standard feature of QuickTime at least since version 1.6. I have tested it with AIFF, System 7 Finder Sounds, and CD audio "files" and had generally good results. The conversion works the same way in almost all cases: Launch the Movie Player or a more recent version of Teach Text or the Sample Text application, choose Open from the File menu and choose an audio file. Some other applications which support QuickTime will also support this method of conversion. A convert option will become available if the file can be read but is not already a QuickTime MooV. The convert options let you choose the data format (bit depth, sample rate) and which parts of the disk to convert. When I first converted a CD-audio file with QuickTime I thought it had to be digital. After all, it's a computer, moving digital data from one place to another! (And besides, I really, really WANTED it to be digital.) Unfortunately, a collegue pointed out that after transferring some audio this way, it didn't quite sound as good as the original disk. After fooling with the output settings for a while we eventually did some side by side testing with the OMI and FWB products and found that the levels and the overall quality of the sound transfered from an audio CD was noticably different. I don't use QuickTime version 1.6 anymore but it is the version I tested. After doing some pretty intensive testing I'm almost positive that this method actually plays the disk in real-time from the CDs audio outputs and through the A/D converter. Also notice that the transfers occur in real time even if you have a double-speed drive. A data-only transfer should go about twice as fast as audio playback. Also, even though we supposedly transfered that data at 44.100 kHz the Movie Info shows a sample rate of 65514.564 kHz. Other hints are that Apple only claims to support this feature on Macs that have 16-bit audio capability. If they were transferring data over SCSI why don't they support CD-audio to QuickTime transfers throughout their product line? Anyway, this may have all changed with QuickTime 2.0 but my preliminary testing suggests that it has not. I am very interested to know if anyone has done further testing in this area. :-) For now if you want, guaranteed digital transfers from a CD audio disk, try the FWB CD-ROM Toolkit. It usually costs less than $80 and it can also do a lot to improve the performance of CD-ROMs by storing catalogs on a local hard drive and adding a cache. I think it also works with many more Macs and CD-ROM drives than the Apple/QuickTime method. :-J Please excuse the verbosity, I'm home, sick and getting kind of bored. I hope y'all find this useful. B Shaw :x( No, I'm not a clown <:o) , I just have a cold and just because I say "y'all" doesn't mean I'm a cowboy either. :-) ========================================================================= Date: Thu, 8 Dec 1994 07:23:32 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Shaw Subject: Disk/Audio problems Phillip writes: >Other than that it could have >been my disk was fragmented..which often happens with the AV model it seems. (Too many damn huge files) Does you drive perform thermal recalibration at the wrong time? B Shaw ========================================================================= Date: Thu, 8 Dec 1994 11:10:54 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Adkins Subject: Stndrd MIDI Files question Sorry if this is a rudimentary question, but does anyone know whether Standard MIDI Files are always expected to contain sound patch info, and if so is General MIDI the only format for this standard (i.e., is General MIDI an integral part of a SMF)? Thanks in advance for any help! Jeff Adkins ================ jadkins@infi.net ========================================================================= Date: Thu, 8 Dec 1994 12:20:41 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Stndrd MIDI Files question >Sorry if this is a rudimentary question, but does anyone know whether Standard MIDI Files are always expected to contain sound patch info, and if so is General MIDI the only format for this standard (i.e., is General MIDI an integral part of a SMF)? Standard MIDI files do not record patch information per se; it is possible to embed system-exclusive data in an SMF, but this makes it specific to a given setup. General MIDI simply defines a minimum functional and patch specification so that a Standard MIDI File doesn't have to have anything in it but patch selects, since all of the patches on a given GMIDI device must be assigned the same way. This limitation makes it possible for GMIDI to sound at least sort of the same from one implementation to another. --- Joe M. -- Crispen's Law: "On SYNTH-L, any discussion that runs long enough will eventually have a dozen K2000 fans describing why they love their instruments." ========================================================================= Date: Thu, 8 Dec 1994 09:03:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter Mueller Subject: Re: more 12 tone theory Another good text is "Basic Atonal Theory by John Rahn. This includes general tone-row theory and is more useful for applying these techniques than some more analysis-oriented texts. It includes many excercises and examples from throughout the literature. It can get a little meaty so polish off your calculator (computer). :-) One more is Josef P. Straus' "Introduction to Post-Tonal Theory" (Prentice Hall, 1990). It's a little easier than the Rahn, but also not quite as "meaty". The set charts in the back of the book are really handy. B Shaw ========================================================================= Date: Thu, 8 Dec 1994 12:01:01 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Ed Berlett, Music" Subject: Re: Stndrd MIDI Files question >>Sorry if this is a rudimentary question, but does anyone know whether Standard MIDI Files are always expected to contain sound patch info, and if so is General MIDI the only format for this standard (i.e., is General MIDI an integral part of a SMF)? >>Thanks in advance for any help! >>Jeff Adkins >>================ >>jadkins@infi.net I'm not an expert so someone please correct me if I'm wrong. All the SMF that I have used from music publishers contains instrumentation for Genereal Midi. So I thing the answer is yes the SMF should contain patch info for General Midi. ========================================================================= Date: Thu, 8 Dec 1994 12:27:25 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Busch Subject: Re: Stndrd MIDI Files question Files coming from music publishers will contain GM MIDI patch #s, but not the actual SYSEX data (which would be synth specific). You can imbed SESEX data in a SMF. ========================================================================= Date: Thu, 8 Dec 1994 13:43:34 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ab Wilson Subject: Re: lfo amp control In-Reply-To: <94Dec7.151702est.41505@gateway.morgan.com> Chris Sherwood writes: >With further thought, I guess >that this kind of functionality just doesn't fit too well in today's digitals. Sorry to be boring but the K2k will do it. Ab. ========================================================================= Date: Thu, 8 Dec 1994 23:27:00 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: several small items >Using 'Chariots of Fire' for a common example we all probably know, the opening rythmic saw-wave with the ADSR modulated by an LFO should demostrate what I mean. That was probably a sequencer...? ========================================================================= Date: Thu, 8 Dec 1994 20:29:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Robert Ceely Subject: Re: more 12 tone theory Pick a number 0 to 11. Details to follow. RPC ========================================================================= Date: Thu, 8 Dec 1994 20:37:24 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: jk Subject: Re: more 12 tone theory >From: Robert Ceely >Subject: Re: Bothered (was: Korg X-3) >Sender: "Electronic music \"gearhead\" list" If you don't remember Pearl Harbor BE SURE TO REMEMBER FEBRUARY 21,l995. DETAILS to follow, >RPC OK Mr. Ceely, I want the details NOW. I just can't wait. And, no I do not have any of your recordings, but would surely like some! >From: Robert Ceely >Subject: Re: more 12 tone theory >Sender: Electronic Music Discussion List Pick a number 0 to 11. Details to follow. RPC I pick 3. I like 3. Is that lame? How about a 20th Century piece called " Three", I'll get right on it. My brother said your lab is a mess, a dungeon of despair. He couldn't make it to Electric Wednesday, he was too busy. We want to know as much as possible about 12-tone theory, please enlighten us with a sizeable portion of text from NEC. All in good spirit, _ -john ___ __/ | ___ | | JKrikawa@CCIT.Arizona.Edu | |___ ________ \______/ \__________ Tucson, AZ ___../\./\/ \____/ \____ ========================================================================= Date: Fri, 9 Dec 1994 09:02:05 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "A. Fiorletta" Subject: Re: Stndrd MIDI FIles question I don't know if I get the meaning of the question... SMFs are just a standard format for recording sequencing data (note on, off, program change, etc.) NOT sound data. The fact that SMFs play correctly on different synths depends from the General Midi spec., that are just partially realted with SMFs (you can play a SMF also on a non GM synth). The only way for store info on sounds in a SMF is using control change messages in your song, but this gives you just marginal control on the sound parameters (i.e. reverberation, spacial position, etc.). It is quite impossible to share sond data on different types of synth, because they are hardware specific. Saluti, Ale. ========================================================================= Date: Fri, 9 Dec 1994 09:20:47 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "A. Fiorletta" Subject: MIDI chip I'm tryng to implement a MIDI interface on hand made hardware (amplifiers, audio and light (?) mixers etc.). Does anyone know a chip capable of doing basic MIDI i/o stuff? Thanks, Ale. ========================================================================= Date: Fri, 9 Dec 1994 09:44:35 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Sjoerd Bijleveld Subject: Disk/Audio problems Brian Shaw writes: >Does you drive perform thermal recalibration at the wrong time? How does one know if it does so at the wrong time? My Mac 660AV 230 Mb HD drive does a lot of thermal recalibration. This does indeed affect QuicTime movie playback rather seriously. Can the timing of thermal recalibration be regulated or even shut down? Sjoerd Bijleveld ========================================================================= Date: Fri, 9 Dec 1994 09:25:03 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Farnell Subject: Re: MIDI chip In-Reply-To: ; from "A. Fiorletta" at Dec 9, 94 9:20 am >Does anyone know a chip capable of doing basic MIDI i/o stuff? 6402, You'll need a 500kHz clock signal (ie 4 meg xtal and divider) too. The 6402 is totally stand-alone, and can be configured with hard ogic as well as through the bus. My advice though is to use whichever UART peripheral device is best matched to your microprocessor and modify the baud rate accordingly. ------------------------------------------------------------------------------ Andy Farnell, Music Technology Research Computing and Cognition Dept. Applied Computing & Electronics # # BOURNEMOUTH Bournemouth University # UNIVERSITY Janet: afarnell@uk.ac.bmth World: afarnell@bournemouth.ac.uk Voice: (0202) 595257 ------------------------------------------------------------------------------ ========================================================================= Date: Fri, 9 Dec 1994 10:31:20 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "john.." Subject: Re: MIDI chip In-Reply-To: <"leeman.yor.762:09.11.94.09.25.59"@york.ac.uk> >>Does anyone know a chip capable of doing basic MIDI i/o stuff? >6402, >You'll need a 500kHz clock signal (ie 4 meg xtal and divider) too. The 6402 is totally stand-alone, and can be configured with hard logic as well as through the bus. I have a simple MIDI-> parallel circuit in place on my WWW page. See: http://www.york.ac.uk/~jat5/mididin.html Near the bottom of the page are some links to GIFs, Modules #1 and #2 could be useful....? john.. -- jat5@unix.york.ac.uk jat@ohm.york.ac.uk http://www.york.ac.uk/~jat5/ ----------------------------------------------------------------- | Flex music, York, UK. || (0904) 610745 || ContinuousEvolution | ----------------------------------------------------------------- * check out 'visions' on resource records, available early 1995 * ========================================================================= Date: Fri, 9 Dec 1994 09:00:52 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Busch Subject: Re: Stndrd MIDI FIles question You can store SYSEX data as an SMF, i.e. you could request a bulk dump from your synth, record that data, and save it as an SMF. You could transfer that patch to another synth of the same manufacturer and model. This would give you the complete patch data, not just control change messages as you stated. ========================================================================= Date: Fri, 9 Dec 1994 07:11:09 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: KENNETH SEIDMAN Subject: Soundcard Doesn't Respond to Fatar KB I have a Fatar Studio 610 plus MIDI Controller Keyboard hooked up to a Media Vision Pro-3D soundcard via the MIDI adapter that comes packaged with Musicwares Piano software. My problem is that none of the applications I have (Piano, SuperJam, Midisoft Rec. Session) respond in anyway to the Midi Keyboard. Any ideas/suggestions would be greatly appreciated :) Ken ========================================================================= Date: Fri, 9 Dec 1994 11:28:28 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Stndrd MIDI FIles question >You can store SYSEX data as an SMF, i.e. you could request a bulk dump from your synth, record that data, and save it as an SMF. You could transfer that patch to another synth of the same manufacturer and model. This would give you the complete patch data, not just control change messages as you stated. Correct. However, it is now no longer a platform-independent MIDI file. This is whatever advantage there is to General MIDI - no patch sysex, 'cause you can't really change them! --- Joe M. -- Crispen's Law: "On SYNTH-L, any discussion that runs long enough will eventually have a dozen K2000 fans describing why they love their instruments." ========================================================================= Date: Fri, 9 Dec 1994 16:28:34 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Philip Jones Subject: Re Sound card doen't work with MIDI What Computer are you using. If you're using a PC and windows you may have to set up the soundcard in the control panel, drivers, applet. This then lets windows know the card's there. You may also have to set up the MIDI mapper if you decide to use it, or if your software needs it. This is fairly self explanatory I think? If it's not a PC then pass :-)) ========================================================================= Date: Fri, 9 Dec 1994 11:17:21 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Edmond Calderon Subject: midi to 4-track I don't understand how to get midi files sent to my 4-track Tascam 246. Could someone please address this? I apologize if this is an FAQ but I've gotta start somewhere. I would appreciate any mention of equipment I would need to complete this home recording studio project. I'm using: Cakewalk on an IBM 486DX,Digitech guitar processor, Roland EP-5 keyboard, and an Alesis SR-16 drum machine. Thanks in advance.:-) Edmond ========================================================================= Date: Fri, 9 Dec 1994 13:09:01 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: 12-tone row 'tutorial' There has been some talk on this list about providing some sort of working manual for 12-tone (and serial, I suppose) composition. There are so many aspects of this technique, and quite a bit of literature already. What is the focus of the manuals offered on this list? Will it be a practical application, an analytic text, a historic text (a comparison of American and European serialism would be interesting)? One might also want to look at Xenakis' application of Sieve Theory. Here, you could alter the overall pitch space. Instead of partitioning pitch-class space into 12 equal partitions recursive at the octave, one might wish to divide a 5th into 12 parts, perhaps equidistant, perhaps logarithmically related. So many compositional opportunities. Anxious to hear more about the manual. Scott McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Fri, 9 Dec 1994 11:07:44 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Chris Sherwood Subject: Re: midi to 4-track Simple : you cannot do this directly. The MIDI file is indented only for playback of MIDI device (for instance, it should be able to 'play back' on the MIDI instrument that you used to record the MIDI events with). Then you can record these devices into your tape-based recording system by simply sending the audio outs of this device to your mixer or Portastudio or what have you. In other words, you're recording your piano or whatever in the traditional fashion, but your computer based sequencer is actually playing the instrument. You're still the 'performer' of course, as you played those notes originally; but instead of playing it into a tape recorder, you saved the performance data as MIDI events so that you could use all of the various power of MIDI (another thread altogether) rather than'commit' the signal to tape right away (commiting to the effects, the bad notes and many, many other things). Eh? ========================================================================= Date: Fri, 9 Dec 1994 16:02:34 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Steve Hills Subject: SoundEdit 16 Exp. I'm getting ready to mix down and burn a CDR tomorrow with MacroMind SoundEdit 16. Any warnings or advice before I learn it the hard way? Thank you in advance. Steve Hills SHills@kuhub.cc.ukans.edu ========================================================================= Date: Fri, 9 Dec 1994 16:25:28 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Edmond Calderon Subject: midi to 4-track THANKS CHR S! Of course! (Iwas so busy reading etc. that I overlooked the obvious) I am very excited about what I'll be doing now. If anyone can tell me the advantage of buying a module I'd appreciate it and if I don't need to then it's time to ROCK! ROCK! Edmond ========================================================================= Date: Fri, 9 Dec 1994 16:22:32 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Chris Sherwood Subject: Re: midi to 4-track Yeah, I remember when I got my first digital synth and hooked it up via midi. After a few hours of some cool sequences, I pulled up a Wave editing program and couldn't understand why the file list didn't include .MID. I looked around the back of the machine and stared at the outputs for awhile and then it struck me! I can't believe I'm telling the E-Music community about this -- okay folk, time for some Stupid Electronic-Musician Tricks [tm] stories. Eh? ========================================================================= Date: Sat, 10 Dec 1994 18:11:05 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: MIDI chip Hi MIDI chippers, I've been co-designing a system (but _not_ building it I hasten to add) which uses an Intel 8032. It has 64 kbytes of program memory (EPROM), 256 bytes of RAM for data, UARTs and can access up to 64kbytes of external RAM. We used it not just to send MIDI but a whole lot of other stuff, too. The great thing about it is that, once enacted, MIDIransmission and reception occur in the background. You don't have to stuff about with the interrupts too much. If you have specific questions, I'll consult my development officer and reply. Regards, David ========================================================================= Date: Sat, 10 Dec 1994 00:23:45 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: KENNETH SEIDMAN Subject: Re: Re Sound card doen't work with MIDI In-Reply-To: <199412091647.IAA07043@netcom16.netcom.com> from "Philip Jones" at Dec 9, 94 04:28:34 pm >What Computer are you using. >If you're using a PC and windows you may have to set up the soundcard in the ard >in the >control panel, drivers, applet. This then lets windows know the card's there. You may also have to set up the MIDI mapper if you decide to use it, or if your software needs it. This is fairly self explanatory I think? Thanks for your reply... I've got a Gateway 486/66... but I spoke to both MediaVision (6am phone call:) and the people who sold me the MIDI adapter and it seems I need a different MIDI adapter. Apparently MediaVision changed their specs or design so it does not conform to pure SoundBlaster standard. (Thanks a lot guys). Anyway, I get to try again when the new adapter arrives Wednesday. Ken ========================================================================= Date: Sat, 10 Dec 1994 11:46:03 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: kenneth lee hankins Subject: Comments on Alesis Monitor One's Please In-Reply-To: I am looking into the Alesis Monitor One's for my studio monitors and stereo ones as well. Ill probably need to get an amp for these and some thing to hook it up to, like a tuner. Id like comments on the soound of the AAlesis Monitor One's please, how well do they perform/sound and costs? I have seen these priced new for $350 new here in town. Thanks in advance, Ken Hankins ========================================================================= Date: Sun, 11 Dec 1994 13:01:45 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: strange controllers Hello all, I have an enquiry about strange controllers. I am posting this here, because they are resolutely non-commercial and would not, I think, fit into synth-l. Does anyone have updates on the following: GAMS (Gesture and Media System) orig. Will Bauer and Bruce Foss, Wayward Multimedia Society, 11514 77th Avenue, Edmonton, Alberta T6G OM1 Canada article in CMJ 16/1 (Spring 1992) I saw a later reference to the system having been marketed commercially. Biomuse R. Benjamin Knapp, Dept of Elec. Eng., San Jose State Univ. and CCRMA and Hugh S. Lusted, Division of Otolaryngology, Stanford orig. article in CMJ 14/1 (Spring 1990) Also mentioned in an article by Paul Potyen in Mix magazine (sorry, can't find the reference right now) Bodysynth mentioned in aformentioned article by Paul Potyen. Supposedly used by Laurie Anderson in performance. I am trying to find these people or references to their machines in various places on the net, but a reply from any of you might save me some time. Thanks in anticipation of your answers. Regards, David ========================================================================= Date: Sun, 11 Dec 1994 14:17:59 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Patrick Quinn Subject: Transferring MIDI Files Has anyone successfully transferred MIDI files by disk between an Atari and a Mac? The theory is that both machines should be able to read DS/DD DOS formatted disks ( if the Mac has PC Exchange installed ) I've tried dumping a MIDI file from Cubase Lite on the Mac onto a DOS disk, and then reading it on the Atari, which works okay. It's when I try to go the other way, by writing from the Atari using Cubase Lite onto disk that the problem seems to occur, because the Mac now doesn't recognise the disk as a DOS disk. The machines in question are a Mac LCII and an Atari 1040STE, both running Cubase Lite. Any assistance would be very grateful? Patrick P.S. Anybody else had Cubse Lite crashing a lot on the Mac ? ========================================================================= Date: Sun, 11 Dec 1994 10:49:47 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Grasett Organization: Sir Sandford Fleming College Subject: Re: strange controllers >I have an enquiry about strange controllers. I am posting this here, because they are resolutely non-commercial and would not, I think, fit into synth-l. Funny you should ask. Yesterday I picked up the Dec. 94 issue of Electronic Musician, and lo and behold "The Interactive Concert Stage" -by Teri Danz and Michael Brown appears on Page 30! A cursory glance reveals its mostly about video and "multimedia" but does have a short section on "strange controlllers". >Bodysynth >mentioned in aformentioned article by Paul Potyen. Supposedly used by Laurie Anderson in performance. According to the article, this was developed by dancer/sound designer Chris Van Rallte and engineer Ed Severinghaus, and information is available from Ed Severinghaus at: (415) 387-1142 ed.s@sfnet.com JG John C.S. Grasett - Delivery and Infrastructure Group Information Technology Services Department Sir Sandford Fleming College Frost Campus - Room 180 Lindsay, Ontario, Canada. voice: (705) 324-9144 ext. 3334 fax: (705) 878-3699 To swear is human; to moo, bovine. ========================================================================= Date: Sun, 11 Dec 1994 16:06:35 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Greg Dorter Subject: FTP site with music software This is forwarded from another list. I thought the software might be relevant. I don't know most of the software, perhaps someone who has used some of it could enlighten me (us?). ---------- Forwarded message ---------- Date: 05 Dec 94 06:05:49 EST From: Robert.S.Newcomb@EDU.Dartmouth (Robert S. Newcomb) Subject: WWW Home Page to be Central Computer Music Resource Locator To: Music-Research@comlab Message-ID: <9711329@dancer.Dartmouth.EDU> The ICMA Software Library has been upgraded, and is now available as a World Wide Web Home Page. The scope of the library has expanded to allow for direct retrieval of files listed in the library, and navigation to a growing number of archives, forums, newsletters, and related home pages -- all accessible from a single Central Locator! The URL is: http://coos.dartmouth.edu/~rsn/icma/icma.html The textfile version of the Software Library will continue to be maintained. It is available for downloading via anonymous FTP from host dartmouth.edu (IP Address 129.170.16.4), directory pub/ICMA-Library), and also by email through ftpmail. The following is an index of Library entries as of 11/1/94: (Utilities) (sound synthesis): Amir Guindehi (Utilities) (sound synthesis): Roberto H. Bamberger abc2mtex (representation): Chris Walshaw AIFF_DSP (DSP): Ben Denckla Aleatoric Composer (algorithmic composition): Carl Christensen Bol Processor (composition): Bernard Bel CCRMA Music Kit and DSP Tools Distribution (sound synthesis): David A. Jaffe and Julius O. Smith Cellular Automata Music 1.0 (composition): Dale Millen CMIX (composition): Paul Lansky CMU MIDI Toolkit (MIDI): Roger Dannenberg Common Music for Windows 3.1 (composition): Heinrich Taube and Joe Fosco CONVERT (audio analysis): Jesus Villena Csnd.app (sound synthesis): Stephen David Beck CSOUND (sound synthesis): Barry Vercoe CSOUND (Native Mode) for the Power Macintosh (sound synthesis): DMIX (composition): Daniel V. Oppenheim FORMULA (Forth Music Language) (algorithmic composition): David Anderson HMSL (algorithmic composition): Phil Burk and Larry Polansky IMPROVISE (composition): David Pannett inSanity (algorithmic composition): Garth T. Zenie Lemur/LemurEdit package (audio analysis): Kelly Fitz and Bryan Holloway LucyTuning Codes (composition): Charles Lucy MiXViews (sound synthesis): Douglas A. Scott MODE (composition): Stephen T. Pope Musical Set Complete (composition): Craig Shoemaker Nyquist (composition): Roger Dannenberg Perfect Pitch (education): Bernd Kohler PIP - Program In the shape of a Pear (composition): James Binkley Ravel (composition): James Binkley Real Time Composition Library for MAX (composition): Karlheinz Essl SoftSamp for Windows/CSOUND (sound synthesis): Dustin Barlow Sound Utility Programs for NeXTStep Computers (Utility): Jean Laroche Soundhack (sound synthesis): Tom Erbe STOCHGRAN (granular synthesis): Mara M. Helmuth Symbolic Composer (composition): Nigel Morgan and Peter Stone ========================================================================= Date: Mon, 12 Dec 1994 01:41:57 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Patrick Lenneau Subject: Re: 12 tone wave sequencing etc. I put together something similar to that in Max but it was not designed with improvisation in mind. It recognizes an event from the "metro" object, passes on a percentage of these to a counter and the result from this is a number from zero to eleven. This set order number goes to the set-complex which interprets it with respect to the current transformation and transposition. And finally, a note. Kind of a let down I guess, but it's a genuine serially derived note. Duration and velocity are also determined by serial procedures based on pitch class, transformation and/or transposition. Any of these as well as the function of "metro" could easily(?) be assigned to human and midi controller. I chose to hand the many real-time settings over to a pre-defined midi file score; never thought of doing it myself. PTL >Now supposing you could do this: You have your 12 tones pre-set. The first key you press, no matter which, gives you the first note of the row, the next note you press gives you the second, the next note gives you the third, and so on. This would solve one of the major obstacles to true 12 tone improvisation, which is, of course, keeping track of how the row goes while you're playing. You would probably be quite a bit disconcerted at first in that the motion of your hand up and down the keyboard would have no relationship to the contour of the notes coming out, except, if your programming was clever enough, to determine the octave that a note is sounded in. >A possible refinement to this would be to dedicate one octave of your keyboard to changing the transposition of the row rather than playing the actual notes. >This is all very speculative of course, but it seems like you *ought* to be able to do something like this. I don't use MAX and have only a vague idea of how it works but it sounds like you ought to be able to set something up there that would accomplish what I've just described. Maybe there's a simpler way, and someone will let me know. >Mark Simon >mgs2@cornell.edu _____________________________________________________________________ _/_____________________________________________________________________\_ / | | \ | | And In This Corner: | | <| | Originally from Alameda, CA fighting out of ptl@crl.com | |> | | The Cyberweight Champion of the World... Patrick "AltoHorn" Lenneau | | \_|_____________________________________________________________________|_/ \_____________________________________________________________________/ ========================================================================= Date: Mon, 12 Dec 1994 11:58:37 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Farnell Subject: additive synth hardware Hi, OK, it's a bit off topic, but I think it's more suited to an informed answer here than SYNTH-L or something. I am looking for an additive sythesis card/hardware. Either stand alone or platform specific for PC/Mac/Sun. What I need is real time (I mean REAL real time, like instantaneous) control of a good few hundred partials. I have heard that the IRCAM 4B is good bet.. does anybody have any info on this ? w.r.t $$ I think < 1500-2000 is the limit cheers andy ------------------------------------------------------------------------------ Andy Farnell, Music Technology Research Computing and Cognition Dept. Applied Computing & Electronics # # BOURNEMOUTH Bournemouth University # UNIVERSITY Janet: afarnell@uk.ac.bmth World: afarnell@bournemouth.ac.uk Voice: (0202) 595257 ------------------------------------------------------------------------------ ========================================================================= Date: Mon, 12 Dec 1994 12:10:46 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Farnell Subject: ICMC94 proceedings ? .. and while I'm in the mood for asking daft questions ... Does anyone have the proceedings of ICMC94 in electronic form that they could mail me, or more sensibly come to think of it, that I can ftp down to here. cheers andy ------------------------------------------------------------------------------ Andy Farnell, Music Technology Research Computing and Cognition Dept. Applied Computing & Electronics # # BOURNEMOUTH Bournemouth University # UNIVERSITY Janet: afarnell@uk.ac.bmth World: afarnell@bournemouth.ac.uk Voice: (0202) 595257 ------------------------------------------------------------------------------ ========================================================================= Date: Mon, 12 Dec 1994 09:27:27 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ab Wilson Subject: additive synth hardware In-Reply-To: <94Dec12.072842est.41451@gateway.morgan.com> Andy Farnell writes: >I am looking for an additive sythesis card/hardware. Either stand alone or platform specific for PC/Mac/Sun. Well Flange me old mate I may have just the thing for you. I've got a Kurzeil K150fs complete with full documentation. I brought it back form the State last time I was over there. >What I need is real time (I mean REAL real time, like instantaneous) control of a good few hundred partials. You'd have to write some new system software to do this (68000) but it shouldn't be that difficult, I've wanted to do that myself. The basic hardware has two hundred digital oscilators. These are really just pointers into a look up table. Each oscilator has four registers: phase, phase increment, level, level increment. Phase stores the current point in the lookup table. Phase increment controls the change in phase at each clock tick and hence the frequency. Level controls the output level of the oscilator (gasp), and level increment allows you to create envelopes without using the main processor except when there is a break point in the envelope. A K150 voice consists of a list of instruction (yes a program) which modify these registers. That's why you can't do realtime control of the partials. To do so would be a fairly simple hack. You write an interrupt routine which picks up the midi CC. This then inserts new instructions into the program to make the necessary changes. >I have heard that the IRCAM 4B is good bet.. does anybody have any info on this ? Don't know but I'll bet it's pricy. If you come up to London to collect it I'll let you borrow the K150 for the price of writing the new system software. Ab. ========================================================================= Date: Mon, 12 Dec 1994 07:36:38 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: several small items In-Reply-To: <199412061552.HAA27645@mail3.netcom.com> from "Eric Harnden" at Dec 6, 94 10:49:20 am Eric Harnden writes-- >1: enya - i could swear that it's all juno. i mean, i get those tones all the time from the 106. and the arpeggiated stuff on watermark is a dead giveaway for the 60. are we certain she's really using anything else? She uses a lot of old Kurzweil tones and DX7. That's what leaps out at me, especially on the first album. "Aldebaran" is a nice example. >although i must admit, idiot that i am, i never thought about that damned emulator. but of course... there's no other way her engineer could get those smooth swells of huge vocal tone. no wonder i've been having so many problems recreating it. i just do twelve tracks of unison lead vocal, and i was thinking of getting the dynamics by passing the submix through a foot-controlled vca during mixdown. which brings up: Actually, I don't know how much emulator is used for voices. At least for the first and second albums, all of the vocals are done by massive overdubbing. Twelve tracks is not near enough...we're talking about an effect you start to hear at the thirty-overdub level. Nicky Ryan records her singing to a scratch track on twenty four tracks, over and over again, then bounces them to ONE track and starts again..... This effect was worked out by 10CC for the vocal washes on "I'm Not In Love", and is an extraordinarily lovely effect, if hard to get. What I'd like to know is how Billy Joel got a similar effect on "Just The Way You Are" (it's most notable in the final fade of the song). I think this is synthesized; if it is, I WANT one of whatever did it! >2: gabriel/lanois - just how does daniel lanois get that large guitar chord sound that's the ground for the chorus in 'red rain'? i've heard about wiring a gibson to an extraordinarily loud amp but then playing it very softly. any clues? oh, and yes, i think this has something to do with emusic, so pphhppttt... Thphht indeed. This method was used by Andy Summers in recording "Tea in the Sahara" for the _Synchronicity_ sessions. You turn the amp way, way up and play very close to it, so you're on the ragged edge of feedback, and the barest touch of the strings produces a wonderful roll of sound. >5: faqs - i suggested a while ago that we produce a faq, but noone seemed to think it was a good enough idea to actually put any energy into. and, in retrospect, i'm not sure it would be a good idea, anyway. i mean, what would be in it? the distilled platform wars? a real one would damn near be an entire course on the basics of electronic sound. i get paid for teaching that, and t takes months. although, some stuff is standard enough to warrant a reasonably stable set of documents, i suppose. now, i believe that some of that stuff is on our own archive - like the midi protocol, and patrick tsang's (remember him?) exegesis on smpte. or at least i think i've got it somewhere, and can reload it. and we should be able to provide pointers to resources, like piet van oostrum's bibliographies and site lists, which include the ircam repository. so all we need is to get a little organized. so... any takers? i will, btw, be putting together a web page here at AU this week, that will evolve to include alot of these kinds of pointers. Joe has started work on a FAQ, and any input from our esteemed Moderator Emeritus (that's you, Eric) would be gratefully appreciated. At the moment, though, the miniFAQ with the single item of "How do I get off?" seems to have improved S/N markedly in recent days. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Well, I know, sorry guys, Italian is almost as difficult as the Advanced FM or maybe the RCM .. or maybe even worst !!!" (a. toni) ========================================================================= Date: Mon, 12 Dec 1994 07:38:20 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: wavesequencing tone-row what? In-Reply-To: <199412060825.AAA21302@netcom16.netcom.com> from "Craig Marks" at Dec 5, 94 11:22:00 pm Craig Marks writes-- >Mike - >The brief statement about wavesequencing tone-row stuff sounded really interesting. What the hell does it mean? If you could expand on it and explain what you meant, I'd appreciate it. See John Krikawa's excellent recent post on the topic...it's as much as I know, since he was my original source. I think the discussion of the abilities and limitations of this approach is still ongoing, inthe context of a larger discussion of how to make 12-tone music that's, well, musical. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Well, I know, sorry guys, Italian is almost as difficult as the Advanced FM or maybe the RCM .. or maybe even worst !!!" (a. toni) ========================================================================= Date: Mon, 12 Dec 1994 12:18:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Adamson Subject: Re: several small items % % This effect was worked out by 10CC for the vocal washes on "I'm Not In Love", % and is an extraordinarily lovely effect, if hard to get. What I'd like to % know is how Billy Joel got a similar effect on "Just The Way You Are" (it's % most notable in the final fade of the song). I think this is synthesized; if % it is, I WANT one of whatever did it! I've always thought a vocoder played a part in that particular piece. Brian ___________________________________________________________________ R. Brian Adamson Information Technology Division adamson@itd.nrl.navy.mil Naval Research Laboratory NRL Code 5523 Washington, DC 20375 ========================================================================= Date: Mon, 12 Dec 1994 08:42:44 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: A Primer on Digital-Oscillator Hybrid Synths: PPG, VS, WS In-Reply-To: <199412060743.XAA22651@mail2.netcom.com> from "Benjamin Leon" at Dec 6, 94 00:22:09 am Benjamin Leon writes-- >Greetings! >I have heard that the Korg WaveStation and Seq. Circuits or PPG have a common similarity in their tonal structure. Wave shaping and ?? Can anyone offer up more info about this unit?? RSVP I think you've gotten these machines lumped together in your mind because they share a common set of enthusiasts: although they are as different as chalk and cheese from one another, all produce sounds that have a great deal of timbral evolution, by which I mean that striking and sustaining a note produces a sound that changes and evolves in remarkable ways over time. I know people who own two or even all three of these boxes (nothing induces synth-envy like an eight-space SKB rack with a Morpheus, a Wavestation A/D, a Prophet VS rack, and a Microwave), because they all have different timbral strengths and weaknesses. >I also understand there were different versions of this module (and Keyboard), can anyone tell me what they were and which was THE ONE to get. Any idea on price both what it was new and now used would also be appreciated. Let me see if I can put down a few small bits of history and technical data with respect to musical content for you (all I'll say of a SYNTH-L nature will be a brief snert of price data at the end)...... All of the above synth architectures are true hybrid machines; they have digital oscillators fed into analog filters (*) and amplifiers. All have relatively conventional architecture in terms of overall structure; oscs --> filter --> amp. All utilize the analog filter to add 'guts' to the sound, and digital oscillators to provide alternative tonalities to the relatively simple palette of analog chip waveforms. However, each machine has a unique way of using the digital waveforms, so as to produce a unique sonic character before the sound even reaches the filters. (* Oh, and before anyone leaps on me-- yes, I know the Wavestation has nonresonant digital filters. Sorry for dragging the analogy out too far.) We need to define some terms here; this was a big source of confusion in recent letters, so let me digress for a moment. The first machines to provide digital oscillators did so either by sampling an entire waveform, OR by providing one cycle of a wave in digital memory and playing it back repeatedly at the proper frequency for the pitch played. (The eminently marvelous Korg DW-8000 is the b est example of this today, and a worthy cousin to these other machines.) This set of single-cycle waveforms, since they were implemented as lookup tables, is what people often called a 'wavetable'. (What PPG called a 'wavetable' was very different from the usual use of the word; more on this later.) For our purposes, however, we'll just call them single-cycle waveforms or SCWs (my own term, NOT standardized in any way, but used here to clarify things. If someone has a better one, let's hear it!). How SCWs and samples (complete snapshots of sound that run over many wave cycles, even up to several seconds long) are used by these early instruments is often what makes them unique from one another, and defines an era of evolution in digital synthesis (the early and mid 1980s). Some examples: the DW-8000 was a simple SCW-based hybrid synth. The waves were played back and used as analog waves would be. A machine that played back entire samples and ran them through an architecture, even a simplistic one, was a Sampler. The Emulator, Mirage, and DSS-1 were early examples of the beast. Remember that all the early ones allowed recording as well as playback. L/A Synthesis grafted sampled transients onto synthesized (analog) waveforms to give them interesting attack characteristics, and made limited use of longer looped sounds that would provide rhythmic character and evolution; this gave the Roland D-50 a big edge on the competition while using fairly small amounts of then-costly waveform memory. When memory prices plummeted to the point where completely sampled instruments could be loaded en masse into a machine and accessed at will, the Sample Players, led by the korg M1 and followed by the Roland U series (including the D-70, which is not an L/A machine at all and was originally to be called the U-50) and many others, came to dominate the industry for their realism and low price for the power one got. We still see this dominance today. However, now that I have laid down a framework for the evolution of these machines, let me go back and touch on what made them unique. I will mention the PPG, the Prophet VS, and the Wavestation...the Morpheus is a filter-based machine of interest (it's a sample player at the oscillator level) so it doesn't belong here, and the Differential Loop Modulation Synthesis of the D-70 is worth a post to itself, so I won't touch on them here. The PPG Wave Computer was built by PPG of Germany; it was, among other things, one of the first high-end digital workstations to offer a MIDI retrofit and sampling. The Wave Computer (used by Thomas Dolby, who owns one of the few working units) and the far more popular Wave 2.2 were eight-bit machines; the 2.3 was 12-bit, and was not as popular as the previous models in terms of sound quality (although the Waveterm sampling option sounded much better); the modern version of this box (back to eight-bit, deliberately) is the MicroWave, built by Waldorf Electronics, run by Wolfgang Palm, the PPG's father. The fundamental function of interest in the PPG and Micro is the WAVETABLEoscillator. Here, a wave table is a series of 64 positions on a lookup table, each of which is a SCW. Now, not all of the 64 positions have to be filled; in fact you really only need two of them (the ones at the ends) filled, at a bare minimum. The rest can be empty. Let's say that one endpoint is a very complicated waveform, with lots of peaks and valleys within a single cycle. And the other is a sine wave. What the wavetable architecture does is to interpolate between the two shapes, 'filling' the table with 64 waves ranging from the simple sine to the complex form in a smooth progression. When you play back sounds from this table, you can 'sit' at any point in the table and play back that position's interpolated SCW, or you can 'sweep' up and down the table as you play, with the single-cycle waveshape coming out of the oscillators changing as you sweep, from moment to moment, even within a single note! This gives the PPG a distinctive, powerfully evolving timbre that has been used by many famous artists. The best examples I know of of albums that utilize a lot of PPG are Tangerine Dream's _Exit_ and Gary Numan's _Berserker_. Both are killer records. The Sequential Prophet VS was the first major instrument from the company that had strayed into the realm of low-cost instruments in the early MIDI era, trying to compete with the leaner Japanese firms and failing, on its comback to the major leagues. It was available as a keyboard, which had some technical problems, and a rack, which was very rare and costly. The VS uses VECTOR SYNTHESIS to achieve its evolving timbres: each voice has four (count'em) digital oscillators, each playing back its own SCW that you select from a list of 127 on board, including various harmonics, pure waveforms, noise, and even silence (yes, it's useful to have sampled silence on a synth!). The four oscillators can be transposed and detuned from one another by up to an octave, so that they have differing timbres AND tunings. The next question is, how do we crossfade between them? (techniques of crossfading from sound to sound are vital, as they are how these early synths (other than the PPG) got timbres to change-- fade out one wave while fading in another. The VFX series is totally based on useful crossfading techinques of various sorts, from the old SQ80 up to the modern TS10.) The answer, which is simple and intuitively delightful, is to provide a joystick and place one oscillator at each corner of a square. Moving the joystick changes the mix, and it is a simple matter to control the mix either in real time or with a two-dimensional envelope generator that remembers points in the plane (i.e. vectors) rather than simple mixes. In addition, the oscillators themselves could have waves loaded into them--32 of the slots were RAM rather than ROM. Waves could be created by sample dump (one cycle only) or by additive synthesis: call up four waves, mix them with the joystick, and when you hear something you like, save the harmonic mix to its own wave. The VS is not a major feature of any particular album that I know of, but many people swear by it (Trent Reznor used one heavily on the various releases by Nine Inch Nails). When Sequential died, the design team eventually found themselves at Korg, where they began work to update the VS design to an all-digital form. The Wavestation has many innovations over the VS, some good (more voices, great onboard effects, etc.) and some not so good (wimpy digital filters, no arpeggiator, etc.). However, while the WS was a vector synth like the VS, it had an additional feature that was unique: WAVE SEQUENCING. A wave sequence is a lookup table of waves from the WS's waveform memory (515 waves, some of which are short samples and others of which are SCWs of various sorts), strung together in a particular order with a particular relationship in time and pitch. Playing a key causes the sequence to be played back at a certain tempo; playing up and down the keyboard causes pitch to shift but not timing, which allows for very powerful rhythmic patterns to be pregenerated and reproduced in interesting ways. The sound of wave sequencing is instantly recognizable to anyone who has heard it before, and is used in many albums and on TV and film soundtracks galore. The WS has four models: the original WS keyboard, which was upgraded to the EX version soon after; the WS A/D rackmount, with analog inputs for processing external sounds; and the WS SR, a 'single rack' space machine with expanded memory but a greatly constricted user interface. So as you can see, these three architectures filled a period when the preeminence of sample playing had not yet reached its peak, and the era of the big sampler was not yet past. I always find these transitional periods in technology to be the most fun, since many worthwhile ideas are tried before one achieves dominance. The last examples of this would be the era right after the DX7's introduction, when many manufacturers introduced new synthesis methods to try to get back market share from FM (the above three instruments span this era and beyond, both before and after), and the period just before the rise of the Prophet-5, when everyone was experimenting with ways of providing polyphony in synthesis, giving rise to the Chroma, Quadra, Trident, Polymoog, CS-80, and many other innovative synths. I hope this helped. Unfortunately there is no THE UNIT to buy; you must choose for yourself. Fortunately, all are still available used in various places, and some are quite affordable. You can get a WS SR or EX or a MicroWave for $1000 or less, WS A/D's and Prophet VS keyboards sit in the $1200-$1500 range, and loaded PPG Waves and VS Racks go for over $2000. Good luck, and feel free to ask for clarification on any part of this. I also encourage owners of these boxes to add their own feelings. I own or have owned all three; I no longer have my MicroWave and my WS EX is too new in my studio for me to comment on, but I love my VS rack dearly. All have obvious strengths, and none are for the faint of heart. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Well, I know, sorry guys, Italian is almost as difficult as the Advanced FM or maybe the RCM .. or maybe even worst !!!" (a. toni) ========================================================================= Date: Mon, 12 Dec 1994 10:01:01 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: kenneth lee hankins Subject: Yamaha SY series In-Reply-To: i am looking for any and all net info on the sy series of keyboards as in mailing lists, news groups, toll free numbers, ftp sites, mosaic URL sites, etc. ANYTHING. thanks. Ken Hankins ========================================================================= Date: Mon, 12 Dec 1994 15:51:55 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Gregory C. Neumayer" Subject: what's your favorite brand? I'm looking to buy a master control keyboard with 76 keys, lots of polyphony, no sequencer (have Cubase on Mac). Can anyone recommend a keyboard with the best sound quality? Does it depend on music style, synthesis vs. samples, or is there one brand that tends to shine above the rest? Thank you in advance for any input you may have. -noblegas ========================================================================= Date: Mon, 12 Dec 1994 14:41:39 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List Comments: Environmental Systems Research Institute From: Tapas Das Subject: Re: what's your favorite brand? >I'm looking to buy a master control keyboard with 76 keys, lots of polyphony, no sequencer (have Cubase on Mac). Can anyone recommend a keyboard with the best sound quality? Lets see. You want 76 keys, lots of polyphony, no sequencer and want to use it as a master controller. The Alesis Quadrasynth, with 76 keys and 64 note polyphony and a decent set of samples for a street price of $1000 may be just be want you are looking for. If you want it to have "best sound quality", then by all means check out the Korg 01/W Pro which sells at a street price of $2300. It adds a sequencer and a 3.5 inch DS/DD disk drive. This one is the most popular. You should also check out the Roland JV-1000, which sells around $2100. Then there is the Kurzweil PC-88 around $1700 and Korg X2 around $1600. All the above have a synth action keyboard. If you want to have weighted piano action keys, and a strict controller, ie, without built in sounds, you should try out the Peavey C8, generally considered the best keyboard controller or the Peavey C8p, its lightweight sister. A Fatar Studio 90 Plus ($900) makes an economical choice with a great feel. However, its hard to justify its purchase when you can get the Alesis Quadrasynth for $1000. Then ofcourse there is the pricey Roland A80 and the MIDI challenged Yamaha KX88. I would not recommend them. They cannot match the price/performance of the newer breed. Oh, I forget, there is also the Ensoniq KS-32 ($1600) and the Ensoniq TS-10 ($1850). You see, there are too many out there offering different combinations of sounds, feel, touch, MIDI implementation, effects, disk drives, patch memories, MIDI merging/layering, etc, etc. You must go to several music stores and play with each and every brand, study the literature, rent if possible, and be absolutely positive it meets your present and current needs before you part with your hard earned money. Tapas. ========================================================================= Date: Mon, 12 Dec 1994 17:43:12 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Sandy Hoover Subject: ?'s on software Hiya--does anyone use or know anything of the merits of Steinberg's "Recycle" (sample loop editing) software? Also I've been attempting to use Arboretum's "Hyperprism" along with Cubase audio and it does nothing but crash. Comments? Thanks. ========================================================================= Date: Mon, 12 Dec 1994 16:10:32 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Chris Sherwood Subject: Re: several small items |From: Brian Adamson |% Atomic: |% This effect was worked out by 10CC for the vocal washes on "I'm Not In Love", |% and is an extraordinarily lovely effect, if hard to get. What I'd like to |% know is how Billy Joel got a similar effect on "Just The Way You Are" (it's |% most notable in the final fade of the song). | | I've always thought a vocoder played a part in that particular piece. I always thought (but neve knew) that it was that guitar-wheel thingee that they made. They had this box that set on on the top of the guitar strings that had a little ribbed wheel for each string. This wheel rotated constantly, giving a continual droning sound, but I wasn't into 10CC enough at the time to know of any specific tune it was used on. Chris ========================================================================= Date: Mon, 12 Dec 1994 18:24:48 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Edmond Calderon Subject: midi to 4-track David, whats up? I appreciate your feedback re: my conversation with Chris. I'm using Cakewalk as a sequencer, I have a home computer which I am using to tap into the net via modem to the college here. Now if I mix down everything from the sequencer to 2 tracks them do the acoustic stuff on the remaining 2 tracks would I still be able to get a stereo recording? And (forgive this mike but...) what does smpte mean? Cordially...Thanks. Edmond \========================================================================= Date: Mon, 12 Dec 1994 20:45:27 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Francisco Javier Blanco Subject: Re: what's your favorite brand? >I'm looking to buy a master control keyboard with 76 keys, lots of polyphony, no sequencer (have Cubase on Mac). Can anyone recommend a keyboard with the best sound quality? Does it depend on music style, synthesis vs. samples, or is there one brand that tends to shine above the rest? Thank you in advance for any input you may have. -noblegas Do you want soft keys or not? With or without sounds? What about price? What do you mean by lots of polyphony?, some of them can expanded. Sampler or not? Francisco Javier Blanco Cellular phone: +58 014 228111 telefax: +58 2 2616762 E-mail: fblanco@dino.conicit.ve ========================================================================= Date: Mon, 12 Dec 1994 22:45:45 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Brian G. Skrab" Subject: soundcards? hello all, i'm sure i'm gonna sound like some idiot for asking this question but, what exactly is the difference between FM synthesis and wavetable synthesis on soundcards? what makes the wavetable synthesis SO much better than th FM? what exactly are they used for? do they make any diffenence in the sound quality of any recordings made off the card? anyone? anyone??? thank you? Sbug381@aol.com ========================================================================= Date: Mon, 12 Dec 1994 22:45:49 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Brian G. Skrab" Subject: sound cards? hey there, can anyone tell me the difference between wavetable and FM synthesis on sound cards? what are they used for? what makes wavetable so much better than FM? anyone? Sbug381@aol.com ========================================================================= Date: Tue, 13 Dec 1994 01:37:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dave Schwartz Subject: Re: Korg X3 I use Cakewalk Professional for Windows 3.0 with my Korg X3 and love it. Works great. If that is a little expensive for you, I also own a copy of Steinberg's Music Station program which also works weel with the X3. -- Dave ========================================================================= Date: Tue, 13 Dec 1994 01:11:39 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Kermit E Austin Subject: New user/subscriber I've just bought an IBM compatible computer and wish to compose music. I have used "Performer" before on a Mac, is it available for PC's as well? Is it possible to record on a computer or does it take up to much memory? I will be playing guitar and I have a keyboard that drives what few sounds my computer was equipped with, yet I really enjoyed being able to create original sounds on Performer. What would you suggest? Thank you for your time P.S.- How do I send commands to LISTSERV? ie; "index.emusic-l.listserv@american.edu"?? ========================================================================= Date: Tue, 13 Dec 1994 09:42:29 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rich Fox Subject: Strange Controller Lecturer I'm looking for people within a 100 mile radius of Philadelphia, PA, (USA) with enough knowledge and experience in 'strange controller' design to conduct a 3 hour seminar with a class of eight. The audience will be Industrial Design Graduate Students without much technical knowledge with respect to MIDI. We can pay $200 for the session. If any of you out there are qualified, or know of someone who is, please respond. Richard Fox Philadelphia College of Art MID Lab email: rfox@hslc.org voice: (215) 875-1059 ========================================================================= Date: Tue, 13 Dec 1994 09:49:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alex Sanielevici Subject: Re: sound cards? In-Reply-To: <199412130357.AA16229@condor.CC.UMontreal.CA> On Mon, 12 Dec 1994, Brian G. Skrab wrote: hhey there, >can anyone tell me the difference between wavetable and FM synthesis on sound cards? what are they used for? what makes wavetable so much better than FM? anyone? >Sbug381@aol.com Well, it's pretty simple: FM stands for frequency modulation, which means you have an oscillator whose frquency is modulated by another. For the simplest example, let's take two sine oscillators. With spectral analysis, one can see that a sine wave is composed of just one frquency: dB | | ----------- f(Hz) When modulating it's frequency with another sine wave, you get lateral bands on each side of the carrier's frequency, at a distance which corresponds to the frequency of the modulating oscillator: dB | | | | | | | | | --------------- f (Hz) Now, you can do this with complex sounds, and chain them together in all sorts of combinations, with which you can synthesize all sorts of different sounds (cf. DX-7) Now 'wavetable' synthesis simply plays back pre-recorded digital sound (maybe manipulating it in several ways), which gives much better imitations of real instruments, but lacks the control and the 'synthesis' aspect of FM. (although you have not much control on sound cards, anyways). I hope this answers some of your questions. -- Alex. ------------------------------------------------------------------------------ Alex Sanielevici // E-Mail : sanielea@ere.umontreal.ca Music student, // or : alex@speedy.hypercomp.ns.ca University of Montreal, // Voice : (514) 731-2578 Quebec, Canada. // WWW : http://mistral.ere.umontreal.ca:9090/ ------------------------------------------------------------------------------ << I know you believe you understand what you think I said, but I am not sure you realize that what you heard is not what I meant >> -- Reliable source. Date: Tue, 13 Dec 1994 11:09:20 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Phillips/Healy Subject: Re: Strange Controller Lecturer >I'm looking for people within a 100 mile radius of Philadelphia, PA, (USA) with enough knowledge and experience in 'strange controller' design to conduct a 3 hour seminar with a class of eight. The audience will be Industrial Design Graduate Students without much technical knowledge with respect to MIDI. We can pay $200 for the session. >If any of you out there are qualified, or know of someone who is, please respond. >Richard Fox >Philadelphia College of Art >MID Lab >email: rfox@hslc.org >voice: (215) 875-1059 Richard- I'm not really qualified to speak about *design* of strange controllers, but I use a Buchla Lightning a great deal for my own music such as it is...and know a good deal about MIDI and it's many uses. My current work is primarliy using analog triggers which are translated into MIDI noteon/offs then manipulated within MAX. I'm probably not exactly what you were looking for on this one, but I wanted to meet you, at least e-leck-tronically, regardless, as I'm going to be doing a class on "Sound" to animation/film students (Peter Rose's idea) this coming semester at U 0f Arts and would like to talk to you about what you are doing in the MIDI Lab. Regards, John John J.H. Phillips, Carolyn Healy -TerraGizmo Studios -Philadelphia, PA. USA jpch@pobox.upenn.edu ========================================================================= Date: Tue, 13 Dec 1994 11:16:58 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Michael A. Dalton ADP OPuS" Subject: Kawai PHm Manual Wanted HI, I am in need of a copy of the manual for the KAWAI PHm Synth Module. If anyone can part fwith a copy /photo copy of one I'll gladly reimburse the expense and mailing. Or, if someone has the phone number to Kawai, that'll prolly' work too... thanks! -M. -- ========================================================================= Date: Tue, 13 Dec 1994 13:12:35 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ned Kartchner Subject: SD MIDI Player and the Vocallist II Please Help Me, I'm falling: I have owned a DigiTec Vocallist II for the last year and I have been spending a lot of time trying to interface it with MIDI inputs with zero positive results. I just can't figure out how to program it to change its harmony with a MIDI input. My latest purchase was a Roland SD 35 MIDI player. It is a neat device which enables me to download my Band-In-A-Box MIDI files onto a 720mb diskette and play them through the SD 35 sound system. The SD 35 has eliminated the need for me to have a sound board, a MIDI interface to my computer, and a keyboard. I understand that the SD 35 didn't sell too good because of the price tag so I was able to get one at about one half price. I was told it is being removed out of the Roland product line. Is there someone around the net that can give me some instructions on how to interface a device, (my computer, or the SD35) SMF output to the Vocalist II? I seem to be having trouble with the SD35 matching the MIDI channels. I have not been able to find any instructions in the manual how to select and set the channel to match another MIDI device. Ned Kartchner ========================================================================= Date: Wed, 14 Dec 1994 10:06:57 +1100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: DAVID O'DONOGHUE Organization: OzEmail Pty Ltd Subject: Re[1]: what's your favorite brand? Reply to message text: From: Tapas Das >>I'm looking to buy a master control keyboard with 76 keys, lots of polyphony, no sequencer (have Cubase on Mac). Can anyone recommend a keyboard with the bbbest sound quality? >Lets see. You want 76 keys, lots of polyphony, no sequencer and want to use it as a master controller. >The Alesis Quadrasynth, with 76 keys and 64 note polyphony and a decent set of samples for a street price of $1000 may be just be want you are looking for. Quadrasynth is probably the best bet (given the criteria). >You should also check out the Roland JV-1000, which sells around $2100. Naaah. The JV1000 has a sequencer. Try the JV-90 instead- same thing sans sequencer. (Its also a better _synthesiser_ than the quadrasynth.) >Then there is the Kurzweil PC-88 around $1700 and Korg X2 around $1600. All the above have a synth action keyboard. Not quite correct. The Kurzweil has a weighted action and is 88 notes (not 76). Regards David O'Donoghoe DODON@OZEMAIL.COM.AU ========================================================================= Date: Wed, 14 Dec 1994 10:07:05 +1100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: DAVID O'DONOGHUE Organization: OzEmail Pty Ltd Subject: Re: 10cc Reply to message text: From: atomic city >This effect was worked out by 10CC for the vocal washes on "I'm Not In Love", and is an extraordinarily lovely effect, if hard to get. Apart from the 'vocal washes' there was also a rather nice synth drone - anyone know what synth was used? Even if the lyrics were overly drippy, its still a great piece of music..especially the way they didnt 'choke' the arrangement with over instrumentation. (Mind you they _were_ working on 16 tracks - it tends to force you into being tasteful) Does anybody know what Kevin Godley and Lol Creme (ex 10cc) have been doing for the past five years? Regards David O'Donoghoe DODON@OZEMAIL.COM.AU ========================================================================= Date: Wed, 14 Dec 1994 11:01:09 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Strange Controller Lecturer Hi Richard, your use of the term 'strange controller' makes me thnk that maybe it was my message which partly prompted this. Of course, I'd love to help but I'm not within 100 miles of the U.S.A. let alone Philadelphia. If this is an enduring interest of yours, I'd love to hear from you. I've been co-designing a system based on Laban movement theory. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Wed, 14 Dec 1994 11:14:12 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: 10cc Hi David, >Mind you, they were only using 16 tracks. It tends to force you into being tasteful... or words to that effect. Want a bet? I've heard plenty from that era that ain't tasteful! Regards, David ========================================================================= Date: Tue, 13 Dec 1994 21:46:41 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: several small items In-Reply-To: <199412130014.QAA07145@mail.netcom.com> from "Chris Sherwood" at Dec 12, 94 04:10:32 pm Chris Sherwood writes-- >I always thought (but neve knew) that it was that guitar-wheel thingee that they made. They had this box that set on on the top of the guitar strings that had a little ribbed wheel for each string. This wheel rotated constantly, giving a continual droning sound, but I wasn't into 10CC enough at the time to know of any specific tune it was used on. The device in question was called the Gizmotron, or Gizmo for short. Godley and Creme actually marketed them for a while, but they were very delicate and the wheels had to be replaced frequently, a costly and difficult task. Ultimately the Heet E-Bow took over the market, its simplicity winning out despite a slightly more limited range of uses. The 801 album _Listen Now!_ hsa a lot of Gizmo work on it. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Well, I know, sorry guys, Italian is almost as difficult as the Advanced FM or maybe the RCM .. or maybe even worst !!!" (a. toni) ========================================================================= Date: Wed, 14 Dec 1994 02:31:24 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Antony Balcerzak Subject: Re: 10cc In-Reply-To: <199412132319.SAA10880@io.org> On Wed, 14 Dec 1994, DAVID O'DONOGHUE wrote: >Reply to message text: >with over instrumentation. (Mind you they _were_ working on 16 tracks - it tends to force you into being tasteful) >Does anybody know what Kevin Godley and Lol Creme (ex 10cc) have been doing for the past five years? >Regards >David O'Donoghoe >DODON@OZEMAIL.COM.AU All I know is Lol took up directing films. The only one I know of is 'The Lunatic' (correct title I think) set in Jamaica, which is excellent, IMHO. ******************** _/\_ "We have sought for firm ground and found none. * Antony Balcerzak * _\ /_ The deeper we penetrate, the more restless * tekpagan@io.org * \_ _/ becomes the universe; all is rushing about ******************** || and vibrating in a wild dance." MAX BORN ========================================================================= Date: Wed, 14 Dec 1994 10:22:11 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "john.." Subject: Re: several small items In-Reply-To: <"leeman.yor.368:14.11.94.05.50.52"@york.ac.uk> On Tue, 13 Dec 1994, atomic city wrote: >Chris Sherwood writes-- >The device in question was called the Gizmotron, or Gizmo for short. Godley and Creme actually marketed them for a while, but they were very delicate and the wheels had to be replaced frequently, a costly and difficult task. Ultimately the Heet E-Bow took over the market, its simplicity winning out despite a slightly more limited range of uses. >The 801 album _Listen Now!_ hsa a lot of Gizmo work on it. The Godley and Creme triple album 'Consequences' has a lot of Gizmo on it as well - the book that is packaged with the record has a few piccies and a small amount of info about the Gizmo....The first side of the first LP is *all* gizmo. Apparently. (I haven't listened to it for a long while though) john.. -- jat5@unix.york.ac.uk jat@ohm.york.ac.uk http://www.york.ac.uk/~jat5/ ----------------------------------------------------------------- | Flex music, York, UK. || (0904) 610745 || ContinuousEvolution | ----------------------------------------------------------------- * check out 'visions' on resource records, available early 1995 * ========================================================================= Date: Wed, 14 Dec 1994 15:28:13 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Christian Baum Subject: Two Mixers with one Boss SE-50 Hi Folks, I've got a problem with my Mixers and my Boss SE-50 FX-Processor. I use two Ross 8-Channel Mixers with one FX-Send and Return each, an S-550 Sampler and a D-10 Synth. The two Mixers are connected as follows: Stereo-Outputs Left/Right of mixer (1) are inserted into mix-channels 1 and 2 of mixer (2) (panpots in "totally left" and "totally right"-positions). So I finally have fourteen In-Channels for mixing - very unprofessional, I know, but it worked quite good (until today). Mixer (1) is reserved for eight "Individual Outs" of the Sampler, mixer (2) is used with the synth.Now I used the left input/output channel (mono) of the Boss SE-50 to add some FX to the sampled patches on Mixer (1). In the manual of the Boss is mentioned that I can use it as two seperate FX-Processors if I used two AUX-channels of my mixer and splitted up, for example, the Stereo-Reverb into two Mono-Reverbs on input/output-channel left AND right, connected with these AUX-channels of the mixer. Wonderful, I thought, I only have one AUX per mixer but I have two mixers and I wanted to use the D-10 also with FX. So I connected Mixer (1)'s Send/Return with the Left and Mixer (2)'s Send Return with the Right input/output-channel of the Boss. The result wasn't that wonderful at all: Just three FX-programs can be heard on TWO mixers: STEREO PHASER, STEREO DELAY and KEYBOARD-MULTI 2. STEREO-REVERB and other patches (e.g. REVERB + GATE) don't work at all, even when I set parameter "STEREO MIX" on "MONO+MONO" as mentioned in the manual. Where's the problem? What's the difference between two seperate mixers with their own Sends/Returns and one mixer with two AUX-Send/Return-Channels. I don't understand it! Please help me! Not knowing whether these "amateur"-problems belong to that list, please be free to mail directly to baum@mibm.ruf.uni-freiburg.de Thanks in advance!!!!! Christian ========================================================================= Date: Wed, 14 Dec 1994 14:35:18 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Farnell Subject: Re: additive synth hardware In-Reply-To: ; from "Ab Wilson" at Dec 12, 94 9:27 am Hi, Ab >You'd have to write some new system software to do this (68000) but it shouldn't be that difficult, I've wanted to do that myself. The basic Sounds like an very interesting possibility. I guess it depends where the RAM/ROM partition is in the functionality. If I can get the docs and stuff and write a new OS/routines into RAM it could be a quick job, but if it means blowing proms and all that it could take a while. The only big problem I can think of is this: It might be quite possible to get the m/c to 'respond' to real time control but if the only input stream is via MIDI it is quite another matter to then stuff the (potential) 200+ 1 6bit real time controllers down the MIDI link, I know cos i've tried it with a modified K5 :-) Thats why I was really looking for a dedicated card, ie with a direct parallel/bus conex. Anyroads, I will come up to town and take a look, haven't seen you for quite a while, plenty to catch up on. What are you up to over xmas/new year? Are you still @ com.morgan ?, I've had bounces before when I mail you direct. OB-Emus Anyone know much about Kyma/Platypus system and what it can do ? ------------------------------------------------------------------------------ Andy Farnell, Music Technology Research Computing and Cognition Dept. Applied Computing & Electronics # # BOURNEMOUTH Bournemouth University # UNIVERSITY Janet: afarnell@uk.ac.bmth World: afarnell@bournemouth.ac.uk Voice: (0202) 595257 ------------------------------------------------------------------------------ ========================================================================= Date: Wed, 14 Dec 1994 11:00:56 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Two Mixers with one Boss SE-50 >Not knowing whether these "amateur"-problems belong to that list, please be free to mail directly to baum@mibm.ruf.uni-freiburg.de I think you'll get better info on this from the folks on SYNTH-L, rather than here. I'll reroute it over to them. --- Joe M. ========================================================================= Date: Wed, 14 Dec 1994 08:05:24 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe Grossman Subject: Re: 10cc In-Reply-To: <01HKMG7R6LTU0005DZ@VAXF.COLORADO.EDU> >Does anybody know what Kevin Godley and Lol Creme (ex 10cc) have been doing for >the past five years? >Regards >David O'Donoghoe >DODON@OZEMAIL.COM.AU The only thing I know of for sure is that there's a show on Comedy Central called "Limboland" that is produced (or is it directed) by Lol. And the band on that show has someone else named Creme in it, probably his son. Otherwise, I thought Kevin & Lol were mostly into video production. Joe G. ========================================================================= Date: Wed, 14 Dec 1994 10:46:09 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ab Wilson Subject: Re: additive synth hardware In-Reply-To: <94Dec14.094208est.41641@gateway.morgan.com> >The only big problem I can think of is this: It might be quite possible to get the m/c to 'respond' to real time control but if the only input stream is via MIDI it is quite another matter to then stuff the (potential) 200+ 16bit real time controllers down the MIDI link, I know cos i've tried it with a modified K5 :-) What is it you're trying to do? Specifically why do you need realtime control over all the partials? If you want to do resynthesis then the 150 is pretty capable without any modification (much more capable than the K5 for instance). The OS I've got lets you download instrument models over midi with an envelope per partial and no fixed limit to the number of stages per envelope (only 64 partials - though in practise this seems to be plenty. The grand piano model for instance is very realistic). This gives you pretty good control. If you want realtime control above and beyond this then it's probably sensible to be using some sort of abstraction anyway. If I recall your PhD was to do with abstractions for sound desciption anyway wasn't it? >Thats why I was really looking for a dedicated card, ie with a direct parallel/bus conex. It sounds to me like the K150 is already doing a lot of the processing you want to do on the host computer. I think with a little bit of thought you could work out a way to share the processing load between the host computer and the K150 and keep the communication overhead to within the limits of midi. >Anyroads, I will come up to town and take a look, haven't seen you for quite a while, plenty to catch up on. Hmm private mail I think... >Anyone know much about Kyma/Platypus system and what it can do ? I contacted the Kyma people when I heard about this thing and the sent me all the bumf. I'll see if I've still got it. What I remember about it wasn't that impressive for the price. The Mars systems sounds a lot better to me. Ab. ========================================================================= Date: Wed, 14 Dec 1994 16:28:12 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Chris Horvath Subject: home studio hi everyone I guess I'm a sort of an amateur in this field, so please don't be that nervous, if I ask ridiculous questions. I play the bass in a band, and we would like to record our songs much more efficiently, than so far. We are thinking about buying a computer like atari falcon and use a sequencer program like cubase. The problem is that we just don't know what we could do with them and what not. Here is what we do want: make recordings digitally onto hard disk, and edit it. Are things like getting as much as 6 tracks recorded simultaneously possible? Can we use the falcon as a mixer during concerts? These are quite basic questions I know, but could someone working with an atari or mac help me and write what the boundaries of its usage are? So: for what can I use them? Please share your knowledge of it with me, and write to khc1808@ursus.bke.hu Thanks a lot in advance. Best wishes, Chris ========================================================================= Date: Wed, 14 Dec 1994 10:50:50 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Dan Riley Subject: Re: 10cc In-Reply-To: Your message of "Wed, 14 Dec 94 02:31:24 EST." <199412140732.CAA13141@lns598.lns.cornell.edu> On Wed, 14 Dec 1994, DAVID O'DONOGHUE wrote: DDoes anybody know what Kevin Godley and Lol Creme (ex 10cc) have been doing for the past five years? Advertising, among other things. They were responsible for a moderately amusing series of TV spots for the NYNEX yellow pages. The spots were whimsical interpretations of yellow pages categories like "furniture stripping" or "fishing tackle". -- Dan Riley Internet: dsr@lns598.lns.cornell.edu Wilson Lab, Cornell University HEPNET/SPAN: lns598::dsr (44630::dsr) "Distance means nothing/To me." -Kate Bush ========================================================================= Date: Wed, 14 Dec 1994 11:28:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: DCumming Subject: Yamaha QY10 sequencer Hi folks, I am trying to find a book for the QY10 that is more than just the basic instructional text. I need more examples and "how to" information. Is there a list for Yamaha. Does anyone have info on unsing the QY10 with the Creative Labs Soundblaster 16 midi port. I am having a heck of a time trying to get the two to work together. Any help from this extremely knowledgable and philosophical list would be greatly appreciated. DCUMMING@mail.zd.ziff.com ========================================================================= Date: Wed, 14 Dec 1994 12:35:18 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: home studio >Here >is what we do want: make recordings digitally onto hard disk, and edit it.... Chris, I'm going to send this over to SYNTH-L, as I think you'll get better answers there. I will say that digital multitracking on a limited budget may be more cost-effective on an Alesis ADAT or the Tascam equivalent. You could then look at a less-expensive digital editing system which wouldn't require as much disk space (recording appreciable amounts of audio at CD quality quickly gets you into the gigabyte range of storage). I'm sure the synth-l folks will have more concrete recommendations. --- Joe M. ========================================================================= Date: Wed, 14 Dec 1994 12:23:15 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: jamie Subject: ensoniq eps Can anyone give me a pointer to a program for the macintosh that would allow one to read instrument files that have been sampled and saved by an ensoniq sampler? l8r, pet101@ukcc.uky.edu ========================================================================= Date: Wed, 14 Dec 1994 17:33:27 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mary Jane MacHaffie Subject: Re: Kawai PHm Manual Wanted In-Reply-To: <9412131925.AA25759@goliath.sunyocc.edu> from "Michael A. Dalton ADP OPuS" at Dec 13, 94 11:16:58 am >M a n u a l f o r P H m W a n t e d >----------------------------------------- >HI, I am in need of a copy of the manual for the KAWAI PHm Synth Module. If anyone can part fwith a copy /photo copy of one I'll gladly reimburse the expense and mailing. >Or, if someone has the phone number to Kawai, that'll prolly' work too...thanks! I hope this helps Kawai America Corp..310-631-1771 ========================================================================= Date: Wed, 14 Dec 1994 18:48:25 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jose Gabriel J Marcelino Subject: EMU8000 Where can I find command data for the EMU synth found in the Sound Blaster AWE 32 and the one found on the Waveblaster? When I bought my AWE 32, Creative promised it would make programming info on the Advanced WavEffects. Does anyone know if the info has been released and where? If you do have any info on the AWE or Waveblaster, please reply! Thanks! Jose Marcelino ========================================================================== Date: Wed, 14 Dec 1994 13:24:45 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: kenneth lee hankins Subject: FS: Roland D-550 In-Reply-To: I am selling my Roland D-550, the first synth/module with on board effects!! It is in MINT condition with no electronic problems what so ever. I am asking $800+s/h obo. resond personally. thanks ken hankins ========================================================================= Date: Wed, 14 Dec 1994 13:54:00 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: kenneth lee hankins Subject: Yamaha SY series In-Reply-To: I am requestinag all info on this series of synths. I just purchased an SY-99 and am in the process of learning all i can about this immaculate synth. FTP sites, mailing lsit and whatever would be great. thanks, ken hankins ========================================================================= Date: Wed, 14 Dec 1994 19:00:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: FS: Roland D-550 >I am selling ... Oops. Please re-read the administrative mini-FAQ, whic included the "no ads on EMUSIC-L" rule. Thanks. (SYNTH-L was OK, though.) --- Joe M. -- McMahon's Corollary to Crispen's Law: "The eventual K2000 messages will usually be followed by a post about how the Ensoniq machines aren't bad either." ========================================================================= Date: Wed, 14 Dec 1994 22:09:48 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ted Johnson Subject: Re: midi to 4-track If you don't have a midi-in on your deck (mine does, its a tascam 644) then you just need to send the midi signal in on standard audio cables, and devote a track to it on your deck. Your midi interface on your ibm probably has RCA type in/outs on it that you can hook to the four track. If you have a cheap interface without these... I don't know, maybe if you are handy with soldering and that stuff there's a way to rig it. I don't deal with any of the inside stuff. But its been my experience that most IBM midi interfaces do have RCA ins/outs (at least outs.) --macbruin@aol.com ========================================================================= Date: Wed, 14 Dec 1994 22:17:54 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ted Johnson Subject: Re: Transferring MIDI Files Are you sure its not recognizing the disk am IBM? Thats kind of weird... what if you format the disk on your mac as IBM, then put it in the atari, copy the file and put it back on your mac. The most obvious problem, though, is that your mac just isn't recognizing the filetype, since there's not such thing on the Atari. This would make since if you're okay going from mac to atari but not vice versa. I don't know what the filetype is for Cuebase, but you can find out by using ResEdit (I think its shareware) and just looking at an existing cubase file on your mac... Then when you transfer a file from the atari to the mac, make sure you change the filetype to the right one. If your using standard midi files, I think the file type is 'Midi" or something like that. If you don't understand what I'm talking about, let me know and I'll explain more. ========================================================================= Date: Wed, 14 Dec 1994 22:39:17 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ted Johnson Subject: Re: ensoniq eps Proably Alchemy by passport can read ensoniq EPS files.... I would be real surprised if it couldn't.