========================================================================= Date: Tue, 31 Jan 1995 23:03:47 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Diane Y. Hennessy" Subject: Re: Junior High Teacher Strikes Again In-Reply-To: Pam: I hope your 3 days were at MMEA. Did you come past our booth? We supplied all thekeyboards and the organ and concert grand for the concerts for the Convention. I showed a lot of software in our booth - I don't recall talking to you but I talked to a lot of people. If you want to see some of the software and other items, make a trip to Columbia. Call me at 314-445-6111 for further info. Diane =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= = Diane Y. Hennessy = Hennessy Music = = = 1729 W Broadway = = = Columbia,Missouri = = = FAX: 314/446-2138 = =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= = Internet: dhenness@bigcat.missouri.edu = =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= On Tue, 31 Jan 1995, Pam Henry wrote: > Thanks to all of you who responded to my request for help. Sorry for the > delay in writing back. I've been at a convention getting "recharged" > which means I've been away from all people under the age of 18!!!!! It > also means I've been away from this list. > > Yes, I will compile all the great ideas I have been sent and send it out > over the list. > > Yes, I will send a copy of the proposal so you can see what we are up to. > > Yes, I will let you know what we end up purchasing. > > I really appreciate the expert help those of you that responded offered > to us. I learn a little more each time I sit down. > > More later when I get caught up from being away from school for 3 days. > > Pam > > > > > > Pam Henry phenry@services.dese.state.mo.us > Band Director 816-524-4730 > Pleasant Lea Junior High FAX 816-525-4338 > 630 SW Persels > Lee's Summit, MO 64081 > ========================================================================= Date: Wed, 1 Feb 1995 02:18:46 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: ambience cont. Comments: To: emusic-list Thanks for some wonderful responses to the ambience question, especially Schemggi! Differentiation between material and procedure is not as simplified as the assigning of pitch to one and rhythm to the other. Although it is the repetitions which normally have characterized what we call minimalism, it is perhaps a better approach to examine the nature of the repetitions, ie., what exactly is being repeated? is it altered?, etc. One might hope that departures from the monotony of nomenclature may illuminate even the simplest works. I especially like the description of the spatial aspects of Feldman's Piano and String Quartet! What has always struck me about the long pieces is how Feldman explodes traditional boundaries--the frame around the artwork. In addition, I think it is probably a good idea to either drop or further define the labels used to characterize artists with such different compositional aesthetics WITHIN their own lifetimes. Cage is a perfect example. As is Feldman. Maybe many artists conflate the artistic "movements" or vary in the amount of residue they carry with them to the next piece? I'm not sure how "varying levels of importance" lends to minimalism a definitive quality. Isn't this simply hierarchized organization? Simplified aspects of music will, if not the sole aspects in the piece, draw attention to other aspects. I'm having difficulty seeing how this can be an exclusive factor of minimalist aesthetic rather than merely a shift in focus. Even in the broader, more abstract sense, the concept of "importance" in this music is troublesome. Finally, I am intrigued by the idea of "dislocation of sound and environment" as a working definition of ambient music. (displacement?) (given a new context?). And, for everybody, what would sonic landscaping sound like? And interesting and exciting question! Scott McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Tue, 31 Jan 1995 23:29:10 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nathan Doster Subject: Re: music novella check out Mickey Hart's books: Planet Drum and Drumming at the Edge of Magic. Good Luck! Nathan Doster ========================================================================= Date: Wed, 1 Feb 1995 10:09:23 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brian Good Subject: Re: Junior High Teacher Strikes Again In-Reply-To: from "Pam Henry" at Jan 31, 95 09:21:39 am Pam Henry writes: > Thanks to all of you who responded to my request for help. Sorry for the > delay in writing back. A belated suggestion--since you're dealing with band musicians, it might be a good idea to budget some money for a wind controller and sound module, something like the Yamaha WX11-WT11 combination. I'm guessing that not too many of your students are keyboardists, and a wind controller might enable more of them to participate. Email me for followup, if you're interested. Brian Good bgood@sundagger.lerc.nasa.gov ========================================================================= Date: Wed, 1 Feb 1995 11:09:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: ambience? >Geesh, I'm almost sorry that I put out a post with the word 'minimalist' in >it. Is listening to P Glass like driving a taxi in NYC? I attended a >lecture given by him and it too was repetitious with very little actual >information given. His book was quite interesting and informative (_The Music of Philip Glass_ - recommended). Lot of good stuff on what he was trying to achieve. >Minimalism, to me at one time, meant simplifying some aspects of music in >order to draw attention to others. Varying levels of importance. Rythmic >elements just happen to be the ones that are the most immediately >interesting. > Uh-huh. Unfortunately, many have gotten the idea that "minimalist" means "uncreative" or "repetitious", and compose that way, alas. >So what is an 'ambient-o-phile' , someone with bootleg recordings of Eno >taking a bath? Dogs barking in a Balinese village? Chance procedures, >montage, indeterminacy, sound-mapping of coastlines and the movements of >one-celled organisms? > More like folks who enjoy this type of thing and who would like to do it themselves, I think. >The dislocation of sound and enviornment, I beleave, is the strict >interpretation of ambient music, sonic landscaping. > Perhaps an impressed (in the sense of "impression") sonic environment? >I think that the reason that bringing in the likes of the 'abstract >expressionists' (it's so cool to finally have found a name for that bunch) is >that they were concerned, like the painters, with the surface of the medium, > with putting paint on canvas, with what is now tritely called organized >sound. > I think the ambient (in the Eno sense) composer is interested in providing a decorative surface with hidden depths. >This is hard to talk about because in the process of exploring music the >inclusion of ordinairy tonal language was included; It's hard to pin down >the style of some of these composers because of the breadth of their work, >and it may not be applicable to a discussion of ambient music. >I must admit though, that squishy sounds are pretty cool. > >Ya, i'd be like to shift this discussion if it's appropriate to the list, or >to take it elsewhere if it isn't. Solid, well-thought-out comments and very welcome here. I'm a big fan of squishy sounds. :) Ambient music seems to me to be a crossbreeding of several streams of musical thought - we have minimalist influences, in that the materials tend to be limited in scope in one way or another; we have chance music, in that some pieces are based on juxtapositions of materials which go in and out of phase, revealing relationships that may or may not have all been planned by the composer; and we have that extremely intuitive, abstract, and subjective musical element of sound choice. Certainly this totality has a lot of scope for composition, even if the individual elements are limited ones. I haven't experimented with it yet myself, because my current compositional base doesn't lend itself well to the overlapping of materials in anything less than full-measure increments. I personally find phase relationships between materials to be intensely interesting - I'm a big fan of counterpoint, and find these almost randomly-generated relations very interesting and appealing. --- Joe M. -- "Bucket Brigade: tiny microbes (or sometimes tardigrades or rotifers in high-end gear) are taught fire technology & then convinced that the output amp is on fire." - media@pcnet.com ========================================================================= Date: Wed, 1 Feb 1995 09:44:45 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: AI-2 use with ADAT In-Reply-To: from "john rossi" at Jan 31, 95 03:38:08 pm > > I go the K2kS, but i though the digital section of the K2k is only for input > > not output. > > > > I'm not sure what you mean by the phrase before the comma. As for the The phrase before the comma is one of those hasty mispellings. In clear text it reads: I go the K2000S, :) > digital I/O and the K2kS, there is a digital output available on the XLR > 'output' connector. With the connectors wired for SPDIF you get a > SPDIF on an unbalanced connector (e.g., RCA jack). I presume that if you > use a balanced XLR connector you get AES/EBU out of the digital out (I > have never actually tried this). Everything which goes to the main > output pair is also reflected on the digital out (i.e., you can record > the K2k directly to DAT from the digital output). Unfortunately, the > digital output is not directly receiving input from the K2k digital bus. > It apparently redigitizes the analog output from the effects processor > section (i.e., the Digitech chip). However, if you disable the on-board > effects, you have a very clean digital signal at the output jack. One > thing which works well, but is expensive, is to use an AI-2 to convert > from SPDIF to Alesis standard and run that into the digital input of a Q2 > allowing the Q2 to replace the Digitech processor. There is a lot of > inherent power in such a system (although because of the cost of the AI-2 > it isn't really a reasonable option). Eventually, all effects boxes will > have digital inputs and won't be Alesis or Tascam proprietary > implementations. Ok, I'm going to have access to the AI-2 (i thought the AI-2 was the Sync unit and the AI-1 was the AES/EBU&S/PDIF to ADAT convertert). Either way i got access to the digital converter and the BRC, so i seem to be all set. I was going to bypass the Digitech noise generator at any rate and process everything with the Q2 once it's on the ADAT. I wasn't aware that the XLR were Input and Output. I guess i hadn't looked to closely at them yet (no way of utilizing them at home anyway) Thanks, this should be a pristine session, that i can muddy to hell with lack of engineerng expertise at the mastering stage :) >> Does it sound like a ludicrous idea to save up for a single ADAT and a BRC? >> I've been told that the BRC really takes off when you have multiple ADATs, but >> i feel that without a BRC, i'll get only half the usefulness out of an ADAT. >> > > Since I sold my 2nd ADAT, this is the position I am in (i.e., 1 ADAT, 1 > BRC). It is true that the BRC really shines with more than one ADAT > because of all of the relative location synch capabilities it adds. With > one ADAT, all you really gain is a ton of autolocate stops and the > incredible synching ability of the BRC. If I read you correctly, it > would appear that the synching is what you are really interested in. I > think that the JLCooper box which is available for about 1/3 the cost of > a BRC is all you really need. If you are working from sequencers, the > synch is more important than any number of autolocate positions. After > all that that's the whole point on MIDI position pointers. Ok, i'll take a look at the JLCooper box, since what i really want is to make the ADAT a seemless part of my virtual/MIDI tracks. This is getting cheaper by the minute! It'll still take a while to save up to, tho. -- Arne F. Claassen On the Web: ----------------------------------------------------------------------------- "The usual issues of societally-induced female technophobia are always raised [in discussions about the lack of female emusicians], but I have to admit that the possibility of trapping to extinction never came up" (mike metlay) ========================================================================= Date: Wed, 1 Feb 1995 08:48:19 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Clingman Subject: Synching with a BRC... In-Reply-To: from "john rossi" at Jan 30, 95 11:07:41 pm John Rossi wrote: > > Ok, now you will get to see what I am talking about with the capabilities > of the BRC. That box will synch almost anything to almost anything. > First of all, you don't need SMPTE, you can do this all with MIDI song > pointers and MIDI time code. The BRC will take care of it. It is really > quite simple but you might want to get somebody to photocopy the synching > chaptters from the BRC manual. The biggest qurestion is whether or not > your sequencer will slave to MTC from the BRC. If you let the BRC > control the whole system you really can't fail. > I am looking at the possibility of going with adat. My system currently has an Opcode Studio 4 and I'm using Vision on a Macintosh. I use the MIDI interface of the Studio 4 for a Roland U-20 and a Alesis D-4 and Octapad. And I have a Fostex 8-channel open-reel deck sync'd via the Studio 4. I am wondering, how sync would be handled if I go to a BRC and an adat or two? Right now I stripe SMPTE from the Studio 4 onto my Fostex 8-channel open-reel deck. When it plays back, SMPTE is converted to MTC by the Studio 4 for Vision to use. Anyone know how this would change with a BRC? -- ____________________________________________________________________________ Richard Clingman - Sr.Training Developer ADP Dealer Services; Portland, Oregon (503) 294-4200 ext. 2419 email: richard@plaza.ds.adp.com OR cling@teleport.com WorldWideWeb URL: http://www.teleport.com/~cling/ ____________________________________________________________________________ ========================================================================= Date: Wed, 1 Feb 1995 09:00:54 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: music novella In-Reply-To: <199501311804.AA08937@a102.ucs.usl.edu> from "Puckett Catherine E" at Jan 31, 95 12:04:11 pm Puckett Catherine E writes-- > >. In these essays I want to >include musings on many different aspects of music--from the absurb (didn't >someone on this list write about chickens keeling over after listening to music >being played at a certain frequency?) 7 Hz vibrations cause chickens' skulls to resonate and pulps their brains, according to a lovely bit of writing that has circulated on the Net for years. The original source claims a reproducible and documented demonstration of this effect, but the actual news article has never been uploaded or verified. I am not overeager to dismiss it without positive proof to the contrary, since.... >So, I am looking for any information on how music affects humans and other >animals (including psychological and physiological effects (mood, sexuality, >heartbeat, intelligence, etc. ...there exist several documented examples of direct physical effects of music on animals that I *do* trust, some of them first-hand. I have done research into the stimulation of sexual response by music (and have written on the Net about it in the past), and another list member has developed a sound wave that can induce audiogenic seizure activity of unprecedented magnitude in supposedly seizure-immune lab animals. (I won't say more about this without his permission, since at last writing he was, I believe, trying to get a paper out about it.:) This is largely terra incognita, however, and I'm afraid that your thesis may ultimately be that we do not know far more than we do. >I am, of course, also interested in any personal theories or speculations about >such matters. Also, if you know of any books, articles, etc. that might be >of use, I'd appreciate that info. as well. Feel free to email me at the address below for more background. Good luck and good writing, mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Although the Moodies achieved a level of pomposity that can only come from real talent, their old stuff is like a movie soundtrack for some epic love story that went over budget before it could be finished." (m. lehecka) ========================================================================= Date: Wed, 1 Feb 1995 14:49:28 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: ambience cont. >And, for everybody, what would sonic landscaping >sound like? An interesting and exciting question! > Certainly one which immediately springs to mind for me is Baladamenti's work for "Twin Peaks" and "Fire Walk With Me". Both use very sparse, almost static music, in one particular case limited to two chords and a specific timbre, to establish a mood and reinforce visuals. Pine tree branches blowing in the wind, a stoplight in the dusk, a ceiling fan slowly rotating - all of these are, for me, permanently associated with the dark vistas of the "landscape" evoked by this music. For those who have not seen any of "Twin Peaks", I recommend it if only to study the brilliance with which the soundtrack is handled. Subtle, haunting, affecting and effective. --- Joe M. -- "Bucket Brigade: tiny microbes (or sometimes tardigrades or rotifers in high-end gear) are taught fire technology & then convinced that the output amp is on fire." - media@pcnet.com ========================================================================= Date: Wed, 1 Feb 1995 16:50:16 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Curtis Saal Subject: Sample Vision MIDI problrms Hello. I have been using sample vision by Turtle Beach software, but I have bee n getting an error message at the beginning labeled Error Code #1. I believe it is just because I have no synth hooked up to my computer. Is that correct? Al so, whats with the patcher value thing, not the MIDI channel, the other thing, w hat is it for? Thanks.... I will be using a YAMAHA SY-85. ========================================================================= Date: Wed, 1 Feb 1995 16:39:31 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: Synching with a BRC... In-Reply-To: <9502011648.AA20856@outland> from "Richard Clingman" at Feb 1, 95 08:48:19 am > Right now I stripe SMPTE from the Studio 4 onto my Fostex > 8-channel open-reel deck. When it plays back, SMPTE is > converted to MTC by the Studio 4 for Vision to use. > > Anyone know how this would change with a BRC? What i've gathered from John and reading up on the BRC, you just plug in MIDI to the BRC and forget about SMPTE. The BRC will sync the ADAT to the MTC from Vision, or slave Vision to the ADAT tracks. No more wasting of a track for timecode, no more SMPTE tracks crapping out. -- Arne F. Claassen On the Web: ----------------------------------------------------------------------------- "The usual issues of societally-induced female technophobia are always raised [in discussions about the lack of female emusicians], but I have to admit that the possibility of trapping to extinction never came up" (mike metlay) ========================================================================= Date: Wed, 1 Feb 1995 16:32:19 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tom Pellicer Subject: ER-7 with an ADAT Comments: To: EMUSIC-L@american.edu I've been borrowing a friends ADAT to record some of my demos. I elected to record a sync on track eight just in case he needed it back before I finished, at which point I could blow the whole thing over to my analog Tascam and retain my syncing of the virtual tracks. The sync box is a cheapo MidiMan fsk smart sync. My problem: On three different tunes I get a rash of "ER 7's" on the ADAT display, and simultaneously lose output on all tracks. These errors always happen right at the beginning of a song - where the sync track begins. These errors were not always there, but appeared after maybe six or seven passes of recording. I've religiously disengaged the head, and followed all the recommendations when receiving erroneous errors (rewind tape, eject tape, power unit off...). No help. Does anyone know what an "ER 7" is, how I can fix it, and how I can avoid it. I admit: I AM NOT USING SVHS. It's a Sony V series. Is this my problem? Tj tom elli@xstor.com ========================================================================= Date: Thu, 2 Feb 1995 02:32:07 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter Teunissen Subject: 4 part web Hello there, Being not really so much into computer 'n stuff I got the following problem with the realization of a piece I'm working on: I've written a 4 part vocal piece which is to be performed both live as on tape, or perhaps, if one of you guys ;-) could give me some good advices, via MIDI. Three parts should be played by tape or MIDI and one is to be performed live. The sound should be amplified through a sound system of which the sound-boxes (I'm not sure this is the correct word, but I mean those things where the sound comes through) are surrounding the audience. That's the easy part of it. But I'd like to send all the parts criss-cross through different sound-boxes, so you get a sort of web woven by the different parts. So my question is: Is it possible to play 4 parts at random through different boxes, like switching every note to a different box. And how can I realize it. I have a sequencing program called Notator Logic 2.0, does anyone know if that could be useful? Miranda ========================================================================= Date: Wed, 1 Feb 1995 19:15:04 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Shawn T. Rutledge" Subject: Re: 4 part web In-Reply-To: <9502020234.AA15349@indy.knoware.nl> from "Peter Teunissen" at Feb 2, 95 02:32:07 am > > Hello there, > > Being not really so much into computer 'n stuff I got the following problem > with the realization of a piece I'm working on: > I've written a 4 part vocal piece which is to be performed both live as on > tape, or perhaps, if one of you guys ;-) could give me some good advices, > via MIDI. Three parts should be played by tape or MIDI and one is to be > performed live. The sound should be amplified through a sound system of > which the sound-boxes (I'm not sure this is the correct word, but I mean > those things where the sound comes through) are surrounding the audience. Uhhh,.... ever heard the word "speaker" before? > That's the easy part of it. But I'd like to send all the parts criss-cross > through different sound-boxes, so you get a sort of web woven by the > different parts. > So my question is: Is it possible to play 4 parts at random through > different boxes, like switching every note to a different box. And how can > I realize it. I have a sequencing program called Notator Logic 2.0, does > anyone know if that could be useful? Sounds neat. Well, you will need several synthesizer modules, since each one typically can only handle two channels. I didn't get whether you meant that the whole thing is vocal, or you're saying that 3 parts are instrumental while the other is live and vocal. If the whole thing is vocal MIDI is irrelevant because it doesn't transfer sounds, only commands to hit keys on various keyboards (to grossly simplify things). You might as well get a multitrack tape deck, and a big mixer. Use a separate channel on the tape for each "soundbox" if you want to call them that. You can set up your studio, or perferably the gig site itself, with the layout you are going to want, and then use the mixer to pan things across the room, two channels at a time, catching it all on tape. The source for that which is to be panned would be your guys singing in a room off to the side, where they won't interfere with your listening; you simply feed the mikes into the mixer, and the outputs of the mixer into the amplifiers and speakers around the room, and simultaneously into the appropriate channels on the tape deck. If you are using synthesized instruments though, rather than voices, then MIDI would work just fine, but each pair of speakers needs to have its sounds generated by a separate synthesizer module, so that you can control each speaker's level and in fact feed each pair a different patch; otherwise you'd be stuck using one instrument for all the speakers and doing more mixer tricks. Any sequencing program worth its salt ought to be able to handle all the synth modules you're going to want for a project like that. Other than that I don't know anything about youre particular program... You see, MIDI data belongs to a particular channel, and you can send lots of channels simultaneously over the same wire. The synth modules would be daisy-chained, so that they all get the same data from the computer, but they are told to only play notes sent on one or more particular channels. So if you want to strike middle C and have it come out 70% from a speaker on one side of the room and 30% out of the correspondign speaker on the other side, and those speakers are both hooked up to a synth module programmed to respnd to messages on channel 5, you simply set the pan position for channel 5 so as to put 70% on one side, and send a "middle C note on" command on channel 5. As the note is playing, you can continue to adjust the pan position to make it appear that that particular sound is moving across the room, between that particular pair of speakers. Get the idea? -- _______ KB7PWD - now on packet! shawn.rutledge@asu.edu (_ | |_) html: http://enuxsa.eas.asu.edu/~rutledge/home.html __) | | \__________________________________________________________________ * robotics * C++ * Khoros * the hacker ethic * cyberspace * IEEE * RISC * ========================================================================= Date: Thu, 2 Feb 1995 17:38:09 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Women in emusic: last word (For now) As the initiator of this thread (via Joe) I'd just like to thank those who contributed. There was never any intention to attack anyone or any group. I've been away for a few days, otherwise I'd have jumped in earlier to try and stop this when it veered too far from my original intent. Joe, gentleman that he is, refrained from passing the buck back to me, but this is where it stops. Now, about priests in emusic.... Regards Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Thu, 2 Feb 1995 02:44:13 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Epilog@AOL.COM Subject: Move(d) to Seattle Comments: To: Phea@aol.com, DarrenV808@aol.com, PFSOMEGA@aol.com, xeon@silcom.com, EMUSIC-L@american.edu (This is to multiple friends) Hi All! As you may or may not know, my company (Wilson Engraving Co., Inc.) has taken it upon themselves to move my butt (and my roomie Christine) to Seattle, Washington. Please take note of my new phone number(s) and address. The move was slightly traumatic, and I am still not quite hitting the zero mark for relaxation. Chris and I live on the northern edge of Seattle (15 minutes from Downtown) in a nice apartment overlooking a scenic river thoroughfare (read industrial site). Work is going to be keeping me pretty busy (U N D E R S T A T E M E N T), and I may or may not be able to keep track of all the things on my mind as a result. Some things about the move suck! I can't play in SouthBySouthWest (Farg!), I had to leave a wonderful city and a fantastic woman behind (F*F*F*F*F*F*F*!!!)... I won't even get into that. Here's contact info, please write or call soon. Damon Law & Christine Born 3821 14th Avenue West #308 Seattle, Washington 98119 (206) 282.5975 (206) 918.4014 {Damon's Pager & Voice Mail} (206) 918.4011 {Christine"s Pager & Voice Mail} Thanks! I'll correspond soon enough. ========================================================================= Date: Thu, 2 Feb 1995 23:13:10 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: ER-7 with an ADAT Hi Tom, according to Mix, Nov issue article " Maintaining and Troubleshooting the Alesis ADAT, Fostex RD-8 and Tascam DA-88" (pp.158-170), Er 7 is Excessive error correction during playback. Usually preceded by a lighting of the Advanced Information Indicator. May indicate a poor- quality or defective tape (dropouts) or dirty tape heads. So there you have it. Use SVHS tape. Or, if you're flush, Ampex 289 or 489, which is supposedly designed for ADATS. BTW, here in Australia, some of us have been a bit confused by the T120 and T160tape lengths. This is obviously 2 hours and almost 3 hours for NTSC. For PAL tapes these would be 3 hr and 4 hr respectively. Is it true that NTSC runs tapes that much faster on domestic videos? Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Thu, 2 Feb 1995 11:32:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: 4 part web >I've written a 4 part vocal piece which is to be performed both live as on >tape, or perhaps, if one of you guys ;-) could give me some good advices, >via MIDI. We'll try. :) >Three parts should be played by tape or MIDI and one is to be >performed live. The sound should be amplified through a sound system of >which the sound-boxes (I'm not sure this is the correct word, but I mean >those things where the sound comes through) are surrounding the audience. >That's the easy part of it. Okay. You will need four separate audio channels for this; probably the simplest thing will be to use two separate stereo amplifiers, each controlling two speakers (I know that's what you meant). >But I'd like to send all the parts criss-cross >through different sound-boxes, so you get a sort of web woven by the >different parts. >So my question is: Is it possible to play 4 parts at random through >different boxes, like switching every note to a different box. And how can >I realize it. I have a sequencing program called Notator Logic 2.0, does >anyone know if that could be useful? Okay. This is where it gets a bit tricky. Do you want the parts to leap from speaker to speaker (i.e., a note or two front left, followed by a jump to back right, then front right, etc. - easier), or do you want them to move slowly from speaker to speaker (sounds sweep from front left back through the center, then slide to the center back and then over to the right back - harder)? Let me talk about the "leaping" version first, because most of what I'll have to say about it will apply to the "drifting" version as well. The "leaping" version will require two things: you will need either a single sound module or keyboard with two sets of stereo outputs (front and back left, front and back right), or two with one pair of outputs, or four with mono outputs. Let's say for the sake of argument that you're using a single box with four outputs: the main left and right outputs will go to the front speakers (via the stereo amplifier) and the secondary (usually labelled 'aux', for auxillary) outputs will go to the back ones (via the second amplifier). Now, we have a way to produce sounds at the different locations. We just have to get them where we want them. I would approach it this way: Asumming the channel layouts are all set up as above, I'd create 3 different patches (one for each of the sequenced parts) with four different output configurations - one routing sound to the left main, one to the right main, one to left aux, one to right aux. This gives you one patch for each of the 3 recorded voices times 4 speakers = 12 different patches. Each patch will now let you locate a specific sound in a specific speaker. You can now go either of two ways. If you're more comfortable with the sequencer than you are with scoring, record the tracks and make four copies of each one. Assign each of the 12 voices so that each melodic line gets four tracks, with each of those four assigned to a different output routing. You will have to use a separate MIDI channel for each one. If played back all together, all three parts would appear to be located in the center of the audience. Now comes the labor-intensive part of this method. You will have to go through each of the parts and erase selected portions of each track to confine the sounds to a separate speaker. Say the first note in the first part should be located in the front left speaker: you'd erase it from the duplicate first part tracks which were routed to both the aux outputs and the right main output. You're going to have to do this for every note. It'll be a lot of tedious work. Alternatively, if you'd rather score parts and play them rather than mess with the computer, write out the three sequenced parts as 12 parts (i.e., voice 1 left front, voice 1 right front, voice 1 left back, voice 1 right back, voice 2 left front, etc.), and score the notes in the voices so that they are routed to the proper locations before playing any parts at all. This will cut down on time spent poking at the computer, but will take longer to write. This might be simpler for you if you haven't done heaps and scads of sequencing. I HIGHLY recommend that you get Wendy Carlos' "Secrets of Synthesis" CD and listen carefully to the tracks which talk about "hocketing" - on this CD, it's a stereo version of the four-speaker thing you're wanting to do. She plays the whole thing, and then disassembles it into the individual parts so that you can observe how it is constructed. Very, very instructive. You actually have *nine* different places where you can place sounds this way. If the part is played solo in each speaker, you get it located in that speaker. If you play it in *two* speakers, it appears midway between them (assuming you've set up carefully so that the speakers all reproduce the sounds at the same loudness). So you can place sounds at center front, center back, center left, and center right by routing the sound to pairs of speakers. I wouldn't recommend sending the same sound to trios of speakers; I think the location of the sound would be rather vague, which I gather is not at all what you want. That's eight positions. Finally, the live voice, and the ninth position. Here you have a tougher problem, because if you want it to move around, you're going to have to change the mix live. I have a bad feeling about this - it's likely to be quite difficult. I'd recommend that you mix it equally loud on all four speakers, which will place it dead center in the ninth position. You might want to try moving it around manually, live, but I'd tend to put it in the center and leave it there as an "anchor" for the rest of the music. What are you going to need to do this? A minimum of a multitimbral sound module or keyboard with two sets of outputs, or two separate boxes with one pair of outs. You will need four speakers (of course) and two stereo amps to drive them. Now, the fun part - getting the sounds from the modules integrated with the live voice. I am NOT an expert on live setups; I hope that another member of the list can give you better advice than I can. My guess is that you will need two mixers to feed the amps, with the live voice fed into one and routed to the other, split into four equally-loud copies. (Help me out here, folks!) Perhaps, if you have one, you might want to sequence the three voices and record them onto a four-channel tape deck. You could then simply output the four channels to the two amplifiers directly, although you'll still have to come up with a way to mix in the live voice. You have the advantage this way that you don't have to take a computer and sequencers to your performance location. Less technology = fewer problems when playing live. A final comment - the "moving" version, in which the sounds drift from location to location, can be done in a similar way; the difference is that you have to fade the voices in and out, rather than erasing them to change the location. I imagine that your sequencer would allow you to do this, using either the "volume" MIDI controller or velocity, if your patches are set up to respond to that, but you're still going to have to work out the volume changes and enter them by hand into the sequencer. Hard work; harder than the "leaping" version. A composerly comment at this point - you might want to start out using just the front pair of speakers at the beginning, and then pull in the seccond pair at a Dramatically Appropriate Moment. :) The surprise could be useful. Whichever way you choose, it's going to be hard work, but it should be an impressive piece when it's finished. Good luck, and let us know how it works out! --- Joe M. -- "Bucket Brigade: tiny microbes (or sometimes tardigrades or rotifers in high-end gear) are taught fire technology & then convinced that the output amp is on fire." - media@pcnet.com ========================================================================= Date: Thu, 2 Feb 1995 08:49:06 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Janet M. Dunbar" Subject: CCRMA Concert Comments: To: users@ccrma.Stanford.EDU, jody@leland.stanford.edu, et.mgm@forsythe.Stanford.EDU, barth@leland.stanford.edu, kberger@leland.stanford.edu, hf.jbz@forsythe.Stanford.EDU, alcohen@leland.stanford.edu, hf.mvd@forsythe.Stanford.EDU, hf.smg@forsythe.Stanford.EDU, hf.bmg@forsythe.Stanford.EDU, tsgrey@leland.stanford.edu, cisco@leland.stanford.edu, stephenh@leland.stanford.edu, shinton@leland.stanford.edu, mhui@leland.stanford.edu, mjohnson@leland.stanford.edu, hf.kak@forsythe.Stanford.EDU, mahrt@leland.stanford.edu, et.jap@forsythe.Stanford.EDU, sano@leland.stanford.edu, cn.bes@forsythe.Stanford.EDU, sheridan.schroeter@forsythe.Stanford.EDU, et.ads@forsythe.Stanford.EDU, cn.mmt@forsythe.Stanford.EDU, tenor@leland.stanford.edu, weldy@leland.stanford.edu, adams@interval.com, alex@korgrd.com, siyer@netcom.com, timis@opcode.com, rob@opcode.com, Eichenberg_Tom.EVE@macmail1.nb.rockwell.com, kato@lab4.yamaha.co.jp, USERS@CNMAT.berkeley.edu, musjkm@samba.ucsb.edu, craig@well.sf.ca.us, amirk@well.com, dgl@netcom.com, fish@musclefish.com, timis@opcode.com, robert@rockmore.com, rww@sgi.com, studer@applelink.app.com, muscom@mills.edu, tildy@ella.mills.edu, dej@cats.ucsc.edu, mab@dolby.com, STRANGE@SJSUVM1.sjsu.edu, furman@SJSUVM1.sjsu.edu, wendt@SJSUVM1.sjsu.edu, michael@mcnabb.com, david@jaffe.com, kathy@jaffe.com, cstone@netcom.com, raf@mercury.sfsu.edu, econcert@charles.ucdavis.edu, timper@holonet.net, js%timbre.uucp@nbn.com, scotgl@csuhayward.edu, emusic-l@AMERICAN.EDU, edens@interval.com CCRMA CONCERT FOR INFORMATION CONTACT: Music Dept. (415) 723-3811 PREVIOUSLY UNDISCLOSED CONCERT HIGHLIGHTS Mills College composer Will Grant's Hommage a Xenakis which culminates in rising "stochastic" masses achieved through a graphical vision of the desired clouds of sound. CCRMA's own Bill Schottstaedt demonstrating a most original use of the FM violin, applying simultaneous changes to modulation ratios, in a piece aptly entitled Busted Pipes. STANFORD MIXES COMPUTER MUSIC AND LIVE PERFORMANCE CCRMA, Stanford's computer music center, will present its winter concert at 8 p.m. Saturday, Feb. 4, in Dinkelspiel Auditorium on the Stanford campus. Using the large concert hall as a venue enables the CCRMA artists to incorporate more live performance into their concert this quarter. The program will include: live improvisation by alt.music.out--a "free jazz" group with Lukas Ligeti on drums and Nick Porcaro on piano; live improvisation with tapes by Marco Trevisani (piano) and guest artist Davide Rochesso (guitar); a piece for guitar and computers written and performed by Cem Duruoz; the premiere of Celso Aguiar's new work for tape; and Nicky Hind's minimalist tape piece Rain. Nick Porcaro is also one of the authors of SynthBuilder, a graphical synthesizer-patch editor running on the NeXT computer. The program implements the latest in synthesis--the Digital Waveguide--and will be used in the concert for live processing of the improvisations on stage. Directed by John Chowning, Stanford's Doreen B. Townsend Center for Computer Research in Music and Acoustics (CCRMA) is one of the major centers for computer music in the world. It provides an interdisciplinary environment where composers and researchers can work together using digital technology as a new musical medium. Tickets, $7 general admission and $4 students, are available at Tresidder Ticket Office, (415) 723-4317, or at the door. For information, call the Stanford Music Department at (415) 723- 3811. ========================================================================= Date: Thu, 2 Feb 1995 11:04:32 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bob Crispen Subject: Re: ambience cont. Joe McMahon sez: >Certainly one which immediately springs to mind for me is Baladamenti's >work for "Twin Peaks" and "Fire Walk With Me". Both use very sparse, almost >static music, in one particular case limited to two chords and a specific >timbre, to establish a mood and reinforce visuals. [snip] >For those who have not seen any of "Twin Peaks", I recommend it if only to >study the brilliance with which the soundtrack is handled. Subtle, >haunting, affecting and effective. And what kind of instruments did he use for those gorgeous string sounds? Unless my memory fails me, a live appearance by Julee Cruise doing some Badalamenti tunes featured *two* DX7s, plus one or two real fiddles. Of course the DX7s could have been used as controllers for some sample-playback machines. Anybody know for sure? +-------------------------------+--------------------------------------+ | Rev. Bob "Bob" Crispen | Music should not be held responsible | | crispen@foxy.hv.boeing.com | for the people who listen to it. | +-------------------------------+--------------------------------------+ ========================================================================= Date: Thu, 2 Feb 1995 17:23:25 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Hazel Subject: Re: Women in emusic: last word (For now) >Now, about priests in emusic.... You should be ashamed of yourself my son, We will pray for you.. (from a Preist with a Emulator instead of an Organ or a Choir) NOT ========================================================================= Date: Thu, 2 Feb 1995 13:53:07 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Amalgam@AOL.COM Subject: Re: music novella I've read Drumming at the Edge of Magic. And though I'm primarily a guitarist, I found this book to be extremely enjoyable. I have a new appreciation for those who pound the skins. I second that notion to read this book. Bis dann! Jody Whitesides / "Its what's played between the notes that is golden" / Amalgam@aol.com ========================================================================= Date: Thu, 2 Feb 1995 18:12:42 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: ambience cont. >>For those who have not seen any of "Twin Peaks", I recommend it if only to >>study the brilliance with which the soundtrack is handled. Subtle, >>haunting, affecting and effective. > >And what kind of instruments did he use for those gorgeous string >sounds? The Prophet T8, cat-squasher extraordinare. I want one badly. --- Joe M. -- "Bucket Brigade: tiny microbes (or sometimes tardigrades or rotifers in high-end gear) are taught fire technology & then convinced that the output amp is on fire." - media@pcnet.com ========================================================================= Date: Thu, 2 Feb 1995 16:29:44 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Busch Subject: Physical Modelling Can anyone point me to a net location that has info on physical modeling of musical instruments? I recently purchased a Yamaha VL-1 and would like delve more into the theory of modeling. Thanks. ========================================================================= Date: Thu, 2 Feb 1995 17:25:56 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List Comments: A VAX cluster with VMS V5.5-2, PMDF V4.2-10, JNET V3.6 & MU V3.2 From: SHSJL@UMASSD.EDU Organization: University of Massachusetts Dartmouth, North Dartmouth, MA, USA Subject: Re: 4 part web I agree with others that, though your terminology isn't the most precise in the world, the message is still confusing. How can I help? Suggestion: I have used ARC effects processors (any will do) to strobe pan stuff from right to left and vice versa. My particular effects unit is MIDI equipped so you can use MIDI clock signals to chnage the pannings from right to left. Apparently, you will be creating a very unique effect. Good luck. One more thing...the word is speaker... ce n'est pas "sound-box". Jay L. Need a Band? shsjl@umassd.edu ========================================================================= Date: Fri, 3 Feb 1995 11:26:11 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: clive@PELICAN.DBE.CSIRO.AU Subject: Re: 4 part web Miranda wrote-- > >Being not really so much into computer 'n stuff I got the following problem >with the realization of a piece I'm working on: [snip] >So my question is: Is it possible to play 4 parts at random through >different boxes, like switching every note to a different box. And how can >I realize it. I have a sequencing program called Notator Logic 2.0, does >anyone know if that could be useful? > Hi Miranda You're going to have a lot of fun with this, I can tell. My only real advice would be to ask yourself if you really need to go to MIDI for the effects you want to create. If it's essential or if you want to expand your knowledge in this area (especially if you have access to equipment and expertise) then do it: the results can be amazing. But it will take a lot of time and effort (trust me: as a novice myself, I know of what I speak). Especially if you want to incorporate vocals into the MIDI-d bits (it was 4-part vocal, right?). As Joe mentioned, a simpler method would be a 4-track recorder. And if you can record the 3 parts (including any vocal sections) *live* (ie using the synth more as a piano keyboard than a computer-controlled module) you'd only need one synth (assuming it could make all the noises you wanted). So in the simplest case you'd need a synth, 4-track recorder, microphone, mixer (or it may be possible to use the 4-track's mixer depending on your needs), two stereo amps and 4 speakers. Random switching can be done a number of ways, from electro-mechanical switching of relays between the amp and speaker (as long as it isn't a valve amp) through to clever software routines running in your MIDI controllers. Or what about an earplugged, blindfolded sound engineer? In essence, my advice would be to use the simplest system that meets your needs. Multiply that by 10 for live gigs. And any practical experience you can get in a theatre/studio/whatever is worth its weight in rubies (or dBs, at any rate). Good luck Clive Clive McFarland CSIRO Australia clive@pelican.dbe.csiro.au ========================================================================= Date: Thu, 2 Feb 1995 17:00:49 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tom Pellicer Subject: Tascam M312 mixer help Comments: To: EMUSIC-L@AMERICAN.EDU I need some help from a fellow Tascam M3xx owner or other wordly guru. Mine's the M312 (12x4x2 w/ additional 8 chnl tape rtrn mixer). My questions are: 1. I'm trying to group a few channels to one of the four bus faders, and then have that one fader control their relative level in the stereo mix. Problem is I can't get the output of any of the 4 busses to appear in the stereo mix. Where's the switch? Don't laugh. 2. I'm trying to spread some effects across my mixer. It seems odd to me that I have four aux sends plus an effects send, but only two returns. (Am I missing something?) How can I get around this without dedicating a channel as a return for an effect? Can I use a channel from the small 8 chnl mixer above the 4 busses as a return (and can I get it to the stereo mix)? Can I put two aux sends into 1 return without getting myself into trouble (ie, distortion or smoke)? 3. What do people generally use that little 8 chnl mixer section for? I can't see using it for tape returns since there really is no flexibility for mixing (eq, mute, inserts). There also doesn't appear to be a way to sum those 8 channels down to 1 or 2 outputs. Tj tompelli@xstor.com ========================================================================= Date: Fri, 3 Feb 1995 00:24:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: RonG225zt@AOL.COM Subject: Upgrading our MIDI Lab I teach midi at Pierce College in Tacoma, WA. We have a 20 station midi lab stocked with digital pianos, Kawai K-4r sound modules and Mac Classics. By a stroke of luck we have the ability to replace 16 of our Classics with new computers. I've looked around at (I think all, it's so hard to keep on top of them these days...) the current Mac models and was wondering if anybody had some suggestions or knew of any to stay away from. We need computers with CD ROM drives, monitors, and 4megs of RAM. We don't really need too much disk space, and all of our current software is '040 compatible. We need the price to stay under $1,500 each though. We liked the Quadra 605, but they don't come with a CD ROM drive. We were also hoping for something that could someday be upgraded to Power PC (are there any Power Mac's that list for around $1,500 w/ monitor?). I wasn't able to see those LC's that are only sold to the schools and I really don't know about Performas and midi, so any thoughts on those would be greatly appreciated. Thanks in advance. Ron Geier Pierce College rong225zt@aol.com rgeier@tribnet.com ========================================================================= Date: Fri, 3 Feb 1995 09:01:14 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NEC_CEELY@FLO.ORG Subject: Re: SEAMUS goes On-Line Comments: To: EMUSIC-L@AMERICAN.EDU reply FREE OPERA PREMIER at The New England Conservatory of Music FEBRUARY 21, TUESDAY at 8 P.M. in JORDAN HALL. 12 piece orchestra, five piece on stage jazz band, 8 channel digital sound eminating from SYNCLAVIER plus SYNCLAVIER contriolled 128 MIDI channels. Six singers. SEE you! RPC ========================================================================= Date: Fri, 3 Feb 1995 09:22:42 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Brad Comstock Subject: Additional sounds I have an Ensoniq Soundscape wavetable sound card for my computer which I use for midi. Is it possible to import more sounds for it, and if so, where do I find these sounds? Brad Comstock Dallas Baptist Univ. bradc@dbu.edu ========================================================================= Date: Fri, 3 Feb 1995 09:17:43 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: ambience cont. In-Reply-To: <9502021704.AA04363@eight-ball.hv.boeing.com.hv.boeing.com> from "Bob Crispen" at Feb 2, 95 11:04:32 am Bob Crispen writes-- > >Joe McMahon sez: > >>Certainly one which immediately springs to mind for me is Baladamenti's >>work for "Twin Peaks" and "Fire Walk With Me". Both use very sparse, almost >>static music, in one particular case limited to two chords and a specific >>timbre, to establish a mood and reinforce visuals. >[snip] >>For those who have not seen any of "Twin Peaks", I recommend it if only to >>study the brilliance with which the soundtrack is handled. Subtle, >>haunting, affecting and effective. > >And what kind of instruments did he use for those gorgeous string >sounds? Unless my memory fails me, a live appearance by Julee Cruise >doing some Badalamenti tunes featured *two* DX7s, plus one or two >real fiddles. Of course the DX7s could have been used as controllers >for some sample-playback machines. Anybody know for sure? Yes! Kinny Landrum, Angelo's and Julee's keyboardist for the albums, uses a Sequential Circuits Prophet T8. Lush sound and a lot of room to stack piles of donuts, as seen in his KEYBAORD article photo some time ago. catsquash catsquash uber alles, mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Although the Moodies achieved a level of pomposity that can only come from real talent, their old stuff is like a movie soundtrack for some epic love story that went over budget before it could be finished." (m. lehecka) ========================================================================= Date: Fri, 3 Feb 1995 10:54:01 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tom Pellicer Subject: 4 part web Comments: To: EMUSIC-L@american.edu >Hello there, > >Being not really so much into computer 'n stuff I got the following problem >with the realization of a piece I'm working on: >I've written a 4 part vocal piece which is to be performed both live as on >tape, or perhaps, if one of you guys ;-) could give me some good advices, >via MIDI. I would probably approach this through the use of a sequencer and a midi mixer, such as a Yamaha ProMix. I don't own one of these mixers but I would think you could use the stereo output for the first two speakers and the aux outs for the second pair. You would then put your sequencer in record, and alternately assign the four (vocal) inputs to the desired stereo and aux pairs, as well as execute pans between these assignments. Once captured in the sequencer, the mixer will faithfully reproduce this seemingly random speaker assignment for each of you vocal channels. If you are not so much into computers and midi, consider just getting a standard mixer and having 1 or 2 persons sit behind it during a performance making the assignments. This would fulfill the random requirement. It sounds like it could be difficult, but you could pre-setup 4 busses with dedicated speaker assignment (speaker pair + pan). It would then just be a matter of hitting a bus assign switch per input (4 vocals in your case) to get the web effect. This would require some serious rehersal, but, properley scripted, it wouldn't be *that* difficult. Your idea is very intriguing. I encourage you to pursue it and post your progress. ========================================================================= Date: Fri, 3 Feb 1995 16:43:34 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: Additional sounds > I have an Ensoniq Soundscape wavetable sound card for my computer which I >use for midi. Is it possible to import more sounds for it, and if so, where >do I find these sounds? > I'll route this over to SYNTH-L, where you're more likely to get an good answer. --- Joe M. -- "You know you've been using the Web way too much when you access your hotlist and the lights dim." - yuji@chem.duke.edu ========================================================================= Date: Fri, 3 Feb 1995 20:06:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ryan Pulley Subject: Re: Physical Modelling You might want to try the music,and audio sciences Prof. @ the University Of Arizona. Not for sure though. :) HaloNine@aol.com g/l!:) ========================================================================= Date: Sat, 4 Feb 1995 12:07:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Michael L. Spector" Subject: Portable Midi? Could anyone give me info about multimedia notebooks and PCMCIA cards? Are any of them good for midi music? Good wavetable instrument sounds (not just FM)? Please E-Mail response to me at MSpec56301@aol.com or michael.spector@nitelog. com Thank you. ========================================================================= Date: Sat, 4 Feb 1995 12:47:53 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Curtis Saal Subject: SV Hello. I have been using sample vision by Turtle Beach software, but I have bee n getting an error message at the beginning labeled Error Code #1. I believe it is just because I have no synth hooked up to my computer. Is that correct? Al so, whats with the patcher value thing, not the MIDI channel, the other thing, w hat is it for? ========================================================================= Date: Sat, 4 Feb 1995 13:45:35 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Curtis Saal Subject: MIDI sounds Does anyone know any sites where I can get decent midi sounds and/or drum kits mainly for industrial and classical compositions maybe some techno. Real sounds, good ones, not cheesy..thanks ========================================================================= Date: Sat, 4 Feb 1995 23:19:00 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tony Cappellini Subject: Digital Music MX-8 Self Test Procedure Comments: To: synth-l@american.edu, emusic-l@american.edu, analogue@magnus.acs.ohio-state.edu, eps@oak.oakland.edu, cakewalk@lists.colorado.edu MX-8 Self Test Procedure from Digital Music 1. Boot Test. Press and hold both FUNCTION and RESET, then turn on pwer. Release buttons when the MX-8 responds "TEST MODE (Y/N)" ? 2. Prom Test. Press YES. MX-8 should respond with ROM Version 1.51 (or whatever version you have) (c) 19XX DMC GOOD. 3. DISPLAY TEST. Press FUNCTION. MX-8 should display each letter A-Z in a;; 32 character locations. 4. BUTTON TEST. Press each button in response to the prompt on the LCD display (cursor left, cursor right, NO, YES, function, reset) 5. ROUTER TEST. The display should have the following... Jump (connect) IN/OUT 1-6. Here, you should Connect In 1 -> Out 1. In 2 -> Out 2. In 3 -> Out 3. In 4 -> Out 4. In 5 -> Out 5. In 6 -> Out 6. Now press FUNCTION. The MX-8 should respond with (assuming the last test passed) ... Jmp IN 1,2/OUT 7,8 You should connect .. In 1 -> Out 7 In 2 -> Out 8 LEaving Cables 3 through 6 INTACT !! Press FUNCTION The MX-8 should go to this screen .. Destructive Test Are you sure ? BE CAREFUL, IF YOU PROCEED THIS TEST WILL WIPE OUT YOUR PATCHES. TO ABORT, TURN OFF POWER. 6. MEMORY TEST. Press yes. The MX-8 will say "RAM Good", (hopefully). 7. INITIALIZE MEMORY. Press FUNCTION. The MX-8 will say "Initialize RAM". Then it will display the burn in timer : Elapsed Time : 00hr 00min 05 sec This time indicates how long ago the Initailize Memory test has finished. You can turn off the MX-8 now, or let the unit burn in. You can abort the test at ANY time , by turning off the unit. This self test procedure came directly from Digital Music. No warranties, assurances, or gaurantees are implied or stated (by myself OR Digital Music) if this procedure is not performed correctly, and any data is destroyed. No damages can be claimed against myself or Digital Music for improper use of the MX-8 or the above self test procedure. ========================================================================= Date: Sat, 4 Feb 1995 23:19:00 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tony Cappellini Subject: MX-8 problems Comments: To: synth-l@american.edu, emusic-l@american.edu Date: Tue, 31 Jan 1995 20:34:32 EST From: URDB@MARIST.BITNET Subject: MX-8, Midi Router/ TEST MODE Hi, Last week I posted a note about a problem I was having with my MX-8 and what I thought was low Power. It turns out that the problem was not low power at all, but a problem with the ROM. While looking into this I discovered that if I press and hold the FUNCTION and RESET buttons when I power up the unit it goes into TEST MODE. This is not documented so I thought I would share it with everyone. Now I have to pack up my unit and send it in to Digital Music Corp for repair. Gota love that 5 year warrenty. Duane Marist College Information Services I'v e got a friend that works at Digital Music, and he gave me a sheet that shows you how to do a Self TEst on the MX-8. It involves jumpering the inputs to the outputs. If anybody is interested, I'll type it in and post it here. If not, I won't bother. Your message doesn't make much sense. You say you've found a problem in the ROM, but it turned out how to do a self test on the unit. So why are you sending it back to DM ? ========================================================================= Date: Sun, 5 Feb 1995 11:00:29 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Quadraverb 2 >Regarding the discussions around here lately, i gather we have very different >views on interfaces. (I love the K2k interace, you hate it, for instance.) True. If I could explain why I hate the K2k, I would, but I can't. It just irritates me, and the Q2 is the same. >The Q2 is another one of these. It's the first efx units whose user interface >felt like an interface to me, instead of like a punchcard reader, although >i have to admit that the L and M routes using the same visual indicator is >an annoying and frankly unexplainable aspect. That was the thing which really put me off: the fact that you cannot reliably see the routing from the front panel; in some cases, the front panel is just wrong. >I guess i'm biased because i didn't have to pay for it. Probably would >still like a LXP-xx just as a dedicated reverb unit. As I've probably said before, I like Lexicon reverbs, but am basically dissatisfied with everything else I've heard (apart, believe it or not, from the internal reverb on the 01/W; now, that's weird). Nick Rothwell nick@cassiel.com | "Er 2 Er 1" CASSIEL Contemporary Music/Dance | -- The Sound of Alesis. At Last. ========================================================================= Date: Sun, 5 Feb 1995 12:54:36 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: on twin peaks Comments: To: emusic-list In response to Joe's examples of sonic landscaping: I am intrigued by the way "we" listeners associate music with objects. On the surface, the ambience of this music seems to me to be a reflection or depiction of the scene. But it is more than than. It also transcends to reflect mood. An experiment I saw on PBS a long time ago had this picture of a man slinking through the dark woods. As he "slunk," music was played. There were 2 examples given. The first was the eerie sort of progression of minor seventh chords, with roots separated by minor third (ascending) that Elfman is so fond of. The second was a Sousa march. From the macabre to the comical, the music definitely had a dominant effect on creating the ambience of the scene. Another question: if drama IS involved, then what sort of narrativistic character can the music play? And as composers, do we wish to parallel or contrast such developments? Scott McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Sun, 5 Feb 1995 16:45:00 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: WWW Comments: To: emusic-l I know that htis is a little off topic, but y'all seem pretty knowledgeable. I'm looking to set up a Web site -- Does anybody have any idea how I should go about this? Thanks for any help you can offer. -Craig ========================================================================= Date: Sun, 5 Feb 1995 23:30:41 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MacBruin@AOL.COM Subject: Re: Playing Quicktime 2.0 Synth The musical instruments for Quicktime do come with system 7.5, they are in the folder "Apple Extras" its just that it doesnt automatically put them in the extensions folder. Here's my Question: How do you get a list of what instruments are where? I want to convert some MIDI files I've made for my synth into quicktime movies, but all the instruments are wrong... but I dont dont what instrument is where in the quicktime musical instruments file. Also-- Which drums are on which keys on channel 10? ========================================================================= Date: Mon, 6 Feb 1995 04:28:42 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Subject: Re: Upgrading our MIDI Lab In-Reply-To: Message of Fri, 3 Feb 1995 00:24:31 -0500 from You might do very well to look into the Mac clones that will be released soon. Perhaps some online Mac users can share more info about this. ========================================================================= Date: Mon, 6 Feb 1995 10:35:05 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ccd505@CCD.UTOVRM.IT Subject: IMA addresses Comments: To: emusic-l@american.edu Hi everyone, I already sent this message to the list but I try one more time... Do you know the address, telephone number, fax, bbs, ftp, www [add more] of the IMA - International Midi Association? Please let me know! thank you for your unvaluable help. Saluti, Ale. ========================================================================= Date: Mon, 6 Feb 1995 11:18:42 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thierry Rochebois Subject: New subscriber Hello everyone, My name is Thierry Rochebois, I am a postgraduate student at the universite Paris-Sud Orsay (France). My research include musical sound analysis and resynthesis. My Hobbies includes: - Paradoxical sound synthesis - Collecting information on analogue synth and pre-Moogean instruments (Theremin, Martenot....) The schematics and information for my (famous) paradoxical synth are avaiable at: http://www.atd.ucar.edu/homes/cook/anhevn/paradox/paradox.html Enjoy... - Thierry Rochebois ========================================================================= Date: Mon, 6 Feb 1995 09:51:39 EDT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List Comments: Converted from PROFS to RFC822 format by PUMP V2.2X From: Greenman Subject: Re: Physical Modelling In-Reply-To: note of 02/03/95 20:17 Just wondering if Ryan Pulley's userid was a reference to nin. -Greenman ========================================================================= Date: Mon, 6 Feb 1995 09:53:23 -0500 Reply-To: Alex Sanielevici Sender: Electronic Music Discussion List From: Alex Sanielevici Subject: Re: WWW In-Reply-To: <199502060045.TAA57035@atlanta.american.edu> Craig Marks wrote: > I know that htis is a little off topic, but y'all seem pretty knowledgeable. > I'm looking to set up a Web site -- Does anybody have any idea how I should > go about this? Thanks for any help you can offer. -Craig Well, I set up my own web server a few months ago, after getting no response when asking the administration here if I could put my page up on an existing server. It's very easy, and it's well worth it to have control on your own site/server. All you need to do is download the binary for your machine from NCSA (assuming you want their httpd), read a bit of the documentation, set up your .conf files and you're set. I think the current version is httpd_1.3. Good luck! _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ Alex Sanielevici _/_/ E-Mail : sanielea@ere.umontreal.ca _/ _/ Music student, _/_/ or : alex@hypercomp.ns.ca _/ _/ University of Montreal _/_/ Voice : (514) 731-2578 _/ _/ Quebec, Canada. _/_/ 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: Mon, 6 Feb 1995 15:29:58 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Hazel Subject: Re: Upgrading our MIDI Lab In a magazine I saw a Mac Clone that is going to have 5 PCI slots, though I can't remember whether it was a Radius or someone elses machine, I did not catch the start of this thread but it looks like any musician could do with one for HD recording. or even the most powerfull Mac yet the PIPPIN.... >You might do very well to look into the Mac clones that will be released soon. >Perhaps some online Mac users can share more info about this. > > ========================================================================= Date: Mon, 6 Feb 1995 10:47:13 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: thema Comments: To: eml@physics.american.edu one of the things that can be found taught in many courses on film is that music/sound is in fact the final determinant of mood. the example mentioned earlier can be carried further as a thought experiment: setup: man slinking through shadows music 1: slow overlapping violin glissandi in minor intervals effect: horror (he's approaching the haunted house, and we know the critter's behind him) music 2: low bass, probably only two alternating notes effect: suspense (he's stalking the murderer, or he's the murderer, stalking) music 3: light major chord piano/flute trills effect: romantic/screwball comedy (he's sneaking up on his lover/rival, etc.) music 4: chunky sequenced eighth notes. one note. maybe two. effect: babylon 5 (it's garibaldi) and there you have your problem. while there is quite a great deal of latitude in sound design for film scenes, there is an ethos doctrine which constrains it in ways that can only be evaluated on a case by case basis. if the guy's slinking, the music should be sinuous, too, whether it's light or heavy. creating energy where there is none contradicts, rather than creates or supports the mood. music for film can just match up, of course... consist of a literalist transcription of the action. most current mainstream hollywood features use it this way. it's active: there's action. it's moody: there's pensiveness. it's lush: there's romance. at its best, this can be a kind of auditory fulfillment. see some eisenstein, or some kurosawa - directors whose music you don't necessarily notice, but whose films are sensually and intellectually engrossing, partly because the music is actually part of what's going on. well, granted, maybe eisenstein's a special case, considering he bridged a gap between classical and modern uses of fully composed music. but still... the result just isn't the same as for, for instance, spielberg or cameron, for whom music essentially is a special effect. or it can juxtapose, and comment. see anything by peter greenaway, or alan rudolph. the music isn't *of* the film but *in* the film, an element like lighting or set design... a point of reflection and statement. this is my favorite use of music in film, where the music actually provides a point of view, a metaphor rather than a direct imprint. think kubrick. or hell, tarantino. i actually laughed through some of the grimmest parts of "reservoir dogs", just because of his soundtrack. now that's a trick. ========================================================================= Date: Mon, 6 Feb 1995 13:00:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: on twin peaks >I am intrigued by the way "we" listeners associate music with objects. >On the surface, the ambience of this music seems to me to be a reflection >or depiction of the scene. But it is more than than. It also transcends >to reflect mood. > I think this is mostly because music is almost as powerful an evoker of memory as odor. Music tends more to evoke emotional associations than specific images and situations. >Another question: if drama IS involved, then what sort of narrativistic >character can the music play? And as composers, do we wish to parallel >or contrast such developments? Well-composed film music greatly heightens the impact of a scene. Another soundtrack that has been mentioned as a good example of this is that from "Pulp Fiction"; Quentin Tarentino's avowed intention was exactly this same type of thing, to assure that the soundtrack definitely worked synergistically with the visual image. There's quite a good pair of interviews in the latest Keyboard; Eno and Thomas Dolby say much the same thing about the importance of music to film and video from two different angles. -- Joe M. -- "You know you've been using the Web way too much when you access your hotlist and the lights dim." - yuji@chem.duke.edu ========================================================================= Date: Mon, 6 Feb 1995 10:48:40 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nelson Rezende Subject: Looking for Address Hello friends, I am looking for addresses in N.Y. and Miami where to buy Technics keyboards. If anybody can help me, please give me the fax number also. Thanks, ========================================================================= Date: Mon, 6 Feb 1995 16:56:13 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Paradoxical synth Thierry's machine implements the Shepherd tone/Risset tone as a sample-playback synth. Very cool indeed. :) Thierry, is the EPROM data which is available from your page raw waveform data, or is it encoded somehow? I'm taking a wild guess that it's raw data -- if so, someone else here might be able to take it and transform it into a sample suitable for their machine. That URL again is http://www.atd.ucar.edu/homes/cook/anhevn/paradox/paradox.html. --- Joe M. -- "You know you've been using the Web way too much when you access your hotlist and the lights dim." - yuji@chem.duke.edu ========================================================================= Date: Tue, 7 Feb 1995 09:47:06 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: thema Hi Eric and others interested in film music, a colleague of mine has researched this quite a bit, including going into the philosophical and cognitive psychology stuff. He presented papers last year at the Sydney SMPTE conference and at Synasthetica in Canberra. His name is Stephen Joyce. If anyone is interested, I can ask him if I can post his e-mail address here or if he'd mind posting some mail here. His paper about using sound to affect mood was well-received by the film sound dudes at SMPTE. People have been talking about this for a while, but I think he might have a slightly different angle on the subject. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 6 Feb 1995 17:06:15 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Kevan L. Moore" Subject: Re: Vocalist II vs VHM5 I've heard from digitech that the audio circuitry is the same in the two models. i'm curious if there is anything FUNCTIONALLY that the vocalist II can't do that the VHM5 can, other than the VHM5's front-panel C-to-B keyboard. i'm probably going to get one or the other before too long. thanks kevan l moore ========================================================================= Date: Mon, 6 Feb 1995 17:18:00 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Craig Marks Subject: more help with WWW Comments: To: emusic-l Thanks so much to Joe, Alex, and George for your responses. They were helpful- --to a point. Unfortunately, I don't know the first thing about WWW access (I'm not even sure if I have access to the Web with my system). I didn't understand any of the abbreviations that y'all included in your responses (i.e. httdp [I think that was it]). Anyway, if you could expand on your previous statements a bit I would appreciate it. The other question that occurred to me is whether or not I'm allowed to use this Web site as a business interface. I know that business is not allowed to be transacted on lists such as this one. Does this hold true for Web sites as well? Please continue to forgive my ignorance. Thank you for all of your help. -Craig