========================================================================= Date: Tue, 7 Feb 1995 08:22:30 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: REES@UB.RUG.NL 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. > Hi there, Being a composer for audio-visual productions myself, i'm very interested in info about these kind of topics. Peter van Rees [Rees@ub.rug.nl] ========================================================================= Date: Tue, 7 Feb 1995 10:14:28 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ccd505@CCD.UTOVRM.IT Subject: Re: MIDI FTP Pointers Comments: To: emusic-l@american.edu Hi everyone, In one of the following servers you should find lots of keyboard patches for many synths. I downloaded some really good sounds for my (poor) SY22 from one of them but I can't remember wich was! archve.orst.edu wuarchive.wustl.edu ntcuccca.edu.tw theoris.rz.uni-konstanz.de archive.epas.utoronto.ca garbo.uwasa.fi All this addresses are listed in the Gravis Ultrasound manuals and should also have new sounds for that card. Good luck, Ale. ========================================================================= Date: Tue, 7 Feb 1995 11:45:55 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thierry Rochebois 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 An S Motorola encoded file will be(or is) now available ! I sendt it to Forrest Cook Yesterday ! The original file is raw: a byte a line in hex ASCII format (the simplest!) Thanks for your interest, By the way I have a small demo program for the.. monochrome AtariST computers... - Thierry ========================================================================= Date: Tue, 7 Feb 1995 09:23:13 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Busch Subject: Re: Vocalist II vs VHM5 Be on the lookout for something from Korg called the IH (Interactive Vocal Harmony Module). It was introduced at NAMM and retails for ~$500. Reportedly sounds very good. Along the same lines as the Digitech Vocalist. Don't know any more about it. ---------- From: "Kevan L. Moore" To: Multiple recipients of list EMUSIC-L Subject: Re: Vocalist II vs VHM5 Date: Monday, February 06, 1995 5:06PM 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: Tue, 7 Feb 1995 10:53:42 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: thema In-Reply-To: <01HMRHVZUTVI8Y55BP@LURE.LATROBE.EDU.AU> from "David Rodger" at Feb 7, 95 09:47:06 am > > 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. If he wouldn't mind joining the discussion for a while, it would be great! --- Joe M. ========================================================================= Date: Tue, 7 Feb 1995 11:23:45 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: more help with WWW In-Reply-To: <199502070119.UAA57749@atlanta.american.edu> from "Craig Marks" at Feb 6, 95 05:18:00 pm > > 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 I'm going to reply to Craig's message here because he asks a lot of questions that should be addressed in this forum. First, a few abbreviations and what they mean: WWW - World Wide Web (most everyone knows this one by now): a means of sharing data among disparate users from any number of sites using many different platforms. http and httpd: stands for HyperText Transmission Protocol. This is simply an agreed-upon standard for machines to speak to one another, used by the servers and browsers on the Web. httpd is the httpd daemon (or server); "daemon" is simply a Unixism for an independently-running program associated with the system rather than a particular user. Browsers: programs which can understand the http protocol and speak it to servers. They translate the http data stream into text and pictures. HTML: stands for HyperText Markup Language. This is an agreed-upon set of markers which are used to imbed pictures and references into a text file, which is interpreted by the browser as it arrives. This is an important distinction to note: most of the work of assembling a page is done by the browser. The server simply accepts requests from the browser and gives it the HTML document, or picture, or movie, or whatever that it requests. URL: Universal Resource Locator. It defines a resource's name, the name of he site where it resides, and the access method to be used to access the resource. To set up a Web site, you need either to have access to an already-running server on a machine that you are permitted to log in to, or you need to be able to install a server on some machine. Most commonly, servers run on Unix machines; there is also at least one version for Macintoshes. Setting up such a server is not germane to the list, so I won't go into it here. Once the magic is done and you have access to a server, you create HTML documents which contain the text you want to display and pointers to the other files (graphics, video, sound, Postscript) that you want to make accessible. Persons connecting to that server will address these documents via URLs and the browser then does all the work of assembling the resources and showing the page. That's the basics of the Web and how they work together. Now as to using the Web for business... As far as the Web itself is concerned, business use is perfectly acceptable. In fact, it's a favored means of advertising. This is mostly because it's noninvasive, as (say) a mass-mailing to newsgroups or mailing lists would not be. People who arrive at your page are at least somewhat interested in what you have to say, or they wouldn't have navigated there. Whether or not this is permissible is going to depend strongly on what your service provider's attitude toward it is. You're at UCLA; most colleges are pretty lenient as to how their resources are used, BUT! Please check with the powers-that-be before setting up a site that could be construed as a commercial one. It may not be permissible, and getting tossed out of school over such a misunderstanding would be tragic. Given that your school runs much of its computing on IBM mainframes, a server may not even be available. I recommend that you look into a commercial service provider, such as Netcom (though their machine is notoriously inaccessible!) to provide you with the service. If you have small amount of data and don't need to update it frequently, you can probably manage to afford this with a minimum of cost. You should have several options as to who can supply you with service. --- Joe M. ========================================================================= Date: Tue, 7 Feb 1995 15:12:12 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List Comments: Environmental Systems Research Institute From: "Tapas Das [ESRI-Redlands]" Subject: Re: Address for Technics Comments: To: emusic-l@american.edu Here is the address for Technics keyboards: Technics Musical Instruments Panasonic Company Division of Matsushita Electric Corporation of America One Panasonic Way Secaucus, NJ 07094 201 392 6140 201 348 7000 FAX: 201 348 7209 Give them your zip code, and they shall give you the phone number of your nearest music dealer that carries Technics keyboards. You may also try their regional service centers in California 714 373 7426 or in Washington 206 872 7922 or Florida 813 289 9726 For product information or technical support try 201 348 9090 Tapas. ========================================================================= Date: Wed, 8 Feb 1995 11:18:00 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: thema Hi Joe and Peter and other interested in film music, I'll ask Steven if he'd like to join us. Please be patient. He's winding up his degree and I don't know how often he checks his mail (I might have a voice phone number - I'm not sure). Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Tue, 7 Feb 1995 17:39:07 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Randy_Budnikas@BUBBS.BIOLA.EDU Organization: Biola University Subject: Re: IMA addresses Comments: cc: Will_Stewart@bubbs.biola.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. I know the MIDI Manufacturers Association email address (MMA): MMA@PAN.COM They're a good organization to know. They'd probably know the IMA info also. Be safe, Randy Randy_Budnikas@bubbs.biola.edu ========================================================================= Date: Wed, 8 Feb 1995 13:29:21 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: WWW sites Comments: To: emusic-l@american.edu Hi emusic-l subscribers, I was browsing the Web and came across some interesting stuff... http://orpheus.uscd.edu/mbreen/music_links.html#31 Michael Breen's list of music resource links including research. http://music.calarts.edu CalArts has some interesting stuff here. Browse at your leisure. (Morton Subotnick is on staff there.) Enjoy, David musdr@lure.latrobe.edu.au ========================================================================= Date: Tue, 7 Feb 1995 20:23:29 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Radical Inc." Subject: Re: IMA addresses In-Reply-To: <95020610350544@ccd.utovrm.it> The following is the address that I have for the IMA. I got it out of a manual that I ordered from them about 3 yrs ago, so hopefully it's still current. International MIDI Association 5316 W57th St. Los Angeles CA 90056 (213)649-6434 If this is incorrect, try directory assistance! They'll most likely still be in the LA area. Hope this helps. - Paul On Mon, 6 Feb 1995 ccd505@CCD.UTOVRM.IT wrote: > 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: Tue, 7 Feb 1995 23:21:52 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MacBruin@AOL.COM Subject: "Apple Real Time Architecture" Comments: To: AlaskaSoft@aol.com I downloaded a sample version of DigiTrax but when I try to run it, it says that I can't because I need "Apple Real Time Architecture" What is this?? I have a PowerMac 6100/av and I thought all that I would need is the AV card to make it work. Is "real time architecture" a hardware or a software item? How can I get it and how much does it cost? Thanks! ========================================================================= Date: Wed, 8 Feb 1995 01:00:16 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Radical Inc." Subject: Re: IMA addresses In-Reply-To: <1995Feb07.173907.492180@bubbs.biola.edu> The address I have is: International MIDI Association 5316 W.57th St. Los Angeles CA 90056 tel (213)649-6434 I got this address from their "General MIDI Detailed Spec", which I ordered about 3 years ago. If they've moved try directory assistance - they're probably still in the Los Angeles area. - Paul On Tue, 7 Feb 1995 Randy_Budnikas@BUBBS.BIOLA.EDU wrote: > >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. > > > I know the MIDI Manufacturers Association email address (MMA): > > MMA@PAN.COM > > They're a good organization to know. They'd probably know the IMA info > also. > > Be safe, > > Randy > > Randy_Budnikas@bubbs.biola.edu > ========================================================================= Date: Wed, 8 Feb 1995 12:20:03 +0200 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ccd505@CCD.UTOVRM.IT Subject: Re: PC as DRUM M. Comments: To: emusic-l@american.edu I'm replying to this (old) message sent by Jacek L. on 12-JAN-1995 >Hello ! Hello... > > I have a question. I decided not to use PC as a sequencing machine >because of software which isn't matching my needs. (very subjective >opinion) Though having SB 16 bit (with some 3 CD rom connections) and >a MIDI cable, with a 486DX2/66MHz, I'm seeking some way to use it >in my small composing hole. I don't know exactly what are SB's features >and even how many DA converters does it contain. Anyway I'm wondering >if the whole PC+Card can be used as an 'sampler' controlled by MIDI >from another sequencer (in this case my oldie Amiga 500). To attain this >I must obtain some software (for sample playback controlled by MIDI). >If such software does not exist I will be forced to write own software. >Anyway having bad experiences with Cakewalk with timing of such playback >I must therefore seek information on what are existing similair >solutions (and maybe finding out what is an WAVETABLE?) WAVETABLE is another kind of synthesys used in sound cards. I don't know why they call this WAVETABLE and not PCM but they are essentially the same thing: instead of generating a sound using FM synthesys, like your SoundBlaster, (that is one of the more complicated things that your mind can think of) they make a sample of a sound and then chage its frequency to match all the notes of a keyboard. The result is a much more good reproduction of real instruments. > >Here goes my question : > >Does anybody know how many DA converters does an typical SB16bit card contain? >(in this case how many .wavs will be played at 1 time) A "typical" SB16 card (like any other game orinted card on the market) has two DA converters: one for the Left and one for the Rigth audio channels (in truth it should contains 20 more DA converters for the FM sounds, but you can't use it for this job). This means that you can play two channels of mono audio at the same time like the Roland RAP10 card does. To do a test drive of this you can open you preferred wav editor and record a stereo sampling. Record two different sources (one on the Left and one one the Rigth) and here you are a multitrack digital recording. If your software allows you to import or mix wavefiles you can also import two different files on the L and R channels (for example a Drum base and a Bass line) and listen to the result. But we are just at the beginning. If you are cool enough in computer programming you can do MORE and MORE! The fact that your sound board has 2 DAC doesn't mean that you are stuck with 2 waves. It means that you can have only two indipendent output. Anyway you can record how many wave you like, then you can mix it in REAL TIME down to the 2 DA channels and send them out. This is really like the MOD players manage to have 8 or more voices polyphonie, with the difference that they just use PCM or WAVETABLE like synthesys to play midi-style (event driven) music. Now you could think about the money that you save by home making your multitrack HD recording system. Well... forget it! Where are the faults? I will show you part of them now and some other later. #1. Real Time Mixing. --Not Very Bad. You have to be really cool in making the code for real time mixing because of the very fast flow of information that you must send to the card. Example. If you are playing back at 22.050 kHz (8 bit) you have to perform all the necessary job in less than 0.00005 seconds otherwise you'll hear some spaces between samples. This is MUCH WORSE if you are playing back at 44.100 or 48 kHz. Anyway there are some tricks to avoid this, but it's too long to explain. #2. Data Trnsfer. -- Very Bad. One of the problems of computer based digital recording is the cpu activity and the poor 8 Mhz 16 bit bus of PCs. This is bad because the data trasferring to the can occur too late, producing gaps between blocks of signal. Not many solutions for this problem with commercial cards. Now, a bit of good news. Microsoft has released a DLL for doing this job. It is called WAVMIX (or something the like) and you can find it at ftp.microsoft.com in one of the drg directorys. It allows you to mix up to 8 wav files (if I'm correct) in real time, as they do in the Microsoft Arcade pack. It is intended primary for games, but can do the job as well. You still can't do serious multitrack application, but it is lot's of fun. >Also is there an existing software which allows of feeding the memory with >.wav files and assigning a MIDI channel to a .wav sample ? Yes, look for WavePlayer from Steinberg. It is really a GREAT STUFF. It is a device driver that you can use from every MIDI application. You open the driver, map Midi Keys with sounds and then you assign that driver as output of a track in your sequencer software. I don't know if it manages polyphonic output anyway. I will check and let you know. >I don't want to go through a path which somebody once already went through. >It might turn out at the end that things I want to do are not possible. > >Btw, is it possible to use the 16bit AD/DA converters for HD digital recording? >(like an DAT recorder?). I know, I know, SBs are noisy etc...but I'm just >trying to get most of what I have and not dream about things I can't have... Well, here comes the other faults. Yes, you could use the SB as a digital recorder but first of all you need a program that can do this. The big problem is once again the tons of data that your card send to the computer expecially when recording at 44.1 16bit stereo. The best solution for this is to buy the more ram that you can. But also doing so you are not assured that it will work the rigth way. The best thing to do is to make your own recording software. If you are involved in Windows programming it is a snap! The only thing that you have to do is keep out of your mind any other type of processing while you are recording to avoid cpu overload. One interesting thing is to make a non realtime multitrack recorder. This means that you can record how many tracks you want in one time and then mix it down to two. The only problem is the HD capacity. Once you have done all this you'll discover that your recording' sound is very bad. There are many causes for this but mainly it depends from the real sampling resolution of your board. A 16 bit ADC/DAC is not synonymous of CD quality. It is the number of significant bit that makes the difference. For example I have a Microsoft Windows Sound System board that I buyed because of the AD/DA chip that it uses: the Analog Device AD1848JP. It is really a good chip and WSS is one of the few Sound Board capable of 48 kHz sampling. If you look Analog Dev.'s data sheet you'll see that dinamic range of the 1848JP ADC is 72 dB while the DAC has 78 dB. A 16 bit ADC/DAC should have 96 dB of d.r. Since every bit of resolution add 6 more dB to the range it means that the 1848JP's ADC has 12 bit resolution, while DAC has 13. This are good values but they are a lot far from professional equipment and even from partable CD players. I think that Sound Blaster is even vorse. They always have had problems in making good ADC/DACs. If you don't belive in this try to record at 44.1 kHz with a non 16 bit Sound Blaster. The playback will sound worse than the same recording made at 22 kHz. What's that? The fact is that even if they say that 8 bit Sblaster can sample up to 44.1 kHz, they don't. Only the DAC is capable of this frequency so they record at 22 kHz and then doubles every sample to achive a 44.1 kHz frequency. Doing so, digitally speaking, means applying a low pass filter to the sound. The last consideration is that every sound board with ADC & DACs that is not "schermata" (open your Italian Dictionary and look for the meaning of this word) will add noise that comes from the HDD & FDD controller. At the very end my best raccomandation is: instead of making a software for HD recording, try to build your own sound board. I'm doing so and I think it pays the effort. Good luck. Saluti, Ale. ---------------------------------------------------------------------------- I heared a fly buzz - when I died... With Blue - uncertain stumbling Buzz - Between the light - and me - And then the Windows failed. Emily Dickinson and a Windows user ---------------------------------------------------------------------------- Alessandro Fiorletta - ccd505@tovvx2.ccd.utovrm.it University of Tor Vergata - Rome ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 8 Feb 1995 10:10:42 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul Abel Subject: MOTU ? Comments: To: Multiple recipients of list EM Subject: Time: 9:21 OFFICE MEMO MOTU ? Date: 2/8/95 Does anybody happen to know Mark of the Unicorn's EMail Address? Thanks in advance. paul.abel@ac.hillsdale.edu ========================================================================= Date: Wed, 8 Feb 1995 14:10:35 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: JohnH93161@AOL.COM Subject: JV-80 Newsletter Does anyone know whether the Roland JV-80 newsletter still exists? I tried to SUBSCRIBE to it, and it appeared that everything worked properly, but I have yet to receive anything. Any insights? -John ========================================================================= Date: Wed, 8 Feb 1995 13:40:04 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Kevan L. Moore" Subject: Doppler effect Comments: To: cakewalk@lists.colorado.edu, emusic-l@AMERICAN.EDU > Tim, > > the listener. A 10 Hz change in a 60 Hz pitch is proportionally higher than a 10 Hz > change in a 600 Hz pitch. Enough geek babble. Finally! a list where somebody will understand this anecdote i've only been able to explain to 2 people since it happenned 10 years ago. i was playing a wedding in a huge church, tapping into their impressive PA system from a booth upstairs in the back of the auditorium. the mains were built into the wall at the front of the auditorium. this place was massive, rectangle-shaped with the traditional 2 aisles going from the back to the front. anyway, i was in the booth letting my sequencer play my synths through the system, filling the auditorium with sound, and thought of something i needed to check out at the front of the building. so as the music is playing i run down the stairs and start running down the aisle. instantly i'm struck by the fact that it sounds like the synths are all out of tune, or that they're pumped through a chorus with too much rate/depth. so i stop running & listen .... yes they're in tune. so i start running again, and sure enough i hear them outta tune again. turns out that running about 15-20 mph towards the front not only adds a little to the frequencies you hear coming from the sound you're running AT, but it subtracts a little from the sound bouncing off the back wall & coming in behind you. effectively i was hearing one sound (reference) from the front, and doppler shifted copy from behind me (relative) that had been shifted as if i was travelling at 30-40 mph, a significant speed. of course when i stopped running there was no difference in the sound from the front & back. you can imagine my surprise at figuring this out, and my frustration at not being able to relate this to anyone who'd understand. for what it's worth. oh, obligatory emusic/cakewalk: when i play chords through my SE70 in vocoder mode, it's SOOOOOOOOOOOOOOO cool. the SE70 vocoder is EVERYTHING i ever wanted it to be. man is cakewalk slow on a 386. :-) kevan l moore ========================================================================= Date: Wed, 8 Feb 1995 19:31:08 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: thema > music 4: chunky sequenced eighth notes. one note. maybe two. > effect: babylon 5 (it's garibaldi) You forgot the quarter-note rim-shots. Time for a Chris Franke thread? I don't think so... So: how much of the effect of film music is cultural due to the music (classical idioms and timbre) and how much is due to a sub-culture revolving purely around how music has been used in films? (If it's got big spaceships we must have an orchestrated score, etc.) >think kubrick. or hell, >tarantino. Of for use of pop soundtracks/musicians, Wim Wenders. Then there's an ambient/integrated approach where the music is part of the background of the events and scenes in the film. The classic and predictable example that comes to mind is Blade Runner, but I'm sure there are many others. Then there are films where the soundtrack is significant to the plot in some way: the example which comes to mind is from my favourite film ever, A Matter of Life and Death (released in the US as Stairway to Heaven?), made in 1946; there's a piano motif which is significant to the initial hallucination scenes, and gets worked into the score later on. I'm rambling again... Nick Rothwell nick@cassiel.com | "Er 2 Er 1" CASSIEL Contemporary Music/Dance | -- The Sound of Alesis. At Last. ========================================================================= Date: Wed, 8 Feb 1995 12:24:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter_Mueller@UCSDLIBRARY.UCSD.EDU Subject: Re: WWW sites Comments: To: MUSDR@LURE.LATROBE.EDU.AU Hi emusic-l subscribers, I was browsing the Web and came across some interesting stuff... http://orpheus.uscd.edu/mbreen/music_links.html#31 Michael Breen's list of music resource links including research. Not only that, but Breen's page has pointers to over 1100 different sites. Cool. ========================================================================= Date: Wed, 8 Feb 1995 16:53:00 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Gregory A Youngdahl 708 979 0013 Subject: Re: JV-80 Newsletter Comments: To: EMUSIC-L%AUVM.BITNET@CUNYVM.CUNY.EDU > Does anyone know whether the Roland JV-80 newsletter still exists? I tried > to SUBSCRIBE to it, and it appeared that everything worked properly, but I > have yet to receive anything. Any insights? If you are refering to the JV-80 electronic mailing list then I can say that the list is still up and running (and reasonably active - I got and sent some mail today). Here is an excerpt from a recent mailing about how to subscribe (and unsubscribe) to (from) the list... > How to subscribe to/from the list > --------------------------------- > > When adding or dropping yourself from the list, send mail to > "jv80-request@burner.com". DO NOT SEND SUBSCRIBE MESSAGES TO THE LIST! > The subject isn't imporant. The add/drop request is given in the BODY > of the message. Example: > > subscribe jv80 > > where is the exact address you want the list to be sent > to. Un-subscribing is similar: > > unsubscribe jv80 > > where is the exact address you used to initially join > the list. Examples: > > subscribe jv80 foouser@some.imaginery.machine > unsubscribe jv80 foouser@some.imaginery.machine > > Note that this format is strict! The first command is either "subscribe" > or "unsubscribe"; the second command MUST be "jv80", and the third command > is your address. > > If you for some reason are not added to/removed from the list, please send > mail to "bmaple@burner.com". Hope this is what you were refering to. If on the other hand there is some Newsletter relating to the JV80 family of synths I'd be very interested in knowing about it. -- Greg Youngdahl AT&T Bell Laboratories Naperville, IL greg@ihlpm.att.com ========================================================================= Date: Thu, 9 Feb 1995 02:25:33 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Matt Barstow Subject: Sound Canvas Mailing List Hello All: Recently there was a posting on here that gave a bunch of WWW sites and Mailing lists, etc. One of the mailing lists was Roland's Sound Canvas User's Group. The e-mail address was listed as scug-music@preference.north.ne t. I tried subscribing twice to the list but received "no such host" errors both times. Is this the correct address? If not, could someone please post it or e-mail it to me privately? Thanks in advance, Matt ========================================================================= Date: Thu, 9 Feb 1995 09:06:35 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Alex Serenkov Subject: Re: PC as DRUM M. Comments: To: ccd505@CCD.UTOVRM.IT, ccd505@tovvx2.ccd.utovrm.it Hello. 8 Feb 1995 Alessandro Fiorletta (ccd505@CCD.UTOVRM.IT) wrote: > Yes, look for WavePlayer from Steinberg. It is really a GREAT STUFF. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ > It is a device driver that you can use from every MIDI application. > You open the driver, map Midi Keys with sounds and then you assign that > driver as output of a track in your sequencer software. It's sounds very interesting. Can You please send more info on this driver? Is it freeware, shareware, commercial? Is it possible to get it by FTP? From which site? What is archive name? I trying to find it but with no luck :-( . Thank You. Bye. Alex. ------------------------------------- E-mail: ket_star@netvision.net.il (Alex) Date: 01/15/95 Time: 09:50:22 This message was sent by Chameleon ------------------------------------- ========================================================================= Date: Wed, 8 Feb 1995 23:06:12 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Randy_Budnikas@BUBBS.BIOLA.EDU Organization: Biola University Subject: Coda ? Comments: To: emusic-l@AMERICAN.EDU Is there an email address to Coda (the software manufacturer of "Finale")? I hate having to call Sioux City Iowa or wherever they are. Thanks. Randy Randy_Budnikas@bubbs.biola.edu ========================================================================= Date: Thu, 9 Feb 1995 12:58:42 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Martin Hazel Subject: Re: Doppler effect Sounds Great ! can you imagine the fun you could have there like sticking things over your ears and doing it again etc.. if you find something like that again tape it ! you'll then be able to show everybody exactly what you mean!?! >Finally! a list where somebody will understand this anecdote i've only >been able to explain to 2 people since it happenned 10 years ago. > >i was playing a wedding in a huge church, tapping into their impressive >PA system from a booth upstairs in the back of the auditorium. the >mains were built into the wall at the front of the auditorium. this place >was massive, rectangle-shaped with the traditional 2 aisles going from >the back to the front. anyway, i was in the booth letting my sequencer play my > synths >through the system, filling the auditorium with sound, and thought of something > i >needed to check out at the front of the building. so as the music is playing i >run down the stairs and start running down the aisle. instantly i'm struck by >the fact that it sounds like the synths are all out of tune, or that they're >pumped through a chorus with too much rate/depth. so i stop running & listen > .... >yes they're in tune. so i start running again, and sure enough i hear them >outta tune again. > >turns out that running about 15-20 mph towards the front not only adds a little >to the frequencies you hear coming from the sound you're running AT, but it >subtracts a little from the sound bouncing off the back wall & coming in behind > you. >effectively i was hearing one sound (reference) from the front, and doppler > shifted copy from >behind me (relative) that had been shifted as if i was travelling at 30-40 mph, > a significant >speed. of course when i stopped running there was no difference in the sound > from >the front & back. > >you can imagine my surprise at figuring this out, and my frustration at not >being able to relate this to anyone who'd understand. Martin Hazel. Sequence and Score. ========================================================================= Date: Thu, 9 Feb 1995 10:07:37 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Rob Fisch Subject: Roland Sound Canvas Patch? Anyone know of an FTP site with an editor/librarian for a Roland Sound Canvass (RAP-10) and/or a Roland D-5 synth? ========================================================================= Date: Thu, 9 Feb 1995 13:12:43 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: Coda ? The address for Coda is on America Online. coda@aol.com ========================================================================= Date: Thu, 9 Feb 1995 15:27:27 -0400 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Friesen Subject: Re: on twin peaks I've been following the 'mood from music' discussion with some interest, as it parallels some exercises/experiments that I like to do with my English composition classes. Here's the idea: I pick a piece of music from some soundtrack (or other source, but soundtracks seem to work best) and then have my students write a description of what sort of film action might plausibly accompany this music. Here are some of the results: "Follow Me" from "Always" -- students were able to glean a sense of playfulness from the music. They seem to recognize the light-heartedness of the timbres/modes. Some students are also able to get the idea of a 'chase'. It's important to note that I don't give the kids any notion of what the music is from or what it's called. These connections that they make are being made independently of any first-hand knowledge of the material. Their observations are, in a sense, pure. (But I'll address that question later...) "Delbert Steals the Egg" from "Jurassic Park" -- I've not seen the movie (Yeah, I DO live on the dark side of the moon), so I can't tell you just how memorable the music/visual connection might be. Most of the students do not recognize the piece, but they ALL manage to capture a sense of drama. Of course, some of them infuse the drama with a very strong sense of personality/humor, but the upshot remains: they can recognize 'slinky' music when they hear it. "Hoe Down" from Copland's "Rodeo" -- given the plethora of cowboy themes in this piece, it's hardly a surprise that the kids manage to tune in the 'wild west' imagery. One student (quite remarkable -- she's somewhat learning disabled) managed to clue in to the section where "Turkey in the Straw" is interpolated. The significance of all this is thus: in my limited-scope 'blind' test (and without ANY help from me), the students were able to identify the particular mood of a given piece. Now for the question: is this understanding of mood a function of culture? The Copland piece is most significant in this -- did the students simply recognize the oft-repeated themes that have become part of our cultural musical vocabulary? Or is there something inherent in the music that evokes certain responses regardless of cultural background? I strongly suspect that there's an equal measure of both at work, but until somebody does this kind of study in a cross-cultural context, I suspect that the question will remain largely unanswered. ObEMusContent: with the fractional scalings that are available on virtually all instruments these days, a multi-cultural suite of musical pieces could/should be released by public-school textbook publishers. Anybody wanna collaborate? Cheers, Michael Friesen ========================================================================= Date: Thu, 9 Feb 1995 15:44:18 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Nicholas J. Moenssens" Subject: Re: thema Eric Harden writes: >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:.... > >...music 2: low bass, probably only two alternating notes > effect: suspense (he's stalking the murderer, or he's the > murderer, stalking) What is interesting is where this historically came from. Gregorian Chant used the half tone to symbolize death. In Bach's Cantata " Christ Lag in Totesbanden" (sp) the half tone is used to symbolize Christ's death. Could we have been genetically conditioned to face mortality with a half tone? Low, long sounds below 30 Hz are also, proven by lab research, to instill fear. Maybe the footsteps of a Tyrannasaurus Rex put that one their, but Mac Trucks still scare me now. I dont have first hand knowledge of this, but it was pointed out to me when I was doing some sound work on "Empire Strikes Back". The worst fear is apparent at the inaudible frequency of 13 hz (unlucky number, hmmmm) when played in a long tone. It was explained to me that 13hz was a resonant factor of the cranial cavity of an average human skull. Sort of gafawed at that one. Commercial sound systems do not reproduce that HZ. Mood on the Moog definately requires a look into human recall ability. ========================================================================= Date: Thu, 9 Feb 1995 16:33:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bourgouin, Gaetan" Subject: Re: Roland Sound Canvas Patch? Comments: To: owner-emusic-l >Anyone know of an FTP site with an editor/librarian for a Roland Sound >Canvass (RAP-10) and/or a Roland D-5 synth? All I could find on Roland or Sound Canvas are below : ---------------------------------------------------------------------------- ------------------------------ ftp.und.ac.za (University of Natal, Durban) contains midifiles and programs for the Sound Canvas and MT-32 in directory: /pub/pc/midi/ ------------------------------------------------------------------------- Sound Canvas User's Group WWW Homepage - http://www.eeb.ele.tue.nl/midi/scgroup/index.html ------------------------------------------------------------------------ Roland Samplers sgroup-request@lotus.UWaterloo.ca Roland D-70 cyamamot@kilroy.Jpl.Nasa.Gov (Clifford Yamamoto) Roland JV-80/880 jv80-request@burner.com message: #SUBSCRIBE Roland U20/U220 now a Usenet newsgroup alt.music.synth.roland.u20 ---------------------------------------------------------------------------- -------------------------------------------- Sound Canvas FAQ - scug-faq@preference.north.net Hope this help ! Gaetan bourgouin gbourgou@po2.mtl.marconi.ca ========================================================================= Date: Fri, 10 Feb 1995 10:16:28 PST Reply-To: dshervil@telecom.com Sender: Electronic Music Discussion List From: David Sherville408-428-7846 Subject: newbie with TROPEZ needs input... Hello all, I'm happy to have access to this list...being new to the field of electronic music I've decided to explore MIDI composition with a PC & soundcard as the first step. I've tried a few sound cards (SB MCD, Orchid SW32, GUS MAX) and liked parts of them but have settled on TB Tropez because of of sound quality, sample store and E-IDE interface (I wanted to get the Multisound but have limited budget). I was wondering if there is a FAQ (I'm sure these Q's have been asked before) or if someone could suggest a MIDI composition package or utilities (& FTP site) to help me get started (beyond the demos that come with the Tropez). Thanks & Later, Dave Sherville ========================================================================= Date: Fri, 10 Feb 1995 18:17:14 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: D A Baker1 Subject: Re: PC as DRUM M. The application is commercial software. It really is a great idea. You can buy it for $49 list or get it free with MusicStation, a sequencer w/intergraded auto accompaniment (high quality stuff like the Korg i series), which lists for $199.00. I can provide more info on the software or sell it to anyone interested. d a baker1@aol.com ========================================================================= Date: Fri, 10 Feb 1995 15:21:01 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: thema In-Reply-To: <0098B937.7734AB60.13587@physics.american.edu> from "Eric Harnden" at Feb 6, 95 10:47:13 am Eric Harnden writes-- > >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. It has been used self-referentially in any number of places, and the LACK of music has been used in contrast with existing scores as well. As an example of the former, note Mel Brooks's HIGH ANXIETY, where a stunning revelation is followed by a screech of strings, and the characters look out the window of their limousine to see a busful of violinists fiddling madly inthe next lane. As an example of the latter, check out the last scene of ALIENS, where you don't realize Lance Henriksen's been bisected until the synths come crashing in. >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. Kurosawa's mixing of modern orchestras with traditional Japanese chants rendered SEVEN SAMURAI a bottom-drops-out-of-your-stomach movie. I confess that the films of Eisenstein's that I've seen didn't strike me as being that memorable musicwise. (George Lucas learned a lot from Kurosawa. Unfortunately, not enough.) I occasionally wish that Kurosawa dabbled in synths for his films. Itami Juzo did, with excellent effect. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "'Course, I _can_ see some sensibility in the superiority of old synths. In a fight between Yamaha's CS-80 and their new TG-500, the CS-80 _naturally_ wins...coz all you have to do is drop it on the TG-500." (author unknown) ========================================================================= Date: Sat, 11 Feb 1995 11:38:18 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Macalester College Music Department Subject: roland DEP-5 Could anyone provide me with a copy (we pay any costs, of course) of a user manual for the Roland DEP-5? Ours has disappeared and I need one for teaching purposes. Or...if Roland is on the net, could someone give me the address. thanks +-----------------------------------------------------------------------+ + Ed Forner Macalester College Music Department + + forner@macalstr.edu voice (612) 696-6189 + +-----------------------------------------------------------------------+ ========================================================================= Date: Sat, 11 Feb 1995 15:21:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: JAFSOL@AOL.COM Subject: Re: MOTU ? MOTU's e-mail on Compuserve is 71333,366 ========================================================================= Date: Sat, 11 Feb 1995 17:51:13 PST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Randy_Budnikas@BUBBS.BIOLA.EDU Organization: Biola University Subject: Paradoxical Music Comments: To: emusic-l@american.edu Thierry Rochebois writes-- > >If you play the "melody": CDEFGABC on a normal synth, >the frequency of the last C is twice the frequency of the first. > >I you play the same melody with a paradoxical sound, you will have the >same frequency ! If there is a way you could explain this phenomenon in words, I would be very interested. If you can't, where could I hear this sound? Thanks, Randy_Budnikas@bubbs.biola.edu ========================================================================= Date: Sat, 11 Feb 1995 23:02:32 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe Geiger Subject: Re: MOTU ? Hi, You can reach MOTU on-line at UNICORN@Applelink.apple.com or on compuserve their address is 71333,3666. I thiink they may be getting on AOL sometime in the near future. E-mail is a good way to reach them. ========================================================================= Date: Sun, 12 Feb 1995 04:01:45 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: William Luoma Subject: Re: PC as DRUM M. I am interested in software that could be used as interactive accompnimentas you mentioned. Could you send me the name of the software and/or the publisher? Thanx in advance. Bill Luoma billuoma@ix.netcom.com ========================================================================= Date: Mon, 13 Feb 1995 02:58:33 -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: Mon, 13 Feb 1995 04:05:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MacBruin@AOL.COM Subject: WHAT IS "APPLE REAL TIME ARCHITECTURE"??? I downloaded a demo of a sound editing program called DigiTrax, but it refuses to run on my Mac (PowerMac 6100/AV) because it says that I need to have "Apple Real Time Architecture" for the software to run. What is "Apple Real Time Architecture"? Is it Hardware? Software? Any relation to the AV card (which I have)? Any info would be much appreciated. Thanks. ========================================================================= Date: Mon, 13 Feb 1995 10:46:54 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thierry Rochebois Subject: Re: Paradoxical Music Comments: cc: Randy_Budnikas@BUBBS.BIOLA.EDU You can find more information and the schematics for my paradoxical synthesizer on: http://www.atd.ucar.edu/homes/cook/anhevn/paradox/paradox.html Enjoy! - Thierry ========================================================================= Date: Mon, 13 Feb 1995 10:31:42 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Lamar Subject: Re: Paradoxical synth >>>That URL again is >>>http://www.atd.ucar.edu/homes/cook/anhevn/paradox/paradox.html. This page seems to have gone away. I just tried to access it and get a server error 404 not found. John John P. Lamar Computer Systems Coordinator Music Synthesis Department Berklee College of Music 617-266-1400 ext. 484 jlamar@it.berklee.edu ========================================================================= Date: Mon, 13 Feb 1995 11:57:30 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Wired4Soun@AOL.COM Subject: Re: MOTU ? Comments: To: paul.abel@ac.hillsdale.edu UNICORN@AppleLink.Apple.COM is one address I have, but I did not get a reply there. They have a forum on Compu$erve. Tom Jordan Wired for Sound! - computer music for kids ========================================================================= Date: Mon, 13 Feb 1995 18:07:44 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thierry Rochebois Subject: Re: Paradoxical synth Comments: To: jlamar@IT.BERKLEE.EDU >>>That URL again is >>>http://www.atd.ucar.edu/homes/cook/anhevn/paradox/paradox.html. >This page seems to have gone away. >I just tried to access it and get a server error 404 not found. It still exists. I have just tried it and it works. - Thierry ========================================================================= Date: Mon, 13 Feb 1995 17:33:28 GMT Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Farnell Subject: Re: Timbre/gesture space research In-Reply-To: <9502130946.AA12175@marion.ief-paris-sud.fr>; from "Thierry Rochebois" at Feb 13, 95 10:46 am Sorry Thierry and anyone else who has nmailed me (either directly or through EMUSIC) - I had a disk problem today and lost all mail sent since Friday so I've lost anything you sent. Could you please resend. Cheers all, 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) 595073 ------------------------------------------------------------------------------ ========================================================================= Date: Mon, 13 Feb 1995 15:11:18 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: ANNOUNCEMENT: RMI-CD: Mind&Body Home Page Comments: To: "rec.music.industrial" , "rec.music.makers.synth" , Electronica , Emusic List , Analogue Heaven The official Home page for the RMI-CD: Mind & Body compilation project is now open for your perusal. What is RMI-CD: RMI-CD is a compilation project of industrial music created by artists on the net. It is currently in its second volume. Project management is done by Steve Boswell (atomrec@primus.com). The RMI-CD Home Page: The RMI-CD Home page provides information about the project, its' future, its artists, RMI-CD and RMI-CD artist related news, etc. The URL is: http://isl-garnet.uah.edu/claassen/RMI/ (Note: The pages were created primarily with the Netscape Navigator in mind. For best viewing results, the Netscape navigator should be used.) Enjoy! -- 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: Mon, 13 Feb 1995 16:52:45 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Lamar Subject: Re: Paradoxical synth >>>That URL again is >>>http://www.atd.ucar.edu/homes/cook/anhevn/paradox/paradox.html. >This page seems to have gone away. >I just tried to access it and get a server error 404 not found. >>>It still exists. I have just tried it and it works. Yeah it is now but it was not there before. I cut the url right out of the message so I'm sure I got it right. Oh well go figure. John