========================================================================= Date: Wed, 22 Feb 1995 01:01:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Bill Calvery Subject: Apple Computer #'s, etc. Below is a list of all the Apple Computer info I have. I thought some of you might find it helpful. While I'm on the subject, I might as well add that I'd like to end all the fuss I didn't even realize I was going to cause. It's just that my Mac has never been incapable of anything I have ever wanted it to do. Also, if a guy wants to use a PC, then use a PC! It's a personal choice thing. I could care less. I've always wondered why all PC users I know seem to HATE Mac users yet have no concrete reasons to back their feelings--while Mac guys are cool with anything. It must be because it's easier for us to accomplish our tasks without first having to needlessly learn volumes about our machines. I just have better things to do than stare at screens of computer chatter all night. I worked on a sequence tonight. I called it "Sequenced on Tue 2/21." It's nice not being limited. Oh yea. If you guys are going to call Mac users stupid, then please give some reasons for your remarks rather than just lashing out with nothing to back it up. Nevermind, scratch that last sentence. Like I said earlier, I could care less. Please don't mail me or the list with your useless, snide comments. I like getting along with people instead of finding excuses to bark at each other like mad dogs. Let's all be nice to each other, damn it! Thank you. Bill =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Apple Computer, Inc. 20525 Mariani Avenue Cupertino, CA 95014-6299 1-800-776-2333 customer relations 1-800-538-9696 for authorized Apple dealer locations 1-800-767-2775 user assistance, tech (hold time=long) (800-SOS-APPL) 1-800-769-2775 Apple Order Center 1-800-505-0171 assistance, auto fax 408-996-1010 ? ftp.support.apple.com ftp.apple.com E-mail addresses are for specific products only Berkeley Macintosh User's Group 1442-A Walnut Street, #62 Berkeley, CA 94709 415-549-2684 (549-BMUG) Boston Computer Society One Cetner Plaza Boston, MA 02108 617-367-8080 Also check into MacUser or MacWorld Magazines. They're great resources. ========================================================================= Date: Wed, 22 Feb 1995 10:04:37 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thierry Rochebois Subject: Re: Theremin For more informatio you can try: http://maury.ief-paris-sud.fr:8001/~thierry/history.html - Thierry ========================================================================= Date: Wed, 22 Feb 1995 05:09:32 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: the senses on public television Comments: To: emusic-list Many thanks to the person (I forget exactly who it was) who related the PBS show on the senses. An absolutely fascinating program! Since I came in on the middle, can anyone tell me if synaesthesia has been discussed during the series? Another disorder I am intrigued by is one (I can't remember the name of it) where a person can recognize parts of an object but can't put the parts together into a cohesive whole. Serious things, like spouses, stoves, etc. Even the most simple experiments; where persons are told to hold their nose and put a lollipop in their mouth, and all they can tell you is that it's sweet. Without the added sense of smell IN the oral cavity, full recognition isn't possible. The ramifications for computer-assisted composition (I'm thinking specifically of AI research) are exciting! How does one set up a "Neural Network" and throw a wrench into it? Chaotic variables, Stochastic processes? What if it were possible to expand the concept of MIDI so that each connected instrument, while connected, is also somewhat autonomous. Such programs would be interesting to write, and perhaps beautiful to hear. Sort of like the comparing chorus affects in Real and Synthesized strings. Along those lines, does anyone know of synthesizers that allow chaotic choruses? Ex. When 20 violins play B, each player stops the string at a different spot, so that some violins are a little, tiny bit sharp, or maybe flat. Perhaps the difference is 13hz? :-) But, on the open strings, the variance is most likely decreased, since we assume the string section tuned before playing. Some of this IS programmable, I know, and a few people I know claim that, in the future, in their attempt to duplicate the acoustic sound, their algorithms will lose descriptive, but gain prescriptive power. A-Ponderin' Scott McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Wed, 22 Feb 1995 14:35:22 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thierry Rochebois Subject: Re: Theremin For more information you can try: http://maury.ief-paris-sud.fr:8001/~thierry/history.html - Thierry ========================================================================= Date: Wed, 22 Feb 1995 14:53:11 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Stefan Gruhl (CIP 92)" Subject: Re: KlangArt 1995 In-Reply-To: <9502212058.AA146388@rzserv.rz.Uni-Osnabrueck.DE> from "Kai Schwirzke" at Feb 21, 95 09:58:32 pm > > Hi everybody, > > just a little information for all of you who are interested in music and > electronics (yup, that's what this list should be all about ;-) ): > > This unique cultural event covers all aspects of "music and electronics" > > including a scientific congress, the Musitec and the "Festival" with a series > > of concerts and performances. > > For a complete programme contact: > > KlangArt, P.O.Box 4460, 49034 Osnabrueck, Germany. > > Tel: 49-541-24960, Fax: 49-541-24913, > > Email: kschwirz@rzserv.rz.Uni-Osnabrueck.de > Wann ? Ich komme aus Nuernberg. Gibt es ein Programm? Hohe Kosten ? Danks steve -- * real electronic composers don't like their music be restricted * * to the physical limitations of the human hand - AH - a great list * * Stefan Gruhl * sngruhl@cip.informatik.uni-erlangen.de * ========================================================================= Date: Wed, 22 Feb 1995 09:05:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Lynchmob Subject: Re: Apple Computer #'s, etc. On Feb 22, 1995 Bill Calvery said: >While I'm on the subject, I might as well add that I'd like to end all the >fuss I didn't even realize I was going to cause. It's just that my Mac has >never been incapable of anything I have ever wanted it to do. Also, if a guy >wants to use a PC, then use a PC! It's a personal choice thing. I could >care less. Then why do you continue to ramble on about how great your Mac is (mainly from your earlier post) backed up by your personal feelings and not so much by pure facts? >I've always wondered why all PC users I know seem to HATE Mac >users yet have no concrete reasons to back their feelings--while Mac guys are >cool with anything. You obviously have some sort of chip on your shoulder. I know users of both machines and have not experienced animosity like what you are describing. Please stick more to facts than your limited generalizations. >It must be because it's easier for us to accomplish our >tasks without first having to needlessly learn volumes about our machines. I >just have better things to do than stare at screens of computer chatter all >night. I worked on a sequence tonight. I called it "Sequenced on Tue 2/21." >It's nice not being limited. You must not have much familiarlity with the latest generation of PC's... >Oh yea. If you guys are going to call Mac users stupid, then please give >some reasons for your remarks rather than just lashing out with nothing to >back it up. I would never make such a generalization but you have made plenty like it in this and your earlier post that had very little reasoning behind them. >Nevermind, scratch that last sentence. Like I said earlier, I >could care less. Please don't mail me or the list with your useless, snide >comments. Oh I get it - resort to your own useless, snide comments and then tell others not to do the same... >I like getting along with people instead of finding excuses to >bark at each other like mad dogs. Let's all be nice to each other, damn it! >Thank you. Practice what you preach... David T Lynch Software Engineer Hamilton Standard Windsor Locks, CT ========================================================================= Date: Wed, 22 Feb 1995 16:31:30 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thierry Rochebois Subject: mac/pc debate What about the Atari computers? I use a Falcon030, it is a good Computer Synth! so, what about a mac/pc/atari debate... I am joking! It remembers me the time when I owned a ZX Spectrum and some friends owned Oric Atmos... Where is the evolution ? In the machines, not in its users! (It's a shame isn't it) - Thierry email:thierry@marion.ief-paris-sud.fr www:http://maury.ief-paris-sud.fr:8001/~thierry/welcome.html ========================================================================= Date: Wed, 22 Feb 1995 10:33:19 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Edward Plant Subject: midi dance? Emusic Pioneers, Like some others I've talked to, I was intrigued by the brief article in Electronic Musician a few months back about John Lamar's use at Berklee of the Power Glove to trigger MIDI events, and thus develop what could arguably be called a new kind of electronic instrument (if you consider, as I do, the input method to be as vital a component of the instrument as any other of its physical characteristics). John responded to my email by briefly mentioning the existence of several others throughout the world who are doing the same kind of research. I would be interested in hearing from these people to see who they are and what they are doing. Is anyone interested in developing the technology into a real product, useable by the "masses" instead of requiring piecemeal assembly and programming like John has had to do? Who are the creative dance people (I know you are out there) who are trying, or longing to try, incorporating this idea into live interactive performance? I have resources and interest in both of these areas in particular, and would love to hear how others feel about the potential. Edward ************************************************************** * Edward Plant, Senior Engineer egp@ideas.com * * SAIC/IDEAS Group voice (410)312-2094 * * 7120 Columbia Gateway Drive FAX (410)312-2250 * * Columbia, MD 21046 * ************************************************************** ========================================================================= Date: Wed, 22 Feb 1995 16:34:29 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Thierry Rochebois Subject: Danks >Wann ? >Ich komme aus Nuernberg. >Gibt es ein Programm? Hohe Kosten ? >Danks >steve Je ne comprend pas ce genre d'Anglais ! (I do not understand that kind of English language !) ========================================================================= Date: Wed, 22 Feb 1995 10:37:51 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Tom Zougas Subject: Re: theremin In-Reply-To: <199502220201.VAA23318@ucunix.san.uc.edu> In case anyone lives in the Toronto, Canada area (or is going to visit) and are interested in checking out a functioning theremin, the Ontario Science Centre has one on hands-on display (yes, you are allowed to play (with) it). On Tue, 21 Feb 1995, Frederic M Trobaugh wrote: > > > > What is a theremin? > > > The Theremin was invented in 1923 by a man named Leon Theremin (talk about > coincidences!) It was one of the earliest electronic sound producers (along ========================================================================== Tom Zougas zougas@civ.utoronto.ca ========================================================================= Date: Wed, 22 Feb 1995 11:22:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Bourgouin, Gaetan" Subject: FW: Reel-to-Reel Recorder Comments: To: emusic-l James Porter wrote : >I just acquired a 'vintage' Akai GX-265D reel-to-reel >recorder. >I am unable to make any recordings with this machine. I suspect that >the heads are either out of adjustment or dead. I have cleaned them, >and saw minimal improvement. Upon playback, I can hear 1-2 second bursts >of what I had been recording, and always in bad quality. I am using >a brand new tape. Few hints : check your microphone ,it happens once with a condenser mic giving me only 1-2 seconds of recording (signal was dropping after half a second to zero one second later),condenser in mic was the problem . Next : AKAI was renown for using GLASS HEADS ,very tuff with ordinary tape , but very fragile if you use chrome or metal tape( they get sandblasted ). Check the head under big magnifying glass or little microscope (gaps between little heads can be short- circuit ) , you also can do a resistive test (with an ohmmeter )between contacts (or wires) from head . If it's 0 ohm the head is short , if infinite ,the head is open (in both cases you need a new head ). If head is very very dirty , oxide depots can short-circuit contacts of head (good cleaning recommended ). Also , if head seems to be good after these tests , it can be a bad tape contact with the head : a) when starting your machine , the tape is really touching the head for a second or two , then afterward it gets loose or not really touching enough the head (were the drop in signal). Check the tape transport mechanism to get sure of a good tight tape transport. b) It could be also a magnetized head : get a demagnetizer and demagnetize the heads . c) Also it can be a poor alignment of the head or a poor height adjustment (check both the recording head and the playback head as their height must be the same to read at the exact track location on the tape ). Hope you find the trouble with your machine . NOTE :This subject is more suitable on SYNTH-L list (also you should have given your e-mail address for direct replies). If more questions reply to me directly Gaetan Bourgouin gbourgou@po2.mtl.marconi.ca ========================================================================= Date: Wed, 22 Feb 1995 13:39:17 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Salamone Subject: Re: response (final, I promise) to Mark In-Reply-To: Good day all, Thanks for the info! You'll be hearing from me soon. I have lots more to ask! Sal. On Tue, 21 Feb 1995, L Mccoy (GD 1999) wrote: > It's of little use, this attempt to converse with Mr. Simon over the > emusic-list. But I shall try yet again. My youthful, hot-headedness, as > Mr. Simon puts it, and as it regards Mr. Simon, has melted away to > incredulous resignation. > > First, an interval-vector is a description of a sound. It is not a > technique, nor a bucket. It may be used to analytical and compositional > ends, but only in the sense that such descriptions are objects. The > 12-tone system is indeed a system, and is not a description of a sound. > > > Second, I have no predilections against tonality. Despite Mr. Simon's > tendency to put me in binary opposition on nearly every topic (and this is > not a SLAM against Mark's BEING, it is a description of his DOING) I > would like to think of myself as being less factionalized. My only > problem with Beaser is that I feel Puccini writes Puccini better > than Beaser does, and Barber writes Barber better than Beaser does, etc. > In short, I feel that it is possible to write tonal music without such > obvious derivations. But, this is not unique to tonal music by any means. > > Third, So far, I have not attempted to summarize music history. What I > tried to do, with my bucket analogy, was simply parody what I felt to be > your painting of me as the evil bleep-blop guy, who mends his ways and > returns to the cupboard to make yet another batch of brownies. I am > intrigued by the manner in which Mr. Simon has linked these 2 strands, > but I stand by my conviction that his summation of music history is inane. > > > > And lastly, I hope that the above points have not been perceived as > name-calling. There is a difference between describing activity and > characterizing a personality. I have tried to do the former. > Irregardless of my intuitions on character, I refrain from making the > leap (often taken by Mr. Simon) from perception of a small number of > activities to the definition of a large-scale identity. > > I am, at the moment, ambivalent about the term Hot-Headed. I like the > term Hot-Blooded. But as I have red hair, perhaps the former term is > more appropriate. Mr. Simon assures me that "I'll learn." > > > > Beating swords into plowshares, > Scott McCoy > mcco5@minerva.cis.yale.edu > ========================================================================= Date: Wed, 22 Feb 1995 11:44:58 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Computer wars are now OVER In-Reply-To: <199502221723.MAA14838@farside.gsfc.nasa.gov> from "Joe McMahon" at Feb 22, 95 12:23:39 pm Joe McMahon writes-- > >That's enough, I think. > > --- Joe M. (in listowner mode) Dang. Beat me to it by a half hour. :-P I should point out, in the interests of fairness, though, that your first go-around at controlling this argument was a bit off-kilter; while it is true that MAX per se does not exist for the PC, there IS a MIDI package whose name eludes me at the moment that does some of what MAX does, and apparently does it quite well. However, the generalized statement that we have reached a point in the evolution of these platforms where the performance and flexibility/ choice of hardware and software are largely in the same ballpark is indeed valid. There is a difference in attitude and approach to the process between Mac and PC (and Atari and Amiga and C-64 and Apple IIe and NeXT and Indy and even the MicroVAX if you know where to look), but to make a valid decision requires hands-on usage and the willingness to put effort into making up one's own mind. Like many other tasks in emusic, the choice of a computer platform is not an easy one, and requires work to do well. In the future, advice should be dispensed via private email whenever possible so we don't have blowups like this. A few hopefully general, non-politicized suggestions: since computer music involves hardware, software, and people, let those factors (whichever ones are important) guide your choice.... 1. See what software looks and feels right to you and does what you want it to do, and buy the platform that runs it. 2. See what your friends/colleagues with whom you might have to share data files use, and go with the flow. It'll make things easier for you. 3. (this is a rare one but I have to include it for completeness) See if there's a particular piece of hardware tht you absolutely positively can NOT live without, that MUST be controlled from a particular platform. If that's the case, then your decision is made for you. I probably should have said my 2 yen worth earlier, but I've been busy with other musical matters elsewhere and am way behind on mail, which I hope to catch up on soon. I'd like to thank all our panelists for their opinions, apologize to my co-moderator for slipping this one in under the radar, and bid this topic a fair ado until the NEXT time a new user comes on board and asks again. Pondering adding a SECOND item to the FAQ, after "How do I unsubscribe?". I remain, metlay PS. Hm? Who, ME? Well. If anyone's curious, Team Metlay is mostly made up of Mac users. However, several of our members prefer PCs and use them quite effectively. Your two friendly moderators both own Macs, but one (Joe) doesn't use them for music, and the other (moi) mostly uses his as a programming front-end for a Studio 5LX (see item 3 above). *shrug* -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "I think all right-thinking people in this country are sick and tired of hearing ordinary, decent people are fed up in this country with being sick and tired. I'm certainly not! But I'm sick and tired of being told that I am!" ========================================================================= Date: Wed, 22 Feb 1995 11:49:50 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: theremin In-Reply-To: from "Tom Zougas" at Feb 22, 95 10:37:51 am Tom Zougas writes-- > >In case anyone lives in the Toronto, Canada area (or is going to visit) >and are interested in checking out a functioning theremin, the >Ontario Science Centre has one on hands-on display (yes, you are allowed >to play (with) it). I smile fondly at the memory...it was the first Theremin I ever played. It's wonderful to know that the old thing's still working and on display; kids always seem to instinctively have fun with it, and I remember gathering a small crowd of young onlookers during my last trip to Toronto, when I gleefully stumbled through "Twinkle Twinkle Little Star" to the increasing hilarity of the children. BTW, in this case the gender reference is actually misplaced, to say "his or her (probably his, given etc.)" ignores the fact that the one person tht Lev Termen considered a true player of the Thereminvox, besides himself, was Clara Rockmore, who made it her instrument and still wows audiences whenever she comes out of retirement for an exhibition. Check out the CD _Clara Rockmore: The Art of the Theremin_, in better classical music sections everywhere (except here). mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "I think all right-thinking people in this country are sick and tired of hearing ordinary, decent people are fed up in this country with being sick and tired. I'm certainly not! But I'm sick and tired of being told that I am!" ========================================================================= Date: Wed, 22 Feb 1995 11:57:11 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: midi dance? In-Reply-To: <9502221533.AA24238@ideas.com> from "Edward Plant" at Feb 22, 95 10:33:19 am Edward Plant writes-- > >Emusic Pioneers, > >Like some others I've talked to, I was intrigued by the brief article in >Electronic Musician a few months back about John Lamar's use at Berklee of >the Power Glove to trigger MIDI events, and thus develop what could arguably >be called a new kind of electronic instrument (if you consider, as I do, the >input method to be as vital a component of the instrument as any other of >its physical characteristics). The Power Glove is newsworthy to new arrivals on the scene, but it has actually been in the loop, netwise, for a long time. There was (is?) a very active group of programmers using the Power Glove with MAX and several other MIDI programs, but I don't know if their mailing list is sitll active. Anyone know offhand? mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "I think all right-thinking people in this country are sick and tired of hearing ordinary, decent people are fed up in this country with being sick and tired. I'm certainly not! But I'm sick and tired of being told that I am!" ========================================================================= Date: Wed, 22 Feb 1995 12:28:52 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: back to the subject... In-Reply-To: from "john rossi" at Feb 20, 95 05:39:11 pm john rossi writes-- > >On Mon, 20 Feb 1995, Eric Harnden (Ronin) wrote: > >> 2. did anyone here watch the first episode of "mystery of the senses?" >> [...] >> i didn't need a translator. that was definitely aggressive music. so my >> basic response is that, while the effects of large chunks of musical >> style are certainly culturally based, there is still some kind of essential >> substrate, some basic programming which might go beyond the loud_sound= >> run_like_hell connection. although there's a question i could ask that, >> for me at least, would help to orient me as to how much of this really >> is just cultural. so... > >I agree, entirely. There is no question that some sound sequences >probably have an evolutionary explanation for the emotions/sensations >they elicit. You have to admit, however, this is a far cry from >attributing emotional content to a 13 hz tone. Primitive emotions and >emotional driving appear to have some relationship to survival. It is, >therefore, not surprising that loud low frequency material evoke fear >(terror?). Philosophically, I am a radical behavorist. While I >recognize the evolutionary components as being important, I still believe >that emotional responding to MUSIC is mainly a learning phenomenon. There is no evidence that I know of that humans react universally to any sonic idea that could be classed as 'musical' beyond, perhaps, the hypnotic effect of a repeated rhythm. This last recurs in almost every culture to some extent or another, no matter how primitive, and can also be heard among gorillas and other primates. >> 3. are there any japanese here, particularly some who might be familiar >> with the noh theater? as an american, the music of the noh always strikes >> me as eerie, either evoking isolation, or something vaguely frightening >> about the the interface of the spiritual and material, or just abstract >> and unnerving simply because it is so different. how does it affect a member >> of the culture in which it is embedded? I strongly recommend _Some Prefer Nettles_ by Junichiro Tanizaki, in which the structure of Japanese theatre from a Japanese standpoint is eloquently explained in terms that an astute American can follow. It's been many years since I dusted it off and read it, but I still think of it frequently. The references there are to puppetry rather than Noh, but the generalities hold nicely. On emusic and the Japanese/ American connection, >While Japaneese and American cultures differ substantially, I have always >been intrigued by the fact that Japaneese language has a very Western >feel to it. For example, most Japaneese words and names are easily >pronounced because consonants are usually followed by vowels which lead >to phonetic pronounciation. There are many more differences between the >'sound' of Japaneese language and other Eastern (i.e., Chineese) than >between Japaneese and Western (Romantic based, at least) languages. I >think that this is also evident in the music. Japaneese music, although >articulated with the instruments of the culture, sounds like Western >music. I have listened to some Japaneese folk music and I was astonished >as to how Weatern-like it sounded. The dichotomy between the native Japanese language, which is syllabic and has a letter-based written language, and the imported stuff from China that came to dominate Japanese society starting around the Nara period, is fascinating. It goes to show what happens when a strong but primitive native culture runs smack up against a much larger, older, and more sophisticated culture, that is just alien enough not to be accepted wholeheartedly. One could argue that Japanese emusic makes similar choices ona regular basis, and the most succesful artists are those who maintain a careful balance between Japanese character and American idiom. For reference, try anything by Yellow Magic Orchestra or its solo members (especially Haruomi Hosono, who is often unfairly eclipsed by far more famous bandmate Ryuichi Sakamoto) and listen to how the Japanese perspective warps essentially American ideas. It's sad that the flipside doesn't appear to hold; if an American ever wrote a Noh play that was remotely successful with Japanese audiences, I have never heard of it. The closest we get to Noh is making fun of it, as in a recent episode of "the State" or the now-infamous book _Wicked Japanese for the Business Traveller_, which has a section on what to say after a Noh performance, like "Well, THAT was different" and "It was like drops of water boring a hole in my forehead." >> 4. ObEmCon > >Obvious Emusic Connection? Obligatory Emusic Content. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "I think all right-thinking people in this country are sick and tired of hearing ordinary, decent people are fed up in this country with being sick and tired. I'm certainly not! But I'm sick and tired of being told that I am!" ========================================================================= Date: Wed, 22 Feb 1995 17:00:15 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: haeckerh@OSPREY.NWRC.GOV Subject: MM's sagacious advice/MAX for PC mike advances: >...while it is true that MAX per se does not exist for the PC, there >IS a MIDI package whose name eludes me at the moment that does some >of what MAX does, and apparently does it quite well. ------ >1. See what software looks and feels right to you and does what you >want it to do, and buy the platform that runs it. Succinctly put, Mike. I was thinking about this problem earlier last night (a problem for me, since I own a recently upgraded 486/66): Cakewalk is only for PC...MAX is only for the Mac. I'd never heard of MAX before signing onto this list last year (South Louisiana isn't exactly a Mecca for music stores, and I don't subscribe to any e-music periodicals), but it sounds like there's MUCH fun to be had within its convoluted walls...but not at the expense of losing Cakewalk or having to buy another computer! CW Pro may or may not be the "best" sequencer (whatever *that* means), but it's the one I've got memorised to a fare-thee-well, and certainly has more than enough features to make me as productive as I desire. Hell, my limiting factor right now is Peace of Mind...wish _that_ was offered on dual platforms! keep on continuously controlling... Harry Haecker (haeckerh@nwrc.gov) ========================================================================= Date: Wed, 22 Feb 1995 18:52:36 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Elaine B Richardson Subject: Re: response to mike salamone In-Reply-To: from "Michael Salamone" at Feb 22, 95 01:39:17 pm Dear mike, are you related to jim salamone who is a producer in philly? elaine richardson richa115@studentrmsu.edu> > Good day all, > Thanks for the info! You'll be hearing from me soon. I have lots more > to ask! > Sal. > > On Tue, 21 Feb 1995, L Mccoy (GD 1999) wrote: > > > It's of little use, this attempt to converse with Mr. Simon over the > > emusic-list. But I shall try yet again. My youthful, hot-headedness, as > > Mr. Simon puts it, and as it regards Mr. Simon, has melted away to > > incredulous resignation. > > > > First, an interval-vector is a description of a sound. It is not a > > technique, nor a bucket. It may be used to analytical and compositional > > ends, but only in the sense that such descriptions are objects. The > > 12-tone system is indeed a system, and is not a description of a sound. > > > > > > Second, I have no predilections against tonality. Despite Mr. Simon's > > tendency to put me in binary opposition on nearly every topic (and this is > > not a SLAM against Mark's BEING, it is a description of his DOING) I > > would like to think of myself as being less factionalized. My only > > problem with Beaser is that I feel Puccini writes Puccini better > > than Beaser does, and Barber writes Barber better than Beaser does, etc. > > In short, I feel that it is possible to write tonal music without such > > obvious derivations. But, this is not unique to tonal music by any means. > > > > Third, So far, I have not attempted to summarize music history. What I > > tried to do, with my bucket analogy, was simply parody what I felt to be > > your painting of me as the evil bleep-blop guy, who mends his ways and > > returns to the cupboard to make yet another batch of brownies. I am > > intrigued by the manner in which Mr. Simon has linked these 2 strands, > > but I stand by my conviction that his summation of music history is inane. > > > > > > > > And lastly, I hope that the above points have not been perceived as > > name-calling. There is a difference between describing activity and > > characterizing a personality. I have tried to do the former. > > Irregardless of my intuitions on character, I refrain from making the > > leap (often taken by Mr. Simon) from perception of a small number of > > activities to the definition of a large-scale identity. > > > > I am, at the moment, ambivalent about the term Hot-Headed. I like the > > term Hot-Blooded. But as I have red hair, perhaps the former term is > > more appropriate. Mr. Simon assures me that "I'll learn." > > > > > > > > Beating swords into plowshares, > > Scott McCoy > > mcco5@minerva.cis.yale.edu > > > ========================================================================= Date: Wed, 22 Feb 1995 16:42:07 -0800 Reply-To: bc492@scn.org Sender: Electronic Music Discussion List From: SCN User Subject: Re: Alesis Quadrasynth > >I'm the maybe not so proud owner of one of the original Alesis Quadrasynths. > I'd like to hear from other Quadrasynth owners, if there are any that >subscribe to this list... >I'm also into music sequencing. Anyway, when all the chat dies down from the >alleged effects of 13 hz soundwaves on the brain, maybe we could talk about >electronic music, composing, sequencing, etc. >Richard Stellar >RevoNo9@aol.com > Yes, Richard, I'm a "sometime" owner of a QuadraSynth. The ball's in your court...> ========================================================================= Date: Wed, 22 Feb 1995 20:03:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MacBruin@AOL.COM Subject: Re: MIDI Manager Well, I have MIDI Manager 2.0, and I'd be glad to send you a copy or even post it here uuencoded... if that's okay for this area to do that (its freeware.) I have no idea if this is the newest version though... If anyone has a newer one let me know, it does seem a bit out of date, but MIDI Manager is absolutely necessary for doing things like getting more than one application to talk to each other when they're both running. For example, I use Midi Manager Patch Bay to send the MIDI out from Mastertracks into Player Pro (a SoundTracker-like MOD editor) which lets me use the Mac (I have 16-bit sound) as a sampler, and control it with my sequencer.... But it is a little dusty... I think Apple kind of abandoned Midi Manager a few years ago.. If I am wrong I'd love to hear about it, though. ========================================================================= Date: Wed, 22 Feb 1995 20:14:45 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MacBruin@AOL.COM Subject: Re: Doesnt anyone know what this is??? As far as IBM vs Mac for music... one area I am interested in is composing Amiga MOD type files (which are edited with programs like SoundTracker)... It seems unfortunately (as I have a Mac) that these have caught on a whole lot better on the IBM than the Mac... There is only one editor out that for MOD files on the Mac (called Player Pro) which is really pretty bad, and surprisingly slow even on my Power PC. I used to have an Amiga 500 with 1 meg of ram and it was immensly superior to my tricked out Power PC with 16 megs of ram... I just don't understand it. As the Amiga is a completely defunct subject, it seems that the MOD technology has transferred pretty well over to the IBM, as I understand it there are lots of editors out there, many of them very similar to their Amiga counterparts. ========================================================================= Date: Wed, 22 Feb 1995 18:54:10 -0800 Reply-To: bc492@scn.org Sender: Electronic Music Discussion List From: SCN User Subject: Re: midi dance? > >Emusic Pioneers, > >Like some others I've talked to, I was intrigued by the brief article in >Electronic Musician a few months back about John Lamar's use at Berklee of >the Power Glove to trigger MIDI events, and thus develop what could arguably >be called a new kind of electronic instrument (if you consider, as I do, the >input method to be as vital a component of the instrument as any other of >its physical characteristics). > >John responded to my email by briefly mentioning the existence of several >others throughout the world who are doing the same kind of research. I would >be interested in hearing from these people to see who they are and what they >are doing. Is anyone interested in developing the technology into a real >product, useable by the "masses" instead of requiring piecemeal assembly and >programming like John has had to do? Who are the creative dance people (I >know you are out there) who are trying, or longing to try, incorporating >this idea into live interactive performance? > >I have resources and interest in both of these areas in particular, and >would love to hear how others feel about the potential. > > >Edward > > >************************************************************** >* Edward Plant, Senior Engineer egp@ideas.com * >* SAIC/IDEAS Group voice (410)312-2094 * >* 7120 Columbia Gateway Drive FAX (410)312-2250 * >* Columbia, MD 21046 * >************************************************************** > > To: EMUSIC-L@LISTSERV.AMERICAN.EDU Subject: Re: midi dance? Cc: Reply-To: bc492@scn.org > >Emusic Pioneers, > >Like some others I've talked to, I was intrigued by the brief article in >Electronic Musician a few months back about John Lamar's use at Berklee of >the Power Glove to trigger MIDI events, and thus develop what could arguably >be called a new kind of electronic instrument (if you consider, as I do, the >input method to be as vital a component of the instrument as any other of >its physical characteristics). > >John responded to my email by briefly mentioning the existence of several >others throughout the world who are doing the same kind of research. I would >be interested in hearing from these people to see who they are and what they >are doing. Is anyone interested in developing the technology into a real >product, useable by the "masses" instead of requiring piecemeal assembly and >programming like John has had to do? Who are the creative dance people (I >know you are out there) who are trying, or longing to try, incorporating >this idea into live interactive performance? > Dear Edward, In order to avoid taking up an unneccessary amount of space (and time!), my I refer you to the August '94 issue of "Keyboard" magazine (if you can find it, and if you can't, I'd be more than happy to supply you with further details). The STEIM studios of Amsterdam, The Netherlands, are discussed, at some length, with descriptions of MIDI controllers that I'm certain you'll find of great interest (e.g., the "Sweatstick", to name but one.) Happy reading, y buenas suerte! Eric Sluyter (bc492@scn.org) ========================================================================= Date: Thu, 23 Feb 1995 14:31:00 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: Uh, what's MAX? Hi MacBruin... > Here comes a stupid question: What;s MAX? Not stupid at all, sir. MAX is pretty obscure compared to the likes of Opcode's other software, Vision and Galaxy (and OMS, for that matter). MAX was created by Miller Puckette at IRCAM in the late 80s, originally on the NeXT computer. He might have done a bit of work on the Mac version; when I was at Rhodes University in Grahamstown, South Africa, in 1990, I saw a pre-release document describing MAX, which only referred in Opcode in passing. Anyway, Opcode picked up the rights for Macintosh development and we got it. The last version was 2.5.2, as David Zicarelli of Opcode put it > has been around for about 2.5.2 years. I am given to believe that it is not PowerMac native, but I hope it runs OK on it. I know a couple of people who lost installs while trying to run 2.5.2 on a PowerMac. I wouldn't be surprised if a native version comes eventually. MAX is an object oriented environment, but this doesn't mean you have to know about object (or any other) programming. Basically, you make 'patches' which consist of a whle lot of 'objects' strung together. For example, you can take a 'midiin' object and connect its output to a 'midiout' object; you have just turned your computer and MAX into a MIDI THRU box. Of course, if you want it to be really interesting, there's a whole host of other objects which you can put in between which will transform the MIDI data. There are also objects available which use Digidesign hardware for audio processing, or which allow CD or video disc player control or the playing of Quicktime movies, and so on. Others on this list can add to my description or correct any errors; I've been using MAX for a while now and I love it. Hope this helps. And don't feel stupid. I'll bet there's a thousand others out there who didn't have the guts to ask the question. David musdr@lure.latrobe.edu.au ========================================================================= Date: Wed, 22 Feb 1995 22:50:55 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ian Varley Subject: Composition? Hello- My name is Ian. I am new to this neighborhood of the net, but I saw this group listed, and since it is something I am very interested in, I though I might give it a try. I have only been listening for a day or so, but I haven't noticed any discussions of Electronic Composition going on, and I was wondering if there were any? I am presently a student at Skidmore College, in upstate New York. I am interested in all kinds of Electronic Composition, including stuff like the works of Bill Schottstaedt, John Chowning, David Jaffe, etc. as well as the use of Electronic media for use in conjuction with live music for composition. One REALLY big interest of mine is the extended use of Electric Guitars in composition (i.e., composiong for Electric Guitar as it was meant to be played...with a power drill! Just kidding. [sort of...]) I am just curious to know if anyone else has any interest in that. If so, great. If not, and I am looking in the wrong place, just say so. I have lots of different interests within the scope of electronic composition, and would love to hear if anyone else on this list is working in it as well. Thanks-have a nice whatever. :) ian * * * * * * * * * * I have been given much, but why this also? I was abashed. What grand gesture of welcome was I to make? I bowed, curtsied, but the modest moon appeared unaware of homage. -Denise Levertov ========================================================================= Date: Thu, 23 Feb 1995 03:09:23 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Subject: Musical Aplication Programming Comments: To: emusic-l@AMERICAN.EDU I am very interested in doing some sequencer programming using C++ or Visual C++ either for Windows. I have ordered the Music Quest Programmer's kit. I already own C++ and Visual C++. I also have Visual Basic. Does anyone know of any FTP sites that would be helpfull. If anyone has done any programmi ng of this type please tell me your stories. I'd love to find some examples of things others have done, particularly if I can find the code as well. Thanks in advance. Michael in Chattanooga Tn. rmillard@utcvm.utc.edu ========================================================================= Date: Thu, 23 Feb 1995 03:18:59 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Michael Subject: Re: midi dance? In-Reply-To: Message of Wed, 22 Feb 1995 11:57:11 -0800 from Is there a list in general that discusses programming software and applications for midi use? rmillard@utcvm.utc.edu Michael in Chattanooga ========================================================================= Date: Thu, 23 Feb 1995 08:15:51 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ramsayd@SMTP-GW.SPAWAR.NAVY.MIL Subject: Tascam PA-20 MKII Power Amp Comments: To: synth-l@american.edu, doug.ramsay@his.com, emusic-l@american.edu, calleyne@pseg.com Hi folks: Hope this is too off topic (just finished reading some posts on the Alesis RA-100). Does anybody own the new Tascam PA-20 MKII Power Amp? Just saw a picture of it (Recording Mag) and had Tascam fax me the tech sheet info. Does anyone know how it compares to the RA-100. I'm thinking of purchasing one of the two one day. I would appreciated replies to the address below and would be glad to post a summary as well as a crossposting summary on thoughts of the RA-100 (from SYNTH-L and rec.music.synth) that I've saved as a file to SYNTH-L and EMUSIC-L. Thanks... Doug / `-' / ,,, |[====|||||||||||[:::} My type of "g-strings" \__.-._\ ``` ========================================================================= Date: Thu, 23 Feb 1995 11:13:01 U Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: John Lamar Subject: Re: midi dance? mike metlay writes; >>There was (is?) >>a very active group of programmers using the Power Glove with MAX and >>several other MIDI programs, but I don't know if their mailing list is >>sitll active. Anyone know offhand? Well there was a glove list which mostly dealt with people using the glove for home-brew Virtual Reality research on the PC side. There was some stuff about doing music and a little traffic about using MAX but it was not the main focus of the list. The list has since gone away and I have not heard of anyone reviving it. I know of maybe 5-10 people doing glove music around the world including some others here at Berklee. One of the problems with the glove is that they are no longer made and also the interface which works with the MAX object is also no longer made. (Although Eric Singer at NYU has bought the remaining supply of Goldbrick interfaces and has posted on the net that he is selling them) There are other glove interfaces which have been produced on a small scale by others on the net, but they use the serial port which makes them a bit harder to use in MAX. Also there have been problems getting them. The concept of using gesture to control and make music directly is a powerful one and the PowerGlove could be considered a transitional technology along the road. I'm still searching for the next step but in the mean time I see me writing music for the glove for at least a few more years. I still have lots of ideas for this technology. John P. Lamar Computer Systems Coordinator Music Synthesis Department Berklee College of Music 617-266-1400 ext. 484 jlamar@it.berklee.edu ========================================================================= Date: Thu, 23 Feb 1995 11:18:11 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: Composition? I'm very interested in composing for Electric Guitar (and a power drill might be just what it needs to be taken seriously! ;-)), as I'm a degreed composer and an electric guitarist. Some film music has used it in an interesting way - combining it with a full orchestra and using some of its more interesting textures (vibrato bar harmonic dive bombs, etc.). I'll stay in the loop for a discussion on this! ========================================================================= Date: Thu, 23 Feb 1995 11:25:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Wired4Soun@AOL.COM Subject: Re: midi dance? I too, am quite interested in other controllers. Bring on the dancing controls! One of my first experiments was with a magnetometer I borrowed from a geophysicist back in the '70's. I didn't get very far at that time, but now I'm involved in several interactive projects for pedestrians (non-musicians - "off the street") I want to guarantee success for this pedestrian with my gadgets, and that is the creative job for myself! I've been hustling engineer-types who love this music to make black boxes for me. 'Sounds like you are a kindred spirit! I hope that you hear from lots of others. Tom Jordan Wired for Sound! - computer music for kids ========================================================================= Date: Thu, 23 Feb 1995 12:13:57 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Adkins Subject: OK, Another Stupid Question What are MOD files and how are they created? --Jeff Jeff Adkins ================ jadkins@infi.net ========================================================================= Date: Thu, 23 Feb 1995 11:07:12 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Siberian Khatru Subject: More MAX questions... What would it take to convince Opcode that they wouldn't lose money on a PC version of MAX? With all the talk of how great this program is, I'm sure the PC users out there would love to get their hand on it. And who knows, Windows Ninety-whatever may just be all that it's cracked up to be and would do justice to a PC version of MAX. Any suggestions as to convincing Opcode to fill the gap in the market? Cheers, Jon Southwood jsouthwo@keller.clarke.edu ****************************************************************************** "Critics are like eunuchs in a harem. They're there every night, they see it done every night, the see how it should be done every night, but they can't do it themselves."-Brendan Behan ****************************************************************************** ========================================================================= Date: Thu, 23 Feb 1995 14:29:33 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: MIDI Manager In-Reply-To: <950222200302_29493987@aol.com> from "MacBruin@AOL.COM" at Feb 22, 95 08:03:03 pm > > Well, I have MIDI Manager 2.0, and I'd be glad to send you a copy or even > post it here uuencoded... if that's okay for this area to do that (its > freeware.) Well, not exactly... I believe that Apple still sells it, but anyone who can find a copy of the Lime demo gets a copy which comes along with the Lime demo. I'd hate for you to get in trouble (or me!), so I'd recommend finding a copy of Lime and NOT posting it ... Lime is available from ftp://medusa.cerl.uiuc.edu/pub/lime. As an aside, uuencoding Mac files, especially anything with a resource fork, tends to break them very badly. BinHex is recommended instead. I have no idea if this is the newest version though... If anyone > has a newer one let me know, it does seem a bit out of date, but MIDI Manager > is absolutely necessary for doing things like getting more than one > application to talk to each other when they're both running. 2.0 is as late as I've heard of. > I think Apple kind of abandoned Midi Manager a few years ago.. If I > am wrong I'd love to hear about it, though. Pretty much, unfortunately. --- Joe M. ========================================================================= Date: Thu, 23 Feb 1995 14:34:28 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Stellar Subject: Re: Composition? Have you ever heard any of the compositions by a guitarist named Keith Johnson? He has done some real innovative things. I don't know if he's done composing or film work...but his technical expertise is kind of legend among the people I know. Richard Stellar RevoNo9 p.s. he performs with a group called Straynj Bedfelloes ========================================================================= Date: Thu, 23 Feb 1995 15:20:16 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Patrick S. Faucher" Subject: Re: MIDI Manager Yeah, hey, does anyone out there know how to sucessfully utilize midi manager and patch bay so I can have Band in a Box send info directly to Finale while both are running simultaneously? It seems my mac doesn't want to do the actual multitasking. Thanks! ========================================================================= Date: Thu, 23 Feb 1995 16:50:02 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Richard Stellar Subject: Re: Galaxy/Quadrasynth and Tull Does anyone possess a galaxy library file that reflects the new factory patches for the Alesis Quadrasynth? ******************************* Anybody got a copy of Ian Anderson's solo cd that had emusic programming used extensively? I heard a couple of cuts and thought it was fantastic. Richard Stellar RevoNo9@aol.com ========================================================================= Date: Thu, 23 Feb 1995 15:24:22 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: More MAX questions... In-Reply-To: from "Siberian Khatru" at Feb 23, 95 11:07:12 am > What would it take to convince Opcode that they wouldn't lose > money on a PC version of MAX? With all the talk of how great this > program is, I'm sure the PC users out there would love to get their hand > on it. And who knows, Windows Ninety-whatever may just be all that it's > cracked up to be and would do justice to a PC version of MAX. Any > suggestions as to convincing Opcode to fill the gap in the market? I'm pretty sure that Opcode is examining the market themselves already After all, Vision is now on PC. If their market research indicates that it is a worthwhile port (with their main Max developer being a Mac person, i believe) they'll do, otherwise no trying to convince when will do anything... -- 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: Thu, 23 Feb 1995 15:00:44 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: SYNTH-L and its relationship to EMUSIC-L In-Reply-To: <950222215825_29625932@aol.com> from "Bill Calvery" at Feb 22, 95 09:58:26 pm Bill Calvery writes-- > >> To All or Any - >> >> Before I asked, I thought I'd ask...Are Buy/Sell inquiries welcome on >> this board? >> >>Not here, but synth-l@american.edu (many of the same folks) >would welcome >it. >> >> --- Joe M. > >What is this address you mentioned? Is it a mailing list, etc? If so, >should I just mail the list and say "subscribe." Please give me more info. For those who might not know it yet, SYNTH-L is EMUSIC-L's sister list, also administered by Joe and me. You can subscribe to it by sending SUBSCRIBE SYNTH-L Your Name in the body of a text letter to listserv@american.edu. If you send a message like this to synth-l@american.edu, you will receive not a subscription but rather a pile of hatemail from disgruntled SYNTH-L readers who daily have to slog through a depressing number of requests for subscription and unsubscription from people who can't be bothered to read help files or save information messages. You wouldn't want that. SYNTH-L was originally set up as a BITNET list feed for the USENET newsgroup rec.music.synth, but was shut down due to the tremendous bandwidth of that group, now replaced by rec.music.makers.synth and still where I refer people who think that EMUSIC-L and SYNTH-L are chaotic, rambling, and lacking in worthwhile signal-to-noise. Nowadays, SYNTH-L exists as a 'gearhead' adjunct to EMUSIC-L; we ask that discussions of music stay here, and specific inquiries about particular pieces of gear go there. SYNTH-L is also the place where buying and selling of gear is allowed, where people talk about the relative merits of various Soundblaster cards, and where gossip about mail order firms and so forth gets dished out. Many EMUSIC-L readers take both lists, as Joe mentioned, but some prefer either one or the other, and we try to separate them as cleanly as we can. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- rec.music.synth, 8 September 1992: Brian Good: "You can also use it to make your wife's cat do unusual things." Nick Rothwell: "Wife? If I had a wife I wouldn't be interested in dancers." ========================================================================= Date: Thu, 23 Feb 1995 14:38:44 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: More MAX questions... In-Reply-To: from "Siberian Khatru" at Feb 23, 95 11:07:12 am Siberian Khatru writes-- > > What would it take to convince Opcode that they wouldn't lose >money on a PC version of MAX? With all the talk of how great this >program is, I'm sure the PC users out there would love to get their hand >on it. And who knows, Windows Ninety-whatever may just be all that it's >cracked up to be and would do justice to a PC version of MAX. Any >suggestions as to convincing Opcode to fill the gap in the market? I don't think they have any plans to do so. While Opcode is currently getting Vision to work in Windows (in preparation for what many regard as an eventual defection to the enemy camp, insert platform-flamewar here), so the Macs-only label doesn't apply to them any more, MAX is simply not a huge cash cow for them. It's a very powerful, intricate program, and would probably be hellish to port and debug. In fact, I would honestly be surprised if they do a native PowerMac version. I'll talk to my friends at Opcode, but if they ARE working on it they may be under non-disclosure agreements, so I can't make any promises about learning anything. (Of course, being a non-MAX user, I could be completely overlooking discussions on the MAX list about this very topic.) mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- rec.music.synth, 8 September 1992: Brian Good: "You can also use it to make your wife's cat do unusual things." Nick Rothwell: "Wife? If I had a wife I wouldn't be interested in dancers." ========================================================================= Date: Thu, 23 Feb 1995 14:30:31 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: MAX, platforms, and relearning In-Reply-To: <9501227935.AA793501215@osprey.nwrc.gov> from "haeckerh@OSPREY.NWRC.GOV" at Feb 22, 95 05:00:15 pm haeckerh@OSPREY.NWRC.GOV writes-- > >Succinctly put, Mike. Wha-at? What are you trying to do, ruin my rep? >I was thinking about this problem earlier last night (a problem for me, >since I own a recently upgraded 486/66): Cakewalk is only for PC...MAX is >only for the Mac. I'd never heard of MAX before signing onto this list >last year (South Louisiana isn't exactly a Mecca for music stores, and I >don't subscribe to any e-music periodicals), but it sounds like there's >MUCH fun to be had within its convoluted walls...but not at the expense of >losing Cakewalk or having to buy another computer! > >CW Pro may or may not be the "best" sequencer (whatever *that* means), but >it's the one I've got memorised to a fare-thee-well, and certainly has more >than enough features to make me as productive as I desire. Hell, my >limiting factor right now is Peace of Mind...wish _that_ was offered on >dual platforms! Sticking with what you know is often a perfectly valid reason for not making any major changes, and shouldn't be sneered at. Where a huge technological learning curve FOR EACH NEW DEVICE is concerned, change for change's sake is rarely worthwhile; this is why someone like Joe can own one synth and nothing else and compose entire albums with little effort while the rest of us scream at our miswired MIDI rigs. After sixteen years in the business (AIEEE!), I have gotten to the point where I own only what I must to do my music, and it's STILL too much to absorb and use easily. Becoming a father this spring is very likely to force me into an entirely new working paradigm, and just between y'all and me I'm not sure I'm going to like it. That having been said, I will say this about MAX: I have seen it working for over two years now, if not longer. I have several friends who use it a lot, including two members of my band. I have had them use it in a musical context with me several times. I will never, ever own a copy. If I were to buy it and start to use it, I would vanish from the music industry for at least a year and maybe forever; I'd be having too much fun designing patchers that someone else had probably already done better. :) I know a massive timesink when I see it, and this is one 'whole new world' I can't afford to explore. On the other hand, Steve Verity had this to say about it: "I just saw a demo of MAX. I understand now; I have to throw away my PC and get a Mac and start over again completely from scratch." (He hasn't yet...) mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- rec.music.synth, 8 September 1992: Brian Good: "You can also use it to make your wife's cat do unusual things." Nick Rothwell: "Wife? If I had a wife I wouldn't be interested in dancers." ========================================================================= Date: Thu, 23 Feb 1995 21:09:47 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: TerryN2250@AOL.COM Subject: Re: Uh, what's MAX? Max is an object oriented programming language made by Opcode. ========================================================================= Date: Thu, 23 Feb 1995 21:14:26 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: TerryN2250@AOL.COM Subject: Re: MAX, platforms, and relea... MAX is a very flexible, powerful tool. Since it is a shell over the "C" language I imagine the code can be translated to the PC platform. Can anyone confirm this? ========================================================================= Date: Fri, 24 Feb 1995 13:28:37 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: MIDI Manager Hi Patrick, Opcode's OMS is designed to allow you to patch from one app to another. It can be used with the MIDI Manager if your non-Opcode apps aren't OMS compatible. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Thu, 23 Feb 1995 23:03:12 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Ian Varley Subject: Re: Composition? Andy Frazier writes: >I'm very interested in composing for Electric Guitar (and a power drill might >be just what it needs to be taken seriously! ;-)), as I'm a degreed composer >and an electric guitarist. Some film music has used it in an interesting way >- combining it with a full orchestra and using some of its more interesting >textures (vibrato bar harmonic dive bombs, etc.). I'll stay in the loop for a >discussion on this! Do you know any names of these works, or of their composers? I would be very interested to find and listen to some stuff like this. I just got a CD called "The Guitars That Rule the World"...it contains some serious shredding by big name guitarists like Richie Sambora (Bon Jovi), Paul Gilbert (Mr. Big) and Nuno Bennencourt (Extreme) to name just a few. Some of the stuff on the disk is the same old "play the arpeggio till your fingers burn ruts in the fretboard" routine, but some of it is seriously interesting. (Esp. the peice by Paul Gilbert, called "I Understand Completely".) It's incredible stuff, and it really made me remeber this idea I had to do composition that used the _whole_ electric guitar. Has anyone here actually written for E. Guitar? Chime in if you have. Richard Stellar writes: >Have you ever heard any of the compositions by a guitarist named Keith >Johnson? He has done some real innovative things. I don't know if he's done >composing or film work...but his technical expertise is kind of legend among >the people I know. Is his stuff available commercially? Just wondrin. ian Varley * * * * * * * * * * I have been given much, but why this also? I was abashed. What grand gesture of welcome was I to make? I bowed, curtsied, but the modest moon appeared unaware of homage. -Denise Levertov ========================================================================= Date: Fri, 24 Feb 1995 00:45:45 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Twoheadyak@AOL.COM Subject: Re: Uh, what's MAX? Max is COOL... Seriously, MAX is a MIDI programing language; Mac-based, I don't believe a version exists for PC. It's an object oriented language with a graphical interface, you have boxes that perform various user-defined functions (like clocks, sysex-dumps, randomizers, you name it), stretch a patch-cord between them, and VIOLA! you've got a program. A basic application would be building a drum machine that outputs MIDI files for you to sequence. More advanced apps would be building an interactive music accompanyist. A friend of mine built a program that went into the sysex data of an old DX7II and in real time played rythmic data while resynthesizing the sounds so that the same note and sound were never played twice; another friend made some $$$ with his dance music generating program (you just start the program and watch it go). So you see...MAX is COOL. ========================================================================= Date: Fri, 24 Feb 1995 01:17:12 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: DrewLesso@AOL.COM Subject: TX16W.lostSHILLSaddress Comments: To: EMUSIC-L@american.edu I lost SHILLS address. gbourgou gave me some sites to download Yamaha Factory Strings, but was unable to complete. Does ANYBODY have a copy of Factory Strings for the TX16W. Mine got damaged. I can snail mail you 2 formatted discs and sase to recover them. thanks ========================================================================= Date: Fri, 24 Feb 1995 08:46:10 +0100 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Fonz Rave Organization: STOAS Subject: Twelve Tone E-Mail Does anybody know the e-mail address of Twelve Tone (Cakewalk) ? Fonz. Fonz Rave P.O. Box 78 6700 AB WAGENINGEN Tel : +31 (0)8370 72711 Fax : +31 (0)8370 24770 E-MAIL : FRA@STOASWAG.AGRO.NL ========================================================================= Date: Fri, 24 Feb 1995 10:49:19 MET-1 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Piotr Lipinski Organization: Gazeta Wyborcza, Warsaw, Poland Comments: To: EMUSIC-L@AMERICAN.EDU UNSUBSCRIBE Piotr Lipinski ========================================================================= Date: Fri, 24 Feb 1995 13:55:08 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: NECMETTIN KAYA Subject: D70 with SB Hello everybody, I'm new to this list and I have a problem with my MIDI system. I have a D-70 Roland synth and a Sound Blaster Pro 4 Card. Before that, I had been using D70 with Atari ST. But now, I want to use D70 with SB. Last week I bought a MIDI cable to connect D70 and SB. My MIDI program is CakeWalk (Shareware version). I have also Win31 SB drivers. When I connect them I didn't hear any sound from D70. Does anyone use D70 with SB? Thanks in advance... Necmettin KAYA Bursa, TURKIYE mfmak05@mf20.bim.uludag.edu.tr ps: My computer is 386 DX 33 MHz. ========================================================================= Date: Fri, 24 Feb 1995 09:45:13 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: response (final, I promise) to Scott In-Reply-To: > > Second, I have no predilections against tonality. Let's go back to your original posting which started all of this. Your statement specifically condemned this Beaser fellow for using tonality, saying "it's 1995 and this composer shouldn't be writing this way". I'm particularly sensitive to statements of this nature because I heard plenty of it from my distinguished composition teachers when I was a grad student, and it pains me that this attitude is still being propogated today. My answer remains "I'll compose any way I damn please". > tendency to put me in binary opposition on nearly every topic (and this is > not a SLAM against Mark's BEING, it is a description of his DOING) I No, you put yourself in binary opposition to me. More than that you're not content to argue the issues. You prefer to attack the person. Rather than say "your argument is inane" you should tell us why the argument is inane, and even better leave out the word "inane". This is what makes you appear hot-headed. > would like to think of myself as being less factionalized. My only > problem with Beaser is that I feel Puccini writes Puccini better > than Beaser does, and Barber writes Barber better than Beaser does, etc. > In short, I feel that it is possible to write tonal music without such > obvious derivations. But, this is not unique to tonal music by any means. Indeed, I might come to the same conclusion were I to listen to the music you were talking about, were I to hear it. I insist on judging music on a case by case basis, and I'm going to assume you do too, although pronouncements about what a composer ought to be writing because it's 1995 do tend to make me wonder. > Third, So far, I have not attempted to summarize music history. Your view of music history was implicit in the "it's 1995 and..." statement. I don't know whether to label it "inane" but I think the word "faulty" will do. Or perhaps "no longer applicable". > > And lastly, I hope that the above points have not been perceived as > name-calling. There is a difference between describing activity and > characterizing a personality. I have tried to do the former. You have not succeeded. > Mr. Simon assures me that "I'll learn." I certainly hope so. Mark Simon mgs2@cornell.edu ========================================================================= Date: Fri, 24 Feb 1995 09:59:23 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Re: dead music? (or, Scott wants one more jab) In-Reply-To: > > I am continually bemused by the pronouncements of death of composers. > Death as regards style, etc.. I suppose the most offensive thing about > such pronouncements is the projection of idiosyncratic compositional > techniques (their own) onto composers who think perhaps a little bit more > about their material. Now now. You don't know a thing about what I write, or what kind of compositional techniques I use. Nor do you have any idea about how much thought I put into my material. > > "Oh that Milton Babbitt! He was just trying to shock us. Shock is dead, > DEAD, I tell you!! Now, "we" are interested in FEELINGS. And open-fifth > ostinati on the high end of the piano.....Midnight, and the kitties are > sleeping..." Now this is truly inane. Sorry Scott. Mark Simon mgs2@cornell.edu ========================================================================= Date: Fri, 24 Feb 1995 08:58:10 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Stephen David Beck Subject: Csnd.app for NeXT and NeXT/Intel machines Comments: To: emusic-l@american.edu I have just posted the most recent version of Csnd.app (v1.6), a GUI for Csound that runs on NEXTSTEP computers (NeXT and Intel platforms only). Included with this application is a compiled binary of UNIX Csound that runs on both platforms. Earlier versions of a multi-architecture Csound binary had byte swapping problems. These problems have been solved. Csnd.app is available by anonymous ftp from the SEAMUS Archive (URL ftp://nicemusic.music.niu.edu/pub/SEAMUS/SOFTWARE/NeXT), and from the next archive at ftp.cs.orst.edu. Please check those locations for more information and downloading instructions. Stephen David Beck Electro-Acoustic Music Studios School of Music Louisiana State University Baton Rouge, LA 70803 ========================================================================= Date: Fri, 24 Feb 1995 17:29:40 CET Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nicola Larosa Subject: MusicBox Comments: To: emusic-l@american.edu Mike Metlay says: > Dang. Beat me to it by a half hour. :-P I should point out, in the > interests of fairness, though, that your first go-around at > controlling this argument was a bit off-kilter; while it is true that > MAX per se does not exist for the PC, there IS a MIDI package whose > name eludes me at the moment that does some of what MAX does, and > apparently does it quite well. Yes, I guess Mike refers to MusicBox, a cute program with an intimidating interface, but nonetheless usable and fairly complete. Only a little gripe... WHAT? No parser on the MIDI input??? Exactly. The author seems to prefer preprogrammed stuff, with little interaction. There is actually the possibility to call external modules, but you have to interface them in x86 assembly. The available sources are also in x86 assembly. Finally, I am unable to point to an ftp server, but I should have a copy of both program and sources somewhere, if someone is interested. Nicola Larosa - IRIS srl - mc2842@mclink.it ( *the makers of MARS* ) ========================================================================= Date: Fri, 24 Feb 1995 11:42:49 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Mark G Simon Subject: Re: Composition? In-Reply-To: <950223111803_30054848@aol.com> > I'm very interested in composing for Electric Guitar (and a power drill might > be just what it needs to be taken seriously! ;-)), as I'm a degreed composer > and an electric guitarist. Some film music has used it in an interesting way > - combining it with a full orchestra and using some of its more interesting > textures (vibrato bar harmonic dive bombs, etc.). I'll stay in the loop for a > discussion on this! The guitar is one of those instruments it's hard to write for unless you play the thing, and the electric guitar must be even more so. I wonder if there are any electric guitarists on the list who might be enterprising enough to put together a guide book on how the classically trained (and thus most clueless about the workings of the electric guitar) composer might utilize the electric guitar in a score, including suggestions as to how its special techniques ought to be notated (for instance, how do you notate a vibrato bar harmonic dive bomb?), as well as references to recordings that ultilize these specific techniques. I think there's a number of composers here who might be interested. Mark Simon mgs2@cornell.edu ========================================================================= Date: Fri, 24 Feb 1995 09:04:27 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: More MAX questions... In-Reply-To: <9502232124.AA27901@ebs330> from "Arne Claassen ISE" at Feb 23, 95 03:24:22 pm Arne Claassen ISE writes-- > >I'm pretty sure that Opcode is examining the market themselves already After >all, Vision is now on PC. If their market research indicates that it is a >worthwhile port (with their main Max developer being a Mac person, i believe) >they'll do, otherwise no trying to convince when will do anything... I think you may have to wait a while. The official news from Opcode is that Microsoft, as a maintainance upgrade for Windows 95 once it's launched, is going to _include_ OMS 2.0 as part of Windows MIDI management. OMS 2.0, Vision 2.1, and Galaxy 2.0 for Windows will all be launched together sometime in the second quarter of 1995. Even if Galaxy and Vision don't compete with the many fine PC sequencers and editor/librarians out there already, the adoption of OMS by Microsoft at least ensures a reliable common platform for MIDI communication in the PC world. However, there is no mention of MAX at all, yet. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- rec.music.synth, 8 September 1992: Brian Good: "You can also use it to make your wife's cat do unusual things." Nick Rothwell: "Wife? If I had a wife I wouldn't be interested in dancers." ========================================================================= Date: Fri, 24 Feb 1995 11:03:13 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eugene Subject: Re: Composition? In-Reply-To: Message of Fri, 24 Feb 1995 11:42:49 -0500 from On Fri, 24 Feb 1995 11:42:49 -0500 Mark G Simon said: >> I'm very interested in composing for Electric Guitar (and a power drill might >> be just what it needs to be taken seriously! ;-)), as I'm a degreed composer >> and an electric guitarist. Some film music has used it in an interesting way >> - combining it with a full orchestra and using some of its more interesting >> textures (vibrato bar harmonic dive bombs, etc.). I'll stay in the loop for a >> discussion on this! > >The guitar is one of those instruments it's hard to write for unless you >play the thing, and the electric guitar must be even more so. I wonder if >there are any electric guitarists on the list who might be enterprising >enough to put together a guide book on how the classically trained (and >thus most clueless about the workings of the electric guitar) composer >might utilize the electric guitar in a score, including suggestions as to >how its special techniques ought to be notated (for instance, how do you >notate a vibrato bar harmonic dive bomb?), as well as references to >recordings that ultilize these specific techniques. I think there's a >number of composers here who might be interested. > Pick up any copy of the magazine _Guitar for the Practicing Musician_. In every issue they print a complete notation chart for nearly every conceivable squeek, whine and growl that modern guitarists coax from their instrument. For example, a whammy bar dive bomb is notated thusly: ----------\--------/--------------------------------- -----------\------/---------------------------------- ------------\----/----------------------------------- -------------\--/------------------------------------ --------------\/------------------------------------- The material is presented in both standard notation and in tab. Hope this helps >Mark Simon >mgs2@cornell.edu Eugene ========================================================================= Date: Fri, 24 Feb 1995 14:05:51 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Guitar Composition Comments: To: emusic-l@american.edu Eugene came up with a better answer than mine but here goes! Pick up a song book at a music store. Example: Eric Johnson's CD "Ah Via Musicom" is available and it has that CD's songs in standard notation and tablature forms. You can read the music as you listen to the CD. Could be an education in there! Being a guitar player, I tend to write on the guitar. For my third quarter theory composition, I wrote "Three Bows and a Pick" for violin, viola, cello, and classical guitar. (Strange; I didn't use a pick!) But that is the only thing that I ever wrote for guitar in a classical vein. The pop stuff never gets written out in standard notation. Is there a list for guitarists? I'd be interested in knowing. Bill Fox wbf@aloft.att.com ========================================================================= Date: Fri, 24 Feb 1995 13:40:05 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: More MAX questions... In-Reply-To: <199502241704.JAA22167@netcom17.netcom.com> from "atomic city" at Feb 24, 95 09:04:27 am > I think you may have to wait a while. The official news from Opcode is > that Microsoft, as a maintainance upgrade for Windows 95 once it's > launched, is going to _include_ OMS 2.0 as part of Windows MIDI > management. OMS 2.0, Vision 2.1, and Galaxy 2.0 for Windows will all > be launched together sometime in the second quarter of 1995. Even if > Galaxy and Vision don't compete with the many fine PC sequencers and > editor/librarians out there already, the adoption of OMS by Microsoft > at least ensures a reliable common platform for MIDI communication in > the PC world. However, there is no mention of MAX at all, yet. Wow... two pieces of fantastic vapourware join forces? Windows 4.0, uh Chicago, uh Windows 95(if they're lucky) and OMS 2.0 which has been promised for Mac for quite a while now--so long, that Freemidi even made it into existence before it. And they want to have OMS 2.0 for Windows ready too? Well, by the time Win95 actually ships, Opcode may even have OMS 2.0 ready. I apologize if i've just restarted a well dying platform war. It was as much of an attack again Microsloth as it was against Opcode, so it's platform independent, right? :) -- 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: Fri, 24 Feb 1995 15:49:05 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: ddg@DEVLAC.EMS.COM Subject: Re: El. Guitar Composition Comments: To: emusic-l@american.edu >The guitar is one of those instruments it's hard to write for unless you >play the thing, and the electric guitar must be even more so. I wonder if >there are any electric guitarists on the list who might be enterprising >enough to put together a guide book on how the classically trained (and >thus most clueless about the workings of the electric guitar) composer >might utilize the electric guitar in a score, including suggestions as to >how its special techniques ought to be notated (for instance, how do you >notate a vibrato bar harmonic dive bomb?), as well as references to >recordings that ultilize these specific techniques. I think there's a >number of composers here who might be interested. Actually, best bet (initially) is to get a copy of the monthly "Guitar" magazine. It tends to have endless transcriptions of Van Halen's "Eruption", but it has also used/created a fairly complete scoring technique for guitar-centric sonic bits. That, and the inevitable *non-standard* notation methods (mixed with a standard score) will help the majority of guitarists plow through a composition. Now, getting subtlety is a little harder... [ddg] .............................................................................. Darwin Grosse . (414) 628-3045(h)/359-9800(w) . ddg@devlac.ems.com .............................................................................. Lighten up! I was a guitar performance major in college, plus I can read a manual! ========================================================================= Date: Fri, 24 Feb 1995 19:11:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: JJSpring@AOL.COM Subject: Re: Twelve Tone E-Mail According to the new manual with 3.0, the closest thing to an e-mail address is Compuserve. Type go MIDIAVAN and switch to their section. Hope this helps some. ========================================================================= Date: Fri, 24 Feb 1995 19:21:04 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: JJSpring@AOL.COM Subject: Re: D70 with SB It sounds to me like you may have the wrong port chosen. I am not familiar with the shareware version of Cakewalk, but I am familiar with the Pro version for Windows. Under the port column, you have to send it out by the MPU-401 interface. If this is not a listed choice, then you will have to install the MPU-401 driver into Windows by the Control manager and then install choose it in Windows. If you are using the MIDI interface that came with the soundcard, that should be another driver that may be called a SB-401 or something like that. The main thing is that Cakewalk is sending the signals to the soundcard right now and that is chosen by the port. I hope this helps you out. I am not so great at explaining things this way. Good Luck, John ========================================================================= Date: Fri, 24 Feb 1995 19:29:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: h a u s Subject: Akai S3200 | Ensoniq ASR 10 | K2000 I am looking at purchasing one of these samplers. Most likely the ASR 10 or the K2000 although I have not ruled out the Akai S3200 (pricey unit). Could users of these units please give me some feedback as to why they purchased their unit over the others or which one of the three they would recomentd and why. Thanks. Christos. --- h a u s Electro-Body Experience ---- Representing and developing Ambient, Experimental and Industrial artists. Email - haus@io.org | URL - http://www.io.org/~haus | Finger - haus@io.org ========================================================================= Date: Fri, 24 Feb 1995 22:15:53 CST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Eugene Subject: Re: Guitar Composition In-Reply-To: Message of Fri, 24 Feb 1995 14:05:51 EST from On Fri, 24 Feb 1995 14:05:51 EST william.b.fox said: >Eugene came up with a better answer than mine but here goes! Pick up a Hey, thanks! >Being a guitar player, I tend to write on the guitar. For my third >quarter theory composition, I wrote "Three Bows and a Pick" for violin, >viola, cello, and classical guitar. (Strange; I didn't use a pick!) >But that is the only thing that I ever wrote for guitar in a classical >vein. The pop stuff never gets written out in standard notation. > >Is there a list for guitarists? I'd be interested in knowing. > I've seen a list on USENET but I'm guessing it won't be your cup of tea. You seem to advanced. >Bill Fox wbf@aloft.att.com Eugene (BTW, I'm still waiting for that song list! I need a reason to drool...) ========================================================================= Date: Fri, 24 Feb 1995 23:27:31 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Amalgam@AOL.COM Subject: Re: Composition? I'm a guitarist that has been lurking here on Emusic for a little while, and yes I do some writing. I'd like to someday record a guitar orchestrated type thing. Anyone have something written and need a guitarist to play some parts? Bis Dann! Jody Whitesides / "Its what's played between the notes that is golden" / Amalgam@aol.com ========================================================================= Date: Sat, 25 Feb 1995 09:16:17 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: More MAX questions... > What would it take to convince Opcode that they wouldn't lose >money on a PC version of MAX? I don't know whether or not they're losing money on the Mac version, although I'd guess the overheads are relatively low. >With all the talk of how great this >program is, I'm sure the PC users out there would love to get their hand >on it. Not a chance. MAX is a minority item. It's a specialised development environment in the already specialised professional MIDI music market. We are a very peculiar little slice of the software market, and there ain't much money here. Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Sat, 25 Feb 1995 09:16:28 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: MAX, platforms, and relearning >If I were to buy it and start to use it, I would vanish >from the music industry for at least a year and maybe forever; I bought MAX back at the end of '91, in preparation for some complex MIDI processing I needed for my big Spring '92 gig, and basically vanished from the face of the earth for a month. Now I feel pretty fluent in MAX, and can knock out patchers really quickly, as fast as I can type, to deal with the myriad MIDI problems that seem to crop up all too often (what was the latest one? Ah yes, speed-limiting a fader->preset chord patcher, to avoid voice-stealing on the MicroWave). For at least a year now the time I spend doing things in MAX is easily balanced by the time saved as I tunnel my way round pieces of stoopid MIDI gear. >rec.music.synth, 8 September 1992: >Brian Good: "You can also use it to make your wife's cat do unusual things." >Nick Rothwell: "Wife? If I had a wife I wouldn't be interested in dancers." Sigh, two years on, plus, and only last night I was in the pub with a lovely, lovely dancer (LCDS-trained, wonderful technique, gorgeous to look at), whose behaviour had led me to believe that (i) she was single and (ii) liked me a lot, both points betrayed by her introducing me to her friends by saying "...and this is Mark." I need this stupid blonde robot in my life like I need a hole in the head. We're doing a performance together this weekend. Showbiz: I love it. Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Sat, 25 Feb 1995 09:16:56 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: MIDI Manager >Opcode's OMS is designed to allow you to patch from one app to another. Not until 2.0 is shipped. Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Sat, 25 Feb 1995 09:16:45 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: MAX, platforms, and relea... >Since it is a shell over the "C" >language Not really. >I imagine the code can be translated to the PC platform. Can anyone >confirm this? I can only deny it. I'm sure it's possible, but is far from trivial. Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Sat, 25 Feb 1995 12:59:08 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Godot8@AOL.COM Subject: Re: Akai S3200 | Ensoniq ASR ... here is my schpeel on the ASR-10 which i bought @ 6 monhs ago... i play mostly industrial/techno music and found that 50 programmable effects on board the asr unit provided plenty of room for creative resampling of sounds and, if you're patient, great do-it-yerself-2-hell-w/east:west:sampler:cd's drum loops. The ability to resample loops with distortion/reverb/rotospeaker/etc. truly can put some depth into dance sequences. The ASR-10 comes with 2 MB of RAM so expect to fill that up fast if you aren't yet able to buy more memory (the asr-10 will expand up to 16 MB). It expands using Macintosh standard SIMMS (about $50 per 1MB). If you are pulling all of your sounds off the ASR-10 when sequencing, plan on expanding as soon as you get frustrated that your long voice samples are taking up half of your memory. Don't expect Ensoniq factory sounds to do anything for you unless you are playing in a late night talk show band...they are traditional and boring although well polished. If you've ever used an EMU Emax II/III and salivated over the industrial/techno ready sounds in that unit prepare to be disappointed with Ensoniq's sounds which sound like the Paul Shafer classic sound library. Of course many sounds are good once you take time to alter them to fit your tastes; so if you don't mind fooling with waveform parameters this is not a problem. In fact, I've always wondered how many electronic musicians use the Asr-10 for non-traditional music and need third party software...there could be a viable market there. Get the ASR-10 with a SCSI port...3.5" disks take too long to load up and you will want the lightening quick efficiency of a hard drive...ALSO***- the new operating system for the ASR-10 allows you to use Roland and AKAI CD-ROM sounds...if you are hesitating over the AkaiS3200 this may be a deciding factor in favor of the ASR-10...but don't forget, to use the CD-Rom you must have a SCSI port and CDs for the CD-Roms cost @ $300 (why does anyone play electronic music...too much damn money, eh?) Once you expand to 16 MB you can record entire songs on the ASR-10 which great and gives you studio quality recordings that can be recorded onto DAT via a port on the back of the sampler. that's all i can think of for now... sean o'donnell ========================================================================= Date: Sat, 25 Feb 1995 12:59:15 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Greg Dorter Subject: Re: Composition? In-Reply-To: <950224232722_31745967@aol.com> I am an ex-rock star wannabe electric guitarist, who had put aside my ax for the last five or six years and been studying and composing classical music. This year I began using MAX, and this program insipired me to pick up my guitar again. I've always had philosophical difficulties combining acoustic instruments with electronic sounds, but the idea of writing for electric guitar and electronic sounds seemed more justifiable (not a flame at people who write for accoustic instruments and electronic instrumnets -- just that I never felt comfortable doing it). In addition to this aesthetic appeal of electric guitar and electronic instuments, an additional advantage to the electric guitar is that with a $600 MIDI converter, all of the hassels and unreliability of accoustic instruments and pitch-to-MIDI converters is easily overcome. My guitar can not only transmit pitch, velocity, pitch-bend, program change (though no aftertouch), but can also be set up so that each string transmits on a separate channel. Combined with a real-time MIDI program like MAX, endless possibilities for real-time interaction are opened up. I've also added a ADA MP-2 preamp -- which give real-time MIDI control to volume, gain, overdrive, tone, graphic EQ, chorusing, compression, noise gate, effect send levels, etc. -- to my Quadraverb, so now, using MAX, I have endless possibities of timbral changes to my guitar tone, all automated depending on what I play. Right now I'm writing for guitar and electronic sounds. My next piece is going to be for solo guitar with MAX controlling all my amp and effect settings. Glad to see others are interested in using the electric guitar as a classical instrument. I think it offers an extremely varied timbral palette, and has been neglected far to long. I don't know how successfully it can be combined with accoustic instruments, but even just by itself it offers so many possibilities. Greg Dorter University of Western Ontario 215 Bernard Ave. gdorter@julian.uwo.ca London, ON N6A 2M9 519-438-2287 CANADA ========================================================================= Date: Sat, 25 Feb 1995 13:10:22 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Greg Dorter Subject: Re: MAX, platforms, and relea... In-Reply-To: <950223211424_30626503@aol.com> On Thu, 23 Feb 1995 TerryN2250@AOL.COM wrote: > MAX is a very flexible, powerful tool. Since it is a shell over the "C" > language I imagine the code can be translated to the PC platform. Can anyone > confirm this? It was originally written for the NeXT, then ported over to Mac. It's now in the beta stage for SGI. I heard that the reason it hasn't been ported to PC is that no one's volunteered to do it. (Apparently another reason is that Windows would cause lots of timing headaches.) Greg Dorter University of Western Ontario 215 Bernard Ave. gdorter@julian.uwo.ca London, ON N6A 2M9 519-438-2287 CANADA ========================================================================= Date: Sat, 25 Feb 1995 13:34:10 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Amalgam@AOL.COM Subject: Re: Composition? I have a suggestion for your electric guitar needs (for notation). Check out a book that Steve Vai wrote. He did a bunch of transcriptions for Frank Zappa, while he was in the band. I believe he explains a lot of his notations. This is probably the best source book, mostly because playing with Frank was like playing in an orchestra (only for pop and rock). Besides how can you go wrong listening and learning from the guy who played "impossible guitar parts" (as mentioned by Frank Zappa himself). Or you can contact myself, as I play guitar and am pretty well versed in transcribing. Jody Whitesides / "Its what's played between the notes that is golden" / Amalgam@aol.com ========================================================================= Date: Sat, 25 Feb 1995 13:58:03 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Godot8@AOL.COM Subject: Re: composition/literary constr. i was wondering if anyone on the list uses social/literary theory/semantics as a means to approaching composition. i do this in a rather amateur way by considering voice samples, instruments, arrangement as manifestations of (sub)culturally motivated discourse. in less b.s. terms, i find my best industrial compositions come after reading Kafka "The Penal Colony" and ambient comps after reading Homer. does anyone else out there pull on this sort of inspiration base other than me? i'm curious as to any info on music composition theory that overlaps with social postmodern theory/existentialism/etc. thank you sean o'donnell ========================================================================= Date: Sat, 25 Feb 1995 15:19:57 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arlan Smith Subject: Re: composition/literary constr. Having been had my higher education entirely at an art school; in which there was an advanced experimental sound studio, I came to music in a very round-about way. I started out in school as painter, a source from which I still draw a lot of inspiration, I moved on to filmmaking and discovered that I enjoyed constructing soundtracks more than making films. Seeing as how art in the nineties is by definition post-modern and deconstructionist; as well as being heavily based on things like literary theory (Foucault, Derrida, et. all) and that I still think as a painter would about these things, I can't help but draw from strange theoretical sources to compose. Lately I've been thinking heavily about superstring theory. I would also like to know if people draw from "non-musical" sources to compose. ========================================================================= Date: Sun, 26 Feb 1995 08:40:27 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: MIDI Manager Hi Nick > >Opcode's OMS is designed to allow you to patch from one app to another. > > Not until 2.0 is shipped. I beg to differ, Nick. I linked MAX and an old copy of Master Tracks Pro on my funky old SE/30 and it worked. MTP (that version anyway) used MIDI Manager only. By checking the "Use with MIDI Manager" check box in the appropriate dialog (don't remember which one), non-OMS MIDI apps should show up in Apple's Patchbay window (or rather, OMS apps should!). Perhaps you're right, Nick. This is more like OMS fitting into MIDI Manager, rather than the accommodating it. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sun, 26 Feb 1995 08:44:20 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: guitars and composition Comments: To: emusic-l@american.edu Hi emusicers, all this talk about electric guitars and composition, and NOT ONE person has mentioned Glenn Branca! Now _that_ would be an interesting thread! I, for one, don;t knwo that much about him. Gotta watch that keyboard when I type! Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sun, 26 Feb 1995 08:53:10 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: composition/literary constr. Hi Arlan, thanks for your message. If you (or anyone else here) has trouble wading through all that postmodern psycholbabble and you need an antidote for deconstruction, try reading Lehman, David (1992) "Signs of the Times: Deconstruction and the Fall of Paul de Man" New York: Poseidon Press. BTW, I can tell you're a literary person. You said > I still think as a painter would about these things rather than I still think like a painter would about these things Spot the grammatical mistake, guys. ObEmCom; On film soundtracks: Update: I;m afraid I haven't yet heard from my friend who was studying the effects of film music on emotional repsonses, but I'll try again and we might yet resurrect that thread. (It was called "thema".) Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sat, 25 Feb 1995 18:06:18 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arlan Smith Subject: Re: composition/literary constr. David, >Lehman, David (1992) "Signs of the Times: Deconstruction and >the Fall of Paul de Man" New York: Poseidon Press. Thanks, I'll look into that title. If you want a book of well-placed broadsides aimed at culture in general, you might look into "Culture of Complaint" by the Time Magazine art crtitic Robert Hughes (he's relatively not full of B.S.) This book is relevent to anyone who's perhaps appalled at the state of discourse in this country (don't get me started!). The book can be both enraging and funny at same time, and seeing as how it was written by one of the few plain-spoken art critics left, it would be of interest to any creative person. Also; I recomend the book "Hyperspace", by Michio Kaku, if you want to have your mind blown. It's about up-to-date thought on high-level physics and math, you know, wormholes, FTL travel, Time-travel, higher dimensions, all that happy-crap from S.F.-land. The book is well-written, engaging, and very inspiring. The author writes about very complex concepts, but with frequent illustrations from art and literature that drive his points home very well. ========================================================================= Date: Sat, 25 Feb 1995 18:44:11 -0700 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Jeff Adkins Subject: Re: composition/literary constr. Seeing as how art >in the nineties is by definition post-modern and deconstructionist; as well >as being heavily based on things like literary theory (Foucault, Derrida, et. >all) and that I still think as a painter would about these things, I can't >help but draw from strange theoretical sources to compose. I'm very interested in people's thoughts on this subject as well (I was a lit major in college). I'm not sure how much the big doses of literary theory in college influences my musical composition--I know while composing over the last few years I've often valued a tight focus on a single thought or experience, where everything that happens must, if possible, contribute to the one idea (sort of a thematic or motif-based method, I suppose). The ideas themselves have usually been very emotional, however. Maybe all this makes me a "Romantic," despite all the exposure to post-structuralism and deconstruction. I'll always try to evolve, though! --Jeff Jeff Adkins ================ jadkins@infi.net ========================================================================= Date: Sat, 25 Feb 1995 22:31:32 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Patrick S. Faucher" Subject: Re: MIDI Manager Dave, Thanks for the response! Forgive the ignorance, but what is OMS? -Patrick ========================================================================= Date: Sun, 26 Feb 1995 04:36:57 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MacBruin@AOL.COM Subject: Re: OK, Another Stupid Question MOD files started on the Amiga computers... and basically they are a file format in which the sequences as well as the samples for a song are encapsulated into one file... This way there is no need for MIDI or any external sound devices at all, and each song file comes only with the sounds that it actually uses. The first program that was written to create MOD files was called "SoundTracker" (on the Amiga)... This program caught on like crazy, and was used to compose almost all of the video game soundtracks in the mid-late-1980s... for the Amiga, IBM, Sega, and Nintendo... It was so popular that a version of it was written for the IBM and later the Macintosh (although it has never really taken off in the Mac world, and is now pretty much the domain of IBMers and those few Amiga users left out there... mostly in Europe, which is also where most of the songs come from.) MOD stands for Module... which basically means a file which is self-contained with all the sounds and samples... You can also save a SoundTracker song without the samples, but this is hardly ever done. Basically, it was never called a "MOD" before mods started being ported over to the IBM where all of the files were named *.MOD. I hope this helps. ========================================================================= Date: Sun, 26 Feb 1995 04:39:25 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: MacBruin@AOL.COM Subject: Re: MIDI Manager MIDI Manager will work okay with sending info from one program to the other, as long as its just a little bit of info.... As you know the Mac doesnt *really* multitask (and neither does the IBM for that matter) so if your Mac isnt super-duper fast enough to make it seem like its really multitasking, it wont keep up. Also, MIDI Manager aint exactly the cleanest program ever written. ========================================================================= Date: Sun, 26 Feb 1995 08:38:04 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "L Mccoy (GD 1999)" Subject: lit. theories Comments: To: emusic-list As you might have expected, the field of Music Theory has just now discovered Harold Bloom, and the majority are interested in trumpeting the oft'repeated truth that all attempts at objectivity are inherently subjective. Yes, well, now what. A while back, I had made some commentary on analysis as aesthetic experience. Or, at least it CAN be viewed this way. See references to Olivier Messiaen's analysis class at Darmstadt. Thus, there is little difference (that I can find) between this approach and the current trend in the field: that analyses are fictions. Now, this sometimes bothers the formalists, but it needn't. I applaud the plurality of voices. And further, I feel that humorous criticism is in order. As in Basil Boothroyd's comment on a Haydn Symphony--that it represented the composer's lifelong fear of falling through the bottom of a sedan chair. Yes! The ties to composition are intriguing. But, in a nutshell, applications in the "field" of music theory are pretty weak. For all of the antifoundationalist fervor that abounds, all it amounts to is refoundationalist murmur. The new "people who decide who gets published" will kick the old residents out of the residence, then move in, then, aside from replacing a Gainesborough with a Pollack, will basically complain about how the fiefdoms under their monarchiacal jurisdiction just don't get it. Ah! The trouble with a change of dynasty. People with beards or sheer nylons, or both, playing king of the mountain. isn't that cute. well, at least they aren't playing with hydrogen bombs Bounty Hunter in Search of Russian Formalists, Scott McCoy mcco5@minerva.cis.yale.edu ========================================================================= Date: Sun, 26 Feb 1995 09:58:19 +0000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Nick Rothwell Subject: Re: Re[2]: On the nature of release velocity... Comments: To: Electronic music gearhead list Comments: cc: EMUSIC-L@AMERICAN.EDU >Eee, Gromit, it's loike now lybel OI've ever seen.... Wallace and Gromit in the US? How *does* it go down over there? >I'd love to hear a compressed version of how you approach this problem. >What are your blocks of data, and how do you manipulate them? Do you >grab whole chords with sliders, alter rhythms or melodies? Timbres? (I'll CC: this to EMUSIC-L since it's of equal or greater relevance there I think.) Short answer to your last question: yes. Longer answer: let me dissect the piece I'm performing tomorrow, to give some idea. The piece is about 12 minutes long (that's variable, because I cue from the dancer for most of the second section), half of it heavily rhythmic, half of it spacey. First, imagine seeing a 12-minute piece laid out as chunks in Performer, or as subsequences in Vision. Hang on ... in Performer 3.64 (a good vintage) I see about 12 chunks/subsequences, with up to three playing at once, laid out on a grid to start and stop at definite bar counts (until the second half of the piece, where the remaining chunks essentially run to infinity). Every chunk is scoped. A particular chunk might only exist for one bar, or it may be in scope for 100. The same chunk might be located (by reference) in several places. From Performer to MAX: the PowerBook 140-turbo runs MAX driving a Studio-4 (or a couple of plain Apple interfaces for stage work); MAX knows about all the devices in the studio (via OMS). One of them is a single cable pair talking to the PowerBook 100 running Performer. (Contrary to expectation, a Studio-4 cannot drive two computers at once; it gets wedged.) MAX does not record performance data at all; that's all in Performer. But Performer can only access 16 MIDI channels... but that's not a problem, so long as I don't want to do more than 16 channels' worth of stuff at once (since I only have ten fingers). The MAX system runs a series of chunks as well, locked by SPP and MIDI beat clock to Performer (or the other way round). And MAX acts as the performance message dispatcher: all the data from Performer goes through MAX and gets routed and processed in the appropriate way. And when I record a piece, I just capture the fader and button stuff from my fader box into Performer, for playback through MAX. Each complete piece of music would have its own MAX patcher, but there's a dispatcher which turns fader information (control #16, channels 1..16, values 0..127) and button information (channel 1, notes 0..15) into symbolic form. So if fader two is vector mix X, moving the fader generates dispatches to "FADER.VectorX" with the controller values. So far so good. But we might have many more control points in the piece than faders. But that's OK, because the MAX stuff is chunked. The vector chunk listens for FADER.VectorX and FADER.VectorY, and maps and sends to the appropriate OMS device - but only if it's in scope. If it's out of scope, it does nothing. So in practice the faders are given slightly more generic names, so that they can do different things in different (non-overlapping) chunks. About scoping: each chunk is also responsible for setting up the context of any MIDI destinations it uses; the simplest stuff is program changes, more complex stuff is sysex sequences for effects programs in the Wavestations and suchlike. These resources are shared between chunks, and we have the option of detecting clashes if different chunks try to use the same resource in different ways. The complexity of the chunks varies: one of them (131 bars long) simply holds a single note; the note comes on when the chunk comes into scope (by playback, or by jumping to a bar within the chunk from Performer) and the note goes off when the chunk exits. No chess pieces needed. Oh, and when it's in scope it also maps one of the faders to MIDI volume for that voice (scaling it as well). The Performer chunk just contains the volume fades (controller 16, mapped to #7 by MAX). Other chunks contain little algorithmic composers and arpeggiators, or whatever, ticking away at so many clicks per quarter-note, listening to and acting on whatever faders and buttons are appropriate to them, and ignoring them when out of scope. The scoping is actually tricky to make robust (avoiding hung notes and so on), but I won't bore you with the details. Back to the original question: looking at the patchers, I see the following: Fader 1: volume fade for the single-note drone at the beginning. Fader 2: vector X for vocoder carrier (Wavestation). Fader 3: vector Y for vocoder carrier (Wavestation). Fader 4: vocoder modulator (Wavestation). This is more complex: there are several specially chosen vector positions stored in a MAX preset; the fader selects one of these, which is then moved to via ramp generators (differing speeds for X and Y, for interest). Fader 5: algorithmic mapping of controller to notes in a minor scale, clustered into 9th chords. Moving the fader up and down moves a window over three adjacent notes in the scale. (This is the keyboard solo!) Fader 6: volume fade (flanger, and random arpeggiator following button chords as below). Fader 7: volume fade (vocoder carrier). Fader 8: wave layer volume in one of the bell timbres. Fader 9: chord selection. The fader maps to about a dozen different sustained chords via a speed limiter; move the fader, and a new chord sounds, the common notes between them being sustained. Fader 10: detune on one oscillator (MicroWave). Fader 11: MicroWave wavetable sweep, wave 1. Fader 12: do, wave 2. Fader 13: filter cutoff, MW. Fader 14: filter resonance, MW. Fader 15: volume, pedalpoint bass and Schroeder-style portamento stuff. Fader 16: volume, enhancer/exciter loop. Button 1: R-8 gong into Wavestation A/D wavesequence. Buttons 2-6: vocoder carrier chords. Button 7: chord mute. Button 8: bell note sequence trigger, transpose via Fader 9. Button 16: master clock start/stop. Because this piece of music is so short, there isn't actually any overloading; each fader does one thing only. But because of the chunking, no more than about four faders are ever active at once, so each fader could have different functions at different parts of the piece; and if a chunk is out of scope, there's no danger of it routing fader information and screwing up something else. Normally I route a good deal of fader or MAX-generated information to effects processors as well, but for various reasons (including the unpaid $300 invoice for having my LXP-5 and MRC rebuilt) I'm just using the Peavey QFX, which has no realtime control. Wonderful little box all the same, highly recommended. Does what it's told and doesn't try to think, just like the best dancers. That's a bit rambly, but you get the idea. During a live performance, the second PowerBook isn't there, and MAX acts as master clock, bringing chunks into and out of scope as the bar count progresses; or chunks can be relocated under MIDI control, for more flexibility, although for this piece they're all fixed, with sufficient overlap to let me adapt if the dancer is fast or else takes her time. It's all very organic, which is very appropriate for rehearsal purposes, since things can be hacked around, reprogrammed and tried very quickly; useful if you have a short rehearsal slots. It's probably clear by now why I eat, breathe and sleep MAX, and why I hate big, complex, do-it-all sequencers, especially anywhere near a live performance. If and when I record an album, I'll do it in Performer 3.64, with MAX doing all the hard work. Does this answer your question, Mike? Nick Rothwell nick@cassiel.com | "Ey Wot? Ey Wot? Ey Wot? Ey Wot? CASSIEL Contemporary Music/Dance | Ey Wot? Ey Wot?" -- Flatlanders ========================================================================= Date: Sun, 26 Feb 1995 11:32:17 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Godot8@AOL.COM Subject: musical narratives has anyone considered scale structure as comparable with linguistic theory that fixes meaning in the deference of one sign to another? In regard to this, is there any way that we can consider sounds in juxtaposition as comprising not just a emotional landscape but ideas? This is of interest to me in the creation of electronic pieces that draw on environmental sounds such as metal, machines, long soundbytes of politicians, media tycoons, all to be stripped of transparency and demystified under the foreign context of my sampler/sequencer...this is where the delineation of signs becomes clear and its manipulation crucial. In effect, i am now working on a piece where i have sounbytes from the nightly news with Tom Brokaw talking about the crisis in Bosnia and older audio footage from 1940s radio describing the discovery of nazi concentration camps. I plan to search for more samples chronicling the entrenchment of Turk forces (heavily influenced by the nazis) in Greece during the 1960s...etc. I think it could be the beginning of a creative reordering/interpolation of events (including my own reactions) that would be a very rough and amateur attempt at what Foucault did in his (re)narratives of history. i would also like to know if anyone out there reads Kafka before punching out a song strategy. thanx godot8@aol.com ========================================================================= Date: Sun, 26 Feb 1995 11:33:22 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: Composition? As a formally trained composer AND electric guitarist, I find this very interesting! As for how to notate electric-specific techniques, I suggest anyone who's interested check out one of the "Big Three" guitar magazines (Guitar Player, Guitar for the Practicing Musician, or Guitar World), and look up their notation guides, which are included in every issue. ========================================================================= Date: Sun, 26 Feb 1995 16:04:02 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: MIDI Manager In-Reply-To: <950225223131_32485439@aol.com> from "Patrick S. Faucher" at Feb 25, 95 10:31:32 pm Patrick S. Faucher writes-- > >Dave, >Thanks for the response! Forgive the ignorance, but what is OMS? OMS (open MIDI System) is an Extension for the Macintosh that allows the computer to address a network of MIDI devices connected to the serial ports in a reliable and intelligent manner. It takes each device and lets the user assign a name ("Proteus/2") to a configuration of port, ID, and MIDI channel number(s) ("serial port, MIDI channels 1-8") so that it is easy for MIDI software to track changes to system configurations; OMS also handles how MIDI data is input/output, and does some arcane stuff to improve data integrity and throughput. I'll leave it to someone more MIDIMac-inclined to answer the technical details of precisely what it fixes and how. All I know is that it's transparent to normal use and it works like a charm. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- rec.music.synth, 8 September 1992: Brian Good: "You can also use it to make your wife's cat do unusual things." Nick Rothwell: "Wife? If I had a wife I wouldn't be interested in dancers." ========================================================================= Date: Sun, 26 Feb 1995 23:04:35 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: composition/literary constr. I'm not sure I could pinpoint sources like this. I've found immense musical landscapes coming out of phrases (like "immense musical landscapes," for instance!), traffic sounds, wallpaperxit's incredible what's out there if you're looking for it. ========================================================================= Date: Mon, 27 Feb 1995 15:07:53 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: lit. theories Hi Scott. > the majority are interested in trumpeting > the oft'repeated truth that all attempts at objectivity are inherently > subjective. This sounds a bot like the assertion that there are no absolutes int this world. This sounds a bot like the assertion that there are no absolutes int this world. (Sorry, hit the down key and this is what vms did to me!) > The new "people who decide who gets published The lunatics (psychobabblers, probably deconstructionists) have taken over the asylum (music publishing houses). Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sun, 26 Feb 1995 22:35:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Joe McMahon Subject: Re: composition/literary constr. > in less b.s. terms, i find my best industrial compositions come after reading > Kafka "The Penal Colony" and ambient comps after reading Homer. > > does anyone else out there pull on this sort of inspiration base other than > me? i'm curious as to any info on music composition theory that overlaps > with social postmodern theory/existentialism/etc. > Well, I have my "inspiration shelf" (only partial, because I don't have a big enough bookshelf right now). On it: Aldiss, Brian Cryptozoic! Ballard, J. G. The Crystal World The Drowned World Bellairs, John The Face in the Frost Benes, Peter, ed. Puritan Gravestone Art Bester, Alfred The Demolished Man The Stars My Destination Calvino, Italo Invisible Cities Chesterton, G. K. The Father Brown Omnibus Dante The Divine Comedy (Dorothy L. Sayers translation) Davidson, Gustav A Dictionary of Angels Davidson, Avram The Phoenix and the Mirror Vergil in Averno Delaney, Samuel The Jewel-Hinged Jaw Babel-17 Nova Dick, Philip Flow, My Tears, The Policeman Said The Three Stigmata of Palmer Eldritch A Maze of Death Disch, Thomas Camp Concentration Eliot, T. S. Collected Poems of T. S. Eliot Gardner, Martin The Annotated Alice Gibson, William Neuromancer Virtual Light Gould, Stephen Jay Wonderful Life Hammett, Dashiell Red Harvest The Dain Curse The Maltese Falcon The Glass Key Hillerman, Tony The Dark Wind The Ghost Way People of Darkness Harrison, M. John The Centauri Device Howarth, Matt Savage Henry (misc. issues) Those Annoying Post Brothers (misc. issues) Magnesium Arc Knox, Bernard The Norton Book of Classical Literature Koestler, Arthur The Sleepwalkers Lovecraft, H. P. The Dream-quest of Unknown Kadath Peake, Mervyn Titus Groan Gormenghast Perelman, S. J. Crazy LIke a Fox Pynchon, Thomas Gravity's Rainbow The Crying of Lot 49 Rosenberg, Harold Saul Steinberg Stockhausen, Karlheinz Stockhausen on Music Stoppard, Tom Rozencrantz and Guildensern Are Dead Travesties Thompson, Hunter S. Fear and Loathing in Las Vegas The Great Shark Hunt Tolkien, J. R. R. The Lord of the Rings Wolfe, Gene The Shadow of the Torturer The Claw of the Conciliator The Sword of the Lictor The Citadel of the Autarch The Urth of the New Sun Science fiction, fantasy, history, comics, art, humor, mysteries, reference books, classics. Mostly, I use them to trigger off associations which I then use as mental hooks to hang ideas on. --- Joe M. >From owner-tp750@CS.UTK.EDU Sun 26 Feb 1995 23:30 ========================================================================= Date: Sun, 26 Feb 1995 23:04:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: composition/literary constr. I'm not sure I could pinpoint sources like this. I've found immense musical landscapes coming out of phrases (like "immense musical landscapes," for instance!), traffic sounds, wallpaperxit's incredible what's out there if you're looking for it. >From owner-tp750@CS.UTK.EDU Sun 26 Feb 1995 23:36 ========================================================================= Date: Mon, 27 Feb 1995 15:20:19 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Flock of Birds Comments: To: emusic-l@american.edu Hi emusicers, anyone out there know of anyone using Ascension Technology's Flock of Birds 6DOF magnetic trackers for music applications? Thanks in advance, David musdr@lure.latrobe.edu.au ========================================================================= Date: Sun, 26 Feb 1995 23:04:00 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andy Frazier Subject: Re: composition/literary constr. I'm not sure I could pinpoint sources like this. I've found immense musical landscapes coming out of phrases (like "immense musical landscapes," for instance!), traffic sounds, wallpaperxit's incredible what's out there if you're looking for it. >From owner-tp750@CS.UTK.EDU Sun 26 Feb 1995 23:36From moore@cs.utk.edu Mon 27 Feb 1995 01:29 ========================================================================= Date: Mon, 27 Feb 1995 09:06:09 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List Comments: MAX PROPOSAL From: JOEL STERN Subject: MAX PROPOSAL Comments: To: emusic-l@american.edu I second what Jon Southwood said about a PC version of MAX. How about a petition? It would interesting to see how many names of prospective purchasers we could come up with from this list. I'll draft the text and send it to the list. This could be done the way the "language survey" was done a few months ago: include the names from the previous message and add your name in a reply message. Joe, if this is bad for this list speak and I shall obey. Joel Stern stern@email.loc.gov ========================================================================= Date: Mon, 27 Feb 1995 09:28:09 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List Comments: PC OPCODE MAX PETITION From: JOEL STERN Subject: PC OPCODE MAX PETITION Comments: To: emusic-l@american.edu We the undersigned support the development of and would be interested in purchasing a PC/MS-Windows version of Opcode MAX. Joel Stern stern@email.loc.gov ========================================================================= Date: Mon, 27 Feb 1995 10:31:26 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Eric Harnden (Ronin)" Subject: alternatives Comments: To: eml@physics.american.edu 1 - i sometimes think that there ought to be a rating, like "decon4", for the level of mumbo in a given postmodern discussion. (wink, nudge, for crying out loud...) 2 - in my second semester course i ask my students to compose an electronic piece that in some way refers to another work of art. as yet, no one has either considered a literary schema, or has approached the task on the theoretical level. generally, they do work for dance, or re-score some video item, or try to express their emotional response to a painting. what i would like is to see someone take on the approach inherent in the work itself. for instance, formalist exercises in space and form in the manner of de stijl are still used in modern art classes to sensitize the student/viewer to the non-verbal components of color balance, spatial weight, and so on. why not consider the same problems in aural space? produce a work which has no inherent musicality, but which exhibits tonal balance, control of timbre or pitch as value, density or sparseness of line, and so on. 3 - along the same lines, kandinsky built a set of exercises in color relationships for the bauhaus preliminary course that went so far as to theorize a formal mapping of color and shape. while the idea never was demonstrated to be as generalizable as he would have liked, the experiment itself is still worthwhile, and i think can be transported to our domain. allow me to propose the following simple exercises, to be executed like sketches, with no preparation and your simplest tools at hand: make a thin sound. make a round sound. make a sound with an edge. make a wood sound. make a porcelain sound. make a blue sound. make two complementary sounds. combine any two of the above into a single sound. and so on... i think you get the idea. ========================================================================= Date: Mon, 27 Feb 1995 10:05:33 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Se-70 and BBE Sonic Maximizer Comments: To: Emusic List I just spent my entire weekend in a studio and, boy, was it fun! Aside from the Joy of having my Sequencer synced to two ADATs via a BRC (look ma, no smpte track!), i wanted to share some practical impressions about the Se-70. I guess the usefulness of a unit is defined by how much you end up using it compared to it's counterparts. I had my Quadraverb2 and the Se-70, as well as the Studio's Quadraverb GT and Lexicon Alex. While the Q2 became my dedicated reverb/delay unit, most of my vocal processing and specialty processing on bouncing was done with the Se-70. For a pure fun factor, the Se-70 offers some amazing versality. It even created the coolest noise when we he had some problems with a headphone amp that we had patched in. Of course, the noise was immediately sampled before we lost it, integrated into the sequence, synced up to the existing tracks and recorded :) As to Mike's assertion that the BBE is the closest thing he has ever come to a magic box... YES, absolutely. To my great surprise the studio had a BBE 462. We didn't use it for any single track in particular, but ran through it for mastering to DAT. That little A/B button on the unit just opened my eyes. It was such a difference. With a little tweaking it took out the mud, which i would have had to EQ painfully without it. It's on my list now. Going back, i will have to say, that i like the Q2 reverbs better than the Lexicon Alex verbs... -- 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, 27 Feb 1995 10:56:25 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: MIDI Manager In-Reply-To: <01HNHZ42O4IG91WP8K@LURE.LATROBE.EDU.AU> from "David Rodger" at Feb 26, 95 08:40:27 am > > Not until 2.0 is shipped. > > I beg to differ, Nick. I linked MAX and an old copy of Master Tracks Pro > on my funky old SE/30 and it worked. MTP (that version anyway) used MIDI > Manager only. By checking the "Use with MIDI Manager" check box in the > appropriate dialog (don't remember which one), non-OMS MIDI apps should > show up in Apple's Patchbay window (or rather, OMS apps should!). > > Perhaps you're right, Nick. This is more like OMS fitting into MIDI Manager, > rather than the accommodating it. Exactly. It is not OMS doing the patching, but MIDI Manager doing the patching which is a significant bottleneck to OMS. For that matter it creates timing errors with my setup... I really need to get away from Musicshop tho. It's too damn buggy.. Is Vision 2.0 plague by bugs? Anyone? -- 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, 27 Feb 1995 09:20:09 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: composition/literary constr. In-Reply-To: <950225151819_32179076@aol.com> from "Arlan Smith" at Feb 25, 95 03:19:57 pm Arlan Smith writes-- > >thinking heavily about superstring theory. I would also like to know if >people draw from "non-musical" sources to compose. Well, I do; my entire world view as expressed in my music comes from the life I lead as a scientist. I inhabit a bleak landscape where hope for the future mingles with despair on a daily basis, and pure science and politics scrabble for turf on a hundred radiation-poisoned plots of land across our planet. And the sick thing is, I'm on the side of the guys building the reactors. Atomic City is what I call home, and it's in everything I play...or at least it feels that way to me. BTW, superstring theory rots the brain. Trust me, I'm a physicist. (God, I've always wanted to be able to say that! :) mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- rec.music.synth, 8 September 1992: Brian Good: "You can also use it to make your wife's cat do unusual things." Nick Rothwell: "Wife? If I had a wife I wouldn't be interested in dancers." ========================================================================= Date: Mon, 27 Feb 1995 10:59:50 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: MIDI Manager In-Reply-To: <950225223131_32485439@aol.com> from "Patrick S. Faucher" at Feb 25, 95 10:31:32 pm > Thanks for the response! Forgive the ignorance, but what is OMS? It used to be "Opcode Music System" but in the battle for becoming a standard against MOTU's Freemidi (named so because Opcode charges, or used to charge a fee for becoming an OMS developer). Now it's "Open Music System" and will, whenever it may come out as 2.0, support program linking and be supported by a wide variety of manufacturers, except for MOTU, of course :) -- 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, 27 Feb 1995 11:03:19 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: MIDI Manager In-Reply-To: <950226043923_32648716@aol.com> from "MacBruin@AOL.COM" at Feb 26, 95 04:39:25 am > MIDI Manager will work okay with sending info from one program to the other, > as long as its just a little bit of info.... As you know the Mac doesnt > *really* multitask (and neither does the IBM for that matter) so if your Mac > isnt super-duper fast enough to make it seem like its really multitasking, it > wont keep up. Also, MIDI Manager aint exactly the cleanest program ever > written. I'm not a PC advocate, but i ought ot correct the above. DOS and Windows don't really multitask, OS/2, Linux, NextStep486 and Windows NT (eek) do. And yes, MIDI Manager is not the cleanest program ever written. It's just an orphaned child of Apple that is about five years behind the state of the art. -- 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, 27 Feb 1995 09:34:44 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Rothwell to the MAX In-Reply-To: from "Nick Rothwell" at Feb 26, 95 09:58:19 am Nick Rothwell writes-- > >>Eee, Gromit, it's loike now lybel OI've ever seen.... > >Wallace and Gromit in the US? How *does* it go down over there? In the animated-film fests where they're seen, they're well liked. "A Grand Day Out" is a perennial fave. >>I'd love to hear a compressed version of how you approach this problem. >>What are your blocks of data, and how do you manipulate them? Do you >>grab whole chords with sliders, alter rhythms or melodies? Timbres? > >(I'll CC: this to EMUSIC-L since it's of equal or greater relevance there I >think.) > >Short answer to your last question: yes. You've been listening to me too long. *sigh* >Longer answer: let me dissect the piece I'm performing tomorrow, to give >some idea. The piece is about 12 minutes long (that's variable, because I >cue from the dancer for most of the second section), half of it heavily >rhythmic, half of it spacey. > >First, imagine seeing a 12-minute piece laid out as chunks in Performer, or >as subsequences in Vision. Hang on ... in Performer 3.64 (a good vintage) I >see about 12 chunks/subsequences, with up to three playing at once, laid >out on a grid to start and stop at definite bar counts (until the second >half of the piece, where the remaining chunks essentially run to infinity). Okay, I'm with you so far...I think... >Every chunk is scoped. A particular chunk might only exist for one bar, or >it may be in scope for 100. The same chunk might be located (by reference) >in several places. This is a use of the word 'scope' I'm not sure I grok. >But Performer can only access 16 MIDI channels... but that's not a problem, >so long as I don't want to do more than 16 channels' worth of stuff at once >(since I only have ten fingers). The MAX system runs a series of chunks as >well, locked by SPP and MIDI beat clock to Performer (or the other way round I had thought that MAX wasn't very good for tight timing? Or have they tightened that up a bit? I'm trying to remember how you clocked stuff the last time we worked together, but I had a lot on my mind at that moment..... >So far so good. But we might have many more control points in the piece >than faders. But that's OK, because the MAX stuff is chunked. The vector >chunk listens for FADER.VectorX and FADER.VectorY, and maps and sends to >the appropriate OMS device - but only if it's in scope. If it's out of >scope, it does nothing. So in practice the faders are given slightly more >generic names, so that they can do different things in different >(non-overlapping) chunks. Ah. By 'in scope' you mean 'under interpretation or playback at the moment'. And the 'scoping' assures that everything works without tripping each other up. >Fader 5: algorithmic mapping of controller to notes in a minor scale, > clustered into 9th chords. Moving the fader up and down > moves a window over three adjacent notes in the scale. (This > is the keyboard solo!) O-HO! I was wondering how you did this bit. I'd love to hear it in practice. >Fader 9: chord selection. The fader maps to about a dozen different > sustained chords via a speed limiter; move the fader, and > a new chord sounds, the common notes between them being > sustained. And this is where you back yourself up! And the buttons 'fire' events. I'm beginning to have a mental picture of how this process would look/work in concert; it allows for a very organic interaction with the dancers, by watching them you can later the piece to the mood. I like this, it beats the heck out of what I did for the dance piece I scored last fall. >Normally I route a good deal of fader or MAX-generated information to >effects processors as well, but for various reasons (including the unpaid >$300 invoice for having my LXP-5 and MRC rebuilt) I'm just using the Peavey >QFX, which has no realtime control. Wonderful little box all the same, >highly recommended. Does what it's told and doesn't try to think, just like >the best dancers. No comment. :) >It's probably clear by now why I eat, breathe and sleep MAX, and why I hate >big, complex, do-it-all sequencers, especially anywhere near a live >performance. If and when I record an album, I'll do it in Performer 3.64, >with MAX doing all the hard work. > >Does this answer your question, Mike? Eminently and in luminous detail, as ever, my friend. Many thanks. For my part, I find myself looking further and further away from sequencers as vehicles for how my music is made; recent studio experiences have shown that my strengths are elsewhere. This is of course very amusing, as the live rig I have painstakingly assembled over several months for easily- toted gigging is based entirely on SMF replay, and I have realized with a dull thud that it is not a sort of performance I would ever want to do live. I have, in effect, equipped myself for the wrong kind of music. :( Details to follow, at some point.... mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- rec.music.synth, 8 September 1992: Brian Good: "You can also use it to make your wife's cat do unusual things." Nick Rothwell: "Wife? If I had a wife I wouldn't be interested in dancers." ========================================================================= Date: Mon, 27 Feb 1995 09:37:54 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: lit. theories In-Reply-To: from "L Mccoy" at Feb 26, 95 08:38:04 am L Mccoy writes-- > >People with beards or sheer nylons, or both, playing king of the mountain. >isn't that cute. >well, at least they aren't playing with hydrogen bombs Sorry, old man, but I have some bad news for you. They ARE. Hence my music. -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Have a nice day. Detune yourself just slightly, but not enough to get really wobbly or beat badly." (g. taylor) ========================================================================= Date: Mon, 27 Feb 1995 09:52:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Peter_Mueller@UCSDLIBRARY.UCSD.EDU Subject: Re: guitars and composition Comments: To: MUSDR@LURE.LATROBE.EDU.AU Hi emusicers, all this talk about electric guitars and composition, and NOT ONE person has mentioned Glenn Branca! Now _that_ would be an interesting thread! I, for one, don;t knwo that much about him. Good point. Two others that have been forgotten are "The Bang On a Can All Stars" and Paul Dresher. I just caught their shows this past weekend, and they did do a god job of mixing the electric guitars with the rest of the ensemble. Dresher did so by having the the rest of the group primarily playing samplers, and Bang on a Can mostly just amplified accoustic instruments (although there were some other effcts, like ring modulating the cello). Both are shows worth seeing. ========================================================================= Date: Mon, 27 Feb 1995 13:19:29 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Paul Edson Subject: Re: alternatives Responding to all three points in the order they came... 1- It does seem that even the most reasonable and thoughtful people often allow their discourse to degenerate into cryptic sequences of catch-phrases when they begin thinking of their writing as criticism... 2- The seeds of the de Stijl-like discipline applied to sound exist, in the oft-sited, but rarely thoughtfully examined klangfarbenmelodie of Schoenberg and others; in the spatial explorations of Brant and Ives (Unanswered Question) and of some of the avant-garde creators of "Environments" of the late 60's and beyond. However, since there was no one "school" which addressed all issues contemporaneously, we have to look at many sources without prejudice to find our examples. 3- An unlikely source for further ideas for "experiments" in sound: Check out some of the exercises in John Gardner's _The Art of Fiction_, which I believe is still in print in a cheap paperback. He uses exercises which could easily be applied to a "literary" sense of composition. ========================================================================= Date: Mon, 27 Feb 1995 11:49:28 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Andrew Sharpe Subject: Re: MIDI Manager On Feb 27, 11:03am, claassen@EBS330.EB.UAH.EDU (Arne Claassen ISE) wrote: : : I'm not a PC advocate, but i ought ot correct the above. DOS and : Windows don't really multitask, OS/2, Linux, NextStep486 and Windows : NT (eek) do. I have to barge in here, a bit. I've been involved in Unix kernel work for about 17 years, so I believe I understand the issue. What is your definition of multi-tasking? Time-slicing is a valid method for multi-tasking, and that's what Windows uses. It is not very elegant, and, of course, an application can stop Windows from time-slicing by never using its event queue, but it is multi-tasking, none-the-less. A# ========================================================================= Date: Mon, 27 Feb 1995 13:20:52 EST Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "william.b.fox" Subject: Song List; Droooool! Comments: To: emusic-l@american.edu Eugene said: > (BTW, I'm still waiting for that song list! I need a reason to drool...) Sorry, I didn't realize that you were waiting for our song list. Normally, I'd have sent it directly to Eugene, but by the time an emusic-l post reaches me, the original sender's address has been replaced by emusic-l's. (If people would include their address with their signatures...) SONG TITLE GROUP ALBUM Freeway Jam Jeff Beck Blow By Blow Kashmir Led Zeppelin/ (Hybrid Version) DixieDregs Comfortably Numb Pink Floyd The Wall Have a Cigar Pink Floyd Wish You Were Here Pretzel Logic Steely Dan Pretzel Logic Black Magic Woman Santana Abraxas Soul Sacrifice Santana Woodstock Don't Take Me Alive Steely Dan Royal Scam Dr. Tarr/Prof. Feather Alan Parsons Project Tales of Mystery & Imagination I Wouldn't Want To Be Alan Parsons Project I Robot Like You Depth Charge Steve Hackett Time Lapse In That Quiet Earth Genesis Wind & Wuthering Afterglow Genesis Wind & Wuthering Lucky Man ELP Royal Albert Hall Hoedown ELP/Copeland Trilogy Even in the Quietest Supertramp Even in the Quietest Moments Moments Give a Little Bit Supertramp Even in the Quietest Moments Demagomania Jean Luc Ponty Civilized Evil Reelin in the Years Steely Dan Can't Buy a Thrill Starship Trooper Yes The Yes Album Trademark Eric Johnson Ah Via Musicom Rule the World Tears for Fears ? Black Napkins Frank Zappa Zoot Alures Run Like Hell Pink Floyd The Wall Here Comes the Sun Beatles Abbey Road Homeward Strut Tommy Bolen ? Red Barron Billy Cobham Spectrum I've Seen All Good Yes The Yes Album People Time Again Asia Asia ----------- "I've Seen All Good People" and "Time Again" are still under development. Bill Fox wbf@aloft.att.com ========================================================================= Date: Mon, 27 Feb 1995 16:30:48 -0500 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Wired4Soun@AOL.COM Subject: Re: composition/literary constr. >> in less b.s. terms, i find my best industrial compositions come after reading Kafka "The Penal Colony" and ambient comps after reading Homer. > It's curious how composers find inspiration in the classics - serious lit, dance, paint, drama; and "those other artists" (from the other disciplines) are listening to "thrash and smash bands." I over-generalize, but gee! There is such an incredible abyss between the academic/intellectual music community and the rest of the arts world! The stubborn abstract expressionists who can't reach out to offer a friendly handle to an oblivious audience, and the Maplethorp-spooked mentality provides nothing to support the enthusiastic, adventurous producer of new music experiences. I am so numbed out - stupified by the vapid discourse about next week's awesome musical find: three college drop-outs, 2 guitars and a guy who hits drums! They must also give us their requisite backward ballcaps and pseudo-philosophy. A wonderful array of art has gotten lost in this shallow definition of MUSIC, which is really more a theater experience about sex and politics. * Upon seeing Hemmingway with a PowerBook, would you proclaim that you, too have a laptop!?? * Excellence and quality have been totally overshadowed by the business called music. Bach, Brahms, Beethoven, Bartok, Britten - would these composers have gone by as no more significant than any of the other _disposable sound_ we have today? Oooooooo, bitter! Tom Jordan ========================================================================= Date: Mon, 27 Feb 1995 14:21:00 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: alternatives In-Reply-To: <0098C9B5.BD7A6B80.14142@physics.american.edu> from "Eric Harnden" at Feb 27, 95 10:31:26 am Eric Harnden writes-- > >allow me to propose the following simple exercises, to be executed like >sketches, with no preparation and your simplest tools at hand: >make a thin sound. >make a round sound. >make a sound with an edge. >make a wood sound. >make a porcelain sound. >make a blue sound. >make two complementary sounds. >combine any two of the above into a single sound. >and so on... i think you get the idea. This makes me happy. I am a happy synthesist. My horizons creak open a bit wider. I think new thoughtful thoughts. Whee! Hmmm...... thin: start with a clarinet, bandpass it, but DON'T boost resonance.... round: bowed wine glass, boost bass, mix with cello, play slowly.... edge: digital noise. Sharp attack, slowish release, like a sonic flick-knife. wood: low sawtooth...hmmm.... fade out cogitating mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Have a nice day. Detune yourself just slightly, but not enough to get really wobbly or beat badly." (g. taylor) ========================================================================= Date: Mon, 27 Feb 1995 14:23:23 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: atomic city Subject: Re: Se-70 and BBE Sonic Maximizer In-Reply-To: <9502271605.AA19821@ebs330> from "Arne Claassen ISE" at Feb 27, 95 10:05:33 am Arne Claassen ISE writes-- > >. It even created the coolest >noise when we he had some problems with a headphone amp that we had patched in. >Of course, the noise was immediately sampled before we lost it, integrated into >the sequence, synced up to the existing tracks and recorded :) Of course. Any time something like this happens, you grab it and use it. My recent studio experiences are along the same lines, and produced some neat results....more details as I can get them out. >As to Mike's assertion that the BBE is the closest thing he has ever come to >a magic box... YES, absolutely. To my great surprise the studio had a BBE 462. >We didn't use it for any single track in particular, but ran through it for >mastering to DAT. That little A/B button on the unit just opened my eyes. It >was such a difference. With a little tweaking it took out the mud, which i >would have had to EQ painfully without it. It's on my list now. As long as you don't overdo it, it really is wonderful, isn't it? >Going back, i will have to say, that i like the Q2 reverbs better than the >Lexicon Alex verbs... Hmmm! That's saying something. I need to listen to the Q2 again, didn't get much of a chance last time. mike -- mike metlay * atomic city * box 81175 pgh pa 15217-0675 * atomic@netcom.com --------------------------------------------------------------------------- "Have a nice day. Detune yourself just slightly, but not enough to get really wobbly or beat badly." (g. taylor) ========================================================================= Date: Mon, 27 Feb 1995 16:02:45 -0600 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: Arne Claassen ISE Subject: Re: MIDI Manager In-Reply-To: <9502271149.aa19658@ergo.sco.com> from "Andrew Sharpe" at Feb 27, 95 11:49:28 am > : I'm not a PC advocate, but i ought ot correct the above. DOS and > : Windows don't really multitask, OS/2, Linux, NextStep486 and Windows > : NT (eek) do. > > I have to barge in here, a bit. I've been involved in Unix kernel work > for about 17 years, so I believe I understand the issue. What is your > definition of multi-tasking? Time-slicing is a valid method for > multi-tasking, and that's what Windows uses. It is not very elegant, > and, of course, an application can stop Windows from time-slicing by > never using its event queue, but it is multi-tasking, none-the-less. Ok, before we get flamed i'll just say that my definition would be true preemptive multitasking, not task switching such as the MacOS and Windows. Please direct further discussion directly to me, unless someone finds a way to bring this thread back into a musically relevant domain :) -- 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: Tue, 28 Feb 1995 10:28:46 +1000 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: David Rodger Subject: Re: alternatives HI Eric... > i sometimes think that there ought to be a rating, like "decon4", for > the level of mumbo in a given postmodern discussion. (wink, nudge, for > crying out loud...) I think this might be a little difficult to implement, but I support your general approach for some sort of evaluative mechanism. OTOH, the degree of Postmodernism/Deconstruction seems to be proportional to the number of fave P/D terms, such as "terrain", "notion" and "discourse". Know what I mean!? ObEmCon: > in my second semester course i ask my students to compose an electronic > piece that in some way refers to another work of art. Oh! Have _you_ any ideas about how emotions, feelings, ideas are encoded in music? I find Langer, Meyer, Kivy and even David Best rather unsatisfactory or just plain silly. Regards, David musdr@lure.latrobe.edu.au ========================================================================= Date: Mon, 27 Feb 1995 20:21:31 -0800 Reply-To: Electronic Music Discussion List Sender: Electronic Music Discussion List From: "Holly A. Miller" Subject: uploading to a midi ftp site Comments: To: emusic-L@american.edu Many apologies for asking what is probably a faq but I have been reading this list for awhile now and have not yet seen this question answered. I think that I have finally gotten downloading MIDI files down. I understand the process of uploading files, what I don't know is the etiquette. I assume that just anyone can't arbitrarily upload to just anywhere. There must be some kind of rules and regs about how to submit MIDI files. I'm sure those sites are moderated, but how does one find out who the moderator is? Is that necessary? One of the things I like about this list is that even though about 90% of what is discussed here goes right over my head, I've never seen anyone flamed for asking what must seem to most of you like very simple questions. (Just an aside... Has anyone everrrrrrrrr gotten into the wuarchive? Is it worth my efforts to keep trying or is it mirrored somewhere else?) Thank you in advance. Holly Miller ham@halcyon.com 43507 SE 76th St. Snoqualmie, WA 98065